diff options
| -rw-r--r-- | 43173-0.txt | 398 | ||||
| -rw-r--r-- | 43173-0.zip | bin | 23058 -> 0 bytes | |||
| -rw-r--r-- | 43173-8.txt | 981 | ||||
| -rw-r--r-- | 43173-8.zip | bin | 22962 -> 0 bytes | |||
| -rw-r--r-- | 43173-h.zip | bin | 99171 -> 0 bytes | |||
| -rw-r--r-- | 43173-h/43173-h.htm | 426 |
6 files changed, 5 insertions, 1800 deletions
diff --git a/43173-0.txt b/43173-0.txt index bf0716c..aca319b 100644 --- a/43173-0.txt +++ b/43173-0.txt @@ -1,36 +1,4 @@ -Project Gutenberg's Donne, salotti e costumi, by Ferdinando Martini - -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/license - - -Title: Donne, salotti e costumi - La vita italiana durante la Rivoluzione francese e l'Impero - -Author: Ferdinando Martini - -Release Date: July 9, 2013 [EBook #43173] - -Language: Italian - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK DONNE, SALOTTI E COSTUMI *** - - - - -Produced by Carlo Traverso, Claudio Paganelli, Barbara -Magni and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - - - - +*** START OF THE PROJECT GUTENBERG EBOOK 43173 *** LA VITA ITALIANA @@ -616,366 +584,4 @@ senza annotazione minimi errori tipografici. End of Project Gutenberg's Donne, salotti e costumi, by Ferdinando Martini -*** END OF THIS PROJECT GUTENBERG EBOOK DONNE, SALOTTI E COSTUMI *** - -***** This file should be named 43173-0.txt or 43173-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/1/7/43173/ - -Produced by Carlo Traverso, Claudio Paganelli, Barbara -Magni and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -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 web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. +*** END OF THE PROJECT GUTENBERG EBOOK 43173 *** diff --git a/43173-0.zip b/43173-0.zip Binary files differdeleted file mode 100644 index 88cf2e8..0000000 --- a/43173-0.zip +++ /dev/null diff --git a/43173-8.txt b/43173-8.txt deleted file mode 100644 index 5b4d4ca..0000000 --- a/43173-8.txt +++ /dev/null @@ -1,981 +0,0 @@ -Project Gutenberg's Donne, salotti e costumi, by Ferdinando Martini - -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/license - - -Title: Donne, salotti e costumi - La vita italiana durante la Rivoluzione francese e l'Impero - -Author: Ferdinando Martini - -Release Date: July 9, 2013 [EBook #43173] - -Language: Italian - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK DONNE, SALOTTI E COSTUMI *** - - - - -Produced by Carlo Traverso, Claudio Paganelli, Barbara -Magni and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - - - - - - LA - VITA ITALIANA - - DURANTE LA - Rivoluzione francese e l'Impero - - - _Conferenze tenute a Firenze nel 1896_ - - DA - - Cesare Lombroso, Angelo Mosso, Anton Giulio Barrili, - Vittorio Fiorini, Guido Pompilj, Francesco Nitti, - E. Melchior de Vogüé, Ferdinando Martini, Ernesto Masi, - Giuseppe Chiarini, Giovanni Pascoli, Adolfo Venturi, - Enrico Panzacchi. - - - - MILANO - FRATELLI TREVES, EDITORI - - 1897. - - - - - PROPRIETÀ LETTERARIA - - _Riservati tutti i diritti_. - - Tip. Fratelli Treves. - - - - - DONNE, SALOTTI E COSTUMI - - - CONFERENZA - DI - - FERDINANDO MARTINI. - - - - -Una sera del maggio 1810, Alfonso di Lamartine, appena diciannovenne, in -una diligenza sconquassata e seduto accanto al cocchiere, entrava per la -porta San Gallo in Firenze. Poco innanzi, sua madre assestando la camera -di lui aveva trovato una rosa appassita, delicatamente avvolta in un -pezzo di mussolina, e dei versi: - - Ah! repose à jamais dans ce sein qui t'abrite - Rose, qui mourus sous ses pas, - Et compte sur ce coeur combien de fois palpite - Un rêve qui ne mourra pas! - -Un sogno che non morrà! Esperta che a' sogni di quella specie, in -quell'età vaticinati immortali, è quasi sempre, invece, micidiale il -mutamento di clima, la signora di Lamartine mandò sogno e figliuolo a -viaggiare per l'Italia; il figliuolo si fece più sano e robusto che mai, -il sogno lo uccisero le prime acute brezze dell'Alpi; ora per gli orti -fiorenti sulle estreme pendici dell'Appennino, inutilmente le rose -sporgevano di là dalle siepi le corolle fragranti: nello approssimarsi -alla città di Dante e di Michelangelo il giovinetto poeta non cercava -col guardo, non vedeva più che gli allori. Andava fresco della lettura -dei grandissimi fra' nostri scrittori, nella città che era già per lui -la città degli incanti e delle memorie; vi andava con fantasia accesa -così, che nel tragitto dalla porta San Gallo alla locanda di Parione ove -lo condusse il suo automedonte, si figurò scorgere fontane zampillanti -che non ci sono mai state; e perchè tra le fandonie di non so qual libro -di viaggi aveva imparata anche questa: che i soffitti delle case a -Firenze si costruiscono con legno di cedro, gli parve olezzassero del -profumo dei cedri tutte quante le strade. - -Que' miraggi vanirono; ma innanzi agli occhi stupefatti, sfolgorarono in -splendori sempre più fulgidi le luci della storia e dell'arte. Il -Lamartine era partito dalla Francia con molte e ragguardevoli -commendatizie; dopo brevi ore di soggiorno a Firenze, deliberato a -vivere co' morti soltanto, s'era proposto di non recapitarne veruna. Se -non che, letto sul sepolcro dell'Alfieri innanzi al quale, secondo egli -scrive, sentì sorgere nell'anima il primo desiderio di fama; sul -sepolcro dell'Alfieri letto il nome della contessa d'Albany, pensò che -aveva una lettera anche per lei: quella, quella sola e subito lo punse -una impaziente bramosia di consegnarla. E uscì da Santa Croce, già -smanioso di conoscere la donna che l'Alfieri aveva fatta compagna della -propria vita e quasi partecipe della propria gloria; di penetrare in -quel salotto, celebre oltre i confini d'Italia, in cui certo sbocciavano -le più argute originalità del pensiero fra le più briose eleganze della -parola. - -Ahimè! donna e salotto gli preparavano un disinganno per uno. - -La contessa aveva allora cinquantotto anni; che nulla nell'aspetto di -lei ricordasse, per dirla col Lamartine, _la regina d'un cuore_ -s'intende; ma egli soggiunge: e neanche _la regina di un impero_; parole -che, pur velando il rammarico di solennità, esprimono intorno alla -d'Albany il pensiero medesimo del Chateaubriand, cui ella parve "volgare -nel portamento e nella fisonomia"; del duca di Broglie che la giudicò -_une veritable commère_, e del Capponi che la disse "di forme massiccia, -d'animo materialotta, vestita come una lavandaia". Il salotto lasciamo -che il Lamartine lo descriva da sè: "Dopo pranzo entrammo nella stanza -di conversazione, ove intorno alla contessa s'adunava seralmente una -schiera di uomini illustri o nati a Firenze o a Firenze venuti dalle -diverse regioni d'Italia. Ascoltavo con curioso raccoglimento i nomi -loro, via via che il servitore andava annunziandoli: nomi di famiglie -che le storie mi avevano insegnato a conoscere, nomi di professori e di -letterati ancor nuovi per me. A mano a mano che costoro entravano, -andavano a sedersi in semicerchio, intorno ad un tavolino carico di -volumi accatastativi sopra, e dietro al quale se ne stava la contessa -mezza sdraiata sopra un canapè." - -Già quel tavolino, quella catasta di libri, quel semicerchio dicono -abbastanza; ma il Lamartine dice ancor più. Egli, disposto a veder tutto -bello, tenta in sulle prime dissimulare e dissimularsi la delusione che -gli toccò: ripensando gli scrittori e gli artisti ch'egli udì ricordare -in quel convegno, presso alla camera ove l'Alfieri era morto (a -cominciare dal Rinascimento e giù giù fino al Parini ed al Monti) esce -in un inno al genio italiano "pianta la quale vegeta, come i rovi del -Colosseo, più che ne' solchi, vivace fra le ruine". Ma quando siamo allo -stringere, quando egli vuole schiettamente confessare agli altri ed a sè -le proprie impressioni, allora gli viene importunamente spontanea sotto -la penna, la più titubante parola del vocabolario: il _però_. _Però_, a -ben considerare, di che si discorse quella sera, in quella stanza, da -que' gentiluomini, da que' professori, da que' letterati? Di un -argomento unico, quasi proposto alla gara di erudizioni ingegnose e vane -per giunta; delle ragioni, cioè, di preminenza letteraria o artistica -che l'una città d'Italia poteva vantare in paragone delle rivali. -Dissertazioni, non conversazioni; gelidi colloqui di defunti, non -dialoghi attraenti di vivi. Che salotti? Oramai egli non si perita più -di chiamare le cose col vero nome: quella non era altro che -un'accademia. Ugo Foscolo non dà diverso giudizio: in quel crocchio, -egli scrive, io mi sto muto e freddo come la sedia che opprimo. - -Ben diverse dalle riunioni nella casa del Lungarno a Firenze, le -riunioni nel palazzo di Via Montparnasse a Parigi, dove la contessa -abitò dal 1788 al 1791; e alle quali intervenivano, per tacer d'altri -moltissimi, e il Mercy d'Argenteau, e il Montmorin, e il Necker e -Giuseppina Beauharnais e gli Stael moglie e marito, e i Boufflers madre -e figlio, e il Cherubini radioso pe' felici successi della sua -_Lodoiska_ e il Beaumarchais prossimo a dar l'ultima mano alla sua -_Madre colpevole_; della quale, compiuta che sia, offrirà le primizie -alla D'Albany e agli amici di lei. Ma Parigi era Parigi; e se il -Lamartine si figurò di trovare a Firenze nel 1810 un salotto, il quale -rivaleggiasse coi francesi del secolo innanzi e ond'egli forse aveva -udito a casa narrar meraviglie, fu il suo errore tale, che soli valgono -a scusarlo la recente dimora e gli anticipati entusiasmi. - -Io non parlo, badiamo, de' salotti parigini nei quali si lavorava a -scavalcare o a tenere in sella un ministro, e la conversazione era, più -che altro, una scusa: di quelli, per citare due soli ad esempio e non -dei più celebri, della marchesa di Lambert sotto la reggenza e della -duchessa di Grammont durante il regno di Luigi XV. In Francia il -Molière, versificando una sentenza di Giovanni V duca di Bretagna, -affermò che una donna ne sa abbastanza quando è capace di distinguere -una giacchetta da un paio di calzoni; e lasciò intendere che una delle -poche occupazioni dicevoli alla più bella metà del genere umano era -appunto il cucire o rammendare calzoni e giacchette. Ma le francesi -degli alti ceti a tanta esiguità di nozioni, a tanta placidità di uffici -non si rassegnarono mai; e così prima come dopo gli ammonimenti del gran -comico, ambirono a governare lo Stato, e quando governare non potevano, -si adoperarono a sconvolgerlo; e invece di filare, com'egli avrebbe -desiderato, dettero del filo a torcere ai ministri e ai luogotenenti -generali della polizia. "Beati voialtri spagnuoli", diceva il Mazarino a -don Luiz de Haro, intanto che insieme imbastivano la pace de' Pirenei. -"Beati voialtri spagnuoli. In Spagna le donne si contentano d'essere -galanti o devote, obbediscono all'amante o al confessore; da noi -pretendono di spoliticare e si arrogano di comandare anche al Re." E se -il Mazarino credè che debellata la Fronda, la Chevreuse sottomessa, la -Longueville esule in Olanda sarebbero stati alle donne in Francia esempi -di efficacia durevole, ognun sa di quanto ei s'ingannasse. Il secolo -seguente vide, nato da poco, la Maintenon spaventare la devozione di -Luigi XIV e ottenere più dura la persecuzione de' giansenisti; e lei -morta appena, per cinquant'anni segnatamente, dal 1720 al 1770, dal -giorno cioè in cui l'abate Dubois entrò nella diocesi di Cambrai a -riposare il corpo logoro dagli stravizi sulla cattedra onorata dal -Fénélon, sino al giorno in cui il duca di Choiseul andò confinato nel -castello di Chanteloup; trionfi e catastrofi di ministri e di cortigiani -furono opere femminili. Le donne, nota il Montesquieu, formano una vera -repubblica, uno Stato nello Stato, i cui cittadini operosissimi si -aiutano di servizi reciproci; e chi dimorando a Versailles, o a Parigi, -o in provincia mira affaccendarsi ministri, magistrati, prelati e non -conosce le donne che li sospingono, è da paragonarsi a chi vegga agire -una macchina, senza sapere per quali congegni si muova. È una donna, -M.me de Tencin, quella che suggerisce ad un'altra donna, la Chateauroux, -il più felice pensiero del nuovo regno, la presenza del re alla guerra -di Fiandra; è una donna, la Pompadour, quella che conduce la Francia -all'alleanza austriaca e alla guerra dei sette anni; più tardi la -Tallien preparerà Termidoro, e dopo Termidoro la Stael impedirà la -ristorazione della monarchia. Salvo brevi intervalli, in Francia nel -secolo passato, come altri avvertì, la donna è la sommità onde tutto -discende, il modello su cui tutto si foggia, la sorgente onde sgorgano -rapide fortune e sciagure improvvise. Essa dispone del danaro pubblico e -del sangue de' soldati, regola la politica estera, l'interna, la -militare; scrive note diplomatiche, fa sottoscrivere lettere -d'imprigionamento, invia piani di guerra a' quartieri generali e si -serve de' finti nèi rimasti sulla toilette per indicare le posizioni dei -reggimenti: essa è, in breve, il principio che governa, la volontà che -dirige, la voce che comanda. - -Diverse, troppo diverse le nostre dalle condizioni della Francia in quel -tempo: e perciò non fu in Italia salotto, che avesse pur l'ombra -dell'importanza politica cui parecchi de' Francesi pervennero. Ma -neppure salotti di più geniale natura potevano nel secolo scorso non che -fiorire attecchire in Italia, da pareggiare quelli che furono scuola e -norma della colta, arguta, disinvolta garbatezza francese; dei quali sir -Nathaniel Wraxall scriveva che vi si era perfezionata la più utile e -gradevole delle arti, l'arte del conversare: e il Talleyrand che chi non -aveva frequentato que' ritrovi non conosceva il più dolce de' godimenti -dello spirito: salotti ove chiedevano in grazia d'essere accolti gli -ambasciatori subito dopo la presentazione a Versailles, i sovrani appena -giunti a Parigi. - -In Italia, al fiorire, anzi al sorgere di ritrovi altrettali troppi -impedimenti si opposero: il generale costume, quando non la scarsità la -qualità della coltura, finalmente e principalmente le donne. - -Perchè è tempo di ben determinare il significato delle parole: quando si -dice salotto si sottintende _padrona di casa_: dov'essa manchi, voi -potete sì adunare in una stanza quanti uomini vi piaccia spiritosi -insieme e eruditi (se pur la combinazione è possibile) e piacevoli e -originali conversatori e novellatori: e quello sarà un circolo, un -consesso, un areopago, un Olimpo, ma un salotto no. In Italia le padrone -di casa mancarono; onde pochi i salotti e tali che il Lamartine li -definì tutti quanti, allorchè, ricordando la D'Albany e gli ospiti suoi -scrisse: non salotto, accademia. - -Prima della rivoluzione la borghesia ha poca voce in capitolo: quali i -costumi, la coltura delle signore italiane, quali le occupazioni loro? -Se con la guida de' carteggi e dei libri di _Memorie_ che ci rimangono -di quel tempo, si percorra la penisola in lungo ed in largo, dal più al -meno le occupazioni loro son le medesime dappertutto: giuoco, teatri, -pettegolezzi, cicisbei.... o peggio. A Napoli più teatro, più -pettegolezzi che altrove, meno giuoco e pochissimi cicisbei. Ma non c'è -da rallegrarsene: poco limbo, più inferno. Io non riferirò qui ciò che -delle signore napoletane scrisse il Berenger, incaricato di Francia a -Napoli nel 1770: lascerò che una donna, una saggia donna, la signora di -Saussure racconti lei aneddoti, che danno di que' costumi una -chiarissima idea. Un giorno la signora di Saussure va in casa della -principessa di Belmonte a veder passare una processione; tornatane -scrive: "Spettacolo più nuovo assai era il contegno delle signore che mi -erano accanto su quella terrazza, e ch'io trovavo ogni giorno ora in una -casa ora in un'altra. Quando riconoscevano nella processione un dei loro -amanti -- "Ah!" gridavano -- "ecco il tuo innamorato! Ecco, il mio! Ah! -come è bello! Gioia mia, che Dio ti benedica!" e un ammiccare continuo -dalla strada alla terrazza, dalla terrazza alla strada, e grida e saluti -e scoppi di risa." -- Nè la scostumatezza, cinica così da parere -inconsapevole, si fermava alla porta del palazzo reale. La principessa -di Pietra Perzia diceva alla Regina: "Io voglio un amante e Vostra -Maestà me lo ha da scegliere lei stessa," e l'altra: "Va bene, va bene -figlia mia, ve lo sceglierò io." - -C'era, come ognun vede, poco posto per i salotti: occupavano troppo -spazio le alcove. E se un'artista, la Vigée-Lebrun, fuggendo la -compagnia di donne che l'Hamilton qualifica, senza ambagi, ignoranti, -vorrà a Napoli frequentare chi non parli di mode, d'amore e di scandali, -le sarà giocoforza bussare alla porta di altri forestieri: o della -contessa Scawronska, moglie del ministro di Russia o del principe di -Rohan ambasciatore dell'ordine di Malta, o di lady Orford, o della -bellissima duchessa di Fleury, peccatrice emula delle napoletane, ma -peccatrice fantasticante e passionata, romantica prima del romanticismo; -nella consuetudine del conversare squisito addestrata così nel proprio -salotto alle scherme dialogiche, da rintuzzare con arguzia signorile una -triviale impertinenza di Napoleone. Rifugiatasi in Italia durante il -Terrore, ella tornò ne' primi anni dell'impero in Francia, dove le sue -avventure (altrettante sventure) eran note; e imbattutasi un giorno in -Napoleone, questi così la interrogò a bruciapelo: - --- "Aimez vous toujours les hommes?" - -E la duchessa: -- "Oui, Sire, quand ils sont polis." - -A Roma, molte le case aperte, come suol dirsi, a giorno fisso: de' -Barberini, de' Cesarini, de' Patrizi, degli Altieri, de' Borghese, de' -Santacroce, de' Rezzonico, de' Bolognetti. Livree fiammanti, rinfreschi -sontuosi, statue stupende in ogni angolo, quadri stupendi per ogni -parete. Ma accanto a una statua greca un tavolino di tresette, sotto a -una Vergine di Raffaello un tavolino di tarocchi o di minchiate o di -faraone, perchè si giuoca sfrenatamente a ogni sorta di giuochi. Fra un -tavolino e l'altro, ingombro di abati intraprendenti, fra una partita e -l'altra chiacchiere e maldicenze. Se qualche forestiero vi capita capace -di increspare quella gora con aliti intellettuali, nessuno gli bada, -così almeno afferma il Reumont, cominciando dai padroni di casa. Di -quando in quando un po' di musica, piuttosto in omaggio alla moda che -per ricreazione degli animi o pascolo alle inclinazioni. Delle donne, -molte tagliate sul modello della bella Giuliana Falconieri principessa -di Santacroce cara a Papa Pio VI, la quale dicono provvedesse largamente -alla posterità senza presumere d'andarvi: ma vi andò pur troppo, avendo -per compagno il Cardinale De Bernis e per istoriografo il Casanova. -Altre foggiate a immagine della contessa Braschi, che si scusava di -mancare a non so quale convegno, descrivendo per filo e per segno il -piede malato del proprio cavaliere servente: e, forse a dimostrare che -la lunga consuetudine con Vincenzo Monti, segretario di suo marito, non -era stata per lei senza frutto di eleganze epistolari, chiudeva il -biglietto così: _L'amica scorta non potendo calzarsi il piede io non -verrò_. Altre finalmente sprovviste d'ogni elementare cultura come la -marchesa Lepri, che discorrendo del _Saul_ d'Alfieri diceva: _bello, sì: -peccato che sia troppo triste_. - -Giuoco, libertinaggio, cicisbeismo, preziosità, ignoranza; queste -essendo le occupazioni, queste le consuetudini delle signore romane, non -è a meravigliare se Roma non ebbe ritrovi colti e geniali, quali a -Parigi quelli che presero nome dalla Geoffrin, dalla Du Deffand, dalla -D'Houdetot, dalla Lespinasse; Roma a cui pur l'Europa mandava in -pellegrinaggio i più illustri de' suoi scrittori, de' suoi artisti, de' -suoi filosofi, de' suoi poeti. V'erano, sì, due salotti che si -distinguevano dagli altri: l'uno della Maria Pizzelli dotta nel greco, -nel latino, nelle matematiche ed egregia verseggiatrice: egregia, -affermano i biografi, ed io lo ripeto sulla fede loro: i versi della -Pizzelli non li ho letti, e non prendo neanche impegno di leggerli. Ma -al solito, un'accademia; non vi si conversava: chiunque vi capitasse, vi -sciorinava una propria canzone, un'ode, un sonetto, e gli altri -applaudivano, aspettando di sciorinare e preparandosi ad essere -applauditi a lor volta. L'Alfieri leggendovi la _Virginia_ purificò -l'aria ammorbata dalla pioggia continua de' madrigali di un abate -Cunich, che insegnava alla Pizzelli il greco: lingua difficile, lezioni -lunghe e frequenti.... il maestro finì con l'innamorarsi della -discepola; dicono, inutilmente. L'altro salotto, quello di Donna -Margherita Boccapadule, nata dei Marchesi Gentili; ritrovo gradevole -secondo parecchie testimonianze, ma dove convenivano uomini di troppo -differenti animi ed abitudini; letterati, scapati, forestieri d'ogni -genere e qualità, sicchè spesso la conversazione avviata da Alessandro -Verri, cui la marchesa piaceva, era tratta in sentieri più ameni dagli -scapati che piacevano a lei. - -A Firenze costumi più castigati; ma i signori serbano il meglio delle -loro entrate e delle loro energie per i faticosi ozi della -villeggiatura; i Corsini, i Riccardi, i Pucci, i Gerini, i Martelli, i -Rinuccini, i Gherardesca, passano la primavera in casini suburbani, -l'autunno nelle magnifiche ville del Valdarno o del Mugello; e quando -soggiornano in città vi menano vita molto monotona. "In carrozza il -giorno fino alla Porta Romana, trattenendosi alquanto sulla piazza -vicina, poi sulla piazza del Duomo innanzi al Caffè del Bottegone a -prendervi rinfreschi e aspettare l'ora del teatro." Così usavano nel -1770 quando fu a Firenze il Lalande: usanze non molto diverse da quelle -che vi trovò la Stael nel 1805, e che ella descrive nella _Corinna_ così -"Si va tutti i giorni nelle ore pomeridiane a passeggiare Lungarno e -s'impiega la sera a raccontare che ci siamo stati." Inoltre, a' tempi -del Lalande i signori fiorentini avevano la fissazione d'imitare le mode -e le costumanze inglesi: sicchè quando non c'era teatro, gli uomini la -sera se ne andavano da una parte, le donne da un'altra: quelli al Caffè -o al Casino de' nobili, queste sole, o a crocchio con altre donne, o a -quattr'occhi, occhi sonacchiosi, col cavaliere servente. Poche le -veglie, segnalata quella della Marchesa Niccolini in Via de' Servi; dove -a saziare la sete intellettuale degli ospiti bastava qualche sciarada o -qualche sonetto a rime obbligate; e, saziata che fosse, si giuocava -accanitamente come a Roma, come a Torino nonostante i severi decreti del -re, come a Milano dove Pietro Verri, sebbene assiduo nella casa della -coltissima e argutissima Marchesa Paola Castiglioni, diceva essere -oramai divenuto impossibile il conversare. Salotti che arieggino ai -francesi bisognerà dunque cercarli altrove: in casa della Isabella -Teotochi Albrizzi a Venezia, della Silvia Curtoni Verza a Verona, della -Cornelia Martinetti a Bologna; simili, ma d'importanza molto minore -quelli, anche a Venezia, della Giustina Michiel, a Bergamo della Paolina -Suardi Grismondi, la _Lesbia_ del Mascheroni. - -De' salotti francesi molti ci serbarono le cronache, che il Feuillet de -Conches potò poi compendiare e colorire in istoria; questi italiani men -fortunati, o forse fortunatissimi, non ebbero finora storico alcuno. -Bisogna dunque ingegnarsi d'indovinare: agli amici che tesserono gli -elogi di quelle signore, a' poeti che le cantarono c'è naturalmente da -credere fino ad un certo punto. Chi prestasse fede al Bettinelli, al -Montanari, al Pindemonte in ispecie, che designò ciascuna di esse con un -epiteto particolare e chiamò _saggia_ l'Albrizzi e (speriamo con maggior -verità) _gentile_ la Verza, _amabile_ la Grismondi, dovrebbe persuadersi -che esse furono perfette d'intelletto, d'animo e di contegno: e i -salotti dei quali, per usare appunto le frasi de' panegiristi e de' -poeti, "_tennero lo scettro_" altrettanti o _templi care alle Muse_, -come scrive il Montanari, o _grotte magiche_, come vuole il Bettinelli, -o _gabinetti d'Armida_, come piace chiamarli al Vannetti. Io scelgo -grotte, perchè non voglio nè mancare di rispetto ai templi, nè offendere -Armida: e voglio pur dire che ogni volta io m'accosto a quei penetrali, -sento uscirne puzzo di vanità e tanfo di pedanteria. - -Splendide le sale dell'Albrizzi, dove (canta il Montanari): - - Undici nazïoni in una sera. - La Cinese tra lor . . . . - . . . . . . . . concordi - Offerivano incensi ad Isabella: - -illustri gli ospiti, e basti dire che Ippolito Pindemonte, durante le -sue dimore invernali in Venezia, non lasciò scorrer sera che non vi -andasse per qualche ora; basti ricordare che o più presto o più tardi vi -passarono tra' forestieri il Denon, il Maisonfort, la Lebrun, il Byron, -la Stael, il Chateaubriand; fra gli italiani il Cesarotti, il Cicognara, -il Botta, il Monti, il Rasori, il Carrer, il Foscolo: il quale, -capitatovi giovinetto e persuaso dall'esperienza della _celeste Temira_, -che aveva diciotto anni più di lui, vi si indugiò ad ascoltare le prime -lezioni di filosofia della vita. Ma lasciamo i colloqui intimi; e -lasciamo anche le serate di gala, nelle quali l'italiano o il francese o -l'inglese famoso sono mostrati alla folla come insegna e richiamo: -veniamo a' convegni usuali, composti, pacati; chè allora si intende -quale sia il salotto: non così finchè undici persone di undici paesi -diversi, compreso un chinese, stanno lì a offrire incensi alla padrona -di casa. - -Il Malamani scavò nel Museo Civico di Venezia certo scritto di Lorenzo -Paron, specie di processo verbale di una di quelle adunanze; ma nel -pubblicarlo, quasi a malincuore, soggiunse che per quel documento -pioveva sulla conversazione dell'Albrizzi un raggio pallido e strano. Io -posso riepilogare, non riferire lo scritto del Paron; avverto soltanto -che, invece di un raggio pallido, pare a me che esso mandi luce -vivissima. Da principio, dialoghi insulsi inframezzati di barzellette -grassocce; a un certo punto la signora, senz'appiglio alcuno, senza che -se ne sappia il perchè, esce fuori a domandare se vi sieno commentari -oltre quelli di Cesare: -- "Uhm! no." -- "No? e allora, -- ribatto, -- come -va che Plutarco che consultavo stamattina parla di commentari, ecc., -ecc.?" - -E io me li figuro que' dotti tutti o più o meno innamorati. "Ah! che -donna! che divino intelletto! Consulta Plutarco di mattinata!" -- Ognun -d'essi a farle colpo sfodererà la propria dottrina; e si palleggiarono -difatti, narra il Paron, Demostene, Livio, Seneca, Platone. Vi ricordate -le parole del Lamartine? Dialoghi di defunti: dissertazioni non -conversazioni. Il Denina del rimanente e in argomento di lode, lo dice -schietto del salotto della Verza a Verona: una vera accademia di belle -lettere: e il Montanari dichiarando, soggiunge: "nè quella che aveva -fondato in Milano un secolo prima Teresa Visconti, e di cui parla il -Tiraboschi nella storia della nostra letteratura, era stata men -benemerita." - -Dunque accademie; e diciamo pure benemerite, sebbene non si vegga quali -fossero le vantate benemerenze, ma salotti no. Non già che non possa -parlarsi in un salotto, e non si parlasse forse anche a Parigi, di -Platone o di Seneca; ma qui se ne parlava soltanto per far pompa di -un'erudizione che era fine a sè stessa. Tutte quelle donne, alle quali -il bravo Girolamo Pompei aveva insegnato il greco, non potevano stare se -non rammentavano a tutti ogni momento che lo sapevano. Non un pensiero -originale mai, non mai un'arguta sentenza, di cui dovrebbe trovarsi ne' -carteggi o nelle _Memorie_ la traccia. La maggior parte de' -frequentatori di que' salotti era quello che era: nè poteva aspettarsi -che dalla testa di Mario Pieri, dell'abate Franceschinis o di Clementino -Vannetti uscisse ciò che usciva dalla testa del D'Alembert, del Grimm, -del Diderot; ma lo stuolo eletto c'era anche qui. Se non che, in Francia -la D'Houdetot, la Geoffrin paiono avere a regola e guida la risposta di -Curzio Dentato a' Sanniti: "Io fo poco conto dell'oro: molto di -signoreggiare su coloro che lo posseggono"; così ad esse piuttosto che -l'ostentare il proprio ingegno e la propria coltura premeva incitare -l'ingegno, sfruttare la coltura altrui, e vi si adoperano con tatto -meraviglioso. Non pretendono insegnare, osservano e imparano, mutando a -poco a poco la istintiva chiaroveggenza in sagacia incomparabile. _Vous -avez été charmant aujourd'hui_, diceva una volta la Geoffrin a Bernardin -de Saint-Pierre dopo aver lungamente conversato con lui: e l'altro: _Je -ne suis qu'un instrument dont vous avez ben joué_. L'Albrizzi, la Verza, -invece, primeggiano nei loro salotti: e composto intorno a sè un -uditorio, fanno cattedra del canapè. La conversazione perciò a casa loro -cammina sulla traccia segnata dal loro ingegno mediocre, dalla loro -coltura grave ed angusta. La Geoffrin, la D'Houdetot pensano agli altri: -battono selce con selce, per isprigionare scintille onde poi si -accendano e propaghino nuove luci a irraggiare la Francia; la Verza, -l'Albrizzi pensano a sè; vogliono andare a' posteri e, perchè sentono -che non han forza a tanto viaggio, cercano chi le accompagni e sorregga. -C'è, sì, anche a Parigi, una donna che non si rassegna nel proprio -salotto alla parte modesta di ascoltatrice attenta o di incitatrice -opportuna, e disputa e giudica e impone: la Du Deffand: ma quale donna! -l'acume e lo spirito fatti persona. Le sue lettere, documento prezioso -alla storia politica, sociale, morale della Francia d'allora, sono -capolavori di naturalezza, di grazia, di malizia, di profondità. -Paragonate, i suoi _Portraits_ con i _Ritratti_ della Verza e -dell'Albrizzi: quelli potrebbe averli fatti il Saint-Simon, questi, a -dire il vero, non vorrei averli fatti nemmeno io. - -Ancora: io non vi do quelle donne francesi per stinchi di santo, ma la -civetteria era bandita da' loro salotti: ne' salotti invece della Verza, -dell'Albrizzi, della Martinetti è uno spasimare continuo e un continuo -provocare gli spasimi. Spasima il Monti per l'Albrizzi: - - Chiudi, o misero cor, chiudi la porta: - Non mostrar tue ferite alla superba, - Chè in quel bel seno la pietade è morta. - -Spasima (o si sfoga quasi con le parole medesime) il Costa per la -Martinetti: - - Atti soavi, altere voglie oneste, - Senno e virtude non mai pigra o stanca. - Fuor che un po' di pietà nulla le manca. - -E spasima il Giordani, ma egli si sfoga con parole troppo più acerbe. - -Io non mi ricordo nemmeno più se i sospiri sieno piacevoli nei colloqui -in due; certo è che in tre sono insopportabili; peggio fra dieci o -dodici. Nulla di più antipatico che i languori portati a processione, -nulla che geli più la conversazione della presenza d'un innamorato -infelice. Il salotto della Recamier, che rammenta quello della -Martinetti, guasto appunto dalla coorte degli spasimanti inascoltati, -per cagion loro appare agli occhi nostri meno attraente di quelli che lo -precederono. - -Ve la ricordate la Recamier? Due generazioni di uomini illustri le si -prostrarono innanzi adoranti; fu tenuta per la più bella donna di quel -tempo, che pur mirò la Tallien, la Santacroce, Giorgina Spencer e la -duchessa di Devonshire. Luciano Bonaparte smaniò, Augusto Kotzebue -sofferse, Matteo di Montmorency pianse, Beniamino Constant impazzi quasi -per lei: a lei il Ballanche e il Chateaubriand volsero morendo gli occhi -amorosi. - -Statua maravigliosa che nessun Pigmalione valse a smuovere dal suo -piedistallo, si serbò pura della purezza del marmo, fatto apposta per -sfidare gl'incendi. Sotto il Consolato, quando ella entrava ne' diciotto -anni, già eran celebri i ritrovi nella sua casa in Via del Montebianco, -o nella sua villa a Clichy: là fremevano del sollecito oblìo i letterati -della rivoluzione, il Lemontey, il Legouvé, il Dupaty: là gemevano sulle -sorti della Francia i vecchi cortigiani di Luigi XV, il De Guignes, il -Narbonne, il Lamoignon: là bramosi di fortuna e di gloria, ineggiavano -alla Francia nuova il Massena, il Bernadotte, il Beauharnais: là il -Fouché dimostrava la utilità del regicidio al principe Pignatelli che -non lo stava a sentire, intenti gli occhi malinconici nei grandi occhi -azzurri della padrona di casa. In mezzo a loro la divina Giulietta, -sempre vestita di bianco, con un fisciù rosso _alla creola_, solo -ornamento de' capelli ondati, abbondanti. _Nimium pulchritudini nocet -ornamentum_; i troppi ornamenti nuociono alla bellezza, le aveva -insegnato il Bouilly, con le parole di Apulejo. Cortese con le donne, -con gli uomini affabile, salutava e questo e quello con vocativi diversi -e tutti innocenti: _mon ami_ al Chateaubriand, _mon camarade_ al -Bouilly, _mon petit frère_ al Dupaty: e così ogni sera fino all'ora -dello svenimento. Perchè pur troppo nessuno a questo mondo è perfetto e -la Recamier aveva anch'essa il suo mancamento e si sveniva tutte le sere -alle undici in punto. Bisognava portarla di peso sul letto: riavutasi, -gli ospiti le sfilavano innanzi inteneriti, rapiti: e il cortinaggio, -scrive il Lamartine che pur crede simulati gli svenimenti, il -cortinaggio scendeva a separare le ineffabili grazie dai desideri -ineffabili. - -Della Martinetti, Ernesto Masi, il quale pare di lei innamorato tanto -quanto il Costa e il Giordani medesimo, scrive: l'adorazione sottomessa -e rassegnata fu il sentimento di cui ella più si compiacque. Sarà: io -non voglio avvelenare di dubbiezze o sospetti l'animo dell'indulgente -biografo: soltanto poichè ho detto che il salotto della Martinetti per -la folla degli adoratori si assomigliava a quello della Recamier, debbo -aggiungere che la Recamier se s'inebriava degli incensi, non aizzava i -turiferari. Per la Martinetti, vedutala a Bologna, il Foscolo prese di -primo acchito una delle solite ubriacature, e andatosene a Firenze -perseguitava la bella Cornelia con lettere bollenti. Ella rispose, -grave, che smettesse: si sentiva (son parole sue) soavemente sicura del -proprio cuore, perciò l'insistere fatica buttata; egli malazzato avesse -cura di sè, badasse a curarsi e non s'ostinasse in quelle fantasie. -Brava! e benedetta la sincerità! Se non che il Foscolo, replicando, le -scrive: "avrò cura di me: qui la prima lezione diceva _abbi cura di te_, -l'avete mutata; ho poi trascorsa tutta la vostra terza facciata ed ho -trovato sotto la correzione del _voi_ molte traccie del _tu_". Via, qui -non c'è indulgenza che tenga: quando una donna scrive ad un uomo ha da -esser decisa sul pronome da adoperare; quando una lettera non esprime -chiaro il pensiero si strappa; quando una parola si cancella, si -cancella per modo che non appaia; quando si mettono gl'innamorati alla -porta, non si lascia la porta socchiusa. Ma erano, su per giù, tutte -così quelle signore: mezze donne e mezze uomini; degli uomini avevano -tutte le ambizioni, delle donne tutte le debolezze; tutti i pregi fisici -del loro sesso, molti difetti morali dell'un sesso e dell'altro. - -Così, sebbene materiale di letteratura, sebbene sempre attorniate da una -cerchia di letterati, passarono, senza esercitare alcuna influenza sopra -la letteratura del tempo loro, senza lasciare un libro, una pagina, un -motto che a quel tempo sopravvivesse. Noi, infermi di curiosità, ci -affatichiamo oggi a rintracciare per gli archivi e le biblioteche le -orme loro, ci affacciamo in ispirito a que' salotti, riponiamo al loro -posto i medaglioni, gli specchi, gli stucchi, le stoffe, delle quali c'è -noto perfino il colore; ma al primo sussurrare delle voci, ci assale un -senso di stanchezza e di noia. Aria! Aria! Apriamo le finestre: entrino -nei salotti ammuffiti nuove correnti di sentimenti e di idee. Ecco, -quanto sentiva di rossetto e di cipria, quanto sapeva di goffa -imitazione francese, è spazzato: la Verza, la Grismondi, l'Albrizzi, la -Martinetti, si dileguarono come fantasmi; i pastelli di Rosalba Carriera -presero la via del museo. Eccolo il salotto italiano. Potete voi entrare -a scaldarlo con la fiamma degli animosi presagi, o Teresa Confalonieri, -o Costanza Arconati, o Cristina di Belgioioso! - - - - - -Nota del Trascrittore - -Ortografia e punteggiatura originali sono state mantenute, correggendo -senza annotazione minimi errori tipografici. - - - - - -End of Project Gutenberg's Donne, salotti e costumi, by Ferdinando Martini - -*** END OF THIS PROJECT GUTENBERG EBOOK DONNE, SALOTTI E COSTUMI *** - -***** This file should be named 43173-8.txt or 43173-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/1/7/43173/ - -Produced by Carlo Traverso, Claudio Paganelli, Barbara -Magni and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -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 web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/43173-8.zip b/43173-8.zip Binary files differdeleted file mode 100644 index 0650aa1..0000000 --- a/43173-8.zip +++ /dev/null diff --git a/43173-h.zip b/43173-h.zip Binary files differdeleted file mode 100644 index 6050b6c..0000000 --- a/43173-h.zip +++ /dev/null diff --git a/43173-h/43173-h.htm b/43173-h/43173-h.htm index e7e4e1e..0260f98 100644 --- a/43173-h/43173-h.htm +++ b/43173-h/43173-h.htm @@ -3,7 +3,7 @@ <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="it"> <head> - <meta http-equiv="content-type" content="text/html; charset=utf-8" /> + <meta http-equiv="content-type" content="text/html; charset=UTF-8" /> <title> Donne, salotti e costumi, di Ferdinando Martini </title> @@ -53,46 +53,7 @@ hr.tiny {width: 10%;} </style> </head> <body> - - -<pre> - -Project Gutenberg's Donne, salotti e costumi, by Ferdinando Martini - -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/license - - -Title: Donne, salotti e costumi - La vita italiana durante la Rivoluzione francese e l'Impero - -Author: Ferdinando Martini - -Release Date: July 9, 2013 [EBook #43173] - -Language: Italian - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK DONNE, SALOTTI E COSTUMI *** - - - - -Produced by Carlo Traverso, Claudio Paganelli, Barbara -Magni and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 43173 ***</div> <div class="titlepage"> <p> @@ -1001,387 +962,6 @@ Copertina creata dal trascrittore e posta nel pubblico dominio. </p> </div> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Donne, salotti e costumi, by Ferdinando Martini - -*** END OF THIS PROJECT GUTENBERG EBOOK DONNE, SALOTTI E COSTUMI *** - -***** This file should be named 43173-h.htm or 43173-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/1/7/43173/ - -Produced by Carlo Traverso, Claudio Paganelli, Barbara -Magni and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -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 web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - -</pre> - +<div>*** END OF THE PROJECT GUTENBERG EBOOK 43173 ***</div> </body> </html> |