The Project Gutenberg eBook of Shakespeare's Christmas Gift to Queen Bess 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: Shakespeare's Christmas Gift to Queen Bess Author: Anna Benneson McMahan Release date: December 28, 2006 [eBook #20210] Most recently updated: January 1, 2021 Language: English Credits: Produced by Ted Garvin, Verena Morandell and the Online Distributed Proofreaders Europe at http://dp.rastko.net *** START OF THE PROJECT GUTENBERG EBOOK SHAKESPEARE'S CHRISTMAS GIFT TO QUEEN BESS *** Produced by Ted Garvin, Verena Morandell and the Online Distributed Proofreaders Europe at http://dp.rastko.net [Illustration: Queen Elizabeth going to Whitehall through London Streets] Shakespeare's Christmas Gift To Queen Bess In the year 1596 By Anna Benneson McMahan [Illustration: THE MERMAID TAVERN] Chicago A.C. McClurg & Co. MCMVII Published October 12, 1907 The Lakeside Press R.R. DONNELLEY & SONS COMPANY CHICAGO 822.33 HN8 1907 McMahan, Anna (Benneson) Shakespeare's Christmas gift To my sister Lina in memory of the Christmases of our childhood. "All, though feigned, is true." CONTENTS Page I At the Mermaid 11 II At the Queen's Palace 33 III A Christmas Carol of the Olden Time 65 ILLUSTRATIONS Page Queen Elizabeth going to Whitehall through London Streets Frontispiece At the Mermaid 13 The River Avon at Stratford 14 Birthplace of Mary Arden, Mother of Shakespeare 16 Warwickshire House of the Tudor Period 18 Old Graves in Trinity Churchyard, Stratford 20 Old Warwickshire Cottages 24 A Group of Morris Dancers 26 Garden View of Shakespeare's Birthplace, Stratford 30 Queen Elizabeth going to Whitehall by the Thames 35 Portrait of the Earl of Essex 36 Portrait of the Earl of Southampton 40 Queen Elizabeth listening to the Play 44 "Observance to a morn of May" 46 Woods near Stratford 50 Earl of Leicester receiving Queen Elizabeth at Kenilworth 54 Portrait of Queen Elizabeth in her Later Years 58 A Dance of the Sixteenth Century 62 I. At the Mermaid. Thus Raleigh, thus immortal Sidney shone (Illustrious names!) in great Eliza's days. --Thos. Edwardes. [Illustration: At the Mermaid] SHAKESPEARE'S CHRISTMAS GIFT TO QUEEN BESS I. At the Mermaid. The numberless diamond-shaped window panes of the Mermaid Tavern are twinkling like so many stars in the chill December air of London. It is the last meeting of the Mermaid Club for the year 1596, and not a member is absent. As they drop in by twos and threes and gather in groups about the room, it is plain that expectation is on tip-toe. They call each other by their Christian names and pledge healths. Some are young, handsome, fastidious in person and dress; others are bohemian in costume, speech, and action; all wear knee breeches, and nearly all have pointed beards. He of the harsh fighting face, of the fine eye and coarse lip and the shaggy hair, whom they call Ben, although one of the youngest is yet plainly one of the leaders both for wit and for wisdom. [Illustration: The River Avon at Stratford "I know a bank where the wild thyme blows, Where oxlips and the nodding violet grows." ] That grave and handsome gentleman whose lordly bearing and princely dress mark his high rank, is another favourite. He has written charming poems, has fought gallantly on many fields, has voyaged widely on many seas, has founded colonies in distant America, is a favourite of the Queen. But in this Mermaid Club his chief glory is that he is its founder and leader, the one whose magnetism and personal charm has summoned and cemented in friendship all these varied elements. At last the all-important matter of the yearly Christmas play at court has been settled; the Master of the Revels has chosen from the rich stores of his manuscripts "_The Midsummer Night's Dream_", graciously adding that "for wit and mirth it is like to please her Majesty exceedingly." A high honor, indeed, for its author. For, not then, as now, were plays written primarily for the recreation and approval of the audience of the theatre. True, the public stage was fostered, and attracted its daily audience, but rather as a dress rehearsal, its main purpose being to train the players for the court presentations at one of her Majesty's palaces. The secret spur to both players and playwright was the hope of being among the chosen for the festivities at Richmond, Whitehall, or Greenwich, as the Queen might fancy to hold her court. [Illustration: Birthplace of Mary Arden, Mother of Shakespeare "Quite over-canopied with luscious woodbine With sweet musk-roses and with eglantine." ] [Illustration: Warwickshire House of the Tudor Period] Disappointment, soreness, jealousy, not seldom followed the award of the coveted distinction, but not so on this occasion. For now the successful candidate is one of the youngest and best beloved of this jolly coterie, and their pride in him is shown by the eagerness with which they await his coming to read to them the changes in the manuscript of his play since its former presentation. Ah! hear the burst of applause that greets his late arrival--a high-browed, sandy-haired man of thirty-two, lithe in figure, of middle height, with a smile of great sweetness, yet sad withal. On his face, one may read the lines of recent sorrow, and all know that he has returned but recently to London from the mournful errand which took him to his Stratford home--the burial of his dearly beloved and only son, Hamnet. The plaudits for the author of the most successful play of the season--"_Romeo and Juliet_," which was then taking the town by storm at the Curtain Theatre--were little heeded by the grief-stricken father as he urged his horse over the rough roads of the four days' journey, arriving just too late for a parting word from dying lips. But private sorrows are not for those who are called to public duties; a writer must trim his pen not to his own mood, but to the mood of the hour. And Queen Elizabeth, old in years, but ever young in her love of fun and frolic and flattery, must be made to forget the heaviness of time and the infirmities of age. If she may no longer take part in out-door sports--the hunting, the hawking, the bear-baiting,--she still may command processions, fêtes, masques, and stage-plays. It pleases her now to see this wonderful fairy piece, of which she has heard so much since, two years ago, it graced the nuptials of the Earl of Derby. Does she not remember also that pretty impromptu verse of the author when acting the part of King in another man's play, two years ago at Greenwich? Did she not twice drop her glove near his feet in crossing the stage? And how happily had he responded to the challenge! True to the character as well as to the metre of his part, he had picked up the glove, presenting it to its owner with the words:-- "And though now bent on this high embassy, Yet stoop we to take up our cousin's glove." [Illustration: Old Graves in Trinity Churchyard, Stratford] Seats are taken, the manuscript is opened, and the club becomes a green-room conference. The play is not to be recast entirely, the changes from the early version being mainly to introduce certain touches to flatter the royal ears, and to suit it to the more elaborate equipment of the Whitehall stage. Quill in hand, the reader as he proceeds crosses out from his manuscript everything that clogs the movement or detracts from the playfulness; giving free rein to his luxuriant imagination, he scatters the choicest flowers of fancy to create a vivid and animated picture. The lovers meet and part with pretty rhymes and repartee; the hard-handed men--the tradesmen and tinkers--bring their clumsy efforts to serve the wedding-feast; the fairies, graceful, lovely, enchanting, dance amidst the fragrance of enameled meadows. [Illustration: Old Warwickshire Cottages "And all things shall be peace." ] His fellow writers feel the charm. No one of them can do work in so many kinds nor of such kind in each. They recognise their master, they are under his magic spell; the familiar stories from Plutarch and Chaucer and Ovid take on a new meaning; the very holly on the walls seems alive with the fairy folk, as indeed it should be, according to the pretty, old superstition that elves and fairies hover about all Christmas fêtes. Hence, branches are hanging in hall and bower in order that these invisible guests may "hang in each leaf and cling on every bough." The holly, its prickly leaves symbolic of the crown of thorns, and its red berries of the blood of Christ, banishes the ivy and other greens, and becomes the popular favourite that it has since remained, for Christmas decoration. [Illustration: A Group of Morris Dancers "The quaint-mazes in the wanton green, For lack of tread, are undistinguishable." ] A responsive audience truly. Roars of laughter greet the rollicking humour of the clowns and their rude burlesque of things theatrical. But longest and loudest is the applause over the new touches--those portions that have been written in to please the court and the Queen. To remodel a play written for a marriage celebration so that it shall seem to praise the virginity of the Queen were surely no slight task, but it has been accomplished. Though the scene is laid in Greece, yet the play is full of the English life that all know so well. "Merrie England" and not classic Greece has given the poet the picture of the sweet country school-girls working at one flower, warbling one song, growing together like a double cherry. Of England, is the picture of the hounds with "ears that sweep away the morning dew"; from England, all this out-door woodland life, the clown's play and the clowns themselves,--Bottom with his inimitable conceit, and his fellows, Snug, Quince, and the rest. English is all Puck's fairy lore, the cowslips tall, the red-hipt humble-bee, Oberon's bank, the pansy love-in-idleness, and all the lovely imagery of the verse. English is the whole scenic background, and the "Wood near Athens" is plainly the Stratford boy's idealised memory of the Weir Brake that he knows so well. Mayhap, in very truth, on some mid-summer night the young poet, even then of "imagination all compact," did indeed dream a dream or see a vision like unto this, bringing it from Stratford to London partly written, but foregoing its completion for labour that would find readier acceptance at the theatre. [Illustration: Garden View of Shakespeare's Birthplace, Stratford "An odorous chaplet of sweet summer buds." ] However that may be, certain it is that this is a red-letter night at the Mermaid. The genius of "gentle Will" has taken a new point of departure and shines as it has not shone before either in his making over of other men's plays, or in his few original works. He has conquered a new realm of art; the phantoms of the fairy world for the first time have been endowed with a genuine and sustained dramatic interest. Small wonder that no one ventures to interrupt as the pages are turned; even at the close, only one, the Silenus-faced Ben, offers a criticism. Being well versed in classic lore, he protests against the characterisation of Theseus, Duke of Athens, saying it is too modern, and has in fact nothing of the antique or Grecian in its composition. But he is over-ruled speedily, and as the meeting breaks up one of the younger fellows whispers to another, "Shakespeare was sent us from Heaven, but Jonson from--College." II. At the Queen's Palace. Those flights upon the banks of Thames That so did take Eliza and our James. --Ben Jonson. [Illustration: Queen Elizabeth going to Whitehall by the Thames "But, noble Thames, whilst I can hold a pen, I will divulge thy glory unto men." John Taylor, the "Water Poet." ] II. At the Queen's Palace. It is Christmas night. Lords, ladies, and ambassadors have been summoned to Whitehall Palace to witness the play for which author, actors, and artists of many kinds have been working so industriously during the past few weeks. The Banqueting Hall, with a temporary stage at one end, has been converted into a fine auditorium. Facing the stage, and beneath her canopy of state, sits Queen Elizabeth, in ruff and farthingale, her hair loaded with crowns and powdered with diamonds, while her sharp smile and keen glance take note of every incident. Nearest her person and evidently the chief favourite of the moment, is the man who has long been considered the Adonis of the Court. He is now also its hero, having but recently returned from the wars in Spain, where his gallantry and promptitude at Cadiz have won new glories for Her Majesty. In five short years more, his head will come to the block by decree of this same Majesty; but this no one can foresee and all voices now unite in praises for the brave and generous Essex. [Illustration: Earl of Essex] Another conspicuous favourite is a blue-eyed, pink-cheeked young fellow of twenty-three, whose scarcely perceptible beard and moustache, and curly auburn hair falling over his shoulders and half-way to his waist, would suggest femininity except for his martial manner and tall figure. His resplendent attire is notable even in this gorgeously arrayed company. His white satin doublet has a broad collar, edged with lace and embroidered with silver thread; the white trunks and knee-breeches are laced with gold; the sword-belt, embroidered in red and gold, is decorated at intervals with white silk bows; purple garters, embroidered in silver thread, fasten the white stockings below the knee. As one of the handsomest of Elizabeth's courtiers, and also one of the most distinguished for birth, wealth, and wit, he would be a striking figure at any time; but to-night he has the added distinction of being the special friend and munificent patron of the author of the play that they have come to witness. To him had been dedicated the author's first appeal to the reading public--a poem called "Venus and Adonis," published some three years since; also, a certain "sugared sonnet," privately circulated, protesting-- "For to no other pass my verses tend Than of your graces and your gifts to tell." And through the patronage of this man--the gracious Earl of Southampton--the actor-author was first brought to the Queen's notice, finally leading to the present distinction at her hands. [Illustration: Earl of Southampton] But now the stage compels attention. The silk curtains are withdrawn, disclosing a setting of such elaboration and illusion as never before has been witnessed by sixteenth century eyes. Never before has the frugal Elizabeth consented to such an expenditure for costumes, properties, lights, and music. In vain the audience awaits the coming of the author; he is behind the scenes, an anxious and watchful partner with the machinist in securing the proper working of these new mechanical appliances, and the smoothness of the scene shifting. The Queen is a connoisseur in these matters, and there must be no bungling. The stage is divided horizontally between the roof and floor, the upper part concealed from the audience, while the lower section represents the interior of a royal palace at Athens. Three soundings of the cornet announce the opening of the play with its stately dialogue, in which Theseus, Duke of Athens, and Hippolyta, Queen of the Amazons, anticipate their approaching nuptials. Egeus enters with his daughter Hermia to bring complaint to the Duke that she will not marry Demetrius, the husband he has selected for her, but is bewitched with love for Lysander. The Duke reasons with Hermia; but the maiden is still obdurate and demands to know the worst that may befall if she refuses to wed Demetrius. The Duke pronounces sentence:-- "Either to die the death, or to abjure Forever the society of men. Therefore, fair Hermia, question your desires. Know of your youth, examine well your blood, Whether, if you yield not to your father's choice, You can endure the livery of a nun, For aye to be in shady cloister mew'd, To live a barren sister all your life, Chanting faint hymns to the cold, fruitless moon, Thrice blessed they that master so their blood, To undergo such maiden pilgrimage; But earthlier happy is the rose distill'd Than that which withering on the virgin thorn Grows, lives, and dies in single blessedness." [Illustration: Queen Elizabeth listening to the Play] The tributes to the "maiden pilgrimage" and "single blessedness" win from the Queen's countenance a glow which age has had no power to diminish. The highway to favour with the Virgin Queen, as every courtier and every writer knows, lies through praises of her voluntary state of celibacy. Thus threatened, Hermia is urged by Lysander to a clandestine marriage:-- "If thou lov'st me then, Steal forth thy father's house to-morrow night, And in the wood, a league without the town, Where I did meet thee once with Helena To do observance to a morn of May, There will I stay for thee." [Illustration: "In the wood, a league without the town To do observance to a morn of May." ] Hermia, hearing these words, feels her heart leap with joy. She tries to answer soberly, in the same measure used by her lover; but as her words become impassioned she breaks into rhyme. My good Lysander! I swear to thee by Cupid's strongest bow, By his best arrow with the golden head, By the simplicity of Venus doves, By that which knitteth souls and prospers loves, And by that fire which burn'd the Carthage green, When the false Trojan under sail was seen; By all the vows that ever men have broke, In number more than ever woman spoke, In that same place thou hast appointed me, To-morrow truly will I meet with thee. A scene of homely prose follows. The tradesmen and tinkers of Athens are planning to turn actors and to play "Pyramus and Thisbe" for the Duke's wedding feast. It is full of "local hits," which are not lost upon the audience. In the practical jokes, the melodrama, the ranting bombast, and Bottom's ambition to play "a tyrant's vein," they recognise a satire on the amateur theatricals of the trades-guilds, the clownish horseplay of the "moralities" so-called. These crude plays, once so popular, have become the jest of an audience who pride themselves on a drama of higher ideals and greater art. A sudden fall of the upper curtain, and the lower stage is concealed, the upper one breaking upon the view of the delighted spectators and announcing Act II of the play. It is a night scene in a wood near Athens; mossy banks and green trees; clouds and twinkling stars in the heavens; forms of fairies sitting about like humming birds, or resting in nodding fern leaves. They sing in quick, short rhymes, suiting the tempo to their actions:-- [Illustration: Woods near Stratford "Met we on hill, in dale, forest or mead, By paved fountain or by rushy brook, Or in the beached margent of the sea, To dance our ringlets to the whistling wind." ] Over hill, over dale, Thorough flood, thorough fire, Over park, over pale, Thorough flood, thorough fire, I do wander everywhere, Swifter than the moon's sphere; And I serve the Fairy Queen, To dew her orbs upon the green. The fairy Queen and King appear, engaged in a very human quarrel. Titania, like any mortal woman, is little disposed to yield to the demands of her lord and master one of her cherished treasures. They part in anger, and Oberon summons Puck, the arch mischief maker, and sets on foot the punishment of the rebellious lady. The audience, easy believers in spells, magic, and witchcraft, are in full sympathy with Puck's mission to secure the potion whose magic power will create love or cause infidelity and hatred. Never had poetry been fuller of imagery or sweeter in verification than in the lines spoken by Oberon; nor had Queen Elizabeth ever received a more graceful compliment:-- "Thou rememberest Since once I sat upon a promontory, And heard a mermaid on a dolphin's back Uttering such dulcet and harmonious breath That the rude sea grew civil at her song, And certain stars shot madly from their spheres, To hear the sea maid's music. That very time I saw, but thou could'st not, Flying between the cold moon and the earth, Cupid all arm'd; a certain aim he took At a fair vestal throned by the West, And loosed his love-shaft smartly from his bow. As it should pierce a hundred thousand hearts; But I might see young Cupid's fiery shaft Quench'd in the chaste beams of the watery moon, And the imperial votaress passed on, In maiden meditation, fancy free. Yet marked I where the bolt of Cupid fell; It fell upon a little western flower, Before milk-white, now purple with love's wound, And maidens call it love-in-idleness. Fetch me that flower." [Illustration: Earl of Leicester receiving Queen Elizabeth at Kenilworth "And the imperial votaress passed on In maiden meditation fancy free." ] Mark the Queen's flushed cheek and parted lips! The "mermaid on the dolphin's back" is no fancy picture, but an exact description of one of the pageants at the festivities in her honour at Kenilworth. Although twenty years have passed, memory still loves to linger about those days when she visited her favourite, the fascinating Earl of Leicester, on her royal progress, before state policy and private pique had combined to create strife and alienation. From memory also was the verse-picture painted. The lad of eleven, who had made light of the fifteen miles between Kenilworth and Stratford by tearing across ditch and hedge and meadow, could not easily forget the sights of that memorable day. Little then could he foresee the present hour; but rightly now does he judge that these reminiscences of the olden days will please Her Majesty. Rightly also does he judge that the ridiculous situations between the lovers will not be displeasing. A Queen whose whole reign has been marked by warfare against the marriage of her courtiers and her clergy, whose own mother's marriage had been so unhappy, will sympathise with Puck when he says of the lovers:-- "Those things do best please me That fall out preposterously," or, "Lord! What fools these mortals be!" A mad frolic now begins in fairyland. Puck stirs up all sorts of complications by squeezing the magic flower juice on the wrong eyes with such sad results that Titania falls in love with the weaver, Bottom, with the ass's head on his shoulders; the two friends, Hermia and Helena, rail at each other over the seeming desertion of their lovers. But in the morning, the spell having been removed and each lover restored to his proper relations, the rivals become once more true friends. The fairy King and Queen also have become reconciled, and prepare to celebrate the double wedding of the mortals with sports and revels throughout their fairy kingdom. [Illustration: Queen Elizabeth in her Later Years] The fifth act restores the lower stage and the palace of Theseus. His wedding festivities have begun. The hard-handed men of Athens perform their crude interlude, made all the more grotesque by the awkwardness of Francis Flute, the bellows-mender. In the character of Thisbe, it is his part to fall upon the sword and die, thus ending the play. Imagine the delight of the courtly auditors when the clumsy man in the part of the disconsolate lady falls, not upon the blade, but upon the scabbard of the unfamiliar weapon! But laughter and applause are arrested by the appearance of a bright, transparent cloud. It reaches from heaven to earth, and bourne in upon it, with music and with song, are Oberon, Titania, and their elfin train. The cloud parts, and Puck steps forth to speak the epilogue:-- "If we shadows have offended Think but this, and all is mended. That you have but slumber'd here While these visions did appear." The Christmas play is over, but not over the Christmas fun. Lords and ladies are but human, and have devised a "stately dance," in which they themselves participate until nearly sunrise, the Queen herself joining at times, and never so happy as when assured of her "wondrous majesty and grace." Did they--did any one--at this Christmas play of three hundred years ago feel the full charm and glory of this immortal creation of the poet? Did its lines ring in their ears the next day, and the next, and the next? Did they foresee how its rhythm would dance down the ages and abide in these present days, and in this present speech of ours? But this is something that I, your truthful reporter, cannot answer [Illustration: A Dance of the Sixteenth Century "A fortnight hold we this solemnity. In nightly revels and new jollity." ] . III. An Old-Time Christmas Carol. Sung to the Queen in the Presence at Whitehall MDXCVI. I sing of a maiden That is makeless.[1] King of all kings To her son she ches.[2] He came al so still There his mother was, As dew in April That falleth on the grass. He came al so still To his mother's bower, As dew in April That falleth on the flower. He came al so still There his mother lay, As dew in April That falleth on the spray. Mother and maiden Was never none but she; Well may such a lady God's mother be. [1] Matchless. [2] Chose. Ye End. [Illustration: Decorative Emblem] *** END OF THE PROJECT GUTENBERG EBOOK SHAKESPEARE'S CHRISTMAS GIFT TO QUEEN BESS *** 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.