diff options
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 9214-0.txt | 818 | ||||
| -rw-r--r-- | 9214-0.zip | bin | 0 -> 16853 bytes | |||
| -rw-r--r-- | 9214-h.zip | bin | 0 -> 18094 bytes | |||
| -rw-r--r-- | 9214-h/9214-h.htm | 903 | ||||
| -rw-r--r-- | 9214.txt | 819 | ||||
| -rw-r--r-- | 9214.zip | bin | 0 -> 16793 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/haw4110.txt | 792 | ||||
| -rw-r--r-- | old/haw4110.zip | bin | 0 -> 16288 bytes |
11 files changed, 3348 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/9214-0.txt b/9214-0.txt new file mode 100644 index 0000000..ce47a67 --- /dev/null +++ b/9214-0.txt @@ -0,0 +1,818 @@ +The Project Gutenberg EBook of The White Old Maid (From “Twice Told Tales”), by +Nathaniel Hawthorne + +This eBook is for the use of anyone anywhere 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 + + +Title: The White Old Maid (From “Twice Told Tales”) + +Author: Nathaniel Hawthorne + +Release Date: November, 2005 [EBook #9214] +First Posted: August 23, 2003 +Last Updated: December 14, 2016 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE WHITE OLD MAID *** + + + + +Produced by David Widger. HTML version by Al Haines. + + + + + + + + + + TWICE TOLD TALES + + THE WHITE OLD MAID + + By Nathaniel Hawthorne + + + +The moonbeams came through two deep and narrow windows, and showed a +spacious chamber, richly furnished in an antique fashion. From one +lattice, the shadow of the diamond panes was thrown upon the floor; +the ghostly light, through the other, slept upon a bed, falling +between the heavy silken curtains, and illuminating the face of a +young man. But, how quietly the slumberer lay! how pale his features! +and how like a shroud the sheet was wound about his frame! Yes; it +was a corpse, in its burial-clothes. + +Suddenly, the fixed features seemed to move, with dark emotion. +Strange fantasy! It was but the shadow of the fringed curtain, waving +betwixt the dead face and the moonlight, as the door of the chamber +opened, and a girl stole softly to the bedside. Was there delusion in +the moonbeams, or did her gesture and her eye betray a gleam of +triumph, as she bent over the pale corpse-pale as itself--and pressed +her living lips to the cold ones of the dead? As she drew back from +that long kiss, her features writhed, as if a proud heart were +fighting with its anguish. Again it seemed that the features of the +corpse had moved responsive to her own. Still an illusion! The +silken curtain had waved, a second time, betwixt the dead face and the +moonlight, as another fair young girl unclosed the door, and glided, +ghost-like, to the bedside. There the two maidens stood, both +beautiful, with the pale beauty of the dead between them. But she, who +had first entered, was proud and stately; and the other, a soft and +fragile thing. + +“Away!” cried the lofty one. “Thou hadst him living! The dead is +mine!” + +“Thine!” returned the other, shuddering. “Well hast thou spoken! +The dead is thine!” + +The proud girl started, and stared into her face, with a ghastly look. +But a wild and mournful expression passed across the features of the +gentle one; and, weak and helpless, she sank down on the bed, her head +pillowed beside that of the corpse, and her hair mingling with his +dark locks. A creature of hope and joy, the first draught of sorrow +had bewildered her. + +“Edith!” cried her rival. + +Edith groaned, as with a sudden compression of the heart; and removing +her cheek from the dead youth’s pillow, she stood upright, fearfully +encountering the eyes of the lofty girl. + +“Wilt thou betray me?” said the latter, calmly. + +“Till the dead bid me speak, I will be silent,” answered Edith. “Leave +us alone together! Go, and live many years, and then return, and tell +me of thy life. He, too, will be here! Then, if thou tellest of +sufferings more than death, we will both forgive thee.” + +“And what shall be the token?” asked the proud girl, as if her heart +acknowledged a meaning in these wild words. + +“This lock of hair,” said Edith, lifting one of the dark, clustering +curls, that lay heavily on the dead man’s brow. + +The two maidens joined their hands over the bosom of the corpse, and +appointed a day and hour, far, far in time to come, for their next +meeting in that chamber. The statelier girl gave one deep look at the +motionless countenance, and departed,--yet turned again and trembled, +ere she closed the door, almost believing that her dead lover frowned +upon her. And Edith, too! Was not her white form fading into the +moonlight? Scorning her own weakness, she went forth, and perceived +that a negro slave was waiting in the passage, with a wax light, which +he held between her face and his own, and regarded her, as she +thought, with an ugly expression of merriment. Lifting his torch on +high, the slave lighted her down the staircase, and undid the portal +of the mansion. The young clergyman of the town had just ascended the +steps, and bowing to the lady, passed in without a word. + + +Years, many years rolled on; the world seemed new again, so much older +was it grown, since the night when those pale girls had clasped their +hands across the bosom of the corpse. In the interval, a lonely woman +had passed from youth to extreme age, and was known by all the town, +as the “Old Maid in the Winding-Sheet.” A taint of insanity had +affected her whole life, but so quiet, sad, and gentle, so utterly +free from violence, that she was suffered to pursue her harmless +fantasies, unmolested by the world, with whose business or pleasures +she had naught to do. She dwelt alone, and never came into the +daylight, except to follow funerals. Whenever a corpse was borne +along the street, in sunshine, rain, or snow, whether a pompous train, +of the rich and proud, thronged after it, or few and humble were the +mourners, behind them came the lonely woman, in a long, white garment, +which the people called her shroud. She took no place among the +kindred or the friends, but stood at the door to hear the funeral +prayer, and walked in the rear of the procession, as one whose earthly +charge it was to haunt the house of mourning, and be the shadow of +affliction, and see that the dead were duly buried. So long had this +been her custom, that the inhabitants of the town deemed her a part of +every funeral, as much as the coffin pall, or the very corpse itself, +and augured ill of the sinner’s destiny, unless the “Old Maid in the +Winding-Sheet” came gliding, like a ghost, behind. Once, it is said, +she affrighted a bridal party, with her pale presence, appearing +suddenly in the illuminated hall, just as the priest was uniting a +false maid to a wealthy man, before her lover had been dead a year. +Evil was the omen to that marriage! Sometimes she stole forth by +moonlight, and visited the graves of venerable Integrity, and wedded +Love, and virgin Innocence, and every spot where the ashes of a kind +and faithful heart were mouldering. Over the hillocks of those favored +dead would she stretch out her arms, with a gesture, as if she were +scattering seeds; and many believed that she brought them from the +garden of Paradise; for the graves, which she had visited, were green +beneath the snow, and covered with sweet flowers from April to +November. Her blessing was better than a holy verse upon the +tombstone. Thus wore away her long, sad, peaceful, and fantastic +life, till few were so old as she, and the people of later generations +wondered how the dead had ever been buried, or mourners had endured +their grief, without the “Old Maid in the Winding Sheet.” + +Still, years went on, and still she followed funerals, and was not yet +summoned to her own festival of death. One afternoon, the great +street of the town was all alive with business and bustle, though the +sun now gilded only the upper half of the church-spire, having left +the housetops and loftiest trees in shadow. The scene was cheerful +and animated, in spite of the sombre shade between the high brick +buildings. Here were pompous merchants, in white wigs and laced +velvet; the bronzed faces of sea-captains; the foreign garb and air of +Spanish creoles; and the disdainful port of natives of Old England; +all contrasted with the rough aspect of one or two hack settlers, +negotiating sales of timber, from forests where axe had never sounded. +Sometimes a lady passed, swelling roundly forth in an embroidered +petticoat, balancing her steps in high-heeled shoes, and courtesying, +with lofty grace, to the punctilious obeisances of the gentlemen. The +life of the town seemed to have its very centre not far from an old +mansion, that stood somewhat back from the pavement, surrounded by +neglected grass, with a strange air of loneliness, rather deepened +than dispelled by the throng so near it. Its site would have been +suitably occupied by a magnificent Exchange, or a brick block, +lettered all over with various signs; or the large house itself might +have made a noble tavern, with the “King’s Arms” swinging before it, +and guests in every chamber, instead of the present solitude. But, +owing to some dispute about the right of inheritance, the mansion had +been long without a tenant, decaying from year to year, and throwing +the stately gloom of its shadow over the busiest part of the town. +Such was the scene, and such the time, when a figure, unlike any that +have been described, was observed at a distance down the street. + +“I espy a strange sail, yonder,” remarked a Liverpool captain; “that +woman in the long, white garment!” + +The sailor seemed much struck by the object, as were several others, +who, at the same moment, caught a glimpse of the figure that had +attracted his notice. Almost immediately, the various topics of +conversation gave place to speculations, in an undertone, on this +unwonted occurrence. + +“Can there be a funeral, so late this afternoon?” inquired some. + +They looked for the signs of death at every door,--the sexton, the +hearse, the assemblage of black-clad relatives,--all that makes up the +woeful pomp of funerals. They raised their eyes, also, to the sun-gilt +spire of the church, and wondered that no clang proceeded from its +bell, which had always tolled till now, when this figure appeared in +the light of day. But none had heard that a corpse was to be borne to +its home that afternoon, nor was there any token of a funeral, except +the apparition of the “Old Maid in the Winding-Sheet.” + +“What may this portend?” asked each man of his neighbor. + +All smiled as they put the question, yet with a certain trouble in +their eyes, as if pestilence, or some other wide calamity, were +prognosticated by the untimely intrusion among the living, of one +whose presence had always been associated with death and woe. What a +comet is to the earth, was that sad woman to the town. Still she +moved on, while the hum of surprise was hushed at her approach, and +the proud and the humble stood aside, that her white garment might not +wave against them. It was a long, loose robe, of spotless purity. +Its wearer appeared very old, pale, emaciated, and feeble, yet glided +onward, without the unsteady pace of extreme age. At one point of her +course, a littly rosy boy burst forth from a door, and ran, with open +arms, towards the ghostly woman, seeming to expect a kiss from her +bloodless lips. She made a slight pause, fixing her eye upon him with +an expression of no earthly sweetness, so that the child shivered and +stood awe-struck, rather than affrighted, while the Old Maid passed +on. Perhaps her garment might have been polluted even by an infant’s +touch; perhaps her kiss would have been death to the sweet boy, within +a year. + +“She is but a shadow,” whispered the superstitious. “The child put +forth his arms and could not grasp her robe!” + +The wonder was increased, when the Old Maid passed beneath the porch +of the deserted mansion, ascended the moss-covered steps, lifted the +iron knocker, and gave three raps. The people could only conjecture, +that some old remembrance, troubling her bewildered brain, had +impelled the poor woman hither to visit the friends of her youth; all +gone from their home, long since and forever, unless their ghosts +still haunted it,--fit company for the “Old Maid in the +Winding-Sheet.” An elderly man approached the steps, and reverently +uncovering his gray locks, essayed to explain the matter. + +“None, Madam,” said he, “have dwelt in this house these fifteen years +agone,--no, not since the death of old Colonel Fenwicke, whose funeral +you may remember to have followed. His heirs being ill-agreed among +themselves, have let the mansion-house go to ruin.” + +The Old Maid looked slowly round, with a slight gesture of one hand, +and a finger of the other upon her lip, appearing more shadow-like +than ever, in the obscurity of the porch. But again she lifted the +hammer, and gave, this time, a single rap. Could it be that a +footstep was now heard, coming down the staircase of the old mansion, +which all conceived to have been so long untenanted? Slowly, feebly, +yet heavily, like the pace of an aged and infirm person, the step +approached, more distinct on every downward stair, till it reached the +portal. The bar fell on the inside; the door was opened. One upward +glance, towards the church-spire, whence the sunshine had just faded, +was the last that the people saw of the “Old Maid in the Winding-Sheet.” + +“Who undid the door?” asked many. + +This question, owing to the depth of shadow beneath the porch, no one +could satisfactorily answer. Two or three aged men, while protesting +against an inference, which might be drawn, affirmed that the person +within was a negro, and bore a singular resemblance to old Caesar, +formerly a slave in the house, but freed by death some thirty years +before. + +“Her summons has waked up a servant of the old family,” said one, half +seriously. + +“Let us wait here,” replied another. “More guests will knock at the +door, anon. But the gate of the graveyard should be thrown open!” + +Twilight had overspread the town, before the crowd began to separate, +or the comments on this incident were exhausted. One after another +was wending his way homeward, when a coach--no common spectacle in +those days--drove slowly into the street. It was an old-fashioned +equipage, hanging close to the ground, with arms on the panels, a +footman behind, and a grave, corpulent coachman seated high in +front,--the whole giving an idea of solemn state and dignity. There +was something awful, in the heavy rumbling of the wheels. The coach +rolled down the street, till, coming to the gateway of the deserted +mansion, it drew up, and the footman sprang to the ground. + +“Whose grand coach is this?” asked a very inquisitive body. + +The footman made no reply, but ascended the steps of the old house, +gave three raps with the iron hammer, and returned to open the +coach-door. An old man possessed of the heraldic lore so common in +that day examined the shield of arms on the panel. + +“Azure, a lion’s head erased, between three flower-deluces,” said he; +then whispered the name of the family to whom these bearings belonged. +The last inheritor of its honors was recently dead, after a long +residence amid the splendor of the British court, where his birth and +wealth had given him no mean station. “He left no child,” continued +the herald, “and these arms, being in a lozenge, betoken that the +coach appertains to his widow.” + +Further disclosures, perhaps, might have been made, had not the +speaker suddenly been struck dumb, by the stern eye of an ancient +lady, who thrust forth her head from the coach, preparing to descend. +As she emerged, the people saw that her dress was magnificent, and her +figure dignified, in spite of age and infirmity,--a stately ruin, but +with a look, at once, of pride and wretchedness. Her strong and rigid +features had an awe about them, unlike that of the white Old Maid, but +as of something evil. She passed up the steps, leaning on a gold-headed +cane; the door swung open, as she ascended,--and the light of a +torch glittered on the embroidery of her dress, and gleamed on the +pillars of the porch. After a momentary pause--a glance backwards--and +then a desperate effort--she went in. The decipherer of the coat +of arms had ventured up the lowest step, and shrinking back +immediately, pale and tremulous, affirmed that the torch was held by +the very image of old Caesar. + +“But, such a hideous grin,” added he, “was never seen on the face of +mortal man, black or white! It will haunt me till my dying day.” + +Meantime, the coach had wheeled round, with a prodigious clatter on +the pavement, and rumbled up the street, disappearing in the twilight, +while the ear still tracked its course. Scarcely was it gone, when +the people began to question whether the coach and attendants, the +ancient lady, the spectre of old Caesar, and the Old Maid herself, +were not all a strangely combined delusion, with some dark purport in +its mystery. The whole town was astir, so that, instead of +dispersing, the crowd continually increased, and stood gazing up at +the windows of the mansion, now silvered by the brightening moon. The +elders, glad to indulge the narrative propensity of age, told of the +long-faded splendor of the family, the entertainments they had given, +and the guests, the greatest of the land, and even titled and noble +ones from abroad, who had passed beneath that portal. These graphic +reminiscences seemed to call up the ghosts of those to whom they +referred. So strong was the impression, on some of the more +imaginative hearers, that two or three were seized with trembling +fits, at one and the same moment, protesting that they had distinctly +heard three other raps of the iron knocker. + +“Impossible!” exclaimed others. “See! The moon shines beneath the +porch, and shows every part of it, except in the narrow shade of that +pillar. There is no one there!” + +“Did not the door open?” whispered one of these fanciful persons. + +“Didst thou see it, too?” said his companion, in a startled tone. + +But the general sentiment was opposed to the idea, that a third +visitant had made application at the door of the deserted house. A +few, however, adhered to this new marvel, and even declared that a red +gleam, like that of a torch, had shone through the great front window, +as if the negro were lighting a guest up the staircase. This, too, +was pronounced a mere fantasy. But, at once, the whole multitude +started, and each man beheld his own terror painted in the faces of +all the rest. + +“What an awful thing is this!” cried they. + +A shriek, too fearfully distinct for doubt, had been heard within the +mansion, breaking forth suddenly, and succeeded by a deep stillness, +as if a heart had burst in giving it utterance. The people knew not +whether to fly from the very sight of the house, or to rush trembling +in, and search out the strange mystery. Amid their confusion and +affright, they were somewhat reassured by the appearance of their +clergyman, a venerable patriarch, and equally a saint, who had taught +them and their fathers the way to heaven, for more than the space of +an ordinary lifetime. He was a reverend figure, with long, white hair +upon his shoulders, a white beard upon his breast, and a back so bent +over his staff, that he seemed to be looking downward, continually, as +if to choose a proper grave for his weary frame. It was some time +before the good old man, being deaf, and of impaired intellect, could +be made to comprehend such portions of the affair as were +comprehensible at all. But, when possessed of the facts, his energies +assumed unexpected vigor. + +“Verily,” said the old gentleman, “it will be fitting that I enter the +mansion-house of the worthy Colonel Fenwicke, lest any harm should +have befallen that true Christian woman, whom ye call the ‘Old Maid in +the Winding-Sheet.’” + +Behold, then, the venerable clergyman ascending the steps of the +mansion, with a torch-bearer behind him. It was the elderly man, who +had spoken to the Old Maid, and the same who had afterwards explained +the shield of arms, and recognized the features of the negro. Like +their predecessors, they gave three raps, with the iron hammer. + +“Old Caesar cometh not,” observed the priest. “Well, I wot, he no +longer doth service in this mansion.” + +“Assuredly, then, it was something worse, in old Caesar’s likeness!” + said the other adventurer. + +“Be it as God wills,” answered the clergyman. “See! my strength, +though it be much decayed, hath sufficed to open this heavy door. Let +us enter, and pass up the staircase.” + +Here occurred a singular exemplification of the dreamy state of a very +old man’s mind. As they ascended the wide flight of stairs, the aged +clergyman appeared to move with caution, occasionally standing aside, +and oftener bending his head, as it were in salutation, thus +practising all the gestures of one who makes his way through a throng. +Reaching the head of the staircase, he looked around, with sad and +solemn benignity, laid aside his staff, bared his hoary locks, and was +evidently on the point of commencing a prayer. + +“Reverend Sir,” said his attendant, who conceived this a very suitable +prelude to their further search, “would it not be well, that the +people join with us in prayer?” + +“Well-a-day!” cried the old clergyman, staring strangely around him. +“Art thou here with me, and none other? Verily, past times were +present to me, and I deemed that I was to make a funeral prayer, as +many a time heretofore, from the head of this staircase. + +“Of a truth, I saw the shades of many that are gone. Yea, I have +prayed at their burials, one after another, and the ‘Old Maid in the +Winding-Sheet’ hath seen them to their graves!” + +Being now more thoroughly awake to their present purpose, he took his +staff, and struck forcibly on the floor, till there came an echo from +each deserted chamber, but no menial, to answer their summons. They +therefore walked along the passage, and again paused, opposite to the +great front window, through which was seen the crowd, in the shadow +and partial moonlight of the street beneath. On their right hand was +the open door of a chamber, and a closed one on their left. The +clergyman pointed his cane to the carved oak panel of the latter. + +“Within that chamber,” observed he, “a whole lifetime since, did I sit +by the death-bed of a goodly young man, who, being now at the last +gasp--” + +Apparently, there was some powerful excitement in the ideas which had +now flashed across his mind. He snatched the torch from his +companion’s hand, and threw open the door with such sudden violence, +that the flame was extinguished, leaving them no other light than the +moonbeams, which fell through two windows into the spacious chamber. +It was sufficient to discover all that could be known. In a +high-backed oaken arm-chair, upright, with her hands clasped across her +breast, and her head thrown back, sat the “Old Maid in the +Winding-Sheet.” The stately dame had fallen on her knees, with her +forehead on the holy knees of the Old Maid, one hand upon the floor, and +the other pressed convulsively against her heart. It clutched a lock of +hair, once sable, now discolored with a greenish mould. As the priest +and layman advanced into the chamber, the Old Maid’s features assumed +such a resemblance of shifting expression, that they trusted to hear +the whole mystery explained, by a single word. But it was only the +shadow of a tattered curtain, waving betwixt the dead face and the +moonlight. + +“Both dead!” said the venerable man. “Then who shall divulge the +secret? Methinks it glimmers to and fro in my mind, like the light +and shadow across the Old Maid’s face. And now’t is gone!” + + + + + + + + + +End of the Project Gutenberg EBook of The White Old Maid (From “Twice Told +Tales”), by Nathaniel Hawthorne + +*** END OF THIS PROJECT GUTENBERG EBOOK THE WHITE OLD MAID *** + +***** This file should be named 9214-0.txt or 9214-0.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/9/2/1/9214/ + +Produced by David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. 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 +https://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 in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase “Project Gutenberg” appears, or with which the phrase “Project +Gutenberg” is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere 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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase “Project Gutenberg” associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +“Plain Vanilla ASCII” or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original “Plain Vanilla ASCII” or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, “Information about donations to + the Project Gutenberg Literary Archive Foundation.” + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works 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 MERCHANTIBILITY 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 web page at https://www.pglaf.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. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state’s laws. + +The Foundation’s principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation’s web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +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 including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.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 thirty 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 Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/9214-0.zip b/9214-0.zip Binary files differnew file mode 100644 index 0000000..d1d65d8 --- /dev/null +++ b/9214-0.zip diff --git a/9214-h.zip b/9214-h.zip Binary files differnew file mode 100644 index 0000000..687847c --- /dev/null +++ b/9214-h.zip diff --git a/9214-h/9214-h.htm b/9214-h/9214-h.htm new file mode 100644 index 0000000..faed437 --- /dev/null +++ b/9214-h/9214-h.htm @@ -0,0 +1,903 @@ +<?xml version="1.0" encoding="utf-8"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <title> + The Project Gutenberg E-text of The White Old Maid, by Nathaniel Hawthorne + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +The Project Gutenberg EBook of The White Old Maid (From "Twice Told Tales"), by +Nathaniel Hawthorne + +This eBook is for the use of anyone anywhere 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 + + +Title: The White Old Maid (From "Twice Told Tales") + +Author: Nathaniel Hawthorne + +Release Date: November, 2005 [EBook #9214] +First Posted: August 23, 2003 +Last Updated: December 14, 2016 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE WHITE OLD MAID *** + + + + +Produced by David Widger and Al Haines. + + + + + +</pre> + <p> + <br /><br /> + </p> + <h3> + TWICE TOLD TALES<br /> + </h3> + <h2> + </h2> + <h3> + By Nathaniel Hawthorne<br /> + </h3> + <p> + <br /><br /> + </p> + <p> + The moonbeams came through two deep and narrow windows, and showed a + spacious chamber, richly furnished in an antique fashion. From one + lattice, the shadow of the diamond panes was thrown upon the floor; the + ghostly light, through the other, slept upon a bed, falling between the + heavy silken curtains, and illuminating the face of a young man. But, how + quietly the slumberer lay! how pale his features! and how like a shroud + the sheet was wound about his frame! Yes; it was a corpse, in its + burial-clothes. + </p> + <p> + Suddenly, the fixed features seemed to move, with dark emotion. Strange + fantasy! It was but the shadow of the fringed curtain, waving betwixt the + dead face and the moonlight, as the door of the chamber opened, and a girl + stole softly to the bedside. Was there delusion in the moonbeams, or did + her gesture and her eye betray a gleam of triumph, as she bent over the + pale corpse-pale as itself—and pressed her living lips to the cold + ones of the dead? As she drew back from that long kiss, her features + writhed, as if a proud heart were fighting with its anguish. Again it + seemed that the features of the corpse had moved responsive to her own. + Still an illusion! The silken curtain had waved, a second time, betwixt + the dead face and the moonlight, as another fair young girl unclosed the + door, and glided, ghost-like, to the bedside. There the two maidens stood, + both beautiful, with the pale beauty of the dead between them. But she, + who had first entered, was proud and stately; and the other, a soft and + fragile thing. + </p> + <p> + “Away!” cried the lofty one. “Thou hadst him living! The dead is mine!” + </p> + <p> + “Thine!” returned the other, shuddering. “Well hast thou spoken! The dead + is thine!” + </p> + <p> + The proud girl started, and stared into her face, with a ghastly look. But + a wild and mournful expression passed across the features of the gentle + one; and, weak and helpless, she sank down on the bed, her head pillowed + beside that of the corpse, and her hair mingling with his dark locks. A + creature of hope and joy, the first draught of sorrow had bewildered her. + </p> + <p> + “Edith!” cried her rival. + </p> + <p> + Edith groaned, as with a sudden compression of the heart; and removing her + cheek from the dead youth’s pillow, she stood upright, fearfully + encountering the eyes of the lofty girl. + </p> + <p> + “Wilt thou betray me?” said the latter, calmly. + </p> + <p> + “Till the dead bid me speak, I will be silent,” answered Edith. “Leave us + alone together! Go, and live many years, and then return, and tell me of + thy life. He, too, will be here! Then, if thou tellest of sufferings more + than death, we will both forgive thee.” + </p> + <p> + “And what shall be the token?” asked the proud girl, as if her heart + acknowledged a meaning in these wild words. + </p> + <p> + “This lock of hair,” said Edith, lifting one of the dark, clustering + curls, that lay heavily on the dead man’s brow. + </p> + <p> + The two maidens joined their hands over the bosom of the corpse, and + appointed a day and hour, far, far in time to come, for their next meeting + in that chamber. The statelier girl gave one deep look at the motionless + countenance, and departed,—yet turned again and trembled, ere she + closed the door, almost believing that her dead lover frowned upon her. + And Edith, too! Was not her white form fading into the moonlight? Scorning + her own weakness, she went forth, and perceived that a negro slave was + waiting in the passage, with a wax light, which he held between her face + and his own, and regarded her, as she thought, with an ugly expression of + merriment. Lifting his torch on high, the slave lighted her down the + staircase, and undid the portal of the mansion. The young clergyman of the + town had just ascended the steps, and bowing to the lady, passed in + without a word. + </p> + <p> + </p> + <p> + Years, many years rolled on; the world seemed new again, so much older was + it grown, since the night when those pale girls had clasped their hands + across the bosom of the corpse. In the interval, a lonely woman had passed + from youth to extreme age, and was known by all the town, as the “Old Maid + in the Winding-Sheet.” A taint of insanity had affected her whole life, + but so quiet, sad, and gentle, so utterly free from violence, that she was + suffered to pursue her harmless fantasies, unmolested by the world, with + whose business or pleasures she had naught to do. She dwelt alone, and + never came into the daylight, except to follow funerals. Whenever a corpse + was borne along the street, in sunshine, rain, or snow, whether a pompous + train, of the rich and proud, thronged after it, or few and humble were + the mourners, behind them came the lonely woman, in a long, white garment, + which the people called her shroud. She took no place among the kindred or + the friends, but stood at the door to hear the funeral prayer, and walked + in the rear of the procession, as one whose earthly charge it was to haunt + the house of mourning, and be the shadow of affliction, and see that the + dead were duly buried. So long had this been her custom, that the + inhabitants of the town deemed her a part of every funeral, as much as the + coffin pall, or the very corpse itself, and augured ill of the sinner’s + destiny, unless the “Old Maid in the Winding-Sheet” came gliding, like a + ghost, behind. Once, it is said, she affrighted a bridal party, with her + pale presence, appearing suddenly in the illuminated hall, just as the + priest was uniting a false maid to a wealthy man, before her lover had + been dead a year. Evil was the omen to that marriage! Sometimes she stole + forth by moonlight, and visited the graves of venerable Integrity, and + wedded Love, and virgin Innocence, and every spot where the ashes of a + kind and faithful heart were mouldering. Over the hillocks of those + favored dead would she stretch out her arms, with a gesture, as if she + were scattering seeds; and many believed that she brought them from the + garden of Paradise; for the graves, which she had visited, were green + beneath the snow, and covered with sweet flowers from April to November. + Her blessing was better than a holy verse upon the tombstone. Thus wore + away her long, sad, peaceful, and fantastic life, till few were so old as + she, and the people of later generations wondered how the dead had ever + been buried, or mourners had endured their grief, without the “Old Maid in + the Winding Sheet.” + </p> + <p> + Still, years went on, and still she followed funerals, and was not yet + summoned to her own festival of death. One afternoon, the great street of + the town was all alive with business and bustle, though the sun now gilded + only the upper half of the church-spire, having left the housetops and + loftiest trees in shadow. The scene was cheerful and animated, in spite of + the sombre shade between the high brick buildings. Here were pompous + merchants, in white wigs and laced velvet; the bronzed faces of + sea-captains; the foreign garb and air of Spanish creoles; and the + disdainful port of natives of Old England; all contrasted with the rough + aspect of one or two hack settlers, negotiating sales of timber, from + forests where axe had never sounded. Sometimes a lady passed, swelling + roundly forth in an embroidered petticoat, balancing her steps in + high-heeled shoes, and courtesying, with lofty grace, to the punctilious + obeisances of the gentlemen. The life of the town seemed to have its very + centre not far from an old mansion, that stood somewhat back from the + pavement, surrounded by neglected grass, with a strange air of loneliness, + rather deepened than dispelled by the throng so near it. Its site would + have been suitably occupied by a magnificent Exchange, or a brick block, + lettered all over with various signs; or the large house itself might have + made a noble tavern, with the “King’s Arms” swinging before it, and guests + in every chamber, instead of the present solitude. But, owing to some + dispute about the right of inheritance, the mansion had been long without + a tenant, decaying from year to year, and throwing the stately gloom of + its shadow over the busiest part of the town. Such was the scene, and such + the time, when a figure, unlike any that have been described, was observed + at a distance down the street. + </p> + <p> + “I espy a strange sail, yonder,” remarked a Liverpool captain; “that woman + in the long, white garment!” + </p> + <p> + The sailor seemed much struck by the object, as were several others, who, + at the same moment, caught a glimpse of the figure that had attracted his + notice. Almost immediately, the various topics of conversation gave place + to speculations, in an undertone, on this unwonted occurrence. + </p> + <p> + “Can there be a funeral, so late this afternoon?” inquired some. + </p> + <p> + They looked for the signs of death at every door,—the sexton, the + hearse, the assemblage of black-clad relatives,—all that makes up + the woeful pomp of funerals. They raised their eyes, also, to the sun-gilt + spire of the church, and wondered that no clang proceeded from its bell, + which had always tolled till now, when this figure appeared in the light + of day. But none had heard that a corpse was to be borne to its home that + afternoon, nor was there any token of a funeral, except the apparition of + the “Old Maid in the Winding-Sheet.” + </p> + <p> + “What may this portend?” asked each man of his neighbor. + </p> + <p> + All smiled as they put the question, yet with a certain trouble in their + eyes, as if pestilence, or some other wide calamity, were prognosticated + by the untimely intrusion among the living, of one whose presence had + always been associated with death and woe. What a comet is to the earth, + was that sad woman to the town. Still she moved on, while the hum of + surprise was hushed at her approach, and the proud and the humble stood + aside, that her white garment might not wave against them. It was a long, + loose robe, of spotless purity. Its wearer appeared very old, pale, + emaciated, and feeble, yet glided onward, without the unsteady pace of + extreme age. At one point of her course, a littly rosy boy burst forth + from a door, and ran, with open arms, towards the ghostly woman, seeming + to expect a kiss from her bloodless lips. She made a slight pause, fixing + her eye upon him with an expression of no earthly sweetness, so that the + child shivered and stood awe-struck, rather than affrighted, while the Old + Maid passed on. Perhaps her garment might have been polluted even by an + infant’s touch; perhaps her kiss would have been death to the sweet boy, + within a year. + </p> + <p> + “She is but a shadow,” whispered the superstitious. “The child put forth + his arms and could not grasp her robe!” + </p> + <p> + The wonder was increased, when the Old Maid passed beneath the porch of + the deserted mansion, ascended the moss-covered steps, lifted the iron + knocker, and gave three raps. The people could only conjecture, that some + old remembrance, troubling her bewildered brain, had impelled the poor + woman hither to visit the friends of her youth; all gone from their home, + long since and forever, unless their ghosts still haunted it,—fit + company for the “Old Maid in the Winding-Sheet.” An elderly man approached + the steps, and reverently uncovering his gray locks, essayed to explain + the matter. + </p> + <p> + “None, Madam,” said he, “have dwelt in this house these fifteen years + agone,—no, not since the death of old Colonel Fenwicke, whose + funeral you may remember to have followed. His heirs being ill-agreed + among themselves, have let the mansion-house go to ruin.” + </p> + <p> + The Old Maid looked slowly round, with a slight gesture of one hand, and a + finger of the other upon her lip, appearing more shadow-like than ever, in + the obscurity of the porch. But again she lifted the hammer, and gave, + this time, a single rap. Could it be that a footstep was now heard, coming + down the staircase of the old mansion, which all conceived to have been so + long untenanted? Slowly, feebly, yet heavily, like the pace of an aged and + infirm person, the step approached, more distinct on every downward stair, + till it reached the portal. The bar fell on the inside; the door was + opened. One upward glance, towards the church-spire, whence the sunshine + had just faded, was the last that the people saw of the “Old Maid in the + Winding-Sheet.” + </p> + <p> + “Who undid the door?” asked many. + </p> + <p> + This question, owing to the depth of shadow beneath the porch, no one + could satisfactorily answer. Two or three aged men, while protesting + against an inference, which might be drawn, affirmed that the person + within was a negro, and bore a singular resemblance to old Caesar, + formerly a slave in the house, but freed by death some thirty years + before. + </p> + <p> + “Her summons has waked up a servant of the old family,” said one, half + seriously. + </p> + <p> + “Let us wait here,” replied another. “More guests will knock at the door, + anon. But the gate of the graveyard should be thrown open!” + </p> + <p> + Twilight had overspread the town, before the crowd began to separate, or + the comments on this incident were exhausted. One after another was + wending his way homeward, when a coach—no common spectacle in those + days—drove slowly into the street. It was an old-fashioned equipage, + hanging close to the ground, with arms on the panels, a footman behind, + and a grave, corpulent coachman seated high in front,—the whole + giving an idea of solemn state and dignity. There was something awful, in + the heavy rumbling of the wheels. The coach rolled down the street, till, + coming to the gateway of the deserted mansion, it drew up, and the footman + sprang to the ground. + </p> + <p> + “Whose grand coach is this?” asked a very inquisitive body. + </p> + <p> + The footman made no reply, but ascended the steps of the old house, gave + three raps with the iron hammer, and returned to open the coach-door. An + old man possessed of the heraldic lore so common in that day examined the + shield of arms on the panel. + </p> + <p> + “Azure, a lion’s head erased, between three flower-deluces,” said he; then + whispered the name of the family to whom these bearings belonged. The last + inheritor of its honors was recently dead, after a long residence amid the + splendor of the British court, where his birth and wealth had given him no + mean station. “He left no child,” continued the herald, “and these arms, + being in a lozenge, betoken that the coach appertains to his widow.” + </p> + <p> + Further disclosures, perhaps, might have been made, had not the speaker + suddenly been struck dumb, by the stern eye of an ancient lady, who thrust + forth her head from the coach, preparing to descend. As she emerged, the + people saw that her dress was magnificent, and her figure dignified, in + spite of age and infirmity,—a stately ruin, but with a look, at + once, of pride and wretchedness. Her strong and rigid features had an awe + about them, unlike that of the white Old Maid, but as of something evil. + She passed up the steps, leaning on a gold-headed cane; the door swung + open, as she ascended,—and the light of a torch glittered on the + embroidery of her dress, and gleamed on the pillars of the porch. After a + momentary pause—a glance backwards—and then a desperate effort—she + went in. The decipherer of the coat of arms had ventured up the lowest + step, and shrinking back immediately, pale and tremulous, affirmed that + the torch was held by the very image of old Caesar. + </p> + <p> + “But, such a hideous grin,” added he, “was never seen on the face of + mortal man, black or white! It will haunt me till my dying day.” + </p> + <p> + Meantime, the coach had wheeled round, with a prodigious clatter on the + pavement, and rumbled up the street, disappearing in the twilight, while + the ear still tracked its course. Scarcely was it gone, when the people + began to question whether the coach and attendants, the ancient lady, the + spectre of old Caesar, and the Old Maid herself, were not all a strangely + combined delusion, with some dark purport in its mystery. The whole town + was astir, so that, instead of dispersing, the crowd continually + increased, and stood gazing up at the windows of the mansion, now silvered + by the brightening moon. The elders, glad to indulge the narrative + propensity of age, told of the long-faded splendor of the family, the + entertainments they had given, and the guests, the greatest of the land, + and even titled and noble ones from abroad, who had passed beneath that + portal. These graphic reminiscences seemed to call up the ghosts of those + to whom they referred. So strong was the impression, on some of the more + imaginative hearers, that two or three were seized with trembling fits, at + one and the same moment, protesting that they had distinctly heard three + other raps of the iron knocker. + </p> + <p> + “Impossible!” exclaimed others. “See! The moon shines beneath the porch, + and shows every part of it, except in the narrow shade of that pillar. + There is no one there!” + </p> + <p> + “Did not the door open?” whispered one of these fanciful persons. + </p> + <p> + “Didst thou see it, too?” said his companion, in a startled tone. + </p> + <p> + But the general sentiment was opposed to the idea, that a third visitant + had made application at the door of the deserted house. A few, however, + adhered to this new marvel, and even declared that a red gleam, like that + of a torch, had shone through the great front window, as if the negro were + lighting a guest up the staircase. This, too, was pronounced a mere + fantasy. But, at once, the whole multitude started, and each man beheld + his own terror painted in the faces of all the rest. + </p> + <p> + “What an awful thing is this!” cried they. + </p> + <p> + A shriek, too fearfully distinct for doubt, had been heard within the + mansion, breaking forth suddenly, and succeeded by a deep stillness, as if + a heart had burst in giving it utterance. The people knew not whether to + fly from the very sight of the house, or to rush trembling in, and search + out the strange mystery. Amid their confusion and affright, they were + somewhat reassured by the appearance of their clergyman, a venerable + patriarch, and equally a saint, who had taught them and their fathers the + way to heaven, for more than the space of an ordinary lifetime. He was a + reverend figure, with long, white hair upon his shoulders, a white beard + upon his breast, and a back so bent over his staff, that he seemed to be + looking downward, continually, as if to choose a proper grave for his + weary frame. It was some time before the good old man, being deaf, and of + impaired intellect, could be made to comprehend such portions of the + affair as were comprehensible at all. But, when possessed of the facts, + his energies assumed unexpected vigor. + </p> + <p> + “Verily,” said the old gentleman, “it will be fitting that I enter the + mansion-house of the worthy Colonel Fenwicke, lest any harm should have + befallen that true Christian woman, whom ye call the ‘Old Maid in the + Winding-Sheet.’” + </p> + <p> + Behold, then, the venerable clergyman ascending the steps of the mansion, + with a torch-bearer behind him. It was the elderly man, who had spoken to + the Old Maid, and the same who had afterwards explained the shield of + arms, and recognized the features of the negro. Like their predecessors, + they gave three raps, with the iron hammer. + </p> + <p> + “Old Caesar cometh not,” observed the priest. “Well, I wot, he no longer + doth service in this mansion.” + </p> + <p> + “Assuredly, then, it was something worse, in old Caesar’s likeness!” said + the other adventurer. + </p> + <p> + “Be it as God wills,” answered the clergyman. “See! my strength, though it + be much decayed, hath sufficed to open this heavy door. Let us enter, and + pass up the staircase.” + </p> + <p> + Here occurred a singular exemplification of the dreamy state of a very old + man’s mind. As they ascended the wide flight of stairs, the aged clergyman + appeared to move with caution, occasionally standing aside, and oftener + bending his head, as it were in salutation, thus practising all the + gestures of one who makes his way through a throng. Reaching the head of + the staircase, he looked around, with sad and solemn benignity, laid aside + his staff, bared his hoary locks, and was evidently on the point of + commencing a prayer. + </p> + <p> + “Reverend Sir,” said his attendant, who conceived this a very suitable + prelude to their further search, “would it not be well, that the people + join with us in prayer?” + </p> + <p> + “Well-a-day!” cried the old clergyman, staring strangely around him. “Art + thou here with me, and none other? Verily, past times were present to me, + and I deemed that I was to make a funeral prayer, as many a time + heretofore, from the head of this staircase. + </p> + <p> + “Of a truth, I saw the shades of many that are gone. Yea, I have prayed at + their burials, one after another, and the ‘Old Maid in the Winding-Sheet’ + hath seen them to their graves!” + </p> + <p> + Being now more thoroughly awake to their present purpose, he took his + staff, and struck forcibly on the floor, till there came an echo from each + deserted chamber, but no menial, to answer their summons. They therefore + walked along the passage, and again paused, opposite to the great front + window, through which was seen the crowd, in the shadow and partial + moonlight of the street beneath. On their right hand was the open door of + a chamber, and a closed one on their left. The clergyman pointed his cane + to the carved oak panel of the latter. + </p> + <p> + “Within that chamber,” observed he, “a whole lifetime since, did I sit by + the death-bed of a goodly young man, who, being now at the last gasp—” + </p> + <p> + Apparently, there was some powerful excitement in the ideas which had now + flashed across his mind. He snatched the torch from his companion’s hand, + and threw open the door with such sudden violence, that the flame was + extinguished, leaving them no other light than the moonbeams, which fell + through two windows into the spacious chamber. It was sufficient to + discover all that could be known. In a high-backed oaken arm-chair, + upright, with her hands clasped across her breast, and her head thrown + back, sat the “Old Maid in the Winding-Sheet.” The stately dame had fallen + on her knees, with her forehead on the holy knees of the Old Maid, one + hand upon the floor, and the other pressed convulsively against her heart. + It clutched a lock of hair, once sable, now discolored with a greenish + mould. As the priest and layman advanced into the chamber, the Old Maid’s + features assumed such a resemblance of shifting expression, that they + trusted to hear the whole mystery explained, by a single word. But it was + only the shadow of a tattered curtain, waving betwixt the dead face and + the moonlight. + </p> + <p> + “Both dead!” said the venerable man. “Then who shall divulge the secret? + Methinks it glimmers to and fro in my mind, like the light and shadow + across the Old Maid’s face. And now’t is gone!” + </p> + <p> + <br /><br /><br /><br /> + </p> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of The White Old Maid (From “Twice Told +Tales”), by Nathaniel Hawthorne + +*** END OF THIS PROJECT GUTENBERG EBOOK THE WHITE OLD MAID *** + +***** This file should be named 9214-h.htm or 9214-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/9/2/1/9214/ + +Produced by David Widger and Al Haines. + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. 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 +https://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 in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase “Project Gutenberg” appears, or with which the phrase “Project +Gutenberg” is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere 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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase “Project Gutenberg” associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +“Plain Vanilla ASCII” or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original “Plain Vanilla ASCII” or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, “Information about donations to + the Project Gutenberg Literary Archive Foundation.” + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works 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 MERCHANTIBILITY 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 web page at https://www.pglaf.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. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state’s laws. + +The Foundation’s principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation’s web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +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 including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.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 thirty 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 Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + </body> +</html> diff --git a/9214.txt b/9214.txt new file mode 100644 index 0000000..a8a949b --- /dev/null +++ b/9214.txt @@ -0,0 +1,819 @@ +The Project Gutenberg EBook of The White Old Maid (From "Twice Told Tales"), by +Nathaniel Hawthorne + +This eBook is for the use of anyone anywhere 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 + + +Title: The White Old Maid (From "Twice Told Tales") + +Author: Nathaniel Hawthorne + +Posting Date: December 2, 2010 [EBook #9214] +Release Date: November, 2005 +First Posted: August 23, 2003 +Last Updated: February 5, 2007 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE WHITE OLD MAID *** + + + + +Produced by David Widger. HTML version by Al Haines. + + + + + + + + + + TWICE TOLD TALES + + THE WHITE OLD MAID + + By Nathaniel Hawthorne + + + +The moonbeams came through two deep and narrow windows, and showed a +spacious chamber, richly furnished in an antique fashion. From one +lattice, the shadow of the diamond panes was thrown upon the floor; +the ghostly light, through the other, slept upon a bed, falling +between the heavy silken curtains, and illuminating the face of a +young man. But, how quietly the slumberer lay! how pale his features! +and how like a shroud the sheet was wound about his frame! Yes; it +was a corpse, in its burial-clothes. + +Suddenly, the fixed features seemed to move, with dark emotion. +Strange fantasy! It was but the shadow of the fringed curtain, waving +betwixt the dead face and the moonlight, as the door of the chamber +opened, and a girl stole softly to the bedside. Was there delusion in +the moonbeams, or did her gesture and her eye betray a gleam of +triumph, as she bent over the pale corpse-pale as itself--and pressed +her living lips to the cold ones of the dead? As she drew back from +that long kiss, her features writhed, as if a proud heart were +fighting with its anguish. Again it seemed that the features of the +corpse had moved responsive to her own. Still an illusion! The +silken curtain had waved, a second time, betwixt the dead face and the +moonlight, as another fair young girl unclosed the door, and glided, +ghost-like, to the bedside. There the two maidens stood, both +beautiful, with the pale beauty of the dead between them. But she, who +had first entered, was proud and stately; and the other, a soft and +fragile thing. + +"Away!" cried the lofty one. "Thou hadst him living! The dead is +mine!" + +"Thine!" returned the other, shuddering. "Well hast thou spoken! +The dead is thine!" + +The proud girl started, and stared into her face, with a ghastly look. +But a wild and mournful expression passed across the features of the +gentle one; and, weak and helpless, she sank down on the bed, her head +pillowed beside that of the corpse, and her hair mingling with his +dark locks. A creature of hope and joy, the first draught of sorrow +had bewildered her. + +"Edith!" cried her rival. + +Edith groaned, as with a sudden compression of the heart; and removing +her cheek from the dead youth's pillow, she stood upright, fearfully +encountering the eyes of the lofty girl. + +"Wilt thou betray me?" said the latter, calmly. + +"Till the dead bid me speak, I will be silent," answered Edith. "Leave +us alone together! Go, and live many years, and then return, and tell +me of thy life. He, too, will be here! Then, if thou tellest of +sufferings more than death, we will both forgive thee." + +"And what shall be the token?" asked the proud girl, as if her heart +acknowledged a meaning in these wild words. + +"This lock of hair," said Edith, lifting one of the dark, clustering +curls, that lay heavily on the dead man's brow. + +The two maidens joined their hands over the bosom of the corpse, and +appointed a day and hour, far, far in time to come, for their next +meeting in that chamber. The statelier girl gave one deep look at the +motionless countenance, and departed,--yet turned again and trembled, +ere she closed the door, almost believing that her dead lover frowned +upon her. And Edith, too! Was not her white form fading into the +moonlight? Scorning her own weakness, she went forth, and perceived +that a negro slave was waiting in the passage, with a wax light, which +he held between her face and his own, and regarded her, as she +thought, with an ugly expression of merriment. Lifting his torch on +high, the slave lighted her down the staircase, and undid the portal +of the mansion. The young clergyman of the town had just ascended the +steps, and bowing to the lady, passed in without a word. + + +Years, many years rolled on; the world seemed new again, so much older +was it grown, since the night when those pale girls had clasped their +hands across the bosom of the corpse. In the interval, a lonely woman +had passed from youth to extreme age, and was known by all the town, +as the "Old Maid in the Winding-Sheet." A taint of insanity had +affected her whole life, but so quiet, sad, and gentle, so utterly +free from violence, that she was suffered to pursue her harmless +fantasies, unmolested by the world, with whose business or pleasures +she had naught to do. She dwelt alone, and never came into the +daylight, except to follow funerals. Whenever a corpse was borne +along the street, in sunshine, rain, or snow, whether a pompous train, +of the rich and proud, thronged after it, or few and humble were the +mourners, behind them came the lonely woman, in a long, white garment, +which the people called her shroud. She took no place among the +kindred or the friends, but stood at the door to hear the funeral +prayer, and walked in the rear of the procession, as one whose earthly +charge it was to haunt the house of mourning, and be the shadow of +affliction, and see that the dead were duly buried. So long had this +been her custom, that the inhabitants of the town deemed her a part of +every funeral, as much as the coffin pall, or the very corpse itself, +and augured ill of the sinner's destiny, unless the "Old Maid in the +Winding-Sheet" came gliding, like a ghost, behind. Once, it is said, +she affrighted a bridal party, with her pale presence, appearing +suddenly in the illuminated hall, just as the priest was uniting a +false maid to a wealthy man, before her lover had been dead a year. +Evil was the omen to that marriage! Sometimes she stole forth by +moonlight, and visited the graves of venerable Integrity, and wedded +Love, and virgin Innocence, and every spot where the ashes of a kind +and faithful heart were mouldering. Over the hillocks of those favored +dead would she stretch out her arms, with a gesture, as if she were +scattering seeds; and many believed that she brought them from the +garden of Paradise; for the graves, which she had visited, were green +beneath the snow, and covered with sweet flowers from April to +November. Her blessing was better than a holy verse upon the +tombstone. Thus wore away her long, sad, peaceful, and fantastic +life, till few were so old as she, and the people of later generations +wondered how the dead had ever been buried, or mourners had endured +their grief, without the "Old Maid in the Winding Sheet." + +Still, years went on, and still she followed funerals, and was not yet +summoned to her own festival of death. One afternoon, the great +street of the town was all alive with business and bustle, though the +sun now gilded only the upper half of the church-spire, having left +the housetops and loftiest trees in shadow. The scene was cheerful +and animated, in spite of the sombre shade between the high brick +buildings. Here were pompous merchants, in white wigs and laced +velvet; the bronzed faces of sea-captains; the foreign garb and air of +Spanish creoles; and the disdainful port of natives of Old England; +all contrasted with the rough aspect of one or two hack settlers, +negotiating sales of timber, from forests where axe had never sounded. +Sometimes a lady passed, swelling roundly forth in an embroidered +petticoat, balancing her steps in high-heeled shoes, and courtesying, +with lofty grace, to the punctilious obeisances of the gentlemen. The +life of the town seemed to have its very centre not far from an old +mansion, that stood somewhat back from the pavement, surrounded by +neglected grass, with a strange air of loneliness, rather deepened +than dispelled by the throng so near it. Its site would have been +suitably occupied by a magnificent Exchange, or a brick block, +lettered all over with various signs; or the large house itself might +have made a noble tavern, with the "King's Arms" swinging before it, +and guests in every chamber, instead of the present solitude. But, +owing to some dispute about the right of inheritance, the mansion had +been long without a tenant, decaying from year to year, and throwing +the stately gloom of its shadow over the busiest part of the town. +Such was the scene, and such the time, when a figure, unlike any that +have been described, was observed at a distance down the street. + +"I espy a strange sail, yonder," remarked a Liverpool captain; "that +woman in the long, white garment!" + +The sailor seemed much struck by the object, as were several others, +who, at the same moment, caught a glimpse of the figure that had +attracted his notice. Almost immediately, the various topics of +conversation gave place to speculations, in an undertone, on this +unwonted occurrence. + +"Can there be a funeral, so late this afternoon?" inquired some. + +They looked for the signs of death at every door,--the sexton, the +hearse, the assemblage of black-clad relatives,--all that makes up the +woeful pomp of funerals. They raised their eyes, also, to the sun-gilt +spire of the church, and wondered that no clang proceeded from its +bell, which had always tolled till now, when this figure appeared in +the light of day. But none had heard that a corpse was to be borne to +its home that afternoon, nor was there any token of a funeral, except +the apparition of the "Old Maid in the Winding-Sheet." + +"What may this portend?" asked each man of his neighbor. + +All smiled as they put the question, yet with a certain trouble in +their eyes, as if pestilence, or some other wide calamity, were +prognosticated by the untimely intrusion among the living, of one +whose presence had always been associated with death and woe. What a +comet is to the earth, was that sad woman to the town. Still she +moved on, while the hum of surprise was hushed at her approach, and +the proud and the humble stood aside, that her white garment might not +wave against them. It was a long, loose robe, of spotless purity. +Its wearer appeared very old, pale, emaciated, and feeble, yet glided +onward, without the unsteady pace of extreme age. At one point of her +course, a littly rosy boy burst forth from a door, and ran, with open +arms, towards the ghostly woman, seeming to expect a kiss from her +bloodless lips. She made a slight pause, fixing her eye upon him with +an expression of no earthly sweetness, so that the child shivered and +stood awe-struck, rather than affrighted, while the Old Maid passed +on. Perhaps her garment might have been polluted even by an infant's +touch; perhaps her kiss would have been death to the sweet boy, within +a year. + +"She is but a shadow," whispered the superstitious. "The child put +forth his arms and could not grasp her robe!" + +The wonder was increased, when the Old Maid passed beneath the porch +of the deserted mansion, ascended the moss-covered steps, lifted the +iron knocker, and gave three raps. The people could only conjecture, +that some old remembrance, troubling her bewildered brain, had +impelled the poor woman hither to visit the friends of her youth; all +gone from their home, long since and forever, unless their ghosts +still haunted it,--fit company for the "Old Maid in the +Winding-Sheet." An elderly man approached the steps, and reverently +uncovering his gray locks, essayed to explain the matter. + +"None, Madam," said he, "have dwelt in this house these fifteen years +agone,--no, not since the death of old Colonel Fenwicke, whose funeral +you may remember to have followed. His heirs being ill-agreed among +themselves, have let the mansion-house go to ruin." + +The Old Maid looked slowly round, with a slight gesture of one hand, +and a finger of the other upon her lip, appearing more shadow-like +than ever, in the obscurity of the porch. But again she lifted the +hammer, and gave, this time, a single rap. Could it be that a +footstep was now heard, coming down the staircase of the old mansion, +which all conceived to have been so long untenanted? Slowly, feebly, +yet heavily, like the pace of an aged and infirm person, the step +approached, more distinct on every downward stair, till it reached the +portal. The bar fell on the inside; the door was opened. One upward +glance, towards the church-spire, whence the sunshine had just faded, +was the last that the people saw of the "Old Maid in the Winding-Sheet." + +"Who undid the door?" asked many. + +This question, owing to the depth of shadow beneath the porch, no one +could satisfactorily answer. Two or three aged men, while protesting +against an inference, which might be drawn, affirmed that the person +within was a negro, and bore a singular resemblance to old Caesar, +formerly a slave in the house, but freed by death some thirty years +before. + +"Her summons has waked up a servant of the old family," said one, half +seriously. + +"Let us wait here," replied another. "More guests will knock at the +door, anon. But the gate of the graveyard should be thrown open!" + +Twilight had overspread the town, before the crowd began to separate, +or the comments on this incident were exhausted. One after another +was wending his way homeward, when a coach--no common spectacle in +those days--drove slowly into the street. It was an old-fashioned +equipage, hanging close to the ground, with arms on the panels, a +footman behind, and a grave, corpulent coachman seated high in +front,--the whole giving an idea of solemn state and dignity. There +was something awful, in the heavy rumbling of the wheels. The coach +rolled down the street, till, coming to the gateway of the deserted +mansion, it drew up, and the footman sprang to the ground. + +"Whose grand coach is this?" asked a very inquisitive body. + +The footman made no reply, but ascended the steps of the old house, +gave three raps with the iron hammer, and returned to open the +coach-door. An old man possessed of the heraldic lore so common in +that day examined the shield of arms on the panel. + +"Azure, a lion's head erased, between three flower-deluces," said he; +then whispered the name of the family to whom these bearings belonged. +The last inheritor of its honors was recently dead, after a long +residence amid the splendor of the British court, where his birth and +wealth had given him no mean station. "He left no child," continued +the herald, "and these arms, being in a lozenge, betoken that the +coach appertains to his widow." + +Further disclosures, perhaps, might have been made, had not the +speaker suddenly been struck dumb, by the stern eye of an ancient +lady, who thrust forth her head from the coach, preparing to descend. +As she emerged, the people saw that her dress was magnificent, and her +figure dignified, in spite of age and infirmity,--a stately ruin, but +with a look, at once, of pride and wretchedness. Her strong and rigid +features had an awe about them, unlike that of the white Old Maid, but +as of something evil. She passed up the steps, leaning on a gold-headed +cane; the door swung open, as she ascended,--and the light of a +torch glittered on the embroidery of her dress, and gleamed on the +pillars of the porch. After a momentary pause--a glance backwards--and +then a desperate effort--she went in. The decipherer of the coat +of arms had ventured up the lowest step, and shrinking back +immediately, pale and tremulous, affirmed that the torch was held by +the very image of old Caesar. + +"But, such a hideous grin," added he, "was never seen on the face of +mortal man, black or white! It will haunt me till my dying day." + +Meantime, the coach had wheeled round, with a prodigious clatter on +the pavement, and rumbled up the street, disappearing in the twilight, +while the ear still tracked its course. Scarcely was it gone, when +the people began to question whether the coach and attendants, the +ancient lady, the spectre of old Caesar, and the Old Maid herself, +were not all a strangely combined delusion, with some dark purport in +its mystery. The whole town was astir, so that, instead of +dispersing, the crowd continually increased, and stood gazing up at +the windows of the mansion, now silvered by the brightening moon. The +elders, glad to indulge the narrative propensity of age, told of the +long-faded splendor of the family, the entertainments they had given, +and the guests, the greatest of the land, and even titled and noble +ones from abroad, who had passed beneath that portal. These graphic +reminiscences seemed to call up the ghosts of those to whom they +referred. So strong was the impression, on some of the more +imaginative hearers, that two or three were seized with trembling +fits, at one and the same moment, protesting that they had distinctly +heard three other raps of the iron knocker. + +"Impossible!" exclaimed others. "See! The moon shines beneath the +porch, and shows every part of it, except in the narrow shade of that +pillar. There is no one there!" + +"Did not the door open?" whispered one of these fanciful persons. + +"Didst thou see it, too?" said his companion, in a startled tone. + +But the general sentiment was opposed to the idea, that a third +visitant had made application at the door of the deserted house. A +few, however, adhered to this new marvel, and even declared that a red +gleam, like that of a torch, had shone through the great front window, +as if the negro were lighting a guest up the staircase. This, too, +was pronounced a mere fantasy. But, at once, the whole multitude +started, and each man beheld his own terror painted in the faces of +all the rest. + +"What an awful thing is this!" cried they. + +A shriek, too fearfully distinct for doubt, had been heard within the +mansion, breaking forth suddenly, and succeeded by a deep stillness, +as if a heart had burst in giving it utterance. The people knew not +whether to fly from the very sight of the house, or to rush trembling +in, and search out the strange mystery. Amid their confusion and +affright, they were somewhat reassured by the appearance of their +clergyman, a venerable patriarch, and equally a saint, who had taught +them and their fathers the way to heaven, for more than the space of +an ordinary lifetime. He was a reverend figure, with long, white hair +upon his shoulders, a white beard upon his breast, and a back so bent +over his staff, that he seemed to be looking downward, continually, as +if to choose a proper grave for his weary frame. It was some time +before the good old man, being deaf, and of impaired intellect, could +be made to comprehend such portions of the affair as were +comprehensible at all. But, when possessed of the facts, his energies +assumed unexpected vigor. + +"Verily," said the old gentleman, "it will be fitting that I enter the +mansion-house of the worthy Colonel Fenwicke, lest any harm should +have befallen that true Christian woman, whom ye call the 'Old Maid in +the Winding-Sheet.'" + +Behold, then, the venerable clergyman ascending the steps of the +mansion, with a torch-bearer behind him. It was the elderly man, who +had spoken to the Old Maid, and the same who had afterwards explained +the shield of arms, and recognized the features of the negro. Like +their predecessors, they gave three raps, with the iron hammer. + +"Old Caesar cometh not," observed the priest. "Well, I wot, he no +longer doth service in this mansion." + +"Assuredly, then, it was something worse, in old Caesar's likeness!" +said the other adventurer. + +"Be it as God wills," answered the clergyman. "See! my strength, +though it be much decayed, hath sufficed to open this heavy door. Let +us enter, and pass up the staircase." + +Here occurred a singular exemplification of the dreamy state of a very +old man's mind. As they ascended the wide flight of stairs, the aged +clergyman appeared to move with caution, occasionally standing aside, +and oftener bending his head, as it were in salutation, thus +practising all the gestures of one who makes his way through a throng. +Reaching the head of the staircase, he looked around, with sad and +solemn benignity, laid aside his staff, bared his hoary locks, and was +evidently on the point of commencing a prayer. + +"Reverend Sir," said his attendant, who conceived this a very suitable +prelude to their further search, "would it not be well, that the +people join with us in prayer?" + +"Well-a-day!" cried the old clergyman, staring strangely around him. +"Art thou here with me, and none other? Verily, past times were +present to me, and I deemed that I was to make a funeral prayer, as +many a time heretofore, from the head of this staircase. + +"Of a truth, I saw the shades of many that are gone. Yea, I have +prayed at their burials, one after another, and the 'Old Maid in the +Winding-Sheet' hath seen them to their graves!" + +Being now more thoroughly awake to their present purpose, he took his +staff, and struck forcibly on the floor, till there came an echo from +each deserted chamber, but no menial, to answer their summons. They +therefore walked along the passage, and again paused, opposite to the +great front window, through which was seen the crowd, in the shadow +and partial moonlight of the street beneath. On their right hand was +the open door of a chamber, and a closed one on their left. The +clergyman pointed his cane to the carved oak panel of the latter. + +"Within that chamber," observed he, "a whole lifetime since, did I sit +by the death-bed of a goodly young man, who, being now at the last +gasp--" + +Apparently, there was some powerful excitement in the ideas which had +now flashed across his mind. He snatched the torch from his +companion's hand, and threw open the door with such sudden violence, +that the flame was extinguished, leaving them no other light than the +moonbeams, which fell through two windows into the spacious chamber. +It was sufficient to discover all that could be known. In a +high-backed oaken arm-chair, upright, with her hands clasped across her +breast, and her head thrown back, sat the "Old Maid in the +Winding-Sheet." The stately dame had fallen on her knees, with her +forehead on the holy knees of the Old Maid, one hand upon the floor, and +the other pressed convulsively against her heart. It clutched a lock of +hair, once sable, now discolored with a greenish mould. As the priest +and layman advanced into the chamber, the Old Maid's features assumed +such a resemblance of shifting expression, that they trusted to hear +the whole mystery explained, by a single word. But it was only the +shadow of a tattered curtain, waving betwixt the dead face and the +moonlight. + +"Both dead!" said the venerable man. "Then who shall divulge the +secret? Methinks it glimmers to and fro in my mind, like the light +and shadow across the Old Maid's face. And now't is gone!" + + + + + + + + + +End of the Project Gutenberg EBook of The White Old Maid (From "Twice Told +Tales"), by Nathaniel Hawthorne + +*** END OF THIS PROJECT GUTENBERG EBOOK THE WHITE OLD MAID *** + +***** This file should be named 9214.txt or 9214.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/9/2/1/9214/ + +Produced by David Widger. HTML version by Al Haines. + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. 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 +https://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 in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere 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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works 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 MERCHANTIBILITY 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 web page at https://www.pglaf.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. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +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 including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.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 thirty 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 Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/9214.zip b/9214.zip Binary files differnew file mode 100644 index 0000000..bad84b7 --- /dev/null +++ b/9214.zip 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..b02198e --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #9214 (https://www.gutenberg.org/ebooks/9214) diff --git a/old/haw4110.txt b/old/haw4110.txt new file mode 100644 index 0000000..5f4f551 --- /dev/null +++ b/old/haw4110.txt @@ -0,0 +1,792 @@ +Project Gutenberg EBook The White Old Maid, by Nathaniel Hawthorne +From "Twice Told Tales" +#41 in our series by Nathaniel Hawthorne + +Copyright laws are changing all over the world. Be sure to check the +copyright laws for your country before downloading or redistributing +this or any other Project Gutenberg eBook. + +This header should be the first thing seen when viewing this Project +Gutenberg file. Please do not remove it. Do not change or edit the +header without written permission. + +Please read the "legal small print," and other information about the +eBook and Project Gutenberg at the bottom of this file. Included is +important information about your specific rights and restrictions in +how the file may be used. You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**EBooks Readable By Both Humans and By Computers, Since 1971** + +*****These EBooks Were Prepared By Thousands of Volunteers***** + + + +Title: The White Old Maid (From "Twice Told Tales") + +Author: Nathaniel Hawthorne + +Release Date: Nov, 2005 [EBook #9214] +[This file was first posted on August 31, 2003] +[Last update February 5, 2007] + +Edition: 10 + +Language: English + +Character set encoding: ASCII + + + + +*** START OF THE PROJECT GUTENBERG EBOOK, THE WHITE OLD MAID *** + + + + +This eBook was produced by David Widger [widger@cecomet.net] + + + + + + TWICE TOLD TALES + + THE WHITE OLD MAID + + By Nathaniel Hawthorne + + + +The moonbeams came through two deep and narrow windows, and showed a +spacious chamber, richly furnished in an antique fashion. From one +lattice, the shadow of the diamond panes was thrown upon the floor; +the ghostly light, through the other, slept upon a bed, falling +between the heavy silken curtains, and illuminating the face of a +young man. But, how quietly the slumberer lay! how pale his features! +and how like a shroud the sheet was wound about his frame! Yes; it +was a corpse, in its burial-clothes. + +Suddenly, the fixed features seemed to move, with dark emotion. +Strange fantasy! It was but the shadow of the fringed curtain, waving +betwixt the dead face and the moonlight, as the door of the chamber +opened, and a girl stole softly to the bedside. Was there delusion in +the moonbeams, or did her gesture and her eye betray a gleam of +triumph, as she bent over the pale corpse-pale as itself--and pressed +her living lips to the cold ones of the dead? As she drew back from +that long kiss, her features writhed, as if a proud heart were +fighting with its anguish. Again it seemed that the features of the +corpse had moved responsive to her own. Still an illusion! The +silken curtain had waved, a second time, betwixt the dead face and the +moonlight, as another fair young girl unclosed the door, and glided, +ghost-like, to the bedside. There the two maidens stood, both +beautiful, with the pale beauty of the dead between them. But she, who +had first entered, was proud and stately; and the other, a soft and +fragile thing. + +"Away!" cried the lofty one. "Thou hadst him living! The dead is +mine!" + +"Thine!" returned the other, shuddering. "Well hast thou spoken! +The dead is thine!" + +The proud girl started, and stared into her face, with a ghastly look. +But a wild and mournful expression passed across the features of the +gentle one; and, weak and helpless, she sank down on the bed, her head +pillowed beside that of the corpse, and her hair mingling with his +dark locks. A creature of hope and joy, the first draught of sorrow +had bewildered her. + +"Edith!" cried her rival. + +Edith groaned, as with a sudden compression of the heart; and removing +her cheek from the dead youth's pillow, she stood upright, fearfully +encountering the eyes of the lofty girl. + +"Wilt thou betray me?" said the latter, calmly. + +"Till the dead bid me speak, I will be silent," answered Edith. "Leave +us alone together! Go, and live many years, and then return, and tell +me of thy life. He, too, will be here! Then, if thou tellest of +sufferings more than death, we will both forgive thee." + +"And what shall be the token?" asked the proud girl, as if her heart +acknowledged a meaning in these wild words. + +"This lock of hair," said Edith, lifting one of the dark, clustering +curls, that lay heavily on the dead man's brow. + +The two maidens joined their hands over the bosom of the corpse, and +appointed a day and hour, far, far in time to come, for their next +meeting in that chamber. The statelier girl gave one deep look at the +motionless countenance, and departed,--yet turned again and trembled, +ere she closed the door, almost believing that her dead lover frowned +upon her. And Edith, too! Was not her white form fading into the +moonlight? Scorning her own weakness, she went forth, and perceived +that a negro slave was waiting in the passage, with a wax light, which +he held between her face and his own, and regarded her, as she +thought, with an ugly expression of merriment. Lifting his torch on +high, the slave lighted her down the staircase, and undid the portal +of the mansion. The young clergyman of the town had just ascended the +steps, and bowing to the lady, passed in without a word. + + +Years, many years rolled on; the world seemed new again, so much older +was it grown, since the night when those pale girls had clasped their +hands across the bosom of the corpse. In the interval, a lonely woman +had passed from youth to extreme age, and was known by all the town, +as the "Old Maid in the Winding-Sheet." A taint of insanity had +affected her whole life, but so quiet, sad, and gentle, so utterly +free from violence, that she was suffered to pursue her harmless +fantasies, unmolested by the world, with whose business or pleasures +she had naught to do. She dwelt alone, and never came into the +daylight, except to follow funerals. Whenever a corpse was borne +along the street, in sunshine, rain, or snow, whether a pompous train, +of the rich and proud, thronged after it, or few and humble were the +mourners, behind them came the lonely woman, in a long, white garment, +which the people called her shroud. She took no place among the +kindred or the friends, but stood at the door to hear the funeral +prayer, and walked in the rear of the procession, as one whose earthly +charge it was to haunt the house of mourning, and be the shadow of +affliction, and see that the dead were duly buried. So long had this +been her custom, that the inhabitants of the town deemed her a part of +every funeral, as much as the coffin pall, or the very corpse itself, +and augured ill of the sinner's destiny, unless the "Old Maid in the +Winding-Sheet" came gliding, like a ghost, behind. Once, it is said, +she affrighted a bridal party, with her pale presence, appearing +suddenly in the illuminated hall, just as the priest was uniting a +false maid to a wealthy man, before her lover had been dead a year. +Evil was the omen to that marriage! Sometimes she stole forth by +moonlight, and visited the graves of venerable Integrity, and wedded +Love, and virgin Innocence, and every spot where the ashes of a kind +and faithful heart were mouldering. Over the hillocks of those favored +dead would she stretch out her arms, with a gesture, as if she were +scattering seeds; and many believed that she brought them from the +garden of Paradise; for the graves, which she had visited, were green +beneath the snow, and covered with sweet flowers from April to +November. Her blessing was better than a holy verse upon the +tombstone. Thus wore away her long, sad, peaceful, and fantastic +life, till few were so old as she, and the people of later generations +wondered how the dead had ever been buried, or mourners had endured +their grief, without the "Old Maid in the Winding Sheet." + +Still, years went on, and still she followed funerals, and was not yet +summoned to her own festival of death. One afternoon, the great +street of the town was all alive with business and bustle, though the +sun now gilded only the upper half of the church-spire, having left +the housetops and loftiest trees in shadow. The scene was cheerful +and animated, in spite of the sombre shade between the high brick +buildings. Here were pompous merchants, in white wigs and laced +velvet; the bronzed faces of sea-captains; the foreign garb and air of +Spanish creoles; and the disdainful port of natives of Old England; +all contrasted with the rough aspect of one or two hack settlers, +negotiating sales of timber, from forests where axe had never sounded. +Sometimes a lady passed, swelling roundly forth in an embroidered +petticoat, balancing her steps in high-heeled shoes, and courtesying, +with lofty grace, to the punctilious obeisances of the gentlemen. The +life of the town seemed to have its very centre not far from an old +mansion, that stood somewhat back from the pavement, surrounded by +neglected grass, with a strange air of loneliness, rather deepened +than dispelled by the throng so near it. Its site would have been +suitably occupied by a magnificent Exchange, or a brick block, +lettered all over with various signs; or the large house itself might +have made a noble tavern, with the "King's Arms" swinging before it, +and guests in every chamber, instead of the present solitude. But, +owing to some dispute about the right of inheritance, the mansion had +been long without a tenant, decaying from year to year, and throwing +the stately gloom of its shadow over the busiest part of the town. +Such was the scene, and such the time, when a figure, unlike any that +have been described, was observed at a distance down the street. + +"I espy a strange sail, yonder," remarked a Liverpool captain; "that +woman in the long, white garment!" + +The sailor seemed much struck by the object, as were several others, +who, at the same moment, caught a glimpse of the figure that had +attracted his notice. Almost immediately, the various topics of +conversation gave place to speculations, in an undertone, on this +unwonted occurrence. + +"Can there be a funeral, so late this afternoon?" inquired some. + +They looked for the signs of death at every door,--the sexton, the +hearse, the assemblage of black-clad relatives,--all that makes up the +woeful pomp of funerals. They raised their eyes, also, to the sun-gilt +spire of the church, and wondered that no clang proceeded from its +bell, which had always tolled till now, when this figure appeared in +the light of day. But none had heard that a corpse was to be borne to +its home that afternoon, nor was there any token of a funeral, except +the apparition of the "Old Maid in the Winding-Sheet." + +"What may this portend?" asked each man of his neighbor. + +All smiled as they put the question, yet with a certain trouble in +their eyes, as if pestilence, or some other wide calamity, were +prognosticated by the untimely intrusion among the living, of one +whose presence had always been associated with death and woe. What a +comet is to the earth, was that sad woman to the town. Still she +moved on, while the hum of surprise was hushed at her approach, and +the proud and the humble stood aside, that her white garment might not +wave against them. It was a long, loose robe, of spotless purity. +Its wearer appeared very old, pale, emaciated, and feeble, yet glided +onward, without the unsteady pace of extreme age. At one point of her +course, a littly rosy boy burst forth from a door, and ran, with open +arms, towards the ghostly woman, seeming to expect a kiss from her +bloodless lips. She made a slight pause, fixing her eye upon him with +an expression of no earthly sweetness, so that the child shivered and +stood awe-struck, rather than affrighted, while the Old Maid passed +on. Perhaps her garment might have been polluted even by an infant's +touch; perhaps her kiss would have been death to the sweet boy, within +a year. + +"She is but a shadow," whispered the superstitious. "The child put +forth his arms and could not grasp her robe!" + +The wonder was increased, when the Old Maid passed beneath the porch +of the deserted mansion, ascended the moss-covered steps, lifted the +iron knocker, and gave three raps. The people could only conjecture, +that some old remembrance, troubling her bewildered brain, had +impelled the poor woman hither to visit the friends of her youth; all +gone from their home, long since and forever, unless their ghosts +still haunted it,--fit company for the "Old Maid in the Winding- +Sheet." An elderly man approached the steps, and reverently +uncovering his gray locks, essayed to explain the matter. + +"None, Madam," said he, "have dwelt in this house these fifteen years +agone,--no, not since the death of old Colonel Fenwicke, whose funeral +you may remember to have followed. His heirs being ill-agreed among +themselves, have let the mansion-house go to ruin." + +The Old Maid looked slowly round, with a slight gesture of one hand, +and a finger of the other upon her lip, appearing more shadow-like +than ever, in the obscurity of the porch. But again she lifted the +hammer, and gave, this time, a single rap. Could it be that a +footstep was now heard, coming down the staircase of the old mansion, +which all conceived to have been so long untenanted? Slowly, feebly, +yet heavily, like the pace of an aged and infirm person, the step +approached, more distinct on every downward stair, till it reached the +portal. The bar fell on the inside; the door was opened. One upward +glance, towards the church-spire, whence the sunshine had just faded, +was the last that the people saw of the "Old Maid in the Winding- +Sheet." + +"Who undid the door?" asked many. + +This question, owing to the depth of shadow beneath the porch, no one +could satisfactorily answer. Two or three aged men, while protesting +against an inference, which might be drawn, affirmed that the person +within was a negro, and bore a singular resemblance to old Caesar, +formerly a slave in the house, but freed by death some thirty years +before. + +"Her summons has waked up a servant of the old family," said one, half +seriously. + +"Let us wait here," replied another. "More guests will knock at the +door, anon. But the gate of the graveyard should be thrown open!" + +Twilight had overspread the town, before the crowd began to separate, +or the comments on this incident were exhausted. One after another +was wending his way homeward, when a coach--no common spectacle in +those days--drove slowly into the street. It was an old-fashioned +equipage, hanging close to the ground, with arms on the panels, a +footman behind, and a grave, corpulent coachman seated high in front, +--the whole giving an idea of solemn state and dignity. There was +something awful, in the heavy rumbling of the wheels. The coach +rolled down the street, till, coming to the gateway of the deserted +mansion, it drew up, and the footman sprang to the ground. + +"Whose grand coach is this?" asked a very inquisitive body. + +The footman made no reply, but ascended the steps of the old house, +gave three raps with the iron hammer, and returned to open the coach- +door. An old man possessed of the heraldic lore so common in that day +examined the shield of arms on the panel. + +"Azure, a lion's head erased, between three flower-deluces," said he; +then whispered the name of the family to whom these bearings belonged. +The last inheritor of its honors was recently dead, after a long +residence amid the splendor of the British court, where his birth and +wealth had given him no mean station. "He left no child," continued +the herald, "and these arms, being in a lozenge, betoken that the +coach appertains to his widow." + +Further disclosures, perhaps, might have been made, had not the +speaker suddenly been struck dumb, by the stern eye of an ancient +lady, who thrust forth her head from the coach, preparing to descend. +As she emerged, the people saw that her dress was magnificent, and her +figure dignified, in spite of age and infirmity,--a stately ruin, but +with a look, at once, of pride and wretchedness. Her strong and rigid +features had an awe about them, unlike that of the white Old Maid, but +as of something evil. She passed up the steps, leaning on a gold- +headed cane; the door swung open, as she ascended,--and the light of a +torch glittered on the embroidery of her dress, and gleamed on the +pillars of the porch. After a momentary pause--a glance backwards-- +and then a desperate effort--she went in. The decipherer of the coat +of arms had ventured up the lowest step, and shrinking back +immediately, pale and tremulous, affirmed that the torch was held by +the very image of old Caesar. + +"But, such a hideous grin," added he, "was never seen on the face of +mortal man, black or white! It will haunt me till my dying day." + +Meantime, the coach had wheeled round, with a prodigious clatter on +the pavement, and rumbled up the street, disappearing in the twilight, +while the ear still tracked its course. Scarcely was it gone, when +the people began to question whether the coach and attendants, the +ancient lady, the spectre of old Caesar, and the Old Maid herself, +were not all a strangely combined delusion, with some dark purport in +its mystery. The whole town was astir, so that, instead of +dispersing, the crowd continually increased, and stood gazing up at +the windows of the mansion, now silvered by the brightening moon. The +elders, glad to indulge the narrative propensity of age, told of the +long-faded splendor of the family, the entertainments they had given, +and the guests, the greatest of the land, and even titled and noble +ones from abroad, who had passed beneath that portal. These graphic +reminiscences seemed to call up the ghosts of those to whom they +referred. So strong was the impression, on some of the more +imaginative hearers, that two or three were seized with trembling +fits, at one and the same moment, protesting that they had distinctly +heard three other raps of the iron knocker. + +"Impossible!" exclaimed others. "See! The moon shines beneath the +porch, and shows every part of it, except in the narrow shade of that +pillar. There is no one there!" + +"Did not the door open?" whispered one of these fanciful persons. + +"Didst thou see it, too?" said his companion, in a startled tone. + +But the general sentiment was opposed to the idea, that a third +visitant had made application at the door of the deserted house. A +few, however, adhered to this new marvel, and even declared that a red +gleam, like that of a torch, had shone through the great front window, +as if the negro were lighting a guest up the staircase. This, too, +was pronounced a mere fantasy. But, at once, the whole multitude +started, and each man beheld his own terror painted in the faces of +all the rest. + +"What an awful thing is this!" cried they. + +A shriek, too fearfully distinct for doubt, had been heard within the +mansion, breaking forth suddenly, and succeeded by a deep stillness, +as if a heart had burst in giving it utterance. The people knew not +whether to fly from the very sight of the house, or to rush trembling +in, and search out the strange mystery. Amid their confusion and +affright, they were somewhat reassured by the appearance of their +clergyman, a venerable patriarch, and equally a saint, who had taught +them and their fathers the way to heaven, for more than the space of +an ordinary lifetime. He was a reverend figure, with long, white hair +upon his shoulders, a white beard upon his breast, and a back so bent +over his staff, that he seemed to be looking downward, continually, as +if to choose a proper grave for his weary frame. It was some time +before the good old man, being deaf, and of impaired intellect, could +be made to comprehend such portions of the affair as were +comprehensible at all. But, when possessed of the facts, his energies +assumed unexpected vigor. + +"Verily," said the old gentleman, "it will be fitting that I enter the +mansion-house of the worthy Colonel Fenwicke, lest any harm should +have befallen that true Christian woman, whom ye call the 'Old Maid in +the Winding-Sheet.'" + +Behold, then, the venerable clergyman ascending the steps of the +mansion, with a torch-bearer behind him. It was the elderly man, who +had spoken to the Old Maid, and the same who had afterwards explained +the shield of arms, and recognized the features of the negro. Like +their predecessors, they gave three raps, with the iron hammer. + +"Old Caesar cometh not," observed the priest. "Well, I wot, he no +longer doth service in this mansion." + +"Assuredly, then, it was something worse, in old Caesar's likeness!" +said the other adventurer. + +"Be it as God wills," answered the clergyman. "See! my strength, +though it be much decayed, hath sufficed to open this heavy door. Let +us enter, and pass up the staircase." + +Here occurred a singular exemplification of the dreamy state of a very +old man's mind. As they ascended the wide flight of stairs, the aged +clergyman appeared to move with caution, occasionally standing aside, +and oftener bending his head, as it were in salutation, thus +practising all the gestures of one who makes his way through a throng. +Reaching the head of the staircase, he looked around, with sad and +solemn benignity, laid aside his staff, bared his hoary locks, and was +evidently on the point of commencing a prayer. + +"Reverend Sir," said his attendant, who conceived this a very suitable +prelude to their further search, "would it not be well, that the +people join with us in prayer?" + +"Well-a-day!" cried the old clergyman, staring strangely around him. +"Art thou here with me, and none other? Verily, past times were +present to me, and I deemed that I was to make a funeral prayer, as +many a time heretofore, from the head of this staircase. + +"Of a truth, I saw the shades of many that are gone. Yea, I have +prayed at their burials, one after another, and the 'Old Maid in the +Winding-Sheet' hath seen them to their graves!" + +Being now more thoroughly awake to their present purpose, he took his +staff, and struck forcibly on the floor, till there came an echo from +each deserted chamber, but no menial, to answer their summons. They +therefore walked along the passage, and again paused, opposite to the +great front window, through which was seen the crowd, in the shadow +and partial moonlight of the street beneath. On their right hand was +the open door of a chamber, and a closed one on their left. The +clergyman pointed his cane to the carved oak panel of the latter. + +"Within that chamber," observed he, "a whole lifetime since, did I sit +by the death-bed of a goodly young man, who, being now at the last +gasp--" + +Apparently, there was some powerful excitement in the ideas which had +now flashed across his mind. He snatched the torch from his +companion's hand, and threw open the door with such sudden violence, +that the flame was extinguished, leaving them no other light than the +moonbeams, which fell through two windows into the spacious chamber. +It was sufficient to discover all that could be known. In a high- +hacked oaken arm-chair, upright, with her hands clasped across her +breast, and her head thrown back, sat the "Old Maid in the Winding- +Sheet." The stately dame had fallen on her knees, with her forehead +on the holy knees of the Old Maid, one hand upon the floor, and the +other pressed convulsively against her heart. It clutched a lock of +hair, once sable, now discolored with a greenish mould. As the priest +and layman advanced into the chamber, the Old Maid's features assumed +such a resemblance of shifting expression, that they trusted to hear +the whole mystery explained, by a single word. But it was only the +shadow of a tattered curtain, waving betwixt the dead face and the +moonlight. + +"Both dead!" said the venerable man. "Then who shall divulge the +secret? Methinks it glimmers to and fro in my mind, like the light +and shadow across the Old Maid's face. And now't is gone!" + + + + + +*** END OF THE PROJECT GUTENBERG EBOOK, THE WHITE OLD MAID *** +By Nathaniel Hawthorne + +**** This file should be named haw4110.txt or haw4110.zip **** + +Corrected EDITIONS of our etexts get a new NUMBER, haw4111.txt +VERSIONS based on separate sources get new LETTER, haw4110a.txt + +This eBook was produced by David Widger [widger@cecomet.net] + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. Thus, we usually do not +keep eBooks in compliance with any particular paper edition. + +We are now trying to release all our eBooks one year in advance +of the official release dates, leaving time for better editing. +Please be encouraged to tell us about any error or corrections, +even years after the official publication date. + +Please note neither this listing nor its contents are final til +midnight of the last day of the month of any such announcement. +The official release date of all Project Gutenberg eBooks is at +Midnight, Central Time, of the last day of the stated month. A +preliminary version may often be posted for suggestion, comment +and editing by those who wish to do so. + +Most people start at our Web sites at: +http://gutenberg.net or +http://promo.net/pg + +These Web sites include award-winning information about Project +Gutenberg, including how to donate, how to help produce our new +eBooks, and how to subscribe to our email newsletter (free!). + + +Those of you who want to download any eBook before announcement +can get to them as follows, and just download by date. This is +also a good way to get them instantly upon announcement, as the +indexes our cataloguers produce obviously take a while after an +announcement goes out in the Project Gutenberg Newsletter. + +http://www.ibiblio.org/gutenberg/etext03 or +ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03 + +Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90 + +Just search by the first five letters of the filename you want, +as it appears in our Newsletters. + + +Information about Project Gutenberg (one page) + +We produce about two million dollars for each hour we work. The +time it takes us, a rather conservative estimate, is fifty hours +to get any eBook selected, entered, proofread, edited, copyright +searched and analyzed, the copyright letters written, etc. Our +projected audience is one hundred million readers. If the value +per text is nominally estimated at one dollar then we produce $2 +million dollars per hour in 2002 as we release over 100 new text +files per month: 1240 more eBooks in 2001 for a total of 4000+ +We are already on our way to trying for 2000 more eBooks in 2002 +If they reach just 1-2% of the world's population then the total +will reach over half a trillion eBooks given away by year's end. + +The Goal of Project Gutenberg is to Give Away 1 Trillion eBooks! +This is ten thousand titles each to one hundred million readers, +which is only about 4% of the present number of computer users. + +Here is the briefest record of our progress (* means estimated): + +eBooks Year Month + + 1 1971 July + 10 1991 January + 100 1994 January + 1000 1997 August + 1500 1998 October + 2000 1999 December + 2500 2000 December + 3000 2001 November + 4000 2001 October/November + 6000 2002 December* + 9000 2003 November* +10000 2004 January* + + +The Project Gutenberg Literary Archive Foundation has been created +to secure a future for Project Gutenberg into the next millennium. + +We need your donations more than ever! + +As of February, 2002, contributions are being solicited from people +and organizations in: Alabama, Alaska, Arkansas, Connecticut, +Delaware, District of Columbia, Florida, Georgia, Hawaii, Illinois, +Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts, +Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New +Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio, +Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South +Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West +Virginia, Wisconsin, and Wyoming. + +We have filed in all 50 states now, but these are the only ones +that have responded. + +As the requirements for other states are met, additions to this list +will be made and fund raising will begin in the additional states. +Please feel free to ask to check the status of your state. + +In answer to various questions we have received on this: + +We are constantly working on finishing the paperwork to legally +request donations in all 50 states. If your state is not listed and +you would like to know if we have added it since the list you have, +just ask. + +While we cannot solicit donations from people in states where we are +not yet registered, we know of no prohibition against accepting +donations from donors in these states who approach us with an offer to +donate. + +International donations are accepted, but we don't know ANYTHING about +how to make them tax-deductible, or even if they CAN be made +deductible, and don't have the staff to handle it even if there are +ways. + +Donations by check or money order may be sent to: + +Project Gutenberg Literary Archive Foundation +PMB 113 +1739 University Ave. +Oxford, MS 38655-4109 + +Contact us if you want to arrange for a wire transfer or payment +method other than by check or money order. + +The Project Gutenberg Literary Archive Foundation has been approved by +the US Internal Revenue Service as a 501(c)(3) organization with EIN +[Employee Identification Number] 64-622154. Donations are +tax-deductible to the maximum extent permitted by law. As fund-raising +requirements for other states are met, additions to this list will be +made and fund-raising will begin in the additional states. + +We need your donations more than ever! + +You can get up to date donation information online at: + +http://www.gutenberg.net/donation.html + + +*** + +If you can't reach Project Gutenberg, +you can always email directly to: + +Michael S. Hart <hart@pobox.com> + +Prof. Hart will answer or forward your message. + +We would prefer to send you information by email. + + +**The Legal Small Print** + + +(Three Pages) + +***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN EBOOKS**START*** +Why is this "Small Print!" statement here? You know: lawyers. +They tell us you might sue us if there is something wrong with +your copy of this eBook, even if you got it for free from +someone other than us, and even if what's wrong is not our +fault. So, among other things, this "Small Print!" statement +disclaims most of our liability to you. It also tells you how +you may distribute copies of this eBook if you want to. + +*BEFORE!* YOU USE OR READ THIS EBOOK +By using or reading any part of this PROJECT GUTENBERG-tm +eBook, you indicate that you understand, agree to and accept +this "Small Print!" statement. If you do not, you can receive +a refund of the money (if any) you paid for this eBook by +sending a request within 30 days of receiving it to the person +you got it from. If you received this eBook on a physical +medium (such as a disk), you must return it with your request. + +ABOUT PROJECT GUTENBERG-TM EBOOKS +This PROJECT GUTENBERG-tm eBook, like most PROJECT GUTENBERG-tm eBooks, +is a "public domain" work distributed by Professor Michael S. Hart +through the Project Gutenberg Association (the "Project"). +Among other things, this means that no one owns a United States copyright +on or for this work, so the Project (and you!) can copy and +distribute it in the United States without permission and +without paying copyright royalties. Special rules, set forth +below, apply if you wish to copy and distribute this eBook +under the "PROJECT GUTENBERG" trademark. + +Please do not use the "PROJECT GUTENBERG" trademark to market +any commercial products without permission. + +To create these eBooks, the Project expends considerable +efforts to identify, transcribe and proofread public domain +works. Despite these efforts, the Project's eBooks and any +medium they may be on may contain "Defects". Among other +things, Defects may take the form of incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other +intellectual property infringement, a defective or damaged +disk or other eBook medium, a computer virus, or computer +codes that damage or cannot be read by your equipment. + +LIMITED WARRANTY; DISCLAIMER OF DAMAGES +But for the "Right of Replacement or Refund" described below, +[1] Michael Hart and the Foundation (and any other party you may +receive this eBook from as a PROJECT GUTENBERG-tm eBook) disclaims +all liability to you for damages, costs and expenses, including +legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR +UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT, +INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE +OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE +POSSIBILITY OF SUCH DAMAGES. + +If you discover a Defect in this eBook within 90 days of +receiving it, you can receive a refund of the money (if any) +you paid for it by sending an explanatory note within that +time to the person you received it from. If you received it +on a physical medium, you must return it with your note, and +such person may choose to alternatively give you a replacement +copy. If you received it electronically, such person may +choose to alternatively give you a second opportunity to +receive it electronically. + +THIS EBOOK IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS +TO THE EBOOK OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT +LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A +PARTICULAR PURPOSE. + +Some states do not allow disclaimers of implied warranties or +the exclusion or limitation of consequential damages, so the +above disclaimers and exclusions may not apply to you, and you +may have other legal rights. + +INDEMNITY +You will indemnify and hold Michael Hart, the Foundation, +and its trustees and agents, and any volunteers associated +with the production and distribution of Project Gutenberg-tm +texts harmless, from all liability, cost and expense, including +legal fees, that arise directly or indirectly from any of the +following that you do or cause: [1] distribution of this eBook, +[2] alteration, modification, or addition to the eBook, +or [3] any Defect. + +DISTRIBUTION UNDER "PROJECT GUTENBERG-tm" +You may distribute copies of this eBook electronically, or by +disk, book or any other medium if you either delete this +"Small Print!" and all other references to Project Gutenberg, +or: + +[1] Only give exact copies of it. Among other things, this + requires that you do not remove, alter or modify the + eBook or this "small print!" statement. You may however, + if you wish, distribute this eBook in machine readable + binary, compressed, mark-up, or proprietary form, + including any form resulting from conversion by word + processing or hypertext software, but only so long as + *EITHER*: + + [*] The eBook, when displayed, is clearly readable, and + does *not* contain characters other than those + intended by the author of the work, although tilde + (~), asterisk (*) and underline (_) characters may + be used to convey punctuation intended by the + author, and additional characters may be used to + indicate hypertext links; OR + + [*] The eBook may be readily converted by the reader at + no expense into plain ASCII, EBCDIC or equivalent + form by the program that displays the eBook (as is + the case, for instance, with most word processors); + OR + + [*] You provide, or agree to also provide on request at + no additional cost, fee or expense, a copy of the + eBook in its original plain ASCII form (or in EBCDIC + or other equivalent proprietary form). + +[2] Honor the eBook refund and replacement provisions of this + "Small Print!" statement. + +[3] Pay a trademark license fee to the Foundation of 20% of the + gross profits you derive calculated using the method you + already use to calculate your applicable taxes. If you + don't derive profits, no royalty is due. Royalties are + payable to "Project Gutenberg Literary Archive Foundation" + the 60 days following each date you prepare (or were + legally required to prepare) your annual (or equivalent + periodic) tax return. Please contact us beforehand to + let us know your plans and to work out the details. + +WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO? +Project Gutenberg is dedicated to increasing the number of +public domain and licensed works that can be freely distributed +in machine readable form. + +The Project gratefully accepts contributions of money, time, +public domain materials, or royalty free copyright licenses. +Money should be paid to the: +"Project Gutenberg Literary Archive Foundation." + +If you are interested in contributing scanning equipment or +software or other items, please contact Michael Hart at: +hart@pobox.com + +[Portions of this eBook's header and trailer may be reprinted only +when distributed free of all fees. Copyright (C) 2001, 2002 by +Michael S. Hart. Project Gutenberg is a TradeMark and may not be +used in any sales of Project Gutenberg eBooks or other materials be +they hardware or software or any other related product without +express permission.] + +*END THE SMALL PRINT! FOR PUBLIC DOMAIN EBOOKS*Ver.02/11/02*END* diff --git a/old/haw4110.zip b/old/haw4110.zip Binary files differnew file mode 100644 index 0000000..7355e5a --- /dev/null +++ b/old/haw4110.zip |
