diff options
Diffstat (limited to '375-h/375-h.htm')
| -rw-r--r-- | 375-h/375-h.htm | 949 |
1 files changed, 949 insertions, 0 deletions
diff --git a/375-h/375-h.htm b/375-h/375-h.htm new file mode 100644 index 0000000..601a1da --- /dev/null +++ b/375-h/375-h.htm @@ -0,0 +1,949 @@ +<!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" xml:lang="en" lang="en"> +<head> +<meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> +<meta http-equiv="Content-Style-Type" content="text/css" /> +<title>The Project Gutenberg eBook of An Occurrence at Owl Creek Bridge, by Ambrose Bierce</title> + +<style type="text/css"> + +body { margin-left: 20%; + margin-right: 20%; + text-align: justify; } + +h1, h2, h3, h4, h5 {text-align: center; font-style: normal; font-weight: +normal; line-height: 1.5; margin-top: .5em; margin-bottom: .5em;} + +h1 {font-size: 300%; + margin-top: 0.6em; + margin-bottom: 0.6em; + letter-spacing: 0.12em; + word-spacing: 0.2em; + text-indent: 0em;} +h2 {font-size: 150%; margin-top: 2em; margin-bottom: 1em;} +h3 {font-size: 130%; margin-top: 1em;} +h4 {font-size: 120%;} +h5 {font-size: 110%;} + +.no-break {page-break-before: avoid;} /* for epubs */ + +div.chapter {page-break-before: always; margin-top: 4em;} + +hr {width: 80%; margin-top: 2em; margin-bottom: 2em;} + +p {text-indent: 1em; + margin-top: 0.25em; + margin-bottom: 0.25em; } + +a:link {color:blue; text-decoration:none} +a:visited {color:blue; text-decoration:none} +a:hover {color:red} + +</style> + +</head> + +<body> + +<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of An Occurrence at Owl Creek Bridge, by Ambrose Bierce</div> +<div style='display:block; margin:1em 0'> +This eBook is for the use of anyone anywhere in the United States and +most other parts of the world at no cost and with almost no restrictions +whatsoever. You may copy it, give it away or re-use it under the terms +of the Project Gutenberg License included with this eBook or online +at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you +are not located in the United States, you will have to check the laws of the +country where you are located before using this eBook. +</div> +<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: An Occurrence at Owl Creek Bridge</div> +<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Ambrose Bierce</div> +<div style='display:block; margin:1em 0'>Release Date: December, 1995 [eBook #375]<br /> +[Most recently updated: April 25, 2022]</div> +<div style='display:block; margin:1em 0'>Language: English</div> +<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> +<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK AN OCCURRENCE AT OWL CREEK BRIDGE ***</div> + +<h1>An Occurrence at Owl Creek Bridge</h1> + +<h2 class="no-break">by Ambrose Bierce</h2> + +<h4>THE MILLENNIUM FULCRUM EDITION, 1988</h4> + +<hr /> + +<div class="chapter"> + +<h2>I</h2> + +<p> +A man stood upon a railroad bridge in northern Alabama, looking down into the +swift water twenty feet below. The man’s hands were behind his back, the +wrists bound with a cord. A rope closely encircled his neck. It was attached to +a stout cross-timber above his head and the slack fell to the level of his +knees. Some loose boards laid upon the ties supporting the rails of the railway +supplied a footing for him and his executioners—two private soldiers of +the Federal army, directed by a sergeant who in civil life may have been a +deputy sheriff. At a short remove upon the same temporary platform was an +officer in the uniform of his rank, armed. He was a captain. A sentinel at each +end of the bridge stood with his rifle in the position known as +“support,” that is to say, vertical in front of the left shoulder, +the hammer resting on the forearm thrown straight across the chest—a +formal and unnatural position, enforcing an erect carriage of the body. It did +not appear to be the duty of these two men to know what was occurring at the +center of the bridge; they merely blockaded the two ends of the foot planking +that traversed it. +</p> + +<p> +Beyond one of the sentinels nobody was in sight; the railroad ran straight away +into a forest for a hundred yards, then, curving, was lost to view. Doubtless +there was an outpost farther along. The other bank of the stream was open +ground—a gentle slope topped with a stockade of vertical tree trunks, +loopholed for rifles, with a single embrasure through which protruded the +muzzle of a brass cannon commanding the bridge. Midway up the slope between the +bridge and fort were the spectators—a single company of infantry in line, +at “parade rest,” the butts of their rifles on the ground, the +barrels inclining slightly backward against the right shoulder, the hands +crossed upon the stock. A lieutenant stood at the right of the line, the point +of his sword upon the ground, his left hand resting upon his right. Excepting +the group of four at the center of the bridge, not a man moved. The company +faced the bridge, staring stonily, motionless. The sentinels, facing the banks +of the stream, might have been statues to adorn the bridge. The captain stood +with folded arms, silent, observing the work of his subordinates, but making no +sign. Death is a dignitary who when he comes announced is to be received with +formal manifestations of respect, even by those most familiar with him. In the +code of military etiquette silence and fixity are forms of deference. +</p> + +<p> +The man who was engaged in being hanged was apparently about thirty-five years +of age. He was a civilian, if one might judge from his habit, which was that of +a planter. His features were good—a straight nose, firm mouth, broad +forehead, from which his long, dark hair was combed straight back, falling +behind his ears to the collar of his well fitting frock coat. He wore a +moustache and pointed beard, but no whiskers; his eyes were large and dark +gray, and had a kindly expression which one would hardly have expected in one +whose neck was in the hemp. Evidently this was no vulgar assassin. The liberal +military code makes provision for hanging many kinds of persons, and gentlemen +are not excluded. +</p> + +<p> +The preparations being complete, the two private soldiers stepped aside and +each drew away the plank upon which he had been standing. The sergeant turned +to the captain, saluted and placed himself immediately behind that officer, who +in turn moved apart one pace. These movements left the condemned man and the +sergeant standing on the two ends of the same plank, which spanned three of the +cross-ties of the bridge. The end upon which the civilian stood almost, but not +quite, reached a fourth. This plank had been held in place by the weight of the +captain; it was now held by that of the sergeant. At a signal from the former +the latter would step aside, the plank would tilt and the condemned man go down +between two ties. The arrangement commended itself to his judgement as simple +and effective. His face had not been covered nor his eyes bandaged. He looked a +moment at his “unsteadfast footing,” then let his gaze wander to +the swirling water of the stream racing madly beneath his feet. A piece of +dancing driftwood caught his attention and his eyes followed it down the +current. How slowly it appeared to move! What a sluggish stream! +</p> + +<p> +He closed his eyes in order to fix his last thoughts upon his wife and +children. The water, touched to gold by the early sun, the brooding mists under +the banks at some distance down the stream, the fort, the soldiers, the piece +of drift—all had distracted him. And now he became conscious of a new +disturbance. Striking through the thought of his dear ones was sound which he +could neither ignore nor understand, a sharp, distinct, metallic percussion +like the stroke of a blacksmith’s hammer upon the anvil; it had the same +ringing quality. He wondered what it was, and whether immeasurably distant or +near by— it seemed both. Its recurrence was regular, but as slow as the +tolling of a death knell. He awaited each new stroke with impatience +and—he knew not why—apprehension. The intervals of silence grew +progressively longer; the delays became maddening. With their greater +infrequency the sounds increased in strength and sharpness. They hurt his ear +like the thrust of a knife; he feared he would shriek. What he heard was the +ticking of his watch. +</p> + +<p> +He unclosed his eyes and saw again the water below him. “If I could free +my hands,” he thought, “I might throw off the noose and spring into +the stream. By diving I could evade the bullets and, swimming vigorously, reach +the bank, take to the woods and get away home. My home, thank God, is as yet +outside their lines; my wife and little ones are still beyond the +invader’s farthest advance.” +</p> + +<p> +As these thoughts, which have here to be set down in words, were flashed into +the doomed man’s brain rather than evolved from it the captain nodded to +the sergeant. The sergeant stepped aside. +</p> + +</div><!--end chapter--> + +<div class="chapter"> + +<h2>II</h2> + +<p> +Peyton Farquhar was a well to do planter, of an old and highly respected +Alabama family. Being a slave owner and like other slave owners a politician, +he was naturally an original secessionist and ardently devoted to the Southern +cause. Circumstances of an imperious nature, which it is unnecessary to relate +here, had prevented him from taking service with that gallant army which had +fought the disastrous campaigns ending with the fall of Corinth, and he chafed +under the inglorious restraint, longing for the release of his energies, the +larger life of the soldier, the opportunity for distinction. That opportunity, +he felt, would come, as it comes to all in wartime. Meanwhile he did what he +could. No service was too humble for him to perform in the aid of the South, no +adventure too perilous for him to undertake if consistent with the character of +a civilian who was at heart a soldier, and who in good faith and without too +much qualification assented to at least a part of the frankly villainous dictum +that all is fair in love and war. +</p> + +<p> +One evening while Farquhar and his wife were sitting on a rustic bench near the +entrance to his grounds, a gray-clad soldier rode up to the gate and asked for +a drink of water. Mrs. Farquhar was only too happy to serve him with her own +white hands. While she was fetching the water her husband approached the dusty +horseman and inquired eagerly for news from the front. +</p> + +<p> +“The Yanks are repairing the railroads,” said the man, “and +are getting ready for another advance. They have reached the Owl Creek bridge, +put it in order and built a stockade on the north bank. The commandant has +issued an order, which is posted everywhere, declaring that any civilian caught +interfering with the railroad, its bridges, tunnels, or trains will be +summarily hanged. I saw the order.” +</p> + +<p> +“How far is it to the Owl Creek bridge?” Farquhar asked. +</p> + +<p> +“About thirty miles.” +</p> + +<p> +“Is there no force on this side of the creek?” +</p> + +<p> +“Only a picket post half a mile out, on the railroad, and a single +sentinel at this end of the bridge.” +</p> + +<p> +“Suppose a man—a civilian and student of hanging—should elude +the picket post and perhaps get the better of the sentinel,” said +Farquhar, smiling, “what could he accomplish?” +</p> + +<p> +The soldier reflected. “I was there a month ago,” he replied. +“I observed that the flood of last winter had lodged a great quantity of +driftwood against the wooden pier at this end of the bridge. It is now dry and +would burn like tinder.” +</p> + +<p> +The lady had now brought the water, which the soldier drank. He thanked her +ceremoniously, bowed to her husband and rode away. An hour later, after +nightfall, he repassed the plantation, going northward in the direction from +which he had come. He was a Federal scout. +</p> + +</div><!--end chapter--> + +<div class="chapter"> + +<h2>III</h2> + +<p> +As Peyton Farquhar fell straight downward through the bridge he lost +consciousness and was as one already dead. From this state he was +awakened—ages later, it seemed to him—by the pain of a sharp +pressure upon his throat, followed by a sense of suffocation. Keen, poignant +agonies seemed to shoot from his neck downward through every fiber of his body +and limbs. These pains appeared to flash along well defined lines of +ramification and to beat with an inconceivably rapid periodicity. They seemed +like streams of pulsating fire heating him to an intolerable temperature. As to +his head, he was conscious of nothing but a feeling of fullness—of +congestion. These sensations were unaccompanied by thought. The intellectual +part of his nature was already effaced; he had power only to feel, and feeling +was torment. He was conscious of motion. Encompassed in a luminous cloud, of +which he was now merely the fiery heart, without material substance, he swung +through unthinkable arcs of oscillation, like a vast pendulum. Then all at +once, with terrible suddenness, the light about him shot upward with the noise +of a loud splash; a frightful roaring was in his ears, and all was cold and +dark. The power of thought was restored; he knew that the rope had broken and +he had fallen into the stream. There was no additional strangulation; the noose +about his neck was already suffocating him and kept the water from his lungs. +To die of hanging at the bottom of a river!—the idea seemed to him +ludicrous. He opened his eyes in the darkness and saw above him a gleam of +light, but how distant, how inaccessible! He was still sinking, for the light +became fainter and fainter until it was a mere glimmer. Then it began to grow +and brighten, and he knew that he was rising toward the surface—knew it +with reluctance, for he was now very comfortable. “To be hanged and +drowned,” he thought, “that is not so bad; but I do not wish to be +shot. No; I will not be shot; that is not fair.” +</p> + +<p> +He was not conscious of an effort, but a sharp pain in his wrist apprised him +that he was trying to free his hands. He gave the struggle his attention, as an +idler might observe the feat of a juggler, without interest in the outcome. +What splendid effort!—what magnificent, what superhuman strength! Ah, +that was a fine endeavor! Bravo! The cord fell away; his arms parted and +floated upward, the hands dimly seen on each side in the growing light. He +watched them with a new interest as first one and then the other pounced upon +the noose at his neck. They tore it away and thrust it fiercely aside, its +undulations resembling those of a water snake. “Put it back, put it +back!” He thought he shouted these words to his hands, for the undoing of +the noose had been succeeded by the direst pang that he had yet experienced. +His neck ached horribly; his brain was on fire, his heart, which had been +fluttering faintly, gave a great leap, trying to force itself out at his mouth. +His whole body was racked and wrenched with an insupportable anguish! But his +disobedient hands gave no heed to the command. They beat the water vigorously +with quick, downward strokes, forcing him to the surface. He felt his head +emerge; his eyes were blinded by the sunlight; his chest expanded convulsively, +and with a supreme and crowning agony his lungs engulfed a great draught of +air, which instantly he expelled in a shriek! +</p> + +<p> +He was now in full possession of his physical senses. They were, indeed, +preternaturally keen and alert. Something in the awful disturbance of his +organic system had so exalted and refined them that they made record of things +never before perceived. He felt the ripples upon his face and heard their +separate sounds as they struck. He looked at the forest on the bank of the +stream, saw the individual trees, the leaves and the veining of each +leaf—he saw the very insects upon them: the locusts, the brilliant bodied +flies, the gray spiders stretching their webs from twig to twig. He noted the +prismatic colors in all the dewdrops upon a million blades of grass. The +humming of the gnats that danced above the eddies of the stream, the beating of +the dragon flies’ wings, the strokes of the water spiders’ legs, +like oars which had lifted their boat—all these made audible music. A +fish slid along beneath his eyes and he heard the rush of its body parting the +water. +</p> + +<p> +He had come to the surface facing down the stream; in a moment the visible +world seemed to wheel slowly round, himself the pivotal point, and he saw the +bridge, the fort, the soldiers upon the bridge, the captain, the sergeant, the +two privates, his executioners. They were in silhouette against the blue sky. +They shouted and gesticulated, pointing at him. The captain had drawn his +pistol, but did not fire; the others were unarmed. Their movements were +grotesque and horrible, their forms gigantic. +</p> + +<p> +Suddenly he heard a sharp report and something struck the water smartly within +a few inches of his head, spattering his face with spray. He heard a second +report, and saw one of the sentinels with his rifle at his shoulder, a light +cloud of blue smoke rising from the muzzle. The man in the water saw the eye of +the man on the bridge gazing into his own through the sights of the rifle. He +observed that it was a gray eye and remembered having read that gray eyes were +keenest, and that all famous marksmen had them. Nevertheless, this one had +missed. +</p> + +<p> +A counter-swirl had caught Farquhar and turned him half round; he was again +looking at the forest on the bank opposite the fort. The sound of a clear, high +voice in a monotonous singsong now rang out behind him and came across the +water with a distinctness that pierced and subdued all other sounds, even the +beating of the ripples in his ears. Although no soldier, he had frequented +camps enough to know the dread significance of that deliberate, drawling, +aspirated chant; the lieutenant on shore was taking a part in the +morning’s work. How coldly and pitilessly—with what an even, calm +intonation, presaging, and enforcing tranquility in the men—with what +accurately measured interval fell those cruel words: +</p> + +<p> +“Company!… Attention!… Shoulder arms!… Ready!… +Aim!… Fire!” +</p> + +<p> +Farquhar dived—dived as deeply as he could. The water roared in his ears +like the voice of Niagara, yet he heard the dull thunder of the volley and, +rising again toward the surface, met shining bits of metal, singularly +flattened, oscillating slowly downward. Some of them touched him on the face +and hands, then fell away, continuing their descent. One lodged between his +collar and neck; it was uncomfortably warm and he snatched it out. +</p> + +<p> +As he rose to the surface, gasping for breath, he saw that he had been a long +time under water; he was perceptibly farther downstream—nearer to safety. +The soldiers had almost finished reloading; the metal ramrods flashed all at +once in the sunshine as they were drawn from the barrels, turned in the air, +and thrust into their sockets. The two sentinels fired again, independently and +ineffectually. +</p> + +<p> +The hunted man saw all this over his shoulder; he was now swimming vigorously +with the current. His brain was as energetic as his arms and legs; he thought +with the rapidity of lightning: +</p> + +<p> +“The officer,” he reasoned, “will not make that +martinet’s error a second time. It is as easy to dodge a volley as a +single shot. He has probably already given the command to fire at will. God +help me, I cannot dodge them all!” +</p> + +<p> +An appalling splash within two yards of him was followed by a loud, rushing +sound, DIMINUENDO, which seemed to travel back through the air to the fort and +died in an explosion which stirred the very river to its deeps! A rising sheet +of water curved over him, fell down upon him, blinded him, strangled him! The +cannon had taken an hand in the game. As he shook his head free from the +commotion of the smitten water he heard the deflected shot humming through the +air ahead, and in an instant it was cracking and smashing the branches in the +forest beyond. +</p> + +<p> +“They will not do that again,” he thought; “the next time +they will use a charge of grape. I must keep my eye upon the gun; the smoke +will apprise me—the report arrives too late; it lags behind the missile. +That is a good gun.” +</p> + +<p> +Suddenly he felt himself whirled round and round—spinning like a top. The +water, the banks, the forests, the now distant bridge, fort and men, all were +commingled and blurred. Objects were represented by their colors only; circular +horizontal streaks of color—that was all he saw. He had been caught in a +vortex and was being whirled on with a velocity of advance and gyration that +made him giddy and sick. In few moments he was flung upon the gravel at the +foot of the left bank of the stream—the southern bank—and behind a +projecting point which concealed him from his enemies. The sudden arrest of his +motion, the abrasion of one of his hands on the gravel, restored him, and he +wept with delight. He dug his fingers into the sand, threw it over himself in +handfuls and audibly blessed it. It looked like diamonds, rubies, emeralds; he +could think of nothing beautiful which it did not resemble. The trees upon the +bank were giant garden plants; he noted a definite order in their arrangement, +inhaled the fragrance of their blooms. A strange roseate light shone through +the spaces among their trunks and the wind made in their branches the music of +AEolian harps. He had not wish to perfect his escape—he was content to +remain in that enchanting spot until retaken. +</p> + +<p> +A whiz and a rattle of grapeshot among the branches high above his head roused +him from his dream. The baffled cannoneer had fired him a random farewell. He +sprang to his feet, rushed up the sloping bank, and plunged into the forest. +</p> + +<p> +All that day he traveled, laying his course by the rounding sun. The forest +seemed interminable; nowhere did he discover a break in it, not even a +woodman’s road. He had not known that he lived in so wild a region. There +was something uncanny in the revelation. +</p> + +<p> +By nightfall he was fatigued, footsore, famished. The thought of his wife and +children urged him on. At last he found a road which led him in what he knew to +be the right direction. It was as wide and straight as a city street, yet it +seemed untraveled. No fields bordered it, no dwelling anywhere. Not so much as +the barking of a dog suggested human habitation. The black bodies of the trees +formed a straight wall on both sides, terminating on the horizon in a point, +like a diagram in a lesson in perspective. Overhead, as he looked up through +this rift in the wood, shone great golden stars looking unfamiliar and grouped +in strange constellations. He was sure they were arranged in some order which +had a secret and malign significance. The wood on either side was full of +singular noises, among which—once, twice, and again—he distinctly +heard whispers in an unknown tongue. +</p> + +<p> +His neck was in pain and lifting his hand to it found it horribly swollen. He +knew that it had a circle of black where the rope had bruised it. His eyes felt +congested; he could no longer close them. His tongue was swollen with thirst; +he relieved its fever by thrusting it forward from between his teeth into the +cold air. How softly the turf had carpeted the untraveled avenue—he could +no longer feel the roadway beneath his feet! +</p> + +<p> +Doubtless, despite his suffering, he had fallen asleep while walking, for now +he sees another scene—perhaps he has merely recovered from a delirium. He +stands at the gate of his own home. All is as he left it, and all bright and +beautiful in the morning sunshine. He must have traveled the entire night. As +he pushes open the gate and passes up the wide white walk, he sees a flutter of +female garments; his wife, looking fresh and cool and sweet, steps down from +the veranda to meet him. At the bottom of the steps she stands waiting, with a +smile of ineffable joy, an attitude of matchless grace and dignity. Ah, how +beautiful she is! He springs forwards with extended arms. As he is about to +clasp her he feels a stunning blow upon the back of the neck; a blinding white +light blazes all about him with a sound like the shock of a cannon—then +all is darkness and silence! +</p> + +<p> +Peyton Farquhar was dead; his body, with a broken neck, swung gently from side +to side beneath the timbers of the Owl Creek bridge. +</p> + +</div><!--end chapter--> + +<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK AN OCCURRENCE AT OWL CREEK BRIDGE ***</div> +<div style='text-align:left'> + +<div style='display:block; margin:1em 0'> +Updated editions will replace the previous one—the old editions will +be renamed. +</div> + +<div style='display:block; margin:1em 0'> +Creating the works from print editions not protected by U.S. copyright +law means that no one owns a United States copyright in these works, +so the Foundation (and you!) can copy and distribute it in the United +States without permission and without paying copyright +royalties. Special rules, set forth in the General Terms of Use part +of this license, apply to copying and distributing Project +Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ +concept and trademark. Project Gutenberg is a registered trademark, +and may not be used if you charge for an eBook, except by following +the terms of the trademark license, including paying royalties for use +of the Project Gutenberg trademark. If you do not charge anything for +copies of this eBook, complying with the trademark license is very +easy. You may use this eBook for nearly any purpose such as creation +of derivative works, reports, performances and research. Project +Gutenberg eBooks may be modified and printed and given away--you may +do practically ANYTHING in the United States with eBooks not protected +by U.S. copyright law. Redistribution is subject to the trademark +license, especially commercial redistribution. +</div> + +<div style='margin:0.83em 0; font-size:1.1em; text-align:center'>START: FULL LICENSE<br /> +<span style='font-size:smaller'>THE FULL PROJECT GUTENBERG LICENSE<br /> +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</span> +</div> + +<div style='display:block; margin:1em 0'> +To protect the Project Gutenberg™ mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase “Project +Gutenberg”), you agree to comply with all the terms of the Full +Project Gutenberg™ License available with this file or online at +www.gutenberg.org/license. +</div> + +<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> +Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works +</div> + +<div style='display:block; margin:1em 0'> +1.A. By reading or using any part of this Project Gutenberg™ +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or +destroy all copies of Project Gutenberg™ electronic works in your +possession. If you paid a fee for obtaining a copy of or access to a +Project Gutenberg™ electronic work and you do not agree to be bound +by the terms of this agreement, you may obtain a refund from the person +or entity to whom you paid the fee as set forth in paragraph 1.E.8. +</div> + +<div style='display:block; margin:1em 0'> +1.B. “Project Gutenberg” is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg™ electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg™ electronic works if you follow the terms of this +agreement and help preserve free future access to Project Gutenberg™ +electronic works. See paragraph 1.E below. +</div> + +<div style='display:block; margin:1em 0'> +1.C. The Project Gutenberg Literary Archive Foundation (“the +Foundation” or PGLAF), owns a compilation copyright in the collection +of Project Gutenberg™ electronic works. Nearly all the individual +works in the collection are in the public domain in the United +States. If an individual work is unprotected by copyright law in the +United States and you are located in the United States, we do not +claim a right to prevent you from copying, distributing, performing, +displaying or creating derivative works based on the work as long as +all references to Project Gutenberg are removed. Of course, we hope +that you will support the Project Gutenberg™ mission of promoting +free access to electronic works by freely sharing Project Gutenberg™ +works in compliance with the terms of this agreement for keeping the +Project Gutenberg™ name associated with the work. You can easily +comply with the terms of this agreement by keeping this work in the +same format with its attached full Project Gutenberg™ License when +you share it without charge with others. +</div> + +<div style='display:block; margin:1em 0'> +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are +in a constant state of change. If you are outside the United States, +check the laws of your country in addition to the terms of this +agreement before downloading, copying, displaying, performing, +distributing or creating derivative works based on this work or any +other Project Gutenberg™ work. The Foundation makes no +representations concerning the copyright status of any work in any +country other than the United States. +</div> + +<div style='display:block; margin:1em 0'> +1.E. Unless you have removed all references to Project Gutenberg: +</div> + +<div style='display:block; margin:1em 0'> +1.E.1. The following sentence, with active links to, or other +immediate access to, the full Project Gutenberg™ License must appear +prominently whenever any copy of a Project Gutenberg™ work (any work +on which the phrase “Project Gutenberg” appears, or with which the +phrase “Project Gutenberg” is associated) is accessed, displayed, +performed, viewed, copied or distributed: +</div> + +<blockquote> + <div style='display:block; margin:1em 0'> + This eBook is for the use of anyone anywhere in the United States and most + other parts of the world at no cost and with almost no restrictions + whatsoever. You may copy it, give it away or re-use it under the terms + of the Project Gutenberg License included with this eBook or online + at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you + are not located in the United States, you will have to check the laws + of the country where you are located before using this eBook. + </div> +</blockquote> + +<div style='display:block; margin:1em 0'> +1.E.2. If an individual Project Gutenberg™ electronic work is +derived from texts not protected by U.S. copyright law (does not +contain a notice indicating that it is posted with permission of the +copyright holder), the work can be copied and distributed to anyone in +the United States without paying any fees or charges. If you are +redistributing or providing access to a work with the phrase “Project +Gutenberg” associated with or appearing on the work, you must comply +either with the requirements of paragraphs 1.E.1 through 1.E.7 or +obtain permission for the use of the work and the Project Gutenberg™ +trademark as set forth in paragraphs 1.E.8 or 1.E.9. +</div> + +<div style='display:block; margin:1em 0'> +1.E.3. If an individual Project Gutenberg™ electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any +additional terms imposed by the copyright holder. Additional terms +will be linked to the Project Gutenberg™ License for all works +posted with the permission of the copyright holder found at the +beginning of this work. +</div> + +<div style='display:block; margin:1em 0'> +1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg™. +</div> + +<div style='display:block; margin:1em 0'> +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg™ License. +</div> + +<div style='display:block; margin:1em 0'> +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including +any word processing or hypertext form. However, if you provide access +to or distribute copies of a Project Gutenberg™ work in a format +other than “Plain Vanilla ASCII” or other format used in the official +version posted on the official Project Gutenberg™ website +(www.gutenberg.org), you must, at no additional cost, fee or expense +to the user, provide a copy, a means of exporting a copy, or a means +of obtaining a copy upon request, of the work in its original “Plain +Vanilla ASCII” or other form. Any alternate format must include the +full Project Gutenberg™ License as specified in paragraph 1.E.1. +</div> + +<div style='display:block; margin:1em 0'> +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg™ works +unless you comply with paragraph 1.E.8 or 1.E.9. +</div> + +<div style='display:block; margin:1em 0'> +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg™ electronic works +provided that: +</div> + +<div style='margin-left:0.7em;'> + <div style='text-indent:-0.7em'> + • You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg™ works calculated using the method + you already use to calculate your applicable taxes. The fee is owed + to the owner of the Project Gutenberg™ trademark, but he has + agreed to donate royalties under this paragraph to the Project + Gutenberg Literary Archive Foundation. Royalty payments must be paid + within 60 days following each date on which you prepare (or are + legally required to prepare) your periodic tax returns. Royalty + payments should be clearly marked as such and sent to the Project + Gutenberg Literary Archive Foundation at the address specified in + Section 4, “Information about donations to the Project Gutenberg + Literary Archive Foundation.” + </div> + + <div style='text-indent:-0.7em'> + • You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg™ + License. You must require such a user to return or destroy all + copies of the works possessed in a physical medium and discontinue + all use of and all access to other copies of Project Gutenberg™ + works. + </div> + + <div style='text-indent:-0.7em'> + • You provide, in accordance with paragraph 1.F.3, a full refund of + any money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days of + receipt of the work. + </div> + + <div style='text-indent:-0.7em'> + • You comply with all other terms of this agreement for free + distribution of Project Gutenberg™ works. + </div> +</div> + +<div style='display:block; margin:1em 0'> +1.E.9. If you wish to charge a fee or distribute a Project +Gutenberg™ electronic work or group of works on different terms than +are set forth in this agreement, you must obtain permission in writing +from the Project Gutenberg Literary Archive Foundation, the manager of +the Project Gutenberg™ trademark. Contact the Foundation as set +forth in Section 3 below. +</div> + +<div style='display:block; margin:1em 0'> +1.F. +</div> + +<div style='display:block; margin:1em 0'> +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +works not protected by U.S. copyright law in creating the Project +Gutenberg™ collection. Despite these efforts, Project Gutenberg™ +electronic works, and the medium on which they may be stored, may +contain “Defects,” such as, but not limited to, incomplete, inaccurate +or corrupt data, transcription errors, a copyright or other +intellectual property infringement, a defective or damaged disk or +other medium, a computer virus, or computer codes that damage or +cannot be read by your equipment. +</div> + +<div style='display:block; margin:1em 0'> +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right +of Replacement or Refund” described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg™ trademark, and any other party distributing a Project +Gutenberg™ electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. +</div> + +<div style='display:block; margin:1em 0'> +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium +with your written explanation. The person or entity that provided you +with the defective work may elect to provide a replacement copy in +lieu of a refund. If you received the work electronically, the person +or entity providing it to you may choose to give you a second +opportunity to receive the work electronically in lieu of a refund. If +the second copy is also defective, you may demand a refund in writing +without further opportunities to fix the problem. +</div> + +<div style='display:block; margin:1em 0'> +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO +OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT +LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. +</div> + +<div style='display:block; margin:1em 0'> +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of +damages. If any disclaimer or limitation set forth in this agreement +violates the law of the state applicable to this agreement, the +agreement shall be interpreted to make the maximum disclaimer or +limitation permitted by the applicable state law. The invalidity or +unenforceability of any provision of this agreement shall not void the +remaining provisions. +</div> + +<div style='display:block; margin:1em 0'> +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg™ electronic works in +accordance with this agreement, and any volunteers associated with the +production, promotion and distribution of Project Gutenberg™ +electronic works, harmless from all liability, costs and expenses, +including legal fees, that arise directly or indirectly from any of +the following which you do or cause to occur: (a) distribution of this +or any Project Gutenberg™ work, (b) alteration, modification, or +additions or deletions to any Project Gutenberg™ work, and (c) any +Defect you cause. +</div> + +<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> +Section 2. Information about the Mission of Project Gutenberg™ +</div> + +<div style='display:block; margin:1em 0'> +Project Gutenberg™ is synonymous with the free distribution of +electronic works in formats readable by the widest variety of +computers including obsolete, old, middle-aged and new computers. It +exists because of the efforts of hundreds of volunteers and donations +from people in all walks of life. +</div> + +<div style='display:block; margin:1em 0'> +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg™’s +goals and ensuring that the Project Gutenberg™ collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg™ and future +generations. To learn more about the Project Gutenberg Literary +Archive Foundation and how your efforts and donations can help, see +Sections 3 and 4 and the Foundation information page at www.gutenberg.org. +</div> + +<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> +Section 3. Information about the Project Gutenberg Literary Archive Foundation +</div> + +<div style='display:block; margin:1em 0'> +The Project Gutenberg Literary Archive Foundation is a non-profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation’s EIN or federal tax identification +number is 64-6221541. Contributions to the Project Gutenberg Literary +Archive Foundation are tax deductible to the full extent permitted by +U.S. federal laws and your state’s laws. +</div> + +<div style='display:block; margin:1em 0'> +The Foundation’s business office is located at 809 North 1500 West, +Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up +to date contact information can be found at the Foundation’s website +and official page at www.gutenberg.org/contact +</div> + +<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> +Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation +</div> + +<div style='display:block; margin:1em 0'> +Project Gutenberg™ depends upon and cannot survive without widespread +public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine-readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. +</div> + +<div style='display:block; margin:1em 0'> +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To SEND +DONATIONS or determine the status of compliance for any particular state +visit <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>. +</div> + +<div style='display:block; margin:1em 0'> +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. +</div> + +<div style='display:block; margin:1em 0'> +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. +</div> + +<div style='display:block; margin:1em 0'> +Please check the Project Gutenberg web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. To +donate, please visit: www.gutenberg.org/donate +</div> + +<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> +Section 5. General Information About Project Gutenberg™ electronic works +</div> + +<div style='display:block; margin:1em 0'> +Professor Michael S. Hart was the originator of the Project +Gutenberg™ concept of a library of electronic works that could be +freely shared with anyone. For forty years, he produced and +distributed Project Gutenberg™ eBooks with only a loose network of +volunteer support. +</div> + +<div style='display:block; margin:1em 0'> +Project Gutenberg™ eBooks are often created from several printed +editions, all of which are confirmed as not protected by copyright in +the U.S. unless a copyright notice is included. Thus, we do not +necessarily keep eBooks in compliance with any particular paper +edition. +</div> + +<div style='display:block; margin:1em 0'> +Most people start at our website which has the main PG search +facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>. +</div> + +<div style='display:block; margin:1em 0'> +This website includes information about Project Gutenberg™, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. +</div> + +</div> + +</body> + +</html> + + |