diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:37:57 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:37:57 -0700 |
| commit | 7eafa88e455fcee36372f0414fe5317d3e930a03 (patch) | |
| tree | 83a90338162537f8cd53ebe31e2b3e1f73cbebed /28277-0.txt | |
Diffstat (limited to '28277-0.txt')
| -rw-r--r-- | 28277-0.txt | 903 |
1 files changed, 903 insertions, 0 deletions
diff --git a/28277-0.txt b/28277-0.txt new file mode 100644 index 0000000..b116248 --- /dev/null +++ b/28277-0.txt @@ -0,0 +1,903 @@ +The Project Gutenberg EBook of My First Battle by Adam Mickiewicz + + + +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 http://www.gutenberg.org/license + + + +Title: My First Battle + +Author: Adam Mickiewicz + +Release Date: March 7, 2009 [Ebook #28277] + +Language: English + +Character set encoding: UTF-8 + + +***START OF THE PROJECT GUTENBERG EBOOK MY FIRST BATTLE*** + + + + + + Adam Mickiewicz + + MY FIRST BATTLE + + A SERGEANT’S STORY + + + + + + +They envy Attila, who fought a thousand battles, and in the thousandth +still felt that, which he called _gaudia certaminum_, that is, the delight +in the slaughter. Oh, that old general was a lecher of blood. As far as I +am concerned, holding the rank of light artillery sergeant, I confess, +that I was truly in love with war, but only during the first week of my +military career, and that only one single time I tasted Attila’s delight. +For this reason my honeymoon and first battle will never leave my memory. + +The first battle has the most particular similarity to first love. How +many hopes! how many illusions! before this ceremonial action, which +resolves the fate of nations, any recruit feels obliged to play at least +a role… as a hero of history or a romance. + +It finally comes to the trial and you stand before it with impatience and +a certain anxiety, experiencing once mortal terror, then again a crazed +joy; now fear pierces you, now the pride of the triumphant picks you up.. +In one hour you pass through crowds of emotions, and you collect keepsakes +for your whole life! but in order to feel it in full force, you must have +the heart of a virgin, the heart of a recruit. + +Someone said that every man can compose a good romance, telling only the +simple story of his first love. This insight encouraged me to describe the +first battle, in which I was. You need to know that this battle is only an +episode of a famous war, that in it we achieved a great victory, and that +in its time it won us the admiration of the European people. Admittedly, +these are times long past, because people have well forgotten both about +our defeats and about our triumphs. In spite of this, the Polish soldier +will never forget about the Battle of Stoczek. + +After the revolution of the 29th of November(1), I decided to join the +ranks, and I pondered, whether to the infantry, or to the cavalry? To make +a definite choice, I ran through the streets of Warsaw, eyeing closely the +uniforms of several regiments. I stopped ahead of a battalion of +grenadiers, who marched in tight rows, silently, in order and seriously. +Each moustachiod, with chevrons on his shoulders. These were the remains +of the Napoleonic legions. As they passed, they were yielded to with the +utmost respect, and they were whispering in the crowd: “There are my +soldiers! there are our defenders!” I envy them, I thought, it’s a +beautiful thing to be a grenadier! And I approached the division, and +having taken the place beside the drummer, I marched in the grenadiers’ +step, singling out the commander, to whom I immediately wished to offer my +services. + +Suddenly, on the other side of the street, a new military meteor appeared +to me. He was a Krakus(2) on a white horse, in a white _sukmana_(3), in a +red cap with a white feather, which cut like a swan through black waves of +crowding townsfolk. He turned his horse beautifully; he welcomed +pedestrians with a nod, with cavalrymen squeezed hands, and to beautiful +ladies, standing in windows, sent grateful kisses. All eyes turned towards +him; men clapped, women smiled in silence; and the beautiful Krakus became +the god of the moment. + +It came to my mind right away, that a Krakus’ uniform at my age and height +would suit me better, and so my true calling manifested itself: God had +made me a Krakus! + +So I turned in the direction of the cavalry barracks; but halfway across +the road I fell into the immeasurable crowd who captured me into itself +and bore towards the tollbooths. The people pressed to meet the newly +approaching rows. A stranger figure rode at the front; it was it is an old +Capuchin in habit and on a horse, in one hand a lance and the other +blessing people with a cross, who kissed his legs. Behind the Capuchin +followed a thousand archers from the Augustów forests. They had slung +double-barrelled guns and badger skin bags with claws and bared teeth, +whitening on green jackets. Another thousand villagers, armed with crooked +scythes and axes, brought up the rear of the procession. Never had the +entrance of the most beautiful regiments, even the entrance of Prince +Józef at the head of victorious legions, aroused such enthusiasm, as this, +with which the people of Warsaw greeted badger skin bags and bark clogs. +Now there wasn’t applause, or smiles, but shouts, thundering hurrah! and +blessings, mixed with loud crying. Because the people, surprised by their +own instincts, could seize the noble and beautiful side of the image. At +the sight of these priests, of these farmers who had left monastic cells +and their forests, in order to beat the enemies of the homeland, people +understood the whole horror of danger, and also comprehended with complete +trust that it was the only means of defense. + +I was overcome by a sudden temptation to steal immediately behind the +scythe or double-barrelled gun and to join the row with the peasants in +order to share with them the triumphant entry to the capital. But how to +do it? how to fit myself in with the bold and taunting movements of +Mazowian scythe-bearers, or the grim expressions and wild shooters from +the Nieman? How to match them in the height and breadth of their backs? +amongst these giants I would look like a rabbit among wolves. So what will +I do with myself? Should I be a Krakus, or a grenadier! This uncertainty +cost me dearly. + +A colonel of my acquaintance met me in passing, and patting me on the +shoulder, said: “I am in command of a guerrilla unit; some of my people +have already left for the field, I myself am setting off today from +Warsaw, I need gunners; perhaps you know where I can find them?” + +“I know about one,” I said, assuming a military posture; “you need a +gunner, here you have him!” + +“Agreed!” the colonel said, “put on a uniform and be at my place this +evening at ten o’clock exactly, do you understand?” + +Soldiers were being recruited in this manner during the uprising. That day +at eleven at night I marched in uniform by the cannons. During the march +we trained ourselves in the use of weapons, and I added so much urgency, +that after three days I was appointed sergeant and a cannon was placed +under my orders. The envious claimed that I had owed my rank to the +colonel’s peculiar considerations. + +After all, I myself was surprised, confused and almost ashamed at such a +sudden promotion. My head spun and only after a few hours of astonishment +did I start to feel the influence of my new dignity. Involuntarily I +adopted a martial and more serious face; having gravely stretched my right +hand, I laid it on my property, on the muzzle of the cannon. This large +piece of bronze, I thought to myself, will be a pillar in the temple of my +fame; will be the first step in my knightly profession, or perhaps even +lead me to the throne! A well aimed cannon often settles the fate of a +war. And how did Napoleon get his start, if not as a gunner? Full of these +dreams I fell in love with my bronze cannon as if with a young girl and +from then on I was always beside her. I examined her defects and +attributes, I debated character and got to know most precisely her entire +composition and nature; physical as moral. She is so well engraved in my +memory, that I could paint her portrait from memory. I knew sound of her +voice so well that I could have recognised it amongst the roar of the +liveliest cannonade, even if it were Leipzig, or Ostrołęka. My beloved +cannon! what happened to you? into whose hands did you fall? Certainly +nobody will caress you as I did… Only that thought comforts me. She was +admittedly a little eight pounder, but to me she was huge, as she was +pregnant with my entire future. As well as well settled, simple to +manoeuvre and with a strangely accurate shot. A whole day was barely +enough for me in fulfilling my duties by the beloved cannon, and at night +I didn’t stop thinking about the object of my love. And so, one night I +dreamed of battle, and who did I see opposite me? Field Marshall von +Diebitsch! At once I take aim—poof! and my cannon ball cuts him in two. I +took off, to tear off his head and carry it still warm to our +Commander-in-Chief, Prince Radziwiłł; but the corpse of von Diebitsch was +so heavily defended, that until I awoke completely into reality, instead +of the head of the Muscovite leader, I held the head of the gunner +sleeping opposite me. Another night a worse thing happened to me: I +dreamed that the Muscovite cavalry fell on us unexpectedly; they killed me +in advance, then cut down my gunners, and finally a Muscovite cuirassier +mounted my cannon like a horse and started to plug it, looking at me with +contemptuous eyes. Then I felt all the torments of the husband of Lucretia +and the torments of the father of Virginia. Although I was already a cold +and stiff corpse, nevertheless I gathered all my strength to give some +sign of life and adjusting to myself, I managed at last to scream so +strongly, that I both woke myself and alarmed the entire camp. Having +jumped to my feet, and just as day was beginning to break, my eyes seek my +cannon and I see with no little joy, that she’s there, that she sits free +and calm on her carriage. + +Her open jaws seemed to draw the coolness of the morning, and the gleaming +surface reflected the first rays of sunshine. I lay down again on the wet +ground, but this time as a precaution I held on to a spoke. + +So passed a whole week, my first week after marrying the beautiful eight +pounder: the honeymoon of an artillery sergeant, the happiest week of my +life! I kept busy every moment, in the belief that I had already achieved +the purpose of my existence in world; my soul went completely into the +beloved cannon. + +Meanwhile we drew closer and closer to the banks of the Vistula; ice was +already giving way in many places and here and there you could see water +appearing. Our colonel, with a long pole in his hand, was first to go +through the ice, wading in the water up to his knees, then he ordered us +to follow him. Follow him with our cannons over such weak ice? At this +order I went pale as death, because our entire military future could +drown. In the end we passed happily and we stopped on the opposite bank +with the shout: Long live Poland! + +That same evening saw the joining of the corps, with the front sent from +Warsaw. They awaited us impatiently; because young soldiers have an +elevated opinion of the power of artillery, and it worried them very much +that on the eve of the expected battle they had no cannons. Having heard +the rattle of cannon wheels, the whole camp lost possession of itself in +joy: “our artillery approaches! Long live the artillery!” they called from +all sides and ran to meet us, and placed us in the centre of the camp. + +We also enthusiastically greeted our comrades. Until then marching in +loneliness, now we were in a crowd of brave soldiers, whose number gave +itself significance to the eye. That raised our confidence. Only +altogether there weren’t more than twelve squadrons, filling a wide area. +Proudly we looked at a forest of stuck lances, on which new flags sparkled +with colours, still not knowing blood or dust. After a cheerful and grand +supper we lay down to sleep, swung with the sound of military music and +the singing of the mazurka. + +At dawn, when our corps entered the village, mixed shouts reached us. We +pulled in; they sent for reconnaissance and it turned out that these were +shouts of victory! The first triumph! You should have seen, how pleased we +were with them. These Cossacks, bearded, disarmed, walked with heads +lowered and with sour expressions. As they went by us, our young soldiers +jeered at them, cursed or threatened. And I had a desire to do the same, +but the duty attached to the rank didn’t permit it, so severely +reprimanding them, I said: “Poles! respect misfortune! The fate of war is +often doubtful! Death to our enemies! Mercy to the conquered! Long live +Poland!” + +The soldiers calmed down, taken aback by the nobility of my emotions and +sententious eloquence. For some time my attention turned to one old +gunner, riding beside me, who constantly climbed in his stirrups, lifted +his head, neck craned over the shoulders of his comrades. + +“What are you looking at, Mateusz?” + +“At those beasts, sergeant, may the hangman take them”… and pointed his +finger at hills, which were ahead of us. I saw then, how something was +blackening the hilltop. Where they bushes, or the caps of the Muscovite +infantry? I didn’t have time to look longer, because the officers came +running, calling with all their might: “Forward artillery! stand in +position!” We moved, every horse jumping. A cannon shot and the ball, +having killed one of our horses, rained earth on us and flew onwards, +ricocheting. We occupied the hill, directly opposite the enemy, who +doubled fire. + +A wide plain, surrounded by bushes and forest, stretched before us. In the +centre of it, on the hill, rolled a Muscovite battery of twelve heavy +gauge cannons who powdered us with cannon balls and grenades. Behind the +battery you could see thick ranks of cavalry, standing motionless. Our +cavalry similarly stood calmly, leaving time for the operations of the +artillery. + +I noticed that soldiers of different weapons throughout the battle +preserved the stance and the facial expression characteristic of +themselves. And as the artilleryman has neither the cavalry’s +extravagance, nor the infantry’s impatience, but attentive to command, +fast and accurate amid all the commotion, appearing calm, though his eyes +burned with the smoke, bloodshot, eyebrows furrowed, face pale, mouth +clenched, speech short and hard, expressing fierce, suppressed and +concentrated fury. + +In the middle of this fire, even though death swept past their heads, they +didn’t stop making jokes; every time each cannon ball ricocheted, the +young soldiers made a point of talking to it, and to give it advice. A +ricocheting cannon ball can be seen from afar, as it jumps across the +field, so if it was going to one side, to the left, they were calling to +it: “Where are you going, blind man! get to the right!” and if it was +going straight, they encouraged it: “good, good!” and so they spoke to it +until it fell right in the middle of the enemy line and then they were +applauding it. + +I don’t know now, how many hours that cannonade lasted. Although we passed +each other feverishly beside the cannon, in the same way this play lasted +too long, to not wish for nightfall. The Russian artillery had an obvious +advantage over us, both in numbers, and in cannon gauge. They had already +hit a few of our people, many were wounded, but everyone, although +extremely tired, equally didn’t sink in spirits and nobody even thought +about retreat. + +Suddenly from the left cannons roared horribly. The Muscovites had placed +a new battery right there, which fired at us from the side. We turned two +of our cannons against this new threat, with whom we needed to chat; but +our position was becoming more and more unpleasant, because six field +cannons to answer twenty heavy gauge cannons is no small matter! Our +soldiers, at the sight of this imbalance of power, seemed to be stirred. +Now their movements weakened, now our shots happened less frequently, and +what’s more the anecdotes and jokes ceased completely. + +It seems that our commander was waiting until the Muscovites separated +their forces, in order to profit from that moment and strike them; I +suppose, although they aren’t tempting themselves to debate the battle +plan. I only know that at the most critical moment we heard from the left +a horse’s hoofbeat, rushing at a gallop and a few minutes later that +second battery went silent, when it was conquered. + +Our commander turned around and dashed to the main strength of our troops, +calling: “Forward at a trot! everyone forward!” And our entire cavalry, +drawn up in two rows, moved out, passing our battery. “They’re going to +charge!” cried our gunners and at once we ceased firing. How did it look? +The young lancers with eager gaze, fevered face, burst impatiently +forward, but advised or unadvised they still needed to obey the strict +orders of the commander, who still repeated: “Trot! forward! trot!” You +could see from the movement of the flags, how feverishly the soldiers’ +hands were twitching. In the end the trumpets sounded, flags descended and +now they kicked themselves off towards the enemy. “Forward! Gallop! +everyone forward!” + +They took off—we stayed by our cannons, doing nothing, and even thinking +nothing. The artillery recently so busy and noisy, now seemed to be +petrified. Our souls flew far and rested on the tips of the lances. Now +the Muscovites are close! Already the Muscovite ranks are deploying, in +order to receive them. The gunners climbed on the gun carriages, on the +ammunition carts and stare into space, looking ahead with gaping mouths; +it was so quiet that you could hear the flight of a fly. Each of us felt, +that on this clash hung our fate, the fate of our army, perhaps even our +homeland! It was a moment of expectation and terrible uncertainty, luckily +lasting only a few minutes. Our cavalry clashed with the Muscovites on the +high ground, both lines clashed with each other and mixed. + +In the whole of this mass it boiled and the whole mass disappeared, like a +dust cloud driven by the wind. + +I don’t know who, but someone among us shouted at the top of his +lungs—that shout broke the deathly silence, because he proclaimed victory, +however nobody accompanied him. Because we, young soldiers, still we +weren’t understanding, nor guessing the outcome of this battle, but +besides that we feared to yield to premature joy. “Wait!” someone or other +said—“as yet there’s nothing certain; nothing to be seen, everyone seems +to have disappeared!” + +Finally, the part of the mass that we could see, as it vanished from our +sight, started to come towards us. By their colours we recognised our +lancers and by the war cry: Poland Is Not Yet Lost.(4) + +Now there’s no doubt, victory is ours! The approaching mass presented a +peculiar spectacle. In it you could see a lot of foot soldiers with +diverse weapons, in addition wagons, ammunition carts, artillery pieces… +There were Muscovite prisoners, captured with the artillery and the whole +encampment. + +I wouldn’t be able to describe our joy, this frantic joy! How can it be! +their whole artillery! this mighty artillery in our hands. We rushed +headlong upon these cans, pressing them, caressing them, and I myself for +a moment forgot about my love, the eight-pounder. + +Beautiful they were, these Russian cannons, so huge, new, well mounted and +stocked with everything. + +“Look, sergeant” the gunner Mateusz called out “look at what red, shining +cannons these cursed Muscovites(5) have!” + +I started with a delicate hand to stroke the polished bronze surface, and +everyone repeated in chorus: “Oh, but how these muscovite cans do shine!” +“and what a calibre” noticed one gunner, “that’s the calibre for me!” +“that’s no peashooter!” + +I started measuring the muzzle of the cannon, and the soldiers repeated: +“those jaws are no joke!” + +Then, when we started examining the harness, then again they called as a +choir: “Oh, what sturdy straps those cursed Muscovites have!” + +Nobody will guess in the end, what caused us the greatest joy; it was none +other than ordinary oats, taken as spoils. Our cavalry didn’t have any +more fodder, but the Muscovites had it in ample amounts; their wagons, +caissons, gun carriages even, were full of oats. Soldiers rushed on them +hungrily, filling sacks with them, cartridge cases, pockets, and saying +that they had never seen such beautiful oats. + +The leader rode up and at the sight of him a shout of enthusiasm and +worship thundered. Perhaps he was very tired, because despite a cool day, +sweat flowed from him in drops. + +We surrounded him in a dense crowd. Amid the general commotion and bursts +of joy, he alone was calm and silent, though visibly moved. + +“My children,” he said to us, “I promised to lead you to the enemy; you +promised to beat him—and so both you and I have kept our words.” + +Such was our memorable day at Stoczek. With night falling stories began by +the camp’s bonfires, there were no listeners, because everyone spoke; +everyone bravely acquitted themselves in battle, everyone had +jokes—because everyone was happy. + +If that blessed hour comes to me, that I can again fight for my country, +to see the Muscovite army in panic, to seek out my beloved eight pounder +and to hurl cannon balls from it at golden roofs of the Tsarist capital +city, then I will call myself happy; but even then I wouldn’t be able to +feel that, which I experienced in the first battle, in the memorable +Battle of Stoczek. + + + + + + 1 1831. + + 2 A soldier of the Cracovian cavalary. “Krakus” is an alternative name + of _Krak_, the legendary founder of Cracow, and is used to refer to + an inhabitant of the city. + + 3 A type of tunic, of Turkish influence, typical of Cracow. + + 4 The first line of “Dąbrowski’s Mazurka”, now the National Anthem of + Poland. + + 5 Untranslatable: Mateusz here uses the non-human form, echoing his + earlier use of “beasts” + + + + + + +***END OF THE PROJECT GUTENBERG EBOOK MY FIRST BATTLE*** + + + +CREDITS + + +March 7, 2009 + + Project Gutenberg TEI edition 1 + Translated by Jimmy O’Regan (With thanks to Mariusz Florczak, + Sebastian & Ania Mikulicz, Tomasz Mikulicz, and Joe O’Regan, + Sr., for their assistance). + + + +A WORD FROM PROJECT GUTENBERG + + +This file should be named 28277-0.txt or 28277-0.zip. + +This and all associated files of various formats will be found in: + + + http://www.gutenberg.org/dirs/2/8/2/7/28277/ + + +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™ electronic works to protect the Project +Gutenberg™ concept and trademark. Project Gutenberg is a registered +trademark, and may not be used if you charge for 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. + + + +THE FULL PROJECT GUTENBERG LICENSE + + +_Please read this before you distribute or use this work._ + +To protect the Project Gutenberg™ mission of promoting the free +distribution of electronic works, by using or distributing this work (or +any other work associated in any way with the phrase “Project Gutenberg”), +you agree to comply with all the terms of the Full Project Gutenberg™ +License (available with this file or online at +http://www.gutenberg.org/license). + + +Section 1. + + +General Terms of Use & Redistributing Project Gutenberg™ electronic works + + +1.A. + + +By reading or using any part of this Project Gutenberg™ electronic work, +you indicate that you have read, understand, agree to and accept all the +terms of this license and intellectual property (trademark/copyright) +agreement. If you do not agree to abide by all the terms of this +agreement, you must cease using and return or destroy all copies of +Project Gutenberg™ electronic works in your possession. If you paid a fee +for obtaining a copy of or access to a Project Gutenberg™ electronic work +and you do not agree to be bound by the terms of this agreement, you may +obtain a refund from the person or entity to whom you paid the fee as set +forth in paragraph 1.E.8. + + +1.B. + + +“Project Gutenberg” is a registered trademark. It may only be used on or +associated in any way with an electronic work by people who agree to be +bound by the terms of this agreement. There are a few things that you can +do with most Project Gutenberg™ electronic works even without complying +with the full terms of this agreement. See paragraph 1.C below. There are +a lot of things you can do with Project Gutenberg™ electronic works if you +follow the terms of this agreement and help preserve free future access to +Project Gutenberg™ electronic works. See paragraph 1.E below. + + +1.C. + + +The Project Gutenberg Literary Archive Foundation (“the Foundation” or +PGLAF), owns a compilation copyright in the collection of Project +Gutenberg™ electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an individual +work is 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™ mission of +promoting free access to electronic works by freely sharing Project +Gutenberg™ works in compliance with the terms of this agreement for +keeping the Project Gutenberg™ name associated with the work. You can +easily comply with the terms of this agreement by keeping this work in the +same format with its attached full Project Gutenberg™ License when you +share it without charge with others. + + +1.D. + + +The copyright laws of the place where you are located also govern what you +can do with this work. Copyright laws in most countries are in a constant +state of change. If you are outside the United States, check the laws of +your country in addition to the terms of this agreement before +downloading, copying, displaying, performing, distributing or creating +derivative works based on this work or any other Project Gutenberg™ work. +The Foundation makes no representations concerning the copyright status of +any work in any country 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™ License must appear prominently whenever +any copy of a Project Gutenberg™ work (any work on which the phrase +“Project Gutenberg” appears, or with which the phrase “Project Gutenberg” +is associated) is accessed, displayed, performed, viewed, copied or +distributed: + + + This eBook is for the use of anyone anywhere 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 http://www.gutenberg.org + + +1.E.2. + + +If an individual Project Gutenberg™ 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™ +trademark as set forth in paragraphs 1.E.8 or 1.E.9. + + +1.E.3. + + +If an individual Project Gutenberg™ electronic work is posted with the +permission of the copyright holder, your use and distribution must comply +with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed +by the copyright holder. Additional terms will be linked to the Project +Gutenberg™ License for all works posted with the permission of the +copyright holder found at the beginning of this work. + + +1.E.4. + + +Do not unlink or detach or remove the full Project Gutenberg™ License +terms from this work, or any files containing a part of this work or any +other work associated with Project Gutenberg™. + + +1.E.5. + + +Do not copy, display, perform, distribute or redistribute this electronic +work, or any part of this electronic work, without prominently displaying +the sentence set forth in paragraph 1.E.1 with active links or immediate +access to the full terms of the Project Gutenberg™ License. + + +1.E.6. + + +You may convert to and distribute this work in any binary, compressed, +marked up, nonproprietary or proprietary form, including any word +processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg™ work in a format other than +“Plain Vanilla ASCII” or other format used in the official version posted +on the official Project Gutenberg™ web site (http://www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original “Plain Vanilla ASCII” or other form. +Any alternate format must include the full Project Gutenberg™ License as +specified in paragraph 1.E.1. + + +1.E.7. + + +Do not charge a fee for access to, viewing, displaying, performing, +copying or distributing any Project Gutenberg™ works unless you comply +with paragraph 1.E.8 or 1.E.9. + + +1.E.8. + + +You may charge a reasonable fee for copies of or providing access to or +distributing Project Gutenberg™ electronic works provided that + + - You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg™ works calculated using the method you + already use to calculate your applicable taxes. The fee is owed to + the owner of the Project Gutenberg™ trademark, but he has agreed to + donate royalties under this paragraph to the Project Gutenberg + Literary Archive Foundation. Royalty payments must be paid within 60 + days following each date on which you prepare (or are legally + required to prepare) your periodic tax returns. Royalty payments + should be clearly marked as such and sent to the Project Gutenberg + Literary Archive Foundation at the address specified in Section 4, + “Information about donations to the Project Gutenberg Literary + Archive Foundation.” + + You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg™ License. + You must require such a user to return or destroy all copies of the + works possessed in a physical medium and discontinue all use of and + all access to other copies of Project Gutenberg™ works. + + You provide, in accordance with paragraph 1.F.3, a full refund of + any money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days of + receipt of the work. + + You comply with all other terms of this agreement for free + distribution of Project Gutenberg™ works. + + +1.E.9. + + +If you wish to charge a fee or distribute a Project Gutenberg™ electronic +work or group of works on different terms than are set forth in this +agreement, you must obtain permission in writing from both the Project +Gutenberg Literary Archive Foundation and Michael Hart, the owner of the +Project Gutenberg™ trademark. Contact the Foundation as set forth in +Section 3 below. + + +1.F. + + +1.F.1. + + +Project Gutenberg volunteers and employees expend considerable effort to +identify, do copyright research on, transcribe and proofread public domain +works in creating the Project Gutenberg™ collection. Despite these +efforts, Project Gutenberg™ electronic works, and the medium on which they +may be stored, may contain “Defects,” such as, but not limited to, +incomplete, inaccurate or corrupt data, transcription errors, a copyright +or other intellectual property infringement, a defective or damaged disk +or other medium, a computer virus, or computer codes that damage or cannot +be read by your equipment. + + +1.F.2. + + +LIMITED WARRANTY, DISCLAIMER OF DAMAGES — Except for the “Right of +Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg +Literary Archive Foundation, the owner of the Project Gutenberg™ +trademark, and any other party distributing a Project Gutenberg™ +electronic work under this agreement, disclaim all liability to you for +damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE +NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH +OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 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™ electronic works in accordance with this agreement, and +any volunteers associated with the production, promotion and distribution +of Project Gutenberg™ electronic works, harmless from all liability, costs +and expenses, including legal fees, that arise directly or indirectly from +any of the following which you do or cause to occur: (a) distribution of +this or any Project Gutenberg™ work, (b) alteration, modification, or +additions or deletions to any Project Gutenberg™ work, and (c) any Defect +you cause. + + +Section 2. + + + Information about the Mission of Project Gutenberg™ + + +Project Gutenberg™ is synonymous with the free distribution of electronic +works in formats readable by the widest variety of computers including +obsolete, old, middle-aged and new computers. It exists because of the +efforts of hundreds of volunteers and donations from people in all walks +of life. + +Volunteers and financial support to provide volunteers with the assistance +they need, is critical to reaching Project Gutenberg™’s goals and ensuring +that the Project Gutenberg™ collection will remain freely available for +generations to come. In 2001, the Project Gutenberg Literary Archive +Foundation was created to provide a secure and permanent future for +Project Gutenberg™ and future generations. To learn more about the Project +Gutenberg Literary Archive Foundation and how your efforts and donations +can help, see Sections 3 and 4 and the Foundation 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://www.gutenberg.org/fundraising/pglaf. 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://www.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™ 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://www.gutenberg.org/fundraising/donate + +While we cannot and do not solicit contributions from states where we have +not met the solicitation requirements, we know of no prohibition against +accepting unsolicited donations from donors in such states who approach us +with offers to donate. + +International donations are gratefully accepted, but we cannot make any +statements concerning tax treatment of donations received from outside the +United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation methods +and addresses. Donations are accepted in a number of other ways including +checks, online payments and credit card donations. To donate, please +visit: http://www.gutenberg.org/fundraising/donate + + +Section 5. + + + General Information About Project Gutenberg™ electronic works. + + +Professor Michael S. Hart is the originator of the Project Gutenberg™ +concept of a library of electronic works that could be freely shared with +anyone. For thirty years, he produced and distributed Project Gutenberg™ +eBooks with only a loose network of volunteer support. + +Project Gutenberg™ eBooks are often created from several printed editions, +all of which are confirmed as 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. + +Each eBook is in a subdirectory of the same number as the eBook’s eBook +number, often in several formats including plain vanilla ASCII, compressed +(zipped), HTML and others. + +Corrected _editions_ of our eBooks replace the old file and take over the +old filename and etext number. The replaced older file is renamed. +_Versions_ based on separate sources are treated as new eBooks receiving +new filenames and etext numbers. + +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™, 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. + + + + + + +***FINIS*** +
\ No newline at end of file |
