diff options
Diffstat (limited to 'old/54893-0.txt')
| -rw-r--r-- | old/54893-0.txt | 860 |
1 files changed, 0 insertions, 860 deletions
diff --git a/old/54893-0.txt b/old/54893-0.txt deleted file mode 100644 index a9557be..0000000 --- a/old/54893-0.txt +++ /dev/null @@ -1,860 +0,0 @@ -The Project Gutenberg EBook of The Secrets of the Harem, by Anonymous - -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 -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Secrets of the Harem - -Author: Anonymous - -Release Date: June 11, 2017 [EBook #54893] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE SECRETS OF THE HAREM *** - - - - -Produced by Craig Kirkwood, Demian Katz and the Online -Distributed Proofreading Team at http://www.pgdp.net (Images -courtesy of the Digital Library@Villanova University -(http://digital.library.villanova.edu/)) - - - - - - -Transcriber’s Note: - -Text enclosed by underscores is in italics (_italics_), and text -enclosed by equal signs is in bold (=bold=). - - * * * * * - -Multum in Parvo Library. - -_Entered at Post Office as Second-Class matter._ - -Vol. I. SEPTEMBER, 1894. No. 9. - -_Published Monthly._ - - - - -The Secrets of The Harem. - - - By one who has been there. - - _Smallest Magazine in the World. Subscription price, 50 cts. per - year. Single copies, 5 cents each._ - - PUBLISHED BY A. B. COURTNEY, Boston. - - - - -In the Harem. - - -Many people have an idea that Turkish women absolutely do nothing that -is either useful or ornamental aside from the decoration of their own -persons, but that is not altogether true, as my residence of over a -year in their country taught me, for they are really dextrous with the -needle and do work which is as fine as that done by the sisters in the -convents, or that of the wives of the feudal noblemen of olden times. - -The favorite pastime of the Turkish women is the bath, which brings -together the wives and slaves of all the well-to-do Turks, and it is -like a picnic of school children. - -These wives, most of them very young--some, indeed, not over twelve or -fourteen years old--take their lunch along, and they eat and steam, -plunge and splash, and play pranks upon each other in the wildest glee -the whole day long. No fear of an angry husband haunts their minds, for -they are not expected to do anything, and their husbands very rarely -enter the harems before six o’clock. By this time they are all back, -rosy and sweet from their bath. - -At the baths there is often an old woman who has the faculty of -relating stories, and she is eagerly listened to by the grown-up -children; the stories are generally of the Arabian nights order, full -of genii, beautiful ladies, and charming youths and jealous husbands. -Many a lesson is given as how to outwit the most jealous of men -through these stories--a lesson they are neither slow to learn nor -practise. - -The way they are watched and confined always made me think of the woman -who cautioned her innocent children not to put blue beans in their -noses while she was out. The magic lantern entertainments amuse these -ignorant caged birds. Dancing girls, singing and playing the lute, -playing with the babies and occasionally quarrelling with each other -take up some of their time; a weekly tour of the bazaars and once in a -while a visit to the harem of some other Turk, still leave much time -on their hands that the rare calls of their husbands, the eating of -sweetmeats or smoking of cigarettes cannot fill, and so they give their -poor little minds to fancy work. They very seldom learn how to read, or -perhaps books would help them through, and they never make their own -clothes, though they do sometimes decorate them very elaborately after -others have made them. - -They have frames made on which their embroidery is worked, and on -velvet, satin or that beautiful and durable Broussa gauze they -embroider with exquisite fineness and taste. The most of their -embroidery is done in durable and admirably-arranged colors, in -subdued tones, which seem to me remarkable in women who are so fond -of brilliant primary colors and ill-assorted contrasts. They have no -patterns, but work out graceful and beautiful fantasies, and all done -with the most extreme care and fineness, requiring patience and extra -good eyesight. - -We might suppose that these women would take pleasure in making and -embroidering their babies’ clothes as do other women, but as babies -are simply swathed in endless rollers, like a mummy, until they are -six months old, ornament is unnecessary. At the end of six months boy -babies are put into pantaloons and girls into loose trousers, both -being usually made of large flowered chintz. - -About the only thing I ever noticed the Turkish women do for their -little children was to make toys for them, and they make the most -grotesque-looking dogs, lions, cows, rabbits, elephants, camels and -doll babies out of rags for their amusement. They never nurse their -babies for fear of spoiling the shape of the bust. They are very poor -mothers, as they are too ignorant themselves to understand their -responsibilities or to teach their children. They alternately slap them -or caress and indulge them just as their own humor happens to be good -or bad. - -The little girls are taught to sew and embroider, how to walk -gracefully, and recline in the most negligent manner upon the divans, -how to play by ear a little on the lute, and to sing their interminable -love songs. Their songs are like Barbara Allen, Lovely Young Caroline -of Edinboro Town, the Brown Girl, or Gipsy Dave--all long, and telling -a whole romance to a plaintive chant. - -I never learned to speak Turkish, but I got so that I could seize upon -the meaning of these songs. The singer always puts all the life and -sentiment she can into her music, and often sheds tears as she sings, -as do her listeners. I have even seen one or two of them faint away -at the most pathetic part. This is a very common trait among Turkish -women, and I have not yet been able to decide whether it is the result -of a weak will or extreme sensibility, but they faint on every possible -occasion. - -The Turkish women love music passionately, and nearly all of them can -play some instrument with taste and feeling, though almost always by -ear. Their native music is always sad and plaintive, and often full -of such a piercing sorrow that it is no wonder it brings tears. They -love flowers, too, and you rarely see one without a flower in her hand -when it is possible to get them, and they are fond of birds, and raise -a great many themselves. Many of the Turkish women show considerable -talent in drawing and painting, though the poor things never have any -chance to learn. They simply “pick it up.” - -As I found the Turkish women--and I happened to have obtained, by a -fortunate circumstance, a chance to know them in their homes accorded -to very few foreign women, and to absolutely no foreign man--they are -gentle, submissive, loving, and with many natural gifts in addition -to their beauty. If they were educated they would be the equal of any -women in Europe. - -It does not seem to me that they are unhappy in their peculiar marriage -relations. They reminded me of a lot of irresponsible young girls in -a boarding-school, and the only jealousy such as might be felt of -the “teacher’s pet.” Instead of the poisoned and vindictive murder I -supposed always ready to be inflicted upon each other, the worst they -ever do is to pull each other’s hair occasionally or box each other’s -ears. - -Girls reach their majority at nine and are frequently married a year -later, though not usually until fifteen. By that time all the education -they get is acquired. Instead of being taught all the abstruse -sciences she is taught all the caressing words and gestures possible -to imagine--how to walk, sit, look and speak so as to appear the most -seductive in the eyes of the husband who gets her. - -No Turkish wife of the better class is ever expected to do any -domestic labor whatever, nor to make any of the household linen, nor -any garments for herself or members of the household, nor to sew any -buttons on, nor, above all, to make her husband’s shirts; therefore it -can be seen at once that almost every source of domestic disagreement -is done away with, and the Turkish husband never expects his wife to -get on her knees to hunt for his collar button, nor scold her if the -dinner is badly cooked; so that in many respects life in a harem is -not so very bad after all, and one-tenth of a good husband is better -than the whole of a bad one. - - - - -Secrets of the Harem. - - -The harem is that part of a polygamist’s house which is set apart -for the use of his wives and their attendants; it also denotes this -collective body of women. In all Mohammedan countries it is customary -for wealthy men to keep a harem; for, though four is the number of -wives to which the faithful are restricted by the Koran, there is no -limit to the number of concubines a man may have, except his ability to -maintain them. The mention of a harem naturally suggests to most people -the female portion of the royal households of Turkey and Persia and -Egypt. In the sultan’s harem each wife--he alone can have seven--has a -separate suite of apartments, and a separate troop of female slaves to -wait upon her and do her bidding. - -All the female slaves or odalisques throughout the harem are, however, -at the disposal of their royal master. She who first gives birth to -an heir, whether wife or slave, is instantly promoted to the rank of -chief wife. The title sultana is borne, not by the sultan’s wives, -but by his mother, sisters and daughters. The real ruler of the harem -is the sultan’s mother, but under her is the lady superintendent of -the harem, usually an old and trusted favorite of the sultan. The -duties of guarding the harem or seraglio, as it is sometimes called, -are intrusted to a small army of eunuchs, the chief officer of whom -generally enjoys considerable political influence. The inmates of the -harem lead a very secluded life. - - - - -The Sultan’s Seraglio. - - -Seraglio is the palace of the sultan at Constantinople. It stands in a -beautiful situation on a head of land projecting into the sea, known as -the Golden Horn, and is enclosed by walls seven and one-half miles in -circuit. Within the walls are a variety of mosques, gardens and large -edifices, capable of containing 20,000 people, though the whole number -of the inhabitants scarcely ever reaches the half of this. - -The principal entrance is a kind of pavilion, which is constantly -guarded by capidjis, or officers of the seraglio, and consists of a -group of houses and gardens, one of each being possessed by each of the -sultan’s wives, and of the habitations of the concubines and slaves. - -The harem is ruled by the Kiaja-Khatun, or inspector of the women, -who is under the sultan’s authority alone, and is supplied with what -they require by the Kislar-aga or chief of the black eunuchs, who form -the principal or inner guard of the harem. The second and outer guard -is given to the white eunuchs under their chief the Kapu-agassy, or -Kapu-oghlan. - -Other classes of household officers are the mutes, who, till recently, -were the executors of the sultan’s orders, especially those in which -the utmost secrecy was required; the bostanjis, or gardeners; the -batajis, or clearers of wood; and the itsh-oghlans, or attendants of -the sultan. The sultan’s mother always resides within the seraglio, but -his sisters do not. Access may easily be had to the seraglio, with the -exception of the harem, which is scrupulously guarded from even the -eyes of strangers. The English have improperly confounded the two terms -“seraglio” and “harem.” - - - - -Dervishes. - - -A Dervish, in Mohammedan countries, is a class of people resembling -in many respects the monks of Christendom. The dervishes are divided -into many different brotherhoods and orders. They live mostly in well -endowed convents, called Tekkije or Changah, and are under a chief -with the title of a Sheik. Some of the monks are married, and allowed -to live out of the monastery, but must sleep there some nights weekly. -Their devotional exercises consist in meetings for worship, prayers, -religious dances, and mortifications. As the convent does not provide -them with clothing, they are obliged to work more or less. - -It is difficult to say when these religious orders took their rise. -From the earliest times, pious persons in the East have held it to -be meritorious to renounce earthly joys, to free themselves from the -trammels of domestic and social life, and to devote their thoughts -in poverty and retirement to the contemplation of God. In this sense, -poverty is recommended by Mohammed in the Koran. Tradition refers to -the origin of these orders to the earliest times of Islam, making the -califs Abubekr and Ali found such brotherhoods; but it is more probable -that they arose later. - -Many Mohammedan princes and Turkish sultans have held dervishes in high -respect, and bestowed rich endowments on their establishments; and they -are still in high veneration with the people. The Kadris are commonly -known in the West as “the howling dervishes,” from the excited chant of -their religious services; the “dancing dervishes” are the Mevelevis. - - * * * * * - -HOW TO TRAIN DOGS. - - -=This is the best volume of the kind ever published.= Contains simple -tricks and training, to teach him his name, to leap, to walk erect, to -dance, to jump rope, to sit and lie down at command, to beg, to give -his paw, to sneeze, to speak for it, to fetch and carry, to bring you -his tail in his mouth, to stand on a ball and roll it up and down a -plank, to walk on stilts, to go up and down a ladder, to stand on his -head, to “sing,” etc. We will send this book, “=How to Train Dogs=,” -postpaid, on receipt of only =23 cents= in stamps. Address, - -=KEYSTONE BOOK CO., Philadelphia, Pa.= - - * * * * * - -FAMOUS Dramatic Recitations. - -[Illustration] - -This book contains a large and valuable collection of the best dramatic -recitations, carefully selected from the writings of the best authors, -as recited by the leading elecutionists of America. Some of the finest -gems in the English language are included in this collection. Among -its contents are: “The Switchman’s Christmas Story,” “Gone With a -Handsomer Man,” “The Death of the Old Squire,” “Poorhouse Nan,” “Fallen -by the Way,” “Davy’s Promise,” “The Seamstress’s Story,” “The Midnight -Tryst,” “Christmas Day in the Workhouse,” “The Women of Mumbles Head,” -“The Last Hymn,” “Ostler Joe,” “The Tramp’s Story,” “The Moonshiner’s -Daughter,” “The Martyr,” “The Crazy Kate,” “The Lifeboat,” “Asleep at -the Switch,” “A Scar on the Face,” “The Blacksmith’s Story,” “Farmer -Green,” “In the Mining Town,” “The Old Wife’s Kiss,” “The Boy Hero,” -“The Pauper’s Christmas Eve,” “The Old Parson’s Story,” “Cripple Ben,” -and many others. The contents of this book have been selected with -great care, the aim being to include only the best, and the result is -the finest collection of select recitations ever published. It is a -book of 64 large double-column pages, bound in attractive paper covers, -and will be sent by mail post-paid upon receipt of only =Ten Cents=. - -=KEYSTONE BOOK CO., Philadelphia, Pa.= - - * * * * * - -OUR GREATEST OFFER - -[Illustration: BEST QUALITY] - -=READ THIS!= We mean just what we say. Direct from Japan we have -imported a great quantity of elegant handkerchiefs. They are even -handsomer than this picture, being made of a rare fibrous material -by a secret process known only to these famous foreign artisans; the -goods being known as shifu-silk crepe. Each handkerchief is about 15 -inches square and has a charming border of various designs. These -are used in many of the wealthiest homes for parlor decorations: -they form a magnificent display. Ladies are delighted with them. We -are the largest importers, and to introduce our goods we make the -following =great offer=:--For 10 cts. we will send you three of these -handkerchiefs, also an elegant Japanese =Crepe Table Mat=, decorated -in beautiful designs by a fine Japanese artist. (We have seen mats -like this advertised by another firm for 25 cts.) Remember, the above -four articles will be mailed, postpaid, carefully packed, at once, on -receipt of 10 cents in stamps or postal note. Three lots for 25 cents. -Read the following, which is but one of the many letters received:-- - - “_I have received the Japanese goods you advertise, and am astonished - at the wonderful bargain. Enclosed find 50 cts. for six lots.” VIOLA - H. RAY, Somerville, Mass._ - -We make the above great offer to introduce our goods as we want agents -everywhere. Address all orders to - -=W. S. EVERETT & CO., Lynn, Mass.= - - * * * * * - -THE LADIES’ MODEL Fancy Work Manual - -[Illustration] - -This is an entirely new book, just published, and embodies all the -latest ideas in needlework, crochet, knitting and embroidery. It -contains designs and directions for making nearly fifty different -patterns of knitted laces, many charming crochet patterns, also -instruction for making many useful articles of wearing apparel and -numerous articles for home decoration, among which are tidies, -chair-scarfs, doylies, purses, table mats, shopping bags, lamp -shades, shawls, Afghans, toilet sets, counterpanes, sofa-cushions, -chair-covers, pin-cushions, dressing slippers, babies’ socks, etc., -etc. Full and complete instructions accompany each design, together -with an explanation of the terms used in knitting and crochetting, -etc. It also contains full and complete instructions in the art of -embroidery, with numerous beautiful designs. The whole is illustrated -by 95 handsome engravings, and the whole subject of ladies’ fancy work -is made so clear in this book that with it as a guide one may become an -adept in the art. It is a book of 64 large double-column pages, neatly -bound in attractive paper covers, and will be sent by mail post-paid -upon receipt of only =Ten Cents=. - -=KEYSTONE BOOK CO., Philadelphia, Pa.= - - - - -The Life of Popular Songs. - - -In the end, a popular song is killed by its own success; it is sung, -played, and whistled to death. The hand-organs hasten the catastrophe. -It is doubtful whether any popular song of to-day will have other than -an ephemeral existence, there are so many more people than there used -to be to wear it out. Some of the songs of forty years ago--notably, -“Swanee River,” “Old Folks at Home,” and the “Mocking Bird”--are still -frequently heard, which cannot be said of the popular songs of more -recent years. - -The war for the Union gave birth to quite a number of good songs, and -“Marching through Georgia” will live as long as a soldier exists. -Soon after the war we had “Silver Threads Among the Gold” and “Put Me -in My Little Bed,” which were in everybody’s mouth, and put a great -deal of money into the pocket of their author. But they are seldom -heard nowadays; and the same may be said of “Captain Jinks of the -Hoss Marines,” who fed his horse on corn and beans, and “Walkin’ Down -Broadway.” - -It is now some years ago since our ears were regaled with “Rock-a-Bye, -Baby,” “Climbin’ Up the Golden Stairs,” and “See-Saw.” These were -succeeded by “Maggie Murphy’s Home,” “McGinty,” “Annie Rooney,” the -famous “Ta-ra-ra,” and “Monte Carlo,” which have already been turned -down for “My Sweetheart’s the Man in the Moon,” “Daisy,” and the -latest rage--“After the Ball.” It is said, by the way, that the -author of the last-mentioned song is deriving a fortune from it. He -has already cleared more than a popular novelist realizes from a four -hundred page book. - - - - -Opportunity. - - - I do not know, if, climbing some steep hill - Through fragrant wooded pass, this glimpse I bought; - Or whether in some mid-day I was caught - To upper air, where visions of God’s will - In pictures to our quickened sense fulfil - His word. But this I saw: - A path I sought - Through wall of rock. No human fingers wrought - The golden gates which opened, suddenly, still, - And wide. My fear was hushed by my delight. - Surpassing fair the lands; my path lay plain; - Alas! So spell-bound, feasting on the sight, - I paused, that I but reached the threshold bright, - When, swinging swift, the golden gates again - Were rocky walls, by which I wept in vain! - - H. H. - - - - -What He Did. - - -The idea of refusing water to fever patients is, we are glad to say, -nearly a thing of the past. The following incident, related by a -sailor, serves as an illustration of the water treatment. “Some years -ago, when we were in Jamaica, several of us were sick with the fever, -and among the rest the second mate. The doctor had been giving him -brandy to keep him up, but I thought it was a queer kind of ‘keeping -up.’ Why, you see, it stands to reason that if you heap fuel on a fire, -it will burn the faster, and putting brandy to a fever is just the same -kind of thing. - -“Well, the doctor gave him up, and I was sent to watch with him. No -medicine was left, for it was no use--nothing would help him; and I -had my directions what to do with the body when he was dead. Toward -midnight he asked for some water. I got him the coolest I could find, -and all he wanted; and if you’ll believe me, in less than three hours -he drank three gallons. - -“The sweat rolled from him like rain. Then I thought sure he was gone; -but he was sleeping, and as sweetly as a child. In the morning when the -doctor came, he asked what time the mate died. - -“‘Won’t you go in and look at him?’ I said. - -“He went in and took the mate’s hand. - -“‘Why,’ said he, ‘the man is not dead. He’s alive and doing well. What -have you been giving him?’ - -“‘Water, simply water, and all he wanted of it,’ said I. - -“I don’t know as the doctor learned anything from that, but I did.” - - - - - -End of the Project Gutenberg EBook of The Secrets of the Harem, by Anonymous - -*** END OF THIS PROJECT GUTENBERG EBOOK THE SECRETS OF THE HAREM *** - -***** This file should be named 54893-0.txt or 54893-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/4/8/9/54893/ - -Produced by Craig Kirkwood, Demian Katz and the Online -Distributed Proofreading Team at http://www.pgdp.net (Images -courtesy of the Digital Library@Villanova University -(http://digital.library.villanova.edu/)) - -Updated editions will replace the previous one--the old editions will -be renamed. - -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. 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 in the United States with eBooks -not protected by U.S. copyright law. 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 unprotected by copyright law 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 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 www.gutenberg.org. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (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 The -Project Gutenberg Trademark LLC, 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 -works not protected by U.S. copyright law 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 in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, 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 not protected by copyright 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. - |