summaryrefslogtreecommitdiff
path: root/old/44155-h
diff options
context:
space:
mode:
authorRoger Frank <rfrank@pglaf.org>2025-10-14 18:36:21 -0700
committerRoger Frank <rfrank@pglaf.org>2025-10-14 18:36:21 -0700
commit5fb50f8d63414653b37877ae1957f6a1abaaa0ac (patch)
tree82fa3f6fbe2ecd6fa8ca35eda2cdccfcc74b4d00 /old/44155-h
initial commit of ebook 44155HEADmain
Diffstat (limited to 'old/44155-h')
-rw-r--r--old/44155-h/44155-h.htm893
1 files changed, 893 insertions, 0 deletions
diff --git a/old/44155-h/44155-h.htm b/old/44155-h/44155-h.htm
new file mode 100644
index 0000000..ce1bfd2
--- /dev/null
+++ b/old/44155-h/44155-h.htm
@@ -0,0 +1,893 @@
+<?xml version="1.0" encoding="iso-8859-1"?>
+
+<!DOCTYPE html
+ PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" >
+
+<html xmlns="http://www.w3.org/1999/xhtml" lang="en">
+ <head>
+ <title>
+ How It Feels to Be Fifty, by Ellis Parker Butler
+ </title>
+ <style type="text/css" xml:space="preserve">
+
+ body { margin:15%; background:#faebd0; text-align:justify}
+ P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; }
+ H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; }
+ hr { width: 50%; text-align: center;}
+ .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; }
+ blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;}
+ .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;}
+ .toc { margin-left: 10%; margin-bottom: .75em;}
+ .toc2 { margin-left: 20%;}
+ div.fig { display:block; margin:0 auto; text-align:center; }
+ div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; }
+ .figleft {float: left; margin-left: 0%; margin-right: 1%;}
+ .figright {float: right; margin-right: 0%; margin-left: 1%;}
+ .pagenum {display:inline; font-size: 100%; font-style:normal;
+ margin: 0; padding: 0; position: absolute; right: 1%;
+ text-align: right;}
+ .side { float: left; font-size: 75%; width: 25%; padding-left: 0.8em;
+ border-left: dashed thin; text-align: left;
+ text-indent: 0; font-weight: bold; font-style: italic;
+ font-weight: bold; color: black; background: #eeeeee; border: solid 1px;}
+ pre { font-style: italic; font-size: 90%; margin-left: 10%;}
+
+</style>
+ </head>
+ <body>
+
+
+<pre>
+
+Project Gutenberg's How it Feels to be Fifty, by Ellis Parker Butler
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: How it Feels to be Fifty
+
+Author: Ellis Parker Butler
+
+Release Date: November 10, 2013 [EBook #44155]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HOW IT FEELS TO BE FIFTY ***
+
+
+
+
+Produced by David Widger
+
+
+
+
+
+</pre>
+
+ <div style="height: 8em;">
+ <br /><br /><br /><br /><br /><br /><br /><br />
+ </div>
+ <h1>
+ HOW IT FEELS TO BE FIFTY
+ </h1>
+ <h2>
+ By Ellis Parker Butler
+ </h2>
+ <h4>
+ COPYRIGHT, 1919, <br /> <br /> BY THE CROWELL PUBLISHING COMPANY
+ </h4>
+ <p>
+ <br /> <br />
+ </p>
+ <hr />
+ <p>
+ <br /> <br />
+ </p>
+ <p>
+ To tell you the honest truth,
+ </p>
+ <p>
+ I am obliged to say that, if I had not been asked to write these few lines
+ on "How it Feels to be Fifty," being fifty would n't have meant anything
+ in my young life.
+ </p>
+ <p>
+ Of course this will be a terrible disappointment to the thousands of
+ people who, for twenty-five years, have been counting off the months and
+ days and hours and minutes, saying:
+ </p>
+ <p>
+ "In twenty-one years more he will be fifty; in ten months more he will be
+ fifty; in eight minutes more he will be fifty! And <i>then</i> he will
+ tell us how it feels, and we can absorb the knowledge from his wise old
+ lips and get ready to feel as we ought to feel when we, too, are fifty."
+ </p>
+ <p>
+ It is a shame to disappoint such a large and intelligent audience, but I
+ am compelled to state that I do not feel like a doddering old wreck
+ teetering on the edge of the grave.
+ </p>
+ <p>
+ I remember a lovely underwear advertisement that depicted a sort of
+ "cradle to grave" scene, with a toddling youngster at one end of the
+ bridge of life and an aged man at the other end, and men of various
+ progressive underwear ages scattered between. They were all arrayed in
+ nice comfy underwear, and the bridge over which they were ambling was
+ highest in the middle. It suggested that a man climbs up the bridge of
+ life half his years and then goes down grade until he does n't need any
+ more underwear, because of circumstances over which he has no control.
+ </p>
+ <p>
+ This bridge-of-life or hill-of-life idea, with its forty years up-hill and
+ then forty years down-hill, is pure fake. If life were like that I would
+ now be writing a sadly introspective farewell ode, telling how I had
+ reached the apex of life's hill and now saw before me the long slope down
+ into the valley, toward the river all must cross.
+ </p>
+ <p>
+ I would ring in something about the setting sun and the cooing of the
+ turtle doves in the neat little cemetery at the foot of the hill, and then
+ say I was shouldering my heavy pack with hope and resignation for the
+ final weary down-hill hike. I would add something about being footsore,
+ about spent talents and honorable gray hairs, and everybody would weep and
+ begin to save up money for a floral funeral wreath for me.
+ </p>
+ <p>
+ The fact is that, except for the almanac, I don't know whether I am fifty
+ or twenty. Judged by the way I feel to-day, I shall keep right on going
+ up-hill, until&mdash;it may be a thousand years from now&mdash;I come to a
+ jumping-off place.
+ </p>
+ <p>
+ At fifty I have no feeling of starting down-hill, or of having reached the
+ top of any hill. If you want to call my life a hill, I 'll say I see the
+ road rising just as steadily and regularly and pleasantly ahead of me now
+ as when I was twenty. And the top of it is so far from where I am now, and
+ so much higher, that I can't even see it. Life is just beginning to be
+ interesting.
+ </p>
+ <p>
+ At fifty I feel like a young teamster who has just got his skittish colts
+ broken in and is now ready to start out on the real job. Until now I have
+ been a raw hand, stopping to adjust the harness, talking about what I
+ meant to do, studying the guide books, getting the stiff wagon greased,
+ laying in provisions, fussing around one way and another trying to find
+ out where I wanted to go, and why I wanted to go there, and how to get
+ there when I started.
+ </p>
+ <p>
+ At fifty a man should feel younger and stronger and more fit than he ever
+ felt before. I do. Most men do, I believe. Younger fellows do not even
+ play properly. They make a sort of work of it. It is not until a man is
+ fifty that he knows that golf and fishing and poker and pinochle are play,
+ and that work is play, and that life itself is kind of an interesting big
+ game, too.
+ </p>
+ <p>
+ I took out an old photograph of mine the other day&mdash;one I had taken
+ away back in 1887, when I was eighteen&mdash;and I remembered how full of
+ cares and worries I was at that time. I used to stay awake night after
+ night and worry over getting married, for instance. I used to wonder how I
+ could ever get up enough courage to go up to a girl and ask her to marry
+ me.
+ </p>
+ <p>
+ That awful necessity loomed up before me and filled me with woe and agony,
+ gave me cold chills and hot flushes, and made me absolutely miserable for
+ years.
+ </p>
+ <p>
+ I remember that when I was about twenty I saw an item in a newspaper, away
+ inside somewheres and tucked in a corner. It said statistics showed that
+ bashful men were usually the first to marry. That item was a wonderful
+ source of relief to me. I cut it out and carried it in my pocket, and
+ whenever I felt the cold chill of fear come over me and I began to sweat
+ at the thought that some day I must ask a girl to marry me, I got out that
+ clipping and read it, and tried to brace up and be brave. To-day I have a
+ wife and four children and <i>that</i> worry is gone.
+ </p>
+ <p>
+ My hair was another great worry in those days. My father is quite bald,
+ and he had become bald when he was a very young man; when he was
+ twenty-one or twenty-two, I believe.
+ </p>
+ <p>
+ I don't know why a young man should think a heavy head of hair is such an
+ imperative necessity, when hats are so cheap, but I was haunted by a dire
+ fear that I might grow bald while still young. I was in continual distress
+ lest the Butler baldness might be hereditary. I had just one great hope&mdash;that
+ at least some of my hair might stay on my head until I was married,
+ anyway.
+ </p>
+ <p>
+ When I became engaged, this hair-fear took the place of the
+ afraid-to-propose fear. It was with me night and day. It was a keen,
+ personal agony. The thought that I might have to walk up the church aisle
+ to the music of the wedding march, with my bald head shining like a white
+ watermelon, almost made me collapse with shame. And the worst of it was
+ that my hair did begin to come out by handfuls. I shed hair like a cat in
+ the springtime. Those were awful days! I saw myself doomed to a life of
+ hairless disgrace and degradation.
+ </p>
+ <p>
+ At fifty I have more hair than a man of that age is expected to have; and
+ I don't care a continental whether it stays or goes. It has worn well. If
+ it goes to-morrow I can say, "No matter; it was a good crop while it
+ lasted, and it lasted well." If I become absolutely bald it will be a good
+ publicity feature, like the late Bill Nye's baldness. I should worry!
+ </p>
+ <p>
+ At fifty the few pains and aches I have are, so to speak, standardized.
+ They are old friends; if they went away I should miss them. I should not
+ be myself without them.
+ </p>
+ <p>
+ There is one I am especially fond of, because I have had it so long. It
+ resides in my tummy. I have had that pain so many years that I have, so to
+ speak, built my character around it, as an oyster builds the beautiful,
+ lustrous pearl around the intruding grain of sand.
+ </p>
+ <p>
+ Forty years ago I used to howl when that pain came. I used to lie across a
+ chair, or a log, or a hummock of ground, and howl when it made remarks.
+ Twenty years ago, when that pain gripped me I used to imagine death was
+ about to end my promising career. To-day I treat it like an old friend
+ when it makes itself felt. It can't fool me. I know its tricks and its
+ manners. I say "'Ullo! 'Ullo! 'Ere you are again, are you? Welcome 'ome,
+ old top! Sorry I can't give you more attention, but I 've got such a lot
+ to do; just 'ang around until you get ready to go, old sport, and make
+ yourself comfortable."
+ </p>
+ <p>
+ At fifty my general health is better than it ever was. I have shaken off a
+ bilious headache that was the curse of my youthful days. Proper eyeglasses
+ have corrected an astigmatism that gave me other headaches twenty years
+ ago. With the same glasses I can see as well now as I ever did. My
+ appetite is as good as it ever was. I enjoy everything in life more than I
+ ever did. I am more sure of myself. I know what I can do, and I am not
+ afraid to do it.
+ </p>
+ <p>
+ At fifty a young man should have just about completed his preparations to
+ begin to live his real life. There are some precocious young fellows who
+ "get their growth" by the time they are forty-five, but I am not one of
+ them. There are some few prodigies who do worthwhile living before forty,
+ but there are not many of them.
+ </p>
+ <p>
+ At fifty a man begins to live the worth-while life of a man, as
+ distinguished from his life as a mere animal. At fifty he should have his
+ family pretty well built up and complete, his experimental crops sown, and
+ be ready to do his work and to enjoy his life in a hearty, unafraid,
+ efficient manner.
+ </p>
+ <p>
+ Without checking up the items carefully, and without claiming that some
+ things done by the youngsters are not worth keeping, I venture to say the
+ world would be surprised to find how much of its best in literature, art,
+ the drama, mechanical inventions and so on would remain if everything done
+ by men and women under fifty were eliminated.
+ </p>
+ <p>
+ At fifty a man is just about mature, in this climate. And he is not a
+ tomato; he does not decay as soon as he is ripe. He stays ripe and sound
+ for many years, and each of his years beyond fifty should be worth five or
+ ten of his earlier unripe years.
+ </p>
+ <p>
+ To the young fellow of twenty-five it may seem that the man of fifty is an
+ aged and doddering wreck who must have the thought of death constantly in
+ mind. I'll venture to say, judging by myself, that&mdash;except when the
+ life-insurance man comes around with his propaganda&mdash;the man of fifty
+ never thinks of death at all. Why should he?
+ </p>
+ <p>
+ Personally, I worried a great deal more about life insurance and what
+ style of coffin I'd like when I was twenty-one than I do now. Now I carry
+ all the life insurance I can afford, as a plain business proposition, and
+ let it go at that. When I was twenty-one I worried about dying at some
+ untimely age and leaving someone or other to starve to death, as per the
+ prospectus. Well, I have become skeptical about people starving to death.
+ I've never yet seen any one do it.
+ </p>
+ <p>
+ I mention this death business because I am trying to imagine what a young
+ fellow believes a man of fifty thinks of. I know some of them think we
+ fifty-year-olders are decrepit old ruins, dwelling in the past and looking
+ fearfully forward to an early dissolution.
+ </p>
+ <p>
+ Take my word for it, sonny, no man of fifty, unless he be suffering from
+ some dire disease, thinks of death at all, as applicable to himself. As
+ for myself, seeing how things are going nowadays, I don't give death a
+ thought. For all I know, and all <i>you</i> know, before I am ten years
+ older the Great Manager of Things may decide it is time to go back to the
+ old régime, and make men live five hundred or six hundred or nine hundred
+ and sixty-nine years, as they did in the days of Methuselah and Noah. So
+ why should I worry?
+ </p>
+ <p>
+ At eighty or ninety, I imagine, some men do get a little weary of life and
+ begin to be indifferent to its continuance; but at fifty many things are
+ just beginning to be interesting. Until lately I have been so busy raising
+ a family, and getting a home, and one thing and another, that I have not
+ had time to give proper attention to my golf. I am planning to put in
+ thirty or forty good years improving my game. I have discovered that you
+ cannot avoid faults in your golf unless you know what they are, and you
+ cannot thoroughly know a golf fault until you acquire it. I think I have
+ now acquired all the golf faults there are, and from now on I mean to have
+ a lot of fun getting rid of them.
+ </p>
+ <p>
+ Another thing I need a lot of time for now is my postage stamp collection.
+ For forty years or so I have sort of fooled along with it, getting
+ acquainted with the general methods and outlines of the sport, and
+ deciding just what to specialize in.
+ </p>
+ <p>
+ I have now a pretty fair working knowledge, and know what I want to do in
+ that line. I need a lot of time for that; I don't expect to do any very
+ great things at it until I really get some leisure&mdash;say when I am
+ eighty or ninety years old&mdash;but in the meanwhile I want to pick up a
+ few rarities now and then. To do that I'll have to make a little more
+ money than I have been making, because I have reached a point where the
+ stamps I need run into money rapidly.
+ </p>
+ <p>
+ And I expect, in the next twenty or thirty years, to spend quite a little
+ on my fishing. After forty years of it I am just beginning to learn how to
+ fish properly. And I want to grow some real flowers. I want to have a
+ tulip bed that will draw people from a hundred miles and make them beg for
+ bulbs. But I have n't been able to get at the tulip affair this year
+ because I have been out touring the country as a platform humorist. There
+ are a half-dozen other things I am planning to do; but all these are
+ subsidiary to my writing, of course.
+ </p>
+ <p>
+ At fifty I feel that I am about ready to begin my life work as a writer.
+ For the past few years, thirty or forty of them, I have been experimenting
+ around and trying to get my bearings and learn what life really is. I have
+ done some pretty raw, inexperienced stuff, but it has been worth while
+ because a young fellow has to go through the experimental stage. It takes
+ time to decide what one really wants to do, and how he wants to do it. But
+ when a man is fifty, with a long life ahead of him and a fair notion of
+ what he wants to do, he begins to be hopeful.
+ </p>
+ <p>
+ At fifty, I feel that I am about ready to begin writing the eight or ten
+ novels I have been wanting to write. Amelia E. Barr was about fifty years
+ old when she began writing novels, and she wrote about seventy of them
+ after that. Richardson wrote "Pamela"&mdash;some call it the first modern
+ novel&mdash;when he was fifty. Daniel De Foe turned to fiction only when
+ he was fifty-five.
+ </p>
+ <p>
+ There are hundreds of writers who did all their work, or most of their
+ best work, after fifty. Oliver Wendell Holmes was forty-eight when he
+ wrote the "Autocrat of the Breakfast Table," his first great work.
+ Longfellow wrote "Hiawatha" when he was forty-eight, and much of his best
+ work followed. Whittier wrote "Snow-Bound" and "Maud Muller" at
+ fifty-nine, and continued writing until he was seventy-nine. Tennyson was
+ still writing at eighty-three. "Trilby" was written when Du Maurier was
+ sixty; "Les Miserables" when Victor Hugo was sixty; "Kenilworth" when
+ Scott was sixty, with sixteen novels following it. Reckoning a man's life
+ by years is the biggest sort of flapdoodle. All of a man's worth-while
+ living may come after he is fifty. Between fifty and fifty-one I may catch
+ my biggest trout, and I expect to do it. After fifty I may write my best
+ stories, and I mean to do it.
+ </p>
+ <p>
+ In my back yard is a huge white-oak tree. Some tree experts say it is
+ three hundred and fifty years old, some say six hundred, and one has
+ estimated it at eight hundred. It does not make a bit of difference to the
+ tree. It is as young and enthusiastic when spring comes as it was when it
+ was two years old. It puts forth leaves, grows new and tender twigs, bears
+ sound acorns, shelters its colony of bird families, and holds one end of
+ the clothesline just as well as it ever did.
+ </p>
+ <p>
+ It is a healthier, happier tree at six hundred years of age than thousands
+ of pert young ten-year-olds, and is producing more and better oak leaves.
+ If you went and asked it how it feels to be six hundred years old, it
+ would say, "What do you mean, six hundred years old? What has that got to
+ do with it?" A few hundred years one way or the other mean nothing to a
+ sound, healthy white-oak tree. A few tens of years one way or the other
+ mean nothing to a sound, healthy man.
+ </p>
+ <p>
+ We know that Homer and Socrates were aged men because certain famous
+ portrait busts have advertised it. But how many know whether Cicero,
+ Plato, Marcus Aurelius, or Pythagoras did their best work before or after
+ fifty? We don't know and we don't care.
+ </p>
+ <p>
+ Take Noah, for example. At fifty Noah was a comparatively unknown citizen,
+ with a neighborhood reputation for homely virtues, and a nice growing
+ family; but he had cut no very great figure in the world. Some of the
+ younger fellows thought of him now and then as a sort of aged gentleman
+ who was about ready to drop into the grave. Probably they thought it was
+ quite a feather in Noah's cap when one of them stopped him and asked him
+ to write a short paper on the subject, "How it Feels to be Fifty."
+ </p>
+ <p>
+ "There is a chance for you to produce a wonder," the young fellow said to
+ Noah. "Make the essay just as personal and real and funny as you possibly
+ can. Age is one of the most interesting subjects in the world. Everybody
+ either looks forward to being fifty or back to having been fifty. There is
+ no subject about which human beings think more."
+ </p>
+ <p>
+ "All right," Noah said. "I 'll do it; but you must expect to be
+ disappointed, because I don't <i>feel</i> old, or aged, or anything of
+ that sort. I feel young and lively, as if I were just beginning to live&mdash;"
+ </p>
+ <p>
+ "Slush!" said the young fellow. "You 're <i>old</i>. At fifty you have one
+ foot in the grave. That stands to reason. Now be a nice old fellow and
+ write something that will please the Neighborhood Society. Something about
+ standing on the apex of the hill of life, looking down the farther side,
+ and that sort of thing." So Noah did. He aimed to please. He wrote the
+ essay and said he was now fifty and had but a few years to live, and that
+ he did hate to think of so soon having to part from one and all. The paper
+ made a great hit. It was loudly applauded.
+ </p>
+ <p>
+ And fifty years after that, Noah was still alive.
+ </p>
+ <p>
+ And fifty years after <i>that</i>, Noah was still alive.
+ </p>
+ <p>
+ And then another fifty years passed, and Noah was still alive.
+ </p>
+ <p>
+ And then a hundred years passed, and Noah was still alive.
+ </p>
+ <p>
+ And two hundred years after <i>that</i>, Noah was still alive and going
+ strong.
+ </p>
+ <p>
+ And it was n't until one hundred years after <i>that</i>, that Noah made
+ the big hit of his life by gathering his folks and his live stock into the
+ ark. He was six hundred years two months and seventeen days old when the
+ big rain began that was to make him famous. You can read that in Genesis,
+ 7th chapter, 11th verse. That was just five hundred and fifty years two
+ months and seventeen days after the young fellow asked Noah to write how
+ it felt to be an old man of fifty starting on the downward path.
+ </p>
+ <p>
+ I think we should all take Noah as a model, and keep a young heart and an
+ eager, forward-looking spirit until we are at least six hundred years two
+ months and seventeen days old. <i>Our</i> forty days of glory and
+ greatness and good service may come long after we are fifty&mdash;five
+ hundred and fifty years after, for all we know.
+ </p>
+ <p>
+ I like Noah. He had no surrender in him. Old at fifty? He considered
+ himself a mere baby at fifty! At six hundred he was just getting into his
+ proper stride. He was just ripe to tackle a big job like the flood.
+ </p>
+ <p>
+ <i>Chapter 9, verse 28:</i> And Noah lived after the flood three hundred
+ and fifty years.
+ </p>
+ <p>
+ <i>Verse 29:</i> And all the days of Noah were nine hundred and fifty
+ years; and he died.
+ </p>
+ <p>
+ It was about time he died. Nine hundred and fifty years ought to satisfy
+ any man. In my family, barring accidents and diseases, we live to be
+ ninety or ninety-six, and I ask you, frankly, how you can expect me to
+ fret and worry and be agedly philosophical when I am still only a young
+ tart of fifty. It is too much to ask of me.
+ </p>
+ <p>
+ At fifty, I feel myself just reaching my full powers, mentally and
+ physically; capable of more work and better work, more play and better
+ play, and with so many years of work and play ahead of me that I never so
+ much as think of my age or of being any age. I am keen and eager to get
+ right at the next job I have on hand, and to make it a better piece of
+ work than any I have ever done.
+ </p>
+ <p>
+ The great expectations are not all on the younger side of fifty. But the
+ great satisfactions are nearly all on the onward side of it. Life is not
+ an up-one-side, down-the-other-side hill. It is a long, winding road, good
+ all the way, and the freshest, brightest flowers and the sweetest,
+ solidest fruit usually grow beyond the fifty-year mile-post.
+ </p>
+ <p>
+ At twenty my life was a feverish adventure, at thirty it was a problem, at
+ forty it was a labor, at fifty it is a joyful journey well begun.
+ </p>
+ <p>
+ THE END
+ </p>
+ <div style="height: 6em;">
+ <br /><br /><br /><br /><br /><br />
+ </div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's How it Feels to be Fifty, by Ellis Parker Butler
+
+*** END OF THIS PROJECT GUTENBERG EBOOK HOW IT FEELS TO BE FIFTY ***
+
+***** This file should be named 44155-h.htm or 44155-h.zip *****
+This and all associated files of various formats will be found in:
+ http://www.gutenberg.org/4/4/1/5/44155/
+
+Produced by David Widger
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties. Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark. Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission. If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy. You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research. They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks. Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License available with this file or online at
+ www.gutenberg.org/license.
+
+
+Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A. By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement. If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B. "Project Gutenberg" is a registered trademark. It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement. There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement. See
+paragraph 1.C below. There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works. See paragraph 1.E below.
+
+1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works. Nearly all the individual works in the
+collection are in the public domain in the United States. If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed. Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work. You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D. The copyright laws of the place where you are located also govern
+what you can do with this work. Copyright laws in most countries are in
+a constant state of change. If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work. The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E. Unless you have removed all references to Project Gutenberg:
+
+1.E.1. The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2. If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges. If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3. If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder. Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5. Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6. You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form. However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form. Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7. Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8. You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+ the use of Project Gutenberg-tm works calculated using the method
+ you already use to calculate your applicable taxes. The fee is
+ owed to the owner of the Project Gutenberg-tm trademark, but he
+ has agreed to donate royalties under this paragraph to the
+ Project Gutenberg Literary Archive Foundation. Royalty payments
+ must be paid within 60 days following each date on which you
+ prepare (or are legally required to prepare) your periodic tax
+ returns. Royalty payments should be clearly marked as such and
+ sent to the Project Gutenberg Literary Archive Foundation at the
+ address specified in Section 4, "Information about donations to
+ the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+ you in writing (or by e-mail) within 30 days of receipt that s/he
+ does not agree to the terms of the full Project Gutenberg-tm
+ License. You must require such a user to return or
+ destroy all copies of the works possessed in a physical medium
+ and discontinue all use of and all access to other copies of
+ Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+ money paid for a work or a replacement copy, if a defect in the
+ electronic work is discovered and reported to you within 90 days
+ of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+ distribution of Project Gutenberg-tm works.
+
+1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark. Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1. Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection. Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from. If you
+received the work on a physical medium, you must return the medium with
+your written explanation. The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund. If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund. If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4. Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5. Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law. The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section 2. Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers. It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come. In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation information page at www.gutenberg.org
+
+
+Section 3. Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service. The Foundation's EIN or federal tax identification
+number is 64-6221541. Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations. Its business office is located at 809
+North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email
+contact links and up to date contact information can be found at the
+Foundation's web site and official page at www.gutenberg.org/contact
+
+For additional contact information:
+ Dr. Gregory B. Newby
+ Chief Executive and Director
+ gbnewby@pglaf.org
+
+Section 4. Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment. Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States. Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements. We do not solicit donations in locations
+where we have not received written confirmation of compliance. To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit www.gutenberg.org/donate
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States. U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses. Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: www.gutenberg.org/donate
+
+
+Section 5. General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone. For forty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included. Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+ www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+
+</pre>
+
+ </body>
+</html>