summaryrefslogtreecommitdiff
diff options
context:
space:
mode:
-rw-r--r--.gitattributes4
-rw-r--r--LICENSE.txt11
-rw-r--r--README.md2
-rw-r--r--old/69150-0.txt903
-rw-r--r--old/69150-0.zipbin17480 -> 0 bytes
-rw-r--r--old/69150-h.zipbin2059293 -> 0 bytes
-rw-r--r--old/69150-h/69150-h.htm1071
-rw-r--r--old/69150-h/images/cover.jpgbin1960175 -> 0 bytes
-rw-r--r--old/69150-h/images/illus.jpgbin82297 -> 0 bytes
9 files changed, 17 insertions, 1974 deletions
diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..d7b82bc
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,4 @@
+*.txt text eol=lf
+*.htm text eol=lf
+*.html text eol=lf
+*.md text eol=lf
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..a719285
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #69150 (https://www.gutenberg.org/ebooks/69150)
diff --git a/old/69150-0.txt b/old/69150-0.txt
deleted file mode 100644
index 7c4189b..0000000
--- a/old/69150-0.txt
+++ /dev/null
@@ -1,903 +0,0 @@
-The Project Gutenberg eBook of Miracle, by Ray Cummings
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org. If you are not located in the United States, you
-will have to check the laws of the country where you are located before
-using this eBook.
-
-Title: Miracle
-
-Author: Ray Cummings
-
-Release Date: October 13, 2022 [eBook #69150]
-
-Language: English
-
-Produced by: Greg Weeks, Mary Meehan and the Online Distributed
- Proofreading Team at http://www.pgdp.net
-
-*** START OF THE PROJECT GUTENBERG EBOOK MIRACLE ***
-
-
-
-
-
- MIRACLE
-
- By Ray Cummings
-
- [Transcriber's Note: This etext was produced from
- Astonishing Stories, October 1942.
- Extensive research did not uncover any evidence that
- the U.S. copyright on this publication was renewed.]
-
-
-"But how can you possibly know that time traveling has never been
-done?" the chemist protested. "Someone from our future may have gone
-into the past many times."
-
-"I should think they'd have created quite a commotion," the lawyer
-observed. "Wouldn't we have heard of it from our historical records?"
-
-"Of course." The chemist was smiling now. "We probably have. History
-tells of many important occasions on which a 'vision' appeared. A
-miraculous presence, such as Joan of Arc, for instance, or the Angel of
-Mons."
-
-"Or the appearance of the Sun God to the Aztecs. I get your point," one
-of the other men interjected. "You think that there might have been a
-time traveler who materialized just long enough to take a look--and the
-superstitious natives took him for a god. Why not? That's probably just
-what would happen."
-
-Young Alan Dane sat in a corner of his grandfather's laboratory,
-listening to the argument of the group of men. He was well over six
-feet in height, a sun-bronzed, crisply blond young Viking. Beside him
-sat Ruth Vincent, his fiancée, a slim girl of twenty. Alan's heart
-was pounding. Somehow it seemed as though this bantering talk of time
-traveling were something momentous to him, something requiring a great
-and irrevocable decision.
-
-Then abruptly old Professor Dane held up his hand and, quite casually,
-said, "What you do not know, gentlemen, is that for half my life I have
-been working to discover the secret of time travel."
-
-His audience was suddenly tense. Professor Dane was loved and respected
-by each of them, and his word in his chosen field of physics was final.
-If he said a thing could be done there was no mistake.
-
-The chemist broke the silence. "You've succeeded?" he asked. "You've
-made experiments that show--"
-
-The old man shook his head. "No, not yet. But I'm close to it. I know I
-am." He was staring at some infinitely distant thing beyond the room in
-which they were sitting. Staring as though he were trying to penetrate
-the grim curtain of the future, or the past.
-
-Almost as though to himself, he went on, "I've often wondered what
-made me work on this thing all these years. It's been like an inner
-urge driving me, a preordained destiny that is making me accomplish
-something."
-
-"Metaphysics!" the lawyer interrupted. "Do you believe in
-predestination?"
-
-"I believe there is a plan," Professor Dane said simply. "But what
-it is, and what my part in it may be ... I don't know. That's the
-queer part. I know instinctively that I must do something, something
-connected with traveling through time. Some task I must accomplish. But
-what it is, and how I am to do it ... I don't know. Yet I feel that
-_if_ the moment came, I would know what to do." He was gently smiling
-now at Alan and his fiancée. "But perhaps I am too old--I have thought
-that is true," he continued. "So I sent for my grandson. And, as you
-see, he brought his fiancée here with him."
-
-The old professor was staring at the startled Ruth now. "And,
-gentlemen," he added earnestly, "meeting her has somehow seemed to
-intensify that feeling. There is something to be accomplished, in the
-past or the future, and it concerns Ruth Vincent!"
-
-Alan's hands were gripping the arms of his chair. These things which
-his grandfather had been feeling--he was feeling them now. This urge,
-this apprehension that something was left undone....
-
-"I'm going to ask Alan now to carry on for me," his grandfather
-finished abruptly. "He is young and strong, educated and able. I want
-him to feel the things I've been feeling--"
-
-"Oh, I do!" Alan exclaimed. "I'll do what I can, grandfather. I'd have
-to do it, even if I didn't want to! Don't you see--I feel that same
-urge!"
-
- * * * * *
-
-The gray moving shadows all around Alan Dane were blurred, formless. He
-was seated hunched on what had been the ground. It was the ground no
-longer, but now an undulant gray surface that was under him, supporting
-his weight, but imperceptible to his touch. He couldn't feel it; he
-couldn't feel anything but the racking strain of his headlong drive
-through the vast infinities of time.
-
-He alone, of all things in this great gray monochrome of scene, seemed
-substantial. Everything else flowed invisibly away into emptiness. The
-thin skeleton of the metal headgear clamped on his forehead so that
-his temples throbbed; the wires to his wrists and ankles were luminous
-glowing strands. The electroidal current from the batteries lashed
-across his back was throbbing and pulsing into every fiber of his
-tingling body.
-
-Alan shifted restlessly and glanced at the little time-dial on his
-wrist. The needle was creeping slowly back, showing a hurtling
-progression through time to the past. He closed his strained eyes, glad
-of the relief from the impossible attempt to focus his gaze on the
-weirdly distorted scene before him.
-
-Where should he stop? And what would he find?
-
-Alan's imagination went back to the scene when his grandfather had
-first told others of his fantastic creation that would permit voyaging
-through the years. What had the old man said then? Something about a
-purpose--
-
-Alan was almost on fire with the consciousness of that set purpose now.
-Something within him, something that could not be denied, was guiding
-his hand on the control switch of the time traveler.
-
-He was voyaging backward into time! So strange a thing--and so simple
-in fundamental conception. He recalled how his grandfather had
-explained it, back in the laboratory. Everything had been created
-at once. On the scroll of time everything is permanent. We live
-our infinitesimal lifetime progressing forward through ordained,
-predetermined events. All the past and all the future exist--but we can
-only be aware of that forward-moving instant which we call the present.
-
-And old Professor Dane's fundamental conception--certainly it could now
-be considered finally proven, with his grandson actually applying it to
-really travel through time. He had thought that all material things,
-strewn in sequence on the scroll of time, were of different physical
-characteristics.
-
-Different states of matter; a different vibration-rate, so that to
-change the vibratory frequency of any object would be to change its
-position on the time-scroll!
-
- * * * * *
-
-Alan had started from his grandfather's laboratory, near Riverside
-Drive in mid-town New York. The date had been May of 1942. His watch,
-set above the other time-recording instrument on his wrist, told him
-that his start had been made only a scant half hour before, by his
-personal consciousness of time. How long ago--how far away that seemed
-now! There had been a reeling of his senses, the soundless clapping
-of swiftly alternating light and darkness at the shadowy laboratory
-windows. Then as his rate of change accelerated, the days and nights
-had merged into this flat, dead emptiness of gray.
-
-Then the house had abruptly dwindled, thinned out, and disappeared
-from around him! He had reached a time-era before its construction.
-Still with greater speed, the shadowy shifting outlines of the great
-city were in motion, shrinking into smaller and smaller buildings,
-narrower, shorter roads.
-
-More shadowy open spaces appeared, then were replaced by towering
-giants of trees. 1850 he reached and passed--then 1800, and 1750. The
-city had been long gone by then--the little village of British New York
-was a shrunken settlement of a few thousand persons clustered down
-about the Battery, four miles from where Alan Dane was. He could see
-that he was poised now on what seemed a little wooded hill, sloping
-down to the broad Hudson River a few hundred feet away.
-
-It was a strange transition indeed. And yet to Alan Dane, the
-strangeness of his own emotions seemed not the least of it. Three
-years of his life had passed since that night when he had promised his
-grandfather he would carry on the experiments--three years in which he
-had lost his grandfather, but gained a wife and son. Ruth Vincent had
-married him and together they had worked on the fragile thing that he
-bore now on his back--fragile, but more potent in a strange, incredible
-way than any other device.
-
-Alone Alan would have failed. Even with Ruth helping him he could not
-have hoped to succeed so soon. But his grandfather had left researches
-only a hair's-breadth from completion ... and the young couple had
-finished them.
-
-Even so, the thing had come almost by accident. Alan was far from sure
-that he could again compound the strange, unstable mixture of rare
-chemicals from which his nameless alloys were made--alloys which formed
-the plates in the time-batteries. But at least he had enough for this
-one brief trip.
-
-Alan was curiously sure that this one trip was all he needed to
-make--that, after it was done, the curious driving compulsion that had
-seized him three years before would leave him, his task completed.
-
-Alan glanced again at the time-dial. The transition was slowing now; he
-had hardly been aware that a moment ago he had decreased the current.
-1699-98-97.... The retardation was progressive. It was almost as though
-the apparatus itself were dictating his stopping point.
-
-And then the date 1650 flashed into his mind. That was when he had to
-stop. It was as though he'd always known it....
-
-Was this a cave, here at his back? He was aware that he was sitting at
-its entrance, facing the shadowy declivity and the deep woods through
-which he could see the broad, gray river.
-
-An instant later he shoved the lever to shut off the current. The shock
-of the halt made his senses swoop. Then, as he steadied, with the
-ground solid under him, he was aware that it was night. The hum of the
-throbbing electroidal current was gone. But there was still a pulsing
-note in the air--the throbbing voice of the deep forest through which
-the river was shimmering, pallid in the moonlight.
-
- * * * * *
-
-Alan staggered to his feet, steadied himself. A shaft of moonlight was
-on him; and abruptly in the dimness of the cave he heard a sound. A
-man's muttered, astonished exclamation blended with the startled high
-gasp of a girl.
-
-As he turned, he saw them. The man was hardly more than a boy--twenty,
-perhaps, and garbed curiously in gray blouse and brown, baggy
-pantaloons, knitted brown stockings and thick, clumsy shoes. The girl
-was even younger, a slim little thing in a quaint bodiced dress with
-her braided flaxen hair tumbling forward over her shoulders in double
-strands.
-
-Terrified, wide-eyed with utter astonishment, they mutely gaped at Alan.
-
-"Well," he said at last. "Do you speak English? I'm sorry I don't speak
-Dutch--that's your language, isn't it? This is Dutch New Amsterdam?"
-He checked himself and sighed. The Dutch boy and girl were gulping,
-numbly staring at him. They didn't speak English, of course. It would
-have been too much of a coincidence ... but so welcome, if they had.
-"I'm sorry," Alan went on, not hopefully. "Look here, I don't want to
-frighten you. I only want to know--"
-
-He took a step forward. For a second the two looked utterly
-incredulous, as though disbelieving the evidence of their eyes. And
-then they shrank away with terror on their white faces. The youth
-whirled the girl behind him, confronted Alan.
-
-"What--what do you want?" he faltered. It was English, curiously and
-quaintly intoned. "Are you real? Where do you come from?" The lad was
-recovering rapidly. "You speak English, but not like the traders or my
-teacher. What are you?"
-
-Alan tried to smile. "I won't hurt you," he repeated. "I'm a friend.
-A visitor, from--from a far-off place," he floundered. It would never
-do to say that he came from 1942. Already they were staring at him as
-though he were mad, huddled back against the wall of the cave.
-
-Abruptly behind Alan there was a whiz; a thud; and the cave was lighted
-by a flickering, yellow-red glare. It made the youth momentarily
-overlook his astonishment, his terror at Alan, so that he gasped to the
-girl:
-
-"Oh, Greta--a fire-arrow! They are out there just as we feared."
-
-Alan turned. An Indian fire-arrow had whizzed into the cave-mouth from
-the forest outside. It quivered, sticking upright in the guano floor of
-the cave--a little torch of flame with thick, resinous smoke surging
-up from it. With a sidewise kick Alan's foot knocked it loose and he
-trampled on it. He swung around with a leap so that he was close to his
-cowering companions.
-
-"Indians are out there?" he demanded. "Is that what you were afraid of,
-before you saw me?"
-
-The girl was coughing with the drifting smoke already choking her a
-little in the fetid air of the cave.
-
-"Yes," the lad muttered. "That is it. They saw us in the woods as we
-came up from the Bouwerij. So we ran in here."
-
-Another arrow came flaming. It barely missed Alan, struck against the
-rockwall and fell nearby, still flaming. He and the lad rushed at it;
-they stamped it out together.
-
-"You have no guns?" Alan demanded.
-
-"Guns?"
-
-"To shoot with. To fight our way out of here."
-
-"Oh, not guns on a ship--you mean fowling pieces? No, we have none."
-Despite his terror at the flaming arrows of the Indians outside the
-cave, the frightened Dutch boy was forcing himself to answer Alan's
-questions, but still both he and the girl were incredulously staring at
-their miraculously appearing companion.
-
-"Greta was showing me the way up from the town," the Dutch boy was
-murmuring. "She has a boat at the river bank. Then I was going up with
-the tide. In the fog last night, an English frigate got past our forts
-at the Bowling Green. It is up the river now, and Stuyvesant has sent
-me--"
-
- * * * * *
-
-Under Alan's urging questions, the boy and girl swiftly explained. This
-was a Dutch boy, born here in Nieuw Amsterdam, but he had lived most
-of his life in London. His name was Peter Van Saant. She was Greta
-Dykeman; her father was one of Governor Stuyvesant's burghers of the
-Town Council. The English fleet was here off the Hook, and yesterday,
-Nichols, emissary of the Duke of York, had come ashore to demand that
-the Dutch surrender the city. Henceforth, according to the demands of
-the Duke, this would not be Nieuw Amsterdam, but New York--a British
-settlement with a destiny of greatness, here in the New World.
-
-As he mutely listened, Alan's mind again swept to his own time-world of
-1942. This same space! And he envisioned the huge city of 1942, when
-this cave and forested glade were mid-Manhattan, where giant buildings
-towered and the great ramp of the automobile highway bordered the river.
-
-Another flaming arrow came whizzing into the mouth of the cave. Peter
-rushed for it, stamped it out. The woods beyond the cave-mouth now
-were lighted with torch glare, and echoing with the warwhoops of the
-Indians, emboldened because no fowling pieces of the trapped palefaces
-were exploding to hurl lead at them. Outside the cave, arrows were
-continuously striking; the brush was on fire, with a red-yellow glare
-that came in here and painted Alan and his two confused, terrified
-companions with its lurid sheen.
-
-"I've got to get up the river to that frigate," the lad was muttering.
-"If I got killed here--or even Greta got killed--what matter? But I've
-got to reach the frigate."
-
-He was a secret emissary of Stuyvesant, this momentous night--sent to
-the English commander of the frigate--sent because he spoke English so
-well and they would trust him.
-
-"Stuyvesant will yield to the Duke of York in a day or two," Peter
-was swiftly saying. "But he is afraid the frigate's men will land and
-attack the city from the north. If they do that, Stuyvesant's prestige
-before his own people will make him fight. Without it, he will try to
-drive a bargain for his own self-respect, and then yield. I am to tell
-the frigate's commander that if only he will but have patience and
-wait--Stuyvesant will surrender."
-
-Upon that mission, tonight, might depend the whole course of history in
-the New World!
-
-"There's no back way out of here?" Alan demanded.
-
-"No. Just this one entrance. And if we should try to run, out there
-into that glare--"
-
-"We'd get arrows in us," Alan finished wryly. "Those Indians are pretty
-close now."
-
- * * * * *
-
-The shouts of the savages were audible, where they crouched in
-the brush just beyond the line of fire. They were whooping with
-anticipatory triumph and showering the cave-mouth with their flaming
-missiles. Acrid yellow smoke was welling into the cave in clouds. Peter
-had shoved Greta to the floor where the air, so far, was a little
-purer. He too was coughing; and Alan felt the clutch of the resin-smoke
-in his own throat. To stay here another five or ten minutes would be
-death.
-
-If only his time-traveling mechanism would take more than one person!
-But it would not. He himself was safe, of course.... He had taken
-a step toward the cave-mouth, and abruptly he recoiled as an arrow
-whizzed narrowly past his shoulder.
-
-Nothing safe about this!
-
-And then he knew what he must try to do. "You two stay here, just a few
-minutes," he said swiftly. "Keep down by the floor, both of you--air's
-still much better down there. I'm going away, but I'll be back."
-
-He gazed down at them from his stalwart, six foot height as they
-crouched terrified at his feet. He was smiling a little as his fingers
-shoved the lever of the time-mechanism on his chest to the first stop.
-
-He could see the astonished horror and awe on their faces as slowly he
-faded, vanished before them.
-
-A little movement forward in time. Just about twenty-four hours. The
-blurred and shadowy cave briefly was filled with daylight, and then
-with the darkness of night again.
-
-Alan switched off the current. Night was here, deep and silent,
-enshrouding the forest. No warwhoops; no glare of flaming arrows and
-burning brush. That had been last night. From the empty cave Alan
-walked slowly out into the woods. A northward vista of the broad river
-for a moment was visible. A little blob was out there in the river--an
-English frigate awaiting the outcome of the parley of Nichols, emissary
-of the Duke of York, with Governor Stuyvesant.
-
-Alan selected a flat-topped rock which stood about a hundred feet off
-to one side of the cave-mouth--a rock whose top was some twenty feet
-above the surrounding rocks and thickets. He climbed it; stood on its
-summit.
-
-If only this would work! Despite his efforts at calmness, he was
-shuddering inside. Not for his own safety--was it for his wife and
-their little son, out there in 1942? Absurd thought; but somehow it was
-turning him cold with apprehension.
-
-He set his tiny time-dial for the moment of his departure from the
-smoke-filled cave, last night, and turned the current on again.
-Twenty-four hours backward into time. A retrogression of that same
-swift daylight again. Then the previous dawn, swiftly fading into
-night....
-
-Again his time-movement stopped; and the forest sprang into ringing
-warwhoops and crackling yellow-red glare of torchlight and burning
-brush. On the top of the little butte Alan stood poised. An amazing
-figure, he came out of nothingness, solidifying before the astounded
-eyes of the stricken savages. The warwhoops died into a tense,
-terrified silence. To Alan it was a breathless moment of apprehension.
-His fingers went to the time-lever; alert to shove it if necessary. And
-then in the wave of silence which flooded the pallid forest glade he
-flung out his arms. Drawn to his full height, with arms outstretched
-as though in benediction he stood gazing down upon the silent savages.
-A pale cathedral shaft of moonlight was filtering through the overhead
-branches and it struck upon him, illumined him with its eerie glow.
-
- * * * * *
-
-The tense moment passed. The Indians, their war-painted bodies
-glistening in the glare of the burning brush, were all silently
-staring. There seemed a hundred or more of them. Then one of them, with
-a faint awed cry, flung himself prostrate with forehead to the ground
-in terrified homage to this shining god of the rock who had appeared so
-suddenly.
-
-And then they were all prostrate in groveling worship until one of
-them, who might have been their leader, abruptly leaped to his feet and
-dashed away through the thickets. The others in another second were up
-after him. It was a frightened scramble, a terrified rush to escape the
-wrath of this stalwart god who so silently was poised above them in the
-forest.
-
-For a moment the woods resounded with the cries and the tramp of the
-escaping savages; distant cries until at last there was only silence....
-
-Alan leaped from the rock and dashed for the burning brush outside the
-cave-mouth. If only he had calculated his time correctly! Then at the
-cave entrance Greta and Peter appeared. His arm held her as she sagged
-against him, with the yellow-red glare painting them and the turgid
-smoke swirling around them.
-
-"Here--I'll carry her," Alan exclaimed.
-
-He caught the girl up in his arms--slim, frail little thing, fighting
-in terror with him for an instant, and then relaxing. Peter staggered
-after them as Alan led the way down into the silent forest where the
-night air was pure and all the fire and smoke were above them with the
-silent shimmering river gleaming there ahead.
-
-"You're better now?" he murmured to the girl.
-
-"Yes. Oh yes--I'm all right. Oh, who--what are you?"
-
-He did not answer. Holding her in his arms suddenly made him think
-of Ruth, out there waiting for him in 1942. And a new apprehension
-struck at him--would his time-current last to get him back home? He was
-not using it now, but still, he knew, the volatile chemicals in the
-batteries were subject to evaporation.
-
-He set little Greta on her feet. "Your boat is near here?" he demanded.
-
-"Oh, yes, right here at the bank."
-
-"Well, you find it for Peter. Start him up for the frigate, and then
-you get back home."
-
-"Yes, I will. It is not far to the north stockade."
-
-They were both staring at him, confused, numbed with awe. "I--we must
-thank you," Peter muttered. "We saw the Indians as they fled."
-
-"Oh, that's all right. Glad to do it. But I've got to get--away now.
-I've got to get back where--where I came from--"
-
-Then Greta took a step toward him.
-
-"Oh, please, who--what are you? This thing you have done for us--"
-
-Alan was gently smiling. "Hard to explain. You'd better just call it
-a miracle," he said. His finger pressed the time-lever. He could see
-Peter grip the girl as they shrank away with terror, staring at him
-while slowly he faded into nothingness....
-
- * * * * *
-
-May, 1942. In a dim, quiet room of the New York Historical Society Alan
-sat poring over an old Dutch chronicle of Nieuw Amsterdam. And then
-he found what he was after--an account of Stuyvesant's surrender to
-the Duke of York. It was a modern English translation of an account by
-someone who had lived in the little Dutch city.
-
-Alan read it, awed. Here was mention of young Peter Van Saant, who had
-gone up the river to the _Queen Catherine_--the English frigate which
-had slipped past the forts in the fog that night. And it told of Greta
-Dykeman who had shown him the way to where her rowboat was hidden. And
-then--the miracle!
-
-Greta Dykeman and Peter Van Saant--so the chronicle stated--had been
-attacked by Indians that night. They had taken refuge in a cave, where
-a great shining presence in the guise of a strange man had come and
-frightened away the Indians. He had led Peter and Greta to safety--and
-then had vanished.
-
-Silently Alan left the Historical Society. Why had it seemingly been
-his destiny to rescue that Dutch boy and girl? That strange urge which
-both he and his grandfather before him had felt so strongly--why
-was that? Van Saant--why, that suggested the name Vincent! The one,
-Dutch--and the other just its English, modernized equivalent?
-
-Alan hurried to the Genealogical Room at the Public Library; and there
-he found it. Ruth's family--the Vincents--and before that, the Van
-Saants.
-
-Then he came to 1656. The marriage of Peter Van Saant, to Mistress
-Greta Dykeman....
-
-Alan sat numbly, staring in awe.
-
-If they had died in that smoke-filled cave, this son of theirs,
-recorded here as Hans Van Saant, born 1657, would never have been born,
-nor any of his descendants. No Ruth Vincent, now in 1942; no little son
-of hers and Alan's....
-
-Alan was smiling to himself, a whimsical, awed smile. He certainly had
-had no cause to be apprehensive that his mission back into time would
-fail. It was ordained--predestined--a million events down from Peter
-and Greta to Ruth were recorded, with his own action fitting into them.
-Nothing else was possible!
-
-Miracle ... there is so much that none of us will ever understand!
-
-*** END OF THE PROJECT GUTENBERG EBOOK MIRACLE ***
-
-Updated editions will replace the previous one--the old editions will
-be renamed.
-
-Creating the works from print editions not protected by U.S. copyright
-law means that no one owns a United States copyright in these works,
-so the Foundation (and you!) can copy and distribute it in the
-United States without permission and without paying copyright
-royalties. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for an eBook, except by following
-the terms of the trademark license, including paying royalties for use
-of the Project Gutenberg trademark. If you do not charge anything for
-copies of this eBook, complying with the trademark license is very
-easy. You may use this eBook for nearly any purpose such as creation
-of derivative works, reports, performances and research. Project
-Gutenberg eBooks may be modified and printed and given away--you may
-do practically ANYTHING in the United States with eBooks not protected
-by U.S. copyright law. Redistribution is subject to the trademark
-license, especially commercial redistribution.
-
-START: FULL LICENSE
-
-THE FULL PROJECT GUTENBERG LICENSE
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
-
-To protect the Project Gutenberg-tm mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase "Project
-Gutenberg"), you agree to comply with all the terms of the Full
-Project Gutenberg-tm License available with this file or online at
-www.gutenberg.org/license.
-
-Section 1. General Terms of Use and Redistributing Project
-Gutenberg-tm electronic works
-
-1.A. By reading or using any part of this Project Gutenberg-tm
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg-tm electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg-tm electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the
-person or entity to whom you paid the fee as set forth in paragraph
-1.E.8.
-
-1.B. "Project Gutenberg" is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg-tm electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg-tm electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg-tm
-electronic works. See paragraph 1.E below.
-
-1.C. The Project Gutenberg Literary Archive Foundation ("the
-Foundation" or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg-tm electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg-tm mission of promoting
-free access to electronic works by freely sharing Project Gutenberg-tm
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg-tm name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg-tm License when
-you share it without charge with others.
-
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg-tm work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country other than the United States.
-
-1.E. Unless you have removed all references to Project Gutenberg:
-
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg-tm License must appear
-prominently whenever any copy of a Project Gutenberg-tm work (any work
-on which the phrase "Project Gutenberg" appears, or with which the
-phrase "Project Gutenberg" is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-
- This eBook is for the use of anyone anywhere in the United States and
- most other parts of the world at no cost and with almost no
- restrictions whatsoever. You may copy it, give it away or re-use it
- under the terms of the Project Gutenberg License included with this
- eBook or online at www.gutenberg.org. If you are not located in the
- United States, you will have to check the laws of the country where
- you are located before using this eBook.
-
-1.E.2. If an individual Project Gutenberg-tm electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase "Project
-Gutenberg" associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg-tm
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-
-1.E.3. If an individual Project Gutenberg-tm electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg-tm License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg-tm.
-
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg-tm License.
-
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg-tm work in a format
-other than "Plain Vanilla ASCII" or other format used in the official
-version posted on the official Project Gutenberg-tm website
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original "Plain
-Vanilla ASCII" or other form. Any alternate format must include the
-full Project Gutenberg-tm License as specified in paragraph 1.E.1.
-
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg-tm works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg-tm electronic works
-provided that:
-
-* You pay a royalty fee of 20% of the gross profits you derive from
- the use of Project Gutenberg-tm works calculated using the method
- you already use to calculate your applicable taxes. The fee is owed
- to the owner of the Project Gutenberg-tm trademark, but he has
- agreed to donate royalties under this paragraph to the Project
- Gutenberg Literary Archive Foundation. Royalty payments must be paid
- within 60 days following each date on which you prepare (or are
- legally required to prepare) your periodic tax returns. Royalty
- payments should be clearly marked as such and sent to the Project
- Gutenberg Literary Archive Foundation at the address specified in
- Section 4, "Information about donations to the Project Gutenberg
- Literary Archive Foundation."
-
-* You provide a full refund of any money paid by a user who notifies
- you in writing (or by e-mail) within 30 days of receipt that s/he
- does not agree to the terms of the full Project Gutenberg-tm
- License. You must require such a user to return or destroy all
- copies of the works possessed in a physical medium and discontinue
- all use of and all access to other copies of Project Gutenberg-tm
- works.
-
-* You provide, in accordance with paragraph 1.F.3, a full refund of
- any money paid for a work or a replacement copy, if a defect in the
- electronic work is discovered and reported to you within 90 days of
- receipt of the work.
-
-* You comply with all other terms of this agreement for free
- distribution of Project Gutenberg-tm works.
-
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg-tm electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from the Project Gutenberg Literary Archive Foundation, the manager of
-the Project Gutenberg-tm trademark. Contact the Foundation as set
-forth in Section 3 below.
-
-1.F.
-
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
-electronic works, and the medium on which they may be stored, may
-contain "Defects," such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
-of Replacement or Refund" described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg-tm trademark, and any other party distributing a Project
-Gutenberg-tm electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg-tm electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg-tm
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg-tm work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg-tm work, and (c) any
-Defect you cause.
-
-Section 2. Information about the Mission of Project Gutenberg-tm
-
-Project Gutenberg-tm is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg-tm's
-goals and ensuring that the Project Gutenberg-tm collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg-tm and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at
-www.gutenberg.org
-
-Section 3. Information about the Project Gutenberg Literary
-Archive Foundation
-
-The Project Gutenberg Literary Archive Foundation is a non-profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation's EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state's laws.
-
-The Foundation's business office is located at 809 North 1500 West,
-Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
-to date contact information can be found at the Foundation's website
-and official page at www.gutenberg.org/contact
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without
-widespread public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine-readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular
-state visit www.gutenberg.org/donate
-
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-
-Please check the Project Gutenberg web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-
-Section 5. General Information About Project Gutenberg-tm electronic works
-
-Professor Michael S. Hart was the originator of the Project
-Gutenberg-tm concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg-tm eBooks with only a loose network of
-volunteer support.
-
-Project Gutenberg-tm eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-
-Most people start at our website which has the main PG search
-facility: www.gutenberg.org
-
-This website includes information about Project Gutenberg-tm,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
diff --git a/old/69150-0.zip b/old/69150-0.zip
deleted file mode 100644
index ab1c6aa..0000000
--- a/old/69150-0.zip
+++ /dev/null
Binary files differ
diff --git a/old/69150-h.zip b/old/69150-h.zip
deleted file mode 100644
index 6bb457e..0000000
--- a/old/69150-h.zip
+++ /dev/null
Binary files differ
diff --git a/old/69150-h/69150-h.htm b/old/69150-h/69150-h.htm
deleted file mode 100644
index b4131f9..0000000
--- a/old/69150-h/69150-h.htm
+++ /dev/null
@@ -1,1071 +0,0 @@
-<!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 Miracle, by Ray Cummings.
- </title>
- <link rel="coverpage" href="images/cover.jpg" />
-
- <style type="text/css">
-
-body {
- margin-left: 10%;
- margin-right: 10%;
-}
-
- h1,h2 {
- text-align: center; /* all headings centered */
- clear: both;
-}
-
-p {
- margin-top: .51em;
- text-align: justify;
- margin-bottom: .49em;
-}
-
-hr {
- width: 33%;
- margin-top: 2em;
- margin-bottom: 2em;
- margin-left: 33.5%;
- margin-right: 33.5%;
- clear: both;
-}
-
-hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;}
-hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;}
-
-.center {text-align: center;}
-
-.right {text-align: right;}
-
-/* Images */
-.figcenter {
- margin: auto;
- text-align: center;
-}
-
-div.titlepage {
- text-align: center;
- page-break-before: always;
- page-break-after: always;
-}
-
-div.titlepage p {
- text-align: center;
- text-indent: 0em;
- font-weight: bold;
- line-height: 1.5;
- margin-top: 3em;
-}
-
-
- </style>
- </head>
-<body>
-<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Miracle, by Ray Cummings</p>
-<div style='display:block; margin:1em 0'>
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online
-at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
-are not located in the United States, you will have to check the laws of the
-country where you are located before using this eBook.
-</div>
-
-<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Miracle</p>
-<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Ray Cummings</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Release Date: October 13, 2022 [eBook #69150]</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p>
- <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net</p>
-<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK MIRACLE ***</div>
-
-<div class="titlepage">
-
-<h1>MIRACLE</h1>
-
-<h2>By Ray Cummings</h2>
-
-<p>[Transcriber's Note: This etext was produced from<br />
-Astonishing Stories, October 1942.<br />
-Extensive research did not uncover any evidence that<br />
-the U.S. copyright on this publication was renewed.]</p>
-
-</div>
-
-<hr class="chap" />
-
-<div class="figcenter">
- <img src="images/illus.jpg" alt=""/>
-</div>
-
-<hr class="chap" />
-
-<p>"But how can you possibly know that time traveling has never been
-done?" the chemist protested. "Someone from our future may have gone
-into the past many times."</p>
-
-<p>"I should think they'd have created quite a commotion," the lawyer
-observed. "Wouldn't we have heard of it from our historical records?"</p>
-
-<p>"Of course." The chemist was smiling now. "We probably have. History
-tells of many important occasions on which a 'vision' appeared. A
-miraculous presence, such as Joan of Arc, for instance, or the Angel of
-Mons."</p>
-
-<p>"Or the appearance of the Sun God to the Aztecs. I get your point," one
-of the other men interjected. "You think that there might have been a
-time traveler who materialized just long enough to take a look&mdash;and the
-superstitious natives took him for a god. Why not? That's probably just
-what would happen."</p>
-
-<p>Young Alan Dane sat in a corner of his grandfather's laboratory,
-listening to the argument of the group of men. He was well over six
-feet in height, a sun-bronzed, crisply blond young Viking. Beside him
-sat Ruth Vincent, his fiancée, a slim girl of twenty. Alan's heart
-was pounding. Somehow it seemed as though this bantering talk of time
-traveling were something momentous to him, something requiring a great
-and irrevocable decision.</p>
-
-<p>Then abruptly old Professor Dane held up his hand and, quite casually,
-said, "What you do not know, gentlemen, is that for half my life I have
-been working to discover the secret of time travel."</p>
-
-<p>His audience was suddenly tense. Professor Dane was loved and respected
-by each of them, and his word in his chosen field of physics was final.
-If he said a thing could be done there was no mistake.</p>
-
-<p>The chemist broke the silence. "You've succeeded?" he asked. "You've
-made experiments that show&mdash;"</p>
-
-<p>The old man shook his head. "No, not yet. But I'm close to it. I know I
-am." He was staring at some infinitely distant thing beyond the room in
-which they were sitting. Staring as though he were trying to penetrate
-the grim curtain of the future, or the past.</p>
-
-<p>Almost as though to himself, he went on, "I've often wondered what
-made me work on this thing all these years. It's been like an inner
-urge driving me, a preordained destiny that is making me accomplish
-something."</p>
-
-<p>"Metaphysics!" the lawyer interrupted. "Do you believe in
-predestination?"</p>
-
-<p>"I believe there is a plan," Professor Dane said simply. "But what
-it is, and what my part in it may be ... I don't know. That's the
-queer part. I know instinctively that I must do something, something
-connected with traveling through time. Some task I must accomplish. But
-what it is, and how I am to do it ... I don't know. Yet I feel that
-<i>if</i> the moment came, I would know what to do." He was gently smiling
-now at Alan and his fiancée. "But perhaps I am too old&mdash;I have thought
-that is true," he continued. "So I sent for my grandson. And, as you
-see, he brought his fiancée here with him."</p>
-
-<p>The old professor was staring at the startled Ruth now. "And,
-gentlemen," he added earnestly, "meeting her has somehow seemed to
-intensify that feeling. There is something to be accomplished, in the
-past or the future, and it concerns Ruth Vincent!"</p>
-
-<p>Alan's hands were gripping the arms of his chair. These things which
-his grandfather had been feeling&mdash;he was feeling them now. This urge,
-this apprehension that something was left undone....</p>
-
-<p>"I'm going to ask Alan now to carry on for me," his grandfather
-finished abruptly. "He is young and strong, educated and able. I want
-him to feel the things I've been feeling&mdash;"</p>
-
-<p>"Oh, I do!" Alan exclaimed. "I'll do what I can, grandfather. I'd have
-to do it, even if I didn't want to! Don't you see&mdash;I feel that same
-urge!"</p>
-
-<hr class="tb" />
-
-<p>The gray moving shadows all around Alan Dane were blurred, formless. He
-was seated hunched on what had been the ground. It was the ground no
-longer, but now an undulant gray surface that was under him, supporting
-his weight, but imperceptible to his touch. He couldn't feel it; he
-couldn't feel anything but the racking strain of his headlong drive
-through the vast infinities of time.</p>
-
-<p>He alone, of all things in this great gray monochrome of scene, seemed
-substantial. Everything else flowed invisibly away into emptiness. The
-thin skeleton of the metal headgear clamped on his forehead so that
-his temples throbbed; the wires to his wrists and ankles were luminous
-glowing strands. The electroidal current from the batteries lashed
-across his back was throbbing and pulsing into every fiber of his
-tingling body.</p>
-
-<p>Alan shifted restlessly and glanced at the little time-dial on his
-wrist. The needle was creeping slowly back, showing a hurtling
-progression through time to the past. He closed his strained eyes, glad
-of the relief from the impossible attempt to focus his gaze on the
-weirdly distorted scene before him.</p>
-
-<p>Where should he stop? And what would he find?</p>
-
-<p>Alan's imagination went back to the scene when his grandfather had
-first told others of his fantastic creation that would permit voyaging
-through the years. What had the old man said then? Something about a
-purpose&mdash;</p>
-
-<p>Alan was almost on fire with the consciousness of that set purpose now.
-Something within him, something that could not be denied, was guiding
-his hand on the control switch of the time traveler.</p>
-
-<p>He was voyaging backward into time! So strange a thing&mdash;and so simple
-in fundamental conception. He recalled how his grandfather had
-explained it, back in the laboratory. Everything had been created
-at once. On the scroll of time everything is permanent. We live
-our infinitesimal lifetime progressing forward through ordained,
-predetermined events. All the past and all the future exist&mdash;but we can
-only be aware of that forward-moving instant which we call the present.</p>
-
-<p>And old Professor Dane's fundamental conception&mdash;certainly it could now
-be considered finally proven, with his grandson actually applying it to
-really travel through time. He had thought that all material things,
-strewn in sequence on the scroll of time, were of different physical
-characteristics.</p>
-
-<p>Different states of matter; a different vibration-rate, so that to
-change the vibratory frequency of any object would be to change its
-position on the time-scroll!</p>
-
-<hr class="tb" />
-
-<p>Alan had started from his grandfather's laboratory, near Riverside
-Drive in mid-town New York. The date had been May of 1942. His watch,
-set above the other time-recording instrument on his wrist, told him
-that his start had been made only a scant half hour before, by his
-personal consciousness of time. How long ago&mdash;how far away that seemed
-now! There had been a reeling of his senses, the soundless clapping
-of swiftly alternating light and darkness at the shadowy laboratory
-windows. Then as his rate of change accelerated, the days and nights
-had merged into this flat, dead emptiness of gray.</p>
-
-<p>Then the house had abruptly dwindled, thinned out, and disappeared
-from around him! He had reached a time-era before its construction.
-Still with greater speed, the shadowy shifting outlines of the great
-city were in motion, shrinking into smaller and smaller buildings,
-narrower, shorter roads.</p>
-
-<p>More shadowy open spaces appeared, then were replaced by towering
-giants of trees. 1850 he reached and passed&mdash;then 1800, and 1750. The
-city had been long gone by then&mdash;the little village of British New York
-was a shrunken settlement of a few thousand persons clustered down
-about the Battery, four miles from where Alan Dane was. He could see
-that he was poised now on what seemed a little wooded hill, sloping
-down to the broad Hudson River a few hundred feet away.</p>
-
-<p>It was a strange transition indeed. And yet to Alan Dane, the
-strangeness of his own emotions seemed not the least of it. Three
-years of his life had passed since that night when he had promised his
-grandfather he would carry on the experiments&mdash;three years in which he
-had lost his grandfather, but gained a wife and son. Ruth Vincent had
-married him and together they had worked on the fragile thing that he
-bore now on his back&mdash;fragile, but more potent in a strange, incredible
-way than any other device.</p>
-
-<p>Alone Alan would have failed. Even with Ruth helping him he could not
-have hoped to succeed so soon. But his grandfather had left researches
-only a hair's-breadth from completion ... and the young couple had
-finished them.</p>
-
-<p>Even so, the thing had come almost by accident. Alan was far from sure
-that he could again compound the strange, unstable mixture of rare
-chemicals from which his nameless alloys were made&mdash;alloys which formed
-the plates in the time-batteries. But at least he had enough for this
-one brief trip.</p>
-
-<p>Alan was curiously sure that this one trip was all he needed to
-make&mdash;that, after it was done, the curious driving compulsion that had
-seized him three years before would leave him, his task completed.</p>
-
-<p>Alan glanced again at the time-dial. The transition was slowing now; he
-had hardly been aware that a moment ago he had decreased the current.
-1699-98-97.... The retardation was progressive. It was almost as though
-the apparatus itself were dictating his stopping point.</p>
-
-<p>And then the date 1650 flashed into his mind. That was when he had to
-stop. It was as though he'd always known it....</p>
-
-<p>Was this a cave, here at his back? He was aware that he was sitting at
-its entrance, facing the shadowy declivity and the deep woods through
-which he could see the broad, gray river.</p>
-
-<p>An instant later he shoved the lever to shut off the current. The shock
-of the halt made his senses swoop. Then, as he steadied, with the
-ground solid under him, he was aware that it was night. The hum of the
-throbbing electroidal current was gone. But there was still a pulsing
-note in the air&mdash;the throbbing voice of the deep forest through which
-the river was shimmering, pallid in the moonlight.</p>
-
-<hr class="tb" />
-
-<p>Alan staggered to his feet, steadied himself. A shaft of moonlight was
-on him; and abruptly in the dimness of the cave he heard a sound. A
-man's muttered, astonished exclamation blended with the startled high
-gasp of a girl.</p>
-
-<p>As he turned, he saw them. The man was hardly more than a boy&mdash;twenty,
-perhaps, and garbed curiously in gray blouse and brown, baggy
-pantaloons, knitted brown stockings and thick, clumsy shoes. The girl
-was even younger, a slim little thing in a quaint bodiced dress with
-her braided flaxen hair tumbling forward over her shoulders in double
-strands.</p>
-
-<p>Terrified, wide-eyed with utter astonishment, they mutely gaped at Alan.</p>
-
-<p>"Well," he said at last. "Do you speak English? I'm sorry I don't speak
-Dutch&mdash;that's your language, isn't it? This is Dutch New Amsterdam?"
-He checked himself and sighed. The Dutch boy and girl were gulping,
-numbly staring at him. They didn't speak English, of course. It would
-have been too much of a coincidence ... but so welcome, if they had.
-"I'm sorry," Alan went on, not hopefully. "Look here, I don't want to
-frighten you. I only want to know&mdash;"</p>
-
-<p>He took a step forward. For a second the two looked utterly
-incredulous, as though disbelieving the evidence of their eyes. And
-then they shrank away with terror on their white faces. The youth
-whirled the girl behind him, confronted Alan.</p>
-
-<p>"What&mdash;what do you want?" he faltered. It was English, curiously and
-quaintly intoned. "Are you real? Where do you come from?" The lad was
-recovering rapidly. "You speak English, but not like the traders or my
-teacher. What are you?"</p>
-
-<p>Alan tried to smile. "I won't hurt you," he repeated. "I'm a friend.
-A visitor, from&mdash;from a far-off place," he floundered. It would never
-do to say that he came from 1942. Already they were staring at him as
-though he were mad, huddled back against the wall of the cave.</p>
-
-<p>Abruptly behind Alan there was a whiz; a thud; and the cave was lighted
-by a flickering, yellow-red glare. It made the youth momentarily
-overlook his astonishment, his terror at Alan, so that he gasped to the
-girl:</p>
-
-<p>"Oh, Greta&mdash;a fire-arrow! They are out there just as we feared."</p>
-
-<p>Alan turned. An Indian fire-arrow had whizzed into the cave-mouth from
-the forest outside. It quivered, sticking upright in the guano floor of
-the cave&mdash;a little torch of flame with thick, resinous smoke surging
-up from it. With a sidewise kick Alan's foot knocked it loose and he
-trampled on it. He swung around with a leap so that he was close to his
-cowering companions.</p>
-
-<p>"Indians are out there?" he demanded. "Is that what you were afraid of,
-before you saw me?"</p>
-
-<p>The girl was coughing with the drifting smoke already choking her a
-little in the fetid air of the cave.</p>
-
-<p>"Yes," the lad muttered. "That is it. They saw us in the woods as we
-came up from the Bouwerij. So we ran in here."</p>
-
-<p>Another arrow came flaming. It barely missed Alan, struck against the
-rockwall and fell nearby, still flaming. He and the lad rushed at it;
-they stamped it out together.</p>
-
-<p>"You have no guns?" Alan demanded.</p>
-
-<p>"Guns?"</p>
-
-<p>"To shoot with. To fight our way out of here."</p>
-
-<p>"Oh, not guns on a ship&mdash;you mean fowling pieces? No, we have none."
-Despite his terror at the flaming arrows of the Indians outside the
-cave, the frightened Dutch boy was forcing himself to answer Alan's
-questions, but still both he and the girl were incredulously staring at
-their miraculously appearing companion.</p>
-
-<p>"Greta was showing me the way up from the town," the Dutch boy was
-murmuring. "She has a boat at the river bank. Then I was going up with
-the tide. In the fog last night, an English frigate got past our forts
-at the Bowling Green. It is up the river now, and Stuyvesant has sent
-me&mdash;"</p>
-
-<hr class="tb" />
-
-<p>Under Alan's urging questions, the boy and girl swiftly explained. This
-was a Dutch boy, born here in Nieuw Amsterdam, but he had lived most
-of his life in London. His name was Peter Van Saant. She was Greta
-Dykeman; her father was one of Governor Stuyvesant's burghers of the
-Town Council. The English fleet was here off the Hook, and yesterday,
-Nichols, emissary of the Duke of York, had come ashore to demand that
-the Dutch surrender the city. Henceforth, according to the demands of
-the Duke, this would not be Nieuw Amsterdam, but New York&mdash;a British
-settlement with a destiny of greatness, here in the New World.</p>
-
-<p>As he mutely listened, Alan's mind again swept to his own time-world of
-1942. This same space! And he envisioned the huge city of 1942, when
-this cave and forested glade were mid-Manhattan, where giant buildings
-towered and the great ramp of the automobile highway bordered the river.</p>
-
-<p>Another flaming arrow came whizzing into the mouth of the cave. Peter
-rushed for it, stamped it out. The woods beyond the cave-mouth now
-were lighted with torch glare, and echoing with the warwhoops of the
-Indians, emboldened because no fowling pieces of the trapped palefaces
-were exploding to hurl lead at them. Outside the cave, arrows were
-continuously striking; the brush was on fire, with a red-yellow glare
-that came in here and painted Alan and his two confused, terrified
-companions with its lurid sheen.</p>
-
-<p>"I've got to get up the river to that frigate," the lad was muttering.
-"If I got killed here&mdash;or even Greta got killed&mdash;what matter? But I've
-got to reach the frigate."</p>
-
-<p>He was a secret emissary of Stuyvesant, this momentous night&mdash;sent to
-the English commander of the frigate&mdash;sent because he spoke English so
-well and they would trust him.</p>
-
-<p>"Stuyvesant will yield to the Duke of York in a day or two," Peter
-was swiftly saying. "But he is afraid the frigate's men will land and
-attack the city from the north. If they do that, Stuyvesant's prestige
-before his own people will make him fight. Without it, he will try to
-drive a bargain for his own self-respect, and then yield. I am to tell
-the frigate's commander that if only he will but have patience and
-wait&mdash;Stuyvesant will surrender."</p>
-
-<p>Upon that mission, tonight, might depend the whole course of history in
-the New World!</p>
-
-<p>"There's no back way out of here?" Alan demanded.</p>
-
-<p>"No. Just this one entrance. And if we should try to run, out there
-into that glare&mdash;"</p>
-
-<p>"We'd get arrows in us," Alan finished wryly. "Those Indians are pretty
-close now."</p>
-
-<hr class="tb" />
-
-<p>The shouts of the savages were audible, where they crouched in
-the brush just beyond the line of fire. They were whooping with
-anticipatory triumph and showering the cave-mouth with their flaming
-missiles. Acrid yellow smoke was welling into the cave in clouds. Peter
-had shoved Greta to the floor where the air, so far, was a little
-purer. He too was coughing; and Alan felt the clutch of the resin-smoke
-in his own throat. To stay here another five or ten minutes would be
-death.</p>
-
-<p>If only his time-traveling mechanism would take more than one person!
-But it would not. He himself was safe, of course.... He had taken
-a step toward the cave-mouth, and abruptly he recoiled as an arrow
-whizzed narrowly past his shoulder.</p>
-
-<p>Nothing safe about this!</p>
-
-<p>And then he knew what he must try to do. "You two stay here, just a few
-minutes," he said swiftly. "Keep down by the floor, both of you&mdash;air's
-still much better down there. I'm going away, but I'll be back."</p>
-
-<p>He gazed down at them from his stalwart, six foot height as they
-crouched terrified at his feet. He was smiling a little as his fingers
-shoved the lever of the time-mechanism on his chest to the first stop.</p>
-
-<p>He could see the astonished horror and awe on their faces as slowly he
-faded, vanished before them.</p>
-
-<p>A little movement forward in time. Just about twenty-four hours. The
-blurred and shadowy cave briefly was filled with daylight, and then
-with the darkness of night again.</p>
-
-<p>Alan switched off the current. Night was here, deep and silent,
-enshrouding the forest. No warwhoops; no glare of flaming arrows and
-burning brush. That had been last night. From the empty cave Alan
-walked slowly out into the woods. A northward vista of the broad river
-for a moment was visible. A little blob was out there in the river&mdash;an
-English frigate awaiting the outcome of the parley of Nichols, emissary
-of the Duke of York, with Governor Stuyvesant.</p>
-
-<p>Alan selected a flat-topped rock which stood about a hundred feet off
-to one side of the cave-mouth&mdash;a rock whose top was some twenty feet
-above the surrounding rocks and thickets. He climbed it; stood on its
-summit.</p>
-
-<p>If only this would work! Despite his efforts at calmness, he was
-shuddering inside. Not for his own safety&mdash;was it for his wife and
-their little son, out there in 1942? Absurd thought; but somehow it was
-turning him cold with apprehension.</p>
-
-<p>He set his tiny time-dial for the moment of his departure from the
-smoke-filled cave, last night, and turned the current on again.
-Twenty-four hours backward into time. A retrogression of that same
-swift daylight again. Then the previous dawn, swiftly fading into
-night....</p>
-
-<p>Again his time-movement stopped; and the forest sprang into ringing
-warwhoops and crackling yellow-red glare of torchlight and burning
-brush. On the top of the little butte Alan stood poised. An amazing
-figure, he came out of nothingness, solidifying before the astounded
-eyes of the stricken savages. The warwhoops died into a tense,
-terrified silence. To Alan it was a breathless moment of apprehension.
-His fingers went to the time-lever; alert to shove it if necessary. And
-then in the wave of silence which flooded the pallid forest glade he
-flung out his arms. Drawn to his full height, with arms outstretched
-as though in benediction he stood gazing down upon the silent savages.
-A pale cathedral shaft of moonlight was filtering through the overhead
-branches and it struck upon him, illumined him with its eerie glow.</p>
-
-<hr class="tb" />
-
-<p>The tense moment passed. The Indians, their war-painted bodies
-glistening in the glare of the burning brush, were all silently
-staring. There seemed a hundred or more of them. Then one of them, with
-a faint awed cry, flung himself prostrate with forehead to the ground
-in terrified homage to this shining god of the rock who had appeared so
-suddenly.</p>
-
-<p>And then they were all prostrate in groveling worship until one of
-them, who might have been their leader, abruptly leaped to his feet and
-dashed away through the thickets. The others in another second were up
-after him. It was a frightened scramble, a terrified rush to escape the
-wrath of this stalwart god who so silently was poised above them in the
-forest.</p>
-
-<p>For a moment the woods resounded with the cries and the tramp of the
-escaping savages; distant cries until at last there was only silence....</p>
-
-<p>Alan leaped from the rock and dashed for the burning brush outside the
-cave-mouth. If only he had calculated his time correctly! Then at the
-cave entrance Greta and Peter appeared. His arm held her as she sagged
-against him, with the yellow-red glare painting them and the turgid
-smoke swirling around them.</p>
-
-<p>"Here&mdash;I'll carry her," Alan exclaimed.</p>
-
-<p>He caught the girl up in his arms&mdash;slim, frail little thing, fighting
-in terror with him for an instant, and then relaxing. Peter staggered
-after them as Alan led the way down into the silent forest where the
-night air was pure and all the fire and smoke were above them with the
-silent shimmering river gleaming there ahead.</p>
-
-<p>"You're better now?" he murmured to the girl.</p>
-
-<p>"Yes. Oh yes&mdash;I'm all right. Oh, who&mdash;what are you?"</p>
-
-<p>He did not answer. Holding her in his arms suddenly made him think
-of Ruth, out there waiting for him in 1942. And a new apprehension
-struck at him&mdash;would his time-current last to get him back home? He was
-not using it now, but still, he knew, the volatile chemicals in the
-batteries were subject to evaporation.</p>
-
-<p>He set little Greta on her feet. "Your boat is near here?" he demanded.</p>
-
-<p>"Oh, yes, right here at the bank."</p>
-
-<p>"Well, you find it for Peter. Start him up for the frigate, and then
-you get back home."</p>
-
-<p>"Yes, I will. It is not far to the north stockade."</p>
-
-<p>They were both staring at him, confused, numbed with awe. "I&mdash;we must
-thank you," Peter muttered. "We saw the Indians as they fled."</p>
-
-<p>"Oh, that's all right. Glad to do it. But I've got to get&mdash;away now.
-I've got to get back where&mdash;where I came from&mdash;"</p>
-
-<p>Then Greta took a step toward him.</p>
-
-<p>"Oh, please, who&mdash;what are you? This thing you have done for us&mdash;"</p>
-
-<p>Alan was gently smiling. "Hard to explain. You'd better just call it
-a miracle," he said. His finger pressed the time-lever. He could see
-Peter grip the girl as they shrank away with terror, staring at him
-while slowly he faded into nothingness....</p>
-
-<hr class="tb" />
-
-<p>May, 1942. In a dim, quiet room of the New York Historical Society Alan
-sat poring over an old Dutch chronicle of Nieuw Amsterdam. And then
-he found what he was after&mdash;an account of Stuyvesant's surrender to
-the Duke of York. It was a modern English translation of an account by
-someone who had lived in the little Dutch city.</p>
-
-<p>Alan read it, awed. Here was mention of young Peter Van Saant, who had
-gone up the river to the <i>Queen Catherine</i>&mdash;the English frigate which
-had slipped past the forts in the fog that night. And it told of Greta
-Dykeman who had shown him the way to where her rowboat was hidden. And
-then&mdash;the miracle!</p>
-
-<p>Greta Dykeman and Peter Van Saant&mdash;so the chronicle stated&mdash;had been
-attacked by Indians that night. They had taken refuge in a cave, where
-a great shining presence in the guise of a strange man had come and
-frightened away the Indians. He had led Peter and Greta to safety&mdash;and
-then had vanished.</p>
-
-<p>Silently Alan left the Historical Society. Why had it seemingly been
-his destiny to rescue that Dutch boy and girl? That strange urge which
-both he and his grandfather before him had felt so strongly&mdash;why
-was that? Van Saant&mdash;why, that suggested the name Vincent! The one,
-Dutch&mdash;and the other just its English, modernized equivalent?</p>
-
-<p>Alan hurried to the Genealogical Room at the Public Library; and there
-he found it. Ruth's family&mdash;the Vincents&mdash;and before that, the Van
-Saants.</p>
-
-<p>Then he came to 1656. The marriage of Peter Van Saant, to Mistress
-Greta Dykeman....</p>
-
-<p>Alan sat numbly, staring in awe.</p>
-
-<p>If they had died in that smoke-filled cave, this son of theirs,
-recorded here as Hans Van Saant, born 1657, would never have been born,
-nor any of his descendants. No Ruth Vincent, now in 1942; no little son
-of hers and Alan's....</p>
-
-<p>Alan was smiling to himself, a whimsical, awed smile. He certainly had
-had no cause to be apprehensive that his mission back into time would
-fail. It was ordained&mdash;predestined&mdash;a million events down from Peter
-and Greta to Ruth were recorded, with his own action fitting into them.
-Nothing else was possible!</p>
-
-<p>Miracle ... there is so much that none of us will ever understand!</p>
-
-<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK MIRACLE ***</div>
-<div style='text-align:left'>
-
-<div style='display:block; margin:1em 0'>
-Updated editions will replace the previous one&#8212;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&#8482; electronic works to protect the PROJECT GUTENBERG&#8482;
-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&#8212;you may
-do practically ANYTHING in the United States with eBooks not protected
-by U.S. copyright law. Redistribution is subject to the trademark
-license, especially commercial redistribution.
-</div>
-
-<div style='margin-top:1em; font-size:1.1em; text-align:center'>START: FULL LICENSE</div>
-<div style='text-align:center;font-size:0.9em'>THE FULL PROJECT GUTENBERG LICENSE</div>
-<div style='text-align:center;font-size:0.9em'>PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</div>
-
-<div style='display:block; margin:1em 0'>
-To protect the Project Gutenberg&#8482; 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 &#8220;Project
-Gutenberg&#8221;), you agree to comply with all the terms of the Full
-Project Gutenberg&#8482; 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&#8482; electronic works
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.A. By reading or using any part of this Project Gutenberg&#8482;
-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&#8482; electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg&#8482; 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. &#8220;Project Gutenberg&#8221; 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&#8482; 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&#8482; electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg&#8482;
-electronic works. See paragraph 1.E below.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.C. The Project Gutenberg Literary Archive Foundation (&#8220;the
-Foundation&#8221; or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg&#8482; 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&#8482; mission of promoting
-free access to electronic works by freely sharing Project Gutenberg&#8482;
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg&#8482; 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&#8482; 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&#8482; 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&#8482; License must appear
-prominently whenever any copy of a Project Gutenberg&#8482; work (any work
-on which the phrase &#8220;Project Gutenberg&#8221; appears, or with which the
-phrase &#8220;Project Gutenberg&#8221; 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&#8482; 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 &#8220;Project
-Gutenberg&#8221; 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&#8482;
-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&#8482; 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&#8482; 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&#8482;
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg&#8482;.
-</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&#8482; 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&#8482; work in a format
-other than &#8220;Plain Vanilla ASCII&#8221; or other format used in the official
-version posted on the official Project Gutenberg&#8482; 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 &#8220;Plain
-Vanilla ASCII&#8221; or other form. Any alternate format must include the
-full Project Gutenberg&#8482; 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&#8482; 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&#8482; electronic works
-provided that:
-</div>
-
-<div style='margin-left:0.7em;'>
- <div style='text-indent:-0.7em'>
- &#8226; You pay a royalty fee of 20% of the gross profits you derive from
- the use of Project Gutenberg&#8482; works calculated using the method
- you already use to calculate your applicable taxes. The fee is owed
- to the owner of the Project Gutenberg&#8482; 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, &#8220;Information about donations to the Project Gutenberg
- Literary Archive Foundation.&#8221;
- </div>
-
- <div style='text-indent:-0.7em'>
- &#8226; 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&#8482;
- 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&#8482;
- works.
- </div>
-
- <div style='text-indent:-0.7em'>
- &#8226; 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'>
- &#8226; You comply with all other terms of this agreement for free
- distribution of Project Gutenberg&#8482; 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&#8482; 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&#8482; 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&#8482; collection. Despite these efforts, Project Gutenberg&#8482;
-electronic works, and the medium on which they may be stored, may
-contain &#8220;Defects,&#8221; 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 &#8220;Right
-of Replacement or Refund&#8221; described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg&#8482; trademark, and any other party distributing a Project
-Gutenberg&#8482; 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 &#8216;AS-IS&#8217;, 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&#8482; electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg&#8482;
-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&#8482; work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg&#8482; 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&#8482;
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; 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&#8482;&#8217;s
-goals and ensuring that the Project Gutenberg&#8482; 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&#8482; 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&#8217;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&#8217;s laws.
-</div>
-
-<div style='display:block; margin:1em 0'>
-The Foundation&#8217;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&#8217;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&#8482; 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&#8482; electronic works
-</div>
-
-<div style='display:block; margin:1em 0'>
-Professor Michael S. Hart was the originator of the Project
-Gutenberg&#8482; concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg&#8482; eBooks with only a loose network of
-volunteer support.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; 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&#8482;,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
-</div>
-
-</div>
-</body>
-</html>
diff --git a/old/69150-h/images/cover.jpg b/old/69150-h/images/cover.jpg
deleted file mode 100644
index 8c8c336..0000000
--- a/old/69150-h/images/cover.jpg
+++ /dev/null
Binary files differ
diff --git a/old/69150-h/images/illus.jpg b/old/69150-h/images/illus.jpg
deleted file mode 100644
index 9721783..0000000
--- a/old/69150-h/images/illus.jpg
+++ /dev/null
Binary files differ