The Project Gutenberg eBook of The Cruise of the Dolphin This ebook is for the use of anyone anywhere in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: The Cruise of the Dolphin Author: Thomas Bailey Aldrich Release date: May 1, 1999 [eBook #1757] Most recently updated: October 1, 2008 Language: English Credits: Produced by Susan L. Farley, and David Widger *** START OF THE PROJECT GUTENBERG EBOOK THE CRUISE OF THE DOLPHIN *** Produced by Susan L. Farley THE CRUISE OF THE DOLPHIN by Thomas Bailey Aldrich (An episode from The Story of a Bad Boy, the narrator being Tom Bailey, the hero of the tale.) Every Rivermouth boy looks upon the sea as being in some way mixed up with his destiny. While he is yet a baby lying in his cradle, he hears the dull, far-off boom of the breakers; when he is older, he wanders by the sandy shore, watching the waves that come plunging up the beach like white-maned sea-horses, as Thoreau calls them; his eye follows the lessening sail as it fades into the blue horizon, and he burns for the time when he shall stand on the quarter-deck of his own ship, and go sailing proudly across that mysterious waste of waters. Then the town itself is full of hints and flavors of the sea. The gables and roofs of the houses facing eastward are covered with red rust, like the flukes of old anchors; a salty smell pervades the air, and dense gray fogs, the very breath of Ocean, periodically creep up into the quiet streets and envelop everything. The terrific storms that lash the coast; the kelp and spars, and sometimes the bodies of drowned men, tossed on shore by the scornful waves; the shipyards, the wharves, and the tawny fleet of fishing-smacks yearly fitted out at Rivermouth--these things, and a hundred other, feed the imagination and fill the brain of every healthy boy with dreams of adventure. He learns to swim almost as soon as he can walk; he draws in with his mother's milk the art of handling an oar: he is born a sailor, whatever he may turn out to be afterwards. To own the whole or a portion of a rowboat is his earliest ambition. No wonder that I, born to this life, and coming back to it with freshest sympathies, should have caught the prevailing infection. No wonder I longed to buy a part of the trim little sailboat Dolphin, which chanced just then to be in the market. This was in the latter part of May. Three shares, at five or six dollars each, I forget which, had already been taken by Phil Adams, Fred Langdon, and Binny Wallace. The fourth and remaining share hung fire. Unless a purchaser could be found for this, the bargain was to fall through. I am afraid I required but slight urging to join in the investment. I had four dollars and fifty cents on hand, and the treasurer of the Centipedes (a secret society, composed of twelve boys of the Temple Grammar School, Rivermouth) advanced me the balance, receiving my silver pencil-case as ample security. It was a proud moment when I stood on the wharf with my partners, inspecting the Dolphin, moored at the foot of a very slippery flight of steps. She was painted white with a green stripe outside, and on the stern a yellow dolphin, with its scarlet mouth wide open, stared with a surprised expression at its own reflection in the water. The boat was a great bargain. I whirled my cap in the air, and ran to the stairs leading down from the wharf, when a hand was laid gently on my shoulder. I turned, and faced Captain Nutter (2 Tom Bailey's grandfather.) I never saw such an old sharp-eye as he was in those days. I knew he would not be angry with me for buying a rowboat; but I also knew that the little bowsprit suggesting a jib and the tapering mast ready for its few square feet of canvas were trifles not likely to meet his approval. As far as rowing on the river, among the wharves, was concerned, the Captain had long since withdrawn his decided objections, having convinced himself, by going out with me several times, that I could manage a pair of sculls as well as anybody. I was right in my surmises. He commanded me, in the most emphatic terms, never to go out in the Dolphin without leaving the mast in the boat-house. This curtailed my anticipated sport, but the pleasure of having a pull whenever I wanted it remained. I never disobeyed the Captain's orders touching the sail, though I sometimes extended my row beyond the points he has indicated. The river was dangerous for sailboats. Squalls, without the slightest warning, were of frequent occurrence; scarcely a year passed that three or four persons were not drowned under the very windows of the town, and these, oddly enough, were generally sea-captains, who either did not understand the river, or lacked the skill to handle a small craft. A knowledge of such disasters, one of which I witnessed, consoled me somewhat when I saw Phil Adams skimming over the water in a spanking breeze with every stitch of canvas set. There were few better yachtsmen than Phil Adams. He usually went sailing alone, for both Langdon and Binny Wallace were under the same restrictions I was. Not long after the purchase of the boat, we planned an excursion to Sandpeep Island, the last of the islands in the harbor. We purposed to start early in the morning, and return with the tide in the moonlight. Our only difficulty was to obtain a whole day's exemption from school, the customary half-holiday not being long enough for our picnic. Somehow, we could not work it; but fortune arranged it for us. I may say here, that, whatever else I did, I never played truant ("hookey" we called it) in my life. One afternoon the four owners of the Dolphin exchanged significant glances when Mr. Grimshaw announced from the desk that there would be no school the following day, he having just received intelligence of the death of his uncle in Boston. I was sincerely attached to Mr. Grimshaw, but I am afraid that the death of his uncle did not affect me as it ought to have done. We were up before sunrise the next morning, in order to take advantage of the flood-tide, which waits for no man. Our preparations for the cruise were made the previous evening. In the way of eatables and drinkables, we had stored in the stern of the Dolphin a generous bag of hard-tack (for the chowder), a piece of pork to fry the cunners in, three gigantic apple pies (bought at Pettingil's), half a dozen lemons, and a keg of spring water--the last-named articles were slung over the side, to keep it cool, as soon as we got under way. The crockery and the bricks for our camp-stove we placed in the bows with the groceries, which included sugar, pepper, salt, and a bottle of pickles. Phil Adams contributed to the outfit a small tent of unbleached cotton cloth, under which we intended to take our nooning. We unshipped the mast, threw in an extra oar, and were ready to embark. I do not believe that Christopher Columbus, when he started on his rather successful voyage of discovery, felt half the responsibility and importance that weighed upon me as I sat on the middle seat of the Dolphin, with my oar resting in the rowlock. I wonder if Christopher Columbus quietly slipped out of the house without letting his estimable family know what he was up to? Charley Marden, whose father had promised to cane him if he ever stepped foot on sail or row boat, came down to the wharf in a sour-grape humor, to see us off. Nothing would tempt him to go out on the river in such a crazy clam-shell of a boat. He pretended that he did not expect to behold us alive again, and tried to throw a wet blanket over the expedition. "Guess you'll have a squally time of it," said Charley, casting off the painter. "I'll drop in at old Newbury's" (Newbury was the parish undertaker) "and leave word, as I go along!" "Bosh!" muttered Phil Adams, sticking the boathook into the string-piece of the wharf, and sending the Dolphin half a dozen yards toward the current. How calm and lovely the river was! Not a ripple stirred on the glassy surface, broken only by the sharp cutwater of our tiny craft. The sun, as round and red as an August moon, was by this time peering above the water-line. The town had drifted behind us, and we were entering among the group of islands. Sometimes we could almost touch with our boat-hook the shelving banks on either side. As we neared the mouth of the harbor, a little breeze now and then wrinkled the blue water, shook the spangles from the foliage, and gently lifted the spiral mist-wreaths that still clung alongshore. The measured dip of our oars and the drowsy twitterings of the birds seemed to mingle with, rather than break, the enchanted silence that reigned about us. The scent of the new clover comes back to me now, as I recall that delicious morning when we floated away in a fairy boat down a river like a dream! The sun was well up when the nose of the Dolphin nestled against the snow-white bosom of Sandpeep Island. This island, as I have said before, was the last of the cluster, one side of it being washed by the sea. We landed on the river-side, the sloping sands and quiet water affording us a good place to moor the boat. It took us an hour or more to transport our stores to the spot selected for the encampment. Having pitched our tent, using the five oars to support the canvas, we got out our lines, and went down the rocks seaward to fish. It was early for cunners, but we were lucky enough to catch as nice a mess as ever you saw. A cod for the chowder was not so easily secured. At last Binny Wallace hauled in a plump little fellow clustered all over with flaky silver. To skin the fish, build our fireplace, and cook the chowder kept us busy the next two hours. The fresh air and the exercise had given us the appetites of wolves, and we were about famished by the time the savory mixture was ready for our clam-shell saucers. I shall not insult the rising generation on the seaboard by telling them how delectable is a chowder compounded and eaten in this Robinson Crusoe fashion. As for the boys who live inland, and know not of such marine feasts, my heart is full of pity for them. What wasted lives! Not to know the delights of a clambake, not to love chowder, to be ignorant of lobscouse! How happy we were, we four, sitting cross-legged in the crisp salt grass, with the invigorating seabreeze blowing gratefully through our hair! What a joyous thing was life, and how far off seemed death--death, that lurks in all pleasant places, and was so near! The banquet finished, Phil Adams drew from his pocket a handful of sweet-fern cigars; but as none of the party could indulge without imminent risk of becoming ill, we all, on one pretext or another, declined, and Phil smoked by himself. The wind had freshened by this, and we found it comfortable to put on the jackets which had been thrown aside in the heat of the day. We strolled along the beach and gathered large quantities of the fairy-woven Iceland moss, which at certain seasons is washed to these shores; then we played at ducks and drakes, and then, the sun being sufficiently low, we went in bathing. Before our bath was ended a slight change had come over the sky and sea; fleecy-white clouds scudded here and there, and a muffled moan from the breakers caught our ears from time to time. While we were dressing, a few hurried drops of rain came lisping down, and we adjourned to the tent to wait the passing of the squall. "We're all right, anyhow," said Phil Adams. "It won't be much of a blow, and we'll be as snug as a bug in a rug, here in the tent, particularly if we have that lemonade which some of you fellows were going to make." By an oversight, the lemons had been left in the boat. Binny Wallace volunteered to go for them. "Put an extra stone on the painter, Binny," said Adams, calling after him; "it would be awkward to have the Dolphin give us the slip and return to port minus her passengers." "That it would," answered Binny, scrambling down the rocks. Sandpeep Island is diamond-shaped--one point running out into the sea, and the other looking towards the town. Our tent was on the river-side. Though the Dolphin was also on the same side, she lay out of sight by the beach at the farther extremity of the island. Binny Wallace had been absent five or six minutes when we heard him calling our several names in tones that indicated distress or surprise, we could not tell which. Our first thought was, "The boat has broken adrift!" We sprung to our feet and hastened down to the beach. On turning the bluff which hid the mooring-place from our view, we found the conjecture correct. Not only was the Dolphin afloat, but poor little Binny Wallace was standing in the bows with his arms stretched helplessly towards us--drifting out to sea! "Head the boat inshore!" shouted Phil Adams. Wallace ran to the tiller; but the slight cockle-shell merely swung round and drifted broadside on. Oh, if we had but left a single scull in the Dolphin! "Can you swim it?" cried Adams desperately, using his hand as a speaking-trumpet, for the distance between the boat and the island widened momently. Binny Wallace looked down at the sea, which was covered with white caps, and made a despairing gesture. He knew, and we knew, that the stoutest swimmer could not live forty seconds in those angry waters. A wild, insane light came into Phil Adam's eyes, as he stood knee-deep in the boiling surf, and for an instant I think he meditated plunging into the ocean after the receding boat. The sky darkened, and an ugly look stole rapidly over the broken surface of the sea. Binny Wallace half rose from his seat in the stern, and waved his hand to us in token of farewell. In spite of the distance, increasing every moment, we could see his face plainly. The anxious expression it wore at first had passed. It was pale and meek now, and I love to think there was a kind of halo about it, like that which painters place around the forehead of a saint. So he drifted away. The sky grew darker and darker. It was only by straining our eyes through the unnatural twilight that we could keep the Dolphin in sight. The figure of Binny Wallace was no longer visible, for the boat itself had dwindled to a mere white dot on the black water. Now we lost it, and our hearts stopped throbbing; and now the speck appeared again, for an instant, on the crest of a high wave. Finally it went out like a spark, and we saw it no more. Then we gazed at one another, and dared not speak. Absorbed in following the course of the boat, we had scarcely noticed the huddled inky clouds that sagged heavily all around us. From these threatening masses, seamed at intervals with pale lightning, there now burst a heavy peal of thunder that shook the ground under our feet. A sudden squall struck the sea, ploughing deep white furrows into it, and at the same instant a single piercing shriek rose above the tempest--the frightened cry of a gull swooping over the island. How it startled us! It was impossible any longer to keep our footing on the beach. The wind and the breakers would have swept us into the ocean if we had not clung to one another with the desperation of drowning men. Taking advantage of a momentary lull, we crawled up the sands on our hands and knees, and, pausing in the lee of the granite ledge to gain breath, returned to the camp, where we found that the gale had snapped all the fastenings of the tent but one. Held by this, the puffed-out canvas swayed in the wind like a balloon. It was a task of some difficulty to secure it, which we did by beating down the canvas with the oars. After several trials, we succeeded in setting up the tent on the leeward side of the ledge. Blinded by the vivid flashes of lightning, and drenched by the rain, which fell in torrents, we crept, half dead with fear and anguish, under our flimsy shelter. Neither the anguish nor the fear was on our own account, for we were comparatively safe, but for poor little Binny Wallace, driven out to sea in the merciless gale. We shuddered to think of him in that frail shell, drifting on and on to his grave, the sky rent with lightning over his head, and the green abysses yawning beneath him. We suddenly fell to crying, and cried I know not how long. Meanwhile the storm raged with augmented fury. We were obliged to hold on to the ropes of the tent to prevent it blowing away. The spray from the river leaped several yards up the rocks and clutched at us malignantly. The very island trembled with the concussions of the sea beating upon it, and at times I fancied that it had broken loose from its foundation and was floating off with us. The breakers, streaked with angry phosphorus, were fearful to look at. The wind rose higher and higher, cutting long slits in the tent, through which the rain poured incessantly. To complete the sum of our miseries, the night was at hand. It came down abruptly, at last, like a curtain, shutting in Sandpeep Island from all the world. It was a dirty night, as the sailors say. The darkness was something that could be felt as well as seen--it pressed down upon one with a cold, clammy touch. Gazing into the hollow blackness, all sorts of imaginable shapes seemed to start forth from vacancy--brilliant colors, stars, prisms, and dancing lights. What boy, lying awake at night, has not amused or terrified himself by peopling the spaces around his bed with these phenomena of his own eyes? "I say," whispered Fred Langdon, at last, clutching my hand, "don't you see things--out there--in the dark?" "Yes, yes--Binny Wallace's face!" I added to my own nervousness by making this avowal; though for the last ten minutes I had seen little besides that star-pale face with its angelic hair and brows. First a slim yellow circle, like the nimbus round the dark moon, took shape and grew sharp against the darkness; then this faded gradually, and there was the Face, wearing the same sad, sweet look it wore when he waved his hand to us across the awful water. This optical illusion kept repeating itself. "And I too," said Adams." I see it every now and then, outside there. What wouldn't I give if it really was poor little Wallace looking in at us! O boys, how shall we dare to go back to the town without him? I've wished a hundred times, since we've been sitting here, that I was in his place, alive or dead!" We dreaded the approach of morning as much as we longed for it. The morning would tell us all. Was it possible for the Dolphin to outride such a storm? There was a lighthouse on Mackerel Reef, which lay directly in the course the boat had taken when it disappeared. If the Dolphin had caught on this reef, perhaps Binny Wallace was safe. Perhaps his cries had been heard by the keeper of the light. The man owned a life-boat, and had rescued several persons. Who could tell? Such were the questions we asked ourselves again and again, as we lay huddled together waiting for daybreak. What an endless night it was! I have known months that did not seem so long. Our position was irksome rather than perilous; for the day was certain to bring us relief from the town, where our prolonged absence, together with the storm, had no doubt excited the liveliest alarm for our safety. But the cold, the darkness, and the suspense were hard to bear. Our soaked jackets had chilled us to the bone. In order to keep warm we lay so closely that we could hear our hearts beat above the tumult of sea and sky. After a while we grew very hungry, not having broken our fast since early in the day. The rain had turned the hard-tack into a sort of dough; but it was better than nothing. We used to laugh at Fred Langdon for always carrying in his pocket a small vial of essence of peppermint or sassafras, a few drops of which, sprinkled on a lump of loaf-sugar, he seemed to consider a great luxury. I do not know what would have become of us at this crisis if it had not been for that omnipresent bottle of hot stuff. We poured the stinging liquid over our sugar, which had kept dry in a sardine-box, and warmed ourselves with frequent doses. After four or five hours the rain ceased, the wind died away to a moan, and the sea--no longer raging like a maniac--sobbed and sobbed with a piteous human voice all along the coast. And well it might, after that night's work. Twelve sail of the Gloucester fishing fleet had gone down with every soul on board, just outside of Whale's-Back Light. Think of the wide grief that follows in the wake of one wreck; then think of the despairing women who wrung their hands and wept, the next morning, in the streets of Gloucester, Marblehead, and Newcastle! Though our strength was nearly spent, we were too cold to sleep. Once I sunk into a troubled doze, when I seemed to hear Charley Marden's parting words, only it was the Sea that said them. After that I threw off the drowsiness whenever it threatened to overcome me. Fred Langdon was the earliest to discover a filmy, luminous streak in the sky, the first glimmering of sunrise. "Look, it is nearly daybreak!" While we were following the direction of his finger, a sound of distant oars fell upon our ears. We listened breathlessly; and as the dip of the blades became more audible, we discerned two foggy lights, like will-o'-the-wisps, floating on the river. Running down to the water's edge, we hailed the boats with all our might. The call was heard, for the oars rested a moment in the row-locks, and then pulled in towards the island. It was two boats from the town, in the foremost of which we could now make out the figures of Captain Nutter and Binny Wallace's father. We shrunk back on seeing him. "Thank God!" cried Mr. Wallace fervently, as he leaped from the wherry without waiting for the bow to touch the beach. But when he saw only three boys standing on the sands, his eye wandered restlessly about in quest of the fourth; then a deadly pallor overspread his features. Our story was soon told. A solemn silence fell upon the crowd of rough boatmen gathered round, interrupted only by a stifled sob form one poor old man who stood apart from the rest. The sea was still running too high for any small boat to venture out; so it was arranged that the wherry should take us back to town, leaving the yawl, with a picked crew, to hug the island until daybreak, and then set forth in search of the Dolphin. Though it was barely sunrise when we reached town, there were a great many persons assembled at the landing eager for intelligence from missing boats. Two picnic parties had started down river the day before, just previous to the gale, and nothing had been heard of them. It turned out that the pleasure-seekers saw their danger in time, and ran ashore on one of the least exposed islands, where they passed the night. Shortly after our own arrival they appeared off Rivermouth, much to the joy of their friends, in two shattered, dismasted boats. The excitement over, I was in a forlorn state, physically and mentally. Captain Nutter put me to bed between hot blankets, and sent Kitty Collins for the doctor. I was wandering in my mind, and fancied myself still on Sandpeep Island: now we were building our brick stove to cook the chowder, and, in my delirium, I laughed aloud and shouted to my comrades; now the sky darkened, and the squall struck the island; now I gave orders to Wallace how to manage the boat, and now I cried because the rain was pouring in on me through the holes in the tent. Towards evening a high fever set in, and it was many days before my grandfather deemed it prudent to tell me that the Dolphin had been found, floating keel upwards, four miles southeast of Mackerel Reef. Poor little Binny Wallace! How strange it seemed, when I went to school again, to see that empty seat in the fifth row! How gloomy the playground was, lacking the sunshine of his gentle, sensitive face! One day a folded sheet slipped from my algebra: it was the last note he ever wrote me. I could not read it for the tears. What a pang shot across my heart the afternoon it was whispered through the town that a body had been washed ashore at Grave Point--the place where we bathed! We bathed there no more! How well I remember the funeral, and what a piteous sight it was afterwards to see his familiar name on a small headstone in the Old South Burying-Ground! Poor little Binny Wallace! Always the same to me. The rest of us have grown up into hard, worldly men, fighting the fight of life; but you are forever young, and gentle, and pure; a part of my own childhood that time cannot wither; always a little boy, always poor little Binny Wallace! End of Project Gutenberg's The Cruise of the Dolphin, by Thomas Bailey Aldrich *** END OF THE PROJECT GUTENBERG EBOOK THE CRUISE OF THE DOLPHIN *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law 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™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. 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™ 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™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ 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™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ 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™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law 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™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ 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™ 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™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than 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™ License must appear prominently whenever any copy of a Project Gutenberg™ 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 in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (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™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ 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™ 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™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 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™ 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™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (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™ 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™ 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™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ 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™ 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™ 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™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ 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 works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ 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™ trademark, and any other party distributing a Project Gutenberg™ 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 MERCHANTABILITY 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™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ 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™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ 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™’s goals and ensuring that the Project Gutenberg™ 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™ 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 information page at www.gutenberg.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. 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 business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread 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 www.gutenberg.org/donate. 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: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright 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 website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, 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.