diff options
Diffstat (limited to 'old/62374-0.txt')
| -rw-r--r-- | old/62374-0.txt | 988 |
1 files changed, 0 insertions, 988 deletions
diff --git a/old/62374-0.txt b/old/62374-0.txt deleted file mode 100644 index 8f92d8f..0000000 --- a/old/62374-0.txt +++ /dev/null @@ -1,988 +0,0 @@ -The Project Gutenberg eBook, The Story of the Alphabet, by Otto F. Ege - - -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 Story of the Alphabet - - -Author: Otto F. Ege - - - -Release Date: June 12, 2020 [eBook #62374] - -Language: English - -Character set encoding: UTF-8 - - -***START OF THE PROJECT GUTENBERG EBOOK THE STORY OF THE ALPHABET*** - - -E-text prepared by Roger Frank and Sue Clark from page images generously -made available by Internet Archive (https://archive.org) - - - -Note: Project Gutenberg also has an HTML version of this - file which includes the original chart illustrating - various alphabets. - See 62374-h.htm or 62374-h.zip: - (http://www.gutenberg.org/files/62374/62374-h/62374-h.htm) - or - (http://www.gutenberg.org/files/62374/62374-h.zip) - - - Images of the original pages are available through - Internet Archive. See - https://archive.org/details/storyofalphabet00egeorich - - - Some characters might not display properly in this UTF-8 - text file (e.g., empty squares). If so, the reader should - consult the html version or the original page images noted - above. - - - - - -THE STORY OF THE ALPHABET - -by - -OTTO F. EGE - -The Cleveland School of Art - - - “Many thanks to old Cadmus, - Who made us his debtors - By inventing, one day, those - CAPITAL LETTERS.” - —Saxe - - - - - - -Published by -Norman T. A. Munder & Co. -Printers -Baltimore, Maryland - -Copyright 1921 by -Norman T. A. Munder & Co. - - - - - THE STORY OF THE ALPHABET - - Its Evolution and Development - - Do you know your A B C’s? Each Letter Character Has a - History and a Reason for Its Present Form. Have you Ever - Questioned the Origin and Significance of the Alphabet? - -Our transition from barbarism to civilization can be attributed to the -alphabet. Those great prehistoric discoveries and inventions such as the -making of a fire, the use of tools, the wheel and the axle, and even our -modern marvelous applications of steam and electricity pale into -insignificance when compared with the power of the alphabet. Simple as -it now appears after the accustomed use of ages, it can be accounted not -only the most difficult, but also the most fruitful of all the -achievements of the human intellect. - -Man lived by “bread alone” and without the alphabet untold ages, and -with a practical alphabetic system not more than 3,000 years. So -important and wonderful was this step deemed by those who lived nearer -the time of its inception—in the time before the wonder of its -extraordinary powers had been blunted by long possession and common -use—that its invention, as well as that of writing, was invariably -attributed to divine origin. - -Modern investigation always seeks sources other than mythological ones, -and thus the science of ancient handwriting, paleography, came into -existence. In the last hundred and twenty-five years the writing of the -ancient Egyptians, which was a “sealed book” for nearly twenty -centuries, has been deciphered through the efforts of Champollion and -Young; the mysterious cuneiform characters of ancient Assyria and -Babylon have been interpreted by Grotofend and Rawlinson, and the -“missing link” to connect our present alphabetic system to these ancient -ones is being partly completed by Sir Arthur Evans, who is compiling and -analyzing Cretan characters and pre-Phoenician writing. The story, -however, will probably never be told in its entirety. - - * * * * * - -The forms of our letters, with the exception of G, J, U, W, reached -their full development two thousand years ago. The Roman letter was the -parent of all the styles notwithstanding the diversity that has appeared -in Europe since the beginning of the Christian era. With a little -imagination it is not difficult to note the resemblance between similar -letters of the old Roman capitals and those following that have been -designated as script, italic, Old English or black letter, versal, -uncial, and an endless list of alphabet families. The desire for speed, -and the influence of the tool, pen, reed, chisel, brush, were the -determining factors in the change of form. Curiously enough instead of -being archaic, the Roman alphabet, which is now 2,000 years old, is -still the most useful because of its legibility, and also the most -beautiful. - -We derived twenty-three of our letters from the Romans. They had taken -probably eighteen of these from the Greeks about the fourth century B. -C. and afterwards borrowed elsewhere or invented seven more. Instead of -giving them names as the Greeks did, they simply called them by the -sounds for which they stood: A (ah), B (bay). They introduced the curve -wherever possible, whereas the early Greek letters were all angular—what -an interesting analogy is evident in the architecture of those two -peoples, the temple pediment and angularity of the Greeks as contrasted -with the dome and arch of the Romans. - -The Greeks, in their contact with those great traders and “Yankees of -ancient time,” the Phoenicians, saw the value of their alphabetic -writing and inaugurated its use about the time of the first Olympiad, -776 B. C. Three or four centuries before they gave it to the Romans the -ancient Greeks found use for fifteen of the Phoenician letters and then -conceived enough to round out an alphabet of twenty-four characters.The -changes that took place in the shape of their letters can be attributed -to their sense of order; the letters are balanced better and the parts -better related. - - * * * * * - -The Greeks were interested in the sound value only, not in the picture -value of the symbol, and, therefore, they probably did not notice that -A, for instance, had ever been a picture of the head of an ox and that -it was now drawn upside down; and that the Phoenician name “Alpeh” meant -ox and that they mispronounced the sound in calling it “Alpha.” - -The Romans borrowed from the Greeks and the Greeks had borrowed from the -Phoenicians, but where did the Phoenicians obtain their letters? Did -they invent them? To what extent were these letters influenced by -earlier systems of writings as those employed by the Cretan, Assyrian -and Egyptian civilizations? These are questions that probably will never -be answered satisfactorily. Many arguments and theories are advanced. We -can, however, trace back with certainty a number of our letters to the -Phoenician alphabet of 1000 B. C. Beyond this all is, at present, a -matter of conjecture. - -The Phoenician alphabet consisted of twenty-two pictures of familiar -objects. These pictures were rudely and simply made, for writers and -readers soon recognized the fundamental characteristics and all -unnecessary details were eliminated. The great advance that can be -credited to them is that they realized that a small number of -sound-expressing characters, if well selected, are sufficient to express -any word. Other races at this period had phonetic systems but they -consisted of numerous symbols and cumbersome appendages of -non-alphabetic characters—“eye pictures” side by side with “ear -pictures.” No doubt earlier Phoenician writing passed through the stages -of development traceable in so many countries: - - 1. The pictures or characters suggesting the thing - or incident (picture writing). - - 2. The pictures or characters symbolizing the thing - or idea (ideographic or symbolic writing). - - 3. The pictures or characters representing the sound - of the thing or idea (phonograms). - - 4. The sign suggesting the various sounds of - the language (alphabetic system). - -To free this last stage from the others was the great Phoenician -contribution. - - - - -A - - -Why is A the first letter? It represents one of the commonest vowel -sounds in ancient languages. Naturally the Phoenician alphabet makers -selected a familiar object in the name of which this particular vowel -sound was emphasized. Since food is of primal importance, it is not -surprising to find that he chose the ox—“Alef” (ahˊlef), or rather the -head of the ox, for the characteristics of animals are chiefly embodied -in the head. Not only was the ox important as food but also as a beast -of burden, for the ox had been harnessed to the plow centuries before -the horse was domesticated. Thus one of the earliest and most important -of man’s friends among the brute creatures was honored. - -In making this letter repeatedly and rapidly they became careless and -instead of crossing the letter V they tried to make it with one -continuous scratching, hence when the Greeks became acquainted with it -three to five centuries after its invention, the picture had -deteriorated almost beyond recognition. They introduced balance and the -V was inverted, and the cross-bar was retained between the lines. -Unknowingly they were drawing the ox head upside down; and it remains so -with us to this day. The Greeks called the first letter alpha, the -Romans called it A (ah) and we call it A (ay), a sound it never -possessed in Latin. - - - - -B - - -The second letter of the alphabet represents a crude house, roughly -outlined. After food, shelter is an important consideration and this -fact was expressed by the early alphabet maker. The Greeks again were -ignorant of the picture and careless or indifferent as to the exact name -of the character, and thus two triangles instead of the square -supporting a triangle were made and the name changed from “beth” to -“beta” (baˊta). Combine the Greek names for the first two letters and we -have (alpha-beta) “alphabet.” The Romans shortened the name “beta,” -calling it B (bay) and introduced the curved loops. The original name is -familiar to us through names found in the Scriptures: Bethel (house of -God) and Bethlehem (house of bread). - - - - -C-G - - -The “ship of the desert,” the camel, gave its name to the third letter. -Our name for this animal is traceable back to the Phoenician “gimel” -(gheˊmel) or “gamel” (gahˊmel). The long neck and the peculiar angle of -the neck in relation to the head could easily be represented. The Greeks -made changes similar to those in other letters—they improved the shape -and changed the name to “gamma.” The Romans did not forget the curve and -gave it both the hard and soft sounds (kay and gay). Later on, about the -third century A. D., to distinguish the “g” sound from the “k” sound -they added a little bar below the opening. Thus we get both C and G from -the picture of the camel. - -Stevenson said that when he was a child the capital G always impressed -him as a genii swooping down to drink out of a handsome cup. Kipling’s -story of the invention of the alphabet is filled with similar delightful -stories of the picture origin of letter forms. - - - - -D - - -The next letter D, came from a representation of a door—“daleth” -(dahleth). It probably pictures the door of a tent. A custom that -prevails among the Arabs and in a number of countries gave particular -importance to the door of a tent—a stranger, or even an enemy, if he -entered through the door of a tent must receive food, drink and shelter. -“Daleth” became “delta” with the Greeks and D (day) with the Romans, -who, of course, rounded the angle. - - - - -E - - -The house picture gave us B, the door, D, and the window, E. “He” (hay) -meant to look, to see, or window, and one writer asserts our familiar -street cry “hey, there” can be traced to these ancient times. One side -bar of the window was lost early. - -The Greeks at first used this sound for the long “e” (epsilon) but -afterwards employed the character H or “eta” for the long sound. The -Romans at first made no change except to call it “eh.” - -This is the letter that occurs so frequently in English words, and many -no doubt recall the interesting use that Poe makes of this fact in his -story “The Gold Bug.” - - - - -F - - -Our letter order does not agree with that of the Phoenicians or the -early Greeks. Our sixth letter, F, is missing in classical Greek, but it -is found in earlier writings. It comes from a Phoenician representation -of a hook or nail (?) “vau.” The Hebrew form resembles the latter -object. The nail was important in shipbuilding, a common industry of the -early traders. When the Greeks used this letter they called it “digamma” -(double gamma) and its form represented one “gamma” (Greek c) -superimposed over the other. The Romans called it F (ef) and during the -reign of Emperor Claudius the consonant V was represented by the F -inverted. This was done because the Latin alphabet had but one character -to represent U and V and OCTAVIA became OCTAℲIA. - - - - -H - - -Two fence posts and three horizontal boards gave us our eighth letter, -H. The fence was called “cheth” (haith). The Greeks omitted the upper -and lower boards thus making it like our H, and called it “eta” (ata). -The Romans gave it a soft sound H (hah) just as we do today. - - - - -I-J - - -The parts of the human body also played an important part in giving form -to the letters of the alphabet. The early peoples recognized the value -of the hand and the head and these members gave rise to the letters I -and K, and Q and R respectively. The hand in profile bent at the -knuckles and wrist gives us the character “yod” (the hand) as used by -the Phoenicians. The Greeks, who always liked to have their words end in -vowels, added “a” and called it “Iota” (e-oˊta). When the Romans -received it, it was simply a vertical stroke, I (ee) which represented -the same long “e” sound as it did with the Greeks, but later they used -it both as a consonant and vowel, differentiating the consonant by -making the letter I longer, J; but they did not give a distinct letter -form for the capital J until the sixteenth century. - -The small j came into being nearly a century later. The dot over the i -was first introduced in a thirteenth century manuscript. - - - - -K - - -The silhouette of the open hand, with its radiating lines, discloses the -origin of the letter K, “kaph,” which signified hollow or palm. We know -that palmistry was practiced by the ancients, and probably the -association of reading the hand and writing influenced the inclusion of -this character. The Greeks added their favorite vowel sound, “a,” again -and thus obtained their “Kappa.” The Romans had no need for this letter -at first, as C furnished the same sound. When they did accept it, they -made no change. - - - - -L - - -The ox goad or whip lash, “lamed” (lahˊmed) gave rise to the next -letter. Herding oxen and sheep was the important occupation of the -slaves of the Phoenicians and hence the last, an object so unfamiliar to -us, was easily recognized by them. The Greeks again added an “a” and -called it “lambda” and made it in the form of an inverted V. The Romans, -strangely, adhered more closely to the original form than did the -Greeks. - - - - -M-N - - -The Phoenicians were lovers of the sea, and from this source two letters -were derived, M and N. They explored not only all of the Mediterranean -shore at an early date, but they also sailed boldly through the gates of -Gibraltar, and “beyond the world” where they found Britain. They were -the first navigators that sailed by night and it is said they discovered -the north star. Therefore it is not surprising that water “mem” (maim) -is the source of M and that fish, “nun” (noon) the source of N. The -letter M has changed but little in form, it is the Greek letter “Mu” and -the Roman M (em). The head of the fish, from which the letter N is -pictured, was simplified even more than the head of the ox, in A. It no -doubt represents the fisherman’s viewpoint—not a swimming fish but a -suspended one. The Greeks reversed the stroke and called it “Nu” and the -Romans did not change its form but called it N (en). - - - - -O - - -In Phoenicia, as in Egypt, China and Mexico, the eye is one of the -commonest elements found in the writing. It was called “Ayin” (ah-yin). -The Greeks used it for two sounds now designated by “omicron,” little -“o,” and “omega,” great “o,” the letter which, strangely, was placed at -the end of the Greek alphabet. We find in the Bible: “I am the Alpha and -the Omega, the beginning and the end, the first and the last.” How many -today would think of using the alphabet for such an important -illustration? It is easy to trace the Roman O (oh) from its Greek -parent, “omicron.” - - - - -P - - -Many letter pictures run in pairs—finger and hand, water and fish—and -now after eye we find mouth “pi” (pe) which represents the lower lip. -The Greeks made little change in the name or shape at first, but later -they introduced the angles and made the downward strokes equal. The -Romans formed the letter by continuing the curve farther than the -Phoenicians and called it “pe” (pay). - - - - -Q-R - - -Now we come to Q and R, the letters which were mentioned above as those -probably coming from the head. Whether Q (koph) was derived from the -picture of the back view of the head and neck, or whether it represents -a knot, which, no doubt, was as important to navigators then as it is -now, is a mooted question. The Q sound is guttural and the tail of the -letter is supposed to indicate the throat sound. The Greeks soon -discarded “koppa,” as it was called, and the Romans went back to the -original source for their Q (koo). - -The back view of the head is the unusual one, for as we look at the -drawing of the early races, or memory pictures, or the delineations of a -child of seven or eight we find they are almost without exception -profile pictures. The Phoenician “resh” represents the profile and shows -very little resemblance to a human being, although at first the features -may have been more clearly indicated. The Greeks, as was to be expected, -turned the letter around, and later, oddly enough, introduced a curve -making it exactly like the Roman letter P. The extra stroke which we -find in the Roman letter was no doubt due to the carelessness in -copying. They pronounced it R (air). - - - - -S - - -There is a common legend explaining S, the letter with the hissing -sound. Because of its curved shape and its hissing sound many people -believe it to be derived from a snake. Its real history is easily -followed from Phoenician “shin” or “sin” (teeth) to the present day. Its -form closely resembled our W. The Greeks made it perpendicular for their -“sigma” and the Romans simplified and curved it giving S (ess). - - - - -T - - -Our twentieth letter, T, is particularly interesting because it is -derived from “tahv” a mark or cross made by people who could not write, -and no doubt their signature frequently resembled it. We must not forget -that even Charlemagne and other kings of the middle ages had to make -their mark or trace their initials through stencil plates. The only -change of “tahv” to Greek “tau,” and to Roman T (tay) was the raising of -the cross bar. - - - - -U-V-Y - - -The letters U, V and Y were all taken from the letter “Upsilon,” and it -may have been derived from the queer Hebrew form of “Ayin” which closely -resembles Y. The letters U and V were interchangeable. Upsilon, known as -the “Samian letter,” was used by Pythagoras as an emblem to represent -the parting of the ways—the young man making a choice in life. - - - - -W - - -Our Anglo-Saxon forefathers contributed two letters, W (wen) and another -often confused with Y, called “thorn.” These were introduced during the -thirteenth century. The French always called the former letter double -vay, and in English it may be said to represent double U, as its name -indicates. The letter “thorn” had the value of the digraph “th,” and -“ye” in old English should be pronounced “the” like the definite -article. - - - - -X-Z - - -Although we have no direct need for the letter X, for Z can be -substituted for it when it is used as an initial letter, and “ks” when -used elsewhere, it has remained in the alphabet since its frequent use -by the Greeks. It came from the Roman X (eex) which may have been -derived from the Greek “ksi.” The latter resembles the Phoenician -character “samech,” meaning a post or support. - -The dagger “zayin” from which we obtain our Z must have been important -in the daily lives of the Greeks, Hebrews and Phoenicians for it -occupies the sixth place (Zeta) and the seventh in the latter alphabets. -The Romans did not change its name or shape, but although there has been -little change in 2,000 years we see little resemblance to the short -sword in the letter the Romans gave to us. - - * * * * * - -Many slight changes that have occurred in the formation of the letters -of the alphabet may be accounted for. At first the Greeks wrote from -left to right in one line and from right to left on the next line—a mode -of writing which has been termed “bous-trophedon” because it runs as an -ox plow does in a field, up one furrow and down another. It is due to -this fact that many letters were reversed from their original -prototypes. It is interesting to note that recently books for the blind -have been embossed in this manner. - -The small letters of the alphabet, sometimes called “lower case” letters -because printers keep them in a case below the capitals, or “minuscule -letters” in contrast with “majuscule,” or capital letters, illustrate -further changes due to rapid writing of capitals in a cursive or running -hand. - -The few characters selected by the Phoenicians, the great traders, -artificers and farmers of the ancient world, not only influenced Greek -literature and life, Roman and modern nations in Europe, but also spread -eastward to the very walls of China. The Hebrews copied them as a whole -and retained the original names with only slight variations. They did -change the shapes because a different writing instrument was employed. - -According to a legend, Jehovah gave the letters to Moses, hence all the -left curves in Hebrew letter form turn upward—as symbols of a finger -pointing heavenward. - -The Phoenician alphabet is also the parent of the Arabic, Indian, -Javanese, Corean, Tibetan, Coptic syllabaries and alphabets. No small -country ever gave such a great gift to humanity; no large country could -have given a greater gift. - - - - -Genealogy of Our Letters from the Phoenician Alphabet 1300 B. C. -——————————————————————————————————————————————————————————————————————— - -Phoenician Greek Roman Evolution of -1300-1000 B.C. 700-500 B.C. 50 B.C. small letters -form, meaning, name form, name form, sound 300-1600 A.D. -——————————————————————— ———————————————— ————————————— ————————————— - -𐤀 = ox Aleph Α Alpha A Ah A a -𐤁 = house Beth Β Beta B Bay B b -𐤂 = camel Gimel Γ Gamma C Kay C c -𐤃 = door Daleth Δ Delta D Day D d -𐤄 = window He Ε Epsilon E Eh E e -𐤅 = hook Vau F Digamma F Ef F f - G g -𐤇 = fence Cheth Η Eta H Hah H h -ꟻ = hand Yod Ι Iota I Ee I i - j -ʞ = palm Kaph Κ Kappa K Kah K k -𐤋 = whip Lamed Λ Lamda L El L l -𐤌 = water Mem Μ Mu M Em M m -𐤍 = fish Nun Ν Nu N En N n -𐤏 = eye Ayin Ο Omicron O Oh O o -𐤐 = mouth Pe Π Pi P Pay P p -𐤒 = knot? head? Koph Ϙ Koppa Q Koo Q q -𐤓 = head Resh Ρ Rho R Air R r -𐤔 = teeth Shin Σ Sigma S Ess S s -𐤕 = mark Tahv Τ Tau T Tay T t - Υ Upsilon V Oo V U u - Y V V V v - W w -𐤎 = post Samech Χ Xi X Eex X x - Υ Upsilon Y ϋ Y y -‡ = weapon Zayin Ζ Zeta Z Zayta Z z - -——————————————————————————————————————————————————————————————————————— - -Transcriber’s Notes for this table: - 1. "W" is from "wen," 11th century Anglo-Saxon - 2. "j" first appears in Gothic 1200 A.D. column - 3. fourth column is simplified in text version by combining - these four nearly-duplicated columns: - Evolution of small letters 300 to 800 A.D. - Gothic 1200 A.D. - Italic 1500 A.D. - Script 1600 A.D. - - See the HTML version of this table for details. - (http://www.gutenberg.org/files/62374/62374-h/62374-h.htm) - or - (http://www.gutenberg.org/files/62374/62374-h.zip) - - - -***END OF THE PROJECT GUTENBERG EBOOK THE STORY OF THE ALPHABET*** - - -******* This file should be named 62374-0.txt or 62374-0.zip ******* - - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/dirs/6/2/3/7/62374 - - -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. - |