The Project Gutenberg eBook of Chaitanya and the Vaishnava Poets of Bengal
    
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: Chaitanya and the Vaishnava Poets of Bengal

Author: John Beames

Release date: November 1, 2004 [eBook #6817]
                Most recently updated: August 22, 2014

Language: English



*** START OF THE PROJECT GUTENBERG EBOOK CHAITANYA AND THE VAISHNAVA POETS OF BENGAL ***




Produced by John B. Hare (sacred-texts.com), and Chetan
Jain (BharatLiterature).











CHAITANYA AND THE VAISHNAVA POETS OF BENGAL



THE
INDIAN ANTIQUARY,


A JOURNAL OF ORIENTAL RESEARCH

IN

ARCHAEOLOGY, HISTORY, LITERATURE, LANGUAGES, PHILOSOPHY, RELIGION,
FOLKLORE, &c., &c., &c.


EDITED BY

JAS. BURGESS, M.R.A.S., F.R.G.S.


VOL. II.--1873
[Bombay, Education Society's Press]
{Scanned and edited by Christopher M. Weimer, May 2002}



CHAITANYA AND THE VAISHNAVA POETS OF BENGAL.

STUDIES IN BENGALI POETRY OF THE FIFTEENTH AND SIXTEENTH CENTURIES.

BY JOHN BEAMES, J.C.S., M.R.A.S. &c.


THE PADKALPATARU, or 'wish-granting tree of song,' may be considered as
the scriptures of the Vaish.nava sect in Bengal.  In form it is a
collection of songs written by various poets in various ages, so
arranged as to exhibit a complete series of poems on the topics and
tenets which constitute the religious views of the sect.  The book has
been put together in recent times, and takes the reader through the
preliminary consecration, invocations and introductory ceremonies, the
rise and progress of the mutual love of Radha and K.rish.na, and winds
up with the usual closing and valedictory hymns.

Before beginning an analysis of this collection so remarkable from many
points of view, it will probably be of some assistance even to those
who have studied the history of Vaish.navism, if I state briefly the
leading points in the life of Chaitanya, and the principal features of
the religion which he developed, rather than actually founded.

Bisambhar (Vishvambhara) Misr was the youngest son of Jagannath Misr, a
Brahman, native of the district of Sylhet in Eastern Bengal, who had
emigrated before the birth of his son to Nadiya (Nabadwipa), the
capital of Bengal.  [Footnote: The facts which here follow are taken
from the "Chaitanyacharitamrita," a metrical life of Chaitanya, the
greater part of which was probably written by a contemporary of the
teacher himself.  The style has unfortunately been much modernized, but
even so, the book is one of the oldest extant works in Bengali.  My
esteemed friend Babu Jagadishnath Ray has kindly gone through the book,
a task for which I had not leisure, and marked some of the salient
points for me.]  His mother was Sachi Debi, daughter of Nilambar
Chakravarti.  She bore to Jagannath eight daughters who all died young;
her first-born child, however, was a son named Biswarup, who afterwards
under the name of Nityanand became the chief disciple of his more
famous brother.  Bisambhar was born at Nadiya in the evening of the
_Purnima_ or day of the full moon of Phalgun 1407 Sakabda,
corresponding to the latter part of February or beginning of March A.D.
1486.  It is noted that there was an eclipse of the moon on that day.
By the aid of these indications those who care to do so can find out
the exact day.  [Footnote: There was an eclipse of the moon before
midnight Feb. 18, O.S. 1486.]  The passages in the original are:--


  Sri K.rish.na the Visible became incarnate in Nabadwip,
  For forty-eight years visibly he sported;
  The exact (date) of his birth (is) Saka 1407,
  In 1455 he returned to heaven.


And again--


  On the full moon of Phalgun at even was the lord's birth
  At that time by divine provision there was an eclipse of the moon.
    --_Ch._ I. xiii. 38.


In accordance with the usual Bengali superstition that if a man's real
name be known he may be bewitched or subject to the influence of the
evil eye, the real name given at birth is not made known at the time,
but another name is given by which the individual is usually called.
No one but the father and mother and priest know the real name.
Bisambhar's usual name in childhood was Nimai, and by this he was
generally known to his neighbours.

In person, if the description of him in the Chaitanyacharitamrita (Bk.
I. iii.) is to be considered as historical, he was handsome, tall (six
feet), with long arms, in colour a light brown, with expressive eyes, a
sonorous voice, and very sweet and winning manners.  He is frequently
called "Gaurang" or "Gaurchandra," _i.e._, the pale, or the pale
moon, in contrast to the Krishna of the Bhagvat who is represented as
very black.

The name Chaitanya literally means 'soul, intellect,' but in the
special and technical sense in which the teacher himself adopted it, it
appears to mean perceptible, or appreciable by the senses.  He took the
name Sri K.rish.na Chaitanya to intimate that he was himself an
incarnation of the god, in other words, K.rish.na made visible to the
senses of mankind.

The Charitamrita being composed by one of his disciples, is written
throughout on this supposition.  Chaitanya is always spoken of as an
incarnation of K.rish.na, and his brother Nityanand as a re-appearance
of Balaram.  In order to keep up the resemblance to K.rish.na, the
Charitamrita treats us to a long series of stories about Chaitanya's
childish sports among the young Hindu women of the village.  They are
not worth relating, and are probably purely fictitious; the Bengalis of
to-day must be very different from what their ancestors were, if such
pranks as are related in the Charitamrita were quietly permitted to go
on.  Chaitanya, however, seems to have been eccentric even as a youth;
wonderful stories are told of his powers of intellect and memory, how,
for instance, he defeated in argument the most learned Pandits.  A
great deal is said about his hallucinations and trances throughout his
life, and we may perhaps conclude that he was more or less insane at
all times, or rather he was one of those strange enthusiasts who wield
such deep and irresistible influence over the masses by virtue of that
very condition of mind which borders on madness.

When he was about eighteen his father died, and he soon afterwards
married Lachhmi Debi, daughter of Balabhadra Acharjya, and entered on
the career of a _grihastha_ or householder, taking in pupils whom
he instructed in ordinary secular learning.  He does not appear,
however, to have kept to this quiet life for long; he went off on a
wandering tour all over Eastern Bengal, begging and singing, and is
said to have collected a great deal of money and made a considerable
name for himself.  On his return he found his first wife had died in
his absence, and he married again one Bishnupriya, concerning whom
nothing further is said.  Soon after he went to Gaya to offer the usual
pi.n.da to the _manes_ of his ancestors.

It was on his return from Gaya, when he was about 23 years of age, that
he began seriously to start his new creed.  "It was now," writes Babu
Jagadishnath, "that he openly condemned the Hindu ritualistic system of
ceremonies as being a body without a soul, disowned the institution of
caste as being abhorrent to a loving god all whose creatures were one
in his eyes, preached the efficacy of adoration and love and extolled
the excellence and sanctity of _the_ name, and the uttering and
singing of _the_ name of god as infinitely superior to barren
system without faith."  Chaitanya, however, as the Babu points out, was
not the originator of this theory, but appears to have borrowed it from
his neighbour Adwaita Acharjya, whose custom it was, after performing
his daily ritual, to go to the banks of the Ganges and call aloud for
the coming of the god who should substitute love and faith for mere
rites and ceremonies.  This custom is still adhered to by Vaish.navas.
The Charitamrita veils the priority of Adwaita adroitly by stating that
it was he who by his austerities hastened the coming of K.rish.na in
the avatar of Chaitanya.


  I praise that revered teacher Adwaita of wonderful actions,
  By whose favour even the ignorant may perceive the (divinity)
    personified.
    --Ch. I. vi.


Thus in Sanskrit verses at the head of that chapter which sings the
virtues of Adwaita: by in the Bengali portion of the same chapter it is
asserted that Adwaita was himself an incarnation of a part of the
divinity, e.g.--


  The teacher Adwaita is a special portion of god.


And the author goes on to say that Adwaita was first the teacher then
the pupil of Chaitanya.  The probability is that Adwaita, like the
majority of his countrymen, was more addicted to meditation than to
action.  The idea which in his mind gave rise to nothing more than
indefinite longings when transfused into the earnest fiery nature of
Chaitanya, expanded into a faith which moved and led captive the souls
of thousands.

His brother Nityanand was now assumed to be an incarnation of Balaram,
and took his place as second-in-command in consequence.  The practice
of meeting for worship and to celebrate "Sankirtans" was now
instituted; the meetings took place in the house of a disciple Sribas,
and were quite private.  The new religionists met with some opposition,
and a good deal of mockery.  One night on leaving their rendezvous,
they found on the door-step red flowers and goats' blood, emblems of
the worship of Durga, and abominations in the eyes of a Vaish.nava.
These were put there by a Brahman named Gopal.  Chaitanya cursed him
for his practical joke, and we are told that he became a leper in
consequence.  The opposition was to a great extent, however, provoked
by the Vaish.navas, who seem to have been very eccentric and
extravagant in their conduct.  Every thing that K.rish.na had done
Chaitanya must do too, thus we read of his dancing on the shoulders of
Murari Gupta, one of his adherents; and his followers, like himself,
had fits, foamed at the mouth, and went off into convulsions, much
after the fashion of some revivalists of modern times.  The young
students at the Sanskrit schools in Nadiya naturally found all this
very amusing, and cracked jokes to their hearts' content on the crazy
enthusiasts.

In January 1510, Chaitanya suddenly took it into his head to become a
Sanyasi or ascetic, and received initiation at the hands of Keshab
Bharati of Katwa.  Some say he did this to gain respect and credit as a
religious preacher, others say it was done in consequence of a curse
laid on him by a Brahman whom he had offended.  Be this as it may, his
craziness seems now to have reached its height.  He wandered off from
his home, in the first instance, to Puri to see the shrine of
Jagannath.  Thence for six years he roamed all over India preaching
Vaish.navism, and returned at last to Puri, where he passed the
remaining eighteen years of his life and where at length he died in the
48th year of his age in 1534 A.D.  His Bengali followers visited him
for four months in every year and some of them always kept watch over
him, for he was now quite mad.  He had starved and preached and sung
and raved himself quite out of his senses.  On one occasion he imagined
that a post in his veranda was Radha, and embraced it so hard as nearly
to smash his nose, and to cover himself with blood from scraping all
the skin off his forehead; on another he walked into the sea in a fit
of abstraction, and was fished up half dead in a net by a fisherman.
His friends took it in turns to watch by his side all night lest he
should do himself some injury.

The leading principle that underlies the whole of Chaitanya's system is
_Bhakti_ or devotion; and the principle is exemplified and
illustrated by the mutual loves of Radha and K.rish.na.  In adopting
this illustration of his principle, Chaitanya followed the example of
the Bhagavad Gita and the Bhagavat Pura.na, and he was probably also
influenced in the sensual tone he gave to the whole by the poems of
Jayadeva.  The Bhakta or devotee passes through five successive stages,
_Santa_ or resigned contemplation of the deity is the first, and
from it he passes into _Dasya_ or the practice of worship and
service, whence to _Sakhya_ or friendship, which warms into
_Batsalya_, filial affection, and lastly rises to _Madhurya_
or earnest, all-engrossing love.

Vaish.navism is singularly like Sufiism, the resemblance has often been
noticed, and need here only be briefly traced.  [Footnote: Conf. Capt.
J. W. Graham's paper 'On Sufiism,' _Bombay Literary Soc. Trans._
Vol. I. pp. 89 et seqq.; Rajendralala Mittra's valuable introduction to
the _Chaitanya Chandrodaya_ (Biblioth. Ind.), pp. ii-iv and xv;
also Jones' 'Mystical Poetry of the Persians and Hindus,' _Asiat.
Res._ Vol. III. pp. 165-207; and Leyden, 'On the Rosheniah Sect,
&c.,' _As. Res._ Vol. XI. pp. 363-428.--ED.]  With the latter the
first degree is _nasut_ or 'humanity' in which man is subject to
the law _shara_, the second _tarikat_, 'the way' of
spiritualism, the third _'aruf_ or 'knowledge,' and the fourth
_hakikat_ or 'the truth.' Some writers give a longer series of
grades, thus--_talab,_ 'seeking after god;' _'ishk_, 'love;'
_m'arifat_, 'insight;' _istighnah_, 'satisfaction;'
_tauhid_, 'unity;' _hairat_, 'ecstacy;' and lastly
_fana_, 'absorption.'  Dealing as it does with God and Man as two
factors of a problem, Vaish.navism necessarily ignores the distinctions
of caste, and Chaitanya was perfectly consistent in this respect,
admitting men of all castes, including Muhammadans, to his sect.  Since
his time, however, that strange love of caste-distinctions, which seems
so ineradicable from the soil of India, has begun again to creep into
Vaish.navism, and will probably end by establishing its power as firmly
in this sect as in any other.

Although the institution of love towards the divine nature, and the
doctrine that this love was reciprocated, were certainly a great
improvement on the morbid gloom of Siva-worship, the colourless
negativeness of Buddhism, and the childish intricacy of ceremonies
which formed the religion of the mass of ordinary Hindus, still we
cannot find much to admire in it.  There seems to be something almost
contradictory in representing the highest and purest emotions of the
mind by images drawn from the lowest and most animal passions.


  "Ut matrona meretrici dispar erit atque discolor."


So must also Vaish.navism differ from true religion, the flesh from the
spirit, the impure from the pure.  The singing of hymns about Radha and
K.rish.na is much older than Chaitanya's age.  Not to mention Jayadeva
and his beautiful, though sensual, Gitagovinda.  [Footnote: It is many
years now since I read Gitagovinda as a text-book at college, but the
impression I still retain is that it was in many parts far too warm for
European tastes.]  Bidyapati, the earliest of Bengali poets, and
Cha.n.di Das both preceded Chaitanya, and he himself is stated to have
been fond of singing their verses.  There was therefore a considerable
mass of hymns ready to his hand, and his contemporaries and followers
added largely to the number; the poems of the _Padakalpataru_ in
consequence are of all ages from the fifteenth century downwards;
moreover, as Vaish.navism aspires to be a religion for the masses, the
aim of its supporters has always been to write in the vulgar tongue, a
fortunate circumstance which renders this vast body of literature
extremely valuable to the philologist, since it can be relied on as
representing the spoken language of its day more accurately than those
pretentious works whose authors despised everything but Sanskrit.

The _Padakalpataru_, to keep up the metaphor of its name
throughout, is divided into 4 _sakhas_ or 'branches,' and each of
these into 8 or 10 _pallabas_ or smaller branches, 'boughs.'  It
should be explained that the kirtans are celebrated with considerable
ceremony.  There is first a consecration both of the performers and
instruments with flowers, incense, and sweetmeats.  This is called the
_adhibas_.  The principal performer then sings one song after
another, the others playing the drum and cymbals in time, and joining
in the chorus; as the performance goes on many of them get excited and
wildly frantic, and roll about on the ground.  When the performance is
over the drum is respectfully sprinkled with _chandana_ or
sandalwood paste, and hung up.  Several performances go on for days
till a whole Sakha has been sung through, and I believe it is always
customary to go through at least one Pallab at a sitting, however long
it may be.  The Bengali Kirtan in fact resembles very much the Bhajans
and Kathas common in the Mara.tha country, and each poem in length, and
often in subject, is similar to the Abhangas of Tukaram and others in
that province.

The first Pallab contains 27 hymns, of these 8 are by Gobind Das, 8 by
Baishnab Das, 3 by Brindaban Das, the rest by minor masters.  Brindaban
Das and Parameshwar Das were contemporaries of Chaitanya, the others--
including Gobind Das, who is perhaps the most voluminous writer of all
--are subsequent to him.  Of the hymns themselves the first five are
invocations of Chaitanya and Nityanand, and one is in praise of the
ceremony of Kirtan.  There is nothing very remarkable in any of them.
Number 5 may be taken as a specimen, as it is perhaps the best of the
batch.


  "Nand's son, lover of the Gopis, lord of Radha, the playful Syam:


_Is_ he, Sachi's son, the Indra of Nadiya, the heart-charming
dwelling of gods and saints; victory to him who is love embodied to his
own beloved, hail! hail to him who is the joy of the existence of his
well-beloved! hail to the delight of the eyes of his comrades in Braj!
hail to the charm of the sight of the women of Nadiya! hail! hail to
Sridam, Sudam, Subal, and Arjun, [Footnote: Names of Chaitanya's
disciples.] bound by love to him whose form is as a new cloud! hail to
Ram and the rest, beautiful and dear companions! hail to the charmer,
the incomparable Gora (Chaitanya)! hail to the mighty younger brother
of Balaram! hail! hail to Nityanand (who is) joy (personified)! Hail to
him who destroys the fear of good men, the object of the hope of Gobind
Das!"

I would call attention here, once for all, to what is one of the
principal charms of Vaish.nava hymns, the exquisitely musical rhythm
and cadence.  They seem made to be sung, and trip off the tongue with a
lilt and grace which are irresistible.

This hymn is interesting as shewing how completely Chaitanya is by his
followers invested with the attributes of, and identified with,
K.rish.na; it has no other special merits; nor anything specially
interesting from a philological point of view as it is nearly all
Sansk.rit.

The next six are in praise of the sect itself, of Adwaita, and the
principal disciples.  That on Adwaita by his contemporary Brindaban Das
gives a lively picture of the old Brahman, then follow seven in praise
of the Kirtanias or the old master-singers--Bidyapati, Jayadeva,
Cha.n.di Das; then four on K.rish.na and Radha, containing only a
succession of epithets linked together by jay! jay!

The twenty-third begins the adhibas or consecration, and is curious
less for its language than for the description it gives of the
ceremonies practised.  It is by the old masters Parameshwar and
Brindaban, with the concluding portion by a younger master Bansi.  The
poem is in four parts and takes the form of a story how Chaitanya held
his feast.  It runs thus:--


  23. Atha sankirtanasya adhibasa.


"One day coming and smiling, sitting in Adwaita's house, spake the son
of Sachi, having Nityanand with him and Adwaita, sitting in enjoyment,
he planned a great festivity.  Hearing this, smiling with joy, Sita
Thakurani coming spoke a sweet word: hearing that with joyful mind the
son of Sachi spoke somewhat in regard to arranging the festival.
'Listen, Thakurani Sita,[Footnote: Sita was the wife of Adwaita.] bring
the Baishnabs here; making pressing invitation to them: whoso can sing,
whoso can play, invite them separately, man by man.'  Thus Gora Rai
speaking gave orders for an assembly: ' Invite the Baishnabs!  Bring
out the cymbal and drum, set out full pots painted with aloes and
sandal-paste: plant plantains, hang on them garlands of flowers, for
the Kirtan place joyfully.  With garlands, sandal, and betelnut, ghee,
honey, and curds consecrate the drum at evening-tide.'  Hearing the
lord's word, in loving manner she made accordingly various offerings
with fragrant perfumes: all cried 'Hari, Hari!' thus they consecrate
the drum; Parameshwar Das floats in enjoyment."

Of the remainder of the adhibas I give merely a paraphrase ommiting the
numerous repetitions.

2. Having prepared the entertainment she invites them, "kindly visit
us, to you and Vaish.navas, this is my petition, come and see and
complete the feast;" thus entreating she brought the honoured guests,
they consecrate the feast.  Joyfully the Vaish.navas came to the feast:
"to-morrow will be the joy of the great festivity, there will be the
enjoyment of the singing Sri K.rish.na's sports, all will be filled
with delight."  The merits of the assembly of the devotees of Sri
K.rish.na Chaitanya singeth Brindaban Das.

3. First set up the plantains, array the full pots, adorned with twigs
of the mango; the Brahman chants the Vedas, the women shout jay! jay!
and all cry Hari! Hari!  Making the consecration with curds and
_ghi_, all display their joy; bringing in the Vaish.navas, giving
them garlands and sandal-paste, for the celebration of the Kirtan; joy
is in the hearts of all, hither come the Vaish.navas, to-morrow will be
Chaitanya's kirtan; the virtue of Sri K.rish.na Chaitanya's name, and
the indwelling of Sri Nityanand singeth Das Brindaban.  [Footnote: The
poet's name is inverted to make a rhyme for Kirtan in the preceding
line.]

4. Jay! jay! in Nawadwip; by Gorang's order Adwaita goes to prepare the
consecration of the drum.  Bringing all the Vaish.navas with sound of
"Hari bol," he initiates the great feast.  He himself giving garlands
and sandal-paste, converses with his beloved Vaish.navas, Gobind taking
the drum plays ta-ta-tum tum, Adwaita lightly clashes the cymbals.
Hari Das begins the song, Sribas keeps time, Gorang dances at the
kirtan celebration.  On all sides the Vaish.navas crowding echo "Hari
bol," to-morrow will be the great feast.  To-day consecrate the drum
and hang it up, joyfully saith Bansi sound victory! victory!!

Having thus concluded the initiatory ceremonies in the lst Pallab, the
2nd Pallab begins the real "Kirtan."  It contains 26 hymns by masters
who are mostly of comparatively recent date.  Of the old masters Gobind
Das and Cha.n.di Das alone appear in this Pallab.  We now commence the
long and minutely described series of emotions and flirtations (if so
lowly a word may be used) between Radha and K.rish.na, and this Pallab
and in fact the whole of the first Sakha is on that phase called
"purbaraga" or first symptoms of love.  In No. 2, Cha.n.di Das
represents two of Radha's Sakhis, or girl-friends, whispering together
as they watch her from a distance (the punctuation {i.e. colon (:)}
refers to the caesura, not to the sense):

"She stands outside the house, a hundred times restlessly she comes and
goes: depressed in mind, _with_ frequent sighs, she looks towards
the kadamba jungle.  Why has Rai (Radhika) become thus? serious is her
error, she has no fear of men, where are her senses, or what god has
possessed her?  Constantly restless, she does not cover herself with
the corner of her robe: she sits still for a while, then rises with a
start, her ornaments fall with a clang.  Youthful in age, of royal
descent, and a chaste maiden to boot: what does she desire, (why) does
her longing increase?  I cannot understand her motives: from her
conduct, this I conceive, she has raised her hand to the moon:
[Footnote: She has formed some extravagant desire.]  Cha.n.di Das says
with respect she has fallen into the snare of the black one
(K.rish.na)."

This poem vividly expresses the first symptoms of love dawning in the
girl's heart, and from a religious point of view the first awakenings
of consciousness of divine love in the soul.  It is difficult for the
European mind, trained to draw a broad distinction between the love of
God and love for another human being, to enter into a state of feeling
in which the earthly and sensual is made a type of the heavenly and
spiritual, but a large-souled charity may be perhaps able to admit that
by this process, strange though it be to its own habits and
experiences, there may have been some improvement wrought in the inner
life of men brought up in other schools of thought; and my own
experience, now of fourteen years standing, enables me to say that
Vaish.navism does, in spite of, or perhaps in virtue of, its peculiar
_modus operandi_, work a change for the better on those who come
under its influence.

Two more hymns on the same subject follow, and in No. 5 Radha herself
breaks silence.

"In the kadamba grove what man is (that) standing?  What sort of word
coming is this: the plough of whose meaning has penetrated startlingly
the path of hearing?  With a hint of union, with its manner of
penetrating making one well-nigh mad:  My mind is agitated, it cannot
be still, streams flow from my eyes:  I know not what manner of man it
is who utters such words:  I see him not, my heart is perturbed, I
cannot stay in the house:  My soul rests not, it flutters to and fro in
hope of seeing him:  When she sees him, she will find her soul, quoth
Urdbab Das."

I have left myself no space to finish this Pallab, or to make remarks
on the peculiarities of the language, which in the older masters would
more properly be called old Maithila than Bengali.  It is nearly
identical with the language still spoken in Tirhut, the ancient
Mithili, and in Munger and Bhagalpur, the ancient Magadha, than modern
Bengali.  As the Aryan race grew and multiplied it naturally poured out
its surplus population in Bengal, and it is not only philologically
obvious that Bengali is nothing more than a further, and very modern
development of the extreme eastern dialect of Hindi.  All these
considerations, however, I hope still further to develop at some future
time.













*** END OF THE PROJECT GUTENBERG EBOOK CHAITANYA AND THE VAISHNAVA POETS OF BENGAL ***


    

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.