The Project Gutenberg EBook of The Mouse and The Moonbeam, by Eugene Field 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 Mouse and The Moonbeam Author: Eugene Field Release Date: January 4, 2009 [EBook #27697] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE MOUSE AND THE MOONBEAM *** Produced by Louise Hope, David Edwards and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
Copyright, 1912
by Charles Scribner’s Sons
Through the courtesy of Charles Scribner’s Sons, we were permitted to print this small private edition.
GIFT
hilst you were sleeping, little Dear-my-soul, strange things happened; but that I saw and heard them, I should never have believed them. The clock stood, of course, in the corner, a moonbeam floated idly on the floor, and a little mauve mouse came from the hole in the chimney corner and frisked and scampered in the light of the moonbeam upon the floor. The little mauve mouse was particularly merry; sometimes she danced upon two legs and sometimes upon four legs, but always very daintily and always very merrily.
“Ah, me!” sighed the old clock, “how different mice are nowadays from the mice we used to have in the good old times! Now there was your grandma, Mistress Velvetpaw, [8] and there was your grandpa, Master Sniffwhisker,—how grave and dignified they were! Many a night have I seen them dancing upon the carpet below me, but always the stately minuet and never that crazy frisking which you are executing now, to my surprise—yes, and to my horror, too.”
“But why shouldn’t I be merry?” asked the little mauve mouse. “Tomorrow is Christmas, and this is Christmas eve.”
“So it is,” said the old clock. “I had really forgotten all about it. But, tell me, what is Christmas to you, little Miss Mauve Mouse?”
“A great deal to me!” cried the little mauve mouse. “I have been very good a very long time: I have not used any bad words, nor have I gnawed any holes, nor have I stolen any canary seed, nor have I worried my mother by running behind the flour-barrel where that horrid trap is set. In fact, I have been so good that I am very sure Santa Claus will bring me something very pretty.”
This seemed to amuse the old clock mightily; in fact the old clock fell to laughing so heartily that in an unguarded moment she struck twelve instead of ten, which was exceedingly careless and therefore to be reprehended.
[9]“Why, you silly little mauve mouse,” said the old clock, “you don’t believe in Santa Claus, do you?”
“Of course I do,” answered the little mauve mouse. “Believe in Santa Claus? Why shouldn’t I? Didn’t Santa Claus bring me a beautiful butter-cracker last Christmas, and a lovely gingersnap, and a delicious rind of cheese, and—and—lots of things? I should be very ungrateful if I did not believe in Santa Claus, and I certainly shall not disbelieve in him at the very moment when I am expecting him to arrive with a bundle of goodies for me.
“I once had a little sister,” continued the little mauve mouse, “who did not believe in Santa Claus, and the very thought of the fate that befell her makes my blood run cold and my whiskers stand on end. She died before I was born, but my mother has told me all about her. Perhaps you never saw her: her name was Squeaknibble, and she was in stature one of those long, low, rangy mice that are seldom found in well-stocked pantries. Mother says that Squeaknibble took after our ancestors who came from New England, where the malignant ingenuity of the people and the ferocity of the cats rendered life precarious indeed. Squeaknibble seemed to inherit many ancestral traits, [10] the most conspicuous of which was a disposition to sneer at some of the most respected dogmas in mousedom. From her very infancy she doubted, for example, the widely accepted theory that the moon was composed of green cheese; and this heresy was the first intimation her parents had of the sceptical turn of her mind. Of course her parents were vastly annoyed, for their maturer natures saw that this youthful scepticism portended serious, if not fatal, consequences. Yet all in vain did the sagacious couple reason and plead with their headstrong and heretical child.
“For a long time Squeaknibble would not believe that there was any such archfiend as a cat; but she came to be convinced to the contrary one memorable night, on which occasion she lost two inches of her beautiful tail, and received so terrible a fright that for fully an hour afterward her little heart beat so violently as to lift her off her feet and bump her head against the top of our domestic hole. The cat that deprived my sister of so large a percentage of her vertebral colophon was the same brindled ogress that nowadays steals ever and anon into this room, crouches treacherously behind the sofa, and feigns to be asleep, hoping, forsooth, that some of us, heedless of her hated [11] presence, will venture within reach of her diabolical claws. So enraged was this ferocious monster at the escape of my sister that she ground her fangs viciously together, and vowed to take no pleasure in life until she held in her devouring jaws the innocent little mouse which belonged to the mangled bit of tail she even then clutched in her remorseless claws.”
“Yes,” said the old clock, “now that you recall the incident, I recollect it well. I was here then, in this very corner, and I remember that I laughed at the cat and chided her for her awkwardness. My reproaches irritated her; she told me that a clock’s duty was to run itself down, not to be depreciating the merits of others! Yes, I recall the time; that cat’s tongue is fully as sharp as her claws.”
“Be that as it may,” said the little mauve mouse, “it is a matter of history, and therefore beyond dispute, that from that very moment the cat pined for Squeaknibble’s life; it seemed as if that one little two-inch taste of Squeaknibble’s tail had filled the cat with a consuming passion, or appetite, for the rest of Squeaknibble. So the cat waited and watched and hunted and schemed and devised and did everything possible for a cat—a cruel cat—to do in order to gain her murderous ends. One [12] night—one fatal Christmas eve—our mother had undressed the children for bed, and was urging upon them to go to sleep earlier than usual, since she fully expected that Santa Claus would bring each of them something very palatable and nice before morning. Thereupon the little dears whisked their cunning tails, pricked up their beautiful ears, and began telling one another what they hoped Santa Claus would bring. One asked for a slice of Roquefort, another for Neufchatel, another for Sap Sago, and a fourth for Edam; one expressed a preference for de Brie, while another hoped to get Parmesan; one clamored for imperial blue Stilton, and another craved the fragrant boon of Caprera. There were fourteen little ones then, and consequently there were diverse opinions as to the kind of gift which Santa Claus should best bring; still, there was, as you can readily understand, an enthusiastic unanimity upon this point, namely, that the gift should be cheese of some brand or other.
“‘My dears,’ said our mother, ‘what matters it whether the boon which Santa Claus brings be royal English cheddar or fromage de Bricquebec, Vermont sage, or Herkimer County skim-milk? We should be content with whatsoever Santa Claus bestows, so long as it be [13] cheese, disjoined from all traps whatsoever, unmixed with Paris green, and free from glass, strychnine, and other harmful ingredients. As for myself, I shall be satisfied with a cut of nice, fresh, Western reserve; for truly I recognise in no other viand or edible half the fragrance or half the gustfulness to be met with in one of these pale but aromatic domestic products. So run away to your dreams now, that Santa Claus may find you sleeping.’
“The children obeyed,—all but Squeaknibble. ‘Let the others think what they please,’ said she, ‘but I don’t believe in Santa Claus. I’m not going to bed either. I’m going to creep out of this dark hole and have a quiet romp, all by myself, in the moonlight.’ Oh, what a vain, foolish, wicked little mouse was Squeaknibble! But I will not reproach the dead; her punishment came all too swiftly. Now listen: who do you suppose overheard her talking so disrespectfully of Santa Claus?”
“Why, Santa Claus himself,” said the old clock.
“Oh, no,” answered the little mauve mouse. “It was that wicked, murderous cat! Just as Satan lurks and lies in wait for bad children, so does the cruel cat lie in wait for naughty little mice. And you can depend upon it that, [14] when that awful cat heard Squeaknibble speak so disrespectfully of Santa Claus, her wicked eyes glowed with joy, her sharp teeth watered, and her bristling fur emitted electric sparks as big as marrowfat peas. Then what did that blood-thirsty monster do but scuttle as fast as she could into Dear-my-Soul’s room, leap up into Dear-my-Soul’s crib, and walk off with the pretty little white muff which Dear-my-Soul used to wear when she went for a visit to the little girl in the next block! What upon earth did the horrid old cat want with Dear-my-Soul’s pretty little white muff? Ah, the duplicity, the diabolical ingenuity of that cat! Listen.
“In the first place,” resumed the little mauve mouse, after a pause that testified eloquently to the depth of her emotion,—“in the first place, that wretched cat dressed herself up in that pretty little white muff, by which you are to understand that she crawled through the muff just so far as to leave her four cruel legs at liberty.”
“Yes, I understand,” said the old clock.
“Then she put on the boy doll’s fur cap,” said the little mauve mouse, “and when she was arrayed in the boy doll’s fur cap and Dear-my-Soul’s pretty little white muff, of course [15] she didn’t look like a cruel cat at all. But whom did she look like?”
“Like the boy doll,” suggested the old clock.
“No, no!” cried the little mauve mouse.
“Like Dear-my-Soul?” asked the old clock.
“How stupid you are!” exclaimed the little mauve mouse. “Why, she looked like Santa Claus, of course!”
“Oh, yes; I see,” said the old clock. “Now I begin to be interested; go on.”
“Alas!” sighed the little mauve mouse, “not much remains to be told; but there is more of my story left than there was of Squeaknibble when that horrid cat crawled out of that miserable disguise. You are to understand that, contrary to her sagacious mother’s injunction, and in notorious derision of the mooted coming of Santa Claus, Squeaknibble issued from the friendly hole in the chimney corner, and gambolled about over this very carpet, and, I dare say, in this very moonlight.”
“I do not know,” said the moonbeam faintly. “I am so very old, and I have seen so many things—I do not know.”
“Right merrily was Squeaknibble gambolling,” continued the little mauve mouse, “and she had just turned a double back somersault without the use of what remained of her tail [16] when, all of a sudden, she beheld, looming up like a monster ghost, a figure all in white fur! Oh, how frightened she was, and how her little heart did beat! ‘Purr, purr-r-r,’ said the ghost in white fur. ‘Oh, please don’t hurt me!’ pleaded Squeaknibble. ‘No; I’ll not hurt you,’ said the ghost in white fur; ‘I’m Santa Claus, and I’ve brought you a beautiful piece of savory old cheese, you dear little mousie, you.’ Poor Squeaknibble was deceived; a sceptic all her life, she was at last befooled by the most palpable and most fatal of frauds. ‘How good of you!’ said Squeaknibble. ‘I didn’t believe there was a Santa Claus, and—’ but before she could say more she was seized by two sharp, cruel claws that conveyed her crushed body to the murderous mouth of mousedom’s most malignant foe. I can dwell no longer upon this harrowing scene. Suffice it to say that ere the morrow’s sun rose like a big yellow Herkimer County cheese upon the spot where that tragedy had been enacted, poor Squeaknibble passed to that bourn whence two inches of her beautiful tail had preceded her by the space of three weeks to a day. As for Santa Claus, when he came that Christmas eve, bringing morceaux de Brie and of Stilton for the other little mice, he heard with sorrow [17] of Squeaknibble’s fate; and ere he departed he said that in all his experience he had never known of a mouse or of a child that had prospered after once saying that he didn’t believe in Santa Claus.”
“Well, that is a remarkable story,” said the old clock. “But if you believe in Santa Claus, why aren’t you in bed?”
“That’s where I shall be presently,” answered the little mauve mouse, “but I must have my scamper you know. It is very pleasant, I assure you, to frolic in the light of the moon; only I cannot understand why you are always so cold and so solemn and so still, you pale, pretty little moonbeam.”
“Indeed, I do not know that I am so,” said the moonbeam. “But I am very old, and I have travelled many, many, leagues, and I have seen wondrous things. Sometimes I toss upon the ocean, sometimes I fall upon a slumbering flower, sometimes I rest upon a dead child’s face. I see the fairies at their play, and I hear mothers singing lullabies. Last night I swept across the frozen bosom of a river. A woman’s face looked up at me; it was the picture of eternal rest. ‘She is sleeping,’ said the frozen river. ‘I’ll rock her to and fro, and sing to her. Pass gently by, O moonbeam; pass gently by, lest you awaken her.’”
[18]“How strangely you talk,” said the old clock. “Now, I’ll warrant me that, if you wanted to, you could tell many a pretty and wonderful story. You must know many a Christmas tale; pray, tell us one to wear away this night of Christmas watching.”
“I know but one,” said the moonbeam. “I have told it over and over again, in every land and in every home; yet I do not weary of it. It is very simple. Should you like to hear it?”
“Indeed we should,” said the old clock; “but before you begin, let me strike twelve; for I shouldn’t want to interrupt you.”
When the old clock had performed this duty with somewhat more than usual alacrity, the moonbeam began its story:
“Upon a time—so long ago that I can’t tell how long ago it was—I fell upon a hill-side. It was in a far distant country; this I know, because, although it was the Christmas time, it was not in that country as it is wont to be in countries to the north. Hither the snow-king never came; flowers bloomed all the year, and at all times the lambs found pleasant pasturage on the hill-sides. The night wind was balmy, and there was a fragrance of cedar in its breath. There were violets on the hill-side, and I fell amongst them and lay there. I kissed them, and [19] they awakened. ‘Ah, is it you, little moonbeam?’ they said, and they nestled in the grass which the lambs had left uncropped.
“A shepherd lay upon a broad stone on the hill-side; above him spread an olive-tree, old, ragged, and gloomy; but now it swayed its rusty branches majestically in the shifting air of night. The shepherd’s name was Benoni. Wearied with long watching, he had fallen asleep; his crook had slipped from his hand. Upon the hill-side, too, slept the shepherd’s flock. I had counted them again and again; I had stolen across their gentle faces and brought them pleasant dreams of green pastures and of cool water-brooks. I had kissed old Benoni, too, as he lay slumbering there; and in his dreams he seemed to see Israel’s King come upon earth, and in his dreams he murmured the promised Messiah’s name.
“‘Ah, is it you, little moonbeam?’ quoth the violets. ‘You have come in good time. Nestle here with us, and see wonderful things come to pass.’
“‘What are these wonderful things of which you speak?’ I asked.
“‘We heard the old olive-tree telling of them to-night,’ said the violets. ‘Do not go to sleep, little violets,’ said the old olive-tree, ‘for [20] this is Christmas night, and the Master shall walk upon the hill-side in the glory of the midnight hour.’ So we waited and watched; one by one the lambs fell asleep; one by one the stars peeped out; the shepherd nodded and crooned, and crooned and nodded, and at last he, too, went fast asleep, and his crook slipped from his keeping. Then we called to the old olive-tree yonder, asking how soon the midnight hour would come; but all the old olive-tree answered was ‘Presently, presently,’ and finally we, too, fell asleep, wearied by our long watching, and lulled by the rocking and swaying of the old olive-tree in the breezes of the night.
“‘But who is this Master?’ I asked.
“‘A child, a little child,’ they answered. ‘He is called the little Master by the others. He comes here often, and plays among the flowers of the hill-side. Sometimes the lambs, gambolling too carelessly, have crushed and bruised us so that we lie bleeding and are like to die; but the little Master heals our wounds and refreshes us once again.’
“I marvelled much to hear these things. ‘The midnight hour is at hand,’ said I, ‘and I will abide with you to see this little Master of whom you speak.’ So we nestled among the [21] verdure of the hill-side, and sang songs one to another.
“‘Come away!’ called the night wind; ‘I know a beauteous sea not far hence, upon whose bosom you shall float, float, float, away out into the mists and clouds, if you will come with me.’
“But I hid under the violets and amid the tall grass, that the night wind might not woo me with its pleading. ‘Ho, there, old olive-tree!’ cried the violets; ‘do you see the little Master coming? Is not the midnight hour at hand?’
“‘I can see the town yonder,’ said the old olive-tree. ‘A star beams bright over Bethlehem, the iron gates swing open, and the little Master comes.’
“Two children came to the hill-side. The one, older than his comrade, was Dimas, the son of Benoni. He was rugged and sinewy, and over his brown shoulders was flung a goat-skin; a leathern cap did not confine his long, dark curly hair. The other child was he whom they called the little Master; about his slender form clung raiment white as snow, and around his face of heavenly innocence fell curls of golden yellow. So beautiful a child I had not seen before, nor have I ever since seen such as he. And as they came together to the hill-side, [22] there seemed to glow about the little Master’s head a soft white light, as if the moon had sent its tenderest, fairest beams to kiss those golden curls.
“‘What sound was that?’ cried Dimas, for he was exceeding fearful.
“‘Have no fear, Dimas,’ said the little Master. ‘Give me thy hand and I will lead thee.’
“Presently they came to the rock whereon Benoni, the shepherd, lay; and they stood under the old olive-tree, and the old olive-tree swayed no longer in the night wind, but bent its branches reverently in the presence of the little Master. It seemed as if the wind, too, stayed in its shifting course just then; for suddenly there was a solemn hush, and you could hear no noise, except that in his dreams Benoni spoke the Messiah’s name.
“‘Thy father sleeps,’ said the little Master, ‘and it is well that it is so; for that I love thee Dimas, and that thou shalt walk with me in my Father’s Kingdom, I would show thee the glories of my birthright.’
“Then all at once sweet music filled the air, and light, greater than the light of day, illumined the sky and fell upon all that hill-side. The heavens opened, and angels, singing joyous songs, walked to the earth. More wondrous [23] still, the stars, falling from their places in the sky, clustered upon the old olive-tree, and swung hither and thither like colored lanterns. The flowers of the hill-side all awakened, and they, too, danced and sang. The angels, coming hither, hung gold and silver and jewels and precious stones upon the old olive, where swung the stars; so that the glory of that sight, though I might live forever, I shall never see again. When Dimas heard and saw these things he fell upon his knees, and catching the hem of the little Master’s garment, he kissed it.
“‘Greater joy than this shall be thine, Dimas,’ said the little Master; ‘but first must all things be fulfilled.’
“All through that Christmas night did the angels come and go with their sweet anthems; all through that Christmas night did the stars dance and sing; and when it came my time to steal away, the hill-side was still beautiful with the glory and the music of heaven.”
“Well, is that all?” asked the old clock.
“No,” said the moonbeam; “but I am nearly done. The years went on. Sometimes I tossed upon the ocean’s bosom, sometimes I scampered o’er a battle-field, sometimes I lay upon a dead child’s face. I heard the voices of Darkness and [24] mothers’ lullabies and sick men’s prayers—and so the years went on.
“I fell one night upon a hard and furrowed face. It was of ghostly pallor. A thief was dying on the cross, and this was his wretched face. About the cross stood men with staves and swords and spears, but none paid heed unto the thief. Somewhat beyond this cross another was lifted up, and upon it was stretched a human body my light fell not upon. But I heard a voice that somewhere I had heard before,—though where I did not know,—and this voice blessed those that railed and jeered and shamefully entreated. And suddenly the voice called ‘Dimas, Dimas!’ and the thief upon whose hardened face I rested made answer.
“Then I saw that it was Dimas; yet to this wicked criminal there remained but little of the shepherd child whom I had seen in all his innocence upon the hill-side. Long years of sinful life had seared their marks into his face; yet now, at the sound of that familiar voice, somewhat of the old-time boyish look came back, and in the yearning of the anguished eyes I seemed to see the shepherd’s son again.
“‘The Master!’ cried Dimas, and he stretched forth his neck that he might see him that spake.
“‘O Dimas, how art thou changed!’ cried [25] the Master, yet there was in his voice no tone of rebuke save that which cometh of love.
“Then Dimas wept, and in that hour he forgot his pain. And the Master’s consoling voice and the Master’s presence there wrought in the dying criminal such a new spirit, that when at last his head fell upon his bosom, and the men about the cross said that he was dead, it seemed as if I shined not upon a felon’s face, but upon the face of the gentle shepherd lad, the son of Benoni.
“And shining on that dead and peaceful face, I bethought me of the little Master’s words that he had spoken under the old olive-tree upon the hill-side: ‘Your eyes behold the promised glory now, O Dimas,’ I whispered, ‘for with the Master you walk in Paradise.’”
Ah, little Dear-my-Soul, you know—you know whereof the moonbeam spake. The shepherd’s bones are dust, the flocks are scattered, the old olive-tree is gone, the flowers of the hill-side are withered, and none knoweth where the grave of Dimas is made. But last night, again, there shined a star over Bethlehem, and the angels descended from the sky to earth, and the stars sang together in glory. And the bells,—hear them, little Dear-my-Soul, [26] how sweetly they are ringing,—the bells bear us the good tidings of great joy this Christmas morning, that our Christ is born, and that with him he bringeth peace on earth and good-will toward men.
End of Project Gutenberg's The Mouse and The Moonbeam, by Eugene Field *** END OF THIS PROJECT GUTENBERG EBOOK THE MOUSE AND THE MOONBEAM *** ***** This file should be named 27697-h.htm or 27697-h.zip ***** This and all associated files of various formats will be found in: https://www.gutenberg.org/2/7/6/9/27697/ Produced by Louise Hope, David Edwards and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) 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 are critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation web page at https://www.pglaf.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Its 501(c)(3) letter is posted at https://pglaf.org/fundraising. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws. The Foundation's principal office is located at 4557 Melan Dr. S. Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email [email protected]. 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 [email protected] 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.