Twilight Land

THE FULL PROJECT GUTENBERG™ LICENSE At last came midnight, and suddenly a great gong sounded from the court-yard outside. Then in an instant the music was stopped, the pages that served them hurried from the room, and presently all was as still as death. Then, when all were gone, the queen arose and beckoned the prince, and he had no choice but to arise also and follow whither she led. She took him through the palace, where all was as still as the grave, and so came out by a postern door into a garden. Beside the postern a torch burned in a bracket. The queen took it down, and then led the prince up a path and under the silent trees until they came to a great wall of rough stone. She pressed her hand upon one of the great stones, and it opened like a door, and there was a flight of steps that led downward. The queen descended these steps, and the prince followed closely behind her. At the bottom was a long passage-way, and at the farther end the prince saw what looked like a bright spark of light, as though the sun were shining. She thrust the torch into another bracket in the wall of the passage, and then led the way towards the light. It grew larger and larger as they went forward, until at last they came out at the farther end, and there the prince found himself standing in the sunlight and not far from the sea-shore. The queen led the way towards the shore, when suddenly a great number of black dogs came running towards them, barking and snarling, and showing their teeth as though they would tear the two in pieces. But the queen drew from her bosom a whip with a steel-pointed lash, and as the dogs came springing towards them she laid about her right and left, till the skin flew and the blood ran, and the dogs leaped away howling and yelping. At the edge of the water was a great stone mill, and the queen pointed towards it and bade the prince turn it. Strong as he was, it was as much as he could do to work it; but grind it he did, though the sweat ran down his face in streams. By-and-by a speck appeared far away upon the water; and as the prince ground and ground at the mill the speck grew larger and larger. It was something upon the water, and it came nearer and nearer as swiftly as the wind. At last it came close enough for him to see that it was a little boat all of brass. By-and-by the boat struck upon the beach, and as soon as it did so the queen entered it, bidding the prince do the same. No sooner were they seated than away the boat went, still as swiftly as the wind. On it flew and on it flew, until at last they came to another shore, the like of which the prince had never seen in his life before. Down to the edge of the water ran a garden—but such a garden! The leaves of the trees were all of silver and the fruit of gold, and instead of flowers were precious stones—white, red, yellow, blue, and green—that flashed like sparks of sunlight as the breeze moved them this way and that way. Beyond the silver trees, with their golden fruit, was a great palace as white as snow, and so bright that one had to shut one’s eyes as one looked upon it. The boat ran up on the beach close to just such a stone mill as the prince had seen upon the other side of the water, and then he and the queen stepped ashore. As soon as they had done so the brazen boat floated swiftly away, and in a little while was gone. “Here our journey ends,” said the queen. “Is it not a wonderful land, and well worth the seeing? Look at all these jewels and this gold, as plenty as fruits and flowers at home. You may take what you please; but while you are gathering them I have another matter after which I must look. Wait for me here, and by-and-by I will be back again.” So saying, she turned and left the prince, going towards the castle back of the trees. But the prince was a prince, and not a common man; he cared nothing for gold and jewels. What he did care for was to see where the queen went, and why she had brought him to this strange land. So, as soon as she had fairly gone, he followed after. He went along under the gold and silver trees, in the direction she had taken, until at last he came to a tall flight of steps that led up to the doorway of the snow-white palace. The door stood open, and into it the prince went. He saw not a soul, but he heard a noise as of blows and the sound as of some one weeping. He followed the sound, until by-and-by he came to a great vaulted room in the very centre of the palace. A curtain hung at the doorway. The prince lifted it and peeped within, and this was what he saw: In the middle of the room was a marble basin of water as clear as crystal, and around the sides of the basin were these words, written in letters of gold: “ Whatsoever is False, that I make True .” Beside the fountain upon a marble stand stood a statue of a beautiful woman made of alabaster, and around the neck of the statue was a thread of gold. The queen stood beside the statue, and beat and beat it with her steel-tipped whip. And all the while she lashed it the statue sighed and groaned like a living being, and the tears ran down its stone cheeks as though it were a suffering Christian. By-and-by the queen rested for a moment, and said, panting, “Will you give me the thread of gold?” and the statue answered “No.” Whereupon she fell to raining blows upon it as she had done before. So she continued, now beating the statue and now asking it whether it would give her the thread of gold, to which the statue always answered “No,” and all the while the prince stood gazing and wondering. By-and-by the queen wearied of what she was doing, and thrust the steel-tipped lash back into her bosom again, upon which the prince, seeing that she was done, hurried back to the garden where she had left him and pretended to be gathering the golden fruit and jewel flowers. The queen said nothing to him good or bad, except to command him to grind at the great stone mill as he had done on the other side of the water. Thereupon the prince did as she bade, and presently the brazen boat came skimming over the water more swiftly than the wind. Again the queen and the prince entered it, and again it carried them to the other side whence they had come. No sooner had the queen set foot upon the shore than she stooped and gathered up a handful of sand. Then, turning as quick as lightning, she flung it into the prince’s face. “Be a black dog,” she cried in a loud voice, “and join your comrades!” And now it was that the ring that the prince’s mother had given him stood him in good stead. But for it he would have become a black dog like those others, for thus it had happened to all before him who had ferried the witch queen over the water. So she expected to see him run away yelping, as those others had done; but the prince remained a prince, and stood looking her in the face. When the queen saw that her magic had failed her she grew as pale as death, and fell to trembling in every limb. She turned and hastened quickly away, and the prince followed her wondering, for he neither knew the mischief she had intended doing him, nor how his ring had saved him from the fate of those others. So they came back up the stairs and out through the stone wall into the palace garden. The queen pressed her hand against the stone and it turned back into its place again. Then, beckoning to the prince, she hurried away down the garden. Before he followed he picked up a coal that lay near by, and put a cross upon the stone; then he hurried after her, and so came to the palace once more. By this time the cocks were crowing, and the dawn of day was just beginning to show over the roof-tops and the chimney-stacks of the town. As for the queen, she had regained her composure, and, bidding the prince wait for her a moment, she hastened to her chamber. There she opened her book of magic, and in it she soon found who the prince was and how the ring had saved him. When she had learned all that she wanted to know she put on a smiling face and came back to him. “Ah, prince,” said she, “I well know who you are, for your coming to my country is no secret to me. I have shown you strange things to-night. I will unfold all the wonder to you another time. Will you not come back and sup with me again?” “Yes,” said the prince, “I will come whensoever you bid me;” for he was curious to know the secret of the statue and the strange things he had seen. “And will you not give me a pledge of your coming?” said the queen, still smiling. “What pledge shall I give you,” said the prince. “Give me the ring that is upon your finger,” said the queen; and she smiled so bewitchingly that the prince could not have refused her had he desired to do so. Alas for him! He thought no evil, but, without a word, drew off the ring and gave it to the queen, and she slipped it upon her finger. “O fool!” she cried, laughing a wicked laugh, “O fool! to give away that in which your safety lay!” As she spoke she dipped her fingers into a basin of water that stood near by and dashed the drops into the prince’s face. “Be a raven,” she cried, “and a raven remain!” In an instant the prince was a prince no longer, but a coal-black raven. The queen snatched up a sword that lay near by and struck at him to kill him. But the raven-prince leaped aside and the blow missed its aim. By good luck a window stood open, and before the queen could strike again he spread his wings and flew out of the open casement and over the house-tops, and was gone. On he flew and on he flew until he came to the old man’s house, and so to the room where his foster-father himself was sitting. He lit upon the ground at the old man’s feet and tried to tell him what had befallen, but all that he could say was “Croak! croak!” “What brings this bird of ill omen?” said the old man, and he drew his sword to kill it. He raised his hand to strike, but the raven did not try to fly away as he had expected, but bowed his neck to receive the stroke. Then the old man saw that the tears were running down from the raven’s eyes, and he held his hand. “What strange thing is this?” he said. “Surely nothing but the living soul weeps; and how, then, can this bird shed tears?” So he took the raven up and looked into his eyes, and in them he saw the prince’s soul. “Alas!” he cried, “my heart misgives me that something strange has happened. Tell me, is this not my foster-son, the prince?” The raven answered “Croak!” and nothing else; but the good old man understood it all, and the tears ran down his cheeks and trickled over his beard. “Whether man or raven, you shall still be my son,” said he, and he held the raven close in his arms and caressed it. He had a golden cage made for the bird, and every day he would walk with it in the garden, talking to it as a father talks to his son. One day when they were thus in the garden together a strange lady came towards them down the pathway. Over her head and face was drawn a thick veil, so that the two could not tell who she was. When she came close to them she raised the veil, and the raven-prince saw that her face was the living likeness of the queen’s; and yet there was something in it that was different. It was the second sister of the queen, and the old man knew her and bowed before her. “Listen,” said she. “I know what the raven is, and that it is the prince, whom the queen has bewitched. I also know nearly as much of magic as she, and it is that alone that has saved me so long from ill. But danger hangs close over me; the queen only waits for the chance to bewitch me; and some day she will overpower me, for she is stronger than I. With the prince’s aid I can overcome her and make myself forever safe, and it is this that has brought me here to-day. My magic is powerful enough to change the prince back into his true shape again, and I will do so if he will aid me in what follows, and this is it: I will conjure the queen, and by-and-by a great eagle will come flying, and its plumage will be as black as night. Then I myself will become an eagle, with black-and-white plumage, and we two will fight in the air. After a while we will both fall to the ground, and then the prince must cut off the head of the black eagle with a knife I shall give him. Will you do this,” said she, turning to the raven, “if I transform you to your true shape?” The raven bowed his head and said “Croak!” And the sister of the queen knew that he meant yes. Therewith she drew a great, long, keen knife from her bosom, and thrust it into the ground. “It is with this knife of magic,” said she, “that you must cut off the black eagle’s head.” Then the witch-princess gathered up some sand in her hand, and flung it into the raven’s face. “Resume,” cried she, “your own shape!” And in an instant the prince was himself again. The next thing the sister of the queen did was to draw a circle upon the ground around the prince, the old man, and herself. On the circle she marked strange figures here and there. Then, all three standing close together, she began her conjurations, uttering strange words—now under her breath, and now clear and loud. Presently the sky darkened, and it began to thunder and rumble. Darker it grew and darker, and the thunder crashed and roared. The earth trembled under their feet, and the trees swayed hither and thither as though tossed by a tempest. Then suddenly the uproar ceased and all grew as still as death, the clouds rolled away, and in a moment the sun shone out once more, and all was calm and serene as it had been before. But still the princess muttered her conjurations, and as the prince and the old man looked they beheld a speck that grew larger and larger, until they saw that it was an eagle as black as night that was coming swiftly flying through the sky. Then the queen’s sister also saw it and ceased from her spells. She drew a little cap of feathers from her bosom with trembling hands. “Remember,” said she to the prince; and, so saying, clapped the feather cap upon her head. In an instant she herself became an eagle—pied, black and white—and, spreading her wings, leaped into the air. For a while the two eagles circled around and around; but at last they dashed against one another, and, grappling with their talons, tumbled over and over until they struck the ground close to the two who stood looking. Then the prince snatched the knife from the ground and ran to where they lay struggling. “Which was I to kill?” said he to the old man. “Are they not birds of a feather?” cried the foster-father. “Kill them both, for then only shall we all be safe.” The prince needed no second telling to see the wisdom of what the old man said. In an instant he struck off the heads of both the eagles, and thus put an end to both sorceresses, the lesser as well as the greater. They buried both of the eagles in the garden without telling any one of what had happened. So soon as that was done the old man bade the prince tell him all that had befallen him, and the prince did so. “Aye! aye!” said the old man, “I see it all as clear as day. The black dogs are the young men who have supped with the queen; the statue is the good princess; and the basin of water is the water of life, which has the power of taking away magic. Come; let us make haste to bring help to all those poor unfortunates who have been lying under the queen’s spells.” The prince needed no urging to do that. They hurried to the palace; they crossed the garden to the stone wall. There they found the stone upon which the prince had set the black cross. He pressed his hand upon it, and it opened to him like a door. They descended the steps, and went through the passageway, until they came out upon the sea-shore. The black dogs came leaping towards them; but this time it was to fawn upon them, and to lick their hands and faces. The prince turned the great stone mill till the brazen boat came flying towards the shore. They entered it, and so crossed the water and came to the other side. They did not tarry in the garden, but went straight to the snow-white palace and to the great vaulted chamber where was the statue. “Yes,” said the old man, “it is the youngest princess, sure enough.” The prince said nothing, but he dipped up some of the water in his palm and dashed it upon the statue. “If you are the princess, take your true shape again,” said he. Before the words had left his lips the statue became flesh and blood, and the princess stepped down from where she stood, and the prince thought that he had never seen any one so beautiful as she. “You have brought me back to life,” said she, “and whatever I shall have shall be yours as well as mine.” Then they all set their faces homeward again, and the prince took with him a cupful of the water of life. When they reached the farther shore the black dogs came running to meet them. The prince sprinkled the water he carried upon them, and as soon as it touched them that instant they were black dogs no longer, but the tall, noble young men that the sorceress queen had bewitched. There, as the old man had hoped, he found his own three sons, and kissed them with the tears running down his face. But when the people of that land learned that their youngest princess, and the one whom they loved, had come back again, and that the two sorceresses would trouble them no longer, they shouted and shouted for joy. All the town was hung with flags and illuminated, the fountains ran with wine, and nothing was heard but sounds of rejoicing. In the midst of it all the prince married the princess, and so became the king of that country. And now to go back again to the beginning. After the youngest prince had been driven away from home, and the old king had divided the kingdom betwixt the other two, things went for a while smoothly and joyfully. But by little and little the king was put to one side until he became as nothing in his own land. At last hot words passed between the father and the two sons, and the end of the matter was that the king was driven from the land to shift for himself. Now, after the youngest prince had married and had become king of that other land, he bethought himself of his father and his mother, and longed to see them again. So he set forth and travelled towards his old home. In his journeying he came to a lonely house at the edge of a great forest, and there night came upon him. He sent one of the many of those who rode with him to ask whether he could not find lodging there for the time, and who should answer the summons but the king, his father, dressed in the coarse clothing of a forester. The old king did not know his own son in the kingly young king who sat upon his snow-white horse. He bade the visitor to enter, and he and the old queen served their son and bowed before him. The next morning the young king rode back to his own land, and then sent attendants with horses and splendid clothes, and bade them bring his father and mother to his own home. He had a noble feast set for them, with everything befitting the entertainment of a king, but he ordered that not a grain of salt should season it. So the father and the mother sat down to the feast with their son and his queen, but all the time they did not know him. The old king tasted the food and tasted the food, but he could not eat of it. “Do you not feel hungry?” said the young king. “Alas,” said his father, “I crave your majesty’s pardon, but there is no salt in the food.” “And so is life lacking of savor without love,” said the young king; “and yet because I loved you as salt you disowned me and cast me out into the world.” Therewith he could contain himself no longer, but with the tears running down his cheeks kissed his father and his mother; and they knew him, and kissed him again. Afterwards the young king went with a great army into the country of his elder brothers, and, overcoming them, set his father upon his throne again. If ever the two got back their crowns you may be sure that they wore them more modestly than they did the first time. So the Fisherman who had one time unbottled the Genie whom Solomon the Wise had stoppered up concluded his story, and all of the good folk who were there began clapping their shadowy hands. “Aye, aye,” said old Bidpai, “there is much truth in what you say, for it is verily so that that which men call— love—is— the—salt— of—” * * * His voice had been fading away thinner and thinner and smaller and smaller—now it was like the shadow of a voice; now it trembled and quivered out into silence and was gone. And with the voice of old Bidpai the pleasant Land of Twilight was also gone. As a breath fades away from a mirror, so had it faded and vanished into nothingness. I opened my eyes. There was a yellow light—it came from the evening lamp. There were people of flesh and blood around—my own dear people—and they were talking together. There was the library with the rows of books looking silently out from their shelves. There was the fire of hickory logs crackling and snapping in the fireplace, and throwing a wavering, yellow light on the wall. Had I been asleep? No; I had been in Twilight Land. And now the pleasant Twilight Land had gone. It had faded out, and I was back again in the work-a-day world. There I was sitting in my chair; and, what was more, it was time for the children to go to bed. THE END Transcribers Notes: Page numbers have been omitted for full-page illustrations as they were omitted in the printed book. Obvious punctuation errors repaired. Hyphenation used inconsistently was not changed: Both “anteroom” and “ante-room” are used in the text. Both “byways” and “by-ways” are used in the text. Both “livelong” and “live-long” are used in the text. Both “merrymaking” and “merry-making” are used in the text. Both “passageway(s)” and “passage-way(s)” are used in the text. Apparent printing errors in hyphenation and spelling were repaired: page 117: “door-way” changed to “doorway” (through an arch doorway into a garden) page 358: “twelve-month” changed to “twelvemonth” (had I known that in a twelvemonth it would all come tumbling down) page 384: missing “e” added (All Things are as Fate wills.) page 437: “ana” changed to “and” (His voice had been fading away thinner and thinner) *** END OF THE PROJECT GUTENBERG EBOOK TWILIGHT LAND *** 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

• Alien Minds#54559
• Explorers of the Dawn#42874
• Valley of Dreams#41408
• Night and Morning, Volume 2#35673
• Roads of Destiny#26763