Conceptio › Archive › Project Gutenberg
Project Gutenbergpublic full text

Sweet Cicely — or Josiah Allen as a Politician

Holley, Marietta, 1836-1926 · Project Gutenberg
Project Gutenberg · Books · License: Public Domain
Open Source ↗
women
Women -- Suffrage -- Fiction, Temperance and religion -- Fiction, Methodist Church (U.S.) -- Fiction

CHAPTER XIV. “Can't I sell you some other attachment, mom? I have got 'em of all kinds.” “Sell me another attachment? No, sir. You can't sell me another attachment. My attachment is as firm and endurin' as the rocks, and has always been, and is one not to be bought and sold.” “I presume yours was good in the day of 'em, mom, but they must be old-fashioned. I have the very best and newest attachments of all kinds. But I make a specialty of my fellers. You'd better let me sell you a feller, mom.” I declare for't, my first thought was, to turn him right outdoors, and shet the door in his face. And then agin, I thought, I am a member of the meetin'-house. I must be patient and long sufferin', and may be here is a chance for me to do good. Thinks'es I, if I was ever eloquent in a good cause, I must be now. I must convince him of the nefariousness of his conduct. And if soarin' in eloquence can do it, why, I must soar. And so I begun. Says I, wavin' my right hand in a broad, soarin', eloquent wave, “Young man, when you talk about buyin' and sellin' a feller, you are talkin' on a solemn subject,—buyin and sellin' attachments! Buyin' and sellin' fellers! It hain't nothin' new to me. I've hearn tell of such things, but little did I suppose it was a subject I should ever be tackled on. “But I have hearn of it. I have hearn of wimmen sellin' themselves to the highest bidder, with a minister for auctioneer and salesman. I have hearn of fathers and mothers sellin' beauty and innocence and youth to wicked old age for money—sellin' 'em right in the meetin'-house, under the very shadow of the steeple. “Jerusalem hain't the only village where God's holy temple has been polluted by money-changers and them that sell doves. Many a sweet little dove of a girl is made by her father and mother, and other old money-changers, to walk up to God's holy altar, and swear to a lie. They think her tellin' that lie, makes the infamous bargain more sacred, makes the infamous life they have drove her into more respectable. “There was One who cleansed from such accursed traffic the old Jewish temples, but He walks no more with humanity. If he did, would he not walk up the broad aisles of our orthodox churches in American cities, and release these doves, and overthrow the plots of these money-changers? “But let me tell 'em, that though they can't see Him, He is there; and the lash of His righteous wrath will surely descend, not upon their bodies, but upon their guilty souls, teachin' them how much more terrible it is to sell a life, with all its rich dowery of freedom, happiness, purity, immortality.” Here my breath gin out, for I had used my very deepest principle tone; and it uses up a fearful ammount of wind, and is tuckerin' beyend what any one could imagine of tucker. You have to stop to collect breath. And he looked at me with that same stiddy, patient, modest look of hisen; and says he, in that low, determined voice,— “What you say, madam, is very true, and even beautiful and eloquent: but time is valuable to me; and as I said, I stopped here this morning to see if I could sell”— “I know you did: I heard you with my own ears. If it had come through two or three, or even one, pair of ears besides my own, I couldn't have believed 'em—I never could have believed that any human creeter, male or female, would have dared to stand up before me, and try to sell me a feller! Sell a feller to me! Why, even in my young days, do you s'pose I would ever try to buy a feller? “No, sir! fellers must come free and spontaneous? or not at all. Never was I the woman to advance one step towards any feller in the way of courtship—havin' no occasion for it, bein' one that had more offers than I knew what to do with, as I often tell my husband, Josiah Allen, now, in our little differences of opinion. 'Time and agin,' as I tell him, 'I might have married, but held back.' And never would I have married, never, had not love gripped holt of my very soul, and drawed me along up to the marriage alter. I loved the feller I married, and he was the only feller in the hull world for me.” Says he in that low, gentle tone, and lookin' modest and patient as a lily, but as determined and sot as ever a iron teakettle was sot over a stove,— “You are under a mistake, mom.” Says I, “Don't you tell me that agin if you know what is good for yourself. I guess I know my own mind. I was past the age of whifflin', and foolin' round. I married that feller from pure love, and no other reason under the heavens. For there wuzn't any other reason only jest that, why I should marry him.” And for a moment, or two moments, my mind roamed back onto that old, mysterious question that has haunted me more or less through my natural life, for over twenty years. Why did I marry Josiah Allen? But I didn't revery on it long. I was too agitated, and wrought up; and I says agin, in tones witherin' enough to wither him,— “The idee of sellin' me a feller!” But the chap didn't look withered a mite: he stood there firm and immovible, and says he,— “I didn't mean no offense, mom. Sellin' attachments is what I get my living by”— “Wall, I should ruther not get a livin',” says I, interruptin' of him. “I should ruther not live.” “As I said, mom, I get my livin' that way: and one of your neighbors told me that your feller was an old one, and sort o' givin' out; and I have got 'em with all the latest improvements, and—and she thought mebby I could sell you one.” “You miserable coot you!” says I. “Do you stop your impudent talk, or I will holler to Josiah. What do you s'pose I want with another feller? Do you s'pose I'd swap Josiah Allen for all the fellers that ever swarmed on the globe? What do you s'pose I care for the latest improvements? If a feller was made of pure gold from head to feet, with diamond eyes and a garnet nose, do you s'pose he would look so good to me as Josiah Allen duz? “And I would thank the neighbers to mind their own business, and let my affairs alone. What if he is a gettin' old and wore out? What if he is a givin' out? He is always kinder spindlin' in the spring of the year. Some men winter harder than others: he is a little tizicky, and breathes short, and his liver may not be the liver it was once; but he will come round all right when the weather moderates. And mebby they meant to hint and insinuate sunthin' about his bein' so bald, and losin' his teeth. “But I'll let you know, and I'll let the neighbors know, that I didn't marry that man for hair; I didn't marry that man for teeth, and a few locks more or less, or a handful of teeth, has no power over that love,—that love that makes me say from the very depths of my soul, that my feller is one of a thousand.” “I hain't disputed you, mom,” says he, with his firm, patient look. “I dare presume to say that your feller was good in the day of such fellers. But every thing has its day: we make fellers far different now.” Says I sarcasticly, givin' him quite a piercin' look, “I know they do: I've seen 'em.” “Yes, they make attachments now very different: yours is old-fashioned.” “Yes, I know it is: I know that love, such love as hisen and mine, and I know that truth and fidelity and constancy, are old-fashioned. But I thank God that our souls are clothed with that beautiful old fashion, that seamless, flawless robe that wus cut out in Eden, and a few true souls have wore ever since.” “But your attachment will grow older and older, and give out entirely after a while. What will you do then?” “My attachment will never give out.” “But mom”— “No, you needn't argue and contend—I say it will never give out. It is a heavenly gift dropped down from above, entirely unbeknown. True love is not sought after, it comes; and when it comes, it stays. Talk about love gettin' old—love never grows old; talk about love goin'—love never goes: that which goes is not love, though it has been called so time and agin. Talk about love dyin'—why, it can't die, no more than the souls can, in which its sweet light is born. Why, it is a flame that God Himself kindles: it is a bit of His own brightness a shinin' down through the darkness of our earthly life, and is as immortal and indestructible as His own glory. “It is the only fountain of Eternal Youth that gushes up through this dreary earthly soil, for the refreshin' of men and wimmen, in which the weary soul can bathe itself, and find rest.” “Sometimes,” says he, sort o' dreamily, “sometimes we repair old fellers.” “Wall, you won't repair my feller, I can let you know that. I won't have him repaired. The impudence of the hull idee,” says I, roustin' up afresh, “goes ahead of any thing I ever dreamed of, of impudence. Repair my feller! I don't want him any different. I want him jest as he is. I would scorn to repair him. I could if I wanted to,—his teeth could be sharpened up, what he has got, and new ones sot in. And I could cover his head over with red curls; or I could paint it black, and paste transfer flowers onto it. I could have a sot flower sot right on the top of his bald head, and a trailin' vine runnin' round his forward. Or I could trim it round with tattin', if I wanted to, and crystal beads. I could repair him up so he would look gay. But do you s'pose that any artificials that was ever made, or any hair, if it was as luxuriant as Ayer'ses Vigor, could look so good to me as that old bald head that I have seen a shinin' acrost the table from me for so many years? “I tell you, there is memories and joys and sorrows a clusterin' round that head, that I wouldn't swap for all the beauty and the treasures of the world. “Memories of happy mornin's dewy fresh, with cool summer breezes a comin' in through the apple-blows by the open door, and the light of the happy sunrise a shinin' on that old bald head, and then gleamin' off into my happy heart. “There is memories of pleasant evenin' hours, with the tea-table drawed up in front of the south door, and the sweet southern wind a comin' in over the roses, and the tender light of the sunset, and the waverin' shadows of the honeysuckles and mornin'-glorys, fallin' on us, wrappin' us all round, and wrappin' all of the rest of the world out.” Mebby the young chap said sunthin' here, but it was entirely unbeknown to me; though I thought I heard the murmur of his voice makin' a sort of a tinklin' accompinment to my thoughts, sunthin' like the babble of a brook a runnin' along under forest boughs, when the wind with its mighty melody is sweepin' through 'em. Great emotions was sweepin' along with power, and couldn't be stayed. And I went right on, not sensin' a thing round me,— “There is memories of sabbath drives, in fair June mornin's, through the old lane alder and willow fringed, with the brook runnin' along on one side of it; where the speckled trout broke the Sunday quiet by dancin' up through the brown and gold shadows of the cool water, and the odor of the pine woods jest beyend comin' fresh and sweet to us. “Memories of how that road and that face looked in the week-day dusk, as we sot out for the revival meetin', when the sun had let down his long bars of gold and crimson and yellow, and had got over 'em, and sunk down behind 'em out of sight. And we could ketch glimpses through the willow-sprays of them shinin' bars a layin' down on the gray twilight field. And fur away over the green hills and woods of the east, the moon was a risin', big and calm and silvery. And we could hear the plaintive evenin' song of the thrush, and the crickets' happy chirp, till we got nearer the schoolhouse, when they sort o' blended in with 'There is a fountain filled with blood,' and 'Come, ye disconsolate.' “And the moonlight, and sister Bobbet's and sister Minkly's candles, shone down and out, on that dear old bald head as his hat fell off, as he helped me out of the wagon. “Memories of how I have seen it a bendin' over the Word, in hours of peace and happiness, and hours of anxiety and trouble, a readin' every time about the eternal hills, and the shadow of the Rock, and the Everlastin' Arms that was a holdin' us both up, me and Josiah, and the Everlastin' Love that was wrappin' us round, helpin' us onward by these very joys, these very sorrows. “Memories of the midnight lamp lightin' it up in the chamber of the sick, in the long, lonesome hours before day-dawn. “Memories of its bendin' over the sick ones in happier mornin's, as he carried 'em down-stairs in his arms, and sot 'em in their old places at the table. “Memories of how it looked in the glare of the tempest, and under the rainbow when the storm had passed. It stands out from a background of winter snows and summer sunshine, and has all the shadows and brightness of them seasons a hangin' over it. “Yes, there is memories of sorrows borne by both, and so made holier and more blessed than happiness. That head has bent with mine over a little coffin, and over open graves, when he shared my anguish. And stood by me under the silent stars, when he shared my prayers, my hopes, for the future. “That old bald head stands up on the most sacred height of my heart, like a beacon; the glow of the soul shines on it; love gilds it. And do you s'pose any other feller's head on earth could ever look so good to me as that duz? Do you s'pose I will ever have it repaired upon? never! I won't repair him. I won't have him dickered and fooled with. Not at all. “He'd look better to me than any other feller that ever walked on earth if he hadn't a tooth left in his head, or a hair on his scalp. As long as Josiah Allen has got body enough left to wrap round his soul, and keep it down here on earth, my heart is hisen, every mite of it, jest as he is too. “And I'll thank the neighbors to mind their own business!” says I, kinder comin' to agin. For truly, I had soared up high above my kitchen, and gossipin' neighbors, and feller-agents, and all other tribulations. And as I lit down agin (as it were), I see he was a standin' on one foot, with his watch, a big silver one, in his hand, and gazin' pensively onto it; and he says,— “Your remarks are worthy, mom—but somewhat lengthy,” says he, in a voice of pain; “nearly nine moments long: but,” says he, sort o' bracin' up agin on both feet, “I beg of you not to be too hasty. I did not come into this neighborhood to make dissensions or broils. I merely stated that I got the idee, from what they said, that your feller didn't work good.” “Didn't work good! You impudent creeter you! What of it? What if he don't work at all? What earthly business is it of yourn or the neighbors? I guess he is able to lay by for a few days if he wants to.” “You are laborin' under a mistake, mom.” “No, I hain't laborin' under no mistake! And don't you tell me agin that I be. We have got a good farm all paid for, and money out on interest; and whose business is it whether he works all day, or don't. When I get to goin' round to see who works, and who don't; and when I get so low as to watch my neighbors the hull of the time, to find out every minute they set down; when I can't find nothin' nobler to do,—I'll spend my time talkin' about hens' teeth, and lettis seed.” Says he, lookin' as amiable and patient as a factory-cloth rag-babe, but as determined as a weepin' live one, with the colic,— “You don't seem to get my meaning. I merely wished to remark that I could fix over your feller if you wanted me to”— Oh! how burnin' indignant I wuz! But all of a sudden, down on this seethin' tumult of anger fell this one calmin' word,— Meeting-house! I felt I must be calm,—calm and impressive; so says I,— “You need not repeat your infamous proposal. I say to you agin, that the form where Love has set up his temple, is a sacred form. Others may be more beautiful, and even taller, but they don't have the same look to 'em. It is one of the strangest things,” says I, fallin' agin' a little ways down into a revery,— “It is one of the very solemnest things I ever see, how a emotion large and boundless enough to fill eternity and old space itself, should all be gathered up and centered into so small a temple, and such a lookin' one, too, sometimes,” says I pensively, as I thought it over, how sort o' meachin' and bashful lookin' Josiah Allen wuz, when I married to him. And how small his weight wuz by the steelyards. But it is so, curious it can be, but so it is. “ Why Love, like a angel, springs up in the heart unawares, as Lot entertained another, I don't know. If you should ask me why, I'd tell you plain, that I didn't know where Love come from; but if you should ask me where Love went to, I should answer agin plain, that it don't go, it stays. The only right way for pardners to come, is to come down free gifts from above, free as the sun, or the showers—that fall down in a drouth—and perfectly unbeknown, like them. Such a love is oncalculatin', givin' all, unquestionin', unfearin', no dickering no holdin' back lookin' for better chances.” “Yes, mom,” says he, a twirlin' his hat round, and standin' on one foot some like a patient old gander in the fall of the year. “Yes, mom, what you say is very true; but your elequent remarks, your very sociable talk, has caused me to tarry a longer period than is really consistent with the claims of business. As I told you when I first come in, I merely called to see if I could sell you”— “Yes, I know you did. And a meaner, low-liveder proposal I never heard from mortal lips, be he male, or be he female. The idee of me , Josiah Allen's wife, who has locked arms with principle, and has kep' stiddy company with it, for years and years—the idee of me buyin' a feller! I dare persume to say”— Says I more mildly, as he took up his hat and little box he had, and started for the door,—and seein' I was goin' to get rid of him so soon, I felt softer towards him, as folks will towards burdens when they are bein' lifted from 'em,— “I dare persume to say, you thought I was a single woman, havin' been told time and agin, that I am young-lookin' for my age, and fair complected. I won't think,” says I, feelin' still softer towards him as I see him a openin' the door,— “I won't think for a minute that you knew who it was you made your infamous proposal to. But never, never make it agin to any livin' human bein', married or single.” He looked real sort o' meachin' as I spoke; and he said in considerable of a meek voice,— “I was talkin' to you about a new feller, jest got up by the richest firm in North America.” “What difference does it make to me who he belongs to? I don't care if he belongs to Vanderbilt, or Aster'ses family. Principle—that is what I am a workin' on; and the same principle that would hender me from buyin' a feller that was poor as a snail, would hender me from buyin' one that had the riches of Creshus; it wouldn't make a mite of difference to me. “As the poet Mr. Burns says,—I have heard Thomas J. repeat it time and agin, and I always liked it: I may not get the words exactly right, but the meanin' is,— “Rank is only the E pluribus Unum stamp, on the trade dollar: a feller is a feller for all that.” But I'll be hanged if he didn't, after all my expenditure of wind and eloquence, and quotin' poetry, and every thing—if he didn't turn round at the foot of that doorstep, and strikin' that same patient, determined attitude of hisen, say, says he,— “You are mistaken, mom. I merely stopped this mornin' to see if I could sell you”— But I jest shet the door in his face, and went off upstairs into the west chamber, and went to windin' bobbin's for my carpet. And I don't know how long he stayed there, nor don't care. He had gone when I come down to get dinner, and that was all I cared for. I told Josiah about it when he and the boy come home; and I tell you, my eyes fairly snapped, I was that mad and rousted up about it: but he said,— “He believed it was a sewin'-machine man, and wanted to sell me a feller for my sewin'-machine. He said he had heard there was a general agent in Jonesville that was a sendin' out agents with all sorts of attachments, some with hemmers, and some with fellers.” But I didn't believe a word of it: I believe he was mean . A mean, low-lived, insultin' creeter. CHAPTER XIV. Wall, Cicely died in June; and how the days will pass by, whether we are joyful or sorrowful! And before we knew it (as it were), September had stepped down old Time's dusty track, and appeared before us, and curchied to us (allegory). Ah, yes! time passes by swiftly. As the poet observes, In youth the days pass slowly, in middle life they trot, and in old age they canter. But the time, though goin' fast, had passed by very quietly and peacefully to Josiah Allen and me. Every thing on the farm wus prosperous. The children was well and happy; the babe beautiful, and growin' more lovely every day. Ury had took his money, and bought a good little house and 4 acres of land in our neighborhood, and had took our farm for the next and ensuin' year. And they was happy and contented. And had expectations. They had (under my direction) took a tower together, and the memory of her lonely pilgrimage had seemed to pass from Philury's mind. The boy wus a gettin' healthier all the time. And he behaved better and better, most all the time. I had limited him down to not ask over 50 questions on one subject, or from 50 to 60; and so we got along first-rate. And we loved him. Why, there hain't no tellin' how we did love him. And he would talk so pretty about his ma! I had learned him to think that he would see her bime by, and that she loved him now jest as much as ever, and that she wanted him to be a good boy . And he wuz a beautiful boy, if his chin wuz sort o' weak. He would try to tell the truth, and do as I would tell him to—and would, a good deal of the time. And he would tell his little prayers every night, and repeat lots of Scripture passages, and would ask more'n 100 questions about 'em, if I would let him. There was one verse I made him repeat every night after he said his prayers: “Blessed are the pure in heart, for they shall see God.” And I always would say to him, earnest and deep, that his ma was pure in heart. And he'd say, “Does she see God now?” And I'd say, “Yes.” And he would say, “When shall I see Him?” And I'd say, “When you are good enough.” And he'd say, “If I was good enough, could I see Him now?” And I would say, “Yes.” And then he would tell me that he would try to be good; and I would say, “Wall, so do.” And late one afternoon, a bright, sunny afternoon, he got tired of playin'. He had been a horse, and little Let Peedick had been a drivin' him. I had heard 'em a whinnerin' out in the yard, and a prancin', and a hitchin' each other to the post. But he had got tired about sundown, and come in, and leaned up against my lap, and asked me about 88 questions about his ma and the City. He had never forgot what his uncle Josiah had read about it, and he couldn't seem to talk enough about it. And says he, with a dreamy look way off into the glowin' western sky, “My mamma Cicely said it would swing right down out of heaven some day, and would open, and I could walk in; and don't you believe mamma will stand just inside of the gate as she used to, and say, 'Here comes my own little boy'?” And he wus jest a askin' me this,—and it beats all, how many times he had tackled me on this very subject,—when Whitfield drove up in a great hurry. Little Samantha Joe had been taken sick, very sick, and extremely sudden. Scarlet-fever was round, and she and the boy had both been exposed. I was all excitement and agitation; and I hurried off without changin' my dress, or any thing. But I told Josiah to put the boy to bed about nine. Wall, there was a uncommon sunset that night. The west was all aflame with light. And as we rode on towards Jonesville right towards it,—though very anxious about the babe,—I drawed Whitfield's attention to it. The hull of the west did look, for all the world, like a great, shinin' white gate, open, and inside all full of radience, rose, and yellow, and gold light, a streamin' out, and changin', and glowin', movin' about, as clouds will. It seemed sometimes, as if you could almost see a white, shadowy figure, inside the gate, a lookin' out, and watchin' with her arms reached out; and then it would all melt into the light again, as clouds will. It wus the beautifulest sunset I had seen, that year, by far. And we s'pose, from what we could learn afterwards, that the boy, too, was attracted by that wonderful glory in the west, and strolled out to the orchard to look at it. It wus a favorite place with him, anyway. And there wus a certain tree that he loved to lay under. A sick-no-further apple. It wus the very tree I found him under that day in the spring, a lookin' up into the sky, a watchin' for the City to come down from heaven. You could see a good ways from there off into the west, and out over the lake. And the sunset must have looked beautiful from there, anyway. Wall, my poor companion Josiah wus all rousted up in his mind about the babe, and he never thought of the boy till it was half-past nine; and then he hurried off to find him, skairt, but s'posen he was up on his bed with his clothes on, or asleep on the lounges, or carpets, or somewhere. But he couldn't find him: he hunted all over the house, and out in the barn, and the door-yard, and the street; and then he rousted up Mr. Gowdey's folks, our nearest neighbors, to see if they could help find him. Wall, Miss Gowdey, when she wus a bringin' in her clothes,—it was Monday night,—she had seen him out in the orchard under the sick-no-further tree. And there they found him, fast asleep—where they s'pose he had fell asleep unexpected to himself. It wus then almost eleven o'clock, and he was wet with dew: the dew was heavy that night. And when they rousted him up, he was so hoarse he couldn't speak. And before mornin' he was in a high fever. They sent for me and the doctor at daybreak. Little Samantha Joe wus better: it only proved to be a hard cold that ailed her. But the boy had the scarlet-fever, so the doctor said. And he grew worse fast. He didn't know me at all when I got home, but wus a talkin' fast about his mamma Cicely; and he asked me “If the gate had swung down, for him to go through into the City, and if his mamma was inside, reachin' out her arms to him?” And then he would get things all mixed up, and talk about things he had heard of, and things he hadn't heard of. And then he would talk about how bright it was inside the gate, and how he see it from the orchard. And so we knew he had been attracted out by the bright light in the west. And then he would talk about the strangest things. His little tongue couldn't be still a minute; but it never could, for that matter. Till along about the middle of the afternoon he become quiet, and grew so white and still that I knew before the doctor told me, that we couldn't keep the boy. And I thought, and couldn't help it, of what Cicely had worried so about; and though my heart sunk down and down, to think of givin' the boy up,—for I loved him,—yet I couldn't help thinkin' that with his temperament, and as the laws was now, the grave was about the only place of safety that the Lord Himself could find for the boy. And it wus about sundown that he died. I had been down-stairs for somethin' for him; and as I went back into the room, I see his eyes was wide open, and looked natural. And as I bent over him, he looked up at me, and said in a faint voice, but rational,— “Say”— And I couldn't help a smilin' right there, with the tears a runnin' down my face like rain-water. He wanted to ask some question. But he couldn't say no more. His little, eager, questionin' soul was too fur gone towards that land where the hard questions we can't answer here, will be made plain to us. But he looked up into my face with that sort of a questionin' look, and then up over my head, and beyend it—and beyend—and I see there settled down over his face the sort of a satisfied look that he would have when I had answered his questions; and I sort o' smiled, and said to myself, I guessed the Lord had answered it. And so he went through the gate of the City, and was safe. And that is the way God took care of the boy. *** END OF THE PROJECT GUTENBERG EBOOK SWEET CICELY — OR JOSIAH ALLEN AS A POLITICIAN *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG™ LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works 1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.gutenberg.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate . While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg electronic works Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support. Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org . This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Record · ID 34474 · SHA-256 a28d24b943385121
Retrieved via Conceptio — every document is proof-bundled with source, license, and retrieval metadata.