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diff --git a/5197-h/5197-h.htm b/5197-h/5197-h.htm index 6ee1303..4ff1e4f 100644 --- a/5197-h/5197-h.htm +++ b/5197-h/5197-h.htm @@ -1,15 +1,14 @@ -<!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" xml:lang="en" lang="en"> +<!DOCTYPE html> +<html lang="en"> <head> -<meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> -<meta http-equiv="Content-Style-Type" content="text/css" /> -<title>The Project Gutenberg eBook of My Life — Volume 1, by Richard Wagner</title> +<meta charset="utf-8"> +<title>My Life — Volume 1 | Project Gutenberg</title> +<link rel="icon" href="images/cover.jpg" type="image/x-cover"> -<style type="text/css"> +<style> -body { margin-left: 20%; - margin-right: 20%; +body { margin-left: 10%; + margin-right: 10%; text-align: justify; } h1, h2, h3, h4, h5 {text-align: center; font-style: normal; font-weight: @@ -76,43 +75,24 @@ a:hover {color:red} </head> <body> - -<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of My Life — Volume 1, by Richard Wagner</div> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: My Life<br /> - Volume 1</div> -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Richard Wagner</div> -<div style='display:block; margin:1em 0'>Release Date: February 1, 2004 [eBook #5197]<br /> -[Most recently updated: December 21, 2022]</div> -<div style='display:block; margin:1em 0'>Language: English</div> -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: John Mamoun, Charles Franks and the Online distributed proofreading website</div> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK MY LIFE — VOLUME 1 ***</div> +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 5197 ***</div> <h1>My Life</h1> <h2 class="no-break">by Richard Wagner</h2> -<h3>IN TWO VOLUMES<br/> +<h3>IN TWO VOLUMES<br> Volume 1</h3> <h4>AUTHORIZED TRANSLATION FROM THE GERMAN</h4> -<hr /> +<hr > <div class="chapter"> <h2>Contents</h2> -<table summary="" style="margin-left: auto; margin-right: auto"> +<table style="margin-left: auto; margin-right: auto"> <tr> <td> <a href="#chap01">PREFACE</a></td> @@ -140,7 +120,7 @@ Volume 1</h3> <div class="chapter"> -<h2><a name="chap01"></a>PREFACE</h2> +<h2><a id="chap01"></a>PREFACE</h2> <p> The contents of these volumes have been written down directly from my @@ -172,11 +152,11 @@ Richard Wagner <div class="chapter"> -<h2><a name="chap02"></a>CONTENTS</h2> +<h2><a id="chap02"></a>CONTENTS</h2> <h3>Part I. 1813-1842</h3> -<table summary="" style=""> +<table> <tr> <td> Childhood and Schooldays</td> @@ -198,7 +178,7 @@ Richard Wagner <h3>Part II. 1842-1850 (Dresden)</h3> -<table summary="" style=""> +<table> <tr> <td> ‘Rienzi’</td> @@ -268,8 +248,8 @@ Richard Wagner <div class="fig" style="width:100%;"> <a href="images/image01.jpg"> -<img src="images/image01.jpg" width="503" height="600" alt="Illustration:" /></a> -<p class="caption">Richard Wagner in 1842,<br/> +<img src="images/image01.jpg" alt="Illustration:" style="width: 503px; height: 600px"></a> +<p class="caption">Richard Wagner in 1842,<br> from the Portrait by E. Kietz.</p> </div> @@ -288,13 +268,13 @@ by the courtesy of Mr. F. Bruckmann. <div class="chapter"> -<h2><a name="chap03"></a>MY LIFE</h2> +<h2><a id="chap03"></a>MY LIFE</h2> </div><!--end chapter--> <div class="chapter"> -<h2><a name="chap04"></a>PART I<br/> +<h2><a id="chap04"></a>PART I<br> 1813-1842</h2> @@ -333,8 +313,7 @@ and that on the promenade he pointed out Schiller and Goethe to her, and reproved her warmly for never having heard of these great men. He is said to have been not altogether free from a gallant interest in actresses. My mother used to complain jokingly that she often had to keep lunch waiting for him -while he was paying court to a certain famous actress of the day.<a href="#fn1" -name="fnref1"><sup>[1]</sup></a> When she scolded him, he vowed that he had +while he was paying court to a certain famous actress of the day.<a href="#fn1" id="fnref1"><sup>[1]</sup></a> When she scolded him, he vowed that he had been delayed by papers that had to be attended to, and as a proof of his assertion pointed to his fingers, which were supposed to be stained with ink, but on closer inspection were found to be quite clean. His great fondness for @@ -351,7 +330,7 @@ complained of the frivolity of her husband. </p> <p class="footnote"> -<a name="fn1"></a> <a href="#fnref1">[1]</a> +<a id="fn1"></a> <a href="#fnref1">[1]</a> Madame Hartwig. </p> @@ -428,19 +407,19 @@ vivant</i> as an angel, sewn up in tights with wings on my back, in a graceful p which I had laboriously practised. I also remember on this occasion being given a big iced cake, which I was assured the King had intended for me personally. Lastly, I can recall taking a child’s part in which I had a few words to speak -in Kotzebue’s <i>Menschenhass und Reue</i><a href="#fn2" name="fnref2"><sup>[2]</sup></a>, +in Kotzebue’s <i>Menschenhass und Reue</i><a href="#fn2" id="fnref2"><sup>[2]</sup></a>, which furnished me with an excuse at school for not having learnt my lessons. I said I had too much to do, as I had to learn by heart an important part in <i>Den -Menschen ausser der Reihe</i>.<a href="#fn3" name="fnref3"><sup>[3]</sup></a> +Menschen ausser der Reihe</i>.<a href="#fn3" id="fnref3"><sup>[3]</sup></a> </p> <p class="footnote"> -<a name="fn2"></a> <a href="#fnref2">[2]</a> +<a id="fn2"></a> <a href="#fnref2">[2]</a> ‘Misanthropy and Remorse.’ </p> <p class="footnote"> -<a name="fn3"></a> <a href="#fnref3">[3]</a> +<a id="fn3"></a> <a href="#fnref3">[3]</a> ‘The Man out of the Rank or Row.’ In the German this is a simple phonetic corruption of Kotzebue’s title, which might easily occur to a child who had only heard, and not read, that title.—EDITOR. @@ -743,7 +722,7 @@ always created a lasting impression on all who really learnt to know her, and displayed a peculiar combination of practical domestic efficiency and keen intellectual animation. She never gave one of her children any definite information concerning her antecedents. She came from Weissenfels, and admitted -that her parents had been bakers<a href="#fn4" name="fnref4"><sup>[4]</sup></a> +that her parents had been bakers<a href="#fn4" id="fnref4"><sup>[4]</sup></a> there. Even in regard to her maiden name she always spoke with some embarrassment, and intimated that it was ‘Perthes,’ though, as we afterwards ascertained, it was in reality ‘Bertz.’ Strange to say, she had been placed in @@ -778,7 +757,7 @@ me to a visitor then present with a certain amount of tenderness. </p> <p class="footnote"> -<a name="fn4"></a> <a href="#fnref4">[4]</a> +<a id="fn4"></a> <a href="#fnref4">[4]</a> According to more recent information—mill owners. </p> @@ -3260,23 +3239,23 @@ me with an improvised parody on Schiller’s Burgschaft:— </p> <p class="poem"> -Zu Dionys dem Direktor schlich<br/> -Wagner, die Partitur im Gewande;<br/> -Ihn schlugen die Schuler im Bande:<br/> -‘Was wolltest du mit den Noten sprich?’<br/> -Entgegnet ihm finster der Wutherich:<br/> -‘Die Stadt vom schlechten Geschmacke befreien!<br/> -Das sollst du in den Rezensionen bereuen.’<a href="#fn5" name="fnref5"><sup>[5]</sup></a> +Zu Dionys dem Direktor schlich<br> +Wagner, die Partitur im Gewande;<br> +Ihn schlugen die Schuler im Bande:<br> +‘Was wolltest du mit den Noten sprich?’<br> +Entgegnet ihm finster der Wutherich:<br> +‘Die Stadt vom schlechten Geschmacke befreien!<br> +Das sollst du in den Rezensionen bereuen.’<a href="#fn5" id="fnref5"><sup>[5]</sup></a> </p> <p class="footnote"> -<a name="fn5"></a> <a href="#fnref5">[5]</a> -To Dionys, the Director,<br/> -crept Wagner, the score in his pocket;<br/> -The students arrested him forthwith:<br/> -‘What do’st thou with that music, say?’<br/> -Thus asked him the angry tyrant:<br/> -‘To free the town from taste too vile!<br/> +<a id="fn5"></a> <a href="#fnref5">[5]</a> +To Dionys, the Director,<br> +crept Wagner, the score in his pocket;<br> +The students arrested him forthwith:<br> +‘What do’st thou with that music, say?’<br> +Thus asked him the angry tyrant:<br> +‘To free the town from taste too vile!<br> For this the critics will make thee suffer.’ </p> @@ -3952,8 +3931,7 @@ Heinse’s Ardinghello, the forces that then surged in young breasts were given full and eloquent expression. The guiding spirit of this tendency was followed in literary criticism, which was aimed mainly at the supposed or actual incapacity of the semi-classical occupants of our various literary thrones. -Without the slightest mercy the pedants,<a href="#fn6" -name="fnref6"><sup>[6]</sup></a> among whom Tieck for one was numbered, were +Without the slightest mercy the pedants,<a href="#fn6" id="fnref6"><sup>[6]</sup></a> among whom Tieck for one was numbered, were treated as sheer encumbrances and hindrances to the rise of a new literature. That which led to a remarkable revulsion of my feelings with regard to those German composers who hitherto had been admired and respected, was partly the @@ -3973,7 +3951,7 @@ mysticism. </p> <p class="footnote"> -<a name="fn6"></a> <a href="#fnref6">[6]</a> +<a id="fn6"></a> <a href="#fnref6">[6]</a> <i>Zöpfe</i> in the German text.—TRANSLATOR. </p> @@ -5573,7 +5551,7 @@ with the refrain: </p> <p class="poem"> -Who joins us not in frolic jest<br/> +Who joins us not in frolic jest<br> Shall have a dagger in his breast; </p> @@ -5624,7 +5602,7 @@ puritanism of Germany is suited to his hot-blooded Sicily. Of him it is said: </p> <p class="poem"> -Your merry festals please him more<br/> +Your merry festals please him more<br> Than gloomy laws or legal lore. </p> @@ -5766,8 +5744,7 @@ it, and at the same moment disappeared under the mill, never to be seen again. On the morning that I accompanied Minna to the stage-coach to bid her a most sorrowful farewell, the whole population was pouring from one of the gateways of the town towards a big field, to witness the execution of a man condemned to -be put to death on the wheel ‘from below.’<a href="#fn7" -name="fnref7"><sup>[7]</sup></a> The culprit was a soldier who had murdered his +be put to death on the wheel ‘from below.’<a href="#fn7" id="fnref7"><sup>[7]</sup></a> The culprit was a soldier who had murdered his sweetheart in a fit of jealousy. When, later in the day, I sat down to my last dinner at the inn, I heard the dreadful details of the Prussian mode of execution being discussed on all sides. A young magistrate, who was a great @@ -5779,7 +5756,7 @@ shudder. </p> <p class="footnote"> -<a name="fn7"></a> <a href="#fnref7">[7]</a> +<a id="fn7"></a> <a href="#fnref7">[7]</a> <i>Durch das Rod van unten</i>. The punishment of the wheel was usually inflicted upon murderers, incendiaries, highwaymen and church robbers. There were two methods of inflicting this: (1) ‘from above downwards’ (<i>von oben @@ -7305,8 +7282,7 @@ for those behind the scenes told me candidly that it was owing to the fear of very unpleasant revelations that he had suddenly decided to give up his position at Riga altogether. Even in much later years I heard about Holtei’s bitter dislike of me, a dislike which showed itself, among other things, in his -denunciation of The Music of the Future,<a href="#fn8" -name="fnref8"><sup>[8]</sup></a> and of its tendency to jeopardise the +denunciation of The Music of the Future,<a href="#fn8" id="fnref8"><sup>[8]</sup></a> and of its tendency to jeopardise the simplicity of pure sentiment. I have previously mentioned that he displayed so much personal animosity against me during the latter part of the time we were together in Riga that he vented his hostility upon me in every possible way. Up @@ -7315,7 +7291,7 @@ respective views on artistic points. </p> <p class="footnote"> -<a name="fn8"></a> <a href="#fnref8">[8]</a> +<a id="fn8"></a> <a href="#fnref8">[8]</a> <i>Zukunftsmusik</i> is a pamphlet revealing some of Wagner’s artistic aims and aspirations, written 1860-61.—EDITOR. </p> @@ -8264,8 +8240,7 @@ found, situated in the middle of an inextricable maze of streets, a very small lane called Rue des Lombards. Thither I wended my way, but my expedition was fruitless. Often, on reading by the light of the transparent lanterns the inscription ‘Mont de Piété,’ I became very curious to know its meaning, and on -consulting my advisory board at home about this ‘Mount of Piety,’<a href="#fn9" -name="fnref9"><sup>[9]</sup></a> I was told, to my great delight, that it +consulting my advisory board at home about this ‘Mount of Piety,’<a href="#fn9" id="fnref9"><sup>[9]</sup></a> I was told, to my great delight, that it was precisely there that I should find salvation. To this ‘Mont de Piété’ we now carried all we possessed in the way of silver, namely, our wedding presents. After that followed my wife’s trinkets and the rest of her former @@ -8286,7 +8261,7 @@ through pure slander, lost the chance of such assistance in our great need. </p> <p class="footnote"> -<a name="fn9"></a> <a href="#fnref9">[9]</a> +<a id="fn9"></a> <a href="#fnref9">[9]</a> This is the correct translation of the words <i>Berg der Frömmigkeit</i> used in the original.—Editor. </p> @@ -8435,7 +8410,7 @@ years of patient waiting for success in Paris, I must either count on extraordinary luck or renounce all my hopes forthwith. The longed-for success must come within a year, or I should be ruined. Therefore I must dare all, as befitted my name, for in my case he was not inclined to derive ‘Wagner’<a -href="#fn10" name="fnref10"><sup>[10]</sup></a> from Fuhrwerk. I was to pay my +href="#fn10" id="fnref10"><sup>[10]</sup></a> from Fuhrwerk. I was to pay my rent, twelve hundred francs, in quarterly instalments; for the furniture and fittings, he recommended me, through his landlady, to a carpenter who provided everything that was necessary for what seemed to be a reasonable sum, also to @@ -8450,7 +8425,7 @@ comfortable new apartments. </p> <p class="footnote"> -<a name="fn10"></a> <a href="#fnref10">[10]</a> +<a id="fn10"></a> <a href="#fnref10">[10]</a> ‘Wagner’ in German means one who dares, also a Wagoner; and ‘Fuhrwerk’ means a carriage.—Editor. </p> @@ -10064,7 +10039,7 @@ this time, because our eyes were blinded with tears. <div class="chapter"> -<h2><a name="chap05"></a>PART II<br/> +<h2><a id="chap05"></a>PART II<br> 1842-1850</h2> <p> @@ -11172,14 +11147,13 @@ but his enthusiasm at a certain figure of the ballet was too much for him, and he clapped loudly, to the great amusement of the audience, telling me that he could not hold himself in any longer. Curiously enough, this same ballet secured for Rienzi, which was otherwise received with indifference, the -enduring preference of the present King of Prussia,<a href="#fn11" -name="fnref11"><sup>[11]</sup></a> who many years afterwards ordered the +enduring preference of the present King of Prussia,<a href="#fn11" id="fnref11"><sup>[11]</sup></a> who many years afterwards ordered the revival of this opera, although it had utterly failed in arousing public interest by its merits as a drama. </p> <p class="footnote"> -<a name="fn11"></a> <a href="#fnref11">[11]</a> +<a id="fn11"></a> <a href="#fnref11">[11]</a> William the First. </p> @@ -11773,7 +11747,7 @@ I will speak later on, though it occurred at an earlier date. I will only refer now to another commissioned composition which, as royal bandmaster, I was officially commanded to produce. On the 7th of June of this year (1843) the statue of King Frederick Augustus by Rietschl was unveiled in the Dresden -Zwinger <a href="#fn12" name="fnref12"><sup>[12]</sup></a> with all due pomp +Zwinger <a href="#fn12" id="fnref12"><sup>[12]</sup></a> with all due pomp and ceremony. In honour of this event I, in collaboration with Mendelssohn, was commanded to compose a festal song, and to conduct the gala performance. I had written a simple song for male voices of modest design, whereas to Mendelssohn @@ -11794,7 +11768,7 @@ my surprise, that in several places the metal was cut through. </p> <p class="footnote"> -<a name="fn12"></a> <a href="#fnref12">[12]</a> +<a id="fn12"></a> <a href="#fnref12">[12]</a> This is the name by which the famous Dresden Art Galleries are known.—Editor. </p> @@ -13057,7 +13031,7 @@ parfaitement l’orgue.’</i> <p> Since then he had tried his hand at a new work, Les Atheniennes; the Crown -Prince (now King of Prussia<a href="#fn13" name="fnref13"><sup>[13]</sup></a>) +Prince (now King of Prussia<a href="#fn13" id="fnref13"><sup>[13]</sup></a>) had urged him to finish this work, and to testify to the truth of his words, he took several letters which he had received from this monarch out of his pocket-book, and handed them to us for inspection. Not until he had insisted @@ -13072,7 +13046,7 @@ ecrit une note qui ne fut volee de mes partitions.’ </p> <p class="footnote"> -<a name="fn13"></a> <a href="#fnref13">[13]</a> +<a id="fn13"></a> <a href="#fnref13">[13]</a> William the First. </p> @@ -15887,7 +15861,7 @@ second act the public showed signs of wishing to call me, and as I went from the orchestra to the vestibule, in order to be ready if necessary, my foot slipped on the smooth parquet, and I might have had perhaps a serious fall had I not felt my arm grasped by a strong hand. I turned, and recognised the Crown -Prince of Prussia,<a href="#fn14" name="fnref14"><sup>[14]</sup></a> who had +Prince of Prussia,<a href="#fn14" id="fnref14"><sup>[14]</sup></a> who had come out of his box, and who at once seized the opportunity of inviting me to follow him to his wife, who wished to make my acquaintance. She had only just arrived in Berlin, and told me that she had heard my opera for the first time @@ -15898,7 +15872,7 @@ was present, was unusually friendly and pleasant. </p> <p class="footnote"> -<a name="fn14"></a> <a href="#fnref14">[14]</a> +<a id="fn14"></a> <a href="#fnref14">[14]</a> This Prince subsequently became the Emperor William the First. He was given the title of Crown Prince in 1840 on the death of his father, Frederick William III., as he was then heir-presumptive to his brother, Frederick William IV., @@ -16341,9 +16315,9 @@ separated the monarchs from their subjects. One of the verses ran as follows:— </p> <p class="poem"> -The old fight against the East<br/> - Returns again to-day.<br/> -The people’s sword must not rust<br/> +The old fight against the East<br> + Returns again to-day.<br> +The people’s sword must not rust<br> Who freedom wish for aye. </p> @@ -17966,7 +17940,7 @@ to the state of affairs by forcing my way to the Town Hall from my house, which was cut off from the place of action. As in the course of my journey I was making my way over a barricade near St. Ann’s Church, one of the Communal Guard shouted out to me, ‘Hullo, conductor, your der Freude schöner Götterfunken<a -href="#fn15" name="fnref15"><sup>[15]</sup></a> has indeed set fire to things. +href="#fn15" id="fnref15"><sup>[15]</sup></a> has indeed set fire to things. The rotten building is rased to the ground.’ Obviously the man was an enthusiastic member of the audience at my last performance of the Ninth Symphony. Coming upon me so unexpectedly, this pathetic greeting filled me with @@ -18009,7 +17983,7 @@ it was not until thirteen years later that I again set eyes upon him. </p> <p class="footnote"> -<a name="fn15"></a> <a href="#fnref15">[15]</a> +<a id="fn15"></a> <a href="#fnref15">[15]</a> These words refer to the opening of the Ninth Symphony chorus: ‘Freude, Freude, Freude, schöner götterfunken Tochter aus Elysium’—(Praise her, praise oh praise Joy, the god-descended daughter of Elysium.) English version by Natalia @@ -18231,8 +18205,7 @@ retreat from Dresden, which had been successfully achieved without loss. He had had the trees in the newly planted Maximilian Avenue felled early in the morning to form a barricade against a possible flank attack of cavalry, and had been immensely entertained by the lamentations of the inhabitants, who during -the process did nothing but bewail their <i>Scheene Beeme</i>.<a href="#fn16" -name="fnref16"><sup>[16]</sup></a> All this time our driver’s lamentations over +the process did nothing but bewail their <i>Scheene Beeme</i>.<a href="#fn16" id="fnref16"><sup>[16]</sup></a> All this time our driver’s lamentations over his coach were growing more importunate. Finally he broke into loud sobs and tears, upon which Bakunin, regarding him with positive pleasure, called out: ‘The tears of a Philistine are nectar for the gods.’ He would not vouchsafe him @@ -18248,7 +18221,7 @@ Freiberg, there to await further orders. </p> <p class="footnote"> -<a name="fn16"></a> <a href="#fnref16">[16]</a> +<a id="fn16"></a> <a href="#fnref16">[16]</a> Saxon corruption of <i>schöne Bäume</i>, beautiful trees.—E<small>DITOR</small>. </p> @@ -18654,12 +18627,12 @@ then the noise of the cannonade and musketry in the fighting at Dresden had been persistently re-echoing in my ears, especially in a half-waking condition; now the humming of the wheels, as we rolled rapidly along the highroad, cast such a spell upon me that for the whole of the journey I seemed to hear the -melody of Freude, schöner Götterfunken<a href="#fn17" name="fnref17"><sup>[17]</sup></a> from +melody of Freude, schöner Götterfunken<a href="#fn17" id="fnref17"><sup>[17]</sup></a> from the Ninth Symphony being played, as it were, on deep bass instruments. </p> <p class="footnote"> -<a name="fn17"></a> <a href="#fnref17">[17]</a> +<a id="fn17"></a> <a href="#fnref17">[17]</a> See note on <a href="#fn15">page 486</a>. </p> @@ -19240,7 +19213,7 @@ the very keystone of all philosophical thought. The revolution intervened; the practical tendencies of a social reconstruction distracted my attention, and as I have already stated, it was a German Catholic priest and political agitator (formerly a divinity student named Menzdorff, who -used to wear a Calabrian hat)<a href="#fn18" name="fnref18"><sup>[18]</sup></a> +used to wear a Calabrian hat)<a href="#fn18" id="fnref18"><sup>[18]</sup></a> who drew my attention to ‘the only real philosopher of modern times,’ Ludwig Feuerbach. My new Zürich friend, the piano teacher, Wilhelm Baumgartner, made me a present of Feuerbach’s book on Tod und Unsterblichkeit (‘Death and @@ -19255,7 +19228,7 @@ important subjects which appear here and there in the works of our great poets. </p> <p class="footnote"> -<a name="fn18"></a> <a href="#fnref18">[18]</a> +<a id="fn18"></a> <a href="#fnref18">[18]</a> A broad-rimmed, tall, white felt hat, tapering to a point, originally worn by the inhabitants of Calabria, and in 1848 a sign of Republicanism.—EDITOR. </p> @@ -20002,451 +19975,13 @@ syllable about all that had happened, we left the next day for Zürich. </div><!--end chapter--> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK MY LIFE — VOLUME 1 ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law 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. 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