The Project Gutenberg EBook of The Messengers, by Richard Harding Davis

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 Messengers

Author: Richard Harding Davis

Release Date: May 12, 2006 [EBook #1819]
Last Updated: September 25, 2016

Language: English

Character set encoding: UTF-8

*** START OF THIS PROJECT GUTENBERG EBOOK THE MESSENGERS ***




Produced by Don Lainson; David Widger







THE MESSENGERS

Richard Harding Davis




When Ainsley first moved to Lone Lake Farm all of his friends asked him the same question. They wanted to know, if the farmer who sold it to him had abandoned it as worthless, how one of the idle rich, who could not distinguish a plough from a harrow, hoped to make it pay? His answer was that he had not purchased the farm as a means of getting richer by honest toil, but as a retreat from the world and as a test of true friendship. He argued that the people he knew accepted his hospitality at Sherry’s because, in any event, they themselves would be dining within a taxicab fare of the same place. But if to see him they travelled all the way to Lone Lake Farm, he might feel assured that they were friends indeed.

Lone Lake Farm was spread over many acres of rocky ravine and forest, at a point where Connecticut approaches New York, and between it and the nearest railroad station stretched six miles of an execrable wood road. In this wilderness, directly upon the lonely lake, and at a spot equally distant from each of his boundary lines, Ainsley built himself a red brick house. Here, in solitude, he exiled himself; ostensibly to become a gentleman farmer; in reality to wait until Polly Kirkland had made up her mind to marry him.

Lone Lake, which gave the farm its name, was a pond hardly larger than a city block. It was fed by hidden springs, and fringed about with reeds and cat-tails, stunted willows and shivering birch. From its surface jutted points of the same rock that had made farming unremunerative, and to these miniature promontories and islands Ainsley, in keeping with a fancied resemblance, gave such names as the Needles, St. Helena, the Isle of Pines. From the edge of the pond that was farther from the house rose a high hill, heavily wooded. At its base, oak and chestnut trees spread their branches over the water, and when the air was still were so clearly reflected in the pond that the leaves seemed to float upon the surface. To the smiling expanse of the farm the lake was what the eye is to the human countenance. The oaks were its eyebrows, the fringe of reeds its lashes, and, in changing mood, it flashed with happiness or brooded in sombre melancholy. For Ainsley it held a deep attraction. Through the summer evenings, as the sun set, he would sit on the brick terrace and watch the fish leaping, and listen to the venerable bull-frogs croaking false alarms of rain. Indeed, after he met Polly Kirkland, staring moodily at the lake became his favorite form of exercise. With a number of other men, Ainsley was very much in love with Miss Kirkland, and unprejudiced friends thought that if she were to choose any of her devotees, Ainsley should be that one. Ainsley heartily agreed in this opinion, but in persuading Miss Kirkland to share it he had not been successful. This was partly his own fault; for when he dared to compare what she meant to him with what he had to offer her he became a mass of sodden humility. Could he have known how much Polly Kirkland envied and admired his depth of feeling, entirely apart from the fact that she herself inspired that feeling, how greatly she wished to care for him in the way he cared for her, life, even alone in the silences of Lone Lake, would have been a beautiful and blessed thing. But he was so sure she was the most charming and most wonderful girl in all the world, and he an unworthy and despicable being, that when the lady demurred, he faltered, and his pleading, at least to his own ears, carried no conviction.

“When one thinks of being married,” said Polly Kirkland gently, “it isn’t a question of the man you can live with, but the man you can’t live without. And I am sorry, but I’ve not found that man.”

“I suppose,” returned Ainsley gloomily, “that my not being able to live without you doesn’t affect the question in the least?”

“You HAVE lived without me,” Miss Kirkland pointed out reproachfully, “for thirty years.”

“Lived!” almost shouted Ainsley. “Do you call THAT living? What was I before I met you? I was an ignorant beast of the field. I knew as much about living as one of the cows on my farm. I could sleep twelve hours at a stretch, or, if I was in New York, I NEVER slept. I was a Day and Night Bank of health and happiness, a great, big, useless puppy. And now I can’t sleep, can’t eat, can’t think—except of you. I dream about you all night, think about you all day, go through the woods calling your name, cutting your initials in tree trunks, doing all the fool things a man does when he’s in love, and I am the most miserable man in the world—and the happiest!”

He finally succeeded in making Miss Kirkland so miserable also that she decided to run away. Friends had planned to spend the early spring on the Nile and were eager that she should accompany them. To her the separation seemed to offer an excellent method of discovering whether or not Ainsley was the man she could not “live without.”

Ainsley saw in it only an act of torture, devised with devilish cruelty.

“What will happen to me,” he announced firmly, “is that I will plain DIE! As long as I can see you, as long as I have the chance to try and make you understand that no one can possibly love you as I do, and as long as I know I am worrying you to death, and no one else is, I still hope. I’ve no right to hope, still I do. And that one little chance keeps me alive. But Egypt! If you escape to Egypt, what hold will I have on you? You might as well be in the moon. Can you imagine me writing love-letters to a woman in the moon? Can I send American Beauty roses to the ruins of Karnak? Here I can telephone you; not that I ever have anything to say that you want to hear, but because I want to listen to your voice, and to have you ask, ‘Oh! is that YOU?’ as though you were glad it WAS me. But Egypt! Can I call up Egypt on the long-distance? If you leave me now, you’ll leave me forever, for I’ll drown myself in Lone Lake.”

The day she sailed away he went to the steamer, and, separating her from her friends and family, drew her to the side of the ship farther from the wharf, and which for the moment, was deserted. Directly below a pile-driver, with rattling of chains and shrieks from her donkey-engine, was smashing great logs; on the deck above, the ship’s band was braying forth fictitious gayety, and from every side they were assailed by the raucous whistles of ferry-boats. The surroundings were not conducive to sentiment, but for the first time Polly Kirkland seemed a little uncertain, a little frightened; almost on the verge of tears, almost persuaded to surrender. For the first time she laid her hand on Ainsley’s arm, and the shock sent the blood to his heart and held him breathless. When the girl looked at him there was something in her eyes that neither he nor any other man had ever seen there.

“The last thing I tell you,” she said, “the thing I want you to remember, is this, that, though I do not care—I WANT to care.”

Ainsley caught at her hand and, to the delight of the crew of a passing tug-boat, kissed it rapturously. His face was radiant. The fact of parting from her had caused him real suffering, had marked his face with hard lines. Now, hope and happiness smoothed them away and his eyes shone with his love for her. He was trembling, laughing, jubilant.

“And if you should!” he begged. “How soon will I know? You will cable,” he commanded. “You will cable ‘Come,’ and the same hour I’ll start toward you. I’ll go home now,” he cried, “and pack!”

The girl drew away. Already she regretted the admission she had made. In fairness and in kindness to him she tried to regain the position she had abandoned.

“But a change like that,” she pleaded, “might not come for years, may never come!” To recover herself, to make the words she had uttered seem less serious, she spoke quickly and lightly.

“And how could I CABLE such a thing!” she protested. “It would be far too sacred, too precious. You should be able to FEEL that the change has come.”

“I suppose I should,” assented Ainsley, doubtfully; “but it’s a long way across two oceans. It would be safer if you’d promise to use the cable. Just one word: ‘Come.’”

The girl shook her head and frowned.

“If you can’t feel that the woman you love loves you, even across the world, you cannot love her very deeply.”

“I don’t have to answer that!” said Ainsley.

“I will send you a sign,” continued the girl, hastily; “a secret wireless message. It shall be a test. If you love me you will read it at once. You will know the instant you see it that it comes from me. No one else will be able to read it; but if you love me, you will know that I love you.”

Whether she spoke in metaphor or in fact, whether she was “playing for time,” or whether in her heart she already intended to soon reward him with a message of glad tidings, Ainsley could not decide. And even as he begged her to enlighten him the last whistle blew, and a determined officer ordered him to the ship’s side.

“Just as in everything that is beautiful,” he whispered eagerly, “I always see something of you, so now in everything wonderful I will read your message. But,” he persisted, “how shall I be SURE?”

The last bag of mail had shot into the hold, the most reluctant of the visitors were being hustled down the last remaining gangplank. Ainsley’s state was desperate.

“Will it be in symbol, or in cipher?” he demanded. “Must I read it in the sky, or will you hide it in a letter, or—where? Help me! Give me just a hint!”

The girl shook her head.

“You will read it—in your heart,” she said.

From the end of the wharf Ainsley watched the funnels of the ship disappear in the haze of the lower bay. His heart was sore and heavy, but in it there was still room for righteous indignation. “Read it in my heart!” he protested. “How the devil can I read it in my heart? I want to read it PRINTED in a cablegram.”

Because he had always understood that young men in love found solace for their misery in solitude and in communion with nature, he at once drove his car to Lone Lake. But his misery was quite genuine, and the emptiness of the brick house only served to increase his loneliness. He had built the house for her, though she had never visited it, and was associated with it only through the somewhat indefinite medium of the telephone box. But in New York they had been much together. And Ainsley quickly decided that in revisiting those places where he had been happy in her company he would derive from the recollection some melancholy consolation. He accordingly raced back through the night to the city; nor did he halt until he was at the door of her house. She had left it only that morning, and though it was locked in darkness, it still spoke of her. At least it seemed to bring her nearer to him than when he was listening to the frogs in the lake, and crushing his way through the pines.

He was not hungry, but he went to a restaurant where, when he was host, she had often been the honored guest, and he pretended they were at supper together and without a chaperon. Either the illusion, or the supper cheered him, for he was encouraged to go on to his club. There in the library, with the aid of an atlas, he worked out where, after thirteen hours of moving at the rate of twenty-two knots an hour, she should be at that moment. Having determined that fact to his own satisfaction, he sent a wireless after the ship. It read: “It is now midnight and you are in latitude 40 degrees north, longitude 68 degrees west, and I have grown old and gray waiting for the sign.”

The next morning, and for many days after, he was surprised to find that the city went on as though she still were in it. With unfeeling regularity the sun rose out of the East River. On Broadway electric-light signs flashed, street-cars pursued each other, taxicabs bumped and skidded, women, and even men, dared to look happy, and had apparently taken some thought to their attire. They did not respect even his widowerhood. They smiled upon him, and asked him jocularly about the farm and his “crops,” and what he was doing in New York. He pitied them, for obviously they were ignorant of the fact that in New York there were art galleries, shops, restaurants of great interest, owing to the fact that Polly Kirkland had visited them. They did not know that on upper Fifth Avenue were houses of which she had deigned to approve, or which she had destroyed with ridicule, and that to walk that avenue and halt before each of these houses was an inestimable privilege.

Each day, with pathetic vigilance, Ainsley examined his heart for the promised sign. But so far from telling him that the change he longed for had taken place, his heart grew heavier, and as weeks went by and no sign appeared, what little confidence he had once enjoyed passed with them.

But before hope entirely died, several false alarms had thrilled him with happiness. One was a cablegram from Gibraltar in which the only words that were intelligible were “congratulate” and “engagement.” This lifted him into an ecstasy of joy and excitement, until, on having the cable company repeat the message, he learned it was a request from Miss Kirkland to congratulate two mutual friends who had just announced their engagement, and of whose address she was uncertain. He had hardly recovered from this disappointment than he was again thrown into a tumult by the receipt of a mysterious package from the custom-house containing an intaglio ring. The ring came from Italy, and her ship had touched at Genoa. The fact that it was addressed in an unknown handwriting did not disconcert him, for he argued that to make the test more difficult she might disguise the handwriting. He at once carried the intaglio to an expert at the Metropolitan Museum, and when he was told that it represented Cupid feeding a fire upon an altar, he reserved a stateroom on the first steamer bound for the Mediterranean. But before his ship sailed, a letter, also from Italy, from his aunt Maria, who was spending the winter in Rome, informed him that the ring was a Christmas gift from her. In his rage he unjustly condemned Aunt Maria as a meddling old busybody, and gave her ring to the cook.

After two months of pilgrimages to places sacred to the memory of Polly Kirkland, Ainsley found that feeding his love on post-mortems was poor fare, and, in surrender, determined to evacuate New York. Since her departure he had received from Miss Kirkland several letters, but they contained no hint of a change in her affections, and search them as he might, he could find no cipher or hidden message. They were merely frank, friendly notes of travel; at first filled with gossip of the steamer, and later telling of excursions around Cairo. If they held any touch of feeling they seemed to show that she was sorry for him, and as she could not regard him in any way more calculated to increase his discouragement, he, in utter hopelessness, retreated to the solitude of the farm. In New York he left behind him two trunks filled with such garments as a man would need on board a steamer and in the early spring in Egypt. They had been packed and in readiness since the day she sailed away, when she had told him of the possible sign. But there had been no sign. Nor did he longer believe in one. So in the baggage-room of an hotel the trunks were abandoned, accumulating layers of dust and charges for storage.

At the farm the snow still lay in the crevices of the rocks and beneath the branches of the evergreens, but under the wet, dead leaves little flowers had begun to show their faces. The “backbone of the winter was broken” and spring was in the air. But as Ainsley was certain that his heart also was broken, the signs of spring did not console him. At each week-end he filled the house with people, but they found him gloomy and he found them dull. He liked better the solitude of the midweek days. Then for hours he would tramp through the woods, pretending she was at his side, pretending he was helping her across the streams swollen with winter rains and melted snow. On these excursions he cut down trees that hid a view he thought she would have liked, he cut paths over which she might have walked. Or he sat idly in a flat-bottomed scow in the lake and made a pretence of fishing. The loneliness of the lake and the isolation of the boat suited his humor. He did not find it true that misery loves company. At least to human beings he preferred his companions of Lone Lake—the beaver building his home among the reeds, the kingfisher, the blue heron, the wild fowl that in their flight north rested for an hour or a day upon the peaceful waters. He looked upon them as his guests, and when they spread their wings and left him again alone he felt he had been hardly used.

It was while he was sunk in this state of melancholy, and some months after Miss Kirkland had sailed to Egypt, that hope returned.

For a week-end he had invited Holden and Lowell, two former classmates, and Nelson Mortimer and his bride. They were all old friends of their host and well acquainted with the cause of his discouragement. So they did not ask to be entertained, but, disregarding him, amused themselves after their own fashion. It was late Friday afternoon. The members of the house-party had just returned from a tramp through the woods and had joined Ainsley on the terrace, where he stood watching the last rays of the sun leave the lake in darkness. All through the day there had been sharp splashes of rain with the clouds dull and forbidding, but now the sun was sinking in a sky of crimson, and for the morrow a faint moon held out a promise of fair weather.

Elsie Mortimer gave a sudden exclamation, and pointed to the east. “Look!” she said.

The men turned and followed the direction of her hand. In the fading light, against a background of sombre clouds that the sun could not reach, they saw, moving slowly toward them and descending as they moved, six great white birds. When they were above the tops of the trees that edged the lake, the birds halted and hovered uncertainly, their wings lifting and falling, their bodies slanting and sweeping slowly, in short circles.

The suddenness of their approach, their presence so far inland, something unfamiliar and foreign in the way they had winged their progress, for a moment held the group upon the terrace silent.

“They are gulls from the Sound,” said Lowell.

“They are too large for gulls,” returned Mortimer. “They might be wild geese, but,” he answered himself, in a puzzled voice, “it is too late; and wild geese follow a leader.”

As though they feared the birds might hear them and take alarm, the men, unconsciously, had spoken in low tones.

“They move as though they were very tired,” whispered Elsie Mortimer.

“I think,” said Ainsley, “they have lost their way.”

But even as he spoke, the birds, as though they had reached their goal, spread their wings to the full length and sank to the shallow water at the farthest margin of the lake.

As they fell the sun struck full upon them, turning their great pinions into flashing white and silver.

“Oh!” cried the girl, “but they are beautiful!”

Between the house and the lake there was a ridge of rock higher than the head of a man, and to this Ainsley and his guests ran for cover. On hands and knees, like hunters stalking game, they scrambled up the face of the rock and peered cautiously into the pond. Below them, less than one hundred yards away, on a tiny promontory, the six white birds stood motionless. They showed no sign of fear. They could not but know that beyond the lonely circle of the pond were the haunts of men. From the farm came the tinkle of a cow-bell, the bark of a dog, and in the valley, six miles distant, rose faintly upon the stillness of the sunset hour the rumble of a passing train. But if these sounds carried, the birds gave no heed. In each drooping head and dragging wing, in the forward stoop of each white body, weighing heavily on the slim, black legs, was written utter weariness, abject fatigue. To each even to lower his bill and sip from the cool waters was a supreme effort. And in their exhaustion so complete was something humanly helpless and pathetic.

To Ainsley the mysterious visitors made a direct appeal. He felt as though they had thrown themselves upon his hospitality. That they showed such confidence that the sanctuary would be kept sacred touched him. And while his friends spoke eagerly, he remained silent, watching the drooping, ghost-like figures, his eyes filled with pity.

“I have seen birds like those in Florida,” Mortimer was whispering, “but they were not migratory birds.”

“And I’ve seen white cranes in the Adirondacks,” said Lowell, “but never six at one time.”

“They’re like no bird I ever saw out of a zoo,” declared Elsie Mortimer. “Maybe they ARE from the Zoo? Maybe they escaped from the Bronx?”

“The Bronx is too near,” objected Lowell. “These birds have come a great distance. They move as though they had been flying for many days.”

As though the absurdity of his own thought amused him, Mortimer laughed softly.

“I’ll tell you what they DO look like,” he said. “They look like that bird you see on the Nile, the sacred Ibis, they—”

Something between a gasp and a cry startled him into silence. He found his host staring wildly, his lips parted, his eyes open wide.

“Where?” demanded Ainsley. “Where did you say?” His voice was so hoarse, so strange, that they all turned and looked.

“On the Nile,” repeated Mortimer. “All over Egypt. Why?”

Ainsley made no answer. Unclasping his hold, he suddenly slid down the face of the rock, and with a bump lit on his hands and knees. With one bound he had cleared a flower-bed. In two more he had mounted the steps to the terrace, and in another instant had disappeared into the house.

“What happened to him?” demanded Elsie Mortimer.

“He’s gone to get a gun!” exclaimed Mortimer. “But he mustn’t! How can he think of shooting them?” he cried indignantly. “I’ll put a stop to that!”

In the hall he found Ainsley surrounded by a group of startled servants.

“You get that car at the door in five minutes!” he was shouting, “and YOU telephone the hotel to have my trunks out of the cellar and on board the Kron Prinz Albert by midnight. Then you telephone Hoboken that I want a cabin, and if they haven’t got a cabin I want the captain’s. And tell them anyway I’m coming on board to-night, and I’m going with them if I have to sleep on deck. And YOU,” he cried, turning to Mortimer, “take a shotgun and guard that lake, and if anybody tries to molest those birds—shoot him! They’ve come from Egypt! From Polly Kirkland! She sent them! They’re a sign!”

“Are you going mad?” cried Mortimer.

“No!” roared Ainsley. “I’m going to Egypt, and I’m going NOW!”

Polly Kirkland and her friends were travelling slowly up the Nile, and had reached Luxor. A few hundred yards below the village their dahabiyeh was moored to the bank, and, on the deck, Miss Kirkland was watching a scarlet sun sink behind two palm-trees. By the grace of that special Providence that cares for drunken men, citizens of the United States, and lovers, her friends were on shore, and she was alone. For this she was grateful, for her thoughts were of a melancholy and tender nature and she had no wish for any companion save one. In consequence, when a steam-launch, approaching at full speed with the rattle of a quick-firing gun, broke upon her meditations, she was distinctly annoyed.

But when, with much ringing of bells and shouting of orders, the steam-launch rammed the paint off her dahabiyeh, and a young man flung himself over the rail and ran toward her, her annoyance passed, and with a sigh she sank into his outstretched, eager arms.

Half an hour later Ainsley laughed proudly and happily.

“Well!” he exclaimed, “you can never say I kept YOU waiting. I didn’t lose much time, did I? Ten minutes after I got your C. Q. D. signal I was going down the Boston Post Road at seventy miles an hour.”

“My what?” said the girl.

“The sign!” explained Ainsley. “The sign you were to send me to tell me”—he bent over her hands and added gently—“that you cared for me.”

“Oh, I remember,” laughed Polly Kirkland. “I was to send you a sign, wasn’t I? You were to ‘read it in your heart’,” she quoted.

“And I did,” returned Ainsley complacently. “There were several false alarms, and I’d almost lost hope, but when the messengers came I knew them.”

With puzzled eyes the girl frowned and raised her head.

“Messengers?” she repeated. “I sent no message. Of course,” she went on, “when I said you would ‘read it in your heart’ I meant that if you REALLY loved me you would not wait for a sign, but you would just COME!” She sighed proudly and contentedly. “And you came. You understood that, didn’t you?” she asked anxiously.

For an instant Ainsley stared blankly, and then to hide his guilty countenance drew her toward him and kissed her.

“Of course,” he stammered—“of course I understood. That was why I came. I just couldn’t stand it any longer.”

Breathing heavily at the thought of the blunder he had so narrowly avoided, Ainsley turned his head toward the great red disk that was disappearing into the sands of the desert. He was so long silent that the girl lifted her eyes, and found that already he had forgotten her presence and, transfixed, was staring at the sky. On his face was bewilderment and wonder and a touch of awe. The girl followed the direction of his eyes, and in the swiftly gathering darkness saw coming slowly toward them, and descending as they came, six great white birds.

They moved with the last effort of complete exhaustion. In the drooping head and dragging wings of each was written utter weariness, abject fatigue. For a moment they hovered over the dahabiyeh and above the two young lovers, and then, like tired travellers who had reached their journey’s end, they spread their wings and sank to the muddy waters of the Nile and into the enveloping night.

“Some day,” said Ainsley, “I have a confession to make to you.”








End of the Project Gutenberg EBook of The Messengers, by Richard Harding Davis

*** END OF THIS PROJECT GUTENBERG EBOOK THE MESSENGERS ***

***** This file should be named 1819-h.htm or 1819-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/1/8/1/1819/

Produced by Don Lainson; 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
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 F3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you ‘AS-IS’ WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm’s
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at 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
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 http://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 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.