summaryrefslogtreecommitdiff
path: root/23181.txt
diff options
context:
space:
mode:
Diffstat (limited to '23181.txt')
-rw-r--r--23181.txt849
1 files changed, 849 insertions, 0 deletions
diff --git a/23181.txt b/23181.txt
new file mode 100644
index 0000000..d60da3d
--- /dev/null
+++ b/23181.txt
@@ -0,0 +1,849 @@
+Project Gutenberg's Thomas Jefferson Brown, By James Oliver Curwood
+
+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: Thomas Jefferson Brown
+
+Author: James Oliver Curwood
+
+Release Date: October 24, 2007 [EBook #23181]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THOMAS JEFFERSON BROWN ***
+
+
+
+
+Produced by David Widger
+
+
+
+
+
+
+THOMAS JEFFERSON BROWN
+
+By James Oliver Curwood
+
+Copyright, The Frank A. Munsey Co
+
+
+
+
+I
+
+There are not many who will remember him as Thomas Jefferson Brown. For
+ten years he had been mildly ashamed of himself, and out of respect for
+people who were dead, and for a dozen or so who were living, he had the
+good taste to drop his last name. The fact that it was only Brown didn't
+matter.
+
+"Tack Thomas Jefferson to Brown," he said, "and you've got a name that
+sticks!"
+
+It had an aristocratic sound; and Thomas Jefferson, with the Brown cut
+off, was still aristocratic, when you came to count the red corpuscles
+in him. In some sort of way he was related to two dead Presidents, three
+dead army officers, a living college professor, and a few common people.
+He was legitimately born to the purple, but fate had sent him off on a
+curious ricochet in a game all of its own, and changed him from Thomas
+Jefferson Brown into just plain Thomas Jefferson without the Brown.
+
+He was one of those specimens who, when you meet them, somehow make you
+feel there are a few lost kings of the earth, as well as lost lambs. He
+was what we called a "first-sighter"--that is, you liked him the instant
+you looked at him. You knew without further acquaintance that he was a
+man whom you could trust with your money, your friendship--anything you
+had. He was big, with a wholesome brown face, blond hair, and gray
+eyes that seemed always to be laughing and twinkling, even when he was
+hungry. He carried about with him a load of cheerfulness so big that it
+was constantly spilling over on other people.
+
+There was a time when Thomas Jefferson Brown had little white cards
+with his name on them. That was when he went to college, and his lungs
+weren't so good. It was then that some big doctor told him that if he
+wanted to live to have grandchildren, the best thing for him to do was
+to "tramp it" for a time--live out of doors, sleep out of doors, do
+nothing but breathe fresh air and walk. That doctor was Fate, playing
+his game behind a pair of spectacles and a bumpy forehead. He saved
+Thomas Jefferson Brown, all right; but he turned him into plain Thomas
+Jefferson.
+
+For Thomas Jefferson Brown never got over taking his medicine. He kept
+on tramping. He got big and broad and happy. Somewhere, perhaps in a
+barn, he caught a microbe that made him dislike ordinary work. He would
+set to and help a farmer saw wood all day, just for company and grub;
+but you couldn't hire him to go into an office, or settle down to
+anything steady, for twenty-five dollars a day. He had a scientific name
+for the thing that was in him--the _wanderlust_ bug, I think he called
+it; and he said it was better than the Chinese lady-bugs that the
+government imports to save California fruit.
+
+The nearest Thomas Jefferson ever came to going back to Thomas Jefferson
+Brown was when he took a job at braking on the Southern Pacific. That
+held him for three, days less than two weeks.
+
+"The _wanderlust_ bug wouldn't stand for it," he explained.
+
+Right after that he struck a farmer's house where the farmer was sick,
+almost dying, with three little kids and a frail little woman trying
+to keep things up. He worked like ten men for more than a month on that
+farm, and when he went away he wouldn't take a cent. That's the sort of
+ne'er-do-well Thomas Jefferson was.
+
+He wouldn't beg. He'd go three days without grub, and laugh all the
+time. It was mostly in the country and in small villages that he made
+his living. He could play seven different kinds of instruments without
+any instruments at all. Did it all with his mouth. And the kids--they
+went wild over him. In return for his entertainment, Thomas Jefferson
+wasn't ashamed to take whatever came to him in the way of odd nickels
+and dimes.
+
+Once the manager of a vaudeville house heard him on a street corner, and
+offered him a job at fifty a week if he'd sign a contract for a dozen
+weeks.
+
+"Good Lord," said Thomas Jefferson, "I wouldn't know what to do with six
+hundred dollars!"
+
+The next week he was cooking in a lumber-camp for his board. That's
+Thomas Jefferson--or, rather, that's what he was.
+
+And now we're coming to the girl who killed the bug in Thomas
+Jefferson--and rescued the king. She was born swell. She has blue
+eyes--the sort that can light up a dark day, and can make your head turn
+dizzy when they smile at you. And she's got the right sort of hair to
+go with 'em--red and gold and brown all mixed up, until you can't tell
+which is which; the sort that makes you wonder if some big artist hasn't
+been painting a picture for you, when you see it out in the sunshine.
+
+She comes of a titled family, but she'd want to die to-morrow if Thomas
+Jefferson Brown didn't worship her from the tips of her little toes to
+the top of her pretty head. She thinks he's a king. And he is--one of
+those great, big, healthy kings that nature sometimes grows when it has
+half a chance.
+
+
+
+
+II
+
+It's curious how the whole thing happened. Thomas Jefferson wandered up
+to Portland at the time we were fitting out a ship for a whaling cruise.
+We saw him imitating a banjo for a lot of kids down on the wharf, and
+the minute our eyes lit on him--Tucker's and mine--we liked him. It
+isn't necessary to go into the details of what happened after that. Just
+a week later, when Thomas Jefferson and I were shaking hands for the
+last time, a queer sort of look came into his eyes, and he said:
+
+"Bobby, you're the first man I ever knew that makes me feel like crying
+when you leave me."
+
+He said it just like one of the kids he'd tickled half to death on the
+wharf. There was a little jerking in his throat, and there came into his
+face a look so gentle that it made me think of a girl.
+
+"Why don't you come along on this cruise with me?" I said.
+
+Thomas Jefferson gave a sudden start, and a queer expression came into
+his eyes, as if he saw something out on the sea that had startled him.
+Then he laughed. You could hear that laugh of Thomas Jefferson's three
+blocks away, and sunshine in winter couldn't bring more cheer than the
+sound of it. He looked at me for a moment, and then said:
+
+"Bobby, I'll go!"
+
+It wasn't forty-eight hours before Thomas Jefferson had a first mortgage
+on every soul aboard the "Sleeping Sealer," from the cap'n to the oiler
+down in the engine-room. He was able, all right, but you couldn't have
+made an able seaman out of him in a hundred years. For all that, he did
+the work of three men. The first thing you heard when you woke up in the
+morning was his whistle, and the last thing you heard at night was his
+laugh or his song. He did everything, from cooking to telling us why
+Germany couldn't lick England, and how the United States could clean up
+the map of the earth if Congress would spend less money on job-making
+bureaus and a little more on war-ships.
+
+Then we discovered what was in the old alligator-skin valise he carried.
+It was books. Half the time he didn't have to read to us, but just
+talked off the stuff he'd learned by heart. We got to know a lot before
+the trip was half begun, just by associating with Thomas Jefferson
+Brown--or Thomas Jefferson, as he was then.
+
+We spent three months up about the Spicer Islands, and then came down
+toward Southampton Land. Thomas Jefferson was the happiest man aboard
+until we caught sight of a coast, and then the change began. After that
+he'd get restless whenever land hove in sight.
+
+Six weeks later we came down into Roes Welcome Sound, planning to get
+out through Hudson Strait before winter set in. The fact that we were
+almost homeward bound didn't seem to affect Thomas Jefferson. I saw the
+beginning of the end when he said to me one day:
+
+"Bobby, I've never seen this northern country. It's a big, glorious
+country, and I'd like to go ashore."
+
+There wasn't any use arguing with him. The cap'n tried it, we all tried
+it, and at last Thomas Jefferson prepared to take his leave of us at
+Point Fullerton, just eight hundred miles north of civilization, where
+there's an Eskimo village and a police station of the Royal Northwest
+Mounted. He came to me the day before we were going to take him ashore,
+and said:
+
+"Bobby, why don't you come along? Let's chum it, old man, and see what
+happens."
+
+When he went ashore, the next day, I went with him, and we each took
+three months' supply of grub and our pay. From that hour there began the
+big change--the change which turned Thomas Jefferson back into Thomas
+Jefferson Brown, and which it took a girl to finish.
+
+It came first in his eyes, and then in his laugh. After that he seemed
+to grow an inch or two taller, and he lost that careless, shiftless way
+which comes of what he called the _wanderlust_ bug. There wasn't so
+much laughter in his eyes, but something better had taken its place--a
+deeper, grayer, more thoughtful look, and he didn't play those queer
+things with his mouth any more.
+
+The police at Point Fullerton hardly had a glimpse of him as the
+big, sunny, loose-jointed giant, Thomas Jefferson. He had become a
+bronze-bearded god, with the strength of five men in his splendid
+shoulders, and a port to his head that made you think of a piece of
+sculpture.
+
+"You can't be anything but a _man_ up here, Bobby," he said one day, and
+I knew what he meant. "It's not the air, it's not the cold, and it's not
+the fight you make to keep life in your body," he added, "but it's
+God! That's what it is, Bobby. There's not a sound or a sight up here,
+outside of that little cabin, that's human. It's all God--there's
+nothing else--and it makes you think!"
+
+
+
+
+III
+
+It was spring when we came down to Fort Churchill, and it was summer
+when we struck York Factory. It was the middle of one of those summer
+days when strawberries ripen even up there, that the last prop fell out
+from under Thomas Jefferson, and he became Thomas Jefferson Brown. He
+met Lady Isobel. The title did not really belong to her, for she was
+only the cousin of Lord Meton; but Thomas Jefferson Brown called her
+that from the first.
+
+It was down close to the boats, where their launch lay, and the wind had
+frolicked with Lady Isobel's hair until it rippled about her face
+and shoulders like a net of spun gold. She was bareheaded, and he was
+bareheaded, and they stared for a moment, her blue eyes flashing into
+his gray ones; and then there came into her face a color like rose, and
+he bowed, as one of the old-time Presidents might have bowed to a
+hair-powdered beauty in the days when the Capitol was young.
+
+That was the beginning, and to his honor be it said that Thomas
+Jefferson Brown never revealed that he was a gentleman born, though his
+heart was stricken with love at that first sight of Lady Isobel's lovely
+face. Lord Meton wanted a man--one who could handle a canoe and shoulder
+two hundred pounds of duff; and "Tom" became the man, working like a
+slave for a month; but always with the pride and bearing of a king.
+
+It wasn't difficult to see what was happening. Lord Meton saw, and
+understood; but he knew that the proud blood in Lady Isobel was an
+invulnerable armor that would protect her from indiscretion. And as for
+Thomas Jefferson Brown--
+
+"Bobby," he said, standing up straight and tall, "if she can only love a
+gentleman, and not a man, what's the use of playing cards?"
+
+One day, when he had to carry Lady Isobel ashore from a big York boat,
+something inside him got the best of his arms, and he held her tight--so
+tight that her eyes came down to his with a frightened look, and he
+heard a breath come from her that was almost a sob. They gazed at each
+other for a moment, and it was then that Thomas Jefferson Brown told her
+that he loved her--not in words, but in a way that she understood.
+
+When he set her down on shore she was as white as death. From that day
+she treated him a little coolly--up to the last moment, out on the bay.
+
+It was a bright, sunshiny day when the three--Lord Meton, Lady Isobel,
+and Thomas Jefferson Brown--set off in a big birchbark canoe, bound for
+Harrison's Island, a dozen miles out from the mainland. But you can't
+tell much about sunshine and calm on Hudson Bay. They're like a jealous
+woman's smile, masking something hidden. Four miles out, the wind came
+up; midway between the island and the mainland, it was a small gale.
+Even at that, Thomas Jefferson Brown would have made it all right if the
+beat of the sea hadn't broken a rotten thread under the bow, letting the
+birch seam part with a suddenness that sent a little spurt of water up
+into Lady Isobel's face.
+
+What? No, this isn't going to have the regulation hero-act end, in
+which Thomas Jefferson Brown saves the life of the lady he loves. It's
+something different--something that Thomas Jefferson Brown never guessed
+at when the water spurted in, and Lady Isobel turned to him with a
+little scream, her beautiful blue eyes wide and filled with horror.
+
+"Don't be afraid," he said. "Here, take this jacket and hold it down
+tight over the seam. We'll reach the island, all right."
+
+Lady Isobel held the jacket over the hole, and Thomas Jefferson Brown
+put a strength into his paddle that threatened to crack off the handle.
+After a minute or two, he saw a little trickle of water, beginning to
+ooze in about the edges of the jacket. He leaned back for an instant,
+and signaled Lord Meton to bend over toward him.
+
+"Take off your clothes," he said, so low that Lady Isobel couldn't hear.
+"Can you swim?"
+
+"Not a stroke," said Lord Meton, and his face went as white as chalk;
+but it was no whiter than Thomas Jefferson Brown's.
+
+When a birchbark seam begins to part there's no power on earth that will
+hold it when the canoe is heavily loaded. A few minutes later, the water
+was gushing in by the quart about Lady Isobel's feet. She fought hard
+to hold it back. When at last she saw that it was hopeless, she turned
+again, to see Lord Meton in his underwear, and Thomas Jefferson Brown
+stripped of everything but his shirt and his buckskin trousers, which
+don't water-sog. He laughed straight into her face, as if it was all an
+amusing joke; and then, suddenly, he began playing that banjo thing with
+his mouth.
+
+It was all so strange, with the beat of the sea, the wail of the wind,
+and Thomas Jefferson Brown sitting there as if nothing were happening,
+that Lady Isobel just stared in astonishment, while the water gushed in
+about her. At last he put down his paddle, and stretched out both hands;
+and it seemed the most natural thing in the world that her two hands
+should come out to meet his.
+
+"Listen," he said, and his eyes were telling her again what they told
+her on the day when he brought her in from the York boat. "You'll do as
+I tell you, won't you? And you won't be afraid?"
+
+For an instant Lady Isobel looked at Lord Meton, shrinking and shivering
+in the stern of the canoe; and then she looked back to the other man's
+face, and blue fires seemed to leap into her eyes.
+
+"With _you_--no, I'm not afraid," she said.
+
+She leaned toward him, nearer and nearer, as the water rose about them,
+looking straight into his eyes. They both knew in that moment that it
+was the man and the woman who had triumphed, and that for them the lady
+and the gentleman were dead.
+
+"I'm not afraid--with you," she said again.
+
+Her lips trembled, and her golden hair swept over his breast, and Thomas
+Jefferson Brown bent down and kissed her once upon the mouth. Then he
+said, as if he were speaking to a little girl:
+
+"Do not be afraid, and hold to the edge of the canoe when it fills. The
+wind will carry us to Harrison's Island."
+
+He turned to Lord Meton, and repeated the words; and just then the
+birchbark began to settle under them. With one hand gripping the side,
+Thomas Jefferson Brown leaped over the sea. Lower and lower settled the
+canoe with almost a scream, Lord Meton cried above the wind:
+
+"Good Lord, it won't hold us up!"
+
+For a few moments Thomas Jefferson relieved the canoe of his weight, and
+the bark rose again, slowly. Then, with a gasp, he clutched at the side
+again, and into Lady Isobel's drenched face, half hid the wet veil of
+her shining hair.
+
+"The canoe won't hold us all up," he said trying to smile. "But it will
+hold two--you two and the wind is taking it to the island, four miles to
+the island, and I may be make it."
+
+He knew that he never could make it; no man could swim so far in the
+chill waters of Hudson Bay; but he spoke as if his words were "I'm going
+to let go and try. Isobel, my love, will you kiss me?"
+
+She threw one arm about his neck. Meton, clutching with frantic terror
+to the canoe saw nothing of what happened, nor did he hear the sobbing
+cry of Lady Isobel's heart as she kissed Thomas Jefferson Brown, once,
+and then three times, before he dropped back into the sea again.
+
+"Good-by, sweetheart!" he said.
+
+In the eyes that looked up at her, in his eyes in the one last look of
+love that he said, "Good-by." Lady Isobel saw the truth, and stretched
+out her arm to him.
+
+"Stop! Come back! Take me with you!" she cried. "I want to go with you!"
+
+And there, in the wildness of that sea, four miles from shore, Thomas
+Jefferson Brown seemed to heave himself up out of the water, as if the
+strength of a thousand swimmers had suddenly come to him. He let out a
+cry of triumph, of love, of joy; and he came back and gripped the canoe
+again, his gray eyes flashing, his face glowing with a strange flush.
+
+"You want to go with me?" he said. "Come!"
+
+He held up his arms, and with a cry that wasn't fear Lady Isobel went
+into them, while Thomas Jefferson Brown called to Lord Meton:
+
+"Stick to the canoe! It will take you to the island!"
+
+
+
+
+IV
+
+The shore was a low, dark streak, four miles away--an appalling distance
+away; but as she clung lightly to his shoulders, as Thomas Jefferson
+Brown told her to do, the horror and the fear of the big sea went out
+of Lady Isobel's brave little heart. She put her face down against his
+neck, pulled back his wet hair, and kissed him. God bless all such true
+hearts, wherever they be!
+
+"We'll make it, Tom--we'll make it!" she told him a hundred times.
+
+He felt the warm caresses of her lips, the thrilling love of her voice,
+and he knew that she was ready to die with him.
+
+He swam in a strange way--a wonderfully strange way--did Thomas
+Jefferson Brown. He stood almost erect in the water, his head and
+shoulders clear; and now and then he stopped to rest, and it seemed no
+test for him at all to float with the weight of the woman he loved, his
+face turned up to her in those moments, her glorious blue eyes devouring
+him, her sweet lips kissing him--still kissing him.
+
+He was doing a thing that she knew no other man in the world could do.
+She kept telling him so, while the land drew nearer and nearer, until at
+last she cried out in joy that she could see the little bushes along the
+shore.
+
+"Another mile, Tom!" she said. "Only another mile, and then--"
+
+"And then--" he said.
+
+"And then--life!" she cried. "Life for you and me!"
+
+He went on, seeming to grow stronger as the shore drew nearer. It was
+wonderful; but at last, when they came to the beach, he dropped down
+like a dead man. Lady Isobel caught his head to her dripping breast, and
+rocked him back and forth, sobbing a paean of love and pride, while far
+out she saw the canoe and Lord Meton drifting shoreward.
+
+A few minutes later, Thomas Jefferson Brown went out into the sea again,
+until he was not much more than a speck, and brought in the canoe and
+Lord Meton, while Lady Isobel stood to her knees in the water, praising
+her God that from riches and splendor she had come out into a wilderness
+to find such a man as this.
+
+After that, at York Factory, there was nothing left for Thomas Jefferson
+Brown to do but to reveal himself, and when Lord Meton discovered that
+there ran as good blood through his rescuer's veins as through his
+own, he gripped hands with the man who had saved him, and gave his
+congratulations cm the spot. But it made no difference to Isobel. If
+anything, she was a little disappointed.
+
+Thomas Jefferson Brown arranged to go back with them on their yacht. The
+wedding would take place in London, a quiet affair. One day Isobel and
+her lover came along hand in hand, and Thomas Jefferson Brown said to
+me:
+
+"Bobby, you're going to be best man."
+
+"Not best man," Lady Isobel added, "but second best, Bobby. There's only
+one best man in the world!"
+
+But I haven't been able to come to the point of this story yet--the
+remarkable part of it. Two weeks later, when we were up the river
+and our canoe struck a snag, I discovered that Thomas Jefferson Brown
+"couldn't swim a stroke!"
+
+"Good Lord!" I said, but waited.
+
+Back at the post, Thomas Jefferson Brown took me into his little room,
+and said:
+
+"Bobby, you've found that I can't swim, and I'm going to trust you with
+a great secret. Love can accomplish miracles; and love did--out there.
+For when I let go of the canoe, Bobby, I knew that I was going straight
+down to my death. But a wonderful thing happened." He brought a little
+map from a drawer. "Look at this map, Bobby. See all those little marks
+off Harrison's Island--figures--twos and threes and fives, and
+nothing above sixes? That's the depth of water for five miles out from
+Harrison's Island, at low tide; and it was low tide when I jumped from
+the canoe. That's all, Bobby. _I waded ashore_. But what would be the
+good of saying anything about it when it brought me love like hers?"
+
+Yes, what would be the use? For Thomas Jefferson Brown stepped out
+deliberately to go to his death, and found life. He's a hero and a man,
+is Thomas Jefferson Brown, even if fate did step in to make heroism a
+little easy for him at the time!
+
+
+
+
+
+
+
+End of Project Gutenberg's Thomas Jefferson Brown, By James Oliver Curwood
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THOMAS JEFFERSON BROWN ***
+
+***** This file should be named 23181.txt or 23181.zip *****
+This and all associated files of various formats will be found in:
+ http://www.gutenberg.org/2/3/1/8/23181/
+
+Produced by 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.