summaryrefslogtreecommitdiff
path: root/7193.txt
diff options
context:
space:
mode:
Diffstat (limited to '7193.txt')
-rw-r--r--7193.txt1227
1 files changed, 1227 insertions, 0 deletions
diff --git a/7193.txt b/7193.txt
new file mode 100644
index 0000000..16d0bd2
--- /dev/null
+++ b/7193.txt
@@ -0,0 +1,1227 @@
+The Project Gutenberg EBook of The Adventures of Tom Sawyer, Part 1.
+by Mark Twain (Samuel Clemens)
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Adventures of Tom Sawyer, Part 1.
+
+Author: Mark Twain (Samuel Clemens)
+
+Release Date: June 29, 2004 [EBook #7193]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK TOM SAWYER, PART 1. ***
+
+
+
+
+Produced by David Widger
+
+
+
+
+ THE ADVENTURES OF TOM SAWYER
+ BY
+ MARK TWAIN
+ (Samuel Langhorne Clemens)
+
+ Part 1
+
+
+ P R E F A C E
+
+MOST of the adventures recorded in this book really occurred; one or
+two were experiences of my own, the rest those of boys who were
+schoolmates of mine. Huck Finn is drawn from life; Tom Sawyer also, but
+not from an individual--he is a combination of the characteristics of
+three boys whom I knew, and therefore belongs to the composite order of
+architecture.
+
+The odd superstitions touched upon were all prevalent among children
+and slaves in the West at the period of this story--that is to say,
+thirty or forty years ago.
+
+Although my book is intended mainly for the entertainment of boys and
+girls, I hope it will not be shunned by men and women on that account,
+for part of my plan has been to try to pleasantly remind adults of what
+they once were themselves, and of how they felt and thought and talked,
+and what queer enterprises they sometimes engaged in.
+
+ THE AUTHOR.
+
+HARTFORD, 1876.
+
+
+
+ T O M S A W Y E R
+
+
+
+CHAPTER I
+
+"TOM!"
+
+No answer.
+
+"TOM!"
+
+No answer.
+
+"What's gone with that boy, I wonder? You TOM!"
+
+No answer.
+
+The old lady pulled her spectacles down and looked over them about the
+room; then she put them up and looked out under them. She seldom or
+never looked THROUGH them for so small a thing as a boy; they were her
+state pair, the pride of her heart, and were built for "style," not
+service--she could have seen through a pair of stove-lids just as well.
+She looked perplexed for a moment, and then said, not fiercely, but
+still loud enough for the furniture to hear:
+
+"Well, I lay if I get hold of you I'll--"
+
+She did not finish, for by this time she was bending down and punching
+under the bed with the broom, and so she needed breath to punctuate the
+punches with. She resurrected nothing but the cat.
+
+"I never did see the beat of that boy!"
+
+She went to the open door and stood in it and looked out among the
+tomato vines and "jimpson" weeds that constituted the garden. No Tom.
+So she lifted up her voice at an angle calculated for distance and
+shouted:
+
+"Y-o-u-u TOM!"
+
+There was a slight noise behind her and she turned just in time to
+seize a small boy by the slack of his roundabout and arrest his flight.
+
+"There! I might 'a' thought of that closet. What you been doing in
+there?"
+
+"Nothing."
+
+"Nothing! Look at your hands. And look at your mouth. What IS that
+truck?"
+
+"I don't know, aunt."
+
+"Well, I know. It's jam--that's what it is. Forty times I've said if
+you didn't let that jam alone I'd skin you. Hand me that switch."
+
+The switch hovered in the air--the peril was desperate--
+
+"My! Look behind you, aunt!"
+
+The old lady whirled round, and snatched her skirts out of danger. The
+lad fled on the instant, scrambled up the high board-fence, and
+disappeared over it.
+
+His aunt Polly stood surprised a moment, and then broke into a gentle
+laugh.
+
+"Hang the boy, can't I never learn anything? Ain't he played me tricks
+enough like that for me to be looking out for him by this time? But old
+fools is the biggest fools there is. Can't learn an old dog new tricks,
+as the saying is. But my goodness, he never plays them alike, two days,
+and how is a body to know what's coming? He 'pears to know just how
+long he can torment me before I get my dander up, and he knows if he
+can make out to put me off for a minute or make me laugh, it's all down
+again and I can't hit him a lick. I ain't doing my duty by that boy,
+and that's the Lord's truth, goodness knows. Spare the rod and spile
+the child, as the Good Book says. I'm a laying up sin and suffering for
+us both, I know. He's full of the Old Scratch, but laws-a-me! he's my
+own dead sister's boy, poor thing, and I ain't got the heart to lash
+him, somehow. Every time I let him off, my conscience does hurt me so,
+and every time I hit him my old heart most breaks. Well-a-well, man
+that is born of woman is of few days and full of trouble, as the
+Scripture says, and I reckon it's so. He'll play hookey this evening, *
+and [* Southwestern for "afternoon"] I'll just be obleeged to make him
+work, to-morrow, to punish him. It's mighty hard to make him work
+Saturdays, when all the boys is having holiday, but he hates work more
+than he hates anything else, and I've GOT to do some of my duty by him,
+or I'll be the ruination of the child."
+
+Tom did play hookey, and he had a very good time. He got back home
+barely in season to help Jim, the small colored boy, saw next-day's
+wood and split the kindlings before supper--at least he was there in
+time to tell his adventures to Jim while Jim did three-fourths of the
+work. Tom's younger brother (or rather half-brother) Sid was already
+through with his part of the work (picking up chips), for he was a
+quiet boy, and had no adventurous, troublesome ways.
+
+While Tom was eating his supper, and stealing sugar as opportunity
+offered, Aunt Polly asked him questions that were full of guile, and
+very deep--for she wanted to trap him into damaging revealments. Like
+many other simple-hearted souls, it was her pet vanity to believe she
+was endowed with a talent for dark and mysterious diplomacy, and she
+loved to contemplate her most transparent devices as marvels of low
+cunning. Said she:
+
+"Tom, it was middling warm in school, warn't it?"
+
+"Yes'm."
+
+"Powerful warm, warn't it?"
+
+"Yes'm."
+
+"Didn't you want to go in a-swimming, Tom?"
+
+A bit of a scare shot through Tom--a touch of uncomfortable suspicion.
+He searched Aunt Polly's face, but it told him nothing. So he said:
+
+"No'm--well, not very much."
+
+The old lady reached out her hand and felt Tom's shirt, and said:
+
+"But you ain't too warm now, though." And it flattered her to reflect
+that she had discovered that the shirt was dry without anybody knowing
+that that was what she had in her mind. But in spite of her, Tom knew
+where the wind lay, now. So he forestalled what might be the next move:
+
+"Some of us pumped on our heads--mine's damp yet. See?"
+
+Aunt Polly was vexed to think she had overlooked that bit of
+circumstantial evidence, and missed a trick. Then she had a new
+inspiration:
+
+"Tom, you didn't have to undo your shirt collar where I sewed it, to
+pump on your head, did you? Unbutton your jacket!"
+
+The trouble vanished out of Tom's face. He opened his jacket. His
+shirt collar was securely sewed.
+
+"Bother! Well, go 'long with you. I'd made sure you'd played hookey
+and been a-swimming. But I forgive ye, Tom. I reckon you're a kind of a
+singed cat, as the saying is--better'n you look. THIS time."
+
+She was half sorry her sagacity had miscarried, and half glad that Tom
+had stumbled into obedient conduct for once.
+
+But Sidney said:
+
+"Well, now, if I didn't think you sewed his collar with white thread,
+but it's black."
+
+"Why, I did sew it with white! Tom!"
+
+But Tom did not wait for the rest. As he went out at the door he said:
+
+"Siddy, I'll lick you for that."
+
+In a safe place Tom examined two large needles which were thrust into
+the lapels of his jacket, and had thread bound about them--one needle
+carried white thread and the other black. He said:
+
+"She'd never noticed if it hadn't been for Sid. Confound it! sometimes
+she sews it with white, and sometimes she sews it with black. I wish to
+geeminy she'd stick to one or t'other--I can't keep the run of 'em. But
+I bet you I'll lam Sid for that. I'll learn him!"
+
+He was not the Model Boy of the village. He knew the model boy very
+well though--and loathed him.
+
+Within two minutes, or even less, he had forgotten all his troubles.
+Not because his troubles were one whit less heavy and bitter to him
+than a man's are to a man, but because a new and powerful interest bore
+them down and drove them out of his mind for the time--just as men's
+misfortunes are forgotten in the excitement of new enterprises. This
+new interest was a valued novelty in whistling, which he had just
+acquired from a negro, and he was suffering to practise it undisturbed.
+It consisted in a peculiar bird-like turn, a sort of liquid warble,
+produced by touching the tongue to the roof of the mouth at short
+intervals in the midst of the music--the reader probably remembers how
+to do it, if he has ever been a boy. Diligence and attention soon gave
+him the knack of it, and he strode down the street with his mouth full
+of harmony and his soul full of gratitude. He felt much as an
+astronomer feels who has discovered a new planet--no doubt, as far as
+strong, deep, unalloyed pleasure is concerned, the advantage was with
+the boy, not the astronomer.
+
+The summer evenings were long. It was not dark, yet. Presently Tom
+checked his whistle. A stranger was before him--a boy a shade larger
+than himself. A new-comer of any age or either sex was an impressive
+curiosity in the poor little shabby village of St. Petersburg. This boy
+was well dressed, too--well dressed on a week-day. This was simply
+astounding. His cap was a dainty thing, his close-buttoned blue cloth
+roundabout was new and natty, and so were his pantaloons. He had shoes
+on--and it was only Friday. He even wore a necktie, a bright bit of
+ribbon. He had a citified air about him that ate into Tom's vitals. The
+more Tom stared at the splendid marvel, the higher he turned up his
+nose at his finery and the shabbier and shabbier his own outfit seemed
+to him to grow. Neither boy spoke. If one moved, the other moved--but
+only sidewise, in a circle; they kept face to face and eye to eye all
+the time. Finally Tom said:
+
+"I can lick you!"
+
+"I'd like to see you try it."
+
+"Well, I can do it."
+
+"No you can't, either."
+
+"Yes I can."
+
+"No you can't."
+
+"I can."
+
+"You can't."
+
+"Can!"
+
+"Can't!"
+
+An uncomfortable pause. Then Tom said:
+
+"What's your name?"
+
+"'Tisn't any of your business, maybe."
+
+"Well I 'low I'll MAKE it my business."
+
+"Well why don't you?"
+
+"If you say much, I will."
+
+"Much--much--MUCH. There now."
+
+"Oh, you think you're mighty smart, DON'T you? I could lick you with
+one hand tied behind me, if I wanted to."
+
+"Well why don't you DO it? You SAY you can do it."
+
+"Well I WILL, if you fool with me."
+
+"Oh yes--I've seen whole families in the same fix."
+
+"Smarty! You think you're SOME, now, DON'T you? Oh, what a hat!"
+
+"You can lump that hat if you don't like it. I dare you to knock it
+off--and anybody that'll take a dare will suck eggs."
+
+"You're a liar!"
+
+"You're another."
+
+"You're a fighting liar and dasn't take it up."
+
+"Aw--take a walk!"
+
+"Say--if you give me much more of your sass I'll take and bounce a
+rock off'n your head."
+
+"Oh, of COURSE you will."
+
+"Well I WILL."
+
+"Well why don't you DO it then? What do you keep SAYING you will for?
+Why don't you DO it? It's because you're afraid."
+
+"I AIN'T afraid."
+
+"You are."
+
+"I ain't."
+
+"You are."
+
+Another pause, and more eying and sidling around each other. Presently
+they were shoulder to shoulder. Tom said:
+
+"Get away from here!"
+
+"Go away yourself!"
+
+"I won't."
+
+"I won't either."
+
+So they stood, each with a foot placed at an angle as a brace, and
+both shoving with might and main, and glowering at each other with
+hate. But neither could get an advantage. After struggling till both
+were hot and flushed, each relaxed his strain with watchful caution,
+and Tom said:
+
+"You're a coward and a pup. I'll tell my big brother on you, and he
+can thrash you with his little finger, and I'll make him do it, too."
+
+"What do I care for your big brother? I've got a brother that's bigger
+than he is--and what's more, he can throw him over that fence, too."
+[Both brothers were imaginary.]
+
+"That's a lie."
+
+"YOUR saying so don't make it so."
+
+Tom drew a line in the dust with his big toe, and said:
+
+"I dare you to step over that, and I'll lick you till you can't stand
+up. Anybody that'll take a dare will steal sheep."
+
+The new boy stepped over promptly, and said:
+
+"Now you said you'd do it, now let's see you do it."
+
+"Don't you crowd me now; you better look out."
+
+"Well, you SAID you'd do it--why don't you do it?"
+
+"By jingo! for two cents I WILL do it."
+
+The new boy took two broad coppers out of his pocket and held them out
+with derision. Tom struck them to the ground. In an instant both boys
+were rolling and tumbling in the dirt, gripped together like cats; and
+for the space of a minute they tugged and tore at each other's hair and
+clothes, punched and scratched each other's nose, and covered
+themselves with dust and glory. Presently the confusion took form, and
+through the fog of battle Tom appeared, seated astride the new boy, and
+pounding him with his fists. "Holler 'nuff!" said he.
+
+The boy only struggled to free himself. He was crying--mainly from rage.
+
+"Holler 'nuff!"--and the pounding went on.
+
+At last the stranger got out a smothered "'Nuff!" and Tom let him up
+and said:
+
+"Now that'll learn you. Better look out who you're fooling with next
+time."
+
+The new boy went off brushing the dust from his clothes, sobbing,
+snuffling, and occasionally looking back and shaking his head and
+threatening what he would do to Tom the "next time he caught him out."
+To which Tom responded with jeers, and started off in high feather, and
+as soon as his back was turned the new boy snatched up a stone, threw
+it and hit him between the shoulders and then turned tail and ran like
+an antelope. Tom chased the traitor home, and thus found out where he
+lived. He then held a position at the gate for some time, daring the
+enemy to come outside, but the enemy only made faces at him through the
+window and declined. At last the enemy's mother appeared, and called
+Tom a bad, vicious, vulgar child, and ordered him away. So he went
+away; but he said he "'lowed" to "lay" for that boy.
+
+He got home pretty late that night, and when he climbed cautiously in
+at the window, he uncovered an ambuscade, in the person of his aunt;
+and when she saw the state his clothes were in her resolution to turn
+his Saturday holiday into captivity at hard labor became adamantine in
+its firmness.
+
+
+
+CHAPTER II
+
+SATURDAY morning was come, and all the summer world was bright and
+fresh, and brimming with life. There was a song in every heart; and if
+the heart was young the music issued at the lips. There was cheer in
+every face and a spring in every step. The locust-trees were in bloom
+and the fragrance of the blossoms filled the air. Cardiff Hill, beyond
+the village and above it, was green with vegetation and it lay just far
+enough away to seem a Delectable Land, dreamy, reposeful, and inviting.
+
+Tom appeared on the sidewalk with a bucket of whitewash and a
+long-handled brush. He surveyed the fence, and all gladness left him and
+a deep melancholy settled down upon his spirit. Thirty yards of board
+fence nine feet high. Life to him seemed hollow, and existence but a
+burden. Sighing, he dipped his brush and passed it along the topmost
+plank; repeated the operation; did it again; compared the insignificant
+whitewashed streak with the far-reaching continent of unwhitewashed
+fence, and sat down on a tree-box discouraged. Jim came skipping out at
+the gate with a tin pail, and singing Buffalo Gals. Bringing water from
+the town pump had always been hateful work in Tom's eyes, before, but
+now it did not strike him so. He remembered that there was company at
+the pump. White, mulatto, and negro boys and girls were always there
+waiting their turns, resting, trading playthings, quarrelling,
+fighting, skylarking. And he remembered that although the pump was only
+a hundred and fifty yards off, Jim never got back with a bucket of
+water under an hour--and even then somebody generally had to go after
+him. Tom said:
+
+"Say, Jim, I'll fetch the water if you'll whitewash some."
+
+Jim shook his head and said:
+
+"Can't, Mars Tom. Ole missis, she tole me I got to go an' git dis
+water an' not stop foolin' roun' wid anybody. She say she spec' Mars
+Tom gwine to ax me to whitewash, an' so she tole me go 'long an' 'tend
+to my own business--she 'lowed SHE'D 'tend to de whitewashin'."
+
+"Oh, never you mind what she said, Jim. That's the way she always
+talks. Gimme the bucket--I won't be gone only a a minute. SHE won't
+ever know."
+
+"Oh, I dasn't, Mars Tom. Ole missis she'd take an' tar de head off'n
+me. 'Deed she would."
+
+"SHE! She never licks anybody--whacks 'em over the head with her
+thimble--and who cares for that, I'd like to know. She talks awful, but
+talk don't hurt--anyways it don't if she don't cry. Jim, I'll give you
+a marvel. I'll give you a white alley!"
+
+Jim began to waver.
+
+"White alley, Jim! And it's a bully taw."
+
+"My! Dat's a mighty gay marvel, I tell you! But Mars Tom I's powerful
+'fraid ole missis--"
+
+"And besides, if you will I'll show you my sore toe."
+
+Jim was only human--this attraction was too much for him. He put down
+his pail, took the white alley, and bent over the toe with absorbing
+interest while the bandage was being unwound. In another moment he was
+flying down the street with his pail and a tingling rear, Tom was
+whitewashing with vigor, and Aunt Polly was retiring from the field
+with a slipper in her hand and triumph in her eye.
+
+But Tom's energy did not last. He began to think of the fun he had
+planned for this day, and his sorrows multiplied. Soon the free boys
+would come tripping along on all sorts of delicious expeditions, and
+they would make a world of fun of him for having to work--the very
+thought of it burnt him like fire. He got out his worldly wealth and
+examined it--bits of toys, marbles, and trash; enough to buy an
+exchange of WORK, maybe, but not half enough to buy so much as half an
+hour of pure freedom. So he returned his straitened means to his
+pocket, and gave up the idea of trying to buy the boys. At this dark
+and hopeless moment an inspiration burst upon him! Nothing less than a
+great, magnificent inspiration.
+
+He took up his brush and went tranquilly to work. Ben Rogers hove in
+sight presently--the very boy, of all boys, whose ridicule he had been
+dreading. Ben's gait was the hop-skip-and-jump--proof enough that his
+heart was light and his anticipations high. He was eating an apple, and
+giving a long, melodious whoop, at intervals, followed by a deep-toned
+ding-dong-dong, ding-dong-dong, for he was personating a steamboat. As
+he drew near, he slackened speed, took the middle of the street, leaned
+far over to starboard and rounded to ponderously and with laborious
+pomp and circumstance--for he was personating the Big Missouri, and
+considered himself to be drawing nine feet of water. He was boat and
+captain and engine-bells combined, so he had to imagine himself
+standing on his own hurricane-deck giving the orders and executing them:
+
+"Stop her, sir! Ting-a-ling-ling!" The headway ran almost out, and he
+drew up slowly toward the sidewalk.
+
+"Ship up to back! Ting-a-ling-ling!" His arms straightened and
+stiffened down his sides.
+
+"Set her back on the stabboard! Ting-a-ling-ling! Chow! ch-chow-wow!
+Chow!" His right hand, meantime, describing stately circles--for it was
+representing a forty-foot wheel.
+
+"Let her go back on the labboard! Ting-a-lingling! Chow-ch-chow-chow!"
+The left hand began to describe circles.
+
+"Stop the stabboard! Ting-a-ling-ling! Stop the labboard! Come ahead
+on the stabboard! Stop her! Let your outside turn over slow!
+Ting-a-ling-ling! Chow-ow-ow! Get out that head-line! LIVELY now!
+Come--out with your spring-line--what're you about there! Take a turn
+round that stump with the bight of it! Stand by that stage, now--let her
+go! Done with the engines, sir! Ting-a-ling-ling! SH'T! S'H'T! SH'T!"
+(trying the gauge-cocks).
+
+Tom went on whitewashing--paid no attention to the steamboat. Ben
+stared a moment and then said: "Hi-YI! YOU'RE up a stump, ain't you!"
+
+No answer. Tom surveyed his last touch with the eye of an artist, then
+he gave his brush another gentle sweep and surveyed the result, as
+before. Ben ranged up alongside of him. Tom's mouth watered for the
+apple, but he stuck to his work. Ben said:
+
+"Hello, old chap, you got to work, hey?"
+
+Tom wheeled suddenly and said:
+
+"Why, it's you, Ben! I warn't noticing."
+
+"Say--I'm going in a-swimming, I am. Don't you wish you could? But of
+course you'd druther WORK--wouldn't you? Course you would!"
+
+Tom contemplated the boy a bit, and said:
+
+"What do you call work?"
+
+"Why, ain't THAT work?"
+
+Tom resumed his whitewashing, and answered carelessly:
+
+"Well, maybe it is, and maybe it ain't. All I know, is, it suits Tom
+Sawyer."
+
+"Oh come, now, you don't mean to let on that you LIKE it?"
+
+The brush continued to move.
+
+"Like it? Well, I don't see why I oughtn't to like it. Does a boy get
+a chance to whitewash a fence every day?"
+
+That put the thing in a new light. Ben stopped nibbling his apple. Tom
+swept his brush daintily back and forth--stepped back to note the
+effect--added a touch here and there--criticised the effect again--Ben
+watching every move and getting more and more interested, more and more
+absorbed. Presently he said:
+
+"Say, Tom, let ME whitewash a little."
+
+Tom considered, was about to consent; but he altered his mind:
+
+"No--no--I reckon it wouldn't hardly do, Ben. You see, Aunt Polly's
+awful particular about this fence--right here on the street, you know
+--but if it was the back fence I wouldn't mind and SHE wouldn't. Yes,
+she's awful particular about this fence; it's got to be done very
+careful; I reckon there ain't one boy in a thousand, maybe two
+thousand, that can do it the way it's got to be done."
+
+"No--is that so? Oh come, now--lemme just try. Only just a little--I'd
+let YOU, if you was me, Tom."
+
+"Ben, I'd like to, honest injun; but Aunt Polly--well, Jim wanted to
+do it, but she wouldn't let him; Sid wanted to do it, and she wouldn't
+let Sid. Now don't you see how I'm fixed? If you was to tackle this
+fence and anything was to happen to it--"
+
+"Oh, shucks, I'll be just as careful. Now lemme try. Say--I'll give
+you the core of my apple."
+
+"Well, here--No, Ben, now don't. I'm afeard--"
+
+"I'll give you ALL of it!"
+
+Tom gave up the brush with reluctance in his face, but alacrity in his
+heart. And while the late steamer Big Missouri worked and sweated in
+the sun, the retired artist sat on a barrel in the shade close by,
+dangled his legs, munched his apple, and planned the slaughter of more
+innocents. There was no lack of material; boys happened along every
+little while; they came to jeer, but remained to whitewash. By the time
+Ben was fagged out, Tom had traded the next chance to Billy Fisher for
+a kite, in good repair; and when he played out, Johnny Miller bought in
+for a dead rat and a string to swing it with--and so on, and so on,
+hour after hour. And when the middle of the afternoon came, from being
+a poor poverty-stricken boy in the morning, Tom was literally rolling
+in wealth. He had besides the things before mentioned, twelve marbles,
+part of a jews-harp, a piece of blue bottle-glass to look through, a
+spool cannon, a key that wouldn't unlock anything, a fragment of chalk,
+a glass stopper of a decanter, a tin soldier, a couple of tadpoles, six
+fire-crackers, a kitten with only one eye, a brass doorknob, a
+dog-collar--but no dog--the handle of a knife, four pieces of
+orange-peel, and a dilapidated old window sash.
+
+He had had a nice, good, idle time all the while--plenty of company
+--and the fence had three coats of whitewash on it! If he hadn't run out
+of whitewash he would have bankrupted every boy in the village.
+
+Tom said to himself that it was not such a hollow world, after all. He
+had discovered a great law of human action, without knowing it--namely,
+that in order to make a man or a boy covet a thing, it is only
+necessary to make the thing difficult to attain. If he had been a great
+and wise philosopher, like the writer of this book, he would now have
+comprehended that Work consists of whatever a body is OBLIGED to do,
+and that Play consists of whatever a body is not obliged to do. And
+this would help him to understand why constructing artificial flowers
+or performing on a tread-mill is work, while rolling ten-pins or
+climbing Mont Blanc is only amusement. There are wealthy gentlemen in
+England who drive four-horse passenger-coaches twenty or thirty miles
+on a daily line, in the summer, because the privilege costs them
+considerable money; but if they were offered wages for the service,
+that would turn it into work and then they would resign.
+
+The boy mused awhile over the substantial change which had taken place
+in his worldly circumstances, and then wended toward headquarters to
+report.
+
+
+
+CHAPTER III
+
+TOM presented himself before Aunt Polly, who was sitting by an open
+window in a pleasant rearward apartment, which was bedroom,
+breakfast-room, dining-room, and library, combined. The balmy summer
+air, the restful quiet, the odor of the flowers, and the drowsing murmur
+of the bees had had their effect, and she was nodding over her knitting
+--for she had no company but the cat, and it was asleep in her lap. Her
+spectacles were propped up on her gray head for safety. She had thought
+that of course Tom had deserted long ago, and she wondered at seeing him
+place himself in her power again in this intrepid way. He said: "Mayn't
+I go and play now, aunt?"
+
+"What, a'ready? How much have you done?"
+
+"It's all done, aunt."
+
+"Tom, don't lie to me--I can't bear it."
+
+"I ain't, aunt; it IS all done."
+
+Aunt Polly placed small trust in such evidence. She went out to see
+for herself; and she would have been content to find twenty per cent.
+of Tom's statement true. When she found the entire fence whitewashed,
+and not only whitewashed but elaborately coated and recoated, and even
+a streak added to the ground, her astonishment was almost unspeakable.
+She said:
+
+"Well, I never! There's no getting round it, you can work when you're
+a mind to, Tom." And then she diluted the compliment by adding, "But
+it's powerful seldom you're a mind to, I'm bound to say. Well, go 'long
+and play; but mind you get back some time in a week, or I'll tan you."
+
+She was so overcome by the splendor of his achievement that she took
+him into the closet and selected a choice apple and delivered it to
+him, along with an improving lecture upon the added value and flavor a
+treat took to itself when it came without sin through virtuous effort.
+And while she closed with a happy Scriptural flourish, he "hooked" a
+doughnut.
+
+Then he skipped out, and saw Sid just starting up the outside stairway
+that led to the back rooms on the second floor. Clods were handy and
+the air was full of them in a twinkling. They raged around Sid like a
+hail-storm; and before Aunt Polly could collect her surprised faculties
+and sally to the rescue, six or seven clods had taken personal effect,
+and Tom was over the fence and gone. There was a gate, but as a general
+thing he was too crowded for time to make use of it. His soul was at
+peace, now that he had settled with Sid for calling attention to his
+black thread and getting him into trouble.
+
+Tom skirted the block, and came round into a muddy alley that led by
+the back of his aunt's cow-stable. He presently got safely beyond the
+reach of capture and punishment, and hastened toward the public square
+of the village, where two "military" companies of boys had met for
+conflict, according to previous appointment. Tom was General of one of
+these armies, Joe Harper (a bosom friend) General of the other. These
+two great commanders did not condescend to fight in person--that being
+better suited to the still smaller fry--but sat together on an eminence
+and conducted the field operations by orders delivered through
+aides-de-camp. Tom's army won a great victory, after a long and
+hard-fought battle. Then the dead were counted, prisoners exchanged,
+the terms of the next disagreement agreed upon, and the day for the
+necessary battle appointed; after which the armies fell into line and
+marched away, and Tom turned homeward alone.
+
+As he was passing by the house where Jeff Thatcher lived, he saw a new
+girl in the garden--a lovely little blue-eyed creature with yellow hair
+plaited into two long-tails, white summer frock and embroidered
+pantalettes. The fresh-crowned hero fell without firing a shot. A
+certain Amy Lawrence vanished out of his heart and left not even a
+memory of herself behind. He had thought he loved her to distraction;
+he had regarded his passion as adoration; and behold it was only a poor
+little evanescent partiality. He had been months winning her; she had
+confessed hardly a week ago; he had been the happiest and the proudest
+boy in the world only seven short days, and here in one instant of time
+she had gone out of his heart like a casual stranger whose visit is
+done.
+
+He worshipped this new angel with furtive eye, till he saw that she
+had discovered him; then he pretended he did not know she was present,
+and began to "show off" in all sorts of absurd boyish ways, in order to
+win her admiration. He kept up this grotesque foolishness for some
+time; but by-and-by, while he was in the midst of some dangerous
+gymnastic performances, he glanced aside and saw that the little girl
+was wending her way toward the house. Tom came up to the fence and
+leaned on it, grieving, and hoping she would tarry yet awhile longer.
+She halted a moment on the steps and then moved toward the door. Tom
+heaved a great sigh as she put her foot on the threshold. But his face
+lit up, right away, for she tossed a pansy over the fence a moment
+before she disappeared.
+
+The boy ran around and stopped within a foot or two of the flower, and
+then shaded his eyes with his hand and began to look down street as if
+he had discovered something of interest going on in that direction.
+Presently he picked up a straw and began trying to balance it on his
+nose, with his head tilted far back; and as he moved from side to side,
+in his efforts, he edged nearer and nearer toward the pansy; finally
+his bare foot rested upon it, his pliant toes closed upon it, and he
+hopped away with the treasure and disappeared round the corner. But
+only for a minute--only while he could button the flower inside his
+jacket, next his heart--or next his stomach, possibly, for he was not
+much posted in anatomy, and not hypercritical, anyway.
+
+He returned, now, and hung about the fence till nightfall, "showing
+off," as before; but the girl never exhibited herself again, though Tom
+comforted himself a little with the hope that she had been near some
+window, meantime, and been aware of his attentions. Finally he strode
+home reluctantly, with his poor head full of visions.
+
+All through supper his spirits were so high that his aunt wondered
+"what had got into the child." He took a good scolding about clodding
+Sid, and did not seem to mind it in the least. He tried to steal sugar
+under his aunt's very nose, and got his knuckles rapped for it. He said:
+
+"Aunt, you don't whack Sid when he takes it."
+
+"Well, Sid don't torment a body the way you do. You'd be always into
+that sugar if I warn't watching you."
+
+Presently she stepped into the kitchen, and Sid, happy in his
+immunity, reached for the sugar-bowl--a sort of glorying over Tom which
+was wellnigh unbearable. But Sid's fingers slipped and the bowl dropped
+and broke. Tom was in ecstasies. In such ecstasies that he even
+controlled his tongue and was silent. He said to himself that he would
+not speak a word, even when his aunt came in, but would sit perfectly
+still till she asked who did the mischief; and then he would tell, and
+there would be nothing so good in the world as to see that pet model
+"catch it." He was so brimful of exultation that he could hardly hold
+himself when the old lady came back and stood above the wreck
+discharging lightnings of wrath from over her spectacles. He said to
+himself, "Now it's coming!" And the next instant he was sprawling on
+the floor! The potent palm was uplifted to strike again when Tom cried
+out:
+
+"Hold on, now, what 'er you belting ME for?--Sid broke it!"
+
+Aunt Polly paused, perplexed, and Tom looked for healing pity. But
+when she got her tongue again, she only said:
+
+"Umf! Well, you didn't get a lick amiss, I reckon. You been into some
+other audacious mischief when I wasn't around, like enough."
+
+Then her conscience reproached her, and she yearned to say something
+kind and loving; but she judged that this would be construed into a
+confession that she had been in the wrong, and discipline forbade that.
+So she kept silence, and went about her affairs with a troubled heart.
+Tom sulked in a corner and exalted his woes. He knew that in her heart
+his aunt was on her knees to him, and he was morosely gratified by the
+consciousness of it. He would hang out no signals, he would take notice
+of none. He knew that a yearning glance fell upon him, now and then,
+through a film of tears, but he refused recognition of it. He pictured
+himself lying sick unto death and his aunt bending over him beseeching
+one little forgiving word, but he would turn his face to the wall, and
+die with that word unsaid. Ah, how would she feel then? And he pictured
+himself brought home from the river, dead, with his curls all wet, and
+his sore heart at rest. How she would throw herself upon him, and how
+her tears would fall like rain, and her lips pray God to give her back
+her boy and she would never, never abuse him any more! But he would lie
+there cold and white and make no sign--a poor little sufferer, whose
+griefs were at an end. He so worked upon his feelings with the pathos
+of these dreams, that he had to keep swallowing, he was so like to
+choke; and his eyes swam in a blur of water, which overflowed when he
+winked, and ran down and trickled from the end of his nose. And such a
+luxury to him was this petting of his sorrows, that he could not bear
+to have any worldly cheeriness or any grating delight intrude upon it;
+it was too sacred for such contact; and so, presently, when his cousin
+Mary danced in, all alive with the joy of seeing home again after an
+age-long visit of one week to the country, he got up and moved in
+clouds and darkness out at one door as she brought song and sunshine in
+at the other.
+
+He wandered far from the accustomed haunts of boys, and sought
+desolate places that were in harmony with his spirit. A log raft in the
+river invited him, and he seated himself on its outer edge and
+contemplated the dreary vastness of the stream, wishing, the while,
+that he could only be drowned, all at once and unconsciously, without
+undergoing the uncomfortable routine devised by nature. Then he thought
+of his flower. He got it out, rumpled and wilted, and it mightily
+increased his dismal felicity. He wondered if she would pity him if she
+knew? Would she cry, and wish that she had a right to put her arms
+around his neck and comfort him? Or would she turn coldly away like all
+the hollow world? This picture brought such an agony of pleasurable
+suffering that he worked it over and over again in his mind and set it
+up in new and varied lights, till he wore it threadbare. At last he
+rose up sighing and departed in the darkness.
+
+About half-past nine or ten o'clock he came along the deserted street
+to where the Adored Unknown lived; he paused a moment; no sound fell
+upon his listening ear; a candle was casting a dull glow upon the
+curtain of a second-story window. Was the sacred presence there? He
+climbed the fence, threaded his stealthy way through the plants, till
+he stood under that window; he looked up at it long, and with emotion;
+then he laid him down on the ground under it, disposing himself upon
+his back, with his hands clasped upon his breast and holding his poor
+wilted flower. And thus he would die--out in the cold world, with no
+shelter over his homeless head, no friendly hand to wipe the
+death-damps from his brow, no loving face to bend pityingly over him
+when the great agony came. And thus SHE would see him when she looked
+out upon the glad morning, and oh! would she drop one little tear upon
+his poor, lifeless form, would she heave one little sigh to see a bright
+young life so rudely blighted, so untimely cut down?
+
+The window went up, a maid-servant's discordant voice profaned the
+holy calm, and a deluge of water drenched the prone martyr's remains!
+
+The strangling hero sprang up with a relieving snort. There was a whiz
+as of a missile in the air, mingled with the murmur of a curse, a sound
+as of shivering glass followed, and a small, vague form went over the
+fence and shot away in the gloom.
+
+Not long after, as Tom, all undressed for bed, was surveying his
+drenched garments by the light of a tallow dip, Sid woke up; but if he
+had any dim idea of making any "references to allusions," he thought
+better of it and held his peace, for there was danger in Tom's eye.
+
+Tom turned in without the added vexation of prayers, and Sid made
+mental note of the omission.
+
+
+
+
+
+End of the Project Gutenberg EBook of The Adventures of Tom Sawyer, Part 1.
+by Mark Twain (Samuel Clemens)
+
+*** END OF THIS PROJECT GUTENBERG EBOOK TOM SAWYER, PART 1. ***
+
+***** This file should be named 7193.txt or 7193.zip *****
+This and all associated files of various formats will be found in:
+ https://www.gutenberg.org/7/1/9/7193/
+
+Produced by David Widger
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties. Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark. Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission. If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy. You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research. They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks. Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A. By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement. If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B. "Project Gutenberg" is a registered trademark. It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement. There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement. See
+paragraph 1.C below. There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works. See paragraph 1.E below.
+
+1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works. Nearly all the individual works in the
+collection are in the public domain in the United States. If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed. Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work. You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D. The copyright laws of the place where you are located also govern
+what you can do with this work. Copyright laws in most countries are in
+a constant state of change. If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work. The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E. Unless you have removed all references to Project Gutenberg:
+
+1.E.1. The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2. If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges. If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3. If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder. Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5. Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6. You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form. However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form. Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7. Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8. You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+ the use of Project Gutenberg-tm works calculated using the method
+ you already use to calculate your applicable taxes. The fee is
+ owed to the owner of the Project Gutenberg-tm trademark, but he
+ has agreed to donate royalties under this paragraph to the
+ Project Gutenberg Literary Archive Foundation. Royalty payments
+ must be paid within 60 days following each date on which you
+ prepare (or are legally required to prepare) your periodic tax
+ returns. Royalty payments should be clearly marked as such and
+ sent to the Project Gutenberg Literary Archive Foundation at the
+ address specified in Section 4, "Information about donations to
+ the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+ you in writing (or by e-mail) within 30 days of receipt that s/he
+ does not agree to the terms of the full Project Gutenberg-tm
+ License. You must require such a user to return or
+ destroy all copies of the works possessed in a physical medium
+ and discontinue all use of and all access to other copies of
+ Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+ money paid for a work or a replacement copy, if a defect in the
+ electronic work is discovered and reported to you within 90 days
+ of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+ distribution of Project Gutenberg-tm works.
+
+1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark. Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1. Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection. Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from. If you
+received the work on a physical medium, you must return the medium with
+your written explanation. The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund. If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund. If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4. Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5. Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law. The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section 2. Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers. It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come. In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3. Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service. The Foundation's EIN or federal tax identification
+number is 64-6221541. Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising. Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations. Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org. Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+ Dr. Gregory B. Newby
+ Chief Executive and Director
+ gbnewby@pglaf.org
+
+
+Section 4. Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment. Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States. Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements. We do not solicit donations in locations
+where we have not received written confirmation of compliance. To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States. U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses. Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations. To donate, please visit: https://pglaf.org/donate
+
+
+Section 5. General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone. For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included. Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+ https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.