CHAPTER XXXIX ALL’S WELL THAT ENDS WELL CHAPTER XXXIX ALL’S WELL THAT ENDS WELL The table had been cleared of trenchers and napkins, the crumbs brushed away, and a clean platter set before each guest with pared cheese, fresh cherries, biscuit, caraways, and wine. There were about the long table, beside Master Shakspere himself, who sat at the head of the board, Masters Richard and Cuthbert Burbage, Henry Condell, and Peter Hemynge, Master Shakspere’s partners; Master Ben Jonson, his dearest friend; Thomas Pope, who played his finest parts; John Lowin, Samuel Gilburne, Robert Nash, and William Kemp, players of the Lord Chamberlain’s company; Edmund Shakspere, the actor, who was Master William Shakspere’s younger brother, and Master John Shakspere, his father; Michael Drayton, the Midland bard; Burgess Robert Getley, Alderman Henry Walker, and William Hart, the Stratford hatter, brother-in-law to Master Shakspere. On one side of the table, between Master Jonson and Master Richard Burbage, Cicely was seated upon a high chair, with a wreath of early crimson roses in her hair, attired in the gown in which Nick saw her first a year before. On the other side of the table Nick had a place between Master Drayton and Robert Getley, father of his friend Robin. Half-way down there was an empty chair. Master John Combe was absent. It was no common party. In all England better company could not have been found. Some few of them the whole round world could not have matched then, and could not match now. It would be worth a fortune to know the things they said,—the quips, the jests, the merry tales that went around that board,—but time has left too little of what such men said and did, and it can be imagined only by the brightest wits. ’Twas Master Shakspere on his feet, welcoming his friends to his “New Place” with quiet words that made them glad to live and to be there, when suddenly he stopped, his hands upon the table by his chair, and stared. The tanner stood there, silent, in the door. Nick’s face turned pale. Cicely clung to Master Jonson’s arm. Simon Attwood stepped into the room, and Master Shakspere went quickly to meet him in the middle of the floor. “Master Will Shakspere,” said the tanner, hoarsely, “I ha’ come about a matter.” There he stopped, not knowing what to say, for he was overwrought. “Out with it, sir,” said Master Shakspere, sternly. “There is much here to be said.” The tanner wrung his hat within his hands, and looked about the ring of cold, averted faces. Soft words with him were few; he had forgotten tender things; and, indeed, what he meant to do was no easy thing for any man. “Come, say what thou hast to say,” said Master Shakspere, resolutely; “and say it quickly, that we may have done.” “There’s nought that I can say,” said Simon Attwood, “but that I be sorry, and I want my son! Nick! Nick!” he faltered brokenly, “I be wrung for thee; will ye na come home—just for thy mother’s sake, Nick, if ye will na come for mine?” Nick started from his seat with a glad cry—then stopped. “But Cicely?” he said. The tanner wrung his hat within his hands, and his face was dark with trouble. Master Shakspere looked at Master Jonson. Nick stood hesitating between Cicely and his father, faithful to his promise, though his heart was sick for home. An odd light had been struggling dimly in Simon Attwood’s troubled eyes. Then all at once it shone out bright and clear, and he clapped his bony hand upon the stout oak chair. “Bring her along,” he said. “I ha’ little enough, but I will do the best I can. Maybe ’twill somehow right the wrong I ha’ done,” he added huskily. “And, neighbors, I’ll go surety to the Council that she shall na fall a pauper or a burden to the town. My trade is ill enough, but, sirs, it will stand for forty pound the year at a fair cast-up. Bring the lass wi’ thee, Nick—we’ll make out, lad, we’ll make out. God will na let it all go wrong.” Master Jonson and Master Shakspere had been nodding and talking together in a low tone, smiling like men very well pleased about something, and directly Master Shakspere left the room. “Wilt thou come, lad?” asked the tanner, holding out his hands. “Oh, father!” cried Nick; then he choked so that he could say no more, and his eyes were so full of mist that he could scarcely find his father where he stood. But there was no need of more; Simon Attwood was answered. Voices buzzed about the room. The servants whispered in the hall. Nick held his father’s gnarled hand in his own, and looked curiously up into his face, as if for the first time knowing what it was to have a father. “Well, lad, what be it?” asked the tanner, huskily, laying his hand on his son’s curly head, which was nearly up to his shoulder now. “Nothing,” said Nick, with a happy smile, “only mother will be glad to have Cicely—won’t she?” Master Shakspere came into the room with something in his hand, and walking to the table, laid it down. It was a heavy buckskin bag, tied tightly with a silken cord, and sealed with red wax stamped with the seals of Master Shakspere and Master Jonson. Every one was watching him intently, and one or two of the gentlemen from London were smiling in a very knowing way. He broke the seals, and loosening the thong which closed the bag, took out two other bags, one of which was just double its companion’s size. They also were tied with silken cord and sealed with the two seals on red wax. There was something printed roughly with a quill pen upon each bag, but Master Shakspere kept that side turned toward himself so that the others could not see. “Come, come, Will,” broke in Master Jonson, “don’t be all day about it!” “The more haste the worse speed, Ben,” said Master Shakspere, quietly. “I have a little story to tell ye all.” So they all listened. “When Gaston Carew, lately master-player of the Lord High Admiral’s company, was arraigned before my Lord Justice for the killing of that rascal, Fulk Sandells, there was not a man of his own company had the grace to lend him even so much as sympathy. But there were still some in London who would not leave him totally friendless in such straits.” “Some?” interrupted Master Jonson, bluntly; “then o-n-e spells ‘some.’ The names of them all were Will Shakspere.” “Tut, tut, Ben!” said Master Shakspere, and went on: “But when the charge was read, and those against him showed their hand, it was easy to see that the game was up. No one saw this any sooner than Carew himself; yet he carried himself like a man, and confessed the indictment without a quiver. They brought him the book, to read a verse and save his neck, perhaps, by pleading benefit of clergy. But he knew the temper of those against him, and that nothing might avail; so he refused the plea quietly, saying, ‘I am no clerk, sirs. All I wish to read in this case is what my own hand wrote upon that scoundrel Sandells.’ It was soon over. When the judge pronounced his doom, all Carew asked was for a friend to speak with a little while aside. This the court allowed; so he sent for me—we played together with Henslowe, he and I, ye know. He had not much to say—for once in his life,”—here Master Shakspere smiled pityingly,—“but he sent his love forever to his only daughter Cicely.” Cicely was sitting up, listening with wide eyes, and eagerly nodded her head as if to say, “Of course.” “He also begged of Nicholas Attwood that he would forgive him whatever wrong he had done him.” “Why, that I will, sir,” choked Nick, brokenly; “he was wondrous kind to me, except that he would na leave me go.” “After that,” continued Master Shakspere, “he made known to me a sliding panel in the wainscot of his house, wherein was hidden all he had on earth to leave to those he loved the best, and who, he hoped, loved him.” “Everybody loves my father,” said Cicely, smiling and nodding again. Master Jonson put his arm around the back of her chair, and she leaned her head upon it. “Carew said that he had marked upon the bags which were within the panel the names of the persons to whom they were to go, and had me swear, upon my faith as a Christian man, that I would see them safely delivered according to his wish. This being done, and the end come, he kissed me on both cheeks, and standing bravely up, spoke to them all, saying that for a man such as he had been it was easier to end even so than to go on. I never saw him again.” The great writer of plays paused a moment, and his lips moved as if he were saying a prayer. Master Burbage crossed himself. “The bags were found within the wall, as he had said, and were sealed by Ben Jonson and myself until we should find the legatees—for they had disappeared as utterly as if the earth had gaped and swallowed them. But, by the Father’s grace, we have found them safe and sound at last; and all’s well that ends well!” Here he turned the buckskin bags around. On one, in Master Carew’s school-boy scrawl, was printed, “For myne Onelie Beeloved Doghter, Cicely Carew”; on the other, “For Nicholas Attewode, alias Mastre Skie-lark, whom I, Gaston Carew, Player, Stole Away from Stratford Toune, Anno Domini 1596.” Nick stared; Cicely clapped her hands; and Simon Attwood sat down dizzily. “There,” said Master Shakspere, pointing to the second bag, “are one hundred and fifty gold rose-nobles. In the other just three hundred more. Neighbor Attwood, we shall have no paupers here.” Everybody laughed then and clapped their hands, and the London players gave a rousing cheer. Master Ben Jonson’s shout might have been heard in Market Square. At this tremendous uproar the servants peeped at the doors and windows; and Tom Boteler, peering in from the buttery hall, and seeing the two round money-bags plumping on the table, crept away with such a look of amazement upon his face that Mollikins, the scullery-maid, thought he had seen a ghost, and fled precipitately into the pantry. “And what’s more, Neighbor Tanner,” said Master Richard Burbage, “had Carew’s daughter not sixpence to her name, we vagabond players, as ye have had the scanty grace to dub us, would have cared for her for the honour of the craft, and reared her gently in some quiet place where there never falls even the shadow of such evil things as have been the end of many a right good fellow beside old Kit Marlowe and Gaston Carew.” “And to that end, Neighbor Attwood,” Master Shakspere added, “we have, through my young Lord Hunsdon, who has just been made State Chamberlain, Her Majesty’s gracious permission to hold this money in trust for the little maid as guardians under the law.” Cicely stared around perplexed. “Won’t Nick be there?” she asked. “Why, then I will not go—they shall not take thee from me, Nick!” and she threw her arms around him. “I’m going to stay with thee till daddy comes, and be thine own sister forever.” Master Jonson laughed gently, not his usual roaring laugh, but one that was as tender as his own bluff heart. “Why, good enough, good enough! The woman who mothered a lad like Master Skylark here is surely fit to rear the little maid.” The London players thumped the table. “Why, ’tis the very trick,” said Hemynge. “Marry, this is better than a play.” “It is indeed,” quoth Condell. “See the plot come out!” “Thou’lt do it, Attwood—why, of course thou’lt do it,” said Master Shakspere. “’Tis an excellent good plan. These funds we hold in trust will keep thee easy-minded, and warrant thee in doing well by both our little folks. And what’s more,” he cried, for the thought had just come in his head, “I have ever heard thee called an honest man; hard, indeed, perhaps too hard, but honest as the day is long. Now I need a tenant for this New Place of mine—some married man with a good housewife, and children to be delving in the posy-beds outside. What sayst thou, Simon Attwood? They tell me thy ’prentice, Job Hortop, is to marry in July—he’ll take thine old house at a fair rental. Why, here, Neighbor Attwood, thou toil-worn, time-damaged tanner, bless thy hard old heart, man, come, be at ease—thou hast ground thy soul out long enough! Come, take me at mine offer—be my fellow. The rent shall trickle off thy finger-tips as easily as water off a duck’s back!” Simon Attwood arose from the chair where he had been sitting. There was a bewildered look upon his face, and he was twisting his horny fingers together until the knuckles were white. His lips parted as if to speak, but he only swallowed very hard once or twice instead, and looked around at them all. “Why, sir,” he said at length, looking at Master Shakspere, “why, sirs, all of ye—I ha’ been a hard man, and summat of a fool, sirs, ay, sirs, a very fool. I ha’ misthought and miscalled ye foully many a time, and many a time. God knows I be sorry for it from the bottom of my heart!” And with that he sat down and buried his face in his arms among the dishes on the buffet. “Nay, Simon Attwood,” said Master Shakspere, going to his side and putting his hand upon the tanner’s shoulder, “thou hast only been mistaken, that is all. Come, sit thee up. To see thyself mistaken is but to be the wiser. Why, never the wisest man but saw himself a fool a thousand times. Come, I have mistaken thee more than thou hast me; for, on my word, I thought thou hadst no heart at all—and that is far worse than having one which has but gone astray. Come, Neighbor Attwood, sit thee up and eat with us.” “Nay, I’ll go home,” said the tanner, turning his face away that they might not see his tears. “I be a spoil-sport and a mar-feast here.” “Why, by Jupiter, man!” cried Master Jonson, bringing his fist down upon the board with a thump that made the spoons all clink, “thou art the very merry-maker of the feast. A full heart’s better than a surfeit any day. Don’t let him go, Will—this sort of thing doth make the whole world kin! Come, Master Attwood, sit thee down, and make thyself at home. ’Tis not my house, but ’tis my friend’s, and so ’tis all the same in the Lowlands. Be free of us and welcome.” “I thank ye, sirs,” said the tanner, slowly, turning to the table with rough dignity. “Ye ha’ been good to my boy. I’ll ne’er forget ye while I live. Oh, sirs, there be kind hearts in the world that I had na dreamed of. But, masters, I ha’ said my say, and know na more. Your pleasure wunnot be my pleasure, sirs, for I be only a common man. I will go home to my wife. There be things to say before my boy comes home; and I ha’ muckle need to tell her that I love her—I ha’ na done so these many years.” “Why, Neighbor Tanner,” cried Master Jonson, with flushing cheeks, “thou art a right good fellow! And here was I, no later than this morning, red-hot to spit thee upon my bilbo like a Michaelmas goose!” He laughed a boyish laugh that did one’s heart good to hear. “Ay,” said Master Shakspere, smiling, as he and Simon Attwood looked into each other’s eyes. “Come, neighbor, I know thou art my man—so do not go until thou drinkest one good toast with us, for we are all good friends and true from this day forth. Come, Ben, a toast to fit the cue.” “Why, then,” replied Master Jonson, in a good round voice, rising in his place, “ here’s to all kind hearts! ” “Wherever they may be!” said Master Shakspere, softly. “It is a good toast, and we will all drink it together.” And so they did. And Simon Attwood went away with a warmth and a tingling in his heart he had never known before. “Margaret,” said he, coming quickly in at the door, as she went silently about the house with a heavy heart preparing the supper, “Margaret.” She dropped the platter upon the board, and came to him hurriedly, fearing evil tidings. He took her by the hands. This, even more than his unusual manner, alarmed her. “Why, Simon,” she cried, “what is it? What has come over thee?” “Nought,” he replied, looking down at her, his hard face quivering; “but I love thee, Margaret.” “Simon, what dost thou mean?” faltered Mistress Attwood, her heart going down like lead. “Nought, sweetheart—but that I love thee, Margaret, and that our lad is coming home!” Her heart seemed to stop beating. “Margaret,” said he, huskily, “I do love thee, lass. Is it too late to tell thee so?” “Nay, Simon,” answered his wife, simply, “’tis never too late to mend.” And with that she laughed—but in the middle of her laughing a tear ran down her cheek. FROM the windows of the New Place there came a great sound of men singing together, and this was the quaint old song they sang: “Then here’s a health to all kind hearts Wherever they may be; For kindly hearts make but one kin Of all humanity. “And here’s a rouse to all kind hearts Wherever they be found; For it is the throb of kindred hearts Doth make the world go round!” “Why, Will,” said Master Burbage, slowly setting down his glass, “’tis altogether a midsummer night’s dream.” “So it is, Dick,” answered Master Shakspere, with a smile, and a far-away look in his eyes. “Come, Nicholas, wilt thou not sing for us just the last few little lines of ‘When Thou Wakest,’ out of the play?” Then Nick stood up quietly, for they all were his good friends there, and Master Drayton held his hand while he sang: “Every man shall take his own, In your waking shall be shown: Jack shall have Jill, Nought shall go ill, The man shall have his mare again, and all shall be well!” They were very still for a little while after he had done, and the setting sun shone in at the windows across the table. Then Master Shakspere said gently, “It is a good place to end.” “Ay,” said Master Jonson, “it is.” So they all got up softly and went out into the garden, where there were seats under the trees among the rose-bushes, and talked quietly among themselves, saying not much, yet meaning a great deal. But Nick and Cicely said “Good-night, sirs,” to them all, and bowed; and Master Shakspere himself let them out at the gate, the others shaking Nick by the hand with many kind wishes, and throwing kisses to Cicely until they went out of sight around the chapel corner. When the children came to the garden-gate in front of Nick’s father’s house, the red roses still twined in Cicely’s hair, Simon Attwood and his wife Margaret were sitting together upon the old oaken settle by the door, looking out into the sunset. And when they saw the children coming, they arose and came through the garden to meet them, Nick’s mother with outstretched hands, and her face bright with the glory of the setting sun. And when she came to where he was, the whole of that long, bitter year was nothing any more to Nick. For then—ah, then—a lad and his mother; a son come home, the wandering ended, and the sorrow done! She took him to her breast as though he were a baby still; her tears ran down upon his face, yet she was smiling—a smile like which there is no other in all the world: a mother’s smile upon her only son, who was astray, but has come home again. Oh, the love of a lad for his mother, the love of a mother for her son—unchanged, unchanging, for right, for wrong, through grief and shame, in joy, in peace, in absence, in sickness, and in the shadow of death! Oh, mother-love, beyond all understanding, so holy that words but make it common! “My boy!” was all she said; and then, “My boy—my little boy!” And after a while, “Mother,” said he, and took her face between his strong young hands, and looked into her happy eyes, “mother dear, I ha? been to London town; I ha’ been to the palace, and I ha’ seen the Queen; but, mother,” he said, with a little tremble in his voice, for all he smiled so bravely, “I ha’ never seen the place where I would rather be than just where thou art, mother dear!” The soft gray twilight gathered in the little garden; far-off voices drifted faintly from the town. The day was done. Cool and still, and filled with gentle peace, the starlit night came down from the dewy hills; and Cicely lay fast asleep in Simon Attwood’s arms. *** END OF THE PROJECT GUTENBERG EBOOK MASTER SKYLARK: A STORY OF SHAKSPERE'S TIME *** 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.