1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
518
519
520
521
522
523
524
525
526
527
528
529
530
531
532
533
534
535
536
537
538
539
540
541
542
543
544
545
546
547
548
549
550
551
552
553
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
571
572
573
574
575
576
577
578
579
580
581
582
583
584
585
586
587
588
589
590
591
592
593
594
595
596
597
598
599
600
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
620
621
622
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
651
652
653
654
655
656
657
658
659
660
661
662
663
664
665
666
667
668
669
670
671
672
673
674
675
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
694
695
696
697
698
699
700
701
702
703
704
705
706
707
708
709
710
711
712
713
714
715
716
717
718
719
720
721
722
723
724
725
726
727
728
729
730
731
732
733
734
735
736
737
738
739
740
741
742
743
744
745
746
747
748
749
750
751
752
753
754
755
756
757
758
759
760
761
762
763
764
765
766
767
768
769
770
771
772
773
774
775
776
777
778
779
780
781
782
783
784
785
786
787
788
789
790
791
792
793
794
795
796
797
798
799
800
801
802
803
804
805
806
807
808
809
810
811
812
813
814
815
816
817
818
819
820
821
822
823
824
825
826
827
828
829
830
831
832
833
834
835
836
837
838
839
840
841
842
843
844
845
846
847
848
849
850
851
852
853
854
855
856
857
858
859
860
861
862
863
864
865
866
867
868
869
870
871
872
873
874
875
876
877
878
879
880
881
882
883
884
885
886
887
888
889
890
891
892
893
894
895
896
897
898
899
900
901
902
903
904
905
906
907
908
909
910
911
912
913
914
915
916
917
918
919
920
921
922
923
924
925
926
927
928
929
930
931
932
933
934
935
936
937
938
939
940
941
942
943
944
945
946
947
948
949
950
951
952
953
954
955
956
957
958
959
960
961
962
963
964
965
966
967
968
969
970
971
972
973
974
975
976
977
978
979
980
981
982
983
984
985
986
987
988
989
990
991
992
993
994
995
996
997
998
999
1000
1001
1002
1003
1004
1005
1006
1007
1008
1009
1010
1011
1012
1013
1014
1015
1016
1017
1018
1019
1020
1021
1022
1023
1024
1025
1026
1027
1028
1029
1030
1031
|
<?xml version="1.0" encoding="iso-8859-1"?>
<!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 A Book of Autographs, 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 A Book of Autographs, 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: A Book of Autographs
Author: Nathaniel Hawthorne
Release Date: November, 2005 [EBook #9250]
First Posted: September 25, 2003
Last Updated: April 3, 2013
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK A BOOK OF AUTOGRAPHS ***
Produced by David Widger and Al Haines.
</pre>
<p>
<br /><br />
</p>
<h4>
THE DOLIVER ROMANCE AND OTHER PIECES<br />
</h4>
<h4>
TALES AND SKETCHES<br />
</h4>
<h3>
By Nathaniel Hawthorne<br />
</h3>
<p>
<br />
</p>
<h2>
A BOOK OF AUTOGRAPHS<br />
</h2>
<p>
<br /><br />
</p>
<p>
We have before us a volume of autograph letters, chiefly of soldiers and
statesmen of the Revolution, and addressed to a good and brave man,
General Palmer, who himself drew his sword in the cause. They are
profitable reading in a quiet afternoon, and in a mood withdrawn from too
intimate relation with the present time; so that we can glide backward
some three quarters of a century, and surround ourselves with the ominous
sublimity of circumstances that then frowned upon the writers. To give
them their full effect, we should imagine that these letters have this
moment been brought to town by the splashed and way-worn postrider, or
perhaps by an orderly dragoon, who has ridden in a perilous hurry to
deliver his despatches. They are magic scrolls, if read in the right
spirit. The roll of the drum and the fanfare of the trumpet is latent in
some of them; and in others, an echo of the oratory that resounded in the
old halls of the Continental Congress, at Philadelphia; or the words may
come to us as with the living utterance of one of those illustrious men,
speaking face to face, in friendly communion. Strange, that the mere
identity of paper and ink should be so powerful. The same thoughts might
look cold and ineffectual, in a printed book. Human nature craves a
certain materialism and clings pertinaciously to what is tangible, as if
that were of more importance than the spirit accidentally involved in it.
And, in truth, the original manuscript has always something which print
itself must inevitably lose. An erasure, even a blot, a casual
irregularity of hand, and all such little imperfections of mechanical
execution, bring us close to the writer, and perhaps convey some of those
subtle intimations for which language has no shape.
</p>
<p>
There are several letters from John Adams, written in a small, hasty,
ungraceful hand, but earnest, and with no unnecessary flourish. The
earliest is dated at Philadelphia, September 26, 1774, about twenty days
after the first opening of the Continental Congress. We look at this old
yellow document, scribbled on half a sheet of foolscap, and ask of it many
questions for which words have no response. We would fain know what were
their mutual impressions, when all those venerable faces, that have since
been traced on steel, or chiselled out, of marble, and thus made familiar
to posterity, first met one another's gaze! Did one spirit harmonize them,
in spite of the dissimilitude of manners between the North and the South,
which were now for the first time brought into political relations? Could
the Virginian descendant of the Cavaliers, and the New-Englander with his
hereditary Puritanism,—the aristocratic Southern planter, and the
self-made man from Massachusetts or Connecticut,—at once feel that
they were countrymen and brothers? What did John Adams think of Jefferson?—and
Samuel Adams of Patrick Henry? Did not North and South combine in their
deference for the sage Franklin, so long the defender of the colonies in
England, and whose scientific renown was already world-wide? And was there
yet any whispered prophecy, any vague conjecture, circulating among the
delegates, as to the destiny which might be in reserve for one stately
man, who sat, for the most part, silent among them?—what station he
was to assume in the world's history?—and how many statues would
repeat his form and countenance, and successively crumble beneath his
immortality?
</p>
<p>
The letter before us does not answer these inquiries. Its main feature is
the strong expression of the uncertainty and awe that pervaded even the
firm hearts of the Old Congress, while anticipating the struggle which was
to ensue. "The commencement of hostilities," it says, "is exceedingly
dreaded here. It is thought that an attack upon the troops, even should it
prove successful, would certainly involve the whole continent in a war. It
is generally thought that the Ministry would rejoice at a rupture in
Boston, because it would furnish an excuse to the people at home" [this
was the last time, we suspect, that John Adams spoke of England thus
affectionately], "and unite them in an opinion of the necessity of pushing
hostilities against us."
</p>
<p>
His next letter bears on the superscription, "Favored by General
Washington." The date is June 20, 1775, three days after the battle of
Bunker Hill, the news of which could not yet have arrived at Philadelphia.
But the war, so much dreaded, had begun, on the quiet banks of Concord
River; an army of twenty thousand men was beleaguering Boston; and here
was Washington journeying northward to take the command. It seems to place
us in a nearer relation with the hero, to find him performing the little
courtesy of leaving a letter between friend and friend, and to hold in our
hands the very document intrusted to such a messenger. John Adams says
simply, "We send you Generals Washington and Lee for your comfort"; but
adds nothing in regard to the character of the Commander-in-Chief. This
letter displays much of the writer's ardent temperament; if he had been
anywhere but in the hall of Congress, it would have been in the
intrenchment before Boston.
</p>
<p>
"I hope," he writes, "a good account will be given of Gage, Haldiman,
Burgoyne, Clinton, and Howe, before winter. Such a wretch as Howe, with a
statue in honor of his family in Westminster Abbey, erected by the
Massachusetts, to come over with the design to cut the throats of the
Massachusetts people, is too much. I most sincerely, coolly, and devoutly
wish that a lucky ball or bayonet may make a signal example of him, in
warning to all such unprincipled, unsentimental miscreants for the
future!"
</p>
<p>
He goes on in a strain that smacks somewhat of aristocratic feeling: "Our
camp will be an illustrious school of military virtue, and will be
resorted to and frequented, as such, by gentlemen in great numbers from
the other colonies." The term "gentleman" has seldom been used in this
sense subsequently to the Revolution. Another letter introduces us to two
of these gentlemen, Messrs. Acquilla Hall and Josias Carvill, volunteers,
who are recommended as "of the first families in Maryland, and possessing
independent fortunes."
</p>
<p>
After the British had been driven out of Boston, Adams cries out,
"Fortify, fortify; and never let them get in again!" It is agreeable
enough to perceive the filial affection with which John Adams, and the
other delegates from the North, regard New England, and especially the
good old capital of the Puritans. Their love of country was hardly yet so
diluted as to extend over the whole thirteen colonies, which were rather
looked upon as allies than as composing one nation. In truth, the
patriotism of a citizen of the United States is a sentiment by itself of a
peculiar nature, and requiring a lifetime, or at least the custom of many
years, to naturalize it among the other possessions of the heart.
</p>
<p>
The collection is enriched by a letter dated "Cambridge, August 26, 1775"
from Washington himself. He wrote it in that house,—now so venerable
with his memory,—in that very room, where his bust now stands upon a
poet's table; from this sheet of paper passed the hand that held the
leading-staff! Nothing can be more perfectly in keeping with all other
manifestations of Washington than the whole visible aspect and embodiment
of this letter. The manuscript is as clear as daylight; the punctuation
exact, to a comma. There is a calm accuracy throughout, which seems the
production of a species of intelligence that cannot err, and which, if we
may so speak, would affect us with a more human warmth, if we could
conceive it capable of some slight human error. The chirography is
characterized by a plain and easy grace, which, in the signature, is
somewhat elaborated, and becomes a type of the personal manner of a
gentleman of the old school, but without detriment to the truth and
clearness that distinguish the rest of the manuscript. The lines are as
straight and equidistant as if ruled; and from beginning to end, there is
no physical symptom—as how should there be?—of a varying mood,
of jets of emotion, or any of those fluctuating feelings that pass from
the hearts into the fingers of common men. The paper itself (like most of
those Revolutionary letters, which are written on fabrics fit to endure
the burden of ponderous and earnest thought) is stout, and of excellent
quality, and bears the water-mark of Britannia, surmounted by the Crown.
The subject of the letter is a statement of reasons for not taking
possession of Point Alderton; a position commanding the entrance of Boston
Harbor. After explaining the difficulties of the case, arising from his
want of men and munitions for the adequate defence of the lines which he
already occupies, Washington proceeds: "To you, sir, who are a well-wisher
to the cause, and can reason upon the effects of such conduct, I may open
myself with freedom, because no improper disclosures will be made of our
situation. But I cannot expose my weakness to the enemy (though I believe
they are pretty well informed of everything that passes), by telling this
and that man, who are daily pointing out this, and that, and t' other
place, of all the motives that govern my actions; notwithstanding I know
what will be the consequence of not doing it,—namely, that I shall
be accused of inattention to the public service, and perhaps of want of
spirit to prosecute it. But this shall have no effect upon my conduct. I
will steadily (as far as my judgment will assist me) pursue such measures
as I think conducive to the interest of the cause, and rest satisfied
under any obloquy that shall be thrown, conscious of having discharged my
duty to the best of my abilities."
</p>
<p>
The above passage, like every other passage that could be quoted from his
pen, is characteristic of Washington, and entirely in keeping with the
calm elevation of his soul. Yet how imperfect a glimpse do we obtain of
him, through the medium of this, or any of his letters! We imagine him
writing calmly, with a hand that never falters; his majestic face neither
darkens nor gleams with any momentary ebullition of feeling, or
irregularity of thought; and thus flows forth an expression precisely to
the extent of his purpose, no more, no less. Thus much we may conceive.
But still we have not grasped the man; we have caught no glimpse of his
interior; we have not detected his personality. It is the same with all
the recorded traits of his daily life. The collection of them, by
different observers, seems sufficiently abundant, and strictly harmonizes
with itself, yet never brings us into intimate relationship with the hero,
nor makes us feel the warmth and the human throb of his heart. What can be
the reason? Is it, that his great nature was adapted to stand in relation
to his country, as man stands towards man, but could not individualize
itself in brotherhood to an individual?
</p>
<p>
There are two from Franklin, the earliest dated, "London, August 8, 1767,"
and addressed to "Mrs. Franklin, at Philadelphia." He was then in England,
as agent for the colonies in their resistance to the oppressive policy of
Mr. Grenville's administration. The letter, however, makes no reference to
political or other business. It contains only ten or twelve lines,
beginning, "My dear child," and conveying an impression of long and
venerable matrimony which has lost all its romance, but retained a
familiar and quiet tenderness. He speaks of making a little excursion into
the country for his health; mentions a larger letter, despatched by
another vessel; alludes with homely affability to "Mrs. Stevenson,"
"Sally," and "our dear Polly"; desires to be remembered to "all inquiring
friends"; and signs himself, "Your ever loving husband." In this conjugal
epistle, brief and unimportant as it is, there are the elements that
summon up the past, and enable us to create anew the man, his connections
and circumstances. We can see the sage in his London lodgings,—with
his wig cast aside, and replaced by a velvet cap,—penning this very
letter; and then can step across the Atlantic, and behold its reception by
the elderly, but still comely Madam Franklin, who breaks the seal and
begins to read, first remembering to put on her spectacles. The seal, by
the way, is a pompous one of armorial bearings, rather symbolical of the
dignity of the Colonial Agent, and Postmaster General of America, than of
the humble origin of the Newburyport printer. The writing is in the free,
quick style of a man with great practice of the pen, and is particularly
agreeable to the reader.
</p>
<p>
Another letter from the same famous hand is addressed to General Palmer,
and dated, "Passy, October 27, 1779." By an indorsement on the outside it
appears to have been transmitted to the United States through the medium
of Lafayette. Franklin was now the ambassador of his country at the Court
of Versailles, enjoying an immense celebrity, caressed by the French
ladies, and idolized alike by the fashionable and the learned, who saw
something sublime and philosophic even in his blue yarn stockings. Still,
as before, he writes with the homeliness and simplicity that cause a human
face to look forth from the old, yellow sheet of paper, and in words that
make our ears re-echo, as with the sound of his long-extinct utterance.
Yet this brief epistle, like the former, has so little of tangible matter
that we are ashamed to copy it.
</p>
<p>
Next, we come to the fragment of a letter by Samuel Adams; an autograph
more utterly devoid of ornament or flourish than any other in the
collection. It would not have been characteristic, had his pen traced so
much as a hair-line in tribute to grace, beauty, or the elaborateness of
manner; for this earnest-hearted man had been produced out of the past
elements of his native land, a real Puritan, with the religion of his
forefathers, and likewise with their principles of government, taking the
aspect of Revolutionary politics. At heart, Samuel Adams was never so much
a citizen of the United States, as he was a New-Englander, and a son of
the old Bay Province. The following passage has much of the man in it: "I
heartily congratulate you," he writes from Philadelphia, after the British
have left Boston, "upon the sudden and important change in our affairs, in
the removal of the barbarians from the capital. We owe our grateful
acknowledgments to Him who is, as he is frequently styled in Sacred Writ,
'The Lord of Hosts.' We have not yet been informed with certainty what
course the enemy have steered. I hope we shall be on our guard against
future attempts. Will not care be taken to fortify the harbor, and thereby
prevent the entrance of ships-of-war hereafter?"
</p>
<p>
From Hancock, we have only the envelope of a document "on public service,"
directed to "The Hon. the Assembly, or Council of Safety of New
Hampshire," and with the autograph affixed, that, stands out so
prominently in the Declaration of Independence. As seen in the engraving
of that instrument, the signature looks precisely what we should expect
and desire in the handwriting of a princely merchant, whose penmanship had
been practised in the ledger which he is represented as holding, in
Copley's brilliant picture, but to whom his native ability, and the
circumstances and customs of his country, had given a place among its
rulers. But, on the coarse and dingy paper before us, the effect is very
much inferior; the direction, all except the signature, is a scrawl, large
and heavy, but not forcible; and even the name itself, while almost
identical in its strokes with that of the Declaration, has a strangely
different and more vulgar aspect. Perhaps it is all right, and typical of
the truth. If we may trust tradition, and unpublished letters, and a few
witnesses in print, there was quite as much difference between the actual
man, and his historical aspect, as between the manuscript signature and
the engraved one. One of his associates, both in political life and
permanent renown, is said to have characterized him as a "man without a
head or heart." We, of an after generation, should hardly be entitled, on
whatever evidence, to assume such ungracious liberty with a name that has
occupied a lofty position until it, has grown almost sacred, and which is
associated with memories more sacred than itself, and has thus become a
valuable reality to our countrymen, by the aged reverence that clusters
round about it. Nevertheless, it may be no impiety to regard Hancock not
precisely as a real personage, but as a majestic figure, useful and
necessary in its way, but producing its effect far more by an ornamental
outside than by any intrinsic force or virtue. The page of all history
would be half unpeopled if all such characters were banished from it.
</p>
<p>
From General Warren we have a letter dated January 14, 1775, only a few
months before he attested the sincerity of his patriotism, in his own
blood, on Bunker Hill. His handwriting has many ungraceful flourishes. All
the small d's spout upward in parabolic curves, and descend at a
considerable distance. His pen seems to have had nothing but hair-lines in
it; and the whole letter, though perfectly legible, has a look of thin and
unpleasant irregularity. The subject is a plan for securing to the
colonial party the services of Colonel Gridley the engineer, by an appeal
to his private interests. Though writing to General Palmer, an intimate
friend, Warren signs himself, most ceremoniously, "Your obedient servant."
Indeed, these stately formulas in winding up a letter were scarcely laid
aside, whatever might be the familiarity of intercourse: husband and wife
were occasionally, on paper at least, the "obedient servants" of one
another; and not improbably, among well-bred people, there was a
corresponding ceremonial of bows and courtesies, even in the deepest
interior of domestic life. With all the reality that filled men's hearts,
and which has stamped its impress on so many of these letters, it was a
far more formal age than the present.
</p>
<p>
It may be remarked, that Warren was almost the only man eminently
distinguished in the intellectual phase of the Revolution, previous to the
breaking out of the war, who actually uplifted his arm to do battle. The
legislative patriots were a distinct class from the patriots of the camp,
and never laid aside the gown for the sword. It was very different in the
great civil war of England, where the leading minds of the age, when
argument had done its office, or left it undone, put on their steel
breastplates and appeared as leaders in the field. Educated young men,
members of the old colonial families,—gentlemen, as John Adams terms
them,—seem not to have sought employment in the Revolutionary army,
in such numbers as night have been expected. Respectable as the officers
generally were, and great as were the abilities sometimes elicited, the
intellect and cultivation of the country was inadequately represented in
them, as a body.
</p>
<p>
Turning another page, we find the frank of a letter from Henry Laurens,
President of Congress,—him whose destiny it was, like so many
noblemen of old, to pass beneath the Traitor's Gate of the Tower of
London,—him whose chivalrous son sacrificed as brilliant a future as
any young American could have looked forward to, in an obscure skirmish.
Likewise, we have the address of a letter to Messrs. Leroy and Bayard, in
the handwriting of Jefferson; too slender a material to serve as a
talisman for summoning up the writer; a most unsatisfactory fragment,
affecting us like a glimpse of the retreating form of the sage of
Monticello, turning the distant corner of a street. There is a scrap from
Robert Morris, the financier; a letter or two from Judge Jay; and one from
General Lincoln, written, apparently, on the gallop, but without any of
those characteristic sparks that sometimes fly out in a hurry, when all
the leisure in the world would fail to elicit them. Lincoln was the type
of a New England soldier; a man of fair abilities, not especially of a
warlike cast, without much chivalry, but faithful and bold, and carrying a
kind of decency and restraint into the wild and ruthless business of arms.
</p>
<p>
From good old Baron Steuben, we find, not a manuscript essay on the method
of arranging a battle, but a commercial draft, in a small, neat hand, as
plain as print, elegant without flourish, except a very complicated one on
the signature. On the whole, the specimen is sufficiently characteristic,
as well of the Baron's soldier-like and German simplicity, as of the
polish of the Great Frederick's aide-de-camp, a man of courts and of the
world. How singular and picturesque an effect is produced, in the array of
our Revolutionary army, by the intermingling of these titled personages
from the Continent of Europe, with feudal associations clinging about
them,—Steuben, De Kalb, Pulaski, Lafayette!—the German
veteran, who had written from one famous battle-field to another for
thirty years; and the young French noble, who had come hither, though yet
unconscious of his high office, to light the torch that should set fire to
the antiquated trumpery of his native institutions. Among these
autographs, there is one from Lafayette, written long after our
Revolution, but while that of his own country was in full progress. The
note is merely as follows: "Enclosed you will find, my dear Sir, two
tickets for the sittings of this day. One part of the debate will be on
the Honors of the Pantheon, agreeably to what has been decreed by the
Constitutional Assembly."
</p>
<p>
It is a pleasant and comfortable thought, that we have no such classic
folly as is here indicated, to lay to the charge of our Revolutionary
fathers. Both in their acts, and in the drapery of those acts, they were
true to their several and simple selves, and thus left nothing behind them
for a fastidious taste to sneer at. But it must be considered that our
Revolution did not, like that of France, go so deep as to disturb the
common-sense of the country.
</p>
<p>
General Schuyler writes a letter, under date of February 22, 1780,
relating not to military affairs, from which the prejudices of his
countrymen had almost disconnected him, but to the Salt Springs of
Onondaga. The expression is peculiarly direct, and the hand that of a man
of business, free and flowing. The uncertainty, the vague, hearsay
evidence respecting these springs, then gushing into dim daylight beneath
the shadow of a remote wilderness, is such as might now be quoted in
reference to the quality of the water that supplies the fountains of the
Nile. The following sentence shows us an Indian woman and her son,
practising their simple process in the manufacture of salt, at a fire of
wind-strewn boughs, the flame of which gleams duskily through the arches
of the forest: "From a variety of information, I find the smallest
quantity made by a squaw, with the assistance of one boy, with a kettle of
about ten gallons' capacity, is half a bushel per day; the greatest with
the same kettle, about two bushels." It is particularly interesting to
find out anything as to the embryo, yet stationary arts of life among the
red people, their manufactures, their agriculture, their domestic labors.
It is partly the lack of this knowledge—the possession of which
would establish a ground of sympathy on the part of civilized men—that
makes the Indian race so shadow-like and unreal to our conception.
</p>
<p>
We could not select a greater contrast to the upright and unselfish
patriot whom we have just spoken of, than the traitor Arnold, from whom
there is a brief note, dated, "Crown Point, January 19, 1775," addressed
to an officer under his command. The three lines of which it consists can
prove bad spelling, erroneous grammar, and misplaced and superfluous
punctuation; but, with all this complication of iniquity, the ruffian
General contrives to express his meaning as briefly and clearly as if the
rules of correct composition had been ever so scrupulously observed. This
autograph, impressed with the foulest name in our history, has somewhat of
the interest that would attach to a document on which a fiend-devoted
wretch had signed away his salvation. But there was not substance enough
in the man—a mere cross between the bull-dog and the fox—to
justify much feeling of any sort about him personally. The interest, such
as it is, attaches but little to the man, and far more to the
circumstances amid which he acted, rendering the villainy almost sublime,
which, exercised in petty affairs, would only have been vulgar.
</p>
<p>
We turn another leaf, and find a memorial of Hamilton. It is but a letter
of introduction, addressed to Governor Jay in favor of Mr. Davies, of
Kentucky; but it gives an impression of high breeding and courtesy, as
little to be mistaken as if we could see the writer's manner and hear his
cultivated accents, while personally making one gentleman known to
another. There is likewise a rare vigor of expression and pregnancy of
meaning, such as only a man of habitual energy of thought could have
conveyed into so commonplace a thing as an introductory letter. This
autograph is a graceful one, with an easy and picturesque flourish beneath
the signature, symbolical of a courteous bow at the conclusion of the
social ceremony so admirably performed. Hamilton might well be the leader
and idol of the Federalists; for he was pre-eminent in all the high
qualities that characterized the great men of that party, and which should
make even a Democrat feel proud that his country had produced such a noble
old band of aristocrats; and he shared all the distrust of the people,
which so inevitably and so righteously brought about their ruin. With his
autograph we associate that of another Federalist, his friend in life; a
man far narrower than Hamilton, but endowed with a native vigor, that
caused many partisans to grapple to him for support; upright, sternly
inflexible, and of a simplicity of manner that might have befitted the
sturdiest republican among us. In our boyhood we used to see a thin,
severe figure of an ancient mail, timeworn, but apparently indestructible,
moving with a step of vigorous decay along the street, and knew him as
"Old Tim Pickering."
</p>
<p>
Side by side, too, with the autograph of Hamilton, we would place one from
the hand that shed his blood. It is a few lines of Aaron Burr, written in
1823; when all his ambitious schemes, whatever they once were, had been so
long shattered that even the fragments had crumbled away, leaving him to
exert his withered energies on petty law cases, to one of which the
present note refers. The hand is a little tremulous with age, yet small
and fastidiously elegant, as became a man who was in the habit of writing
billet-doux on scented note-paper, as well as documents of war and state.
This is to us a deeply interesting autograph. Remembering what has been
said of the power of Burr's personal influence, his art to tempt men, his
might to subdue them, and the fascination that enabled him, though cold at
heart, to win the love of woman, we gaze at this production of his pen as
into his own inscrutable eyes, seeking for the mystery of his nature. How
singular that a character imperfect, ruined, blasted, as this man's was,
excites a stronger interest than if it had reached the highest earthly
perfection of which its original elements would admit! It is by the
diabolical part of Burr's character that he produces his effect on the
imagination. Had he been a better man, we doubt, after all, whether the
present age would not already have suffered him to wax dusty, and fade out
of sight, among the mere respectable mediocrities of his own epoch. But,
certainly, he was a strange, wild offshoot to have sprung from the united
stock of those two singular Christians, President Burr of Princeton
College, and Jonathan Edwards!
</p>
<p>
Omitting many, we have come almost to the end of these memorials of
historical men. We observe one other autograph of a distinguished soldier
of the Revolution, Henry Knox, but written in 1791, when he was Secretary
of War. In its physical aspect, it is well worthy to be a soldier's
letter. The hand is large, round, and legible at a glance; the lines far
apart, and accurately equidistant; and the whole affair looks not unlike a
company of regular troops in marching order. The signature has a
point-like firmness and simplicity. It is a curious observation, sustained
by these autographs, though we know not how generally correct, that
Southern gentlemen are more addicted to a flourish of the pen beneath
their names, than those of the North.
</p>
<p>
And now we come to the men of a later generation, whose active life
reaches almost within the verge of present affairs; people of dignity, no
doubt, but whose characters have not acquired, either from time or
circumstances, the interest that can make their autographs valuable to any
but the collector. Those whom we have hitherto noticed were the men of an
heroic age. They are departed, and now so utterly departed, as not even to
touch upon the passing generation through the medium of persons still in
life, who can claim to have known them familiarly. Their letters,
therefore, come to us like material things out of the hands of mighty
shadows, long historical, and traditionary, and fit companions for the
sages and warriors of a thousand years ago. In spite of the proverb, it is
not in a single day, or in a very few years, that a man can be reckoned
"as dead as Julius Caesar." We feel little interest in scraps from the
pens of old gentlemen, ambassadors, governors, senators, heads of
departments, even presidents though they were, who lived lives of
praiseworthy respectability, and whose powdered heads and black
knee-breeches have but just vanished out of the drawing-room. Still less
do we value the blotted paper of those whose reputations are dusty, not
with oblivious time, but with present political turmoil and newspaper
vogue. Really great men, however, seem, as to their effect on the
imagination, to take their place amongst past worthies, even while walking
in the very sunshine that illuminates the autumnal day in which we write.
We look, not without curiosity, at the small, neat hand of Henry Clay,
who, as he remarks with his habitual deference to the wishes of the fair,
responds to a young lady's request for his seal; and we dwell longer over
the torn-off conclusion of a note from Mr. Calhoun, whose words are
strangely dashed off without letters, and whose name, were it less
illustrious, would be unrecognizable in his own autograph. But of all
hands that can still grasp a pen, we know not the one, belonging to a
soldier or a statesman, which could interest us more than the hand that
wrote the following:
</p>
<p>
"Sir, your note of the 6th inst. is received. I hasten to answer that
there was no man 'in the station of colonel, by the name of J. T. Smith,'
under my command, at the battle of New Orleans; and am, respectfully,
</p>
<p class="noindent">
"Yours, ANDREW JACKSON.<br /> "OCT. 19th, 1833."
</p>
<p>
<br />
</p>
<p>
The old general, we suspect, has been insnared by a pardonable little
stratagem on the part of the autograph collector. The battle of New
Orleans would hardly have been won, without better aid than this
problematical Colonel J. T. Smith.
</p>
<p>
Intermixed with and appended to these historical autographs, there are a
few literary ones. Timothy Dwight—the "old Timotheus" who sang the
Conquest of Cancan, instead of choosing a more popular subject, in the
British Conquest of Canada—is of eldest date. Colonel Trumbull,
whose hand, at various epochs of his life, was familiar with sword, pen,
and pencil, contributes two letters, which lack the picturesqueness of
execution that should distinguish the chirography of an artist. The value
of Trumbull's pictures is of the same nature with that of daguerreotypes,
depending not upon the ideal but the actual. The beautiful signature of
Washington Irving appears as the indorsement of a draft, dated in 1814,
when, if we may take this document as evidence, his individuality seems to
have been merged into the firm of "P. E. Irving & Co." Never was
anything less mercantile than this autograph, though as legible as the
writing of a bank-clerk. Without apparently aiming at artistic beauty, it
has all the Sketch Book in it. We find the signature and seal of Pierpont,
the latter stamped with the poet's almost living countenance. What a
pleasant device for a seal is one's own face, which he may thus multiply
at pleasure, and send letters to his friends,—the Head without, and
the Heart within! There are a few lines in the school-girl hand of
Margaret Davidson, at nine years old; and a scrap of a letter from
Washington Allston, a gentle and delicate autograph, in which we catch a
glimpse of thanks to his correspondent for the loan of a volume of poetry.
Nothing remains, save a letter from Noah Webster, whose early toils were
manifested in a spelling-book, and those of his later age in a ponderous
dictionary. Under date of February 10, 1843, he writes in a sturdy,
awkward hand, very fit for a lexicographer, an epistle of old man's
reminiscences, from which we extract the following anecdote of Washington,
presenting the patriot in a festive light:—
</p>
<p>
"When I was travelling to the South, in the year 1783, I called on General
Washington at Mount Vernon. At dinner, the last course of dishes was a
species of pancakes, which were handed round to each guest, accompanied
with a bowl of sugar and another of molasses for seasoning them, that each
guest might suit himself. When the dish came to me, I pushed by me the
bowl of molasses, observing to the gentlemen present, that I had enough of
that in my own country. The General burst out with a loud laugh, a thing
very unusual with him. 'Ah,' said he, 'there is nothing in that story
about your eating molasses in New England.' There was a gentleman from
Maryland at the table; and the General immediately told a story, stating
that, during the Revolution, a hogshead of molasses was stove in, in West
Chester, by the oversetting of a wagon; and a body of Maryland troops
being near, the soldiers ran hastily, and saved all they could by filling
their hats or caps with molasses."
</p>
<p>
There are said to be temperaments endowed with sympathies so exquisite,
that, by merely handling an autograph, they can detect the writer's
character with unerring accuracy, and read his inmost heart as easily as a
less-gifted eye would peruse the written page. Our faith in this power, be
it a spiritual one, or only a refinement of the physical nature, is not
unlimited, in spite of evidence. God has imparted to the human soul a
marvellous strength in guarding its secrets, and he keeps at least the
deepest and most inward record for his own perusal. But if there be such
sympathies as we have alluded to, in how many instances would History be
put to the blush by a volume of autograph letters, like this which we now
close!
</p>
<p>
<br /><br /><br /><br />
</p>
<pre xml:space="preserve">
End of Project Gutenberg's A Book of Autographs, by Nathaniel Hawthorne
*** END OF THIS PROJECT GUTENBERG EBOOK A BOOK OF AUTOGRAPHS ***
***** This file should be named 9250-h.htm or 9250-h.zip *****
This and all associated files of various formats will be found in:
https://www.gutenberg.org/9/2/5/9250/
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>
|