Project Gutenberg's Queen Moo's Talisman, by Alice Dixon Le Plongeon

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'll have
to check the laws of the country where you are located before using this ebook.

Title: Queen Moo's Talisman
       The Fall of the Maya Empire

Author: Alice Dixon Le Plongeon

Release Date: January 1, 2015 [EBook #47842]

Language: English

Character set encoding: UTF-8

*** START OF THIS PROJECT GUTENBERG EBOOK QUEEN MOO'S TALISMAN ***




Produced by Julia Miller, Denis Pronovost, Linda Cantoni
and the Online Distributed Proofreading Team at
http://www.pgdp.net (This file was produced from images
generously made available by The Internet Archive/American
Libraries.) Music transcribed by Linda Cantoni.

PREFACE.

In justice to the author of “Queen Móo’s Talisman”, it may be recorded that at the time of its writing, there was no intention of allowing the verses to go into print; they were penned only for the one to whom they are dedicated.

The songs introduced have been arranged to the metre of the two or three ancient melodies yet occasionally heard among the natives of Yucatan. The one to the rain gods is a versification (set to the tune even now used in a sun-dance) of an old Maya prayer translated from that language by Dr. Le Plongeon and published in his work “Queen Móo and the Egyptian Sphinx.” The melody to which the Love Song is set is not Maya. In connection with the lines touching upon love and pain it may be remarked that in the Maya language there is but one word to express both.

In this poem are represented as nearly as possible, the religious ideas of the Mayas, their belief in KU, the Supreme Intelligence; in the immortality of the soul, and in successive lives on earth before returning to the great Source whence all emanate; also their rites and ceremonies as gathered from traditions of the natives of Yucatan, the fresco paintings found at Chicħen, and the books of ancient Maya authors.

As the general reader can hardly be expected to be familiar with the peculiar customs and ideas of the natives of Central America, these are sufficiently set forth in the Introduction, a careful perusal of which will greatly contribute to an appreciation of the poem.

Attention is also invited to the separate page containing a list of the Maya names and their meanings.

The second part of this narrative poem must be regarded not as a matter of belief on the part of the author, but solely as having been suggested by the belief of the natives who worked for Dr. Le Plongeon in his explorations among the ruins of Chicħen.

INTRODUCTION.

The word Maya, though not familiar to modern ears, is a most interesting one to the antiquary. It appears to have originated with the great nation whose people, as well as their language and country, bore that name, even thousands of years back; their empire extended over the land comprised between the isthmus of Tehuantepec and that of Darien; known collectively to-day as Central America.

Dr. Le Plongeon has shown that in Yucatan and in Egypt the radical MA, of the word Maya, meant earth and place. This word was used by Hindoo sages to indicate matter, the earth, as it is found in their cosmogonic diagram. All matter being regarded as illusion, the word maya, in India, has that meaning. The mother of Buddha was Maya Devi (Beautiful Illusion). Maya is matter, the feminine energy of Brahma. But in the Indian epic, “Ramayana”, Maya is spoken of as a great magician, an architect, a terrible warrior and famous navigator, who took forcible possession of, and settled in, the countries at the south of the Hindostan peninsula. Plainly, the poet personified as one hero the Maya colonists who long ago made their way westward, across the Pacific, and settled there.

On the shores of the Mediterranean we find nations whose ancestors seem to have been intimate with the Mayas, for the names of their country, of their cities, and of their divinities can be traced to the Maya tongue. Furthermore, their traditions, customs, architecture, mode of dress, weapons, and even their alphabetical letters are like those of the Mayas. From records in stone and MSS. we learn something of the philosophy of the Maya sages; and the same ideas are found among nations living in Asia and Africa.

Nothing could be more significant than the universality of the word Maya. In one country it is the name of a god or goddess; in another that of a hero or heroine; elsewhere that of a cast, tribe or country. This word is never used to indicate anything unimportant. In Greece the goddess Maia was daughter of Atlas, mother of Hermes, the good mother Kubéle, the Earth, Mother of the gods. We see a vestige of her worship in the still popular festival of the Maya or May Queen, fair goddess of spring, May, that very month when the Earth, matter, Maya, lives again, refreshed by the nourishing rain which, then particularly, after a season of drought, pours down upon those latitudes where the Maya nation had its birth.

The Maypole dance is yet performed among the natives of Yucatan, the land where it probably originated. The dancers are invariably thirteen in number, which may be another reminiscence of the land submerged beneath the waves of the Atlantic on the thirteenth day of the Maya month of Zac.

This Maypole dance, called in Yucatan “Ribbon Dance” is unquestionably a vestige of sun worship; the ancients, versed in astronomy, thus celebrated the sun’s entrance into Taurus, and the vernal equinox. The Maypole, as known in Europe, has been satisfactorily shown to be the remains of an ancient institution of Persia, India, and Egypt, where Maya civilization was carried in past ages. The May Queen is a personification of the goddess Maya, the feminine forces of nature; possibly too of that Maya country whence it came. In Yucatan there is no queen connected with the dance; there it is and was sun worship pure and simple.

In Yucatan, as in the British Isles and elsewhere, the pole is planted before the residences of leading citizens, and the dance is performed for a recompense. In Ireland the dancers wore over their other dress white shirts, a detail which becomes interesting in view of the fact that the Maya people always dress exclusively in white.

In Dr. Le Plongeon’s prolonged studies among the remarkable Ruins on the Yucatan peninsula, after finding, by much patient endeavor, a clue to the hieroglyphic signs covering the walls of ancient palaces and temples, he clearly saw that the word CAN was inscribed in a variety of ways on all the buildings, and as he advanced in his studies, he learned that this had been the title of several monarchs who constituted a powerful dynasty. It is a remarkably interesting fact that the same title, spelled Khan, is to-day given to rulers in many of the Asiatic nations; furthermore, the principal emblem on the banners of those Khans is the serpent or dragon.

Continued research, including excavations and a close study of every object found, together with several tableaux of mural paintings, convinced Dr. Le Plongeon that he had succeeded in tracing certain incidents which occurred in the last family of the CAN dynasty, and which led to its downfall. Upon studying the famous Troano MS., he found the same story recorded there; and the tragic events resulting from the acts of one member of that family, Prince Aac, are the theme of the present poem.

The scene is laid at Chicħen, which appears to have been the favorite city of the CANS, judging from certain indications, among these the prevalence of the serpent as an ornament in all the buildings. These serpents are represented covered with feathers indicating that they were emblems of Maya potentates. On ceremonial occasions royal personages and high officials wore mantles of feathers, whose colors varied according to the rank of the individual; yellow being that of the royal family, red that of the nobility, and green that of the learned men. The word CAN has in the Maya language a great variety of meanings, as Dr. Le Plongeon explains in his works; it is the generic name for serpent.

The personages whom Dr. Le Plongeon succeeded in tracing were—the CAN, his Queen, Zoɔ; their three sons—Cay, Aac, and Coh; and two daughters—Móo and Nicté. There was also an aged man named Cay, the High Priest, elder brother of the King. This venerable person is introduced in the early part of the poem. When he died, his nephew and namesake, Cay, succeeded to his position and title. Let it be noted that the High Priest was, as among the Egyptians and the Hindoos of old, superior in authority to the King himself.

At the death of King Can, his daughter Móo became Queen of Chicħen. As among the Egyptians, and the Incas in Peru, so among the Mayas, royal brothers and sisters were obliged to marry each other; in Siam and some other places the same custom exists to-day. One of Móo’s brothers had therefore to be Prince consort. Aac aspired to her hand, but Coh, a valiant leader in battle, and favorite with the people, was her own choice. This gave rise to lamentable events which caused the ruin of the dynasty, Aac refusing to be reconciled.

In a carving on stone, as well as in the Troano MS. and the Codex Cortesianus, Dr. Le Plongeon has found records of the destruction by earthquake, followed by submergence, of a great island in the Atlantic ocean. The author of the Troano MS. affirms that this land disappeared under the waves 8,060 years before the inditing of that volume. It is not known when the book in question was written, but judging from Egyptian records, the cataclysm must have occurred between ten and eleven thousand years ago. In the Maya books the lost land is called MU.

Lately Dr. Le Plongeon has discovered, in translating the inscriptions, written in Maya language with Egyptian and Maya characters, which adorn the faces of the Pyramid of Xochicalco, situated sixty miles to the southwest of the city of Mexico, in the State of Morelos, eighteen miles from the city of Cuernavaca, that said pyramid was a commemorative monument raised to perpetuate the memory of the destruction of the land of Mu among coming generations, and that it was made an exact model of the sacred hill in Atlantis which Plato in his Timœus describes as having been crowned by a temple dedicated to Cleito and Poseidon.

Looking at scenes depicted in mural paintings, one is driven to the conclusion that the Mayas were much addicted to the study of occult forces; they certainly used magic mirrors and appealed to haruspicy in their desire to foretell events. As may be seen in Dr. Le Plongeon’s “Queen Móo”, one tableau represents a wiseman examining the cracks induced by heat on the shell of an armadillo and the marks made by the vapor; from these signs he endeavors to read the fate of the young Princess Móo. The soothsayer, of the imperial family of China uses a turtle in the same way in a ceremony called Puu, for the royal family only, and in state affairs of exceptional importance.

Another tableau, also reproduced in “Queen Móo”, represents one man in his feather mantle, mesmerizing another, showing that hypnotism was anciently made use of in Yucatan by priests and wisemen.

There can be no doubt that certain stones were considered efficacious, as talismans. Jadeite, particularly that of a beautiful apple-green, mottled with grey, was held in high esteem by the Mayas, if they did not regard it as sacred. They called it “Bones of the Earth” because it was the hardest stone known to them. Of the many varieties of jadeite, for which no less than a hundred and fifty names have been found, according to Fischer, the apple-green is the most rare.

In the great square of the old city of Chicħen, Dr. Le Plongeon discovered, in the thick forest, two very ancient tombs with some of their decorative sculptures yet in place; those on one, enabled him to see that the tomb had been erected to the memory of Coh by his widow, Queen Móo. In it he found a statue of the Prince consort; also a large white stone urn, containing what proved, by chemical analysis, to have been human flesh, charred and preserved in red oxide of mercury. In the same urn, among other relics, was a beautiful ornament of green jadeite, like those decorating the necks of various personages portrayed in the sculptures of certain edifices.

In connection with the statue it must be observed that the ancient Mayas held a belief similar to that entertained by the Egyptians, regarding the condition of the soul after death, and in the same way made a statue of the deceased, with the idea that this would give the individual a hold upon life. The natives who aided in bringing Coh’s statue to light, out of the mausoleum where it had remained concealed for thousands of years, invariably spoke of it as the “Enchanted Prince”, and frequently assured its discoverer that he had succeeded in finding it because he himself had dwelt there in past ages, and was one of the great men whose effigies were seen on all sides.

When the larger portion of the charred viscera found in the urn was burned, to reduce it to ashes, the natives standing by exclaimed—“A majestic shade ascends amid the smoke! It is the form of the enchanted Prince, that seems to fade into nothingness.” So impressed were the men by what their imagination had evoked, that all ran from the spot in a state of agitation.

On the day when the statue, weighing three thousand pounds, was taken out of the monument, a party of hostile Indians suddenly emerged from the forest. One of their number was aged, and he remarked to his companions, “This represents one of our great men of antiquity.” Then the young men paid homage to the statue by bending one knee, in a manner peculiar to those people.

Traditions of their ancestors are not altogether lost among the natives, as some travelers assert. Many still perform rites and ceremonies in the depths of forests or in unexplored caverns, in the darkness of the night, but keep their secrets to themselves, remembering the tortures inflicted on their fathers by the Spanish priests to oblige them to forego the religious observances that had been dear to those of their race for countless generations.

In connection with the song to the rain-gods it may be said that although the natives of Yucatan are to-day Catholic in name, they really prefer to render homage to some statue of their forefathers, and cling tenaciously to a few of their old divinities. Among these may be mentioned Balam (tiger), guardian of the crops, likewise appealed to as a rain-god. In a subterranean cavern a few miles from Chicħen, there is an old image of a man with long beard; this serves as a representation of Balam, and to it offerings are made. The antiquity of the carving cannot be doubted, similar ones existing on pillars at the entrance of a very ancient castle at Chicħen. The figure in the cavern is on its knees, its hands are raised to a level with its head, palms upturned. On its back is a bag containing what the natives say is a cake made of corn and beans. The statue is now black, owing to the incense and candles with which its devotees frequently smoke it. Previous to the planting of grain, they place before it a basin of cool beverage made of corn, also lighted wax candles and sweet-smelling copal, imploring the god to grant an abundant harvest. When the crops ripen, the finest ears are carried to the grimy divinity by men, women, and children, who within the cavern dance and pray all day long, some of their quaint instruments serving as accompaniment to the Latin litanies which they chant, without having even the vaguest idea of their meaning.

The sun-dance mentioned in the Preface, is occasionally performed by Indians in Yucatan at the time of the vernal equinox. Twenty men take part—corresponding to the number of days in the ancient Maya month—but ten dress as women, whence it may be inferred that in olden times the dancers were of both sexes. All their faces are covered with masks of deer-skin, and each has on his head the inverted half-shell of a calabash, with turkey feathers standing up through a hole in the centre. They wear their usual spotless white garments, and sandals. Those clad as women are ornamented with large bead necklaces, principally red, in imitation of old Maya coin, and all the dancers have ear-rings. The hostile Indians^[1] still pierce their ears as their ancestors did; the rank of a chief being indicated by his having a ring in the left ear only, or in the right, or in both.

The Master of the dance wears a stiff circular cap, surrounded by upright peacock feathers that sway with every movement, towering above all the dancers, and about his shoulders is a string of big sea-shells. From his neck hangs a metallic representation of the sun, in whose centre is an all-seeing eye within a triangle, from which depends a large tongue, symbol of power and wisdom.

One man carries a white flag on which is painted an image of the sun, and a man and woman on their knees worshiping it. Three men, apart from the dancers, play a clarionet, a sacatan, and a big turtle-shell beaten with deer-horns. The Master marks time with a rattle, and in his other hand has a three-thonged whip like the flagellum of Osiris in Egypt; throughout the performance he remains standing close to the flag-staff.

Each dancer holds in his left hand a fan of turkey feathers whose handle is a claw of that bird; and in his right a small rattle made of a calabash shell, fancifully painted, containing pebbles and dried seeds. These rattles remind us of the sistrums used anciently in the temples of Egypt.

Around the pole on which the flag is furled, the dancers walk three times, with solemn tread, groping their way as if in darkness. Suddenly the flag is unfurled, the sun appears, all draw themselves up to their full height, raise their eyes and hands, and utter a unanimous shout of joy.

Now the dance commences, round and round the pole they go with various steps and motions, not graceful, but energetic and full of meaning. The dance is intended to represent, among other things, the course and movement of our planet around the sun. The chief and the dancers sing alternately:

The melody and strange accompaniment are impressive and stirring, the rattles being particularly effective, now imitating the scattering of grain, then by a brisk motion of every arm sending forth a sound like a sudden rainfall on parched leaves, or a thunder clap in the distance, uniting with a shout raised by the dancers at the conclusion of each chorus. The fans, kept in motion, are emblematic of refreshing breezes.

The flag on the pole is undoubtedly a modern addition, simply to indicate what the dance originally was; of old, the pole itself represented the central orb; as the round towers did in Ireland, Persia, and India; the conical stones in Phoenicia; the pyramids and obelisks in Egypt, etc.—for in America, as in those countries, sun worship was the religion of the people.

Finally, the expression “Will Supreme” in the opening line of the poem is used in the sense of the Maya word UOL (or will) as applied by the Mayas of ancient times to the First Great Cause. This subject has been fully treated elsewhere by Dr. Le Plongeon.

ARGUMENT.

I.

A soul returns to earth to live again in mortal form as daughter of a potentate who rules over the Maya Empire. When the Princess reaches womanhood, the High Priest Cay, her father’s brother, describes to her the destruction of the great land whence her people came; consults Fate regarding her future; gives advice to the Princess, and presents her with a talismanic stone, warning her that its loss might deprive her of her throne.

II.

The Princess is wooed by two of her brothers, who thus become rivals. Her preference is for Coh, whom she weds. Cay prophesies to her that in another earthly incarnation she will again be the sister and wife of him she has chosen for consort.

Aac, the unsuccessful suitor, is filled with jealous wrath.

The sovereign Can, and his brother the High Priest Cay, both pass away. The Can’s eldest son, also named Cay, becomes High Priest; Móo is Queen of Chicħen, and her consort the supreme military chief.

III.

The Prince consort is treacherously slain by his brother Aac, who admits his guilt, and is banished from the royal city, his elder brother warning him that he, Aac, will cause the downfall of the Can dynasty.

IV.

Multitudes assemble to bewail the death of Coh and witness the funeral rites. His ashes are laid to rest and, with his charred heart, deposited in a stone urn, the widowed Queen places her talisman, hoping to thus link her destiny with that of Coh. She builds a monument over his mortal remains and a statue made to his likeness, and erects a memorial hall, upon whose exterior walls she inscribes an invocation to the manes of her consort.

V.

Notwithstanding his crime, Aac ventures to renew his entreaties. Failing in his desire, he brings about a war that causes the ruin of the country and people. Finally the Queen is captured and imprisoned by Aac; but she is rescued by loyal subjects and with them flees to foreign lands.

VI.

Aac, frustrated even in his hour of triumph, becomes a tyrant, oppresses those under his sway, turns a deaf ear to better promptings, and at last is killed in a contest with some of his own subjects, who would restrain him. The famous CAN dynasty is thus brought to its close.

The Queen and her rescuers find tranquillity in the land of the Nile, where, long before, Maya colonists had made their homes. Here, Móo is received with open arms, and reigns again to the hour of her death.

SEQUEL.

I.

After many centuries have passed away, in a land far distant from that of the Mayas, Death snatches a baby girl from a loving brother. He stays upon earth; his lost sister again takes mortal form in another family; they meet and are united; the prophecy of the High Priest Cay being thus fulfilled. Together they journey to the land of the Mayas where, in the tomb of Coh, they find his heart and Móo’s talisman, in the urn in which she had deposited it many centuries before.

II.

Among the ruins of his palace Aac’s spirit wanders desolate, pleading for the blessing of forgetfulness in rebirth.

III.

The talisman brings visions of the long ago, voices of the Past; Cay, the Wise, still lives, still leads the way to paths of peace.

QUEEN MÓO’S TALISMAN.

I.

Plate II.

II.

Plate III.

Plate IV.

III.

Plate V.

IV.

Plate VI.

Plate VII.

V.

Plate VIII.

VI.

VII.

SEQUEL.

Ages Later.

I.

II.

III.

1. Silently corrected typographical errors and inconsistencies; retained non-standard spelling.

2. Illustrated drop caps have not been retained.

3. Plate IV was moved to page 43.

4. The caption of the plates have been moved under each plate.

5. The Lover's Song (100-101.png) - Bar 18, piano bass staff, lower note of chord corrected to F.

6. Mayan character [accented ä] has been replaced with ǟ.

End of Project Gutenberg's Queen Moo's Talisman, by Alice Dixon Le Plongeon

*** END OF THIS PROJECT GUTENBERG EBOOK QUEEN MOO'S TALISMAN ***

***** This file should be named 47842-h.htm or 47842-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/4/7/8/4/47842/

Produced by Julia Miller, Denis Pronovost, Linda Cantoni
and the Online Distributed Proofreading Team at
http://www.pgdp.net (This file was produced from images
generously made available by The Internet Archive/American
Libraries.) Music transcribed by Linda Cantoni.

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-tm electronic works to protect the PROJECT GUTENBERG-tm
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for the eBooks, unless you receive
specific permission. If you do not charge anything for copies of this
eBook, complying with the rules is very easy. You may use this eBook
for nearly any purpose such as creation of derivative works, reports,
performances and research. They may be modified and printed and given
away--you may do practically ANYTHING 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-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full
Project Gutenberg-tm License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project
Gutenberg-tm electronic works

1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg-tm electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg-tm electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the
person or entity to whom you paid the fee as set forth in paragraph
1.E.8.

1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg-tm
electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation ("the
Foundation" or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg-tm electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is 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-tm mission of promoting
free access to electronic works by freely sharing Project Gutenberg-tm
works in compliance with the terms of this agreement for keeping the
Project Gutenberg-tm name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg-tm License when
you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg-tm work. The Foundation makes no
representations concerning the copyright status of any work in any
country outside the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg-tm License must appear
prominently whenever any copy of a Project Gutenberg-tm work (any work
on which the phrase "Project Gutenberg" appears, or with which the
phrase "Project Gutenberg" is associated) is accessed, displayed,
performed, viewed, copied or distributed:

  This eBook is for the use of anyone anywhere 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'll have to check the laws of the country where you
  are located before using this ebook.

1.E.2. If an individual Project Gutenberg-tm 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-tm
trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg-tm License for all works
posted with the permission of the copyright holder found at the
beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg-tm work in a format
other than "Plain Vanilla ASCII" or other format used in the official
version posted on the official Project Gutenberg-tm web site
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original "Plain
Vanilla ASCII" or other form. Any alternate format must include the
full Project Gutenberg-tm License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works
provided that

* You pay a royalty fee of 20% of the gross profits you derive from
  the use of Project Gutenberg-tm works calculated using the method
  you already use to calculate your applicable taxes. The fee is owed
  to the owner of the Project Gutenberg-tm trademark, but he has
  agreed to donate royalties under this paragraph to the Project
  Gutenberg Literary Archive Foundation. Royalty payments must be paid
  within 60 days following each date on which you prepare (or are
  legally required to prepare) your periodic tax returns. Royalty
  payments should be clearly marked as such and sent to the Project
  Gutenberg Literary Archive Foundation at the address specified in
  Section 4, "Information about donations to the Project Gutenberg
  Literary Archive Foundation."

* You provide a full refund of any money paid by a user who notifies
  you in writing (or by e-mail) within 30 days of receipt that s/he
  does not agree to the terms of the full Project Gutenberg-tm
  License. You must require such a user to return or destroy all
  copies of the works possessed in a physical medium and discontinue
  all use of and all access to other copies of Project Gutenberg-tm
  works.

* You provide, in accordance with paragraph 1.F.3, a full refund of
  any money paid for a work or a replacement copy, if a defect in the
  electronic work is discovered and reported to you within 90 days of
  receipt of the work.

* You comply with all other terms of this agreement for free
  distribution of Project Gutenberg-tm works.

1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg-tm electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from both the Project Gutenberg Literary Archive Foundation and The
Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
electronic works, and the medium on which they may be stored, may
contain "Defects," such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 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-tm electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg-tm
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg-tm work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg-tm work, and (c) any
Defect you cause.

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

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

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation 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 principal office is in Fairbanks, Alaska, with the
mailing address: PO Box 750175, Fairbanks, AK 99775, but its
volunteers and employees are scattered throughout numerous
locations. Its business office is located at 809 North 1500 West, Salt
Lake City, UT 84116, (801) 596-1887. Email contact links and up to
date contact information can be found at the Foundation's web site and
official page at www.gutenberg.org/contact

For additional contact information:

    Dr. Gregory B. Newby
    Chief Executive and Director
    gbnewby@pglaf.org

Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular
state visit 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-tm electronic works.

Professor Michael S. Hart was the originator of the Project
Gutenberg-tm concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg-tm eBooks with only a loose network of
volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as 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 Web site which has the main PG search
facility: www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.