The Project Gutenberg EBook of Wagner, by Thomas Tapper
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: Wagner
The Story of the Boy Who Wrote Little Plays
Author: Thomas Tapper
Release Date: January 31, 2011 [EBook #35128]
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK WAGNER ***
Produced by Juliet Sutherland, Ernest Schaal, and the
Online Distributed Proofreading Team (including the Music
Team) at http://www.pgdp.net
Directions for Binding
Enclosed in this envelope is the cord and the needle with which to bind this book. Start in from the outside as shown on the diagram here. Pass the needle and thread through the center of the book, leaving an end extend outside, then through to the outside, about 2 inches from the center; then from the outside to inside 2 inches from the center at the other end of the book, bringing the thread finally again through the center, and tie the two ends in a knot, one each side of the cord on the outside.
THEO. PRESSER CO., Pub's., Phila., Pa.
HOW TO USE THIS BOOK
This book is one of a series known as the CHILD'S OWN BOOK OF GREAT MUSICIANS, written by Thomas Tapper, author of "Pictures from the Lives of the Great Composers for Children," "Music Talks with Children," "First Studies in Music Biography," and others.
The sheet of illustrations included herewith is to be cut apart by the child, and each illustration is to be inserted in its proper place throughout the book, pasted in the space containing the same number as will be found under each picture on the sheet. It is not necessary to cover the entire back of a picture with paste. Put it only on the corners and place neatly within the lines you will find printed around each space. Use photographic paste, if possible.
After this play-work is completed there will be found at the back of the book blank pages upon which the child is to write his own story of the great musician, based upon the facts and questions found on the previous pages.
The book is then to be sewed by the child through the center with the cord found in the enclosed envelope. The book thus becomes the child's own book.
This series will be found not only to furnish a pleasing and interesting task for the children, but will teach them the main facts with regard to the life of each of the great musicians—an educational feature worth while.
This series of the Child's Own Book of Great Musicians includes at present a book on each of the following:
| Bach | MacDowell |
| Beethoven | Mendelssohn |
| Brahms | Mozart |
| Chopin | Schubert |
| Grieg | Schumann |
| Handel | Tschaikowsky |
| Haydn | Verdi |
| Liszt | Wagner |
Printed in U. S. A.
RICHARD WAGNER
The Story of the Boy
Who Wrote Little Plays
This Book was made by
Philadelphia
Theodore Presser Co.
1712 Chestnut Str.
Copyright, 1918, by Theodore Presser Co.
British Copyright Secured
Printed in U. S. A.
BORN
DIED
The Story of the Boy Who Wrote Little
Plays
A very odd house used to stand in the quaint old Saxon City of Leipzig. This house was called the Red and White Lion. I suppose no one ever really saw a lion that was red and white, but nevertheless that was the name of the house. There, was born Richard Wagner, who was one day to write the wonderful opera scenes of which we will soon read.
Richard Wagner's day of birth was May 22, 1813. That was more than a century ago! More than twelve hundred months!
[Pg 4] Since that time, music has changed very greatly. When Wagner was born, much of the music that was being written had to follow certain patterns or models just as architects follow certain patterns in building a house. Now the composer when he writes music feels a great deal freer as he knows that he can make his own patterns,—that he is not held in by any such hard laws as those which held back such composers as Mozart, Bach, Haydn and Handel. It was Wagner who did much to set music free from the old barriers. This does not mean that music to-day is better than music that was written by Haydn and Beethoven. Indeed it often is not nearly so good, but it is freer, less held down by rule.
When Wagner wrote his first opera that had any success (Rienzi) he followed the models of composers of the day, but when he came to write operas that followed, such as Flying Dutchman, Lohengrin and Tannhäuser, he struck out in new and fresh paths which made him many enemies at first and many friends later.
As we read of a great man we must learn to see the world as it was in his day.
Today we think of the world as the home of our parents, of ourselves and of our friends; as the world of Mr. Edison, Mr. Wilson and Mr. Roosevelt. In the world of Wagner there was not one of these.
[Pg 5] Who were the great musicians when he was a boy? Well, here are some of them. Can you tell one fact about each of the men whose pictures come next?
Wagner's father died when he was only six months old, and the boy was brought up by his mother and his step-father, who was very kind to him. In one way Wagner was unlike most of the other great composers. He did not show any talent for music until he was almost a man. All that he thought of was writing plays. When he did study, he was so bright and worked so hard that he learned in less than a year more than many learn in a lifetime. Here is a picture of Wagner's mother, who cared for him so tenderly.
[Pg 6] When we read the stories of Charles Dickens we make many friends. And they are among the very best we ever have. There are Little Nell, Paul Dombey, Sam Weller, Oliver Twist, and a host of others.
Writers like Dickens bring all sorts of people before us. But few composers can do such a thing.
Yet there are some who do this, and one of the greatest is Richard Wagner. In his operas a host of people live,—people as real and as interesting as those in the stories of Charles Dickens.
There is Walter, who sings the Prize Song in Die Meistersinger, and Eva, whom he loves. And in the same opera there is Beckmesser, the fussy old schoolmaster kind of a man. And Hans Sachs, the cobbler.
There is a lovely scene in the third act of this opera. We see a meadow light and bright in the sunshine. A glistening river flows quietly through it. Everywhere on the water there are boats. Scattered over the meadow there are tents. Everybody is out for a holiday time. All is lively and full of color and bright and cheery. Now there pass before us the tradesmen singing in chorus. There are cobblers and carpenters [Pg 7] led by the town pipers. And every trade sings its own songs.
Then comes the scene in which Walter and Beckmesser sing in contest. Beckmesser begins. He stutters and stammers and struggles through his song. And finally, like a school-boy who does not know his lesson, he breaks down.
Then Walter comes to sing the lovely Prize Song; a melody that just sings itself into the heart of everyone.
Do you wonder that with such lovely music Walter wins the contest and the hand of Eva whom he loves? Jolly old Hans Sachs is so happy over it all that he sings a rollicking song and everybody joins in with him as the curtain goes down.
[Pg 8] Nor was Wagner satisfied with making characters who were merely people just like ourselves. (For Walter and Eva are people of our kind). But there are in the operas by Richard Wagner, gods and goddesses, giants and Rhine maidens, and Nibelungs.
Many of them have strange names. These names are easy to remember because they are strange: Wotan and Donner are gods. Freia and Erda are goddesses. Fafner is a giant. Flosshilde is a Rhine daughter. Mime and Alberich are Nibelungs.
Oh, they are wonderful company these gods and goddesses, and others of the company who tell their story and adventure in the operas of the Nibelungen [Pg 9] Ring. Here is Siegfried forging his Magic Sword Nothung.
Now, as we have said, when we learn of so great a man we always wonder what sort of a boy he was. Well, when this boy was nine years old he went to a classical school. One of his teachers at least must have been very fond of him, and he must have been fond of his teacher, for when Richard Wagner was only thirteen years old he translated from Greek into German twelve books of the Odyssey for this teacher.
[Pg 10] "I intend to become a poet," he used to say. He read Romeo and Juliet in English. Then he wrote a play in which were Hamlet and King Lear. And there were forty-two other characters. All of these died or were killed in the fourth act and were brought back as ghosts in the fifth! He played the piano, too, and seems to have been quite as busy a boy as he was a man.
Of one composer's music he was very fond. This composer lived nearby and passed the Wagner house almost every day. Richard always ran to the window to watch him coming. This musician was the composer of Der Freischütz and of Oberon. Can you guess his name?
This composer's father was also a musician as well as a military man.
Children will be glad to know that Wagner was very fond of animals. Here he is with a picture of one of his dogs. His favorite dogs are buried in the garden of his home at Bayreuth, where Wagner is also buried.
Wagner called his home at Bayreuth "Wahnfried," which really means "Fancy Free."
It is beautifully located in the heart of the old town.
[Pg 11] Later on the boy read about the contest of Die Meistersinger. He was then sixteen. And he read, too, a poem called Tannhäuser. He kept these stories in mind until he became a man and then he wrote an opera about each.
Thus we see that we carry childhood thoughts into manhood.
Here is a list of the operas by Richard Wagner, with their names pronounced:—
The Fairies (1833).
Das Liebesverbot (1836) leebes-fehr-bote.
Rienzi (1842) ree-ent'-see.
The Flying Dutchman (1842).
Tannhäuser (1845) tan'-hoy-ser.
Lohengrin (1847) lo'-en-green.
Das Rheingold (1869) rhine-gold.
Die Walküre (1870) dee val-kee-reh.
Siegfried (1869) seeg'-freed.
Tristan and Isolde (1865) e-sol'-deh.
Die Meistersinger (1867).
Die Götterdämmerung (1876) dee getter-day-meh-roongk.
Parsifal (1882) par'-se-fal.
Wagner also wrote symphonies and a few works for chorus and orchestra, but he is so much greater as a composer of music dramas that he is known mostly for his works for the stage. [Pg 12]
SOME FACTS ABOUT RICHARD WAGNER
Read these facts about Richard Wagner and try to write his story out of them, using your own words. When your story is finished, ask your mother or your teacher to read it. When you have made it, copy it on pages 14, 15 and 16.
1. Richard Wagner wrote operas.
2. He was born May 22nd, 1813.
3. How long did Wagner study music?
4. His operas, like the novels of Charles Dickens, are full of wonderful characters.
5. Besides people of every day kind there are gods and goddesses, and giants, and other strange beings in his operas.
6. As a boy Richard Wagner went to a classical school.
7. He was always fond of music.
8. He could translate Greek when he was only thirteen years old.
9. Even as a little boy he said: I intend to become a poet.
10. He wrote plays and he read the plays of Shakespeare in English.
11. As a boy he studied the piano and was fond of the music of Von Weber.
12. Among the books that Richard Wagner read as a boy were the story of Die Meistersinger and the story of Tannhäuser.
13. He always kept these stories in mind.
14. When he became a composer he wrote an opera upon each of these stories.
15. Tell something about Wagner and animals.
[Pg 13] 16. Richard Wagner died at Venice on Feb. 13, 1883.
SOME QUESTIONS
1. What kind of music did Richard Wagner compose?
2. When was he born?
3. Can you name some of the musicians who lived when Richard Wagner was a boy?
4. How many characters from the Dickens' novel can you name from memory?
5. In what opera by Richard Wagner is The Prize Song?
6. Who sings it?
7. Tell what kind of a man Beckmesser is.
8. Who was the jolly cobbler singer?
9. What happened to Beckmesser in the contest with Walter?
10. What sort of characters occur in the operas?
11. See if you can describe each of these: Donner, Fafner, Mime, Freia, Wotan.
12. What is the name of the house in which Richard Wagner was born?
13. Tell some of the things he did when he was a boy.
14. Who composed Oberon?
15. What other opera did this composer write?
16. What should we remember about childhood thoughts? [Pg 14]
THE STORY OF WAGNER
Written by.............................
On (date).............................
Write a short story about Wagner and copy it on these pages.
Transcriber's Notes:
On page 9, "Odessy" was replaced with "Odyssey".
On page 11, "Die" and "Parsifal" were italicized.
The music depicted in the illustration is not from Walter's Prize Song in Die Meistersinger, but is instead the opening of the overture to that opera.
End of the Project Gutenberg EBook of Wagner, by Thomas Tapper
*** END OF THIS PROJECT GUTENBERG EBOOK WAGNER ***
***** This file should be named 35128-h.htm or 35128-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/3/5/1/2/35128/
Produced by Juliet Sutherland, Ernest Schaal, and the
Online Distributed Proofreading Team (including the Music
Team) at http://www.pgdp.net
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. 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
http://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 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF 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 http://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
http://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 http://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 http://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 checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is 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:
http://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.