diff options
Diffstat (limited to '41028-h')
| -rw-r--r-- | 41028-h/41028-h.htm | 614 |
1 files changed, 98 insertions, 516 deletions
diff --git a/41028-h/41028-h.htm b/41028-h/41028-h.htm index b977bf6..805520b 100644 --- a/41028-h/41028-h.htm +++ b/41028-h/41028-h.htm @@ -3,7 +3,7 @@ <html xmlns="http://www.w3.org/1999/xhtml"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Spirit of the Ghetto, by Hutchins Hapgood. @@ -252,48 +252,7 @@ table { </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of The Spirit of the Ghetto, by Hutchins Hapgood - -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: The Spirit of the Ghetto - Studies of the Jewish Quarter in New York - -Author: Hutchins Hapgood - -Illustrator: Jacob Epstein - -Release Date: October 11, 2012 [EBook #41028] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE SPIRIT OF THE GHETTO *** - - - - -Produced by Jana Srna, Melissa McDaniel, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 41028 ***</div> <div class="tnbox"> <p class="center"><b>Transcriber's Note:</b></p> @@ -665,7 +624,7 @@ which he pronounces in his own way. Some of his most common acquisitions are "vinda" (window), "zieling" (ceiling), "never mind," "alle right," "that'll do," "politzman" (policeman); -"<i>ein schön kind</i>, ein reg'lar pitze!" (a pretty child, +"<i>ein schön kind</i>, ein reg'lar pitze!" (a pretty child, a regular picture). Of this modest vocabulary he is very proud, for it takes him out of the category of the "greenhorn," a term of contempt to @@ -848,14 +807,14 @@ to their ceremonies at home, form Talmudic clubs and gather in tenement-house rooms, which they convert into synagogues.</p> -<p>In several of the cafés of the quarter these old +<p>In several of the cafés of the quarter these old fellows gather. With their long beards, long black coats, and serious demeanor, they sit about little tables and drink honey-cider, eat lima <span class="pagenum"><a name="Page_17" id="Page_17">17</a></span> beans and jealously exclude from their society the socialists and freethinkers of the colony who, -not unwillingly, have cafés of their own. They +not unwillingly, have cafés of their own. They all look poor, and many of them are, in fact, peddlers, shop-keepers or tailors; but some, not distinguishable in appearance from the proletarians, @@ -866,7 +825,7 @@ are no young people there, for the young bring irreverence and the American spirit, and -these cafés are strictly +these cafés are strictly orthodox.</p> <div class="figcenter"> @@ -1336,7 +1295,7 @@ I can speak Yiddish and therefore can converse heart to heart with the old people, he is delighted. His face beams, and he expresses in every way that deep pleasure which a person -takes in the satisfaction of honored protégés." +takes in the satisfaction of honored protégés." </p> </div> @@ -1555,7 +1514,7 @@ are not primarily interested in the dollar. Their poets sing pathetically of the sweat-shops, of universal brotherhood, of the abstract rights of man. Their enthusiastic young men gather -every evening in cafés of the quarter and become +every evening in cafés of the quarter and become habitually intoxicated with the excitement of <span class="pagenum"><a name="Page_41" id="Page_41"></a></span> <span class="pagenum"><a name="Page_42" id="Page_42">42</a></span> @@ -1563,7 +1522,7 @@ ideas. In their restless and feverish eyes shines the intense idealism of the combined Jew and Russian—the moral earnestness of the Hebrew united with the passionate, rebellious mental -activity of the modern Muscovite. In these cafés +activity of the modern Muscovite. In these cafés they meet after the theatre or an evening lecture and talk into the morning hours. The ideal, indeed, is alive within them. The defect of their @@ -1578,7 +1537,7 @@ communities.</p> <div class="figcenter"> <img src="images/img012.jpg" width="304" height="500" alt="" /> -<p class="caption">IN THESE CAFÉS THEY MEET AFTER THE THEATRE +<p class="caption">IN THESE CAFÉS THEY MEET AFTER THE THEATRE OR AN EVENING LECTURE</p> </div> @@ -1685,7 +1644,7 @@ are alone in their miserable little apartment on East One Hundred and Sixth Street. Their son died a year or two ago, and to cover the funeral expenses Mr. Reicherson tried in vain to sell his -"Encyclopædia Britannica." But, nevertheless, +"Encyclopædia Britannica." But, nevertheless, <span class="pagenum"><a name="Page_47" id="Page_47">47</a></span> the old scholar, who had been bending over his closely written manuscript, received the visitor @@ -1696,7 +1655,7 @@ shone through his words and in the character of the room in which he lived.</p> <p>Born in Vilna, sometimes called the Jerusalem -of Lithuania or the Athens of modern Judæa +of Lithuania or the Athens of modern Judæa because of the number of enlightened Jews who have been born there, many of whom now live in the Russian Jewish quarter of New York, he @@ -2053,7 +2012,7 @@ seen, more or less, with Ghetto <i>literati</i> who are essentially hostile to what the true Hebrew scholar holds by—a body of Russian Jewish socialists of education, who in their Grand and -Canal Street cafés express every night in impassioned +Canal Street cafés express every night in impassioned language their contempt for whatever is old and historical.</p> @@ -2390,7 +2349,7 @@ contrast to their American sisters. Substance as opposed to form, simplicity of mood as opposed to capriciousness, seem to be in broad lines their relative qualities. They have comparatively few -<i>états d'ame</i>; but those few are revealed with +<i>états d'ame</i>; but those few are revealed with directness and passion. They lack the subtle charm of the American woman, who is full of feminine devices, complicated flirtatiousness; @@ -2683,7 +2642,7 @@ of the old type, "merely a wife and mother," as she put it. She maintains that no emotional interest is lost under the new -régime, while many practical advantages +régime, while many practical advantages are gained. Since she has been in America she has furthered the Socialist cause by @@ -2730,7 +2689,7 @@ warm enthusiasm. The Americans made rather light of Byron and incurred thereby the great scorn of the Russians, who felt deeply the "tendency" character of the poet without being -able to understand his æsthetic and imaginative +able to understand his æsthetic and imaginative limitations. After the Nihilists had left, the misguided American used the words "interesting" <span class="pagenum"><a name="Page_83" id="Page_83">83</a></span> @@ -2846,7 +2805,7 @@ her mother-in-law or her grandmother. The sense of infinite form prescribed by the Talmud is dead to her, but extraordinary love for the family bond is not, and, moved by that, she observes -the complicated formulæ on all the holidays +the complicated formulæ on all the holidays in order to please the dear old "greenhorn" who lives with her; eats unleavened bread, weeps on Atonement Day in the synagogue, and @@ -2859,7 +2818,7 @@ the theatre, but even the slightly disillusioned ladies of the quarter will go on the Sabbath; and it is said that they sometimes hypocritically relieve their consciences by hissing -the actor who, even in his rôle, dares to smoke +the actor who, even in his rôle, dares to smoke on that day. This is on a par with the hypocrisy which leads many Orthodox Jewish families to have a Gentile as their servant, so that they @@ -2914,7 +2873,7 @@ girl. </div> <p>In East Canal Street, in the heart of the east -side, are many of the little Russian Jewish cafés, +side, are many of the little Russian Jewish cafés, already mentioned, where excellent coffee and tea are sold, where everything is clean and good, and where the conversation is often of the @@ -2928,14 +2887,14 @@ a serious tone in thought and feeling.</p> <p>It is this combination—Russian, Jewish, and exile—that is represented at these little Canal -Street cafés. The sombre and earnest qualities +Street cafés. The sombre and earnest qualities of the race, emphasized by the special conditions, receive here expression in the mouths of actors, socialists, musicians, journalists, and poets. Here they get together and talk by the hour, over their coffee and cake, about politics and society, poetry and ethics, literature and -life. The café-keepers themselves are thoughtful +life. The café-keepers themselves are thoughtful <span class="pagenum"><a name="Page_91" id="Page_91">91</a></span> and often join in the discussion,—a discussion never light but sometimes lighted up by bitter @@ -3089,7 +3048,7 @@ for the poet meant he would like to be taken away from Russia, but was afraid to say so for political reasons. But the sadness of Zunser's poetry is lightened by its spontaneity and by the -felicity of verse and music, and the naïve idea in +felicity of verse and music, and the naïve idea in each poem is never too solemnly insisted upon for popular poetry.</p> @@ -3396,7 +3355,7 @@ and more buoyant Jewish world, to the Russian <span class="pagenum"><a name="Page_106" id="Page_106">106</a></span> Hebrew village and the country at large. Rosenfeld in weary accents sings to the maimed -spirit of the Jewish slums. It is a fresh, naïve +spirit of the Jewish slums. It is a fresh, naïve note, the pathetic cry of the bright spirit crushed in the poisonous air of the Ghetto. The first song that Rosenfeld printed in English is this:</p> @@ -3436,8 +3395,8 @@ an imaginative critic, a violent socialist, and an excitable lover of nature.</p> <p>One of his friends called the poet on one occasion -an intellectual <i>débauché</i>. It was in a Canal -Street café, where Wald was talking in an excited +an intellectual <i>débauché</i>. It was in a Canal +Street café, where Wald was talking in an excited tone to several other intellectuals. He is a short, stocky man, with a suggestion of physical power. His eyes are brilliant, and there @@ -3458,7 +3417,7 @@ thought, Wald is well described by his friend's phrase. Equally well he may be called the Jewish bohemian. He is not dissipated in the ordinary sense. Coffee and tea are the drinks he -finds in his little cafés. But in these places he +finds in his little cafés. But in these places he practically lives, disputing, arguing, expounding, with whomsoever he may find. He has no fixed home, but sleeps wherever inevitable @@ -3470,7 +3429,7 @@ makes an occasional dollar by writing a poem or an article for an east side newspaper. When he has collected three or four dollars he quits the newspaper office and seeks again his beloved -café, violently to impart his quick-coming +café, violently to impart his quick-coming thoughts and impulses. Only after his money is gone—and it lasts him many days—does he return to his work on the paper, the editor of @@ -3555,7 +3514,7 @@ yet in temperament and quality no two poets could be more widely separated. Rosenfeld is the finer spirit, the more narrow, too. He is eminently the Ghetto Jew. But Wald, as one sees him -talking in the café, his whole body alive with +talking in the café, his whole body alive with emotion, with his youthful, open face, his constant energy, and the modernity and freshness <span class="pagenum"><a name="Page_112" id="Page_112">112</a></span> @@ -3751,7 +3710,7 @@ east side makes a specialty of publishing them.</p> <p>The actor responds to this popular enthusiasm with sovereign contempt. He struts about in -the cafés on Canal and Grand Streets, conscious +the cafés on Canal and Grand Streets, conscious of his greatness. He refers to the crowd as "Moses" with superior condescension or humorous vituperation. Like thieves, the actors @@ -3795,7 +3754,7 @@ was formed to insure their ease and dignity and to protect them from harsh words. The management imported actors from Chicago. Several of the actors here stood by their employers, -notably Miss Weinblatt, a popular young ingénue, +notably Miss Weinblatt, a popular young ingénue, who, on account of her great memory is called the "Yiddish Encyclopedia," and Miss Gudinski, an actress of commanding presence. @@ -3847,7 +3806,7 @@ beginning of Sabbath, are commonly somewhat ashamed of themselves and try to quiet their consciences by a vociferous condemnation of the actions on the stage. The actor, who through -the exigencies of his rôle, is compelled to appear +the exigencies of his rôle, is compelled to appear on Friday night with a cigar in his mouth, is frequently greeted with hisses and strenuous <span class="pagenum"><a name="Page_122" id="Page_122">122</a></span> @@ -4125,7 +4084,7 @@ a bad precedent, which the actors would use against him when he became a star. And yet he did not want to get them down on him. So before he joined he entered solemn protests at -all the cafés on Canal Street. The strike, he +all the cafés on Canal Street. The strike, he maintained, was unnecessary. The actors were well paid and well treated. Discipline should be maintained. But he would join because of his @@ -4171,7 +4130,7 @@ speaking, are bad caricatures of life." <p>The managers and actors of the three theatres criticise one another indeed with charming directness, and they all have their followers in the -Ghetto and their special cafés on Grand or Canal +Ghetto and their special cafés on Grand or Canal Streets, where their particular prejudices are sympathetically expressed. The actors and lessees of the People's are proud of their fine theatre, @@ -4326,7 +4285,7 @@ and burlesque caricature. And yet he is remarkable <span class="pagenum"><a name="Page_139" id="Page_139">139</a></span> for his naturalness, and popular because of it. Adler with his ideas is sometimes too serious -for the people, but Mogalesco's naïve fidelity to +for the people, but Mogalesco's naïve fidelity to reality always meets with the sympathy of a simple audience loving the homely and unpretentious truth. About Adler, strong actor that he @@ -4341,8 +4300,8 @@ Latteiner is the most popular playwright in the Bowery, and Boris Thomashevsky perhaps the most popular actor. Latteiner has written over a hundred plays, no one of which has form or -ideas. He calls them <i>Volksstücke</i> (plays of the -people), and naïvely admits that he writes directly +ideas. He calls them <i>Volksstücke</i> (plays of the +people), and naïvely admits that he writes directly to the demand. They are mainly mixed melodrama, broad burlesque, and comic opera. His heroes are all intended for Boris Thomashevsky, @@ -4354,7 +4313,7 @@ and a temperament absolutely impervious to mood or feeling. But he picturesquely stands in the middle of the stage and declaims phlegmatically <span class="pagenum"><a name="Page_140" id="Page_140">140</a></span> -the rôle of the hero, and satisfies the +the rôle of the hero, and satisfies the "romantic" demand of the audience. Nothing could show more clearly how much more genuine the feeling of the Ghetto is for fidelity to life than @@ -4400,7 +4359,7 @@ Socialistic, and the Socialists flock to the theatre the nights when the Gordin type of play is produced. They discuss the meaning and justice of the play between the acts, and after the performance -repair to the Canal Street cafés to +repair to the Canal Street cafés to continue their serious discourse. The unthinking Nihilists are also represented, but not so frequently at the best plays as at productions in @@ -4497,7 +4456,7 @@ joy of starved affection. But the husband enters and changes the scene to one of hate and violence. The old mother tells him, however, of the heir that is to come. Then there is a superb -scene of naïve joy in the midst of all the +scene of naïve joy in the midst of all the sordid gloom. There is rapturous delight of the old people, turbulent triumph of the husband, and satisfaction of the young wife. They make a @@ -4786,7 +4745,7 @@ still acting on the New York Ghetto stage. No girls could at that time be obtained for the stage, for it is against the Talmudic law for a man even to hear a girl sing, and men consequently played -female rôles, as in Elizabethan times in England. +female rôles, as in Elizabethan times in England. The first play that Goldfaden wrote was <i>The Grandmother and her Grandchild</i>; the second was <i>The Shwendrick</i> and Mogalesco played @@ -4805,7 +4764,7 @@ success at first; but he played in Odessa without a license, in a secret way, and in the end a permit was secured. Other Yiddish companies sprang up. Girls were admitted to the chorus, -and women began to play female rôles. The +and women began to play female rôles. The first woman on the Yiddish stage was a girl who is now Mrs. Karb, and who may be seen in the Yiddish company at present in the People's Theatre @@ -4855,7 +4814,7 @@ of the Yiddish stage are still the best.</p> Mogalesco, is the best actor in the Ghetto. They are both character actors, but Mogalesco is essentially a comedian, while Adler plays -rôles ranging from burlesque to tragedy. Mogalesco +rôles ranging from burlesque to tragedy. Mogalesco is a natural genius, with a spontaneity superior to that of Adler, but he has no general education nor intellectual life. But the forcible @@ -4928,7 +4887,7 @@ purely commercial character and consequent formlessness of the plays before the appearance of Adler, important mention should be made of Boris Thomashevsky, already briefly referred to -as the idol of the Jewish matinée girls. He is +as the idol of the Jewish matinée girls. He is the most popular actor on the Yiddish stage, and for him Latteiner particularly writes. Thomashevsky is a large fat man, with expressionless @@ -4943,7 +4902,7 @@ the reality of which, however, he, with a large section of the community, is very firmly convinced. In fairness, however, it should be said that when Mr. Thomashevsky occasionally leaves -the rôle of hero for an unsentimental character, +the rôle of hero for an unsentimental character, particularly one which expresses supercilious superiority, he is excellent. As time goes on he will probably take less and less the romantic lead @@ -4951,7 +4910,7 @@ and grow more and more satisfactory. He is the youngest of the prominent actors of the Bowery. Before the coming of Heine's company in 1884, he was a pretty little boy in the Ghetto, -who used to play female rôles in amateur theatricals. +who used to play female rôles in amateur theatricals. But when the professionals came he was eclipsed, and went out of sight for some time. He grew to be a handsome man, however; @@ -5057,9 +5016,9 @@ as he acted. Rosenberg, "more <span class="pagenum"><a name="Page_163" id="Page_163">163</a></span> ignorant than I," says Adler, "was yet very successful." The two became intimate, and Rosenberg -and Fräulein Oberländer urged Adler to go +and Fräulein Oberländer urged Adler to go on the stage; Rosenberg because Adler at that -time was comparatively rich, and the Fräulein +time was comparatively rich, and the Fräulein because she loved (and afterwards married) the vigorous young man from Odessa. And Adler felt his education to be superior to that of these @@ -5086,8 +5045,8 @@ that the great man had overlooked him. At first he thought that the critic must have a personal <span class="pagenum"><a name="Page_164" id="Page_164">164</a></span> spite against him, then that he was not noticed -because he had only small rôles. At last he was -cast for a very long and emotional rôle. He +because he had only small rôles. At last he was +cast for a very long and emotional rôle. He thought that this part would surely fetch the critic, and the next morning eagerly bought a paper, but there was no criticism of the play at @@ -5101,7 +5060,7 @@ him to leave the stage."</p> <p>"Then," said Adler, "I began to think. I cut my hair, which I had allowed to grow long after the fashion of actors, and was at first much discouraged. -But thereafter I studied every rôle +But thereafter I studied every rôle with great care, and read the classic plays, and never played a part until I understood it. Before that it was play with me; but after that it was @@ -5598,7 +5557,7 @@ the beginning of the most vital journalism of the east side, and stood in striking contrast to the <i>Tageblatt</i>. In the circumstances attending its development into the two existing rival Socialistic -papers, the <i>Vorwärts</i> and the <i>Abendblatt</i>,<a name="FNanchor_2" id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a> a picture +papers, the <i>Vorwärts</i> and the <i>Abendblatt</i>,<a name="FNanchor_2" id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a> a picture of the progressive and passionate character of the Russian-Jewish Socialists of the Ghetto is presented, and some of the most important and picturesque @@ -5652,7 +5611,7 @@ Street.</p> <div class="figcenter"> <img src="images/img034.jpg" width="500" height="392" alt="" /> -<p class="caption">IN THE OFFICE OF THE "VÖRWARTS"</p> +<p class="caption">IN THE OFFICE OF THE "VÖRWARTS"</p> </div> <p>The man whose name is most intimately connected @@ -5702,7 +5661,7 @@ place in the repertory at the Yiddish theatres. For five years the <i>Arbeiterzeitung</i> continued its influence, but then came a split among the Socialists, which resulted in two daily papers—the -<i>Abendblatt</i> and the <i>Vorwärts</i>.</p> +<i>Abendblatt</i> and the <i>Vorwärts</i>.</p> <div class="figcenter"> <img src="images/img035.jpg" width="437" height="400" alt="" /> @@ -5725,7 +5684,7 @@ the <i>Daily Abendblatt</i>, Cahan resigned the editorship and turned disgusted to English newspapers and to realistic fiction, in which he was absorbed until recently. A few months ago he -resumed the editorship of the <i>Vorwärts</i> after an +resumed the editorship of the <i>Vorwärts</i> after an absence of several years from participation in Yiddish journalism. Louis Miller, a witty and energetic Socialist and writer, who had from the @@ -5734,27 +5693,27 @@ weekly, was one of the most prominent of the men who continued the fight against the narrower Socialistic element—a fight which resulted in the establishment in 1897 of the other Socialist -daily now existing, the <i>Vorwärts</i>.</p> +daily now existing, the <i>Vorwärts</i>.</p> <p>These two papers were, until recently, when the <i>Abendblatt</i> died, bitter rivals. The <i>Abendblatt</i> was devoted to the interests of the Socialist Labor -Party while the <i>Vorwärts</i> supports in a general +Party while the <i>Vorwärts</i> supports in a general way the Social Democracy; altho it is not so distinctively a party paper as was the <i>Abendblatt</i>. The adherents of the latter paper looked -upon the <i>Vorwärts</i> as unreliable and the <i>Vorwärts</i> +upon the <i>Vorwärts</i> as unreliable and the <i>Vorwärts</i> people thought the <i>Abendblatt</i> intolerant. The <i>Abendblatt</i> prided itself on its uncompromising -character, and the <i>Vorwärts</i> is content to adapt +character, and the <i>Vorwärts</i> is content to adapt itself to what it deems the present needs of the -Jewish community. Thus the <i>Vorwärts</i> is willing +Jewish community. Thus the <i>Vorwärts</i> is willing <span class="pagenum"><a name="Page_188" id="Page_188">188</a></span> to join hands with reform movements in general, with trades unions, etc., while the <i>Abendblatt</i> stiffly demanded that allied organizations should enter the socialist camp. The triumph of the -<i>Vorwärts</i> was therefore a triumph of the more +<i>Vorwärts</i> was therefore a triumph of the more liberal spirits.</p> <p>Two other daily publications are more distinctively @@ -5806,9 +5765,9 @@ daily issue of about 30,000, the <i>Abend-Post</i> coming next with 23,700, the <i>Herald</i> and the Socialist papers stringing out in the rear. The editors of the Socialist sheets naturally give a somewhat -different order. Mr. Miller of the <i>Vorwärts</i> puts +different order. Mr. Miller of the <i>Vorwärts</i> puts the actual circulation of the <i>Tageblatt</i> at about -17,000; his own paper, the <i>Vorwärts</i>, next, with +17,000; his own paper, the <i>Vorwärts</i>, next, with about 14,000 daily except on Saturday, the Jewish <span class="pagenum"><a name="Page_190" id="Page_190">190</a></span> Sunday, when the number ranges between @@ -5930,7 +5889,7 @@ by a high idealism, and the unpractical and devoted attitude. One of the foremost among them (they say they have no leaders, as that would be against individual liberty) is Katz, literary -editor of the <i>Vorwärts</i>, a contributor to the +editor of the <i>Vorwärts</i>, a contributor to the Anarchistic monthly, a former editor of the Anarchistic weekly, and a recently successful playwright in the Ghetto. His play, the <i>Yiddish @@ -5954,7 +5913,7 @@ poems for the Socialistic papers; Abraham Wald, the vigorous and stormy young poet, contributes literary and Socialistic articles three times -a week to <i>Vorwärts</i>; the editor of one of +a week to <i>Vorwärts</i>; the editor of one of the conservative papers, distinguished for his logic and his clever business management, is interesting because of the facility @@ -5972,7 +5931,7 @@ Constantinople and studied Turkish law; afterwards he journeyed to Paris, where he married, and then to New York, where he writes many articles in Yiddish about Jerusalem and Palestine, -which are published largely in the <i>Vorwärts</i>. +which are published largely in the <i>Vorwärts</i>. <span class="pagenum"><a name="Page_196" id="Page_196">196</a></span> He is a young man of about thirty, with a fresh, rosy look and a buoyant manner. He is an @@ -6229,7 +6188,7 @@ with good realistic literature. Since then Libin has written extensively for the <i>Zukunft</i>, a monthly now defunct; the <i>Truth</i>, published at one time by the poet Winchevsky in Boston, and for the -New York daily <i>Vorwärts</i>, to which he still contributes.</p> +New York daily <i>Vorwärts</i>, to which he still contributes.</p> <div class="figcenter"> <img src="images/img042.jpg" width="421" height="400" alt="" /> @@ -6379,9 +6338,9 @@ he sold his bananas on Ludlow Street.</p> <p>Younger than Libin, less mature and less devoted to his art, with a very limited amount of -work done; simpler and more naïve, if possible, +work done; simpler and more naïve, if possible, than the older man, is Levin, a typesetter in the -office of <i>Vorwärts</i>. His sketches are swifter and +office of <i>Vorwärts</i>. His sketches are swifter and shorter than those of Libin, more effective and dramatic in form, with greater conventional relief of surprises and antitheses, but they have not so @@ -6516,7 +6475,7 @@ described, are yet to be classed together in essentials. They are both simple, uneducated men who write unpretentious sketches about a life they intimately know. They picture the -conditions almost naïvely without comment and +conditions almost naïvely without comment and without subtlety. Libin, in a way to draw tears, Levin with the buoyant optimism of healthy youth, notice the quiet things in the @@ -7325,7 +7284,7 @@ enabled to furnish their apartment. The gifts don't turn up, only a few guests are present, and the young people, after the ceremony, go home with nothing but their enthusiastic love. The -<i>naïveté</i> and simplicity of the lovers, the implicit +<i>naïveté</i> and simplicity of the lovers, the implicit sympathy with them, and a kind of gentle satire, make this little story a gem for the poet.</p> @@ -7426,7 +7385,7 @@ so that when the faithful wife Gitl and the little boy Yossele arrive at the Barge Office there is evidently trouble at hand. At that place Yekl meets them in a vividly told scene—ill-concealed -disquiet on his part and naïve alarm at the situation +disquiet on his part and naïve alarm at the situation on hers. Gitl's wig and her subdued, old-fashioned demeanor tell terribly on Yekl's nerves, and she is shocked by everything that @@ -7503,7 +7462,7 @@ of hope; in a sodden maturity, often indeed combined with great qualities of intellect and workmanship, but dead to the little things of life, dead to the feeling of spring in the blood, to -naïve readiness for experience. An American +naïve readiness for experience. An American who is the antithesis of this kind of thing is Walt Whitman. His quality put into prose is what we have in the best Russian novels. In @@ -7612,7 +7571,7 @@ street at the less busy part of the day these little <span class="pagenum"><a name="Page_255" id="Page_255">255</a></span> children wonderfully sway and glide and constitute the only gladsome feature of the scene. -Just as Canal Street, with its cafés where the +Just as Canal Street, with its cafés where the poets, Socialists, scholars and journalists meet, is the mind of the Ghetto, so Hester Street represents its heart. This picturesque street @@ -8106,7 +8065,7 @@ are passionately "doing" Hester Street. </div> <p>No matter how "queer" are the numerous -persons whom one can meet in the cafés of the +persons whom one can meet in the cafés of the quarter they are mainly redeemed by a genuinely intellectual vein. It is reserved for this final chapter to tell of some men who do not well fit @@ -8141,7 +8100,7 @@ in the common jargon, in Yiddish. At that time the Jews in Russia were, even more than now, shut up in their own communities, knew nothing of European culture, had an education, if any, -exclusively Hebraic and mediæval and were +exclusively Hebraic and mediæval and were outlandish to an extreme. The educated read only Hebrew, and the uneducated did not read at all. Up to that time, or until shortly before @@ -8297,7 +8256,7 @@ popular Yiddish consciousness.</p> <h3>A CYNICAL INVENTOR</h3> <p>The "intellectuals" who gather in the Russian -cafés delight in expressing the ideas for which +cafés delight in expressing the ideas for which they were persecuted abroad. Enthusiasm for progress and love of ideas is the characteristic tone of these gatherings and an entire lack of @@ -8306,7 +8265,7 @@ practical sense.</p> <p>Very striking, therefore, was the attitude of a Russian-Jewish inventor, who took his lunch the other day at one of the most literary of these -cafés. Near him were a trio of enthusiasts, gesticulating +cafés. Near him were a trio of enthusiasts, gesticulating over their tea, but he sat aloof, alone. He listened with a cold, superior smile. He neither smoked nor drank, but sat, with his thin, @@ -8329,7 +8288,7 @@ last it was completed, but he was robbed of the fortune, of the fame, of the prestige to which his great idea entitled him. As it is, he gets only $1,250 a year for the great deed, spends much of -his time silently in the cafés, and dreams of +his time silently in the cafés, and dreams of other inventions when not engaged with criticizing his kind.</p> @@ -8357,7 +8316,7 @@ I am not a genius, like these people."</p> <p>Again he smiled, sarcastically.</p> <p>"I find," said the American, "a great many -interesting people in these cafés." +interesting people in these cafés." <span class="pagenum"><a name="Page_281" id="Page_281">281</a></span></p> <p>"Yes, they are what you call characters, I @@ -8367,7 +8326,7 @@ won't tell you what that reason is."</p> <p>"You don't seem to be as enthusiastic about the people as I am," said the American, "but -whenever I come into a café down here I find +whenever I come into a café down here I find serious men who will talk seriously. They are different from the Americans who amuse themselves in bars, at horse races and farces."</p> @@ -8631,7 +8590,7 @@ first of which is:</p> to be the original of the poet Pinchas in Zangwill's <i>Children of the Ghetto</i>.</p> -<p>At a Russian-Jewish café on Canal Street he +<p>At a Russian-Jewish café on Canal Street he may often be found. Not long ago I met him there and discovered that the dignified Hebrew poet had as a man many of the more humorous @@ -8691,7 +8650,7 @@ the only science. All others are fakes, and I can fake as well as anybody. Why read, or why <span class="pagenum"><a name="Page_291" id="Page_291">291</a></span> seek amusement in the theatres or elsewhere, -when one can sit in a café and talk to a man like +when one can sit in a café and talk to a man like that?"</p> <p>He pointed in the old "magid" opposite him.</p> @@ -8896,7 +8855,7 @@ smile.</p> <h3>AN INTELLECTUAL DEBAUCHEE</h3> <p>Four men sat excitedly talking in the little -café on Grand Street where the Socialists and +café on Grand Street where the Socialists and Anarchists of the Russian quarter were wont to meet late at night and stay until the small hours. An American, who might by chance @@ -8916,7 +8875,7 @@ always excited about life, for life as it is constituted seemed to them very unjust.</p> <p>It was nearly midnight, and the men in the -café, altho they had drunk nothing stronger than +café, altho they had drunk nothing stronger than Russian tea, talked on, seemingly intoxicated with ideas. One was the editor of a Yiddish newspaper in the quarter and a contributor to @@ -8952,7 +8911,7 @@ could be found at the Anarchist headquarters on Essex Street, poring over the books of the propaganda and engaging in talk with other bright spirits of the "movement." Now, as he -talked or listened in the café on Grand Street, +talked or listened in the café on Grand Street, his pale, smooth face seemed dead to all the ordinary interests of youth. The spirit of life was represented in him only by the passion for @@ -8970,7 +8929,7 @@ it was exciting, but mainly because his limited intelligence put him at a disadvantage in intimate talk with men of concentrated intellectual <span class="pagenum"><a name="Page_300" id="Page_300">300</a></span> -character. The fourth man in the café, Abraham +character. The fourth man in the café, Abraham Gudinsky, was a simple admirer of Blanofsky. He was born in Jerusalem, had studied law in Constantinople, had lived in Paris as a bohemian, @@ -9011,14 +8970,14 @@ emphasis.</p> <div class="figcenter"> <img src="images/img050.jpg" width="550" height="435" alt="" /> -<p class="caption">A YOUNG MAN AND A YOUNG WOMAN JUST ENTERED THE CAFÉ</p> +<p class="caption">A YOUNG MAN AND A YOUNG WOMAN JUST ENTERED THE CAFÉ</p> </div> <p>Blanofsky shook his head, and was about to speak of Tolstoy, whom he regarded as the great interpreter of genuine anarchy, when he was interrupted by the approach of a young man and -a young woman who had just entered the café. +a young woman who had just entered the café. Sabina, as she was familiarly known to the faithful, dark and slender, with very large, emotional eyes and a mobile mouth, had just come from @@ -9027,7 +8986,7 @@ she had spoken eloquently of their right to lead a life with greater light and beauty in it. The emotions expressed by her eloquence, and stirred by it, still lay in her deep eyes as she entered -the café. Her companion, who had walked with +the café. Her companion, who had walked with her from the lecture, was a young poet, whose words followed one another with turbulent energy. His head was set uncommonly close to @@ -9047,7 +9006,7 @@ but within him burned his ideas. He made his living by writing an occasional poem or article for a Yiddish paper, and when he had gathered together a few dollars he repaired again to the -cafés, seeking companions to whom he could +cafés, seeking companions to whom he could confide his exuberant thoughts, which were always expressed in poetic images. He slept whenever and wherever he was tired, but he slept @@ -9130,7 +9089,7 @@ Levitzky, was at that time an Anarchist. These two made, very often, passionate speeches on the same evening to a crowd of attentive laborers, and after the meeting walked the street -together or sat over their tea in the café discussing +together or sat over their tea in the café discussing high ideals, not only Anarchy, but all noble subjects that detach the soul from the sordid business of life.</p> @@ -9151,15 +9110,15 @@ images his words aroused in him when she was present.</p> <p>It was not until the evening of the scene in the -café that she had fully understood that she was +café that she had fully understood that she was eternally in love with Levitzky. On the walk -from the lecture to the Grand Street café they +from the lecture to the Grand Street café they had for the first time spoken of love between man and woman, and Levitzky had launched forth into an eloquent tirade against satisfied desire, a speech which was concluded in the <span class="pagenum"><a name="Page_307" id="Page_307">307</a></span> -café, with the remark about how a Russian loves +café, with the remark about how a Russian loves an inaccessible mistress, a beautiful creature separated from her lover by a mountain, while the despised American wants a legal wife whom @@ -9193,7 +9152,7 @@ and in the nature of an insult to him, from her heart; but she knew she could not.</p> <p>After leaving Levitzky and the Anarchists in -the café, Sabina walked slowly towards the +the café, Sabina walked slowly towards the Bowery, suffering with love and humiliation, thinking of Levitzky and of the past, the devoted past which now seemed deeply wronged. Her @@ -9259,7 +9218,7 @@ near the doorway, with an expression of impulsive energy on her dark face.</p> <p>About three days later Blanofsky and his three -friends were sitting in the café on Grand Street, +friends were sitting in the café on Grand Street, drinking their eternal Russian tea and talking about Levitzky.</p> @@ -9296,7 +9255,7 @@ this girl's death, to which he should have been superior. He has no steadfastness, and is not one of us."</p> -<p>At this point, Levitzky entered the café. With +<p>At this point, Levitzky entered the café. With him was the new arrival, the German Anarchist. To him Levitzky was talking with great animation. His words rolled over one another with @@ -9615,383 +9574,6 @@ NEW YORK & LONDON</p> <p class="footnote"><a name="Footnote_2" id="Footnote_2" href="#FNanchor_2"><span class="label">[2]</span></a> Recently defunct—June, 1901.</p> </div> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's The Spirit of the Ghetto, by Hutchins Hapgood - -*** END OF THIS PROJECT GUTENBERG EBOOK THE SPIRIT OF THE GHETTO *** - -***** This file should be named 41028-h.htm or 41028-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/0/2/41028/ - -Produced by Jana Srna, Melissa McDaniel, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - -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 - www.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 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-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 are 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 information page at www.gutenberg.org - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's 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 -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -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 www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty 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: - - www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - - -</pre> - +<div>*** END OF THE PROJECT GUTENBERG EBOOK 41028 ***</div> </body> </html> |