Tik-Tok of Oz

CHAPTER 24

Dorothy is Delighted She twined her arms around her shaggy friend who was not human, and he said: “Hee-haw!” in a tone that showed he understood her mood. And the shaggy friend who was human stroked the child’s head tenderly and said: “You’re wrong about that, Betsy dear. I will never desert you.” “Nor I!” exclaimed Shaggy’s brother, in earnest tones. The little girl looked up at them gratefully, and her eyes smiled through their tears. “All right,” she said. “It’s raining again, so let’s go back into the cavern.” Rather soberly, for all loved Polychrome and would miss her, they reëntered the dominions of the Nome King. CHAPTER 24 Dorothy is Delighted “WELL,” said Queen Ann, when all were again seated in Kaliko’s royal cavern, “I wonder what we shall do next. If I could find my way back to Oogaboo I’d take my army home at once, for I’m sick and tired of these dreadful hardships.” “Don’t you want to conquer the world?” asked Betsy. “No; I’ve changed my mind about that,” admitted the Queen. “The world is too big for one person to conquer and I was happier with my own people in Oogaboo. I wish—Oh, how earnestly I wish—that I was back there this minute!” “So do I!” yelled every officer in a fervent tone. Now, it is time for the reader to know that in the far-away Land of Oz the lovely Ruler, Ozma, had been following the adventures of her Shaggy Man, and Tik-Tok, and all the others they had met. Day by day Ozma, with the wonderful Wizard of Oz seated beside her, had gazed upon a Magic Picture in a radium frame, which occupied one side of the Ruler’s cosy boudoir in the palace of the Emerald City. The singular thing about this Magic Picture was that it showed whatever scene Ozma wished to see, with the figures all in motion, just as it was taking place. So Ozma and the Wizard had watched every action of the adventurers from the time Shaggy had met shipwrecked Betsy and Hank in the Rose Kingdom, at which time the Rose Princess, a distant cousin of Ozma, had been exiled by her heartless subjects. When Ann and her people so earnestly wished to return to Oogaboo, Ozma was sorry for them and remembered that Oogaboo was a corner of the Land of Oz. She turned to her attendant and asked: “Can not your magic take these unhappy people to their old home, Wizard?” “It can, Your Highness,” replied the little Wizard. “I think the poor Queen has suffered enough in her misguided effort to conquer the world,” said Ozma, smiling at the absurdity of the undertaking, “so no doubt she will hereafter be contented in her own little Kingdom. Please send her there, Wizard, and with her the officers and Files.” “How about the Rose Princess?” asked the Wizard. “Send her to Oogaboo with Files,” answered Ozma. “They have become such good friends that I am sure it would make them unhappy to separate them.” “Very well,” said the Wizard, and without any fuss or mystery whatever he performed a magical rite that was simple and effective. Therefore those seated in the Nome King’s cavern were both startled and amazed when all the people of Oogaboo suddenly disappeared from the room, and with them the Rose Princess. At first they could not understand it at all; but presently Shaggy suspected the truth, and believing that Ozma was now taking an interest in the party he drew from his pocket a tiny instrument which he placed against his ear. Ozma, observing this action in her Magic Picture, at once caught up a similar instrument from a table beside her and held it to her own ear. The two instruments recorded the same delicate vibrations of sound and formed a wireless telephone, an invention of the Wizard. Those separated by any distance were thus enabled to converse together with perfect ease and without any wire connection. “Do you hear me, Shaggy Man?” asked Ozma. “Yes, Your Highness,” he replied. “I have sent the people of Oogaboo back to their own little valley,” announced the Ruler of Oz; “so do not worry over their disappearance.” “That was very kind of you,” said Shaggy. “But Your Highness must permit me to report that my own mission here is now ended. I have found my lost brother, and he is now beside me, freed from the enchantment of ugliness which Ruggedo cast upon him. Tik-Tok has served me and my comrades faithfully, as you requested him to do, and I hope you will now transport the Clockwork Man back to your fairyland of Oz.” “I will do that,” replied Ozma. “But how about yourself, Shaggy?” “I have been very happy in Oz,” he said, “but my duty to others forces me to exile myself from that delightful land. I must take care of my new-found brother, for one thing, and I have a new comrade in a dear little girl named Betsy Bobbin, who has no home to go to, and no other friends but me and a small donkey named Hank. I have promised Betsy never to desert her as long as she needs a friend, and so I must give up the delights of the Land of Oz forever.” He said this with a sigh of regret, and Ozma made no reply but laid the tiny instrument on her table, thus cutting off all further communication with the Shaggy Man. But the lovely Ruler of Oz still watched her magic picture, with a thoughtful expression upon her face, and the little Wizard of Oz watched Ozma and smiled softly to himself. In the cavern of the Nome King Shaggy replaced the wireless telephone in his pocket and turning to Betsy said in as cheerful a voice as he could muster: “Well, little comrade, what shall we do next?” “I don’t know, I’m sure,” she answered with a puzzled face. “I’m kind of sorry our adventures are over, for I enjoyed them, and now that Queen Ann and her people are gone, and Polychrome is gone, and—dear me!—where’s Tik-Tok, Shaggy?” “He also has disappeared,” said Shaggy, looking around the cavern and nodding wisely. “By this time he is in Ozma’s palace in the Land of Oz, which is his home.” “Isn’t it your home, too?” asked Betsy. “It used to be, my dear; but now my home is wherever you and my brother are. We are wanderers, you know, but if we stick together I am sure we shall have a good time.” “Then,” said the girl, “let us get out of this stuffy, underground cavern and go in search of new adventures. I’m sure it has stopped raining.” “I’m ready,” said Shaggy, and then they bade good-bye to King Kaliko, and thanked him for his assistance, and went out to the mouth of the passage. The sky was now clear and a brilliant blue in color; the sun shone brightly and even this rugged, rocky country seemed delightful after their confinement underground. There were but four of them now—Betsy and Hank, and Shaggy and his brother—and the little party made their way down the mountain and followed a faint path that led toward the southwest. During this time Ozma had been holding a conference with the Wizard, and later with Tik-Tok, whom the magic of the Wizard had quickly transported to Ozma’s palace. Tik-Tok had only words of praise for Betsy Bobbin, “who,” he said, “is al-most as nice as Dor-o-thy her-self.” “Let us send for Dorothy,” said Ozma, and summoning her favorite maid, who was named Jellia Jamb, she asked her to request Princess Dorothy to attend her at once. So a few moments later Dorothy entered Ozma’s room and greeted her and the Wizard and Tik-Tok with the same gentle smile and simple manner that had won for the little girl the love of everyone she met. “Did you want to see me, Ozma?” she asked. “Yes, dear. I am puzzled how to act, and I want your advice.” “I don’t b’lieve it’s worth much,” replied Dorothy, “but I’ll do the best I can. What is it all about, Ozma?” “You all know,” said the girl Ruler, addressing her three friends, "what a serious thing it is to admit any mortals into this fairyland of Oz. It is true I have invited several mortals to make their home here, and all of them have proved true and loyal subjects. Indeed, no one of you three was a native of Oz. Dorothy and the Wizard came here from the United States, and Tik-Tok came from the Land of Ev. But of course he is not a mortal. Shaggy is another American, and he is the cause of all my worry, for our dear Shaggy will not return here and desert the new friends he has found in his recent adventures, because he believes they need his services." “Shaggy Man was always kind-hearted,” remarked Dorothy. “But who are these new friends he has found?” “One is his brother, who for many years has been a prisoner of the Nome King, our old enemy Ruggedo. This brother seems a kindly, honest fellow, but he has done nothing to entitle him to a home in the Land of Oz.” “Who else?” asked Dorothy. “I have told you about Betsy Bobbin, the little girl who was shipwrecked—in much the same way you once were—and has since been following the Shaggy Man in his search for his lost brother. You remember her, do you not?” “Oh, yes!” exclaimed Dorothy. “I’ve often watched her and Hank in the Magic Picture, you know. She’s a dear little girl, and old Hank is a darling! Where are they now?” “Look and see,” replied Ozma with a smile at her friend’s enthusiasm. Dorothy turned to the picture, which showed Betsy and Hank, with Shaggy and his brother, trudging along the rocky paths of a barren country. “Seems to me,” she said, musingly, “that they’re a good way from any place to sleep, or any nice things to eat.” “You are right,” said Tik-Tok. “I have been in that coun-try, and it is a wil-der-ness.” “It is the country of the nomes,” explained the Wizard, “who are so mischievous that no one cares to live near them. I’m afraid Shaggy and his friends will endure many hardships before they get out of that rocky place, unless—” He turned to Ozma and smiled. “Unless I ask you to transport them all here?” she asked. “Yes, your Highness.” “Could your magic do that?” inquired Dorothy. “I think so,” said the Wizard. “Well,” said Dorothy, “as far as Betsy and Hank are concerned, I’d like to have them here in Oz. It would be such fun to have a girl playmate of my own age, you see. And Hank is such a dear little mule!” Ozma laughed at the wistful expression in the girl’s eyes, and then she drew Dorothy to her and kissed her. “Am I not your friend and playmate?” she asked. Dorothy flushed. “You know how dearly I love you, Ozma!” she cried. “But you’re so busy ruling all this Land of Oz that we can’t always be together.” "I know, dear. My first duty is to my subjects, and I think it would be a delight to us all to have Betsy with us. There’s a pretty suite of rooms just opposite your own where she can live, and I’ll build a golden stall for Hank in the stable where the Sawhorse lives. Then we’ll introduce the mule to the Cowardly Lion and the Hungry Tiger, and I’m sure they will soon become firm friends. But I cannot very well admit Betsy and Hank into Oz unless I also admit Shaggy’s brother." “And, unless you admit Shaggy’s brother, you will keep out poor Shaggy, whom we are all very fond of,” said the Wizard. “Well, why not ad-mit him?” demanded Tik-Tok. “The Land of Oz is not a refuge for all mortals in distress,” explained Ozma. “I do not wish to be unkind to Shaggy Man, but his brother has no claim on me.” “The Land of Oz isn’t crowded,” suggested Dorothy. “Then you advise me to admit Shaggy’s brother?” inquired Ozma. “Well, we can’t afford to lose our Shaggy Man, can we?” “No, indeed!” returned Ozma. “What do you say, Wizard?” “I’m getting my magic ready to transport them all.” “And you, Tik-Tok?” “Shag-gy’s broth-er is a good fel-low, and we can’t spare Shag-gy.” “So, then, the question is settled,” decided Ozma. “Perform your magic, Wizard!” He did so, placing a silver plate upon a small standard and pouring upon the plate a small quantity of pink powder which was contained in a crystal vial. Then he muttered a rather difficult incantation which the sorceress Glinda the Good had taught him, and it all ended in a puff of perfumed smoke from the silver plate. This smoke was so pungent that it made both Ozma and Dorothy rub their eyes for a moment. “You must pardon these disagreeable fumes,” said the Wizard. “I assure you the smoke is a very necessary part of my wizardry.” “Look!” cried Dorothy, pointing to the Magic Picture; “they’re gone! All of them are gone.” Indeed, the picture now showed the same rocky landscape as before, but the three people and the mule had disappeared from it. “They are gone,” said the Wizard, polishing the silver plate and wrapping it in a fine cloth, “because they are here.” At that moment Jellia Jamb entered the room. “Your Highness,” she said to Ozma, “the Shaggy Man and another man are in the waiting room and ask to pay their respects to you. Shaggy is crying like a baby, but he says they are tears of joy.” “Send them here at once, Jellia!” commanded Ozma. “Also,” continued the maid, “a girl and a small-sized mule have mysteriously arrived, but they don’t seem to know where they are or how they came here. Shall I send them here, too?” “Oh, no!” exclaimed Dorothy, eagerly jumping up from her chair; “I’ll go to meet Betsy myself, for she’ll feel awful strange in this big palace.” And she ran down the stairs two at a time to greet her new friend, Betsy Bobbin. CHAPTER 25 The Land of Love “WELL, is ‘hee-haw’ all you are able to say?” inquired the Sawhorse, as he examined Hank with his knot eyes and slowly wagged the branch that served him for a tail. They were in a beautiful stable in the rear of Ozma’s palace, where the wooden Sawhorse—very much alive—lived in a gold-paneled stall, and where there were rooms for the Cowardly Lion and the Hungry Tiger, which were filled with soft cushions for them to lie upon and golden troughs for them to eat from. Beside the stall of the Sawhorse had been placed another for Hank, the mule. This was not quite so beautiful as the other, for the Sawhorse was Ozma’s favorite steed; but Hank had a supply of cushions for a bed (which the Sawhorse did not need because he never slept) and all this luxury was so strange to the little mule that he could only stand still and regard his surroundings and his queer companions with wonder and amazement. The Cowardly Lion, looking very dignified, was stretched out upon the marble floor of the stable, eyeing Hank with a calm and critical gaze, while near by crouched the huge Hungry Tiger, who seemed equally interested in the new animal that had just arrived. The Sawhorse, standing stiffly before Hank, repeated his question: “Is ‘hee-haw’ all you are able to say?” Hank moved his ears in an embarrassed manner. “I have never said anything else, until now,” he replied; and then he began to tremble with fright to hear himself talk. “I can well understand that,” remarked the Lion, wagging his great head with a swaying motion. “Strange things happen in this Land of Oz, as they do everywhere else. I believe you came here from the cold, civilized, outside world, did you not?” “I did,” replied Hank. “One minute I was outside of Oz—and the next minute I was inside! That was enough to give me a nervous shock, as you may guess; but to find myself able to talk, as Betsy does, is a marvel that staggers me.” “That is because you are in the Land of Oz,” said the Sawhorse. “All animals talk, in this favored country, and you must admit it is more sociable than to bray your dreadful ‘hee-haw,’ which nobody can understand.” “Mules understand it very well,” declared Hank. “Oh, indeed! Then there must be other mules in your outside world,” said the Tiger, yawning sleepily. “There are a great many in America,” said Hank. “Are you the only Tiger in Oz?” “No,” acknowledged the Tiger, “I have many relatives living in the Jungle Country; but I am the only Tiger living in the Emerald City.” “There are other Lions, too,” said the Sawhorse; “but I am the only horse, of any description, in this favored Land.” “That is why this Land is favored,” said the Tiger. “You must understand, friend Hank, that the Sawhorse puts on airs because he is shod with plates of gold, and because our beloved Ruler, Ozma of Oz, likes to ride upon his back.” “Betsy rides upon my back,” declared Hank proudly. “Who is Betsy?” “The dearest, sweetest girl in all the world!” The Sawhorse gave an angry snort and stamped his golden feet. The Tiger crouched and growled. Slowly the great Lion rose to his feet, his mane bristling. “Friend Hank,” said he, "either you are mistaken in judgment or you are willfully trying to deceive us. The dearest, sweetest girl in the world is our Dorothy, and I will fight anyone—animal or human—who dares to deny it!" “So will I!” snarled the Tiger, showing two rows of enormous white teeth. “You are all wrong!” asserted the Sawhorse in a voice of scorn. “No girl living can compare with my mistress, Ozma of Oz!” Hank slowly turned around until his heels were toward the others. Then he said stubbornly: “I am not mistaken in my statement, nor will I admit there can be a sweeter girl alive than Betsy Bobbin. If you want to fight, come on—I’m ready for you!” While they hesitated, eyeing Hank’s heels doubtfully, a merry peal of laughter startled the animals and turning their heads they beheld three lovely girls standing just within the richly carved entrance to the stable. In the center was Ozma, her arms encircling the waists of Dorothy and Betsy, who stood on either side of her. Ozma was nearly half a head taller than the two other girls, who were almost of one size. Unobserved, they had listened to the talk of the animals, which was a very strange experience indeed to little Betsy Bobbin. “You foolish beasts!” exclaimed the Ruler of Oz, in a gentle but chiding tone of voice. "Why should you fight to defend us, who are all three loving friends and in no sense rivals? Answer me!" she continued, as they bowed their heads sheepishly. “I have the right to express my opinion, your Highness,” pleaded the Lion. “And so have the others,” replied Ozma. “I am glad you and the Hungry Tiger love Dorothy best, for she was your first friend and companion. Also I am pleased that my Sawhorse loves me best, for together we have endured both joy and sorrow. Hank has proved his faith and loyalty by defending his own little mistress; and so you are all right in one way, but wrong in another. Our Land of Oz is a Land of Love, and here friendship outranks every other quality. Unless you can all be friends, you cannot retain our love.” They accepted this rebuke very meekly. “All right,” said the Sawhorse, quite cheerfully; “shake hoofs, friend Mule.” Hank touched his hoof to that of the wooden horse. “Let us be friends and rub noses,” said the Tiger. So Hank modestly rubbed noses with the big beast. The Lion merely nodded and said, as he crouched before the mule: “Any friend of a friend of our beloved Ruler is a friend of the Cowardly Lion. That seems to cover your case. If ever you need help or advice, friend Hank, call on me.” “Why, this is as it should be,” said Ozma, highly pleased to see them so fully reconciled. Then she turned to her companions: “Come, my dears, let us resume our walk.” As they turned away Betsy said wonderingly: “Do all the animals in Oz talk as we do?” “Almost all,” answered Dorothy. “There’s a Yellow Hen here, and she can talk, and so can her chickens; and there’s a Pink Kitten upstairs in my room who talks very nicely; but I’ve a little fuzzy black dog, named Toto, who has been with me in Oz a long time, and he’s never said a single word but ‘Bow-wow!’” “Do you know why?” asked Ozma. “Why, he’s a Kansas dog; so I s’pose he’s different from these fairy animals,” replied Dorothy. “Hank isn’t a fairy animal, any more than Toto,” said Ozma, “yet as soon as he came under the spell of our fairyland he found he could talk. It was the same way with Billina, the Yellow Hen whom you brought here at one time. The same spell has affected Toto, I assure you; but he’s a wise little dog and while he knows everything that is said to him he prefers not to talk.” “Goodness me!” exclaimed Dorothy. “I never s’pected Toto was fooling me all this time.” Then she drew a small silver whistle from her pocket and blew a shrill note upon it. A moment later there was a sound of scurrying footsteps, and a shaggy black dog came running up the path. Dorothy knelt down before him and shaking her finger just above his nose she said: “Toto, haven’t I always been good to you?” Toto looked up at her with his bright black eyes and wagged his tail. “Bow-wow!” he said, and Betsy knew at once that meant yes, as well as Dorothy and Ozma knew it, for there was no mistaking the tone of Toto’s voice. “That’s a dog answer,” said Dorothy. “How would you like it, Toto, if I said nothing to you but 'bow-wow'?” Toto’s tail was wagging furiously now, but otherwise he was silent. “Really, Dorothy,” said Betsy, “he can talk with his bark and his tail just as well as we can. Don’t you understand such dog language?” “Of course I do,” replied Dorothy. “But Toto’s got to be more sociable. See here, sir!” she continued, addressing the dog, “I’ve just learned, for the first time, that you can say words—if you want to. Don’t you want to, Toto?” “Woof!” said Toto, and that meant “no.” “Not just one word, Toto, to prove you’re as good as any other animal in Oz?” “Woof!” “Just one word, Toto—and then you may run away.” He looked at her steadily a moment. “All right. Here I go!” he said, and darted away as swift as an arrow. Dorothy clapped her hands in delight, while Betsy and Ozma both laughed heartily at her pleasure and the success of her experiment. Arm in arm they sauntered away through the beautiful gardens of the palace, where magnificent flowers bloomed in abundance and fountains shot their silvery sprays far into the air. And by and by, as they turned a corner, they came upon Shaggy Man and his brother, who were seated together upon a golden bench. The two arose to bow respectfully as the Ruler of Oz approached them. “How are you enjoying our Land of Oz?” Ozma asked the stranger. “I am very happy here, Your Highness,” replied Shaggy’s brother. “Also I am very grateful to you for permitting me to live in this delightful place.” “You must thank Shaggy for that,” said Ozma. “Being his brother, I have made you welcome here.” “When you know Brother better,” said Shaggy earnestly, “you will be glad he has become one of your loyal subjects. I am just getting acquainted with him myself, and I find much in his character to admire.” Leaving the brothers, Ozma and the girls continued their walk. Presently Betsy exclaimed: “Shaggy’s brother can’t ever be as happy in Oz as I am. Do you know, Dorothy, I didn’t believe any girl could ever have such a good time— anywhere —as I’m having now?” “I know,” answered Dorothy. “I’ve felt that way myself, lots of times.” “I wish,” continued Betsy, dreamily, “that every little girl in the world could live in the Land of Oz; and every little boy, too!” Ozma laughed at this. “It is quite fortunate for us, Betsy, that your wish cannot be granted,” said she, “for all that army of girls and boys would crowd us so that we would have to move away.” “Yes,” agreed Betsy, after a little thought, “I guess that’s true.” Transcriber's Note The book cover image was compiled from images contained in the book and is placed in the Public Domain. All illustrations were placed so as to not split paragraphs. Three presumed typographical errors were corrected: p. 176 , rooks to rocks (“on the rough rocks .”); p. 203 , any to my (“... get off my left toe ...”); and p. 233 , comma to question mark (“What could you find to eat here ? ”). All usages of both “every one” and “everyone” were retained. *** END OF THE PROJECT GUTENBERG EBOOK TIK-TOK OF OZ *** 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

• Tik-Tok of Oz#822958
• Tik-Tok of Oz#25133
• The Hungry Tiger of Oz#63018
• Ozoplaning with the Wizard of Oz#56763
• The Cowardly Lion of Oz#57930