diff options
Diffstat (limited to '1895-h/1895-h.htm')
| -rw-r--r-- | 1895-h/1895-h.htm | 793 |
1 files changed, 194 insertions, 599 deletions
diff --git a/1895-h/1895-h.htm b/1895-h/1895-h.htm index db6076d..193f5d4 100644 --- a/1895-h/1895-h.htm +++ b/1895-h/1895-h.htm @@ -1,17 +1,11 @@ -<?xml version="1.0" encoding="utf-8"?> - -<!DOCTYPE html - PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > - -<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> +<!DOCTYPE html> +<html lang="en"> <head> - <title> - Armadale, by Wilkie Collins - </title> - <style type="text/css" xml:space="preserve"> + <meta charset="utf-8"> + <title>Armadale | Project Gutenberg</title> + <style> - body { margin:5%; background:#faebd0; text-align:justify} + body { margin:5%; text-align:justify} P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } hr { width: 50%; text-align: center;} @@ -32,60 +26,27 @@ </style> </head> <body> -<pre xml:space="preserve"> - -The Project Gutenberg EBook of Armadale, by Wilkie Collins - -This eBook is for the use of anyone anywhere 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 - - -Title: Armadale - -Author: Wilkie Collins - -Release Date: September 21, 2008 [EBook #1895] -Last Updated: December 21, 2017 - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK ARMADALE *** - - - - -Produced by James Rusk, and David Widger - - - - - -</pre> - +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 1895 ***</div> <p> - <br /><br /> + <br ><br > </p> <h1> ARMADALE </h1> <p> - <br /> + <br > </p> <h2> By Wilkie Collins </h2> <p> - <br /><br /> + <br ><br > </p> -<pre xml:space="preserve"> +<pre> <b>TO JOHN FORSTER.</b> - </pre> +</pre> <p> In acknowledgment of the services which he has rendered to the cause of literature by his “Life of Goldsmith;” and in affectionate remembrance of @@ -118,24 +79,24 @@ Produced by James Rusk, and David Widger LONDON, April, 1866. </p> <p> - <br /> <br /> + <br > <br > </p> - <hr /> + <hr > <p> - <br /> <br /> + <br > <br > </p> <blockquote> <p class="toc"> - <big><b>CONTENTS</b></big> + <span style="font-size: larger"><b>CONTENTS</b></span> </p> <p> - <br /> + <br > </p> <p class="toc"> <a href="#linkH2_4_0001"> <b>ARMADALE.</b> </a> </p> <p> - <br /> + <br > </p> <p class="toc"> <a href="#linkH2_PROL"> <b>PROLOGUE.</b> </a> @@ -150,9 +111,15 @@ Produced by James Rusk, and David Widger <p class="toc"> <a href="#linkH2_4_0005"> III. THE WRECK OF THE TIMBER SHIP. </a> </p> + <p> + <br > + </p> <p class="toc"> <a href="#linkH2_4_0006"> <b>THE STORY.</b> </a> </p> + <p> + <br > + </p> <p class="toc"> <a href="#linkH2_4_0007"> <b>BOOK THE FIRST.</b> </a> </p> @@ -172,7 +139,7 @@ Produced by James Rusk, and David Widger <a href="#linkH2_4_0013"> V. THE SHADOW OF THE FUTURE. </a> </p> <p> - <br /> + <br > </p> <p class="toc"> <a href="#linkH2_4_0014"> <b>BOOK THE SECOND</b> </a> @@ -217,7 +184,7 @@ Produced by James Rusk, and David Widger <a href="#linkH2_4_0027"> XIII. EXIT. </a> </p> <p> - <br /> + <br > </p> <p class="toc"> <a href="#linkH2_4_0028"> <b>BOOK THE THIRD.</b> </a> @@ -268,7 +235,7 @@ Produced by James Rusk, and David Widger <a href="#linkH2_4_0043"> XV. THE WEDDING-DAY. </a> </p> <p> - <br /> + <br > </p> <p class="toc"> <a href="#linkH2_4_0044"> <b>BOOK THE FOURTH.</b> </a> @@ -283,7 +250,7 @@ Produced by James Rusk, and David Widger <a href="#linkH2_4_0047"> III. THE DIARY BROKEN OFF. </a> </p> <p> - <br /> + <br > </p> <p class="toc"> <a href="#linkH2_4_0048"> <b>BOOK THE LAST.</b> </a> @@ -298,7 +265,7 @@ Produced by James Rusk, and David Widger <a href="#linkH2_4_0051"> III. THE PURPLE FLASK. </a> </p> <p> - <br /> + <br > </p> <p class="toc"> <a href="#linkH2_EPIL"> <b>EPILOGUE.</b> </a> @@ -310,33 +277,33 @@ Produced by James Rusk, and David Widger <a href="#linkH2_4_0054"> II. MIDWINTER. </a> </p> <p> - <br /> + <br > </p> <p class="toc"> <a href="#linkH2_APPE"> <b>APPENDIX.</b> </a> </p> </blockquote> <p> - <br /> <br /> + <br > <br > </p> - <hr /> + <hr > <p> - <br /> <br /> + <br > <br > </p> - <h1> - <a name="linkH2_4_0001" id="H2_4_0001"></a> ARMADALE. - </h1> + <h2> + <a id="linkH2_4_0001"></a> ARMADALE. + </h2> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_PROL" id="H2_PROL"></a> PROLOGUE. + <a id="linkH2_PROL"></a> PROLOGUE. </h2> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0003" id="H2_4_0003"></a> I. THE TRAVELERS. + <a id="linkH2_4_0003"></a> I. THE TRAVELERS. </h2> <p> It was the opening of the season of eighteen hundred and thirty-two, at @@ -604,10 +571,10 @@ Produced by James Rusk, and David Widger in the season of eighteen hundred and thirty-two. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0004" id="H2_4_0004"></a> II. THE SOLID SIDE OF THE + <a id="linkH2_4_0004"></a> II. THE SOLID SIDE OF THE SCOTCH CHARACTER. </h2> <p> @@ -928,10 +895,10 @@ Produced by James Rusk, and David Widger doctor leading the way. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0005" id="H2_4_0005"></a> III. THE WRECK OF THE TIMBER + <a id="linkH2_4_0005"></a> III. THE WRECK OF THE TIMBER SHIP. </h2> <p> @@ -1597,7 +1564,7 @@ Produced by James Rusk, and David Widger by the throat, in a frenzy of rage ‘It’s a lie!’ I broke out, speaking to him as if he had been one of the slaves on my own estate. ‘It’s the truth,’ said the man, struggling with me; ‘her husband is in the house at - this moment.’ ‘Who is he, you scoundrel?’The servant answered by repeating + this moment.’ ‘Who is he, you scoundrel?’ The servant answered by repeating my own name, to my own face: ‘<i>Allan Armadale</i>.’ </p> <p> @@ -2454,22 +2421,22 @@ Produced by James Rusk, and David Widger THE END OF THE PROLOGUE. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0006" id="H2_4_0006"></a> THE STORY. + <a id="linkH2_4_0006"></a> THE STORY. </h2> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0007" id="H2_4_0007"></a> BOOK THE FIRST. + <a id="linkH2_4_0007"></a> BOOK THE FIRST. </h2> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0008" id="H2_4_0008"></a> I. THE MYSTERY OF OZIAS + <a id="linkH2_4_0008"></a> I. THE MYSTERY OF OZIAS MIDWINTER. </h2> <p> @@ -4177,10 +4144,10 @@ Produced by James Rusk, and David Widger Neal had posted at Wildbad nineteen years since. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0009" id="H2_4_0009"></a> II. THE MAN REVEALED. + <a id="linkH2_4_0009"></a> II. THE MAN REVEALED. </h2> <p> THE first cool breathings of the coming dawn fluttered through the open @@ -5217,10 +5184,10 @@ Produced by James Rusk, and David Widger impulse. “Poor fellow!” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0010" id="H2_4_0010"></a> III. DAY AND NIGHT + <a id="linkH2_4_0010"></a> III. DAY AND NIGHT </h2> <p> The morning hours had passed; the noon had come and gone; and Mr. Brock @@ -6058,10 +6025,10 @@ Produced by James Rusk, and David Widger out of view. The boat was adrift. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0012" id="H2_4_0012"></a> IV. THE SHADOW OF THE PAST. + <a id="linkH2_4_0012"></a> IV. THE SHADOW OF THE PAST. </h2> <p> One stepping back under the dark shelter of the bulwark, and one standing @@ -6935,10 +6902,10 @@ Produced by James Rusk, and David Widger together. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0013" id="H2_4_0013"></a> V. THE SHADOW OF THE FUTURE. + <a id="linkH2_4_0013"></a> V. THE SHADOW OF THE FUTURE. </h2> <p> When Mr. Hawbury joined his guests in the breakfast-room, the strange @@ -7050,7 +7017,7 @@ Produced by James Rusk, and David Widger Mr. Hawbury spread the manuscript before him on the breakfast-table, and read these lines: </p> -<pre xml:space="preserve"> +<pre> “ALLAN ARMADALE’S DREAM. </pre> <p> @@ -7734,18 +7701,18 @@ Produced by James Rusk, and David Widger <p> THE END OF THE FIRST BOOK. </p> - <hr /> + <hr > <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0014" id="H2_4_0014"></a> BOOK THE SECOND + <a id="linkH2_4_0014"></a> BOOK THE SECOND </h2> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0015" id="H2_4_0015"></a> I. LURKING MISCHIEF. + <a id="linkH2_4_0015"></a> I. LURKING MISCHIEF. </h2> <h3> 1. <i>From Ozias Midwinter to Mr. Brock</i>. @@ -7917,10 +7884,7 @@ Produced by James Rusk, and David Widger interests. Whatever disappointment I may feel, <i>he</i> shall not see it. </p> <p> - “Believe me, dear Mr. Brock, - </p> - <p> - “Gratefuly yours, + “Believe me, dear Mr. Brock, gratefuly yours, </p> <p> “OZIAS MIDWINTER. @@ -7934,9 +7898,9 @@ Produced by James Rusk, and David Widger <p> “O. M.” </p> - <p> + <h3> 2. <i>From Mrs. Oldershaw to Miss Gwilt</i>. - </p> + </h3> <p> “Ladies’ Toilet Repository, Diana Street, Pimlico, </p> @@ -8063,9 +8027,9 @@ Produced by James Rusk, and David Widger <p> “MARIA OLDERSHAW.” </p> - <p> + <h3> 3. <i>From Miss Gwilt to Mrs. Oldershaw</i>. - </p> + </h3> <p> Richmond, Thursday. </p> @@ -8117,9 +8081,9 @@ Produced by James Rusk, and David Widger break them one of these nights; and then what will become of my beauty, I wonder?” </p> - <p> + <h3> 4. <i>From Mrs. Oldershaw to Miss Gwilt</i>. - </p> + </h3> <p> “Ladies’ Toilet Repository, Tuesday. </p> @@ -8238,9 +8202,9 @@ Produced by James Rusk, and David Widger <p> “MARIA OLDERSHAW. </p> - <p> + <h3> 5. <i>From Miss Gwilt to Mrs. Oldershaw.</i> - </p> + </h3> <p> <i>(First Answer.)</i> </p> @@ -8251,9 +8215,9 @@ Produced by James Rusk, and David Widger “MRS. OLDERSHAW—Send me my seven-and-twenty shillings, and devote yourself to your own proper business. Yours, L. G.” </p> - <p> + <h3> 6. <i>From Miss Gwilt to Mrs. Oldershaw.</i> - </p> + </h3> <p> <i>(Second Answer.)</i> </p> @@ -8304,9 +8268,9 @@ Produced by James Rusk, and David Widger <p> “L. G.” </p> - <p> + <h3> 7. <i>From Mrs. Oldershaw to Miss Gwilt</i>. - </p> + </h3> <p> “Thursday. </p> @@ -8406,7 +8370,7 @@ Produced by James Rusk, and David Widger <p> “It’s odd, isn’t it, to think how much depends on this half-pay officer’s decision? For my part, I shall wake every morning now with the same - question in my mind: If the major’s advertisment appears, which will the + question in my mind: If the major’s advertisement appears, which will the major say—Thorpe Ambrose, or London? </p> <p> @@ -8416,10 +8380,10 @@ Produced by James Rusk, and David Widger “MARIA OLDERSHAW.” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0016" id="H2_4_0016"></a> II. ALLAN AS A LANDED + <a id="linkH2_4_0016"></a> II. ALLAN AS A LANDED GENTLEMAN. </h2> <p> @@ -9121,10 +9085,10 @@ Produced by James Rusk, and David Widger left at Mrs. Oldershaw’s door. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0017" id="H2_4_0017"></a> III. THE CLAIMS OF SOCIETY. + <a id="linkH2_4_0017"></a> III. THE CLAIMS OF SOCIETY. </h2> <p> More than an hour after Allan had set forth on his exploring expedition @@ -9762,10 +9726,10 @@ Produced by James Rusk, and David Widger carriage and had left the house. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0018" id="H2_4_0018"></a> IV. THE MARCH OF EVENTS. + <a id="linkH2_4_0018"></a> IV. THE MARCH OF EVENTS. </h2> <p> Midwinter’s face darkened when the last trace of the carriage had @@ -10481,10 +10445,10 @@ Produced by James Rusk, and David Widger what you will with the woman, when the time comes the woman will be here.” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0019" id="H2_4_0019"></a> V. MOTHER OLDERSHAW ON HER + <a id="linkH2_4_0019"></a> V. MOTHER OLDERSHAW ON HER GUARD. </h2> <p> @@ -10873,9 +10837,9 @@ Produced by James Rusk, and David Widger go out again by a back way which is only used by the landlord and his friends.—L. G.” </p> - <p> + <h3> 3. <i>From Mrs. Oldershaw to Miss Gwilt</i>. - </p> + </h3> <p> “Diana Street, 10 o’clock. </p> @@ -11010,10 +10974,10 @@ Produced by James Rusk, and David Widger “M. O.” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0020" id="H2_4_0020"></a> VI. MIDWINTER IN DISGUISE. + <a id="linkH2_4_0020"></a> VI. MIDWINTER IN DISGUISE. </h2> <p> Toward noon on the day of the twenty-first, Miss Milroy was loitering in @@ -11368,10 +11332,10 @@ Produced by James Rusk, and David Widger promising quite as fairly for the future as it had promised at first. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0021" id="H2_4_0021"></a> VII. THE PLOT THICKENS. + <a id="linkH2_4_0021"></a> VII. THE PLOT THICKENS. </h2> <p> Two messages were waiting for Allan when he returned to the house. One had @@ -12129,10 +12093,10 @@ Produced by James Rusk, and David Widger They started for the major’s cottage. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0022" id="H2_4_0022"></a> VIII. THE NORFOLK BROADS. + <a id="linkH2_4_0022"></a> VIII. THE NORFOLK BROADS. </h2> <p> The little group gathered together in Major Milroy’s parlor to wait for @@ -12835,10 +12799,10 @@ Produced by James Rusk, and David Widger right. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0023" id="H2_4_0023"></a> IX. FATE OR CHANCE? + <a id="linkH2_4_0023"></a> IX. FATE OR CHANCE? </h2> <p> It was close on six o’clock when Allan and his friends left the boat, and @@ -13495,10 +13459,10 @@ Produced by James Rusk, and David Widger governess,” she said. “Miss Gwilt.” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0024" id="H2_4_0024"></a> X. THE HOUSE-MAID’S FACE. + <a id="linkH2_4_0024"></a> X. THE HOUSE-MAID’S FACE. </h2> <p> All was quiet at Thorpe Ambrose. The hall was solitary, the rooms were @@ -14182,10 +14146,10 @@ Produced by James Rusk, and David Widger Mother Oldershaw herself. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0025" id="H2_4_0025"></a> XI. MISS GWILT AMONG THE + <a id="linkH2_4_0025"></a> XI. MISS GWILT AMONG THE QUICKSANDS. </h2> <h3> @@ -14236,9 +14200,9 @@ Produced by James Rusk, and David Widger important one, I am afraid) suggests any new course of proceeding to you, pray act on it at once. The name is—Miss Gwilt.” </p> - <p> + <h3> 2. <i>From Miss Gwilt to Mrs. Oldershaw</i>. - </p> + </h3> <p> The Cottage, Thorpe Ambrose, Saturday, June 28. </p> @@ -14554,9 +14518,9 @@ Produced by James Rusk, and David Widger <p> “L. G.” </p> - <p> + <h3> 3. <i>From Mrs. Oldershaw to Miss Gwilt</i>. - </p> + </h3> <p> “Diana Street, Pimlico, Monday. </p> @@ -14623,9 +14587,9 @@ Produced by James Rusk, and David Widger <p> “MARIA OLDERSHAW.” </p> - <p> + <h3> 4. <i>From the Reverend Decimus Brock to Ozias Midwinter</i>. - </p> + </h3> <p> “Bascombe Rectory, West Somerset, Thursday, July 8. </p> @@ -14665,10 +14629,10 @@ Produced by James Rusk, and David Widger “Always truly yours, DECIMUS BROCK.” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0026" id="H2_4_0026"></a> XII. THE CLOUDING OF THE SKY. + <a id="linkH2_4_0026"></a> XII. THE CLOUDING OF THE SKY. </h2> <p> Nine days had passed, and the tenth day was nearly at an end, since Miss @@ -14984,10 +14948,10 @@ Produced by James Rusk, and David Widger your mind easy. I have got him!” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0027" id="H2_4_0027"></a> XIII. EXIT. + <a id="linkH2_4_0027"></a> XIII. EXIT. </h2> <p> It rained all through the night, and when the morning came it was raining @@ -15558,16 +15522,16 @@ Produced by James Rusk, and David Widger THE END OF THE SECOND BOOK. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0028" id="H2_4_0028"></a> BOOK THE THIRD. + <a id="linkH2_4_0028"></a> BOOK THE THIRD. </h2> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0029" id="H2_4_0029"></a> I. MRS. MILROY. + <a id="linkH2_4_0029"></a> I. MRS. MILROY. </h2> <p> Two days after Midwinter’s departure from Thorpe Ambrose, Mrs. Milroy, @@ -16104,10 +16068,10 @@ Produced by James Rusk, and David Widger sharply, “Come in!” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0030" id="H2_4_0030"></a> II. THE MAN IS FOUND. + <a id="linkH2_4_0030"></a> II. THE MAN IS FOUND. </h2> <p> Neelie entered the room, carrying the tray with the tea, the dry toast, @@ -16670,10 +16634,10 @@ Produced by James Rusk, and David Widger “Ah!” said the nurse. “I see!” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0031" id="H2_4_0031"></a> III. THE BRINK OF DISCOVERY. + <a id="linkH2_4_0031"></a> III. THE BRINK OF DISCOVERY. </h2> <p> The morning of the interview between Mrs. Milroy and her daughter at the @@ -17382,10 +17346,10 @@ Produced by James Rusk, and David Widger Allan nodded, and the cab drove off. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0032" id="H2_4_0032"></a> IV. ALLAN AT BAY. + <a id="linkH2_4_0032"></a> IV. ALLAN AT BAY. </h2> <p> Two o’clock came; and Pedgift Junior, punctual to his time, came with it. @@ -18167,10 +18131,10 @@ Produced by James Rusk, and David Widger Senior was expected to call on business in half an hour’s time. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0033" id="H2_4_0033"></a> V. PEDGIFT’S REMEDY. + <a id="linkH2_4_0033"></a> V. PEDGIFT’S REMEDY. </h2> <p> After waiting to hold a preliminary consultation with his son, Mr. Pedgift @@ -18822,10 +18786,10 @@ Produced by James Rusk, and David Widger interview began again. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0034" id="H2_4_0034"></a> VI. PEDGIFT’S POSTSCRIPT. + <a id="linkH2_4_0034"></a> VI. PEDGIFT’S POSTSCRIPT. </h2> <p> “I mentioned that a point had occurred to me, sir,” remarked Pedgift @@ -19113,10 +19077,10 @@ Produced by James Rusk, and David Widger I’ve got business to-night with one of your own sex!” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0035" id="H2_4_0035"></a> VII. THE MARTYRDOM OF MISS + <a id="linkH2_4_0035"></a> VII. THE MARTYRDOM OF MISS GWILT. </h2> <p> @@ -19834,10 +19798,10 @@ Produced by James Rusk, and David Widger them. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0036" id="H2_4_0036"></a> VIII. SHE COMES BETWEEN THEM. + <a id="linkH2_4_0036"></a> VIII. SHE COMES BETWEEN THEM. </h2> <p> Appointed hours for the various domestic events of the day were things @@ -20384,10 +20348,10 @@ Produced by James Rusk, and David Widger air. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0037" id="H2_4_0037"></a> IX. SHE KNOWS THE TRUTH. + <a id="linkH2_4_0037"></a> IX. SHE KNOWS THE TRUTH. </h2> <h3> 1. <i>From Mr. Bashwood to Miss Gwilt</i>. @@ -20564,9 +20528,9 @@ Produced by James Rusk, and David Widger <p> “FELIX BASHWOOD.” </p> - <p> + <h3> 2. <i>From Mrs. Oldershaw to Miss Gwilt</i>. - </p> + </h3> <p> “Diana Street, Monday, July 21st. </p> @@ -20608,9 +20572,9 @@ Produced by James Rusk, and David Widger <p> “Affectionately yours, MARIA OLDERSHAW.” </p> - <p> + <h3> 3. <i>From Mr. Bashwood to Miss Gwilt</i>. - </p> + </h3> <p> “Thorpe Ambrose, July 21st. </p> @@ -20758,9 +20722,9 @@ Produced by James Rusk, and David Widger <p> “Believe me, dear madam, anxiously and devotedly yours, FELIX BASHWOOD.” </p> - <p> + <h3> 4. <i>From Allan Armadale to the Reverend Decimus Brock</i>. - </p> + </h3> <p> Thorpe Ambrose, Tuesday. </p> @@ -20785,9 +20749,9 @@ Produced by James Rusk, and David Widger me), but I have a reason for not going too far away from Miss Milroy just at present.” </p> - <p> + <h3> 5. <i>From Robert Stapleton to Allan Armadale, Esq.</i> - </p> + </h3> <p> “Bascombe Rectory, Thursday Morning. </p> @@ -20821,9 +20785,9 @@ Produced by James Rusk, and David Widger “P. S.—The yacht has been rigged and repainted, waiting your orders. She looks beautiful.” </p> - <p> + <h3> 6. <i>From Mrs. Oldershaw to Miss Gwilt</i>. - </p> + </h3> <p> “Diana Street, July 24th. </p> @@ -20844,9 +20808,9 @@ Produced by James Rusk, and David Widger <p> “Yours, MARIA OLDERSHAW.” </p> - <p> + <h3> 7. <i>From Miss Gwilt to Mrs. Oldershaw</i>. - </p> + </h3> <p> “5 Paradise Place, Thorpe Ambrose, July 25th. </p> @@ -20860,9 +20824,9 @@ Produced by James Rusk, and David Widger <p> “L. G.” </p> - <p> + <h3> 8. <i>From Mrs. Oldershaw to Miss Gwilt</i>. - </p> + </h3> <p> “Diana Street, July 26th. </p> @@ -20915,9 +20879,9 @@ Produced by James Rusk, and David Widger <p> “MARIA OLDERSHAW.” </p> - <p> + <h3> 9. <i>From Miss Gwilt to Mrs. Oldershaw</i>. - </p> + </h3> <p> “Paradise Place, July 27th. </p> @@ -21592,10 +21556,10 @@ Produced by James Rusk, and David Widger “Wait a little, till I have asked my diary whether I can safely tell you.” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0038" id="H2_4_0038"></a> X. MISS GWILT’S DIARY. + <a id="linkH2_4_0038"></a> X. MISS GWILT’S DIARY. </h2> <p> “July 21st, Monday night, eleven o’clock.—Midwinter has just left @@ -21816,7 +21780,7 @@ Produced by James Rusk, and David Widger freckled creature, who ought to be perched on a form at school, and strapped to a backboard to straighten her crooked shoulders. </p> -<pre xml:space="preserve"> +<pre> “‘The nursery lisps out in all they utter; Besides, they always smell of bread-and-butter.’ </pre> @@ -22607,7 +22571,7 @@ Produced by James Rusk, and David Widger man, in my place, would find refuge in drink. I’m not a man, and I can’t drink. I’ll dawdle over my dresses, and put my things tidy.” </p> - <hr /> + <hr > <p> “Has an hour passed? More than an hour. It seems like a minute. </p> @@ -22988,7 +22952,7 @@ Produced by James Rusk, and David Widger </p> <p> “I say no more. When he walked away from me down that lane, he walked to - his death. I have written to Midwinter to expect me in London nest week, + his death. I have written to Midwinter to expect me in London next week, and to be ready for our marriage soon afterward.” </p> <p> @@ -23080,7 +23044,7 @@ Produced by James Rusk, and David Widger to think of. I’ll answer it. I am in a fine humor for writing to Mother Jezebel.” </p> - <hr /> + <hr > <p> <i>Conclusion of Miss Gwilt’s Letter to Mrs. Oldershaw</i>. </p> @@ -23106,10 +23070,10 @@ Produced by James Rusk, and David Widger Oldershaw, before many weeks more are over your head and mine.” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0039" id="H2_4_0039"></a> XI. LOVE AND LAW. + <a id="linkH2_4_0039"></a> XI. LOVE AND LAW. </h2> <p> On the morning of Monday, the 28th of July, Miss Gwilt—once more on @@ -23571,10 +23535,10 @@ Produced by James Rusk, and David Widger the last of your sweetheart.” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0040" id="H2_4_0040"></a> XII. A SCANDAL AT THE STATION. + <a id="linkH2_4_0040"></a> XII. A SCANDAL AT THE STATION. </h2> <p> An hour later, the landlady at Miss Gwilt’s lodgings was lost in @@ -23956,10 +23920,10 @@ Produced by James Rusk, and David Widger was now destined to “let the light in on Miss Gwilt.” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0041" id="H2_4_0041"></a> XIII. AN OLD MAN’S HEART. + <a id="linkH2_4_0041"></a> XIII. AN OLD MAN’S HEART. </h2> <p> Punctual to the moment, when the half hour’s interval had expired, Mr. @@ -24810,10 +24774,10 @@ Produced by James Rusk, and David Widger likes bright colors,” he said, “and she may see me in it yet!” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0042" id="H2_4_0042"></a> XIV. MISS GWILT’S DIARY. + <a id="linkH2_4_0042"></a> XIV. MISS GWILT’S DIARY. </h2> <p> “All Saints’ Terrace, New Road, London, July 28th, Monday night.—I @@ -26263,10 +26227,10 @@ Produced by James Rusk, and David Widger thought, as well as mine!” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0043" id="H2_4_0043"></a> XV. THE WEDDING-DAY. + <a id="linkH2_4_0043"></a> XV. THE WEDDING-DAY. </h2> <p> The time was nine o’clock in the morning. The place was a private room in @@ -27654,16 +27618,16 @@ Produced by James Rusk, and David Widger THE END OF THE THIRD BOOK. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0044" id="H2_4_0044"></a> BOOK THE FOURTH. + <a id="linkH2_4_0044"></a> BOOK THE FOURTH. </h2> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0045" id="H2_4_0045"></a> I. MISS GWILT’S DIARY. + <a id="linkH2_4_0045"></a> I. MISS GWILT’S DIARY. </h2> <p> “NAPLES, October 10th.—It is two months to-day since I declared that @@ -28195,17 +28159,17 @@ Produced by James Rusk, and David Widger The empty-headed wretch whistled as he went his way to the theater, and tossed his loose silver magnificently to every beggar who ran after him.” </p> - <hr /> + <hr > <p> “Midnight.—I am alone again at last. Have I nerve enough to write the history of this terrible evening, just as it has passed? I have nerve enough, at any rate, to turn to a new leaf, and try.” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0046" id="H2_4_0046"></a> II. THE DIARY CONTINUED. + <a id="linkH2_4_0046"></a> II. THE DIARY CONTINUED. </h2> <p> “We went to the San Carlo. Armadale’s stupidity showed itself, even in @@ -29304,10 +29268,10 @@ Produced by James Rusk, and David Widger the trial cruise.” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0047" id="H2_4_0047"></a> III. THE DIARY BROKEN OFF. + <a id="linkH2_4_0047"></a> III. THE DIARY BROKEN OFF. </h2> <p> “London, November 19th.—I am alone again in the Great City; alone, @@ -30492,7 +30456,7 @@ Produced by James Rusk, and David Widger My own idea is that Mr. Darch has his suspicions of something wrong, and that his purpose in trying to gain time—” </p> - <hr /> + <hr > <p> “Ten, at night.—I had written as far as that last unfinished sentence (toward four in the afternoon) when I was startled by hearing a @@ -31164,16 +31128,16 @@ Produced by James Rusk, and David Widger THE END OF THE FOURTH BOOK. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0048" id="H2_4_0048"></a> BOOK THE LAST. + <a id="linkH2_4_0048"></a> BOOK THE LAST. </h2> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0049" id="H2_4_0049"></a> I. AT THE TERMINUS. + <a id="linkH2_4_0049"></a> I. AT THE TERMINUS. </h2> <p> On the night of the 2d of December, Mr. Bashwood took up his post of @@ -31527,10 +31491,10 @@ Produced by James Rusk, and David Widger The man was MIDWINTER. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0050" id="H2_4_0050"></a> II. IN THE HOUSE. + <a id="linkH2_4_0050"></a> II. IN THE HOUSE. </h2> <p> Noticing Mr. Bashwood’s confusion (after a moment’s glance at the change @@ -32121,10 +32085,10 @@ Produced by James Rusk, and David Widger to-morrow.” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0051" id="H2_4_0051"></a> III. THE PURPLE FLASK. + <a id="linkH2_4_0051"></a> III. THE PURPLE FLASK. </h2> <p> The cab was waiting at the gates as Miss Gwilt approached the Sanitarium. @@ -32924,7 +32888,7 @@ Produced by James Rusk, and David Widger “Number Four let it be,” he said, graciously. “Provided, of course, that Number Four is unoccupied at the time.” </p> - <hr /> + <hr > <p> The evening wore on, and the night came. </p> @@ -33182,7 +33146,7 @@ Produced by James Rusk, and David Widger more the cab was on its way out of the station—with Midwinter and Allan inside, and Mr. Bashwood by the driver on the box. </p> - <hr /> + <hr > <p> Between eleven and twelve o’clock that night, Miss Gwilt, standing alone at the window which lit the corridor of the Sanitarium on the second @@ -34078,7 +34042,7 @@ Produced by James Rusk, and David Widger <p> Then there was silence again. </p> - <hr /> + <hr > <p> The hands of the clock, following their steady course, reckoned the minutes of the morning as one by one they lapsed away. It was the tenth @@ -34092,16 +34056,16 @@ Produced by James Rusk, and David Widger window-sill, and the prostrate man trying to raise himself from the floor. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_EPIL" id="H2_EPIL"></a> EPILOGUE. + <a id="linkH2_EPIL"></a> EPILOGUE. </h2> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0053" id="H2_4_0053"></a> I. NEWS FROM NORFOLK. + <a id="linkH2_4_0053"></a> I. NEWS FROM NORFOLK. </h2> <p> <i>From Mr. Pedgift, Senior (Thorpe Ambrose), to Mr. Pedgift, Junior @@ -34316,10 +34280,10 @@ Produced by James Rusk, and David Widger occasionally come into collision with each other.” </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_4_0054" id="H2_4_0054"></a> II. MIDWINTER. + <a id="linkH2_4_0054"></a> II. MIDWINTER. </h2> <p> The spring had advanced to the end of April. It was the eve of Allan’s @@ -34415,10 +34379,10 @@ Produced by James Rusk, and David Widger looked out, and rested tenderly on his face. </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> - <a name="linkH2_APPE" id="H2_APPE"></a> APPENDIX. + <a id="linkH2_APPE"></a> APPENDIX. </h2> <p> NOTE—My readers will perceive that I have purposely left them, with @@ -34466,377 +34430,8 @@ Produced by James Rusk, and David Widger scenes of this book. </p> <p> - <br /><br /><br /><br /> + <br ><br ><br ><br > </p> -<pre xml:space="preserve"> - - - - - -End of the Project Gutenberg EBook of Armadale, by Wilkie Collins - -*** END OF THIS PROJECT GUTENBERG EBOOK ARMADALE *** - -***** This file should be named 1895-h.htm or 1895-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/1/8/9/1895/ - -Produced by James Rusk, and David Widger - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions 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-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. 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-tm 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-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -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-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm 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-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain 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-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside 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-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm 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 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 - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm 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-tm 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-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -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-tm 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-tm work in a format other than -“Plain Vanilla ASCII” or other format used in the official version -posted on the official Project Gutenberg-tm web site (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-tm -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-tm 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-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm 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-tm - 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-tm 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-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm 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 -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project -Gutenberg-tm 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 F3. 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 MERCHANTIBILITY 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-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm 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-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm’s -goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at http://www.pglaf.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. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. 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 principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation’s web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread 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 http://pglaf.org - -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: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -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. - - -</pre> +<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 1895 ***</div> </body> </html> |