summaryrefslogtreecommitdiff
path: root/old
diff options
context:
space:
mode:
Diffstat (limited to 'old')
-rw-r--r--old/seafo10.txt730
-rw-r--r--old/seafo10.zipbin0 -> 15232 bytes
2 files changed, 730 insertions, 0 deletions
diff --git a/old/seafo10.txt b/old/seafo10.txt
new file mode 100644
index 0000000..e4bd720
--- /dev/null
+++ b/old/seafo10.txt
@@ -0,0 +1,730 @@
+The Project Gutenberg EBook of The Sea Fogs, by Robert Louis Stevenson
+(#40 in our series by Robert Louis Stevenson)
+
+Copyright laws are changing all over the world. Be sure to check the
+copyright laws for your country before downloading or redistributing
+this or any other Project Gutenberg eBook.
+
+This header should be the first thing seen when viewing this Project
+Gutenberg file. Please do not remove it. Do not change or edit the
+header without written permission.
+
+Please read the "legal small print," and other information about the
+eBook and Project Gutenberg at the bottom of this file. Included is
+important information about your specific rights and restrictions in
+how the file may be used. You can also find out about how to make a
+donation to Project Gutenberg, and how to get involved.
+
+
+**Welcome To The World of Free Plain Vanilla Electronic Texts**
+
+**eBooks Readable By Both Humans and By Computers, Since 1971**
+
+*****These eBooks Were Prepared By Thousands of Volunteers!*****
+
+
+Title: The Sea Fogs
+
+Author: Robert Louis Stevenson
+
+Release Date: March, 2004 [EBook #5272]
+[Yes, we are more than one year ahead of schedule]
+[This file was first posted on June 23, 2002]
+
+Edition: 10
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THE PROJECT GUTENBERG EBOOK, THE SEA FOGS ***
+
+
+
+
+This eBook was produced by David Schwan <davidsch@earthlink.net>.
+
+
+
+Western Classics No. 1
+
+
+
+The Sea Fogs
+
+
+
+A sheeted spectre white and tall,
+The cold mist climbs the castle wall
+And lays its hand upon thy cheek.
+
+Longfellow.
+
+
+
+The Sea Fogs
+
+By Robert Louis Stevenson
+
+with an Introduction by Thomas Rutherford Bacon
+
+The Photogravure Frontispiece after a Painting
+by Albertine Randall Wheelan
+
+
+
+Introduction
+
+
+
+Robert Louis Stevenson first came to California in 1879 for the purpose
+of getting married. The things that delayed his marriage are
+sufficiently set forth in his "Letters" (edited by Sidney Colvin) and in
+his "Life" (written by Graham Balfour). It is here necessary to refer
+only to the last of the obstacles, the breaking down of his health. It
+is in connection with the evil thing that came to him at this time that
+be first makes mention of "the sea fogs," that beset a large part of the
+California coast. He speaks of them as poisonous; and poisonous they are
+to any one who is afflicted with pulmonary weakness, but bracing and
+glorious to others. They give the charm of climate to dwellers around
+the great bay. How he took this first very serious attack of the
+terrible malady is indicated in the letter to Edmund Gosse, dated April
+16, 1880. His attitude toward death is shown here, and is further shown
+in his little paper AEs Triplex, in which he successfully vindicates his
+generation from the charge of cowardice in the face of death.
+Stevenson's two distinguishing characteristics were his courage and his
+determination to be happy as the right way of making other people happy.
+His courage, far more than change of scene and climate, gave him
+fourteen more years in which to contribute to the sweetness and light of
+the world. These years were made fruitful to others by his determined
+happiness, a happiness in which the main factor, outside of his own
+determination, came from the companionship which his marriage brought to
+him. The great principles by which he lived influenced those who did not
+know him personally, through his gift of writing. He always maintained
+that it was not a gift but an achievement, and that any one could write
+as well as he by taking as much pains. We may well doubt the soundness
+of this theory, but we cannot doubt the spiritual attitude from which it
+came. It came from no mock humility, but from a feeling that nothing was
+creditable to him except what he did. He asked no credit for the talents
+committed to his charge He asked credit only for the use be made of the
+talents.
+
+Stevenson was married May 19, 1880. His health, which had delayed the
+marriage, determined the character of the honeymoon. He must get away
+from the coast and its fogs. His honeymoon experiences are recorded in
+one of the most delightful of his minor writings, "The Silverado
+Squatters." He went, with his wife, his stepson and a dog, to squat on
+the eastern shoulder of Mount Saint Helena, a noble mountain which
+closes and dominates the Napa Valley, a wonderful and fertile valley,
+running northward from the bay of San Francisco. Silverado was a
+deserted mining-camp. Stevenson has intimated that there are more ruined
+cities in California than in the land of Bashan, and in one of these he
+took up his residence for about two months, "camping" in the deserted
+quarters of the extinct mining company. Had he gone a little beyond the
+toll-house, just over the shoulder of the mountain, he would probably
+never have seen the glory of "the sea fogs." It would have been better
+for his health but worse for English literature.
+
+My first knowledge of that glory came to me twenty years ago. I had come
+to California to care for one dearly beloved by me, who was fighting the
+same fight that Stevenson fought, and against the same enemy, and who
+was fighting it just as bravely. I took him to the summit of the Santa
+Cruz Mountains in the hope that we might escape the fogs. As I watched
+on the porch of the little cottage where he lay, I saw night after night
+what I believe to be the most beautiful of all natural phenomena, the
+sea fog of the Pacific, seen from above. Under the full moon, or under
+the early sun which slowly withers it away, the great silver sea with
+its dark islands of redwood seemed to me the most wonderful of things.
+With my wonder and delight, perhaps making them more poignant, was the
+fear lest the glory should mount too high, and lay its attractive hand
+on my beloved. The fog has been dear to me ever since. I have often
+grumbled at it when I was in it or under it, but when I have seen it
+from above, that first thrill of wonder and delight has come back to me
+- always. Whether on the Berkeley hills I see its irresistible columns
+moving through the Golden Gate across the bay to take possession of the
+land, or whether I stand on the height of Tamalpais and look at the
+white, tangled flood below, -
+
+"My heart leaps up when I behold."
+
+It remains to me -
+
+"A vision, a delight and a desire."
+
+When the beauty of the fog first got hold of me, I wondered whether any
+one had given literary expression to its supreme charm. I searched the
+works of some of the better-known California poets, not quite without
+result. I was familiar with what seem to me the best of the serious
+verses of Bret Harte, the lines on San Francisco, - wherein the city is
+pictured as a penitent Magdalen, cowled in the grey of the Franciscans,
+- the soft pale grey of the sea fog. The literary value of the figure is
+hardly injured by the cold fog that the penitence of this particular
+Magdalen has never been of an enduring quality. It is to be noted that
+what Harte speaks of is not the beauty of the fog, but its sobriety and
+dignity.
+
+Sill, with his susceptibility to the infinite variety of nature
+and with the spark of the divine fire which burned in him, refers often
+to some of the effects of the fog, such as the wonderful sunset colors
+on the Berkeley hills in summer. But I find only one direct allusion to
+the beauty of the fog itself: -
+
+[1]"There lies a little city in the hills;
+White are its roofs, dim is each dwelling's door,
+And peace with perfect rest its bosom fills.
+
+"There the pure mist, the pity of the sea,
+Comes as a white, soft hand, and reaches o'er
+And touches its still face most tenderly."
+
+In 1887 I had not read "The Silverado Squatters." Part of it had been
+published in Scribner's Magazine. It was only in the following year that
+I got hold of the book and found an almost adequate expression of my own
+feeling about the sea fogs. Stevenson did not know all their beauty, for
+he was not here long enough, but he could tell what be saw. In other
+words, he had a gift which is denied to most of us.
+
+Silverado is now a quite impossible place for squatting. When I first
+tried to enter, I found it so given over to poison-oak and rattlesnakes
+that I did not care to pursue my investigations very far. I did not know
+at that time that I was quite immune from the poison of the oak and that
+the California rattlesnake was quite so friendly and harmless an animal
+as John Muir has since assured us that be is. The last time that I
+passed Silverado, it was accessible only by the aid of a gang of
+wood-choppers.
+
+Curiously, the last great fog effect that I have seen was almost the
+same which Stevenson has described. Last summer we had been staying for
+a month with our friends who have a summer home about three miles beyond
+Stevenson's "toll-house." It is, I believe, the most beautiful
+country-seat on this round earth, and its free and gentle hospitality
+cannot be surpassed. We left this delightful place of sojourning between
+three and four o'clock in the morning to catch the early train from
+Calistoga. Our steep climb up to the toll-house was under the broad
+smile of the moon, which gradually gave way to the brilliant dawn. When
+we passed the toll-house, the whole Napa Valley should have been
+revealed to us, but it was not. The fog had surged through it and had
+hidden it. What we saw was better than the beautiful Napa Valley. I
+should like to tell what we saw, but I cannot, - "For what can the man
+do who cometh after the king?"
+
+
+
+[1] This exquisite little poem is unaccountably omitted from the
+Household (and presumably complete) Edition of Sill's poems issued by
+Houghton, Mifflin & Co., 1906. It is found in the little volume,
+"Poems," by Edward Rowland Sill, published by the same firm at an
+earlier date. Mountain View Cemetery is no longer a "little city."
+
+
+
+The Sea Fogs
+
+
+
+A change in the colour of the light usually called me in the morning. By
+a certain hour, the long, vertical chinks in our western gable, where
+the boards had shrunk and separated, flashed suddenly into my eyes as
+stripes of dazzling blue, at once so dark and splendid that I used to
+marvel how the qualities could be combined. At an earlier hour, the
+heavens in that quarter were still quietly coloured, but the shoulder of
+the mountain which shuts in the canyon already glowed with sunlight in a
+wonderful compound of gold and rose and green; and this too would
+kindle, although more mildly and with rainbow tints, the fissures of our
+crazy gable. If I were sleeping heavily, it was the bold blue that
+struck me awake; if more lightly, then I would come to myself in that
+earlier and fairier light.
+
+One Sunday morning, about five, the first brightness called me. I rose
+and turned to the east, not for my devotions, but for air. The night had
+been very still. The little private gale that blew every evening in our
+canyon, for ten minutes or perhaps a quarter of an hour, had swiftly
+blown itself out; in the hours that followed, not a sigh of wind had
+shaken the treetops; and our barrack, for all its breaches, was less
+fresh that morning than of wont. But I had no sooner reached the window
+than I forgot all else in the sight that met my eyes, and I made but two
+bounds into my clothes, and down the crazy plank to the platform.
+
+The sun was still concealed below the opposite hilltops, though it was
+shining already, not twenty feet above my head, on our own mountain
+slope. But the scene, beyond a few near features, was entirely changed.
+Napa Valley was gone; gone were all the lower slopes and woody foothills
+of the range; and in their place, not a thousand feet below me, rolled a
+great level ocean. It was as though I had gone to bed the night before,
+safe in a nook of inland mountains and had awakened in a bay upon the
+coast. I had seen these inundations from below; at Calistoga I had risen
+and gone abroad in the early morning, coughing and sneezing, under
+fathoms on fathoms of gray sea vapour, like a cloudy sky - a dull sight
+for the artist, and a painful experience for the invalid. But to sit
+aloft one's self in the pure air and under the unclouded dome of heaven,
+and thus look down on the submergence of the valley, was strangely
+different and even delightful to the eyes. Far away were hilltops like
+little islands. Nearer, a smoky surf beat about the foot of precipices
+and poured into all the coves of these rough mountains. The colour of
+that fog ocean was a thing never to be forgotten. For an instant, among
+the Hebrides and just about sundown, I have seen something like it on
+the sea itself. But the white was not so opaline; nor was there, what
+surprisingly increased the effect, that breathless crystal stillness
+over all. Even in its gentlest moods the salt sea travails, moaning
+among the weeds or lisping on the sand; but that vast fog ocean lay in a
+trance of silence, nor did the sweet air of the morning tremble with a
+sound.
+
+As I continued to sit upon the dump, I began to observe that this sea
+was not so level as at first sight it appeared to be. Away in the
+extreme south, a little hill of fog arose against the sky above the
+general surface, and as it had already caught the sun it shone on the
+horizon like the topsails of some giant ship. There were huge waves,
+stationary, as it seemed, like waves in a frozen sea; and yet, as I
+looked again, I was not sure but they were moving after all, with a slow
+and august advance. And while I was yet doubting, a promontory of the
+hills some four or five miles away, conspicuous by a bouquet of tall
+pines, was in a single instant overtaken and swallowed up. It reappeared
+in a little, with its pines, but this time as an islet and only to be
+swallowed up once more and then for good. This set me looking nearer,
+and I saw that in every cove along the line of mountains the fog was
+being piled in higher and higher, as though by some wind that was
+inaudible to me. I could trace its progress, one pine tree first growing
+hazy and then disappearing after another; although sometimes there was
+none of this forerunning haze, but the whole opaque white ocean gave a
+start and swallowed a piece of mountain at a gulp. It was to flee these
+poisonous fogs that I had left the seaboard, and climbed so high among
+the mountains. And now, behold, here came the fog to besiege me in my
+chosen altitudes, and yet came so beautifully that my first thought was
+of welcome.
+
+The sun had now gotten much higher, and through all the gaps of the
+hills it cast long bars of gold across that white ocean. An eagle, or
+some other very great bird of the mountain, came wheeling over the
+nearer pinetops, and hung, poised and something sideways, as if to look
+abroad on that unwonted desolation, spying, perhaps with terror, for the
+eyries of her comrades. Then, with a long cry, she disappeared again
+toward Lake County and the clearer air. At length it seemed to me as if
+the flood were beginning to subside. The old landmarks, by whose
+disappearance I had measured its advance, here a crag, there a brave
+pine tree, now began, in the inverse order, to make their reappearance
+into daylight. I judged all danger of the fog was over. This was not
+Noah's flood; it was but a morning spring, and would now drift out
+seaward whence it came. So, mightily relieved, and a good deal
+exhilarated by the sight, I went into the house to light the fire.
+
+I suppose it was nearly seven when I once more mounted the platform to
+look abroad. The fog ocean had swelled up enormously since last I saw
+it; and a few hundred feet below me, in the deep gap where the Toll
+House stands and the road runs through into Lake County, it had already
+topped the slope, and was pouring over and down the other side like
+driving smoke. The wind had climbed along with it; and though I was
+still in calm air, I could see the trees tossing below me, and their
+long, strident sighing mounted to me where I stood.
+
+Half an hour later, the fog had surmounted all the ridge on the opposite
+side of the gap, though a shoulder of the mountain still warded it out
+of our canyon. Napa Valley and its bounding hills were now utterly
+blotted out. The fog, sunny white in the sunshine, was pouring over into
+Lake County in a huge, ragged cataract, tossing treetops appearing and
+disappearing in the spray. The air struck with a little chill, and set
+me coughing. It smelt strong of the fog, like the smell of a
+washing-house, but with a shrewd tang of the sea-salt.
+
+Had it not been for two things - the sheltering spur which answered as a
+dyke, and the great valley on the other side which rapidly engulfed
+whatever mounted - our own little platform in the canyon must have been
+already buried a hundred feet in salt and poisonous air. As it was, the
+interest of the scene entirely occupied our minds. We were set just out
+of the wind, and but just above the fog; we could listen to the voice of
+the one as to music on the stage; we could plunge our eyes down into the
+other, as into some flowing stream from over the parapet of a bridge;
+thus we looked on upon a strange, impetuous, silent, shifting exhibition
+of the powers of nature, and saw the familiar landscape changing from
+moment to moment like figures in a dream.
+
+The imagination loves to trifle with what is not. Had this been indeed
+the deluge, I should have felt more strongly, but the emotion would have
+been similar in kind. I played with the idea as the child flees in
+delighted terror from the creations of his fancy. The look of the thing
+helped me. And when at last I began to flee up the mountain, it was
+indeed partly to escape from the raw air that kept me coughing, but it
+was also part in play.
+
+As I ascended the mountainside, I came once more to overlook the upper
+surface of the fog; but it wore a different appearance from what I had
+beheld at daybreak. For, first, the sun now fell on it from high
+overhead, and its surface shone and undulated like a great nor'land moor
+country, sheeted with untrodden morning snow. And, next, the new level
+must have been a thousand or fifteen hundred feet higher than the old,
+so that only five or six points of all the broken country below me still
+stood out. Napa Valley was now one with Sonoma on the west. On the
+hither side, only a thin scattered fringe of bluffs was unsubmerged; and
+through all the gaps the fog was pouring over, like an ocean into the
+blue clear sunny country on the east. There it was soon lost; for it
+fell instantly into the bottom of the valleys, following the watershed;
+and the hilltops in that quarter were still clear cut upon the eastern
+sky.
+
+Through the Toll House gap and over the near ridges on the other side,
+the deluge was immense. A spray of thin vapour was thrown high above it,
+rising and falling, and blown into fantastic shapes. The speed of its
+course was like a mountain torrent. Here and there a few treetops were
+discovered and then whelmed again; and for one second, the bough of a
+dead pine beckoned out of the spray like the arm of a drowning man. But
+still the imagination was dissatisfied, still the ear waited for
+something more. Had this indeed been water (as it seemed so, to the
+eye), with what a plunge of reverberating thunder would it have rolled
+upon its course, disembowelling mountains and deracinating pines And yet
+water it was and sea-water at that - true Pacific billows, only somewhat
+rarefied, rolling in mid-air among the hilltops.
+
+I climbed still higher, among the red rattling gravel and dwarf
+underwood of Mount Saint Helena, until I could look right down upon
+Silverado, and admire the favoured nook in which it lay. The sunny plain
+of fog was several hundred feet higher; behind the protecting spur a
+gigantic accumulation of cottony vapour threatened, with every second to
+blow over and submerge our homestead; but the vortex setting past the
+Toll House was too strong; and there lay our little platform, in the
+arms of the deluge, but still enjoying its unbroken sunshine. About
+eleven, however, thin spray came flying over the friendly buttress, and
+I began to think the fog had hunted out its Jonah after all. But it was
+the last effort. The wind veered while we were at dinner, and began to
+blow squally from the mountain summit and by half-past one all that
+world of sea fogs was utterly routed and flying here and there into the
+south in little rags of cloud. And instead of a lone sea-beach, we found
+ourselves once more inhabiting a high mountainside, with the clear green
+country far below us, and the light smoke of Calistoga blowing in the
+air.
+
+This was the great Russian campaign for that season. Now and then, in
+the early morning, a little white lakelet of fog would be seen far down
+in Napa Valley but the heights were not again assailed, nor was the
+surrounding world again shut off from Silverado.
+
+
+
+Here Ends No. One the Western Classics Being The Sea Fogs by Robert
+Louis Stevenson With an Introduction by Thomas Rutherford Bacon & A
+Photogravure Frontispiece After A Painting by Albertine Randall Wheelan
+of this First Edition One Thousand Copies Have Been Issued Printed Upon
+Fabriano Handmade Paper the Typography Designed by J. H. Nash Published
+by Paul Elder and Company & Done Into A Book for Them at the Tomoye
+Press in the City of New York MCMVII
+
+
+
+
+
+*** END OF THE PROJECT GUTENBERG EBOOK, THE SEA FOGS ***
+
+This file should be named seafo10.txt or seafo10.zip
+Corrected EDITIONS of our eBooks get a new NUMBER, seafo11.txt
+VERSIONS based on separate sources get new LETTER, seafo10a.txt
+
+Project Gutenberg eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the US
+unless a copyright notice is included. Thus, we usually do not
+keep eBooks in compliance with any particular paper edition.
+
+We are now trying to release all our eBooks one year in advance
+of the official release dates, leaving time for better editing.
+Please be encouraged to tell us about any error or corrections,
+even years after the official publication date.
+
+Please note neither this listing nor its contents are final til
+midnight of the last day of the month of any such announcement.
+The official release date of all Project Gutenberg eBooks is at
+Midnight, Central Time, of the last day of the stated month. A
+preliminary version may often be posted for suggestion, comment
+and editing by those who wish to do so.
+
+Most people start at our Web sites at:
+http://gutenberg.net or
+http://promo.net/pg
+
+These Web sites include award-winning information about Project
+Gutenberg, including how to donate, how to help produce our new
+eBooks, and how to subscribe to our email newsletter (free!).
+
+
+Those of you who want to download any eBook before announcement
+can get to them as follows, and just download by date. This is
+also a good way to get them instantly upon announcement, as the
+indexes our cataloguers produce obviously take a while after an
+announcement goes out in the Project Gutenberg Newsletter.
+
+http://www.ibiblio.org/gutenberg/etext04 or
+ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext04
+
+Or /etext03, 02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90
+
+Just search by the first five letters of the filename you want,
+as it appears in our Newsletters.
+
+
+Information about Project Gutenberg (one page)
+
+We produce about two million dollars for each hour we work. The
+time it takes us, a rather conservative estimate, is fifty hours
+to get any eBook selected, entered, proofread, edited, copyright
+searched and analyzed, the copyright letters written, etc. Our
+projected audience is one hundred million readers. If the value
+per text is nominally estimated at one dollar then we produce $2
+million dollars per hour in 2002 as we release over 100 new text
+files per month: 1240 more eBooks in 2001 for a total of 4000+
+We are already on our way to trying for 2000 more eBooks in 2002
+If they reach just 1-2% of the world's population then the total
+will reach over half a trillion eBooks given away by year's end.
+
+The Goal of Project Gutenberg is to Give Away 1 Trillion eBooks!
+This is ten thousand titles each to one hundred million readers,
+which is only about 4% of the present number of computer users.
+
+Here is the briefest record of our progress (* means estimated):
+
+eBooks Year Month
+
+ 1 1971 July
+ 10 1991 January
+ 100 1994 January
+ 1000 1997 August
+ 1500 1998 October
+ 2000 1999 December
+ 2500 2000 December
+ 3000 2001 November
+ 4000 2001 October/November
+ 6000 2002 December*
+ 9000 2003 November*
+10000 2004 January*
+
+
+The Project Gutenberg Literary Archive Foundation has been created
+to secure a future for Project Gutenberg into the next millennium.
+
+We need your donations more than ever!
+
+As of February, 2002, contributions are being solicited from people
+and organizations in: Alabama, Alaska, Arkansas, Connecticut,
+Delaware, District of Columbia, Florida, Georgia, Hawaii, Illinois,
+Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts,
+Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New
+Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio,
+Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South
+Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West
+Virginia, Wisconsin, and Wyoming.
+
+We have filed in all 50 states now, but these are the only ones
+that have responded.
+
+As the requirements for other states are met, additions to this list
+will be made and fund raising will begin in the additional states.
+Please feel free to ask to check the status of your state.
+
+In answer to various questions we have received on this:
+
+We are constantly working on finishing the paperwork to legally
+request donations in all 50 states. If your state is not listed and
+you would like to know if we have added it since the list you have,
+just ask.
+
+While we cannot solicit donations from people in states where we are
+not yet registered, we know of no prohibition against accepting
+donations from donors in these states who approach us with an offer to
+donate.
+
+International donations are accepted, but we don't know ANYTHING about
+how to make them tax-deductible, or even if they CAN be made
+deductible, and don't have the staff to handle it even if there are
+ways.
+
+Donations by check or money order may be sent to:
+
+Project Gutenberg Literary Archive Foundation
+PMB 113
+1739 University Ave.
+Oxford, MS 38655-4109
+
+Contact us if you want to arrange for a wire transfer or payment
+method other than by check or money order.
+
+The Project Gutenberg Literary Archive Foundation has been approved by
+the US Internal Revenue Service as a 501(c)(3) organization with EIN
+[Employee Identification Number] 64-622154. Donations are
+tax-deductible to the maximum extent permitted by law. As fund-raising
+requirements for other states are met, additions to this list will be
+made and fund-raising will begin in the additional states.
+
+We need your donations more than ever!
+
+You can get up to date donation information online at:
+
+http://www.gutenberg.net/donation.html
+
+
+***
+
+If you can't reach Project Gutenberg,
+you can always email directly to:
+
+Michael S. Hart <hart@pobox.com>
+
+Prof. Hart will answer or forward your message.
+
+We would prefer to send you information by email.
+
+
+**The Legal Small Print**
+
+
+(Three Pages)
+
+***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN EBOOKS**START***
+Why is this "Small Print!" statement here? You know: lawyers.
+They tell us you might sue us if there is something wrong with
+your copy of this eBook, even if you got it for free from
+someone other than us, and even if what's wrong is not our
+fault. So, among other things, this "Small Print!" statement
+disclaims most of our liability to you. It also tells you how
+you may distribute copies of this eBook if you want to.
+
+*BEFORE!* YOU USE OR READ THIS EBOOK
+By using or reading any part of this PROJECT GUTENBERG-tm
+eBook, you indicate that you understand, agree to and accept
+this "Small Print!" statement. If you do not, you can receive
+a refund of the money (if any) you paid for this eBook by
+sending a request within 30 days of receiving it to the person
+you got it from. If you received this eBook on a physical
+medium (such as a disk), you must return it with your request.
+
+ABOUT PROJECT GUTENBERG-TM EBOOKS
+This PROJECT GUTENBERG-tm eBook, like most PROJECT GUTENBERG-tm eBooks,
+is a "public domain" work distributed by Professor Michael S. Hart
+through the Project Gutenberg Association (the "Project").
+Among other things, this means that no one owns a United States copyright
+on or for this work, so the Project (and you!) can copy and
+distribute it in the United States without permission and
+without paying copyright royalties. Special rules, set forth
+below, apply if you wish to copy and distribute this eBook
+under the "PROJECT GUTENBERG" trademark.
+
+Please do not use the "PROJECT GUTENBERG" trademark to market
+any commercial products without permission.
+
+To create these eBooks, the Project expends considerable
+efforts to identify, transcribe and proofread public domain
+works. Despite these efforts, the Project's eBooks and any
+medium they may be on may contain "Defects". Among other
+things, Defects may take the form of incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other
+intellectual property infringement, a defective or damaged
+disk or other eBook medium, a computer virus, or computer
+codes that damage or cannot be read by your equipment.
+
+LIMITED WARRANTY; DISCLAIMER OF DAMAGES
+But for the "Right of Replacement or Refund" described below,
+[1] Michael Hart and the Foundation (and any other party you may
+receive this eBook from as a PROJECT GUTENBERG-tm eBook) disclaims
+all liability to you for damages, costs and expenses, including
+legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR
+UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT,
+INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE
+OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE
+POSSIBILITY OF SUCH DAMAGES.
+
+If you discover a Defect in this eBook within 90 days of
+receiving it, you can receive a refund of the money (if any)
+you paid for it by sending an explanatory note within that
+time to the person you received it from. If you received it
+on a physical medium, you must return it with your note, and
+such person may choose to alternatively give you a replacement
+copy. If you received it electronically, such person may
+choose to alternatively give you a second opportunity to
+receive it electronically.
+
+THIS EBOOK IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS
+TO THE EBOOK OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT
+LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A
+PARTICULAR PURPOSE.
+
+Some states do not allow disclaimers of implied warranties or
+the exclusion or limitation of consequential damages, so the
+above disclaimers and exclusions may not apply to you, and you
+may have other legal rights.
+
+INDEMNITY
+You will indemnify and hold Michael Hart, the Foundation,
+and its trustees and agents, and any volunteers associated
+with the production and distribution of Project Gutenberg-tm
+texts harmless, from all liability, cost and expense, including
+legal fees, that arise directly or indirectly from any of the
+following that you do or cause: [1] distribution of this eBook,
+[2] alteration, modification, or addition to the eBook,
+or [3] any Defect.
+
+DISTRIBUTION UNDER "PROJECT GUTENBERG-tm"
+You may distribute copies of this eBook electronically, or by
+disk, book or any other medium if you either delete this
+"Small Print!" and all other references to Project Gutenberg,
+or:
+
+[1] Only give exact copies of it. Among other things, this
+ requires that you do not remove, alter or modify the
+ eBook or this "small print!" statement. You may however,
+ if you wish, distribute this eBook in machine readable
+ binary, compressed, mark-up, or proprietary form,
+ including any form resulting from conversion by word
+ processing or hypertext software, but only so long as
+ *EITHER*:
+
+ [*] The eBook, when displayed, is clearly readable, and
+ does *not* contain characters other than those
+ intended by the author of the work, although tilde
+ (~), asterisk (*) and underline (_) characters may
+ be used to convey punctuation intended by the
+ author, and additional characters may be used to
+ indicate hypertext links; OR
+
+ [*] The eBook may be readily converted by the reader at
+ no expense into plain ASCII, EBCDIC or equivalent
+ form by the program that displays the eBook (as is
+ the case, for instance, with most word processors);
+ OR
+
+ [*] You provide, or agree to also provide on request at
+ no additional cost, fee or expense, a copy of the
+ eBook in its original plain ASCII form (or in EBCDIC
+ or other equivalent proprietary form).
+
+[2] Honor the eBook refund and replacement provisions of this
+ "Small Print!" statement.
+
+[3] Pay a trademark license fee to the Foundation of 20% of the
+ gross profits you derive calculated using the method you
+ already use to calculate your applicable taxes. If you
+ don't derive profits, no royalty is due. Royalties are
+ payable to "Project Gutenberg Literary Archive Foundation"
+ the 60 days following each date you prepare (or were
+ legally required to prepare) your annual (or equivalent
+ periodic) tax return. Please contact us beforehand to
+ let us know your plans and to work out the details.
+
+WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO?
+Project Gutenberg is dedicated to increasing the number of
+public domain and licensed works that can be freely distributed
+in machine readable form.
+
+The Project gratefully accepts contributions of money, time,
+public domain materials, or royalty free copyright licenses.
+Money should be paid to the:
+"Project Gutenberg Literary Archive Foundation."
+
+If you are interested in contributing scanning equipment or
+software or other items, please contact Michael Hart at:
+hart@pobox.com
+
+[Portions of this eBook's header and trailer may be reprinted only
+when distributed free of all fees. Copyright (C) 2001, 2002 by
+Michael S. Hart. Project Gutenberg is a TradeMark and may not be
+used in any sales of Project Gutenberg eBooks or other materials be
+they hardware or software or any other related product without
+express permission.]
+
+*END THE SMALL PRINT! FOR PUBLIC DOMAIN EBOOKS*Ver.02/11/02*END*
+
diff --git a/old/seafo10.zip b/old/seafo10.zip
new file mode 100644
index 0000000..8fc6773
--- /dev/null
+++ b/old/seafo10.zip
Binary files differ