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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/26660-8.txt b/26660-8.txt new file mode 100644 index 0000000..16a1a40 --- /dev/null +++ b/26660-8.txt @@ -0,0 +1,592 @@ +The Project Gutenberg EBook of Plays, by Leo Tolstoy + +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: Plays + Complete Edition, Including the Posthumous Plays + +Author: Leo Tolstoy + +Translator: Louise Maude + Aylmer Maude + +Release Date: September 20, 2008 [EBook #26660] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK PLAYS *** + + + + +Produced by Bryan Ness, Jana Srna and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + + + [ Transcriber's Note: + This e-book only contains the front matter of Tolstoy's Plays + (Complete Edition). The individual plays have been posted as + separate Project Gutenberg e-books; they are linked to from this + book's HTML version. For reference, here is a list of their + e-book numbers: + + 26661: The Power of Darkness + 26662: The First Distiller + 26663: Fruits of Culture + 26664: The Live Corpse + 26665: The Cause of it All + 26666: The Light Shines in Darkness + ] + + + + + From LEO TOLSTOY concerning the translation of + his works by LOUISE and AYLMER MAUDE:-- + + "Better translators, both for knowledge of the + two languages and for penetration into the very + meaning of the matter translated, could not be + invented." + + + + + [Illustration: Leo Tolstoy.] + + + + + LEO TOLSTOY + + PLAYS + + Translated by + + LOUISE AND AYLMER MAUDE + + COMPLETE EDITION + INCLUDING THE POSTHUMOUS + PLAYS + + FOURTH IMPRESSION + + NEW YORK + FUNK & WAGNALLS COMPANY + 1919 + + + + + LIST OF ILLUSTRATIONS + + + LEO TOLSTOY (Photogravure Portrait) Frontispiece + + MATRYÓNA GIVES ANÍSYA THE POWDERS Facing page 12 + + I'M NOT ASHAMED OF MY PARENT " " 51 + + HER BOX IS FULL AS IT IS " " 53 + + YOU TELL ME NOT TO FEAR MEN? " " 91 + + WELL, DEAR, AND WHAT PROGRESSION IS OUR BUSINESS MAKING? " " 174 + + THERE, YOU SEE! YOU ARE BEING MADE A FOOL OF " " 223 + + + + + CONTENTS + + + PAGE + + PREFACE ix + + + Plays published during Tolstoy's life + + THE POWER OF DARKNESS (1886) 3 + + THE FIRST DISTILLER (1886) 97 + + FRUITS OF CULTURE (1889) 125 + + + Posthumous Plays + + THE LIVE CORPSE 229 + + THE CAUSE OF IT ALL 303 + + THE LIGHT SHINES IN DARKNESS 321 + + + + +PREFACE + + +_The Power of Darkness_, Tolstoy's first and greatest play, was not +written until he was fifty-eight years of age, and it was not allowed to +be performed in Russia till some years later. Both there and elsewhere +abroad it was highly successful on the stage, as was also the comedy, +_Fruits of Culture_, which he wrote three years later, to be performed +by his own family and their friends. + +The only other play published during his lifetime, _The First Distiller_, +is a very slight piece of no particular dramatic importance. It was +written in the cause of temperance. + +Besides these, he left three other plays finished, or nearly finished, +when he died. + +_The Live Corpse_ (which in English has also been called _The Man who +was Dead_) is the one best adapted for the stage. _The Cause of it All_ +is, like _The First Distiller_, a short and unimportant piece dealing +with the effects of drink. The most interesting, not dramatically but +psychologically, of the three is _The Light Shines in Darkness_, which +was left in an unfinished state. In it Tolstoy presents his own case, +and deals with the contradiction that existed and has so often been +commented on, between practice and theory in his own life and teaching. + +For the purpose of the play he greatly simplified his own highly complex +personality, and, though many of the details and characters are drawn +from life with extraordinary exactitude, the picture presented is not +one which all the people concerned are disposed to regard as quite fair +to themselves. + +The play presents the terrible clash which resulted from the calls +Tolstoy made on himself and on others to abandon all customary ways of +life and to start afresh in a new direction. In his own case he was +never allowed to test the effects of a life of extreme poverty and +manual labour, such as he advocated; nor did those of his followers who +adopted such a life achieve much success therein. Tolstoy's artistic +sincerity is indeed shown by the fact that, despite his spiritual +fervour and his profound conviction that he had really found the road to +salvation for mankind, he has not, in this play, minimised the failure +of his efforts to carry convictions to those about him, or to achieve +any other success than that of obtaining an inward assurance that he was +fulfilling the will of God. This assurance would, no doubt, have been +more fully indicated in the last act, had he lived to complete it. + +Tolstoy was well aware of the advantages a play possesses over a novel +as a means of propaganda, and but for the existence of the Censorship he +would have written more for the stage. When asked, in 1892, whether he +would write any more plays, he replied: "I would do so with great +pleasure, and I even feel a special need to express myself in that way; +but I feel certain the Censor would not pass my plays. You would not +believe how, from the very commencement of my activity, that horrible +Censor question has tormented me! I wanted to write what I felt; but at +the same time I felt that what I wrote would not be permitted; and +involuntarily I abandoned the work. I abandoned, and went on abandoning, +and meanwhile the years passed away." + + * * * * * + +There is one other matter of some importance on which I must here say a +word. + +No accepted standard of transliteration for Russian names into English +has hitherto existed. Each writer has been a law unto himself. Now, at +last, the Liverpool School of Russian Studies has prepared and privately +circulated a scheme, which deserves to be, and is likely to be, generally +adopted. It differs in some particulars from the plan I have followed +heretofore; but the advantage to Anglo-Russian literature of the general +adoption of a uniform and authoritative rule will be so great that I +hasten to put myself in accord with the Liverpool scheme, without even +waiting for it to be publicly promulgated. + +The result of so doing however is that in the three earlier plays now +reprinted from stereotype plates the transliteration does not quite +coincide with the plan adopted in the three freshly translated plays. +For this discrepancy I must ask the readers' kind indulgence. + + AYLMER MAUDE. + + + + + Printed in Great Britain by + T. and A. CONSTABLE, Printers to His Majesty + at the University Press, Edinburgh + + + + + +End of the Project Gutenberg EBook of Plays, by Leo Tolstoy + +*** END OF THIS PROJECT GUTENBERG EBOOK PLAYS *** + +***** This file should be named 26660-8.txt or 26660-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/6/6/6/26660/ + +Produced by Bryan Ness, Jana Srna and the Online Distributed +Proofreading Team at http://www.pgdp.net + + +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. 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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: Plays + Complete Edition, Including the Posthumous Plays + +Author: Leo Tolstoy + +Translator: Louise Maude + Aylmer Maude + +Release Date: September 20, 2008 [EBook #26660] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK PLAYS *** + + + + +Produced by Bryan Ness, Jana Srna and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + + +<div id="tnote"><p class="center" style="font-weight: bold;">Transcriber's Note:</p> +<p>This e-book only contains the front matter of Tolstoy's <i>Plays (Complete Edition)</i>. +The individual plays have been posted as separate Project Gutenberg e-books; +they are linked to from this book's <a href="#contents">table of contents</a>.</p> +</div> + +<div style="width: 45%; margin: 8em auto 8em 45%; font-style: italic;"> +<p>From <span class="smcap">Leo Tolstoy</span> concerning +the translation of his works by +<span class="smcap">Louise</span> and <span class="smcap">Aylmer Maude</span>:—</p> + +<p>“Better translators, both for +knowledge of the two languages +and for penetration into the very +meaning of the matter translated, +could not be invented.”</p></div> + + + +<div class="figcenter" style="width: 361px;"><a name="portrait"></a> +<img src="images/frontispiece.png" width="361" height="500" alt="Leo Tolstoy" title="" /> +</div> +<div class="figcenter" style="width: 220px;"> +<img src="images/signature.png" width="220" height="84" alt="" title="" /> +</div> + + + +<p class="center" style="text-decoration: underline; font-size: 1.2em; margin-top: 120px;">LEO TOLSTOY</p> + +<h1 style="font-weight: normal; letter-spacing: 0.3em; margin: 1.5em -0.3em 1.5em 0em;">PLAYS</h1> + +<p class="center"><i>Translated by</i><br/><br/> +<big class="smcap">Louise and Aylmer Maude</big></p> + +<p class="center" style="font-size: smaller; margin: 5em auto 3em auto;">COMPLETE EDITION<br/> +INCLUDING THE POSTHUMOUS<br/> +PLAYS</p> + +<p class="center" style="font-size: smaller; margin-bottom: 6em;"><i>FOURTH IMPRESSION</i></p> + +<p class="center">NEW YORK<br/> +FUNK & WAGNALLS COMPANY<br/> +1919</p> + + + +<div class="new-h2"> </div> +<p><span class="pagenum"><a name="Page_vii">vii</a></span></p> +<h2>LIST OF ILLUSTRATIONS</h2> + + +<table id="loi" summary="List of Illustrations"> +<tr> + <td><span class="smcap"><a href="#portrait">Leo Tolstoy</a></span> (Photogravure Portrait)</td> + <td class="page">Frontispiece</td> +</tr> +<tr> + <td class="smcap"><a href="http://www.gutenberg.org/files/26661/26661-h/26661-h.htm#powders">Matryóna gives Anísya the powders</a></td> + <td class="page">Facing page 12</td> +</tr> +<tr> + <td class="smcap"><a href="http://www.gutenberg.org/files/26661/26661-h/26661-h.htm#parent">I'm not ashamed of my parent</a></td> + <td class="page">Facing page 51</td> +</tr> +<tr> + <td class="smcap"><a href="http://www.gutenberg.org/files/26661/26661-h/26661-h.htm#box">Her box is full as it is</a></td> + <td class="page">Facing page 53</td> +</tr> +<tr> + <td class="smcap"><a href="http://www.gutenberg.org/files/26661/26661-h/26661-h.htm#fear">You tell me not to fear men?</a></td> + <td class="page">Facing page 91</td> +</tr> +<tr> + <td class="smcap"><a href="http://www.gutenberg.org/files/26663/26663-h/26663-h.htm#business">Well, dear, and what progression is our business making?</a></td> + <td class="page">Facing page 174</td> +</tr> +<tr> + <td class="smcap"><a href="http://www.gutenberg.org/files/26663/26663-h/26663-h.htm#fool">There, you see! You are being made a fool of</a></td> + <td class="page">Facing page 223</td> +</tr> +</table> + + +<div class="new-h2"> </div> +<p><span class="pagenum"><a name="Page_viii">viii</a></span></p> +<h2><a name="contents">CONTENTS</a></h2> + + +<table id="toc" summary="Contents"> +<tr> + <td colspan="2" class="right" style="font-size: 0.8em; border-bottom: none;">PAGE</td> +</tr> +<tr> + <td class="smcap"><a href="#Page_ix">Preface</a></td> + <td class="page">ix</td> +</tr> +<tr> + <th colspan="2">Plays published during Tolstoy's life</th> +</tr> +<tr> + <td class="smcap"><a href="http://www.gutenberg.org/files/26661/26661-h/26661-h.htm">The Power of Darkness</a> (1886)</td> + <td class="page">3</td> +</tr> +<tr> + <td class="smcap"><a href="http://www.gutenberg.org/files/26662/26662-h/26662-h.htm">The First Distiller</a> (1886)</td> + <td class="page">97</td> +</tr> +<tr> + <td class="smcap"><a href="http://www.gutenberg.org/files/26663/26663-h/26663-h.htm">Fruits of Culture</a> (1889)</td> + <td class="page">125</td> +</tr> +<tr> + <th colspan="2">Posthumous Plays</th> +</tr> +<tr> + <td class="smcap"><a href="http://www.gutenberg.org/files/26664/26664-h/26664-h.htm">The Live Corpse</a></td> + <td class="page">229</td> +</tr> +<tr> + <td class="smcap"><a href="http://www.gutenberg.org/files/26665/26665-h/26665-h.htm">The Cause of it All</a></td> + <td class="page">303</td> +</tr> +<tr> + <td class="smcap"><a href="http://www.gutenberg.org/files/26666/26666-h/26666-h.htm">The Light Shines in Darkness</a></td> + <td class="page">321</td> +</tr> +</table> + + + +<div class="new-h2"> </div> +<p><span class="pagenum"><a name="Page_ix">ix</a></span></p> +<h2>PREFACE</h2> + + +<p><cite>The Power of Darkness</cite>, Tolstoy's first and greatest play, +was not written until he was fifty-eight years of age, and +it was not allowed to be performed in Russia till some +years later. Both there and elsewhere abroad it was +highly successful on the stage, as was also the comedy, +<cite>Fruits of Culture</cite>, which he wrote three years later, to be +performed by his own family and their friends.</p> + +<p>The only other play published during his lifetime, +<cite>The First Distiller</cite>, is a very slight piece of no particular +dramatic importance. It was written in the cause +of temperance.</p> + +<p>Besides these, he left three other plays finished, or +nearly finished, when he died.</p> + +<p><cite>The Live Corpse</cite> (which in English has also been called +<cite>The Man who was Dead</cite>) is the one best adapted for the +stage. <cite>The Cause of it All</cite> is, like <cite>The First Distiller</cite>, a short +and unimportant piece dealing with the effects of drink. +The most interesting, not dramatically but psychologically, +of the three is <cite>The Light Shines in Darkness</cite>, which +was left in an unfinished state. In it Tolstoy presents +his own case, and deals with the contradiction that existed +and has so often been commented on, between practice +and theory in his own life and teaching.</p> + +<p>For the purpose of the play he greatly simplified his +own highly complex personality, and, though many of the +details and characters are drawn from life with extraordinary +exactitude, the picture presented is not one which +all the people concerned are disposed to regard as quite +fair to themselves.</p> + +<p><span class="pagenum"><a name="Page_x">x</a></span> +The play presents the terrible clash which resulted +from the calls Tolstoy made on himself and on others to +abandon all customary ways of life and to start afresh in +a new direction. In his own case he was never allowed +to test the effects of a life of extreme poverty and +manual labour, such as he advocated; nor did those of his +followers who adopted such a life achieve much success +therein. Tolstoy's artistic sincerity is indeed shown by the +fact that, despite his spiritual fervour and his profound conviction +that he had really found the road to salvation for +mankind, he has not, in this play, minimised the failure +of his efforts to carry convictions to those about him, or +to achieve any other success than that of obtaining an +inward assurance that he was fulfilling the will of God. +This assurance would, no doubt, have been more fully indicated +in the last act, had he lived to complete it.</p> + +<p>Tolstoy was well aware of the advantages a play +possesses over a novel as a means of propaganda, and but +for the existence of the Censorship he would have written +more for the stage. When asked, in 1892, whether he +would write any more plays, he replied: “I would +do so with great pleasure, and I even feel a special +need to express myself in that way; but I feel certain +the Censor would not pass my plays. You would not +believe how, from the very commencement of my activity, +that horrible Censor question has tormented me! I +wanted to write what I felt; but at the same time I felt +that what I wrote would not be permitted; and involuntarily +I abandoned the work. I abandoned, and went on +abandoning, and meanwhile the years passed away.”</p> + +<p class="center" style="letter-spacing: 4em; margin: 2em -4em 2em 0em;">······</p> + +<p>There is one other matter of some importance on +which I must here say a word.</p> + +<p>No accepted standard of transliteration for Russian +names into English has hitherto existed. Each writer has +been a law unto himself. Now, at last, the Liverpool +<span class="pagenum"><a name="Page_xi">xi</a></span>School of Russian Studies has prepared and privately circulated +a scheme, which deserves to be, and is likely to be, +generally adopted. It differs in some particulars from the +plan I have followed heretofore; but the advantage to +Anglo-Russian literature of the general adoption of a +uniform and authoritative rule will be so great that I +hasten to put myself in accord with the Liverpool scheme, +without even waiting for it to be publicly promulgated.</p> + +<p>The result of so doing however is that in the three +earlier plays now reprinted from stereotype plates the +transliteration does not quite coincide with the plan +adopted in the three freshly translated plays. For this +discrepancy I must ask the readers' kind indulgence.</p> + +<p class="right" style="margin: 3em 2em 0em 0em;">AYLMER MAUDE.</p> + +<p class="center" style="font-size: smaller; margin: 12em auto 120px auto;">Printed in Great Britain by<br/> +T. and <span class="smcap">A. Constable</span>, Printers to His Majesty<br/> +at the University Press, Edinburgh</p> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Plays, by Leo Tolstoy + +*** END OF THIS PROJECT GUTENBERG EBOOK PLAYS *** + +***** This file should be named 26660-h.htm or 26660-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/6/6/6/26660/ + +Produced by Bryan Ness, Jana Srna and the Online Distributed +Proofreading Team at http://www.pgdp.net + + +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. 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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: Plays + Complete Edition, Including the Posthumous Plays + +Author: Leo Tolstoy + +Translator: Louise Maude + Aylmer Maude + +Release Date: September 20, 2008 [EBook #26660] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK PLAYS *** + + + + +Produced by Bryan Ness, Jana Srna and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + + + [ Transcriber's Note: + This e-book only contains the front matter of Tolstoy's Plays + (Complete Edition). The individual plays have been posted as + separate Project Gutenberg e-books; they are linked to from this + book's HTML version. For reference, here is a list of their + e-book numbers: + + 26661: The Power of Darkness + 26662: The First Distiller + 26663: Fruits of Culture + 26664: The Live Corpse + 26665: The Cause of it All + 26666: The Light Shines in Darkness + ] + + + + + From LEO TOLSTOY concerning the translation of + his works by LOUISE and AYLMER MAUDE:-- + + "Better translators, both for knowledge of the + two languages and for penetration into the very + meaning of the matter translated, could not be + invented." + + + + + [Illustration: Leo Tolstoy.] + + + + + LEO TOLSTOY + + PLAYS + + Translated by + + LOUISE AND AYLMER MAUDE + + COMPLETE EDITION + INCLUDING THE POSTHUMOUS + PLAYS + + FOURTH IMPRESSION + + NEW YORK + FUNK & WAGNALLS COMPANY + 1919 + + + + + LIST OF ILLUSTRATIONS + + + LEO TOLSTOY (Photogravure Portrait) Frontispiece + + MATRYONA GIVES ANISYA THE POWDERS Facing page 12 + + I'M NOT ASHAMED OF MY PARENT " " 51 + + HER BOX IS FULL AS IT IS " " 53 + + YOU TELL ME NOT TO FEAR MEN? " " 91 + + WELL, DEAR, AND WHAT PROGRESSION IS OUR BUSINESS MAKING? " " 174 + + THERE, YOU SEE! YOU ARE BEING MADE A FOOL OF " " 223 + + + + + CONTENTS + + + PAGE + + PREFACE ix + + + Plays published during Tolstoy's life + + THE POWER OF DARKNESS (1886) 3 + + THE FIRST DISTILLER (1886) 97 + + FRUITS OF CULTURE (1889) 125 + + + Posthumous Plays + + THE LIVE CORPSE 229 + + THE CAUSE OF IT ALL 303 + + THE LIGHT SHINES IN DARKNESS 321 + + + + +PREFACE + + +_The Power of Darkness_, Tolstoy's first and greatest play, was not +written until he was fifty-eight years of age, and it was not allowed to +be performed in Russia till some years later. Both there and elsewhere +abroad it was highly successful on the stage, as was also the comedy, +_Fruits of Culture_, which he wrote three years later, to be performed +by his own family and their friends. + +The only other play published during his lifetime, _The First Distiller_, +is a very slight piece of no particular dramatic importance. It was +written in the cause of temperance. + +Besides these, he left three other plays finished, or nearly finished, +when he died. + +_The Live Corpse_ (which in English has also been called _The Man who +was Dead_) is the one best adapted for the stage. _The Cause of it All_ +is, like _The First Distiller_, a short and unimportant piece dealing +with the effects of drink. The most interesting, not dramatically but +psychologically, of the three is _The Light Shines in Darkness_, which +was left in an unfinished state. In it Tolstoy presents his own case, +and deals with the contradiction that existed and has so often been +commented on, between practice and theory in his own life and teaching. + +For the purpose of the play he greatly simplified his own highly complex +personality, and, though many of the details and characters are drawn +from life with extraordinary exactitude, the picture presented is not +one which all the people concerned are disposed to regard as quite fair +to themselves. + +The play presents the terrible clash which resulted from the calls +Tolstoy made on himself and on others to abandon all customary ways of +life and to start afresh in a new direction. In his own case he was +never allowed to test the effects of a life of extreme poverty and +manual labour, such as he advocated; nor did those of his followers who +adopted such a life achieve much success therein. Tolstoy's artistic +sincerity is indeed shown by the fact that, despite his spiritual +fervour and his profound conviction that he had really found the road to +salvation for mankind, he has not, in this play, minimised the failure +of his efforts to carry convictions to those about him, or to achieve +any other success than that of obtaining an inward assurance that he was +fulfilling the will of God. This assurance would, no doubt, have been +more fully indicated in the last act, had he lived to complete it. + +Tolstoy was well aware of the advantages a play possesses over a novel +as a means of propaganda, and but for the existence of the Censorship he +would have written more for the stage. When asked, in 1892, whether he +would write any more plays, he replied: "I would do so with great +pleasure, and I even feel a special need to express myself in that way; +but I feel certain the Censor would not pass my plays. You would not +believe how, from the very commencement of my activity, that horrible +Censor question has tormented me! I wanted to write what I felt; but at +the same time I felt that what I wrote would not be permitted; and +involuntarily I abandoned the work. I abandoned, and went on abandoning, +and meanwhile the years passed away." + + * * * * * + +There is one other matter of some importance on which I must here say a +word. + +No accepted standard of transliteration for Russian names into English +has hitherto existed. Each writer has been a law unto himself. Now, at +last, the Liverpool School of Russian Studies has prepared and privately +circulated a scheme, which deserves to be, and is likely to be, generally +adopted. It differs in some particulars from the plan I have followed +heretofore; but the advantage to Anglo-Russian literature of the general +adoption of a uniform and authoritative rule will be so great that I +hasten to put myself in accord with the Liverpool scheme, without even +waiting for it to be publicly promulgated. + +The result of so doing however is that in the three earlier plays now +reprinted from stereotype plates the transliteration does not quite +coincide with the plan adopted in the three freshly translated plays. +For this discrepancy I must ask the readers' kind indulgence. + + AYLMER MAUDE. + + + + + Printed in Great Britain by + T. and A. CONSTABLE, Printers to His Majesty + at the University Press, Edinburgh + + + + + +End of the Project Gutenberg EBook of Plays, by Leo Tolstoy + +*** END OF THIS PROJECT GUTENBERG EBOOK PLAYS *** + +***** This file should be named 26660.txt or 26660.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/6/6/6/26660/ + +Produced by Bryan Ness, Jana Srna and the Online Distributed +Proofreading Team at http://www.pgdp.net + + +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. 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