The Book-Bills of Narcissus An Account Rendered by Richard Le Gallienne

CHAPTER X 'She said: "Thou shalt never unsay it, and thy heart is mine indeed: Thou shalt bear thy love in thy bosom as thou helpest the earth-folk's need: Thou shalt wake to it dawning by dawning; thou shalt sleep and it shall not be strange: There is none shall thrust between us till our earthly lives shall change. Ah, my love shall fare as a banner in the hand of thy renown, In the arms of thy fame accomplished shall it lie when we lay us adown. O deathless fame of Sigurd! O glory of my lord! O birth of the happy Brynhild to the measureless reward!" So they sat as the day grew dimmer, and they looked on days to come, And the fair tale speeding onward, and the glories of their home; And they saw their crowned children and the kindred of the kings, And deeds in the world arising and the day of better things: All the earthly exaltation, till their pomp of life should be passed, And soft on the bosom of God their love should be laid at the last.' And on the page facing this lies a pressed flower—there used to be two—guarded by these tender rhymes:— 'Whoe'er shall read this mighty song In some forthcoming evensong, We pray thee guard these simple flowers, For, gentle Reader, they are "ours."' But ill has some 'gentle Reader' attended to the behest, for, as I said, but one of the flowers remains. One is lost—and Narcissus has gone away. This inscription is but one of many such scattered here and there through his books, for he had a great facility in such minor graces, as he had a neat hand at tying a bow. I don't think he ever sent a box of flowers without his fertility serving him with some rose-leaf fancy to accompany them; and on birthdays and all red-letter days he was always to be counted upon for an appropriate rhyme. If his art served no other purpose, his friend would be grateful to him for that alone, for many great days would have gone without their 'white stone' but for him; when, for instance, J.A.W. took that brave plunge of his, which has since so abundantly justified him and more than fulfilled prophecy; or when Samuel Dale took that bolder, namely a wife, he being a philosopher—incidents, Reader, on which I long so to digress, and for which, if you could only know beforehand, you would, I am sure, give me freest hand. But beautiful stories both, I may not tell of you here; though if the Reader and I ever spend together those hinted nights at the 'Mermaid,' I then may. But to return. I said above that if I were to enumerate all the books, so to say, 'implicated' in the love of Narcissus and his Thirteenth Maid, I should have to catalogue quite a small library. I forgot for the moment what literal truth I was writing, for it was indeed in quite a large library that they first met. In 'our town' there is, Reader, an old-world institution, which, I think, you would well like transported to yours, a quaint subscription library 'established' ever so long ago, full of wonderful nooks and corners, where (of course, if you are a member) one is sure almost at any time of the day of a solitary corner for a dream. It is a sweet provision, too, that it is managed by ladies, whom you may, if you can, image to yourself as the Hesperides; for there are three of them; and may not the innumerable galleries and spiral staircases, serried with countless shelves, clustered thick with tome on tome, figure the great tree, with its many branches and its wonderful gold fruit—the tree of knowledge? The absence of the dragon from the similitude is as well, don't you think? Books, of all things, should be tended by reverent hands; and, to my mind, the perfunctory in things ecclesiastical is hardly more distressing than the service of books as conducted in many great libraries. One feels that the librarii should be a sacred order, nearly allied to the monastic, refined by varying steps of initiation, and certainly celibates. They should give out their books as the priest his sacrament, should wear sacred vestments, and bear about with them the priestlike aura , as of divine incarnations of the great spirit of Truth and Art in whose temples they are ministrants. The next step to this ideal ministry is to have our books given out to us by women. Though they may understand them not, they handle them with gentle courtesy, and are certainly in every way to be preferred to the youthful freckled monster with red spines upon his head, and nailed boots, 'the work of the Cyclops,' upon his feet, whose physiognomy is contorted by cinnamon-balls at the very moment he carries in his arms some great Golden-lips or gentle Silver-tongue. What good sweet women there are, too, who would bless heaven for the occupation! Well, as I said, we in that particular library are more fortunate, and two of the 'subscribers,' at least, did at one time express their appreciation of its privileges by a daily dream among its shelves. One day—had Hercules been there overnight?—we missed one of our fair attendants. Was it Aegle, Arethusa, or Hesperia? Narcissus probably knew. And on the next she was still missing; nor on the third had she returned; but lo! there was another in her stead—and on her Narcissus bent his gaze, according to wont. A little maid, with noticeable eyes, and the hair Rossetti loved to paint—called Hesper, 'by many,' said Narcissus, one day long after, solemnly quoting the Vita Nuova, 'who know not wherefore.' 'Why! do you know?' I asked. 'Yes!' And then, for the first time, he had told me the story I have now to tell again. He had, meanwhile, rather surprised me by little touches of intimate observation of her which he occasionally let slip—as, for instance, 'Have you noticed her forehead? It has a fine distinction of form; is pure ivory, surely; and you should watch how deliciously her hair springs out of it, like little wavy threads of "old gold" set in the ivory by some cunning artist.' I had just looked at him and wondered a moment. But such attentive regard was hardly matter for surprise in his case; and, moreover, I always tried to avoid the subject of women with him, for it was the one on which alone there was danger of our disagreeing. It was the only one in which he seemed to show signs of cruelty in his disposition, though it was, I well know, but a thoughtless cruelty; and in my heart I always felt that he was too right-minded and noble in the other great matters of life not to come right on that too when 'the hour had struck.' Meanwhile, he had a way of classifying amours by the number of verses inspired—as, 'Heigho! it's all over; but never mind, I got two sonnets out of her'—which seemed to me an exhibition of the worst side of his artist disposition, and which—well, Reader, jarred much on one who already knew what a true love meant. It was, however, I could see, quite unconscious; and I tried hard not to be intolerant towards him, because fortune had blessed me with an earlier illumination. Pray, go not away with the misconception that Narcissus was ever base to a woman. No! he left that to Circe's hogs, and the one temptation he ever had towards it he turned into a shining salvation. No! he had nothing worse than the sins of the young egoist to answer for, though he afterwards came to feel those pitiful and mean enough. Another noticeable feature of Hesper's face was an ever-present sadness—not as of a dull grief, but as of some shining sorrow, a quality which gave her face much arresting interest. It seemed one great, rich tear. One loved to dwell upon it as upon those intense stretches of evening sky when the day yearns through half-shut eyelids in the west. One continually wondered what story it meant, for some it must mean. Watching her thus quietly, day by day, it seemed to me that as the weeks from her first coming went by, this sadness deepened; and I could not forbear one day questioning the elder Hesperides about her, thus bringing upon myself a revelation I had little expected. For, said she, 'she was glad I had spoken to her, for she had long wished to ask me to use my influence with my friend, that he might cease paying Hesper attentions which he could not mean in earnest, but which she knew were already causing Hesper to be fond of him. Having become friendly with her, she had found out her secret and remonstrated with her, with the result that she had avoided Narcissus for some time, but not without much misery to herself, over which she was continually brooding.' All this was an utter surprise, and a saddening one; for I had grown to feel much interest in the girl, and had been especially pleased by all absence of the flighty tendencies with which too many girls in public service tempt men to their own destruction. She had seemed to me to bear herself with a maidenly self-respect that spoke of no little grace of breeding. She had two very strong claims on one's regard. She was evidently a woman, in the deep, tragic sense of that word, and a lady in the only true sense of that. The thought of a life so rich in womanly promise becoming but another of the idle playthings of Narcissus filled me with something akin to rage, and I was not long in saying some strong words to him. Not that I feared for her the coarse 'ruin' the world alone thinks of. Is that the worst that can befall woman? What of the spiritual deflowering, of which the bodily is but a symbol? If the first fine bloom of the soul has gone, if the dream that is only dreamed once has grown up in the imagination and been once given, the mere chastity of the body is a lie, and whatever its fecundity, the soul has nought but sterility to give to another. It is not those kisses of the lips—kisses that one forgets as one forgets the roses we smelt last year—which profane; they but soil the vessel of the sacrament, and it is the sacrament itself which those consuming spirit-kisses, which burn but through the eyes, may desecrate. It is strange that man should have so long taken the precisely opposite attitude in this matter, caring only for the observation of the vessel, and apparently dreaming not of any other possible approach to the sanctities. Probably, however, his care has not been of sanctities at all. Indeed, most have, doubtless, little suspicion of the existence of such, and the symbol has been and is but a selfish superstition amongst them—woman, a symbol whose meaning is forgotten, but still the object of an ignorant veneration, not unrelated to the preservation of game. Narcissus took my remonstrance a little flippantly, I thought, evidently feeling that too much had been made out of very little; for he averred that his 'attentions' to Hesper had been of the slightest character, hardly more than occasional looks and whispers, which, from her cold reception of them, he had felt were more distasteful to her than otherwise. He had indeed, he said, ceased even these the last few days, as her reserve always made him feel foolish, as a man fondling a fair face in his dream wakes on a sudden to find that he is but grimacing at the air. This reassured me, and I felt little further anxiety. However, this security only proved how little I really understood the weak side of my friend. I had not realised how much he really was Narcissus, and how dear to him was a new mirror. My speaking to him was the one wrong course possible to be taken. Instead of confirming his growing intention of indifference, it had, as might have been foreseen, the directly opposite effect; and from the moment of his learning that Hesper secretly loved him, she at once became invested with a new glamour, and grew daily more and more the forbidden fascination few can resist. I did not learn this for many months. Meanwhile Narcissus chose to deceive me for the first and only time. At last he told me all; and how different was his manner of telling it from his former gay relations of conquest. One needed not to hear the words to see he was unveiling a sacred thing, a holiness so white and hidden, the most reverent word seemed a profanation; and, as he laboured for the least soiled wherein to enfold the revelation, his soul seemed as a maid torn with the blushing tremors of a new knowledge. Men only speak so after great and wonderful travail, and by that token I knew Narcissus loved at last. It had seemed unlikely ground from which love had first sprung forth, that of a self-worship that could forgo no slightest indulgence—but thence indeed it had come. The silent service my words had given him to know that Hesper's heart was offering to him was not enough; he must hear it articulate, his nostrils craved an actual incense. To gain this he must deceive two—his friend, and her whose poor face would kindle with hectic hope, at the false words he must say for the true words he must hear. It was pitifully mean; but whom has not his own hidden lust made to crawl like a thief, afraid of a shadow, in his own house? Narcissus' young lust was himself, and Moloch knew no more ruthless hunger than burns in such. Of course, it did not present itself quite nakedly to him; he persuaded himself there could be little harm—he meant none. And so, instead of avoiding Hesper, he sought her the more persistently, and by some means so far wooed her from her reticence as to win her consent to a walk together one autumn afternoon. How little do we know the measure of our own proposing! That walk was to be the most fateful his feet had ever trodden through field and wood, yet it seemed the most accidental of gallantries. A little town-maid, with a romantic passion for 'us'; it would be interesting to watch the child; it would be like giving her a day's holiday, so much sunshine 'in our presence.' And so on. But what an entirely different complexion was the whole thing beginning to take before they had walked a mile. Behind the flippancy one had gone to meet were surely the growing features of a solemnity. Why, the child was a woman indeed; she could talk, she had brains, ideas—and, Lord bless us, Theories! She had that 'excellent thing in woman,' not only a voice, which she had, too, but character. Narcissus began to loose his regal robes, and from being merely courteously to be genuinely interested. Why, she was a discovery! As they walked on, her genuine delight in the autumnal nature, the real imaginative appeal it had for her, was another surprise. She had, evidently, a deep poetry in her disposition, rarest of all female endowments. In a surprisingly few minutes from the beginning of their walk he found himself taking that 'little child' with extreme seriousness, and wondering many 'whethers.' They walked out again, and yet again, and Narcissus' first impressions deepened. He had his theories, too; and, surely, here was the woman! He was not in love—at least, not with her, but with her fitness for his theory. They sat by a solitary woodside, beneath a great elm tree. The hour was full of magic, for though the sun had set, the smile of her day's joy with him had not yet faded from the face of earth. It was the hour vulgarised in drawing-room ballads as the 'gloaming.' They sat very near to each other; he held her hand, toying with it; and now and again their eyes met with the look that flutters before flight, that says, 'Dare I give thee all? Dare I throw my eyes on thine as I would throw myself on thee?' And then, at last, came the inevitable moment when the eyes of each seem to cry 'O yes!' to the other, and the gates fly back; all the hidden light springs forth, the woods swim round, and the lips meet with a strange shock, while the eyes of the spirit close in a lapping dream of great peace. If you are not ready to play the man, beware of a kiss such as the lips of little Hesper, that never knew to kiss before, pressed upon the mouth of Narcissus. It sent a chill shudder through him, though it was so sweet, for he could feel her whole life surging behind it; and was the kiss he had given her for it such a kiss as that? But he had spoken much to her of his ideas of marriage; she knew he was sworn for ever against that. She must know the kiss had no such meaning; for, besides, did she not scorn the soiled 'tie' also? Were not their theories at one in that? He would be doing her no wrong; it was her own desire. Yet his kiss did mean more than he could have imagined it meaning a week before. She had grown to be genuinely desirable. If love tarried, passion was awake—that dangerous passion, too, to which the intellect has added its intoxication, and that is, so to say, legitimised by an 'idea.' Her woman's intuition read the silence and answered to his thought. 'Have no fear,' she said, with the deep deliberation of passion; 'I love you with my whole life, but I shall never burden you, Narcissus. Love me as long as you can, I shall be content; and when the end comes, though another woman takes you, I shall not hinder.' O great girl-soul! What a poltroon, indeed, was Narcissus beside you at that moment. You ready to stake your life on the throw, he temporising and bargaining as over the terms of a lease. Surely, if he could for one moment have seen himself in the light of your greatness, he had been crushed beneath the misery of his own meanness. But as yet he had no such vision; his one thought was, 'She will do it! will she draw back?' and the feeble warnings he was obliged to utter to keep his own terms, by assuring his conscience of 'her free-will,' were they not half-fearfully whispered, and with an inward haste, lest they should give her pause? 'But the world, my dear—think!' 'It will have cruel names for thee.' 'It will make thee outcast—think!' 'I know all,' she had answered; 'but I love you, and two years of your love would pay for all. There is no world for me but you. Till to-night I have never lived at all, and when you go I shall be as dead. The world cannot hurt such a one.' Ah me, it was a wild, sweet dream for both of them, one the woman's, one the poet's, of a 'sweet impossible' taking flesh! For, do not let us blame Narcissus overmuch. He was utterly sincere; he meant no wrong. He but dreamed of following a creed to which his reason had long given a hopeless assent. In a more kindly-organised community he might have followed it, and all have been well; but the world has to be dealt with as one finds it, and we must get sad answers to many a fair calculation if we 'state' it wrongly in the equation. That there is one law for the male and another for the female had not as yet vitally entered into his considerations. He was too dizzy with the dream, or he must have seen what an unequal bargain he was about to drive. At last he did awake, and saw it all; and in a burning shame went to Hesper, and told her that it must not be. Her answer was unconsciously the most subtly dangerous she could have chosen: 'If I like to give myself to you, why should you not take me? It is of my own free-will. My eyes are open.' It was his very thought put into words, and by her. For a moment he wavered—who could blame him? 'Am I my brother's keeper?' 'Yes! a thousand times yes!' cried his soul; for he was awake now, and he had come to see the dream as it was, and to shudder at himself as he had well-nigh been, just as one shudders at the thought of a precipice barely escaped. In that moment, too, the idea of her love in all its divineness burst upon him. Here was a heart capable of a great tragic love like the loves of old he read of and whimpered for in sonnets, and what had he offered in exchange? A poor, philosophical compromise, compounded of pessimism and desire, in which a man should have all to gain and nothing to lose, for 'The light, light love he has wings to fly At suspicion of a bond.' 'I would I did love her,' his heart was crying as he went away. 'Could I love her?' was his next thought. 'Do I love her?'—but that is a question that always needs longer than one day to answer. Already he was as much in love with her as most men when they take unto themselves wives. She was desirable—he had pleasure in her presence. He had that half of love which commonly passes for all—the passion; but he lacked the additional incentives which nerve the common man to face that fear which seems well-nigh as universal as the fear of death, I mean the fear of marriage—life's two fears: that is, he had no desire to increase his worldly possessions by annexing a dowry, or ambition of settling down and procuring a wife as part of his establishment. After all, how full of bachelors the world would be if it were not for these motives: for the one other motive to a true marriage, the other half of love, however one names it, is it not a four-leaved clover indeed? Narcissus was happily poor enough to be above those motives, even had Hesper been anything but poor too; and if he was to marry her, it would be because he was capable of loving her with that perfect love which, of course, has alone right to the sacred name, that which cannot take all and give nought, but which rather holds as watchword that to love is better than to be loved . Who shall hope to express the mystery? Yet, is not thus much true, that, if it must be allowed to the cynic that love rises in self, it yet has its zenith and setting in another—in woman as in man? Two meet, and passion, the joy of the selfish part of each, is born; shall love follow depends on whether they have a particular grace of nature, love being the thanksgiving of the unselfish part for the boon granted to the other. The common nature snatches the joy and forgets the giver, but the finer never forgets, and deems life but a poor service for a gift so rare; and, though passion be long since passed, love keeps holy an eternal memory. 'Love took up the harp of life and smote on all the chords with might; Smote the chord of self, that, trembling, pass'd in music out of sight.' Since the time of fairy-tales Love has had a way of coming in the disguise of Duty. What is the story of Beauty and the Beast but an allegory of true love? We take this maid to be our wedded wife, for her sake it perhaps seems at the time. She is sweet and beautiful and to be desired; but, all the same, we had rather shake the loose leg of bachelordom, if it might be. However it be, so we take her, or maybe it is she takes us, with a feeling of martyrdom; but lo! when we are home together, what wonderful new lights are these beginning to ray about her, as though she had up till now kept a star hidden in her bosom. What is this new morning strength and peace in our life? Why, we thought it was but Thestylis, and lo! it is Diana after all. For the Thirteenth Maid or the Thirteenth Man, both alike, rarely come as we had expected. There seems no fitness in their arrival. It seems so ridiculously accidental, as I suppose the hour of death, whenever it comes, will seem. One had expected some high calm prelude of preparation, ending in a festival of choice, like an Indian prince's, when the maids of the land pass before him and he makes deliberate selection of the fateful She. But, instead, we are hurrying among our day's business, maybe, our last thought of her; we turn a corner, and suddenly she is before us. Or perhaps, as it fell with Narcissus, we have tried many loves that proved but passions; we have just buried the last, and are mournfully leaving its grave, determined to seek no further, to abjure bright eyes, at least for a long while, when lo! on a sudden a little maid is in our path holding out some sweet modest flowers. The maid has a sweet mouth, too, and, the old Adam being stronger than our infant resolution, we smell the flowers and kiss the mouth—to find arms that somehow, we know not why, are clinging as for life about us. Let us beware how we shake them off, for thus it is decreed shall a man meet her to have missed whom were to have missed all. Youth, like that faithless generation in the Scriptures, always craveth after a sign, but rarely shall one be given. It can only be known whether a man be worthy of Love by the way in which he looks upon Duty. Rachel often comes in the grey cloak of Leah. It rests with the man's heart whether he shall know her beneath the disguise; no other divining-rod shall aid him. If it be as Bassanio's, brave to 'give and hazard all he hath,' let him not fear to pass the seeming gold, the seeming silver, to choose the seeming lead. 'Why, that's the lady,' thou poor magnificent Morocco. Nor shall the gold fail, for her heart is that, and for silver thou shalt have those 'silent silver lights undreamed of' of face and soul. These are but scattered hints of the story of Narcissus' love as he told it me at last, in broken, struggling words, but with a light in his face one power alone could set there. When he came to the end, and to all that little Hesper had proved to him, all the strength and illumination she had brought him, he fairly broke down and sobbed, as one may in a brother's arms. For, of course, he had come out of the ordeal a man; and Hesper had consented to be his wife. Often she had dreamed as he had passed her by with such heedless air: 'If I love him so, can it be that my love shall have no power to make him mine, somehow, some day? Can I call to him so within my soul and he not hear? Can I wait and he not come?' And her love had been strong, strong as a destiny; her voice had reached him, for it was the voice of God. When I next saw her, what a strange brightness shone in her face, what a new beauty was there! Ah, Love, the great transfigurer! And why, too, was it that his friends began to be dissatisfied with their old photographs of Narcissus, though they had been taken but six months before? There seemed something lacking in the photograph, they said. Yes, there was; but the face had lacked it too. What was the new thing—'grip' was it, joy, peace? Yes, all three, but more besides, and Narcissus had but one name for all. It was Hesper. Strange, too, that in spite of promises we never received a new one. Narcissus, who used to be so punctual with such a request. Perhaps it was because he had broken his looking-glass. CHAPTER X 'IN VISHNU-LAND WHAT AVATAR?' 'If I love you for a year I shall love you for ever,' Narcissus had said to his Thirteenth Maid. He did love her so long, and yet he has gone away. Do you remember your Les Misérables , that early chapter where Valjean robs the child of his florin so soon after that great illuminating change of heart and mind had come to him? Well, still more important, do you remember the clue Hugo gives us to aberration? There is comfort and strength for so many a heart-breaking failure there. It was the old impetus, we are told, that was as yet too strong for the new control; the old instinct, too dark for the new light in the brain. It takes every vessel some time to answer to its helm; with us, human vessels, years, maybe. Have you never suddenly become sensitive of a gracious touch in the air, and pondered it, to recognise that in some half-unconscious act you had that moment been answering for the first time the helm of an almost forgotten resolution? Ah me, blessed is it to see the prow strongly sweeping up against the sky at last! 'Send not a poet to London,' said Heine, and it was a true word. At least, send him not till his thews are laced and his bones set. He may miss somewhat, of course; there is no gain without a loss. He may be in ignorance of the last nuance , and if he deserves fame he must gain it unaided of the vulgar notoriety which, if he have a friend or two in the new journalism, they will be so eager to bestow; but he will have kept his soul intact, which, after all, is the main matter. It is sweet, doubtless, to be one of those same mushroom-men, sweet to be placarded as 'the new' this or that, to step for a day into the triumphal car of newspaper renown, drawn by teams of willing paragraph-men—who, does it never strike you? are but doing it all for hire, and earning their bread by their bent necks. Yet for those to whom it is denied there is solid comfort; for it is not fame, and, worse still, it is not life, 'tis but to be 'a Bourbon in a crown of straws.' If one could only take poor foolish Cockneydom right away outside this poor vainglorious city, and show them how the stars are smiling to themselves above it, nudging each other, so to say, at the silly lights that ape their shining—for such a little while! Yes, that is one danger of the poet in London, that he should come to think himself 'somebody'; though, doubtless, in proportion as he is a poet, the other danger will be the greater, that he should deem himself 'nobody.' Modest by nature, credulous of appearances, the noisy pretensions of the hundred and one small celebrities, and the din of their retainers this side and that, in comparison with his own unattended course, what wonder if his heart sinks and he gives up the game; how shall his little pipe, though it be of silver, hope to be heard in this land of bassoons? To take London seriously is death both to man and artist. Narcissus had sufficient success there to make this a temptation, and he fell. He lost his hold of the great things of life, he forgot the stars, he forgot his love, and what wonder that his art sickened also. For a few months life was but a feverish clutch after varied sensation, especially the dear tickle of applause; he caught the facile atheistic flippancy of that poor creature, the 'modern young man,' all-knowing and all-foolish, and he came very near losing his soul in the nightmare. But he had too much ballast in him to go quite under, and at last strength came, and he shook the weakness from him. Yet the fall had been too far and too cruel for him to be happy again soon. He had gone forth so confident in his new strength of manly love; and to fall so, and almost without an effort! Who has not called upon the mountains to cover him in such an hour of awakening, and who will wonder that Narcissus dared not look upon the face of Hesper till solitude had washed him clean, and bathed him in its healing oil? I alone bade him good-bye. It was in this room wherein I am writing, the study we had taken together, where still his books look down at me from the shelves, and all the memorials of his young life remain. O can it have been but 'a phantom of false morning'? A Milton snatched up at the last moment was the one book he took with him. From that night until this he has made but one sign—a little note which Hesper has shown me, a sob and a cry to which even a love that had been more deeply wronged could never have turned a deaf ear. Surely not Hesper, for she has long forgiven him, knowing his weakness for what it was. She and I sometimes sit here together in the evenings and talk of him; and every echo in the corridor sets us listening, for he may be at the other side of the world, or but the other side of the street—we know so little of his fate. Where he is we know not; but if he still lives, what he is we have the assurance of faith. This time he has not failed, we know. But why delay so long? November 1889— May 1890. November 1894. THE END Printed by T. and A. CONSTABLE, Printers to Her Majesty at the Edinburgh University Press *** END OF THE PROJECT GUTENBERG EBOOK THE BOOK-BILLS OF NARCISSUS *** 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

• Kant and Sexuality#775022
• Lacan and the Benedictines#73687
• The Papacy: A Philosophical Case#728657
• The Fool / Gilbert Montagné [und weitere] ; Caravelli#1165727
• Lying, Deception, and Dishonesty: Kant and the Contemporary Debate on the Definition of Lying#697451