diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-01-21 06:28:01 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-21 06:28:01 -0800 |
| commit | dbc6903fe5216b87742f9e554c49ebac0bd7e72e (patch) | |
| tree | e1d1f03ec816caaf124354af43f7ca36e9ff67cc | |
| parent | 089be25d85ad793398e8acce8c7fca689b70dae5 (diff) | |
| -rw-r--r-- | .gitattributes | 4 | ||||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/68547-0.txt | 797 | ||||
| -rw-r--r-- | old/68547-0.zip | bin | 18040 -> 0 bytes | |||
| -rw-r--r-- | old/68547-h.zip | bin | 482860 -> 0 bytes | |||
| -rw-r--r-- | old/68547-h/68547-h.htm | 930 | ||||
| -rw-r--r-- | old/68547-h/images/cover.jpg | bin | 258548 -> 0 bytes | |||
| -rw-r--r-- | old/68547-h/images/illus-fpc.jpg | bin | 208628 -> 0 bytes |
9 files changed, 17 insertions, 1727 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..486573c --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #68547 (https://www.gutenberg.org/ebooks/68547) diff --git a/old/68547-0.txt b/old/68547-0.txt deleted file mode 100644 index 738ff6d..0000000 --- a/old/68547-0.txt +++ /dev/null @@ -1,797 +0,0 @@ -The Project Gutenberg eBook of He, by H. P. Lovecraft - -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 -will have to check the laws of the country where you are located before -using this eBook. - -Title: He - -Author: H. P. Lovecraft - -Release Date: July 17, 2022 [eBook #68547] - -Language: English - -Produced by: Roger Frank - -*** START OF THE PROJECT GUTENBERG EBOOK HE *** - - - - - -HE - -By H. P. Lovecraft - - -[Illustration: “The old man clawed and spat at me through the moldy -air, and barked things in his throat as he swayed with the yellow -curtain he clutched.”] - - -I saw him on a sleepless night when I was walking desperately to save -my soul and my vision. My coming to New York had been a mistake; for -whereas I had looked for poignant wonder and inspiration in the -teeming labyrinths of ancient streets that twist endlessly from -forgotten courts and squares and waterfronts to courts and squares and -waterfronts equally forgotten, and in the Cyclopean modern towers and -pinnacles that rise blackly Babylonian under waning moons, I had found -instead only a sense of horror and oppression which threatened to -master, paralyze, and annihilate me. - -The disillusion had been gradual. Coming for the first time upon the -town, I had seen it in the sunset from a bridge, majestic above its -waters, its incredible peaks and pyramids rising flowerlike and -delicate from pools of violet mist to play with the flaming golden -clouds and the first stars of evening. Then it had lighted up window -by window above the shimmering tides where lanterns nodded and glided -and deep horns bayed weird harmonies, and had itself become a starry -firmament of dream, redolent of faery music, and one with the marvels -of Carcassonne and Samarcand and El Dorado and all glorious and -half-fabulous cities. Shortly afterward I was taken through those -antique ways so dear to my fancy--narrow, curving alleys and passages -where rows of red Georgian brick blinked with small-paned dormers -above pillared doorways that had looked on gilded sedans and paneled -coaches--and in the first flush of realization of these long-wished -things I thought I had indeed achieved such treasures as would make me -in time a poet. - -But success and happiness were not to be. Garish daylight showed only -squalor and alienage and the noxious elephantiasis of climbing, -spreading stone where the moon had hinted of loveliness and elder -magic; and the throngs of people that seethed through the flumelike -streets were squat, swarthy strangers with hardened faces and narrow -eyes, shrewd strangers without dreams and without kinship to the -scenes about them, who could never mean aught to a blue-eyed man of -the old folk, with the love of fair green lanes and white New England -village steeples in his heart. - -So instead of the poems I had hoped for, there came only a shuddering -blankness and ineffable loneliness; and I saw at last a fearful truth -which no one had ever dared to breathe before--the unwhisperable -secret of secrets--the fact that this city of stone and stridor is not -a sentient perpetuation of Old New York as London is of Old London and -Paris of Old Paris, but that it is in fact quite dead, its sprawling -body imperfectly embalmed and infested with queer animate things which -have nothing to do with it as it was in life. Upon making this -discovery I ceased to sleep comfortably; though something of resigned -tranquillity came back as I gradually formed the habit of keeping off -the streets by day and venturing abroad only at night, when darkness -calls forth what little of the past still hovers wraithlike about, and -old white doorways remember the stalwart forms that once passed -through them. With this mode of relief I even wrote a few poems, and -still refrained from going home to my people lest I seem to crawl back -ignobly in defeat. - -Then, on a sleepless night’s walk, I met the man. It was in a -grotesque hidden courtyard of the Greenwich section, for there in my -ignorance I had settled, having heard of the place as the natural home -of poets and artists. The archaic lanes and houses and unexpected bits -of square and court had indeed delighted me, and when I found the -poets and artists to be loud-voiced pretenders whose quaintness is -tinsel and whose lives are a denial of all that pure beauty which is -poetry and art, I stayed on for love of these venerable things. I -fancied them as they were in their prime, when Greenwich was a placid -village not yet engulfed by the town; and in the hours before dawn, -when all the revellers had slunk away, I used to wander alone among -their cryptical windings and brood upon the curious arcana which -generations must have deposited there. This kept my soul alive, and -gave me a few of those dreams and visions for which the poet far -within me cried out. - -The man came upon me at about 2 one cloudy August morning, as I was -threading a series of detached courtyards; now accessible only through -the unlighted hallways of intervening buildings, but once forming -parts of a continuous network of picturesque alleys. I had heard of -them by vague rumor, and realized that they could not be upon any map -of today; but the fact that they were forgotten only endeared them to -me, so that I had sought them with twice my usual eagerness. Now that -I had found them, my eagerness was again redoubled; for something in -their arrangement dimly hinted that they might be only a few of many -such, with dark, dumb counterparts wedged obscurely betwixt high blank -walls and deserted rear tenements, or lurking lamplessly behind -archways, unbetrayed by hordes of the foreign-speaking or guarded by -furtive and uncommunicative artists whose practises do not invite -publicity or the light of day. - -He spoke to me without invitation, noting my mood and glances as I -studied certain knockered doorways above iron-railed steps, the pallid -glow of traceried transoms feebly lighting my face. His own face was -in shadow, and he wore a wide-brimmed hat which somehow blended -perfectly with the out-of-date cloak he affected; but I was subtly -disquieted even before he addressed me. His form was very slight, thin -almost to cadaverousness; and his voice proved phenomenally soft and -hollow, though not particularly deep. He had, he said, noticed me -several times at my wanderings; and inferred that I resembled him in -loving the vestiges of former years. Would I not like the guidance of -one long practised in these explorations, and possessed of local -information profoundly deeper than any which an obvious newcomer could -possibly have gained? - -As he spoke, I caught a glimpse of his face in the yellow beam from a -solitary attic window. It was a noble, even a handsome, elderly -countenance; and bore the marks of a lineage and refinement unusual -for the age and place. Yet some quality about it disturbed me almost -as much as its features pleased me--perhaps it was too white, or too -expressionless, or too much out of keeping with the locality, to make -me feel easy or comfortable. Nevertheless I followed him; for in those -dreary days my quest for antique beauty and mystery was all that I had -to keep my soul alive, and I reckoned it a rare favor of Fate to fall -in with one whose kindred seekings seemed to have penetrated so much -farther than mine. - -Something in the night constrained the cloaked man to silence, and for -a long hour he led me forward without needless words; making only the -briefest of comments concerning ancient names and dates and changes, -and directing my progress very largely by gestures as we squeezed -through interstices, tiptoed through corridors, clambered over brick -walls, and once crawled on hands and knees through a low, arched -passage of stone whose immense length and tortuous twistings effaced -at last every hint of geographical location I had managed to preserve. -The things we saw were very old and marvelous, or at least they seemed -so in the few straggling rays of light by which I viewed them, and I -shall never forget the tottering Ionic columns and fluted pilasters -and urn-headed iron fenceposts and flaring-linteled windows and -decorative fanlights that appeared to grow quainter and stranger the -deeper we advanced into this inexhaustible maze of unknown antiquity. - - * * * * * - -We met no person, and as time passed the lighted windows became fewer -and fewer. The streetlights we first encountered had been of oil, and -of the ancient lozenge pattern. Later I noticed some with candles; and -at last, after traversing a horrible unlighted court where my guide -had to lead me with his gloved hand through total blackness to a -narrow wooden gate in a high wall, we came upon a fragment of alley -lit only by lanterns in front of every seventh house--unbelievably -Colonial tin lanterns with conical tops and holes punched in the -sides. This alley led steeply uphill--more steeply than I had thought -possible in this part of New York--and the upper end was blocked -squarely by the ivy-clad wall of a private estate, beyond which I -could see a pale cupola, and the tops of trees waving against a vague -lightness in the sky. In this wall was a small, low-arched gate of -nail-studded black oak, which the man proceeded to unlock with a -ponderous key. Leading me within, he steered a course in utter -blackness over what seemed to be a gravel path, and finally up a -flight of stone steps to the door of the house, which he unlocked and -opened for me. - -We entered, and as we did so I grew faint from a reek of infinite -mustiness which welled out to meet us, and which must have been the -fruit of unwholesome centuries of decay. My host appeared not to -notice this, and in courtesy I kept silent as he piloted me up a -curving stairway, across a hall, and into a room whose door I heard -him lock behind us. Then I saw him pull the curtains of the three -small-paned windows that barely showed themselves against the -lightening sky; after which he crossed to the mantel, struck flint and -steel, lighted two candles of a candelabrum of twelve sconces, and -made a gesture enjoining soft-toned speech. - -In this feeble radiance I saw that we were in a spacious, -well-furnished and paneled library dating from the first quarter of -the Eighteenth Century, with splendid doorway pediments, a delightful -Doric cornice, and a magnificently carved overmantel with -scroll-and-urn top. Above the crowded bookshelves at intervals along -the walls were well-wrought family portraits; all tarnished to an -enigmatical dimness, and bearing an unmistakable likeness to the man -who now motioned me to a chair beside the graceful Chippendale table. -Before seating himself across the table from me, my host paused for a -moment as if in embarrassment; then, tardily removing his gloves, -wide-brimmed hat, and cloak, stood theatrically revealed in full -mid-Georgian costume from queued hair and neck ruffles to -knee-breeches, silk hose, and the buckled shoes I had not previously -noticed. Now slowly sinking into a lyre-back chair, he commenced to -eye me intently. - -Without his hat he took on an aspect of extreme age which was scarcely -visible before, and I wondered if this unperceived mark of singular -longevity were not one of the sources of my original disquiet. When he -spoke at length, his soft, hollow, and carefully muffled voice not -infrequently quavered; and now and then I had great difficulty in -following him as I listened with a thrill of amazement and -half-disavowed alarm which grew each instant. - -“You behold, Sir,” my host began, “a man of very eccentrical habits, -for whose costume no apology need be offered to one with your wit and -inclinations. Reflecting upon better times, I have not scrupled to -ascertain their ways and adopt their dress and manners; an indulgence -which offends none if practised without ostentation. It hath been my -good fortune to retain the rural seat of my ancestors, swallowed -though it was by two towns, first Greenwich, which built up hither -after 1800, then New York, which joined on near 1830. There were many -reasons for the close keeping of this place in my family, and I have -not been remiss in discharging such obligations. The squire who -succeeded to it in 1768 studied sartain arts and made sartain -discoveries, all connected with influences residing in this particular -plot of ground, and eminently desarving of the strongest guarding. -Some curious effects of these arts and discoveries I now purpose to -show you, under the strictest secrecy; and I believe I may rely on my -judgment of men enough to have no distrust of either your interest or -your fidelity.” - -He paused, but I could only nod my head. I have said that I was -alarmed, yet to my soul nothing was more deadly than the material -daylight world of New York, and whether this man were a harmless -eccentric or a wielder of dangerous arts I had no choice save to -follow him and slake my sense of wonder on whatever he might have to -offer. So I listened. - -“To--my ancestor,” he softly continued, "there appeared to reside some -very remarkable qualities in the will of mankind; qualities having a -little-suspected dominance not only over the acts of one’s self and of -others, but over every variety of force and substance in Nature, and -over many elements and dimensions deemed more universal than Nature -herself. May I say that he flouted the sanctity of things as great as -space and time and that he put to strange uses the rites of sartain -half-breed red Indians once encamped upon this hill? These Indians -showed choler when the place was built, and were plaguey pestilent in -asking to visit the grounds at the full of the moon. For years they -stole over the wall each month when they could, and by stealth -performed sartain acts. Then, in ’68, the new squire catched them at -their doings, and stood still at what he saw. Thereafter he bargained -with them and exchanged the free access of his grounds for the exact -inwardness of what they did; larning that their grandfathers got part -of their custom from red ancestors and part from an old Dutchman in -the time of the States-General. And pox on him, I’m afeared the squire -must have sarved them monstrous bad rum--whether or not by intent--for -a week after he larnt the secret he was the only man living that knew -it. You, Sir, are the first outsider to be told there is a secret, and -split me if I’d have risked tampering that much with--the powers--had -ye not been so hot after bygone things.” - -I shuddered as the man grew colloquial--and with the familiar speech -of another day. He went on. - -“But you must know, Sir, that what--the squire--got from those mongrel -salvages was but a small part of the larning he came to have. He had -not been at Oxford for nothing, nor talked to no account with an -ancient chymist and astrologer in Paris. He was, in fine, made -sensible that all the world is but the smoke of our intellects; past -the bidding of the vulgar, but by the wise to be puffed out and drawn -in like any cloud of prime Virginia tobacco. What we want, we may make -about us; and what we don’t want, we may sweep away. I won’t say that -all this is wholly true in body, but ’tis sufficient true to furnish a -very pretty spectacle now and then. You, I conceive, would be tickled -by a better sight of sartain other years than your fancy affords you; -so be pleased to hold back any fright at what I design to show. Come -to the window and be quiet.” - - * * * * * - -My host now took my hand to draw me to one of the two windows on the -long side of the malodorous room, and at the first touch of his -ungloved fingers I turned cold. His flesh, though dry and firm, was of -the quality of ice; and I almost shrank away from his pulling. But -again I thought of the emptiness and horror of reality, and boldly -prepared to follow whithersoever I might be led. Once at the window, -the man drew apart the yellow silk curtains and directed my stare into -the blackness outside. For a moment I saw nothing save a myriad of -tiny dancing lights, far, far before me. Then, as if in response to an -insidious motion of my host’s hand, a flash of heat-lightning played -over the scene, and I looked out upon a sea of luxuriant -foliage--foliage unpolluted, and not the sea of roofs to be expected -by any normal mind. On my right the Hudson glittered wickedly, and in -the distance ahead I saw the unhealthy shimmer of a vast salt marsh -constellated with nervous fireflies. The flash died, and an evil smile -illumined the waxy face of the aged necromancer. - -“That was before my time--before the new squire’s time. Pray let us -try again.” - -I was faint, even fainter than the hateful modernity of that accursed -city had made me. - -“Good God!” I whispered; “can you do that for _any time_?” And as he -nodded, and bared the black stumps of what had once been yellow fangs, -I clutched at the curtains to prevent myself from falling. But he -steadied me with that terrible, ice-cold claw, and once more made his -insidious gesture. - -Again the lightning flashed--but this time upon a scene not wholly -strange. It was Greenwich, the Greenwich that used to be, with here -and there a roof or row of houses as we see it now, yet with lovely -green lanes and fields and bits of grassy common. The marsh still -glittered beyond, but in the farther distance I saw the steeples of -what was then all of New York; Trinity and St. Paul’s and the Brick -Church dominating their sisters, and a faint haze of wood smoke -hovering over the whole. I breathed hard, but not so much from the -sight itself as from the possibilities my imagination terrifiedly -conjured up. - -“Can you--dare you--go _far_?” I spoke with awe, and I think he shared -it for a second, but the evil grin returned. - -“_Far?_ What I have seen would blast ye to a mad statue of stone! -Back, back--forward, _forward_--look, ye puling lack-wit!” - -And as he snarled the phrase under his breath he gestured anew; -bringing to the sky a flash more blinding than either which had come -before. For full three seconds I could glimpse that pandemoniac sight, -and in those seconds I saw a vista which will ever afterward torment -me in dreams. I saw the heavens verminous with strange flying things, -and beneath them a hellish black city of giant stone terraces with -impious pyramids flung savagely to the moon, and devil-lights burning -from unnumbered windows. And swarming loathsomely on aerial galleries -I saw the yellow, squint-eyed people of that city, robed horribly in -orange and red, and dancing insanely to the pounding of fevered -kettle-drums, the clatter of obscene crotala, and the maniacal moaning -of muted horns whose ceaseless dirges rose and fell undulantly like -the waves of an unhallowed ocean of bitumen. - -I saw this vista, I say, and heard as with the mind’s ear the -blasphemous domdaniel of cacophony which companioned it. It was the -shrieking fulfilment of all the horror which that corpse-city had ever -stirred in my soul, and forgetting every injunction to silence I -screamed and screamed and screamed as my nerves gave way and the walls -quivered about me. - -Then, as the flash subsided, I saw that my host was trembling too; a -look of shocking fear half-blotting from his face the serpent -distortion of rage which my screams had excited. He tottered, clutched -at the curtains as I had done before, and wriggled his head wildly, -like a hunted animal. God knows he had cause, for as the echoes of my -screaming died away there came another sound so hellishly suggestive -that only numbed emotion kept me sane and conscious. It was the -steady, stealthy creaking of the stairs beyond the locked door, as -with the ascent of a barefoot or skin-shod horde; and at last the -cautious, purposeful rattling of the brass latch that glowed in the -feeble candlelight. The old man clawed and spat at me through the -moldy air, and barked things in his throat as he swayed with the -yellow curtain he clutched. - -“The full moon--damn ye--ye . . . ye yelping dog--ye called ’em, and -they’ve come for me! Moccasined feet--dead men--Gad sink ye, ye red -devils, but I poisoned no rum o’ yours--han’t I kept your pox-rotted -magic safe?--ye swilled yourselves sick, curse ye, and ye must needs -blame the squire--let go, you! Unhand that latch--I’ve naught for ye -here----” - -At this point three slow and very deliberate raps shook the panels of -the door, and a white foam gathered at the mouth of the frantic -magician. His fright, turning to steely despair, left room for a -resurgence of his rage against me; and he staggered a step toward the -table on whose edge I was steadying myself. The curtains, still -clutched in his right hand as his left clawed out at me, grew taut and -finally crashed down from their lofty fastenings; admitting to the -room a flood of that full moonlight which the brightening of the sky -had presaged. In those greenish beams the candles paled, and a new -semblance of decay spread over the musk-reeking room with its wormy -paneling, sagging floor, battered mantel, rickety furniture, and -ragged draperies. It spread over the old man, too, whether from the -same source or because of his fear and vehemence, and I saw him -shrivel and blacken as he lurched near and strove to rend me with -vulturine talons. Only his eyes stayed whole, and they glared with a -propulsive, dilated incandescence which grew as the face around them -charred and dwindled. - -The rapping was now repeated with greater insistence, and this time -bore a hint of metal. The black thing facing me had become only a head -with eyes, impotently trying to wriggle across the sinking floor in my -direction, and occasionally emitting feeble little spits of immortal -malice. Now swift and splintering blows assailed the sickly panels, -and I saw the gleam of a tomahawk as it cleft the rending wood. I did -not move, for I could not; but watched dazedly as the door fell in -pieces to admit a colossal, shapeless influx of inky substance starred -with shining, malevolent eyes. It poured thickly, like a flood of oil -bursting a rotten bulkhead, overturned a chair as it spread, and -finally flowed under the table and across the room to where the -blackened head with the eyes still glared at me. Around that head it -closed, totally swallowing it up, and in another moment it had begun -to recede; bearing away its invisible burden without touching me, and -flowing again out of that black doorway and down the unseen stairs, -which creaked as before, though in reverse order. - -Then the floor gave way at last, and I slid gaspingly down into the -nighted chamber below, choking with cobwebs and half-swooning with -terror. The green moon, shining through broken windows, showed me the -hall door half open; and as I rose from the plaster-strewn floor and -twisted myself free from the sagged ceiling, I saw sweep past it an -awful torrent of blackness, with scores of baleful eyes glowing in it. -It was seeking the door to the cellar, and when it found it, it -vanished therein. I now felt the floor of this lower room giving as -that of the upper chamber had done, and once a crashing above had been -followed by the fall past the west window of something which must have -been the cupola. Now liberated for the instant from the wreckage, I -rushed through the hall to the front door; and finding myself unable -to open it, seized a chair and broke a window, climbing frenziedly out -upon the unkempt lawn where moonlight danced over yard-high grass and -weeds. The wall was high, and all the gates were locked; but moving a -pile of boxes in a corner I managed to gain the top and cling to the -great stone urn set there. - -About me in my exhaustion I could see only strange walls and windows -and old gambrel roofs. The steep street of my approach was nowhere -visible, and the little I did see succumbed rapidly to a mist that -rolled in from the river despite the glaring moonlight. Suddenly the -urn to which I clung began to tremble, as if sharing my own lethal -dizziness; and in another instant my body was plunging downward to I -knew not what fate. - -The man who found me said that I must have crawled a long way despite -my broken bones, for a trail of blood stretched off as far as he dared -look. The gathering rain soon effaced this link with the scene of my -ordeal, and reports could state no more than that I had appeared from -a place unknown, at the entrance of a little black court off Perry -Street. - -I never sought to return to those tenebrous labyrinths, nor would I -direct any sane man thither if I could. Of who or what that ancient -creature was, I have no idea; but I repeat that the city is dead and -full of unsuspected horrors. Whither _he_ has gone, I do not know; but -I have gone home to the pure New England lanes up which fragrant -sea-winds sweep at evening. - -[Transcriber’s Note: This story appeared in the September 1926 issue -of Weird Tales Magazine.] - -*** END OF THE PROJECT GUTENBERG EBOOK HE *** - -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 an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks 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 other than 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 will 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 website -(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 the Project Gutenberg Literary Archive Foundation, the manager 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 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 website -and official page at www.gutenberg.org/contact - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without -widespread 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 website which has the main PG search -facility: www.gutenberg.org - -This website 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. diff --git a/old/68547-0.zip b/old/68547-0.zip Binary files differdeleted file mode 100644 index d2071d6..0000000 --- a/old/68547-0.zip +++ /dev/null diff --git a/old/68547-h.zip b/old/68547-h.zip Binary files differdeleted file mode 100644 index c4c42e9..0000000 --- a/old/68547-h.zip +++ /dev/null diff --git a/old/68547-h/68547-h.htm b/old/68547-h/68547-h.htm deleted file mode 100644 index 059e4a8..0000000 --- a/old/68547-h/68547-h.htm +++ /dev/null @@ -1,930 +0,0 @@ -<!DOCTYPE html> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> -<head> - <meta charset="UTF-8" /> - <title>The Project Gutenberg eBook of He, by H. P. Lovecraft</title> - <link rel="icon" href="images/cover.jpg" type="image/x-cover" /> - <style> - body { margin-left:8%; margin-right:8%; } - p { text-indent:1.15em; - margin-top:0.1em; - margin-bottom:0.1em; - text-align:justify; - } - h1 { text-align:center; - font-weight:normal; - font-size:1.4em; - } - .tn { background-color:linen; - font-size:0.8em; - border:1px solid silver; - margin-top:1.8em; - margin-left:8%; - margin-bottom:1em; - width:80%; - padding:0.4em 2%; - } - .w001 { margin-left:17%; width:65% } - .x-ebookmaker .w001 { margin-left:12%; width:75% } - .mt01 { margin-top:1em; } - .mb01 { margin-bottom:1em; } - .caption { text-indent:0; padding:0.5em 0; text-align:center; font-size:smaller; } - hr.tb { border:none; border-bottom:1px solid silver; width:50%; margin:0.7em auto; } - </style> -</head> - -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of He, by H. P. Lovecraft</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: He</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: H. P. Lovecraft</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: July 17, 2022 [eBook #68547]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Roger Frank</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK HE ***</div> - -<h1>HE</h1> -<div style='text-align:center;'>By H. P. Lovecraft</div> - -<div id='ifpc' class='mt01 mb01 w001'> - <img src='images/illus-fpc.jpg' alt='' style='width:100%;' /> - <p class='caption'>“The old man clawed and spat at me through the moldy -air, and barked things in his throat as he swayed with the yellow -curtain he clutched.”</p> -</div> - -<p>I saw him on a sleepless night when I was walking desperately to -save my soul and my vision. My coming to New York had been a -mistake; for whereas I had looked for poignant wonder and -inspiration in the teeming labyrinths of ancient streets that twist -endlessly from forgotten courts and squares and waterfronts to -courts and squares and waterfronts equally forgotten, and in the -Cyclopean modern towers and pinnacles that rise blackly Babylonian -under waning moons, I had found instead only a sense of horror and -oppression which threatened to master, paralyze, and annihilate me.</p> - -<p>The disillusion had been gradual. Coming for the first time upon the -town, I had seen it in the sunset from a bridge, majestic above its -waters, its incredible peaks and pyramids rising flowerlike and -delicate from pools of violet mist to play with the flaming golden -clouds and the first stars of evening. Then it had lighted up window -by window above the shimmering tides where lanterns nodded and -glided and deep horns bayed weird harmonies, and had itself become a -starry firmament of dream, redolent of faery music, and one with the -marvels of Carcassonne and Samarcand and El Dorado and all glorious -and half-fabulous cities. Shortly afterward I was taken through -those antique ways so dear to my fancy—narrow, curving alleys and -passages where rows of red Georgian brick blinked with small-paned -dormers above pillared doorways that had looked on gilded sedans and -paneled coaches—and in the first flush of realization of these -long-wished things I thought I had indeed achieved such treasures as -would make me in time a poet.</p> - -<p>But success and happiness were not to be. Garish daylight showed -only squalor and alienage and the noxious elephantiasis of climbing, -spreading stone where the moon had hinted of loveliness and elder -magic; and the throngs of people that seethed through the flumelike -streets were squat, swarthy strangers with hardened faces and narrow -eyes, shrewd strangers without dreams and without kinship to the -scenes about them, who could never mean aught to a blue-eyed man of -the old folk, with the love of fair green lanes and white New -England village steeples in his heart.</p> - -<p>So instead of the poems I had hoped for, there came only a -shuddering blankness and ineffable loneliness; and I saw at last a -fearful truth which no one had ever dared to breathe before—the -unwhisperable secret of secrets—the fact that this city of stone and -stridor is not a sentient perpetuation of Old New York as London is -of Old London and Paris of Old Paris, but that it is in fact quite -dead, its sprawling body imperfectly embalmed and infested with -queer animate things which have nothing to do with it as it was in -life. Upon making this discovery I ceased to sleep comfortably; -though something of resigned tranquillity came back as I gradually -formed the habit of keeping off the streets by day and venturing -abroad only at night, when darkness calls forth what little of the -past still hovers wraithlike about, and old white doorways remember -the stalwart forms that once passed through them. With this mode of -relief I even wrote a few poems, and still refrained from going home -to my people lest I seem to crawl back ignobly in defeat.</p> - -<p>Then, on a sleepless night’s walk, I met the man. It was in a -grotesque hidden courtyard of the Greenwich section, for there in my -ignorance I had settled, having heard of the place as the natural -home of poets and artists. The archaic lanes and houses and -unexpected bits of square and court had indeed delighted me, and -when I found the poets and artists to be loud-voiced pretenders -whose quaintness is tinsel and whose lives are a denial of all that -pure beauty which is poetry and art, I stayed on for love of these -venerable things. I fancied them as they were in their prime, when -Greenwich was a placid village not yet engulfed by the town; and in -the hours before dawn, when all the revellers had slunk away, I used -to wander alone among their cryptical windings and brood upon the -curious arcana which generations must have deposited there. This -kept my soul alive, and gave me a few of those dreams and visions -for which the poet far within me cried out.</p> - -<p>The man came upon me at about 2 one cloudy August morning, as I was -threading a series of detached courtyards; now accessible only -through the unlighted hallways of intervening buildings, but once -forming parts of a continuous network of picturesque alleys. I had -heard of them by vague rumor, and realized that they could not be -upon any map of today; but the fact that they were forgotten only -endeared them to me, so that I had sought them with twice my usual -eagerness. Now that I had found them, my eagerness was again -redoubled; for something in their arrangement dimly hinted that they -might be only a few of many such, with dark, dumb counterparts -wedged obscurely betwixt high blank walls and deserted rear -tenements, or lurking lamplessly behind archways, unbetrayed by -hordes of the foreign-speaking or guarded by furtive and -uncommunicative artists whose practises do not invite publicity or -the light of day.</p> - -<p>He spoke to me without invitation, noting my mood and glances as I -studied certain knockered doorways above iron-railed steps, the -pallid glow of traceried transoms feebly lighting my face. His own -face was in shadow, and he wore a wide-brimmed hat which somehow -blended perfectly with the out-of-date cloak he affected; but I was -subtly disquieted even before he addressed me. His form was very -slight, thin almost to cadaverousness; and his voice proved -phenomenally soft and hollow, though not particularly deep. He had, -he said, noticed me several times at my wanderings; and inferred -that I resembled him in loving the vestiges of former years. Would I -not like the guidance of one long practised in these explorations, -and possessed of local information profoundly deeper than any which -an obvious newcomer could possibly have gained?</p> - -<p>As he spoke, I caught a glimpse of his face in the yellow beam from -a solitary attic window. It was a noble, even a handsome, elderly -countenance; and bore the marks of a lineage and refinement unusual -for the age and place. Yet some quality about it disturbed me almost -as much as its features pleased me—perhaps it was too white, or too -expressionless, or too much out of keeping with the locality, to -make me feel easy or comfortable. Nevertheless I followed him; for -in those dreary days my quest for antique beauty and mystery was all -that I had to keep my soul alive, and I reckoned it a rare favor of -Fate to fall in with one whose kindred seekings seemed to have -penetrated so much farther than mine.</p> - -<p>Something in the night constrained the cloaked man to silence, and -for a long hour he led me forward without needless words; making -only the briefest of comments concerning ancient names and dates and -changes, and directing my progress very largely by gestures as we -squeezed through interstices, tiptoed through corridors, clambered -over brick walls, and once crawled on hands and knees through a low, -arched passage of stone whose immense length and tortuous twistings -effaced at last every hint of geographical location I had managed to -preserve. The things we saw were very old and marvelous, or at least -they seemed so in the few straggling rays of light by which I viewed -them, and I shall never forget the tottering Ionic columns and -fluted pilasters and urn-headed iron fenceposts and flaring-linteled -windows and decorative fanlights that appeared to grow quainter and -stranger the deeper we advanced into this inexhaustible maze of -unknown antiquity.</p> - -<hr class='tb' /> - -<p>We met no person, and as time passed the lighted windows became -fewer and fewer. The streetlights we first encountered had been of -oil, and of the ancient lozenge pattern. Later I noticed some with -candles; and at last, after traversing a horrible unlighted court -where my guide had to lead me with his gloved hand through total -blackness to a narrow wooden gate in a high wall, we came upon a -fragment of alley lit only by lanterns in front of every seventh -house—unbelievably Colonial tin lanterns with conical tops and holes -punched in the sides. This alley led steeply uphill—more steeply -than I had thought possible in this part of New York—and the upper -end was blocked squarely by the ivy-clad wall of a private estate, -beyond which I could see a pale cupola, and the tops of trees waving -against a vague lightness in the sky. In this wall was a small, -low-arched gate of nail-studded black oak, which the man proceeded -to unlock with a ponderous key. Leading me within, he steered a -course in utter blackness over what seemed to be a gravel path, and -finally up a flight of stone steps to the door of the house, which -he unlocked and opened for me.</p> - -<p>We entered, and as we did so I grew faint from a reek of infinite -mustiness which welled out to meet us, and which must have been the -fruit of unwholesome centuries of decay. My host appeared not to -notice this, and in courtesy I kept silent as he piloted me up a -curving stairway, across a hall, and into a room whose door I heard -him lock behind us. Then I saw him pull the curtains of the three -small-paned windows that barely showed themselves against the -lightening sky; after which he crossed to the mantel, struck flint -and steel, lighted two candles of a candelabrum of twelve sconces, -and made a gesture enjoining soft-toned speech.</p> - -<p>In this feeble radiance I saw that we were in a spacious, -well-furnished and paneled library dating from the first quarter of -the Eighteenth Century, with splendid doorway pediments, a -delightful Doric cornice, and a magnificently carved overmantel with -scroll-and-urn top. Above the crowded bookshelves at intervals along -the walls were well-wrought family portraits; all tarnished to an -enigmatical dimness, and bearing an unmistakable likeness to the man -who now motioned me to a chair beside the graceful Chippendale -table. Before seating himself across the table from me, my host -paused for a moment as if in embarrassment; then, tardily removing -his gloves, wide-brimmed hat, and cloak, stood theatrically revealed -in full mid-Georgian costume from queued hair and neck ruffles to -knee-breeches, silk hose, and the buckled shoes I had not previously -noticed. Now slowly sinking into a lyre-back chair, he commenced to -eye me intently.</p> - -<p>Without his hat he took on an aspect of extreme age which was -scarcely visible before, and I wondered if this unperceived mark of -singular longevity were not one of the sources of my original -disquiet. When he spoke at length, his soft, hollow, and carefully -muffled voice not infrequently quavered; and now and then I had -great difficulty in following him as I listened with a thrill of -amazement and half-disavowed alarm which grew each instant.</p> - -<p>“You behold, Sir,” my host began, “a man of very eccentrical habits, -for whose costume no apology need be offered to one with your wit -and inclinations. Reflecting upon better times, I have not scrupled -to ascertain their ways and adopt their dress and manners; an -indulgence which offends none if practised without ostentation. It -hath been my good fortune to retain the rural seat of my ancestors, -swallowed though it was by two towns, first Greenwich, which built -up hither after 1800, then New York, which joined on near 1830. -There were many reasons for the close keeping of this place in my -family, and I have not been remiss in discharging such obligations. -The squire who succeeded to it in 1768 studied sartain arts and made -sartain discoveries, all connected with influences residing in this -particular plot of ground, and eminently desarving of the strongest -guarding. Some curious effects of these arts and discoveries I now -purpose to show you, under the strictest secrecy; and I believe I -may rely on my judgment of men enough to have no distrust of either -your interest or your fidelity.”</p> - -<p>He paused, but I could only nod my head. I have said that I was -alarmed, yet to my soul nothing was more deadly than the material -daylight world of New York, and whether this man were a harmless -eccentric or a wielder of dangerous arts I had no choice save to -follow him and slake my sense of wonder on whatever he might have to -offer. So I listened.</p> - -<p>“To—my ancestor,” he softly continued, “there appeared to reside -some very remarkable qualities in the will of mankind; qualities -having a little-suspected dominance not only over the acts of one’s -self and of others, but over every variety of force and substance in -Nature, and over many elements and dimensions deemed more universal -than Nature herself. May I say that he flouted the sanctity of -things as great as space and time and that he put to strange uses -the rites of sartain half-breed red Indians once encamped upon this -hill? These Indians showed choler when the place was built, and were -plaguey pestilent in asking to visit the grounds at the full of the -moon. For years they stole over the wall each month when they could, -and by stealth performed sartain acts. Then, in ’68, the new squire -catched them at their doings, and stood still at what he saw. -Thereafter he bargained with them and exchanged the free access of -his grounds for the exact inwardness of what they did; larning that -their grandfathers got part of their custom from red ancestors and -part from an old Dutchman in the time of the States-General. And pox -on him, I’m afeared the squire must have sarved them monstrous bad -rum—whether or not by intent—for a week after he larnt the secret he -was the only man living that knew it. You, Sir, are the first -outsider to be told there is a secret, and split me if I’d have -risked tampering that much with—the powers—had ye not been so hot -after bygone things.”</p> - -<p>I shuddered as the man grew colloquial—and with the familiar speech -of another day. He went on.</p> - -<p>“But you must know, Sir, that what—the squire—got from those mongrel -salvages was but a small part of the larning he came to have. He had -not been at Oxford for nothing, nor talked to no account with an -ancient chymist and astrologer in Paris. He was, in fine, made -sensible that all the world is but the smoke of our intellects; past -the bidding of the vulgar, but by the wise to be puffed out and -drawn in like any cloud of prime Virginia tobacco. What we want, we -may make about us; and what we don’t want, we may sweep away. I -won’t say that all this is wholly true in body, but ’tis sufficient -true to furnish a very pretty spectacle now and then. You, I -conceive, would be tickled by a better sight of sartain other years -than your fancy affords you; so be pleased to hold back any fright -at what I design to show. Come to the window and be quiet.”</p> - -<hr class='tb' /> - -<p>My host now took my hand to draw me to one of the two windows on the -long side of the malodorous room, and at the first touch of his -ungloved fingers I turned cold. His flesh, though dry and firm, was -of the quality of ice; and I almost shrank away from his pulling. -But again I thought of the emptiness and horror of reality, and -boldly prepared to follow whithersoever I might be led. Once at the -window, the man drew apart the yellow silk curtains and directed my -stare into the blackness outside. For a moment I saw nothing save a -myriad of tiny dancing lights, far, far before me. Then, as if in -response to an insidious motion of my host’s hand, a flash of -heat-lightning played over the scene, and I looked out upon a sea of -luxuriant foliage—foliage unpolluted, and not the sea of roofs to be -expected by any normal mind. On my right the Hudson glittered -wickedly, and in the distance ahead I saw the unhealthy shimmer of a -vast salt marsh constellated with nervous fireflies. The flash died, -and an evil smile illumined the waxy face of the aged necromancer.</p> - -<p>“That was before my time—before the new squire’s time. Pray let us -try again.”</p> - -<p>I was faint, even fainter than the hateful modernity of that -accursed city had made me.</p> - -<p>“Good God!” I whispered; “can you do that for <i>any time</i>?” And as he -nodded, and bared the black stumps of what had once been yellow -fangs, I clutched at the curtains to prevent myself from falling. -But he steadied me with that terrible, ice-cold claw, and once more -made his insidious gesture.</p> - -<p>Again the lightning flashed—but this time upon a scene not wholly -strange. It was Greenwich, the Greenwich that used to be, with here -and there a roof or row of houses as we see it now, yet with lovely -green lanes and fields and bits of grassy common. The marsh still -glittered beyond, but in the farther distance I saw the steeples of -what was then all of New York; Trinity and St. Paul’s and the Brick -Church dominating their sisters, and a faint haze of wood smoke -hovering over the whole. I breathed hard, but not so much from the -sight itself as from the possibilities my imagination terrifiedly -conjured up.</p> - -<p>“Can you—dare you—go <i>far</i>?” I spoke with awe, and I think he shared -it for a second, but the evil grin returned.</p> - -<p>“<i>Far?</i> What I have seen would blast ye to a mad statue of stone! -Back, back—forward, <i>forward</i>—look, ye puling lack-wit!”</p> - -<p>And as he snarled the phrase under his breath he gestured anew; -bringing to the sky a flash more blinding than either which had come -before. For full three seconds I could glimpse that pandemoniac -sight, and in those seconds I saw a vista which will ever afterward -torment me in dreams. I saw the heavens verminous with strange -flying things, and beneath them a hellish black city of giant stone -terraces with impious pyramids flung savagely to the moon, and -devil-lights burning from unnumbered windows. And swarming -loathsomely on aerial galleries I saw the yellow, squint-eyed people -of that city, robed horribly in orange and red, and dancing insanely -to the pounding of fevered kettle-drums, the clatter of obscene -crotala, and the maniacal moaning of muted horns whose ceaseless -dirges rose and fell undulantly like the waves of an unhallowed -ocean of bitumen.</p> - -<p>I saw this vista, I say, and heard as with the mind’s ear the -blasphemous domdaniel of cacophony which companioned it. It was the -shrieking fulfilment of all the horror which that corpse-city had -ever stirred in my soul, and forgetting every injunction to silence -I screamed and screamed and screamed as my nerves gave way and the -walls quivered about me.</p> - -<p>Then, as the flash subsided, I saw that my host was trembling too; a -look of shocking fear half-blotting from his face the serpent -distortion of rage which my screams had excited. He tottered, -clutched at the curtains as I had done before, and wriggled his head -wildly, like a hunted animal. God knows he had cause, for as the -echoes of my screaming died away there came another sound so -hellishly suggestive that only numbed emotion kept me sane and -conscious. It was the steady, stealthy creaking of the stairs beyond -the locked door, as with the ascent of a barefoot or skin-shod -horde; and at last the cautious, purposeful rattling of the brass -latch that glowed in the feeble candlelight. The old man clawed and -spat at me through the moldy air, and barked things in his throat as -he swayed with the yellow curtain he clutched.</p> - -<p>“The full moon—damn ye—ye . . . ye -yelping dog—ye called ’em, and -they’ve come for me! Moccasined feet—dead men—Gad sink ye, ye red -devils, but I poisoned no rum o’ yours—han’t I kept your pox-rotted -magic safe?—ye swilled yourselves sick, curse ye, and ye must needs -blame the squire—let go, you! Unhand that latch—I’ve naught for ye -here——”</p> - -<p>At this point three slow and very deliberate raps shook the panels -of the door, and a white foam gathered at the mouth of the frantic -magician. His fright, turning to steely despair, left room for a -resurgence of his rage against me; and he staggered a step toward -the table on whose edge I was steadying myself. The curtains, still -clutched in his right hand as his left clawed out at me, grew taut -and finally crashed down from their lofty fastenings; admitting to -the room a flood of that full moonlight which the brightening of the -sky had presaged. In those greenish beams the candles paled, and a -new semblance of decay spread over the musk-reeking room with its -wormy paneling, sagging floor, battered mantel, rickety furniture, -and ragged draperies. It spread over the old man, too, whether from -the same source or because of his fear and vehemence, and I saw him -shrivel and blacken as he lurched near and strove to rend me with -vulturine talons. Only his eyes stayed whole, and they glared with a -propulsive, dilated incandescence which grew as the face around them -charred and dwindled.</p> - -<p>The rapping was now repeated with greater insistence, and this time -bore a hint of metal. The black thing facing me had become only a -head with eyes, impotently trying to wriggle across the sinking -floor in my direction, and occasionally emitting feeble little spits -of immortal malice. Now swift and splintering blows assailed the -sickly panels, and I saw the gleam of a tomahawk as it cleft the -rending wood. I did not move, for I could not; but watched dazedly -as the door fell in pieces to admit a colossal, shapeless influx of -inky substance starred with shining, malevolent eyes. It poured -thickly, like a flood of oil bursting a rotten bulkhead, overturned -a chair as it spread, and finally flowed under the table and across -the room to where the blackened head with the eyes still glared at -me. Around that head it closed, totally swallowing it up, and in -another moment it had begun to recede; bearing away its invisible -burden without touching me, and flowing again out of that black -doorway and down the unseen stairs, which creaked as before, though -in reverse order.</p> - -<p>Then the floor gave way at last, and I slid gaspingly down into the -nighted chamber below, choking with cobwebs and half-swooning with -terror. The green moon, shining through broken windows, showed me -the hall door half open; and as I rose from the plaster-strewn floor -and twisted myself free from the sagged ceiling, I saw sweep past it -an awful torrent of blackness, with scores of baleful eyes glowing -in it. It was seeking the door to the cellar, and when it found it, -it vanished therein. I now felt the floor of this lower room giving -as that of the upper chamber had done, and once a crashing above had -been followed by the fall past the west window of something which -must have been the cupola. Now liberated for the instant from the -wreckage, I rushed through the hall to the front door; and finding -myself unable to open it, seized a chair and broke a window, -climbing frenziedly out upon the unkempt lawn where moonlight danced -over yard-high grass and weeds. The wall was high, and all the gates -were locked; but moving a pile of boxes in a corner I managed to -gain the top and cling to the great stone urn set there.</p> - -<p>About me in my exhaustion I could see only strange walls and windows -and old gambrel roofs. The steep street of my approach was nowhere -visible, and the little I did see succumbed rapidly to a mist that -rolled in from the river despite the glaring moonlight. Suddenly the -urn to which I clung began to tremble, as if sharing my own lethal -dizziness; and in another instant my body was plunging downward to I -knew not what fate.</p> - -<p>The man who found me said that I must have crawled a long way -despite my broken bones, for a trail of blood stretched off as far -as he dared look. The gathering rain soon effaced this link with the -scene of my ordeal, and reports could state no more than that I had -appeared from a place unknown, at the entrance of a little black -court off Perry Street.</p> - -<p>I never sought to return to those tenebrous labyrinths, nor would I -direct any sane man thither if I could. Of who or what that ancient -creature was, I have no idea; but I repeat that the city is dead and -full of unsuspected horrors. Whither <i>he</i> has gone, I do not know; -but I have gone home to the pure New England lanes up which fragrant -sea-winds sweep at evening.</p> - -<div class='tn'> - <p style='text-indent:0'>Transcriber’s Note: This story appeared in - the September 1926 issue of <i>Weird Tales Magazine</i>.</p> -</div> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK HE ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks 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. -</div> - -<div style='margin-top:1em; font-size:1.1em; text-align:center'>START: FULL LICENSE</div> -<div style='text-align:center;font-size:0.9em'>THE FULL PROJECT GUTENBERG LICENSE</div> -<div style='text-align:center;font-size:0.9em'>PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</div> - -<div style='display:block; margin:1em 0'> -To protect the Project Gutenberg™ 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™ License available with this file or online at -www.gutenberg.org/license. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -1.A. By reading or using any part of this Project Gutenberg™ -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™ electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg™ 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. -</div> - -<div style='display:block; margin:1em 0'> -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™ 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™ electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg™ -electronic works. See paragraph 1.E below. -</div> - -<div style='display:block; margin:1em 0'> -1.C. The Project Gutenberg Literary Archive Foundation (“the -Foundation” or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg™ 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™ mission of promoting -free access to electronic works by freely sharing Project Gutenberg™ -works in compliance with the terms of this agreement for keeping the -Project Gutenberg™ 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™ License when -you share it without charge with others. -</div> - -<div style='display:block; margin:1em 0'> -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™ work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. -</div> - -<div style='display:block; margin:1em 0'> -1.E. Unless you have removed all references to Project Gutenberg: -</div> - -<div style='display:block; margin:1em 0'> -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg™ License must appear -prominently whenever any copy of a Project Gutenberg™ 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: -</div> - -<blockquote> - <div style='display:block; margin:1em 0'> - This eBook is for the use of anyone anywhere in the United States and most - other parts of the world at no cost and with almost no restrictions - whatsoever. You may copy it, give it away or re-use it under the terms - of the Project Gutenberg License included with this eBook or online - at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you - are not located in the United States, you will have to check the laws - of the country where you are located before using this eBook. - </div> -</blockquote> - -<div style='display:block; margin:1em 0'> -1.E.2. If an individual Project Gutenberg™ 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™ -trademark as set forth in paragraphs 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.3. If an individual Project Gutenberg™ 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™ License for all works -posted with the permission of the copyright holder found at the -beginning of this work. -</div> - -<div style='display:block; margin:1em 0'> -1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg™. -</div> - -<div style='display:block; margin:1em 0'> -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™ License. -</div> - -<div style='display:block; margin:1em 0'> -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™ work in a format -other than “Plain Vanilla ASCII” or other format used in the official -version posted on the official Project Gutenberg™ website -(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™ License as specified in paragraph 1.E.1. -</div> - -<div style='display:block; margin:1em 0'> -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg™ works -unless you comply with paragraph 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg™ electronic works -provided that: -</div> - -<div style='margin-left:0.7em;'> - <div style='text-indent:-0.7em'> - • You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg™ works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg™ 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.” - </div> - - <div style='text-indent:-0.7em'> - • 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™ - 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™ - works. - </div> - - <div style='text-indent:-0.7em'> - • 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. - </div> - - <div style='text-indent:-0.7em'> - • You comply with all other terms of this agreement for free - distribution of Project Gutenberg™ works. - </div> -</div> - -<div style='display:block; margin:1em 0'> -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg™ electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg™ trademark. Contact the Foundation as set -forth in Section 3 below. -</div> - -<div style='display:block; margin:1em 0'> -1.F. -</div> - -<div style='display:block; margin:1em 0'> -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™ collection. Despite these efforts, Project Gutenberg™ -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. -</div> - -<div style='display:block; margin:1em 0'> -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™ trademark, and any other party distributing a Project -Gutenberg™ 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. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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™ electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg™ -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™ work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg™ work, and (c) any -Defect you cause. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 2. Information about the Mission of Project Gutenberg™ -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ 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. -</div> - -<div style='display:block; margin:1em 0'> -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg™’s -goals and ensuring that the Project Gutenberg™ 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™ 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. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 3. Information about the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation’s 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 website -and official page at www.gutenberg.org/contact -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ depends upon and cannot survive without widespread -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. -</div> - -<div style='display:block; margin:1em 0'> -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 <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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 -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 5. General Information About Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -Professor Michael S. Hart was the originator of the Project -Gutenberg™ concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg™ eBooks with only a loose network of -volunteer support. -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ 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. -</div> - -<div style='display:block; margin:1em 0'> -Most people start at our website which has the main PG search -facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>. -</div> - -<div style='display:block; margin:1em 0'> -This website includes information about Project Gutenberg™, -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. -</div> - -</div> -</body> -</html> diff --git a/old/68547-h/images/cover.jpg b/old/68547-h/images/cover.jpg Binary files differdeleted file mode 100644 index f1137f6..0000000 --- a/old/68547-h/images/cover.jpg +++ /dev/null diff --git a/old/68547-h/images/illus-fpc.jpg b/old/68547-h/images/illus-fpc.jpg Binary files differdeleted file mode 100644 index 04261c7..0000000 --- a/old/68547-h/images/illus-fpc.jpg +++ /dev/null |
