CHAPTER XXXV. Whose mind’s so marbled, and his heart so hard, That would not, when this huge mishap was heard, To th’ utmost note of sorrow set their song, To see a gallant, with so great a grace, So suddenly unthought on, so o’erthrown, And so to perish, in so poor a place, By too rash riding in a ground unknown! Poem, in Nisbet’s Heraldry, vol. ii. We have anticipated the course of time to mention Bucklaw’s recovery and fate, that we might not interrupt the detail of events which succeeded the funeral of the unfortunate Lucy Ashton. This melancholy ceremony was performed in the misty dawn of an autumnal morning, with such moderate attendance and ceremony as could not possibly be dispensed with. A very few of the nearest relations attended her body to the same churchyard to which she had so lately been led as a bride, with as little free will, perhaps, as could be now testified by her lifeless and passive remains. An aisle adjacent to the church had been fitted up by Sir William Ashton as a family cemetery; and here, in a coffin bearing neither name nor date, were consigned to dust the remains of what was once lovely, beautiful, and innocent, though exasperated to frenzy by a long tract of unremitting persecution. While the mourners were busy in the vault, the three village hags, who, notwithstanding the unwonted earliness of the hour, had snuffed the carrion like vultures, were seated on the “through-stane,” and engaged in their wonted unhallowed conference. “Did not I say,” said Dame Gourlay, “that the braw bridal would be followed by as braw a funeral?” “I think,” answered Dame Winnie, “there’s little bravery at it: neither meat nor drink, and just a wheen silver tippences to the poor folk; it was little worth while to come sae far a road for sae sma’ profit, and us sae frail.” “Out, wretch!” replied Dame Gourlay, “can a’ the dainties they could gie us be half sae sweet as this hour’s vengeance? There they are that were capering on their prancing nags four days since, and they are now ganging as dreigh and sober as oursells the day. They were a’ glistening wi’ gowd and silver; they’re now as black as the crook. And Miss Lucy Ashton, that grudged when an honest woman came near her—a taid may sit on her coffin that day, and she can never scunner when he croaks. And Lady Ashton has hell-fire burning in her breast by this time; and Sir William, wi’ his gibbets, and his faggots, and his chains, how likes he the witcheries of his ain dwelling-house?” “And is it true, then,” mumbled the paralytic wretch, “that the bride was trailed out of her bed and up the chimly by evil spirits, and that the bridegroom’s face was wrung round ahint him?” “Ye needna care wha did it, or how it was done,” said Aislie Gourlay; “but I’ll uphaud it for nae stickit job, and that the lairds and leddies ken weel this day.” “And was it true,” said Annie Winnie, “sin ye ken sae muckle about it, that the picture of auld Sir Malise Ravenswood came down on the ha’ floor, and led out the brawl before them a’?” “Na,” said Ailsie; “but into the ha’ came the picture—and I ken weel how it came there—to gie them a warning that pride wad get a fa’. But there’s as queer a ploy, cummers, as ony o’ thae, that’s gaun on even now in the burial vault yonder: ye saw twall mourners, wi’ crape and cloak, gang down the steps pair and pair!” “What should ail us to see them?” said the one old woman. “I counted them,” said the other, with the eagerness of a person to whom the spectacle had afforded too much interest to be viewed with indifference. “But ye did not see,” said Ailsie, exulting in her superior observation, “that there’s a thirteenth amang them that they ken naething about; and, if auld freits say true, there’s ane o’ that company that’ll no be lang for this warld. But come awa’ cummers; if we bide here, I’se warrant we get the wyte o’ whatever ill comes of it, and that gude will come of it nane o’ them need ever think to see.” And thus, croaking like the ravens when they anticipate pestilence, the ill-boding sibyls withdrew from the churchyard. In fact, the mourners, when the service of interment was ended, discovered that there was among them one more than the invited number, and the remark was communicated in whispers to each other. The suspicion fell upon a figure which, muffled in the same deep mourning with the others, was reclined, almost in a state of insensibility, against one of the pillars of the sepulchral vault. The relatives of the Ashton family were expressing in whispers their surprise and displeasure at the intrusion, when they were interrupted by Colonel Ashton, who, in his father’s absence, acted as principal mourner. “I know,” he said in a whisper, “who this person is, he has, or shall soon have, as deep cause of mourning as ourselves; leave me to deal with him, and do not disturb the ceremony by unnecessary exposure.” So saying, he separated himself from the group of his relations, and taking the unknown mourner by the cloak, he said to him, in a tone of suppressed emotion, “Follow me.” The stranger, as if starting from a trance at the sound of his voice, mechanically obeyed, and they ascended the broken ruinous stair which led from the sepulchre into the churchyard. The other mourners followed, but remained grouped together at the door of the vault, watching with anxiety the motions of Colonel Ashton and the stranger, who now appeared to be in close conference beneath the shade of a yew-tree, in the most remote part of the burial-ground. To this sequestered spot Colonel Ashton had guided the stranger, and then turning round, addressed him in a stern and composed tone.—“I cannot doubt that I speak to the Master of Ravenswood?” No answer was returned. “I cannot doubt,” resumed the Colonel, trembling with rising passion, “that I speak to the murderer of my sister!” “You have named me but too truly,” said Ravenswood, in a hollow and tremulous voice. “If you repent what you have done,” said the Colonel, “may your penitence avail you before God; with me it shall serve you nothing. Here,” he said, giving a paper, “is the measure of my sword, and a memorandum of the time and place of meeting. Sunrise to-morrow morning, on the links to the east of Wolf’s Hope.” The Master of Ravenswood held the paper in his hand, and seemed irresolute. At length he spoke—“Do not,” he said, “urge to farther desperation a wretch who is already desperate. Enjoy your life while you can, and let me seek my death from another.” “That you never, never shall!” said Douglas Ashton. “You shall die by my hand, or you shall complete the ruin of my family by taking my life. If you refuse my open challenge, there is no advantage I will not take of you, no indignity with which I will not load you, until the very name of Ravenswood shall be the sign of everything that is dishonourable, as it is already of all that is villainous.” “That it shall never be,” said Ravenswood, fiercely; “if I am the last who must bear it, I owe it to those who once owned it that the name shall be extinguished without infamy. I accept your challenge, time, and place of meeting. We meet, I presume, alone?” “Alone we meet,” said Colonel Ashton, “and alone will the survivor of us return from that place of rendezvous.” “Then God have mercy on the soul of him who falls!” said Ravenswood. “So be it!” said Colonel Ashton; “so far can my charity reach even for the man I hate most deadly, and with the deepest reason. Now, break off, for we shall be interrupted. The links by the sea-shore to the east of Wolf’s Hope; the hour, sunrise; our swords our only weapons.” “Enough,” said the Master, “I will not fail you.” They separated; Colonel Ashton joining the rest of the mourners, and the Master of Ravenswood taking his horse, which was tied to a tree behind the church. Colonel Ashton returned to the castle with the funeral guests, but found a pretext for detaching himself from them in the evening, when, changing his dress to a riding-habit, he rode to Wolf’s Hope, that night, and took up his abode in the little inn, in order that he might be ready for his rendezvous in the morning. It is not known how the Master of Ravenswood disposed of the rest of that unhappy day. Late at night, however, he arrived at Wolf’s Crag, and aroused his old domestic, Caleb Balderstone, who had ceased to expect his return. Confused and flying rumours of the late tragical death of Miss Ashton, and of its mysterious cause, had already reached the old man, who was filled with the utmost anxiety, on account of the probable effect these events might produce upon the mind of his master. The conduct of Ravenswood did not alleviate his apprehensions. To the butler’s trembling entreaties that he would take some refreshment, he at first returned no answer, and then suddenly and fiercely demanding wine, he drank, contrary to his habits, a very large draught. Seeing that his master would eat nothing, the old man affectionately entreated that he would permit him to light him to his chamber. It was not until the request was three or four times repeated that Ravenswood made a mute sign of compliance. But when Balderstone conducted him to an apartment which had been comfortably fitted up, and which, since his return, he had usually occupied, Ravenswood stopped short on the threshold. “Not here,” said he, sternly; “show me the room in which my father died; the room in which SHE slept the night they were at the castle.” “Who, sir?” said Caleb, too terrified to preserve his presence of mind. “ She , Lucy Ashton! Would you kill me, old man, by forcing me to repeat her name?” Caleb would have said something of the disrepair of the chamber, but was silenced by the irritable impatience which was expressed in his master’s countenance; he lighted the way trembling and in silence, placed the lamp on the table of the deserted room, and was about to attempt some arrangement of the bed, when his master bid him begone in a tone that admitted of no delay. The old man retired, not to rest, but to prayer; and from time to time crept to the door of the apartment, in order to find out whether Ravenswood had gone to repose. His measured heavy step upon the floor was only interrupted by deep groans; and the repeated stamps of the heel of his heavy boot intimated too clearly that the wretched inmate was abandoning himself at such moments to paroxysms of uncontrolled agony. The old man thought that the morning, for which he longed, would never have dawned; but time, whose course rolls on with equal current, however it may seem more rapid or more slow to mortal apprehension, brought the dawn at last, and spread a ruddy light on the broad verge of the glistening ocean. It was early in November, and the weather was serene for the season of the year. But an easterly wind had prevailed during the night, and the advancing tide rolled nearer than usual to the foot of the crags on which the castle was founded. With the first peep of light, Caleb Balderstone again resorted to the door of Ravenswood’s sleeping apartment, through a chink of which he observed him engaged in measuring the length of two or three swords which lay in a closet adjoining to the apartment. He muttered to himself, as he selected one of these weapons: “It is shorter: let him have this advantage, as he has every other.” Caleb Balderstone knew too well, from what he witnessed, upon what enterprise his master was bound, and how vain all interference on his part must necessarily prove. He had but time to retreat from the door, so nearly was he surprised by his master suddenly coming out and descending to the stables. The faithful domestic followed; and from the dishevelled appearance of his master’s dress, and his ghastly looks, was confirmed in his conjecture that he had passed the night without sleep or repose. He found him busily engaged in saddling his horse, a service from which Caleb, though with faltering voice and trembling hands, offered to relieve him. Ravenswood rejected his assistance by a mute sign, and having led the animal into the court, was just about to mount him, when the old domestic’s fear giving way to the strong attachment which was the principal passion of his mind, he flung himself suddenly at Ravenswood’s feet, and clasped his knees, while he exclaimed: “Oh, sir! oh, master! kill me if you will, but do not go out on this dreadful errand! Oh! my dear master, wait but this day; the Marquis of A—— comes to-morrow, and a’ will be remedied.” “You have no longer a master, Caleb,” said Ravenswood, endeavouring to extricate himself; “why, old man, would you cling to a falling tower?” “But I have a master,” cried Caleb, still holding him fast, “while the heir of Ravenswood breathes. I am but a servant; but I was born your father’s—your grandfather’s servant. I was born for the family—I have lived for them—I would die for them! Stay but at home, and all will be well!” “Well, fool! well!” said Ravenswood. “Vain old man, nothing hereafter in life will be well with me, and happiest is the hour that shall soonest close it!” So saying, he extricated himself from the old man’s hold, threw himself on his horse, and rode out the gate; but instantly turning back, he threw towards Caleb, who hastened to meet him, a heavy purse of gold. “Caleb!” he said, with a ghastly smile, “I make you my executor”; and again turning his bridle, he resumed his course down the hill. The gold fell unheeded on the pavement, for the old man ran to observe the course which was taken by his master, who turned to the left down a small and broken path, which gained the sea-shore through a cleft in the rock, and led to a sort of cove where, in former times, the boats of the castle were wont to be moored. Observing him take this course, Caleb hastened to the eastern battlement, which commanded the prospect of the whole sands, very near as far as the village of Wolf’s Hope. He could easily see his master riding in that direction, as fast as the horse could carry him. The prophecy at once rushed on Balderstone’s mind, that the Lord of Ravenswood should perish on the Kelpie’s flow, which lay half-way betwixt the Tower and the links, or sand knolls, to the northward of Wolf’s Hope. He saw him according reach the fatal spot; but he never saw him pass further. Colonel Ashton, frantic for revenge, was already in the field, pacing the turf with eagerness, and looking with impatience towards the Tower for the arrival of his antagonist. The sun had now risen, and showed its broad disk above the eastern sea, so that he could easily discern the horseman who rode towards him with speed which argued impatience equal to his own. At once the figure became invisible, as if it had melted into the air. He rubbed his eyes, as if he had witnessed an apparition, and then hastened to the spot, near which he was met by Balderstone, who came from the opposite direction. No trace whatever of horse or rider could be discerned; it only appeared that the late winds and high tides had greatly extended the usual bounds of the quicksand, and that the unfortunate horseman, as appeared from the hoof-tracks, in his precipitate haste, had not attended to keep on the firm sands on the foot of the rock, but had taken the shortest and most dangerous course. One only vestige of his fate appeared. A large sable feather had been detached from his hat, and the rippling waves of the rising tide wafted it to Caleb’s feet. The old man took it up, dried it, and placed it in his bosom. The inhabitants of Wolf’s Hope were now alarmed, and crowded to the place, some on shore, and some in boats, but their search availed nothing. The tenacious depths of the quicksand, as is usual in such cases, retained its prey. Our tale draws to a conclusion. The Marquis of A——, alarmed at the frightful reports that were current, and anxious for his kinsman’s safety, arrived on the subsequent day to mourn his loss; and, after renewing in vain a search for the body, returned, to forget what had happened amid the bustle of politics and state affairs. Not so Caleb Balderstone. If worldly profit could have consoled the old man, his age was better provided for than his earlier years had ever been; but life had lost to him its salt and its savour. His whole course of ideas, his feelings, whether of pride or of apprehension, of pleasure or of pain, had all arisen from its close connexion with the family which was now extinguished. He held up his head no longer, forsook all his usual haunts and occupations, and seemed only to find pleasure in moping about those apartments in the old castle which the Master of Ravenswood had last inhabited. He ate without refreshment, and slumbered without repose; and, with a fidelity sometimes displayed by the canine race, but seldom by human beings, he pined and died within a year after the catastrophe which we have narrated. The family of Ashton did not long survive that of Ravenswood. Sir William Ashton outlived his eldest son, the Colonel, who was slain in a duel in Flanders; and Henry, by whom he was succeeded, died unmarried. Lady Ashton lived to the verge of extreme old age, the only survivor of the group of unhappy persons whose misfortunes were owing to her implacability. That she might internally feel compunction, and reconcile herself with Heaven, whom she had offended, we will not, and we dare not, deny; but to those around her she did not evince the slightest symptom either of repentance or remorse. In all external appearance she bore the same bold, haughty, unbending character which she had displayed before these unhappy events. A splendid marble monument records her name, titles, and virtues, while her victims remain undistinguished by tomb or epitaph. *** END OF THE PROJECT GUTENBERG EBOOK THE BRIDE OF LAMMERMOOR *** 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.