The Project Gutenberg EBook of Little Annie's Ramble (From "Twice Told Tales"), by Nathaniel Hawthorne 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: Little Annie's Ramble (From "Twice Told Tales") Author: Nathaniel Hawthorne Posting Date: November 27, 2010 [EBook #9202] Release Date: November, 2005 First Posted: August 23, 2003 Last Updated: February 5, 2007 Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK LITTLE ANNIE'S RAMBLE *** Produced by David Widger TWICE TOLD TALES LITTLE ANNIE'S RAMBLE By Nathaniel Hawthorne DING-DONG! Ding-dong! Ding-dong! The town crier has rung his bell, at a distant corner, and little Annie stands on her father's doorsteps, trying to hear what the man with the loud voice is talking about. Let me listen too. O, he is telling the people that an elephant, and a lion, and a royal tiger, and a horse with horns, and other strange beasts from foreign countries, have come to town, and will receive all visitors who choose to wait upon them! Perhaps little Annie would like to go. Yes; and I can see that the pretty child is weary of this wide and pleasant street, with the green trees flinging their shade across the quiet sunshine, and the pavements and the sidewalks all as clean as if the housemaid had just swept them with her broom. She feels that impulse to go strolling away--that longing after the mystery of the great world--which many children feel, and which I felt in my childhood. Little Annie shall take a ramble with me. See! I do but hold out my hand, and, like some bright bird in the sunny air, with her blue silk frock fluttering upwards from her white pantalets, she comes bounding on tiptoe across the street. Smooth back your brown curls, Annie; and let me tie on your bonnet, and we will set forth! What a strange couple to go on their rambles together! One walks in black attire, with a measured step, and a heavy brow, and his thoughtful eyes bent down, while the gay little girl trips lightly along, as if she were forced to keep hold of my hand, lest her feet should dance away from the earth. Yet there is sympathy between us. If I pride myself on anything, it is because I have a smile that children love; and, on the other hand, there are few grown ladies that could entice me from the side of little Annie; for I delight to let my mind go hand in hand with the mind of a sinless child. So, come, Annie; but if I moralize as we go, do not listen to me; only look about you, and be merry! Now we turn the corner. Here are hacks with two horses, and stage-coaches with four, thundering to meet each other, and trucks and carts moving at a slower pace, being heavily laden with barrels from the wharves, and here are rattling gigs, which perhaps will be smashed to pieces before our eyes. Hitherward, also, comes a man trundling a wheelbarrow along the pavement. Is not little Annie afraid of such a tumult? No; she does not even shrink closer to my side, but passes on with fearless confidence, a happy child amidst a great throng of grown people, who pay the same reverence to her infancy that they would to extreme old age. Nobody jostles her; all turn aside to make way for little Annie; and, what is most singular, she appears conscious of her claim to such respect. Now her eyes brighten with pleasure! A street-musician has seated himself on the steps of yonder church, and pours forth his strains to the busy town, a melody that has gone astray among the tramp of footsteps, the buzz of voices, and the war of passing wheels. Who heeds the poor organ-grinder? None but myself and little Annie, whose feet begin to move in unison with the lively tune, as if she were loath that music should be wasted without a dance. But where would Annie find a partner? Some have the gout in their toes, or the rheumatism in their joints; some are stiff with age; some feeble with disease; some are so lean that their bones would rattle, and others of such ponderous size that their agility would crack the flagstones; but many, many have leaden feet, because their hearts are far heavier than lead. It is a sad thought that I have chanced upon. What a company of dancers should we be! For I, too, am a gentleman of sober footsteps, and therefore, little Annie, let us walk sedately on. It is a question with me, whether this giddy child, or my sage self, have most pleasure in looking at the shop-windows. We love the silks of sunny hue, that glow within the darkened premises of the spruce drygoods' men; we are pleasantly dazzled by the burnished silver, and the chased gold, the rings of wedlock and the costly love-ornaments, glistening at the window of the jeweller; but Annie, more than I, seeks for a glimpse of her passing figure in the dusty looking-glasses at the hardware stores. All that is bright and gay attracts us both. Here is a shop to which the recollections of my boyhood, as well as present partialities, give a peculiar magic. How delightful to let the fancy revel on the dainties of a confectioner; those pies, with such white and flaky paste, their contents being a mystery, whether rich mince, with whole plums intermixed, or piquant apple, delicately rose-flavored; those cakes, heart-shaped or round, piled in a lofty pyramid; those sweet little circlets, sweetly named kisses; those dark, majestic masses, fit to be bridal-loaves at the wedding of an heiress, mountains in size, their summits deeply snow-covered with sugar! Then the mighty treasures of sugar-plums, white and crimson and yellow, in large glass vases; and candy of all varieties; and those little cockles, or whatever they are called, much prized by children for their sweetness, and more for the mottoes which they enclose, by love-sick maids and bachelors! O, my mouth waters, little Annie, and so doth yours; but we will not be tempted, except to an imaginary feast; so let us hasten onward, devouring the vision of a plum-cake. Here are pleasures, as some people would say, of a more exalted kind, in the window of a bookseller. Is Annie a literary lady? Yes; she is deeply read in Peter Parley's tomes, and has an increasing love for fairy-tales, though seldom met with nowadays, and she will subscribe, next year, to the Juvenile Miscellany. But, truth to tell, she is apt to turn away from the printed page, and keep gazing at the pretty pictures, such as the gay-colored ones which make this shopwindow the continual loitering-place of children. What would Annie think, if, in the book which I mean to send her, on New Year's day, she should find her sweet little self, bound up in silk or morocco with gilt edges, there to remain till she become a woman grown with children of her own to read about their mother's childhood! That would be very queer. Little Annie is weary of pictures, and pulls me onward by the hand, till suddenly we pause at the most wondrous shop in all the town. O, my stars! Is this a toy-shop, or is it fairy-land? For here are gilded chariots, in which the king and queen of the fairies might ride side by side, while their courtiers, on these small horses, should gallop in triumphal procession before and behind the royal pair. Here, too, are dishes of china-ware, fit to be the dining set of those same princely personages, when they make a regal banquet in the stateliest ball of their palace, full five feet high, and behold their nobles feasting adown the long perspective of the table. Betwixt the king and queen should sit my little Annie, the prettiest fairy of them all. Here stands a turbaned Turk, threatening us with his sabre, like an ugly heathen as he is. And next a Chinese mandarin, who nods his head at Annie and myself. Here we may review a whole army of horse and foot, in red and blue uniforms, with drums, fifes, trumpets, and all kinds of noiseless music; they have halted on the shelf of this window, after their weary march from Liliput. But what cares Annie for soldiers? No conquering queen is she, neither a Semiramis nor a Catharine, her whole heart is set upon that doll, who gazes at us with such a fashionable stare. This is the little girl's true plaything. Though made of wood, a doll is a visionary and ethereal personage, endowed by childish fancy with a peculiar life; the mimic lady is a heroine of romance, an actor and a sufferer in a thousand shadowy scenes, the chief inhabitant of that wild world with which children ape the real one. Little Annie does not understand what I am saying, but looks wishfully at the proud lady in the window. We will invite her home with us as we return. Meantime, good by, Dame Doll! A toy yourself, you look forth from your window upon many ladies that are also toys, though they walk and speak, and upon a crowd in pursuit of toys, though they wear grave visages. O, with your never-closing eyes, had you but an intellect to moralize on all that flits before them, what a wise doll would you be! Come, little Annie, we shall find toys enough, go where we may. Now we elbow our way among the throng again. It is curious, in the most crowded part of a town, to meet with living creatures that had their birthplace in some far solitude, but have acquired a second nature in the wilderness of men. Look up, Annie, at that canary-bird, hanging out of the window in his cage. Poor little fellow! His golden feathers are all tarnished in this smoky sunshine; he would have glistened twice as brightly among the summer islands; but still he has become a citizen in all his tastes and habits, and would not sing half so well without the uproar that drowns his music. What a pity that he does not know how miserable he is! There is a parrot, too, calling out, "Pretty Poll! Pretty Poll!" as we pass by. Foolish bird, to be talking about her prettiness to strangers, especially as she is not a pretty Poll, though gaudily dressed in green and yellow. If she had said, "Pretty Annie," there would have been some sense in it. See that gray squirrel at the door of the fruit-shop, whirling round and round so merrily within his wire wheel! Being condemned to the treadmill, he makes it an amusement. Admirable philosophy! Here comes a big, rough dog, a countryman's dog in search of his master; smelling at everybody's heels, and touching little Annie's hand with his cold nose, but hurrying away, though she would fain have patted him. Success to your search, Fidelity! And there sits a great yellow cat upon a window-sill, a very corpulent and comfortable cat, gazing at this transitory world, with owl's eyes, and making pithy comments, doubtless, or what appear such, to the silly beast. O sage puss, make room for me beside you, and we will be a pair of philosophers! Here we see something to remind us of the town crier, and his ding-dong bell! Look! look at that great cloth spread out in the air, pictured all over with wild beasts, as if they had met together to choose a king, according to their custom in the days of AEsop. But they are choosing neither a king nor a president; else we should hear a most horrible snarling! They have come from the deep woods, and the wild mountains, and the desert sands, and the polar snows, only to do homage to my little Annie. As we enter among them, the great elephant makes us a bow, in the best style of elephantine courtesy, bending lowly down his mountain bulk, with trunk abased, and leg thrust out behind. Annie returns the salute, much to the gratification of the elephant, who is certainly the best-bred monster in the caravan. The lion and the lioness are busy with two beef-bones. The royal tiger, the beautiful, the untamable, keeps pacing his narrow cage with a haughty step, unmindful of the spectators, or recalling the fierce deeds of his former life, when he was wont to leap forth upon such inferior animals, from the jungles of Bengal. Here we see the very same wolf,--do not go near him, Annie!--the self-same wolf that devoured little Red Riding Hood and her grandmother. In the next cage, a hyena from Egypt, who has doubtless howled around the pyramids, and a black bear from our own forests are fellow-prisoners, and most excellent friends. Are there any two living creatures who have so few sympathies that they cannot possibly be friends? Here sits a great white bear, whom common observers would call a very stupid beast, though I perceive him to be only absorbed in contemplation; he is thinking of his voyages on an iceberg, and of his comfortable home in the vicinity of the north pole, and of the little cubs whom he left rolling in the eternal snows. In fact, he is a bear of sentiment. But, O, those unsentimental monkeys the ugly, grinning, aping, chattering, ill-natured, mischievous, and queer little brutes. Annie does not love the monkeys. Their ugliness shocks her pure, instinctive delicacy of taste, and makes her mind unquiet, because it bears a wild and dark resemblance to humanity. But here is a little pony, just big enough for Annie to ride, and round and round he gallops in a circle, keeping time with his trampling hoofs to a band of music. And here,--with a laced coat and a cocked hat, and a riding whip in his hand,--here comes a little gentleman, small enough to be king of the fairies, and ugly enough to be king of the gnomes, and takes a flying leap into the saddle. Merrily, merrily plays the music, and merrily gallops the pony, and merrily rides the little old gentleman. Come, Annie, into the street again; perchance we may see monkeys on horseback there! Mercy on us, what a noisy world we quiet people live in! Did Annie ever read the Cries of London City? With what lusty lungs doth yonder man proclaim that his wheelbarrow is full of lobsters! Here comes another mounted on a cart, and blowing a hoarse and dreadful blast from a tin horn, as much as to say, "Fresh fish!" And hark! a voice on high, like that of a muezzin from the summit of a mosque, announcing that some chimney-sweeper has emerged from smoke and soot, and darksome caverns, into the upper air. What cares the world for that? But, well-a-day, we hear a shrill voice of affliction, the scream of a little child, rising louder with every repetition of that smart, sharp, slapping sound, produced by an open hand on tender flesh. Annie sympathizes, though without experience of such direful woe. Lo! the town crier again, with some new secret for the public ear. Will he tell us of an auction, or of a lost pocketbook, or a show of beautiful wax figures, or of some monstrous beast more horrible than any in the caravan? I guess the latter. See how he uplifts the bell in his right hand, and shakes it slowly at first, then with a hurried motion, till the clapper seems to strike both sides at once, and the sounds are scattered forth in quick succession, far and near. Ding-dong! Ding-dong! Ding-dong! Now he raises his clear, loud voice, above all the din of the town; it drowns the buzzing talk of many tongues, and draws each man's mind from his own business; it rolls up and down the echoing street and ascends to the hushed chamber of the sick, and penetrates downward to the cellar kitchen, where the hot cook turns from the fire to listen. Who, of all that address the public ear, whether in church, or court-house, or hall of state, has such an attentive audience as the town crier? What saith the people's orator? "Strayed from her home, a LITTLE GIRL, of five years old, in a blue silk frock and white pantalets, with brown curling hair and hazel eyes. Whoever will bring her back to her afflicted mother--" Stop, stop, town crier! The lost is found. O, my pretty Annie, we forgot to tell your mother of our ramble, and she is in despair, and has sent the town crier to bellow up and down the streets, afrighting old and young, for the loss of a little girl who has not once let go my hand! Well, let us hasten homeward; and as we go, forget not to thank Heaven, my Annie, that, after wandering a little way into the world, you may return at the first summons, with an untainted and unwearied heart, and be a happy child again. But I have gone too far astray for the town crier to call me back. Sweet has been the charm of childhood on my spirit, throughout my ramble with little Annie! Say not that it has been a waste of precious moments, an idle matter, a babble of childish talk, and a revery of childish imaginations, about topics unworthy of a grown man's notice. Has it been merely this? Not so; not so. They are not truly wise who would affirm it. As the pure breath of children revives the life of aged men, so is our moral nature revived by their free and simple thoughts, their native feeling, their airy mirth, for little cause or none, their grief, soon roused and soon allayed. Their influence on us is at least reciprocal with ours on them. When our infancy is almost forgotten, and our boyhood long departed, though it seems but as yesterday; when life settles darkly down upon us, and we doubt whether to call ourselves young any more, then it is good to steal away from the society of bearded men, and even of gentler woman, and spend an hour or two with children. After drinking from those fountains of still fresh existence, we shall return into the crowd, as I do now, to struggle onward and do our part in life, perhaps as fervently as ever, but, for a time, with a kinder and purer heart, and a spirit more lightly wise. All this by thy sweet magic, dear little Annie! End of the Project Gutenberg EBook of Little Annie's Ramble (From "Twice Told Tales"), by Nathaniel Hawthorne *** END OF THIS PROJECT GUTENBERG EBOOK LITTLE ANNIE'S RAMBLE *** ***** This file should be named 9202.txt or 9202.zip ***** This and all associated files of various formats will be found in: https://www.gutenberg.org/9/2/0/9202/ 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 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 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.