diff options
Diffstat (limited to '23411.txt')
| -rw-r--r-- | 23411.txt | 815 |
1 files changed, 815 insertions, 0 deletions
diff --git a/23411.txt b/23411.txt new file mode 100644 index 0000000..7c6d021 --- /dev/null +++ b/23411.txt @@ -0,0 +1,815 @@ +Project Gutenberg's Smain; and Safti's Summer Day, by Robert Hichens + +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: Smain; and Safti's Summer Day + 1905 + +Author: Robert Hichens + +Release Date: November 8, 2007 [EBook #23411] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK SMAIN; AND SAFTI'S SUMMER DAY *** + + + + +Produced by David Widger + + + + + + +SMAIN; and SAFTI'S SUMMER DAY. + +By Robert Hichens + +Frederick A. Stokes Company Publishers + +Copyright, 1905 + + + "_When the African is in love he plays upon the pipe._" + + Sahara Saying. + + + + +SMAIN + + +Far away in the desert I heard the sound of a flute, pure sound in the +pure air, delicate, sometimes almost comic with the comicality of a +child who bends women to kisses and to nonsense-words. We had passed +through the sandstorm, Safti and I, over the wastes of saltpetre, and +come into a land of palm gardens where there was almost breathless calm. +The feet of the camels paddled over the soft brown earth of the narrow +alleys between the brown earth walls, and we looked down to right and +left into the shady enclosed spaces, seamed with water rills, dotted +with little pools of pale yellow water, and saw always giant palms, +with wrinkled trunks and tufted, deep green foliage, brooding in their +squadrons over the dimness they had made. The activity of man might be +discerned here in the regularity of the artificial rills, the ordered +placing of the trees, each of which, too, stood on its oval hump. But no +man was seen; no flat-roofed huts appeared; no robe, pale blue or white, +fluttered among the shadows; no dog blinked in the golden patches of +the sun--only the sound of the flute came to us from some hidden place +ceaselessly, wild and romantic, full of an odd coquetry, and of an +absurdity that was both uncivilised and touching. + +I stopped to listen, and looked round, searching the vistas between the +palms. + +"Where does it come from?" I asked of Safti. + +His one eye blinked languidly. + +"From some gardener among the trees. All who dwell in Sidi-Matou are +gardeners." + +The persistent flute gave forth a shower of notes that were like drops +of water flung softly in our faces. + +"He is in love," added Safti with a slight yawn. + +"How do you know?" + +"When the African is in love he plays upon the pipe. That is what they +say in the Sahara." + +"And you think he is alone under some palm-tree playing for himself?" + +"Yes; he is quite alone. If he is much in love he will play all day, +and, perhaps, all night too." + +"But she cannot hear him." + +"That does not matter. He plays for his own heart, and his own heart can +hear." + +I listened. Since Safti had spoken the music meant more to me. I +tried to read the player's heart in the endless song it made. Trills, +twitterings, grace notes, little runs upward ending in the air--surely +it was a boy's heart, and not unhappy. + +"It is coming nearer," I said. + +"Yes. Ah, it is Smain!" + +Safti's one eye is sharp. I had seen no one. But as he spoke a tall +youth in a single white garment glided into my view, his eyes bent +down, his brown fingers fluttering on a long reed flute covered with red +arabesques. His feet were bare, and he moved slowly. + +Safti hailed him with the accented violence peculiar to the Arabs. He +stopped playing, looked, and smiled all over his young face. In a moment +he was on our side of the earth wall, and talking busily, staring at +me the while with unabashed curiosity. For few strangers come to +Sidi-Amrane, and Smain had never wandered far. + +"What does he say?" I asked of Safti. + +"I tell him we shall be at Touggourt tomorrow night, and shall stay +there a week. He answers that his heart is there with Oreida." + +"What! Does his lady-love live at Touggourt?" + +"Yes; she is a dancer." + +Smain smiled. He did not understand French, but he knew we were speaking +of his love affair, and he was not afflicted with shyness. As he +accompanied us to the village he played again, and I read his nature in +the soft sounds of his flute. + +All that day he stayed with us, and nearly all that day he played. Even +when he guided me through the village, where, between terraced houses, +pretty children--the girls in deep purple, with yellow flowers stuck in +their left nostrils, the boys in white--danced with a boisterous grace +round brushwood fires, his flute was at his lips, and his fingers +fluttered ceaselessly. And as night drew on the music was surely more +amorous, and I seemed to see Oreida drawing near over the sands. + +Smain was but sixteen, tall and slim as a reed, with a poetic face and +lustrous, languid eyes. I imagined Oreida a child too--one of those +flowers of the desert that blossom early and fade ere noontide comes. +Sometimes such flowers are very beautiful. As I heard the flute of Smain +in the pale yellow twilight I knew that Oreida was beautiful--with one +of those exquisite, lithe figures, whose movements make a song; with +long, narrow dark eyes, mysterious pools of light and shadow; with thick +hair falling loosely round a low, broad forehead; and perfect little +hands, made for the dance of the hands that the Bedouin loves so well. + +All this I knew from the sound of Smain's flute. I told it to Safti, and +bade him ask Smain if it were not true. + +Smain's reply was:-- + +"She is more beautiful than that; she is like the young gazelle, and +like the first day after the fast of Ramadan." + +Then he played once more while the moon rose over the palm gardens, and +Safti, lighting his pipe of keef with tender deliberateness, remarked +placidly: + +"He would like to come with us to Touggourt and to die there at +Oreida's feet, but his father, Said-ben-Kouidar, wishes him to remain at +Sidi-Matou and to pack dates. He is young, and must obey. Therefore he +is sad." + +The smoke rose up in a cloud round Smain and his flute, and now I +thought that, indeed, there was a wild pathos in the music. The moon +went up the sky, and threw silver on the palms. The gay cries from the +village died down. The gardeners lay upon the earth divans under the +palmwood roofs, and slept. And at last Smain bade us good-bye. I saw his +white figure glide across the great open space that the moon made white +as it was. And when the shadows took him I still heard the faint sound +of his flute, calling to his heart and to the distant Oreida through the +magical stillness of the night. + +The next day we reached Touggourt, and in the evening I went with Safti +and the Caid of the Nomads to the great cafe of the dancers in the +outskirts of the town. At the door Arab soldiers were lounging. The +pipes squealed within like souls in torment. In the square bonfires +were blazing fiercely, and the whole desert seemed to throb with beaten +drums. Within the cafe was a crowd of Arabs, real nomads, some in rags, +some richly dressed, all gravely attentive to the dancers, who entered +from a court on the left, round which their rooms were built in +terraces, and danced in pairs between the broad divans. + +"Tell me when Oreida comes," I said to Safti, while the Caid spread +forth his ample skirts, and turned a cigarette in his immense black +fingers. + +The dancers came and went. They were amazing trollops, painted until, +like the picture of Balzac's madman, they were chaotic, a mere mess of +frantic colours. Not for these, I thought, did Smain play his flute. The +time wore on. I grew drowsy in the keef-laden air, despite the incessant +uproar of the pipes. Suddenly I started--Safti had touched me. + +"There is Oreida, Sidi." + +I looked, and saw a lonely dancer entering from the court, large, weary, +crowned with gold, tufted with feathers, wrinkled, with greedy, fatigued +eyes, and hands painted blood-red. She was like an idol in its dotage. +Over her spreading bosom streamed multitudes of golden coins, and many +jewels shone upon her wrists, her arms, her withered neck. She advanced +slowly, as if bored, until she was in the midst of the crowd. Then +she wriggled, stretched forth her hands, slowly stamped her feet, and +promenaded to and fro, occasionally revolving like a child's top that is +on the verge of "running down." + +"That is not Oreida," I said to Safti, smiling at his absurd mistake. +For this was the oldest and ugliest dancer of them all. + +"Indeed, Sidi, it is. Ask the Caid." + +I asked that enormous potentate, who was devouring the withered lady +with his eyes. He wagged his head in assent. Just then the dancer paused +before us, and thrusting forward her greasy forehead, enveloped us with +a sphinx-like smirk. As I hastily pressed a two-franc piece above her +eyebrows Safti addressed her animatedly in Arabic. I caught the word +"Smain." The lady smiled, and made a guttural reply; then, with a +somnolent wink at me, she waddled onward, flapping the blood-red hands +and stamping heavily upon the earthen floor. + +"Smain loves that!" I said to Safti. + +"Yes, Sidi. Oreida is famous, and very rich. She has houses and many +palm-trees, and she is much respected by the other dancers." + +A week later Safti and I were again at Sidi-Matou, on our way homeward +through the desert. The moon was at the full now, and when we rode up to +the Bordj the open space in front of it, between us and the village, +was flooded with delicate light. Against it one tree, which looked +like Paderewski grown very old, stood up with tousled branches. In +the village bonfires flared, and the dark figures of skipping children +passed and re-passed before them. We heard youthful cries echoing across +the sands. Soon they faded. The lights went out, and the wonderful +silence of night in the desert came in to its heritage. + +I sat on the edge of an old stone well before the Bordj, while Safti +smoked his keef. Near midnight, quivering across the sands, came +the faint sound of a flute moving from the village towards the deep +obscurity of the palm gardens. I knew that air, those trills, those +little runs, those grace notes. + +"It is Smain," I said to Safti. + +"Yes, Sidi. He will play all night alone among the palms. He is in +love." + +"But with Oreida! Is it possible?" + +"Did he not say that she was like the first day after the fast of +Ramadan? When an African says that his heart is big with love." + +The flute went on and on, and I said to myself and to the moon, as I had +often said before: + +"He that is born in the Sahara is an impenetrable mystery." + + + + + +SAFTI'S SUMMER DAY. + +By Robert Hichens + + +Safti is a respectable, one-eyed married man who lives in a brown earth +house in the Sahara Desert. He has a wife and five children, and in +winter he works for his living and theirs. When the morning dawns, and +the great red sun rises above the rim of the wide and wonderful land +which is the only land that Safti knows, he wraps his white burnous +around him, pulls his hood up over his closely-shaven head, rolls and +lights his cigarette, and sets forth to his equivalent of an office. +This is the white arcade of a hotel where unbelieving dogs of travellers +come in winter. I am an unbelieving dog of a traveller, and I come +there in winter, and Safti comes there for me. I, in fact, am Safti's +profession. Byrne, and others like me, he lives. For a consideration +he shows me round the market, which I knew by heart six years ago, and +takes me up the mosque tower, from which I gazed over the flying pigeons +and the swaying palms when Safti was comparatively young and frisky. +Together we visit the gazelles in their pretty garden, and the Caid's +Mill, from which one sees the pink and purple mountains of the Aures. We +ride to the Sulphur Baths, we drive to Sidi-Okba. We take our _dejeuner_ +out to the yellow sand dunes, and we sip our coffee among the keef +smokers in Hadj's painted cafe. We listen to the songs of the negro +troubadour, and we smile at Algia's dancing when the silver moon comes +up and the Kabyle dogs round the nomads' tents begin their serenades. +And then I give Safti five francs and my blessing, and he bids me +"_Bonne nuit!_" and his ghostly figure is lost in the black shadows of +the palm-trees. + +Oh, Safti works hard, very hard in winter. The other day I asked him: +"Don't you get exhausted, Safti, with all this exertion to keep the +Sahara home together? You are getting on in years now." + +"Ah yes, Sidi; I am already thirty-two, alas!" + +He was thirty-five when I first met him; but he is as clever at +subtraction as a London beauty. + +"Good heavens! So much! But, then, how can you keep up the wear and tear +of this tumultuous life? You must have an iron strength. Such work as +you do would break down an American millionaire." + +Safti raised his one dark eye piously towards Allah's dwelling. + +"Sidi, I must labour for my children. But in the summer, when you +and all the travellers are gone from the Sahara to your fogs and the +darkness of your days, I take my little holiday." + +"Your holiday! But is it long enough?" + +"It lasts for only five months, Sidi; but it is enough for me. I am +strong as the lion." + +I gazed at him with an admiration I could not repress. There was, +indeed, something of the hero about this simple-minded Saharaman. We +were at the edge of the oasis, in a remote place looking towards the +quivering mirage which guards dead Okba's tomb. A tiny earthen house, +with a flat terrace ending in the jagged bank of the Oued Biskra, was +crouched here in the shade. From it emerged a pleasant scent of coffee. +Suddenly Safti's bare legs began to "give." I felt it would be cruel to +push on farther. We entered the house, seated ourselves luxuriously +upon a baked divan of mud, set our slippers on a reed mat, rolled our +cigarettes, and commanded our coffee. When a Kabyle boy with a rosebud +stuck under his turban had brought it languidly, I said to Safti: + +"And now, Safti, tell me how you pass your little holiday." + +Safti smiled gently in his beard. He was glad to have this moment of +repose. + +"Each day is like its brother, Sidi," he responded, gazing out through +the low doorway to the shimmering Sahara. + +"Then tell me how you pass a summer day." + +The coffee nerved him to this stubborn exertion, and he spoke. + +"_Sahah_ Sidi." + +"_Merci_." + +We sipped. + +"A day in summer, Sidi, when the great heats begin in June? Well, at +five in the morning I get up----' + +"And light the fire," I murmured mechanically. + +The one eye stared in blank amazement. + +"Proceed, Safti. You get up at five. That is very early." + +"The sun rises at a quarter to five." + +"To call you. Well?" + +"I eat three fresh figs, and sometimes four. I then mount upon my mule, +and I ride very quietly into Biskra to take coffee with my friends." + +"That is half-an-hour's exercise?" + +"About half-an-hour. After taking coffee with my friends we play at +dominoes. It is forbidden for the Arabs to play at cards in Biskra. I +remain in the cafe at the corner--" + +"I know--by the Garden of the Gazelles!" "--till eleven o'clock, at +which time I again mount upon my mule, and return quietly to my home. +When I reach there I eat with my wife and children sour milk, bread, and +dates from my palm-trees which I have kept from the autumn. At twelve we +all go to bed together in a black room." + +"A black room?" + +"We fear the flies." + +"I see." + +"Till four in the afternoon I, my wife, and my children sleep in the +black room. At that hour I rise once more, and go quietly to the Cafe +Maure in old Biskra, near my house. I play cards there for five coffees +till seven o'clock. At seven the mosquitoes arrive, and prevent us from +playing any more." + +"How intrusive! Always at seven?" + +"Always at seven. I then walk very quietly with my friends to the end of +the oasis." + +"To the Tombuctou road?" + +"Yes, Sidi; to get the air. We come back by the same road quietly, and +I go to my house, and eat a cold kous-kous with my wife and children. +After this I return to the cafe and play ronda till one o'clock." + +"One o'clock at night?" + +"Yes. At one o'clock I go with my friends very quietly to bathe in +the stream beneath the wall near the mosque. We stay in the water for, +perhaps, an hour, and when we come out we drink lagmi." + +"What's lagmi?" + +"Palm wine. Then at three o'clock I go to my home, mount upon the roof +quietly with my wife and children, and sleep till dawn." + +"And you do this for five months?" + +"For five months, Sidi." + +"And--and your wife, Safti?" + +I felt that I was very indiscreet; but Safti is good-natured, and has +bought quite a number of palm-trees out of his savings when with me. + +"My wife, Sidi?" + +"What does she do all the time?" + +"She remains quietly in my house." + +"She never goes out?" + +"Never, except upon the roof to take a little air." + +"Doesn't she get rather bor----" + +The one eye began to look remarkably vague. + +"And you find five months of this life a sufficient rest in the course +of the year?" + +Safti smiled at me with resignation. + +"I cannot take more, Sidi; I am not a rich Englishman." + +"Well, Safti, you must make the best of your fate. It is the will of +Allah that you should toil." + +"_Shal-lah!_ I will take another coffee, Sidi." + +"Larbi!" + +I called the Kabyle boy. + + + + + + +End of Project Gutenberg's Smain; and Safti's Summer Day, by Robert Hichens + +*** END OF THIS PROJECT GUTENBERG EBOOK SMAIN; AND SAFTI'S SUMMER DAY *** + +***** This file should be named 23411.txt or 23411.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/3/4/1/23411/ + +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. |