The Project Gutenberg eBook of Gay life in Paris: how life is enjoyed by the people of that great metropolis 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: Gay life in Paris: how life is enjoyed by the people of that great metropolis Author: Anonymous Release date: November 21, 2022 [eBook #69400] Language: English Original publication: United States: A. B. Courtney, 1895 Credits: Demian Katz, Craig Kirkwood, and the Online Distributed Proofreading Team at https://www.pgdp.net (Images courtesy of the Digital Library@Villanova University.) *** START OF THE PROJECT GUTENBERG EBOOK GAY LIFE IN PARIS: HOW LIFE IS ENJOYED BY THE PEOPLE OF THAT GREAT METROPOLIS *** Transcriber’s Note: Text enclosed by underscores is in italics (_italics_). Additional Transcriber’s Notes are at the end. * * * * * MULTUM IN PARVO LIBRARY. Entered at the Boston Post Office as second class matter. Vol. 2. JUNE, 1895. Published Monthly. No. 18. GAY LIFE IN PARIS. How Life is Enjoyed by the People of that Great Metropolis. Smallest Magazine in the world. Subscription price 50 cts. per year. Single Copies 5 cts. each. PUBLISHED BY A. B. COURTNEY, Room 74, 45 Milk Street, BOSTON, MASS. * * * * * [Illustration: THE QUEEN OF THE MABILLE.] * * * * * GAY LIFE IN PARIS. Preface. There is an old Italian proverb, “See Naples and die,” but the French paraphrase it in a more pleasant way and say “See Paris and pray to live there until the end of the world.” It is with some of the females of Paris that we have to deal in this little book. Life in the great Metropolis is far different from the comparatively sober method of living in our American cities. A well known journalist says: “Men and women plunge into the lovely city as into a bath of pleasure, buffet with the breakers, float a brief time on the cosy sea of life there, and are then sucked down in the dark and sinister depths where ruin, disease and death lay in wait for the prey they are sure of in the end.” Of course this writer doesn’t mean that all men and women get into the evil way, but he does mean that a greater proportion are tempted by evil in Paris than in any other place. The Jardin Mabille. The day of the Jardin Mabille went by several years yet, but the memories of it remain. The nearest approach to it, at present, is an establishment in the Latin quarter of Paris. The Mabille was a very elaborately and artistically arranged garden, a maze of thickets, odorous with flowers. It had an immense closed hall for winter use. Here once a week was held a masked ball which lasted from Saturday night to daybreak of the Sabbath. The wickedest dances, notably the can-can and the hula-hula, were invariably reserved for the closing hours of the affair. The women who frequented these balls were bad, yes, very bad, and they were met there by men in all walks of life. Even Napoleon III has visited this den of iniquity incognito. The writer of this had occasion to visit the Jardin Mabille and other similar places in Paris once in company with a detective. One of the notable dances seen was the bacchanal or wine dance. It is accompanied with the most astonishing sensational effects. The gas burns low, loud gongs bray dismally, cymbals clash, and the hall is brilliantly illuminated with red and blue and green fires, amongst which pistols are discharged and shrieks are heard in various parts of the room. Never was a madder scene enacted in real life than the bacchanal and the valentine on New Year’s eve. But is it real life after all, or is it only Paris and a kind of giddy dream? We, who come only to look on and to renew our feeble, but I trust virtuous, indignation at such sights, turn at last from the girls in boys’ clothes and the boy in girls’ clothes; from the jaunty sailor girl-boy who has just ridden around the room on the shoulders of her captain; from the Queen of Darkness who swept past us in diamonds and sables and never so much as suffered her languishing eyes to rest for a moment on any one of us; from the misery of the jealous one in the corner who has been robbed of his prize, and the melancholy of the two who are advising one another to go home, for they have each had more than enough; from all this we turn at last and find the streets blank and cold, and over the roofs comes the sound of bells that are calling the faithful to prayer. As a resort the Jardin Mabille ranked about with the Sixth Avenue dives of New York. The general class of patrons were the same at both. The attractions are the loose women; the attracted the silly, young and old men. I have encountered there grave American business men and government officials, and famous actresses and _prima donnæ_, bent on investigating the gilded vice for which the Mabille has become notorious. Indeed, the experience was said to be one without which one’s knowledge of Paris was incomplete, and as long as the Jardin Mabille existed, it never lacked patrons to make its sugared infamy profitable. God be thanked that this vile institution is of the past, and it is our regret that some French Parkhurst does not arise and clean out the similar establishments whose gilded doors are open as the reader is perusing this. [Illustration: A PAIR OF FRENCH DANCERS.] Ballet Dancers. The reader may be supposed to be familiar with the architectural splendors of the Paris Opera House. To some minds these splendors will perhaps become more vivid when it is said that they cost 40,000,000 francs, say $8,000,000. I omit all general description and pass at once behind the scenes to the _foyer de la danse_ or green-room of the ladies of the ballet. It is a splendid room, decorated with allegorical panels and mirrors. All around the room run bars fixed against the wall, and covered with red velvet. The dancing “subjects” use these bars to stretch and twist their legs, and to exercise the muscles of their backs. Before the fireplace stand the children and small fry of the ballet. On each side of the fire, dozing and gossiping are the mothers of the figurantes, armed with baskets and knitting needles. In the middle of the room is a little group of men, hats in hand, carefully dressed, chatting, laughing, and apparently waiting for something. They are the _habitues_, and they are waiting for the arrival of the _premiers sujets_. Soon these ladies appear, one by one, walking with that movement of the hips that only dancers have, the foot turned outward and enveloped in loose gaiters, which make them look like Cochin China hens. These gaiters are destined to preserve their satin shoes and stockings from dust and dirt. With a little watering-pot that they carry with their finger tips, like shepherdesses in Watteau’s pictures, they proceed to water about three square feet of floor; then flinging into the glass a general and collective ogle at the group standing behind them, they go through a variety of steps, pirouettes, smiles and capers for five minutes. Then comes a little repose. The group of men breaks up, and those who are intimate enough approach and talk to the dancers. What they say to them is a secret. Meanwhile, the call man cries with a voice like a rattle, “Gentlemen and ladies, they are beginning.” This is not true. It is like saying dinner at six for half past. The incident, however, is useful to those ladies who wish to cut short a tiresome conversation. The reply is a caper. After a few minutes the call man returns: “Gentlemen and ladies, they have begun.” This time it is almost true. Then the ladies take off their gaiters, hand the watering-pots to their mothers, to their chamber-maids, or to the persons who combine these two offices, and with much strutting and muscular mannerism direct their steps toward the stage. Those who enjoy the privilege of the entry to the _foyer_ of the opera are the subscribers, the Ministers, influential journalists, and a few other persons whom it pleases the director to gratify. All rich folk, you may be sure, for unless you are rich you cannot be an habitue of the opera. As Hector Berlioz used to say, “Music is essentially aristocratic, a girl of noble lineage, that princes alone can endow nowadays.” How Divided. And now let me say a few words about the ladies of the ballet. They are divided into premiers, sujets, coryphees, figurants and comparses. I maintain the French terms for the simple reason that there are no Anglo-Saxon equivalents. The _corps de ballet_, like an army corps, is composed of platoons, divided first of all according to the sexes, and then into quadrilles, first and second. The pay in the second quadrille is 700 to 800 francs a year; in the first, 900 to 1,000 francs; a _coryphee_ gets 1,200, 1,300, or 1,400 francs. The next stage is _sujet_, with an engagement of three years and a salary beginning at 1,600 francs and increasing up to 2,000 francs in the last year. These are the stages through which the members of the ballet of the opera pass. And what a hard time they have! Take, for instance, the _coryphees_ and the members of the two quadrilles. They arrive at the opera, say a quarter to 9 in the morning, each armed with a leather bag, containing a pair of stockings, some dancing shoes, a corset, a chimisette, a comb, a hand mirror, a button hook, a box of face powder, a piece of bread, two sardines, some potatoes, and a bottle containing more water than wine. Each one climbs up to the fifth story and enters a room, where her comrades of the quadrille are dressing. In five minutes she has put on her class costume--low necked chimisette, with short sleeves, muslin skirt, rose-colored stockings, shabby satin shoes, a blue ribbon round her neck, and in her corset a bunch of brass medals, a piece of red coral, and two little crosses. These are her fetiches. No danseuse who respects herself can do anything without her fetiches or lucky charms. Up two more flights of stairs, she arrives in the large square instruction room under the cupola, with the floor slightly inclined to reproduce the slope of the stage. The only furniture is a chair for the teacher, Mme. Merante, a chair for the violin player, Francois Merante, and all around the room bars such as we have already seen in the _foyer de la danse_. “Take your places, young ladies!” cries Mme. Merante. The girls place themselves at the bar, and holding it now with the right hand and now with the left, twist and dislocate their bodies in every possible fashion. This is only a preparation for the lesson proper. After these exercises, the teacher calls the pupils into the middle of the room, and then begin the figures and pirouettes. If our heroine is ambitious, she will not be content with the lesson alone, but undertake in a corner by herself a number of intricate and peculiar dislocations during the intervals of repose. The lesson is over. It is 11 o’clock. The girls hurry to their dressing-rooms to change their linen, after which they breakfast in company on sardines, radishes, sour apples, gossip and fried potatoes. At noon the bell rings for rehearsal. The girls have to come down on the stage, and finish their breakfast while the stage manager calls out the names and the ballet master talks to the composer. The rehearsal drags along until 4 o’clock. Then the girls climb up again to their dressing-room, put on their ordinary clothing, and leave the theatre. It is 5 o’clock by the time they reach their homes, where their mothers, worthy _concierges_ or washerwomen, are waiting for their daughters to peel the potatoes for dinner. They have only time to wash, to hurry through their dinner, and return to the opera in time for the first act. A _coryphee_, for instance, will play a page in the first act, appear in the second, and take part in the ballet in the third. During the fourth act she remains in her dressing-room, and does a little crochet, but hardly has she done a few points before the call man’s voice is heard in the lobbies: “Ladies, the fourth act is finished.” She changes her costume, scampers down the stairs, and rushes upon the stage. The curtain falls. The _coryphee_ regains her dressing-room, puts on her ordinary clothes, and leaves the theatre. It is nearly 1 o’clock when she reaches her home, and, after eating a bit of bread and cheese while she undresses, she creeps into her narrow bed. Her day’s work is over. Hard Labor for Girls. Indeed, there is but little poetry in the existence of the smiling and light-footed dancers whose pirouettes afford so much pleasure to the old gentlemen in the orchestra stalls. They begin often at the age of 5 or 6 in the _class des petites_, and then every day in the year they practice and toil and chatter and caper until from _rats_ they become successful _figurantes_ at the rate of one franc a night, members of the first and second quadrilles, _coryphees_ and _sujets_. Then at the end of their first three years’ engagement begins a period of bitter grief. For then it often happens that, instead of encouraging them and giving them a decent salary, the administration of the opera chooses its stars from among foreigners. A Borrowed Mother. The _danseuse_ always has a mother; if the fates cut the thread of the days of her natural parent, she will borrow, hire, or buy a new one. It is an article of primary necessity. The mother holds her daughter’s shawl in the wings, watches her dance, covers her shoulders when her _pas_ is over, and offers her a little bottle of cold beef tea to quench her thirst and keep up her strength. Take for a sample mother Mme. N., who begins her day as a fruit seller at 6 o’clock in the morning. She mounts into her little cart and trots off to the Central Market, where she lays in her provision of cabbages, turnips, carrots, and salads. Then, on summer evenings, about 8 o’clock, a tall lackey enters her shop, and Mme. N., dressed in her Sunday best, gets into Mons. de P’s victoria and takes a ride in the Bois de Boulogne with her daughter. Mme. N. is a living encyclopædia, a gazette of the market and of the court. [Illustration] French Female Beauties. If you enjoy nice photographs of female beauties, here is your opportunity. For only ten cents, we will send to you forty photographs of the most charming French girls in tights. Each photograph is mounted on a card and the lot of 40 card photos makes an exquisite, unique and _petite_ collection. Ordinarily, you know, pictures of actresses in tights cost ten cents each, but here we make the remarkable offer of forty separate card photographs. Send ten cents, silver or stamps, to Keystone Book Co., Box 1634, Philadelphia, Pa., or to the firm from whom you purchased this little volume. Incident in a Dive. One day when the writer of this was visiting one of the low dives of Paris, in company with a detective, the latter said to him: “Do you see that fellow at the third right-hand table, reading a letter to a drunken woman? He is an ex-lawyer’s clerk who has gone to the dogs through strong drink. He hangs round pot-houses and, for a drink, writes begging letters and bogus letters of reference for customers. Every time he is arrested for being drunk his pockets are full of well-written notes, addressed to prominent people, recommending meritorious cases of necessity to their notice. The next table is occupied by two prostitutes smoking cigarettes, and a couple of sneaking blackguards who secretly sell obscene pictures and transparent cards on the boulevards. Still further on are a lot of the ‘bankers’ or hawkers, who sell newspapers and pamphlets with loud cries of ‘Last night’s murder!’ or ‘Frightful scandal--full and minute particulars!’ Mixed in with them are street singers, street musicians and other Bohemians of the lowest class.” Unmasked. On receipt of 30 cents we will send, postpaid, a large book entitled “Mabille Unmasked.” It tells of the wickedest place in the world, how it was started, who have patronized it, and what has happened there. It is one of the greatest sensational books of the age. A notable feature is that it is full of pictures taken from life. Send 30 cents, stamps, to U. S. Supply Co., Box 329, Lynn, Mass. Another sensational book is entitled “Coney Island Frolics.” It is profusely illustrated. Sent postpaid for 30 cents by U. S. Supply Co. Deep In Sin. At the entrance to the Rue de Trois Portes, the writer made a sudden move. “Here’s a poor, ragged woman lying stretched out on the sidewalk. She looks as if she might be dead.” “Dead drunk,” responded the Chief of Detectives, cynically. “Even animal life seems suspended. Do you detect a very loathsome smell? It is a combination of all the drinks and perfumes popular among women of her kind. She is still young--hardly thirty years old.” Between her thick lips gleamed fine white teeth. She must have been pretty at one time. “How disgusting she looks, all plastered over with mud.” “She is what they call a ‘sidewalker.’” “What’s that?” “It is the slang name for a class of prostitutes whose only home is the scaffolding round some old house that is being pulled down, or some new one that is being built. They carry on their trade in the open air under bridges, in the trenches of the fortifications, in back alleys, where there are no janitors. Once a week, regularly, this one fetches up in the station-house. She comes lawfully by her drunkenness. Her mother died in hospital of delirium tremens. Her father committed suicide while drunk. She herself has almost got to the end of her rope. Some day, coming out of a pot-house, she’ll drop dead in the street, and then she’ll be on show, for the last time, at the Morgue. Although known to thousands, nobody will claim her body, and she will be turned over to the medical school for dissection.” “What was her parents’ business?” “Her mother’s trade could not be classified. Her father was a perambulating ‘fence,’ who used to peddle stolen goods from door to door.” A Hellish Babel. A saloon called “The Senate” contained tables almost touching each other, at which customers, male and female, were packed like herrings in a barrel. The uproar was something indescribable. Some were shouting, some were screaming, some were reciting obscene verses. Five or six indecent choruses were being sung at the same time. Language of incredible foulness was roared from one to another, shrieks of drunken laughter and the crash of broken glass were incessant. To overhear one’s neighbor, one had to bend his ear right to his mouth. The solitary waiter, sweating like a runaway horse, was in evil humor. Woe to the man who stood in his way. Everything was paid for in advance, and all drinks cost 15 centimes (7-1/2 cents). The decorations of this dive are its most remarkable characteristic--for the paintings on the walls, which were singularly well executed, were filthy and obscene beyond description. Human beings, male and female, were represented, life size, engaged in performances and operations which are never mentioned even among savages. [Illustration: ADIEU--ALA FRANCAISE.] * * * * * Transcriber’s Note: Punctuation has been made consistent. *** END OF THE PROJECT GUTENBERG EBOOK GAY LIFE IN PARIS: HOW LIFE IS ENJOYED BY THE PEOPLE OF THAT GREAT METROPOLIS *** 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.