Fair Margaret

ENVOI ENVOI Ten years had gone by since Captain Smith took the good ship Margaret across the bar of the Guadalquiver in a very notable fashion. It was late May in Essex, and all the woods were green, and all the birds sang, and all the meadows were bright with flowers. Down in the lovely vale of Dedham there was a long, low house with many gables—a charming old house of red brick and timbers already black with age. It stood upon a little hill, backed with woods, and from it a long avenue of ancient oaks ran across the park to the road which led to Colchester and London. Down that avenue on this May afternoon an aged, white-haired man, with quick black eyes, was walking, and with him three children—very beautiful children—a boy of about nine and two little girls, who clung to his hand and garments and pestered him with questions. “Where are we going, Grandfather?” asked one little girl. “To see Captain Smith, my dear,” he answered. “I don’t like Captain Smith,” said the other little girl; “he is so fat, and says nothing.” “I do,” broke in the boy, “he gave me a fine knife to use when I am a sailor, and Mother does, and Father, yes, and Grandad too, because he saved him when the cruel Spaniards wanted to put him in the fire. Don’t you, Grandad?” “Yes, my dear,” answered the old man. “Look! there is a squirrel running over the grass; see if you can catch it before it reaches that tree.” Off went the children at full pelt, and the tree being a low one, began to climb it after the squirrel. Meanwhile John Castell, for it was he, turned through the park gate and walked to a little house by the roadside, where a stout man sat upon a bench contemplating nothing in particular. Evidently he expected his visitor, for he pointed to the place beside him, and, as Castell sat down, said: “Why didn’t you come yesterday, Master?” “Because of my rheumatism, friend,” he answered. “I got it first in the vaults of that accursed Holy House at Seville, and it grows on me year by year. They were very damp and cold, those vaults,” he added reflectively. “Many people found them hot enough,” grunted Smith, “also, there was generally a good fire at the end of them. Strange thing that we should never have heard any more of that business. I suppose it was because our Margaret was such a favourite with Queen Isabella who didn’t want to raise questions with England, or stir up dirty water.” “Perhaps,” answered Castell. “The water was dirty, wasn’t it?” “Dirty as a Thames mud-bank at low tide. Clever woman, Isabella. No one else would have thought of making a man ridiculous as she did by Morella when she gave his life to Betty, and promised and vowed on his behalf that he would acknowledge her as his lady. No fear of any trouble from him after that, in the way of plots for the Crown, or things of that sort. Why, he must have been the laughing-stock of the whole land—and a laughing-stock never does anything. You remember the Spanish saying, ‘King’s swords cut and priests’ fires burn, but street-songs kill quickest!’ I should like to learn more of what has become of them all, though, wouldn’t you, Master? Except Bernaldez, of course, for he’s been safe in Paris these many years, and doing well there, they say.” “Yes,” answered Castell, with a little smile—“that is, unless I had to go to Spain to find out.” Just then the three children came running up, bursting through the gate all together. “Mind my flower-bed, you little rogues,” shouted Captain Smith, shaking his stick at them, whereat they got behind him and made faces. “Where’s the squirrel, Peter?” asked Castell. “We hunted it out of the tree, Grandad, and right across the grass, and got round it by the edge of the brook, and then—” “Then what? Did you catch it?” “No, Grandad, for when we thought we had it sure, it jumped into the water and swam away.” “Other people in a fix have done that before,” said Castell, laughing, and bethinking him of a certain river quay. “It wasn’t fair,” cried the boy indignantly. “Squirrels shouldn’t swim, and if I can catch it I will put it in a cage.” “I think that squirrel will stop in the woods for the rest of its life, Peter.” “Grandad!—Grandad!” called out the youngest child from the gate, whither she had wandered, being weary of the tale of the squirrel, “there are a lot of people coming down the road on horses, such fine people. Come and see.” This news excited the curiosity of the old gentlemen, for not many fine people came to Dedham. At any rate both of them rose, somewhat stiffly, and walked to the gate to look. Yes, the child was right, for there, sure enough, about two hundred yards away, advanced an imposing cavalcade. In front of it, mounted on a fine horse, sat a still finer lady, a very large and handsome lady, dressed in black silks, and wearing a black lace veil that hung from her head. At her side was another lady, much muffled up as though she found the climate cold, and riding between them, on a pony, a gallant looking little boy. After these came servants, male and female, six or eight of them, and last of all a great wain, laden with baggage, drawn by four big Flemish horses. “Now, whom have we here?” ejaculated Castell, staring at them. Captain Smith stared too, and sniffed at the wind as he had often done upon his deck on a foggy morning. “I seem to smell Spaniards,” he said, “which is a smell I don’t like. Look at their rigging. Now, Master Castell, of whom does that barque with all her sails set remind you?” Castell shook his head doubtfully. “I seem to remember,” went on Smith, “a great girl decked out like a maypole running across white sand in that Place of Bulls at Seville—but I forgot, you weren’t there, were you?” Now a loud, ringing voice was heard speaking in Spanish, and commanding some one to go to yonder house and inquire where was the gate to the Old Hall. Then Castell knew at once. “It is Betty,” he said. “By the beard of Abraham, it is Betty.” “I think so too; but don’t talk of Abraham, Master. He is a dangerous man, Abraham, in these very Christian lands; say, ‘By the Keys of St. Peter,’ or, ‘By St. Paul’s infirmities.’” “Child,” broke in Castell, turning to one of the little girls, “run up to the Hall and tell your father and mother that Betty has come, and brought half Spain with her. Quickly now, and remember the name, Betty! ” The child departed, wondering, by the back way; while Castell and Smith walked towards the strangers. “Can we assist you, Señora?” asked the former in Spanish. “Marchioness of Morella, if you please—” she began in the same language, then suddenly added in English, “Why, bless my eyes! If it isn’t my old master, John Castell, with white wool instead of black!” “It came white after my shaving by a sainted barber in the Holy House,” said Castell. “But come off that tall horse of yours, Betty, my dear—I beg your pardon—most noble and highly born Marchioness of Morella, and give me a kiss.” “That I will, twenty, if you like,” she answered, arriving in his arms so suddenly from on high, that had it not been for the sturdy support of Smith behind, they would both of them have rolled upon the ground. “Whose are those children?” she asked, when she had kissed Castell and shaken Smith by the hand. “But no need to ask, they have got my cousin Margaret’s eyes and Peter’s long nose. How are they?” she added anxiously. “You will see for yourself in a minute or two. Come, send on your people and baggage to the Hall, though where they will stow them all I don’t know, and walk with us.” Betty hesitated, for she had been calculating upon the effect of a triumphal entry in full state. But at that moment there appeared Margaret and Peter themselves—Margaret, a beautiful matron with a child in her arms, running, and Peter, looking much as he had always been, spare, long of limb, stern but for the kindly eyes, striding away behind, and after him sundry servants and the little girl Margaret. Then there arose a veritable babel of tongues, punctuated by embracings; but in the end the retinue and the baggage were got off up the drive, followed by the children and the little Spanish-looking boy, with whom they had already made friends, leaving only Betty and her closely muffled-up attendant. This attendant Peter contemplated for a while, as though there were something familiar to him in her general air. Apparently she observed his interest, for as though by accident she moved some of the wrappings that hid her face, revealing a single soft and lustrous eye and a few square inches of olive-coloured cheek. Then Peter knew her at once. “How are you, Inez?” he said, stretching out his hand with a smile, for really he was delighted to see her. “As well as a poor wanderer in a strange and very damp country can be, Don Peter,” she answered in her languorous voice, “and certainly somewhat the better for seeing an old friend whom last she met in a certain baker’s shop. Do you remember?” “Remember!” answered Peter. “It is not a thing I am likely to forget. Inez, what became of Fray Henriques? I have heard several different stories.” “One never can be sure,” she answered as she uncovered her smiling red lips; “there are so many dungeons in that old Moorish Holy House, and elsewhere, that it is impossible to keep count of their occupants, however good your information. All I know is that he got into trouble over that business, poor man. Suspicions arose about his conduct in the procession which the captain here will recall,” and she pointed to Smith. “Also, it is very dangerous for men in such positions to visit Jewish quarters and to write incautious letters—no, not the one you think of; I kept faith—but others, afterwards, begging for it back again, some of which miscarried.” “Is he dead then?” asked Peter. “Worse, I think,” she answered—“a living death, the ‘Punishment of the Wall.’” “Poor wretch!” said Peter, with a shudder. “Yes,” remarked Inez reflectively, “few doctors like their own medicine.” “I say, Inez,” said Peter, nodding his head towards Betty, “that marquis isn’t coming here, is he?” “In the spirit, perhaps, Don Peter, not otherwise.” “So he is really dead? What killed him?” “Laughter, I think, or, rather, being laughed at. He got quite well of the hurts you gave him, and then, of course, he had to keep the queen’s gage, and take the most noble lady yonder, late Betty, as his marchioness. He couldn’t do less, after she beat you off him with your own sword and nursed him back to life. But he never heard the last of it. They made songs about him in the streets, and would ask him how his godmother, Isabella, was, because she had promised and vowed on his behalf; also, whether the marchioness had broken any lances for his sake lately, and so forth.” “Poor man!” said Peter again, in tones of the deepest sympathy. “A cruel fate; I should have done better to kill him.” “Much; but don’t say so to the noble Betty, who thinks that he had a very happy married life under her protecting care. Really, he ate his heart out till even I, who hated him, was sorry. Think of it! One of the proudest men in Spain, and the most gallant, a nephew of the king, a pillar of the Church, his sovereigns’ plenipotentiary to the Moors, and on secret matters—the common mock of the vulgar, yes, and of the great too!” “The great! Which of them?” “Nearly all, for the queen set the fashion—I wonder why she hated him so?” Inez added, looking shrewdly at Peter; then without waiting for an answer, went on: “She did it very cleverly, by always making the most of the most honourable Betty in public, calling her near to her, talking with her, admiring her English beauty, and so forth, and what her Majesty did, everybody else did, until my exalted mistress nearly went off her head, so full was she of pride and glory. As for the marquis, he fell ill, and after the taking of Granada went to live there quietly. Betty went with him, for she was a good wife, and saved lots of money. She buried him a year ago, for he died slow, and gave him one of the finest tombs in Spain—it isn’t finished yet. That is all the story. Now she has brought her boy, the young marquis, to England for a year or two, for she has a very warm heart, and longed to see you all. Also, she thought she had better go away a while, for her son’s sake. As for me, now that Morella is dead, I am head of the household—secretary, general purveyor of intelligence, and anything else you like at a good salary.” “You are not married, I suppose?” asked Peter. “No,” Inez answered; “I saw so much of men when I was younger that I seem to have had enough of them. Or perhaps,” she went on, fixing that mild and lustrous eye upon him, “there was one of them whom I liked too well to wish——” She paused, for they had crossed the drawbridge and arrived opposite to the Old Hall. The gorgeous Betty and the fair Margaret, accompanied by the others, and talking rapidly, had passed through the wide doorway into its spacious vestibule. Inez looked after them, and perceived, standing like a guard at the foot of the open stair, that scarred suit of white armour and riven shield blazoned with the golden falcon, Isabella’s gift, in which Peter had fought and conquered the Marquis of Morella. Then she stepped back and contemplated the house critically. At each end of it rose a stone tower, built for the purposes of defence, and all around ran a deep moat. Within the circle of this moat, and surrounded by poplars and ancient yews, on the south side of the Hall lay a walled pleasaunce, or garden, of turf pierced by paths and planted with flowering hawthorns and other shrubs, and at the end of it, almost hidden in drooping willows, a stone basin of water. Looking at it, Inez saw at once that so far as the circumstances of climate and situation would allow, Peter, in the laying out of this place, had copied another in the far-off, southern city of Granada, even down to the details of the steps and seats. She turned to him and said innocently: “Sir Peter, are you minded to walk with me in that garden this pleasant evening? I do not see any window in yonder tower.” Peter turned red as the scar across his face, and laughed as he answered: “There may be one for all that. Get you into the house, dear Inez, for none can be more welcome there; but I walk no more alone with you in gardens.” THE END *** END OF THE PROJECT GUTENBERG EBOOK FAIR MARGARET *** 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.

Related documents

• Three Margarets#41405
• Margaret Vincent: A Novel#49832
• Jemila Lea#328143
• Lógica del tiempo y cultura transmoderna. Eds. Lelia Edith Profili; Liliana Mannina de Gamero. Mendoza: Facultad de Filosofía y Letras de la Universidad Nacional de Cuyo, 2025#717881
• English Literature and Society in the Eighteenth Century#40730