Rada: A Drama of War in One Act

By Alfred Noyes

The Project Gutenberg EBook of Rada, by Alfred Noyes

This eBook is for the use of anyone anywhere 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


Title: Rada
       A Drama of War in One Act

Author: Alfred Noyes

Release Date: April 30, 2004 [EBook #12220]

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK RADA ***




Produced by Juliet Sutherland, Juliet Sutherland, Charles M. Bidwell
and the Online Distributed Proofreading Team.






RADA

_A DRAMA OF WAR IN ONE ACT_


BY
ALFRED NOYES

Author of "The Wine Press," "Tales of the Mermaid Tavern," Etc.



1913



PERSONS OF THE PLAY

RADA, _wife of the village doctor_.
SUBKA, _her daughter, aged twelve_.
ARRAM   } _two hostile soldiers quartered_
MICHAEL } _in her house, in time of war_.
NANKO, _a half-witted schoolmaster_.

Several soldiers.

THE SCENE is in the Balkans, in a village which has just been taken by the
enemy, on Christmas Eve.




RADA


SCENE--_A guest-chamber, the typical living-room of a prosperous village
doctor in the Balkans. On the left, a small window and an entrance door.
On the right, a door leading into a bedroom. At the back, an open fire of
logs is burning brightly. Over the fireplace is the eikonostasis, with
three richly coloured and gilded eikons, the central one of the Madonna.
The light, which is never allowed to go out, is burning before it. The
room is lit at present only by this, the fire-light, and two candles in
brass candlesticks on a black wooden table under the window. Rows of
porcelain plates round the walls gleam fitfully. On either side of the
eikonostasis is a large chibouk, with inlaid bowl and amber mouth-piece.
There is a divan with scarlet rugs flung across it to the right of the
fire; and there are several skins and rugs on the floor.

Two Roumanian soldiers_, ARRAM_ and _MICHAEL, are seated at the table,
drinking_.

RADA, _a dark handsome woman, sits weeping with her head bowed in her
hands, on the divan_.

NANKO, _the idiot, sits on the floor, rubbing his hands, snapping his
fingers, chuckling to himself, and staring into the fire_.




ARRAM
Look here, my girl, where's the use of snivelling? You ought to think
yourself damned lucky to be alive.

RADA
O my God! My God!

MICHAEL
This is war, this is! And you can't expect war to be all cakes and cream.

[_They laugh and drink_.]

ARRAM
You ought to think yourself damned lucky to be alive, and have two men
quartered on you instead of one. If your husband and the rest of the
villagers hadn't made such a disturbance, _they_ might have been alive,
too.

NANKO
Exactly! Exactly! I used to be a schoolmaster, you know, in the old days;
and, if you knew what I know, you'd understand, my dear, it's entirely a
question of the survival of the fittest! The survival of the fittest!
That's what it is.

ARRAM
Wouldn't they have done the same to us, if they'd had the chance? We've
got women and children at home snivelling and saying, "O my God, O my
God," just like you. Don't you trouble about God. What can _He_ do when
both sides go down on their marrow-bones? He can't make both sides win,
can He?

RADA
O God! God! God!

MICHAEL
[_Getting up and standing in front of her_.]
Look here. We've had enough of this music. We've been cutting throats all
day, and now we want to unbuckle a bit. There'll be hell to pay when the
other boys come back. A pretty wild-goose chase you've sent them on, too,
with your tale about the old Jew's money-bags. What was the game? You
seemed mighty anxious to wheedle us all out of the house; and you'd never
get out of the village alive to-night. Listen to that!

[_There is an uproar outside, a shot, and a woman's scream, followed by
the terrified cry of a child_: "Ah! Ah! Father!"]

ARRAM
The men are mad with zaki and blood and--other things. There's no holding
them in, even from the children. What chance would there be for a
fine-looking wench like yourself?

MICHAEL
Don't tell me you were going out into that?
[_He points in the direction of the uproar_.]
Something to hide on the spot, eh? Well, now you've got the others out of
the way, we're going to have a look. What's in there?
[_He points to the little door on the left_.]

RADA
[_Rising to her feet slowly, steadying herself with one hand against the
wall, and fixing her eyes on his face_.]
This is war, isn't it? If I choose to revenge myself on those I hate--
listen to me. I suppose you--want money. And I can tell you where to find
it.

ARRAM
Another wild-goose chase to the other end of the valley?

RADA
No. In the old mill-house. Not a hundred yards away. Money, money enough
to make us all rich. But [_a cunning expression comes into her face_] if I
tell you where to find it, you must come back and give me my share.

MICHAEL
[_Staring at her._]
Another pack of lies! What are you up to, eh?

ARRAM
It's been too much for her nerves. Don't worry her, or she'll go out of
her mind, and then there'll be nobody to get us our supper.

NANKO
That _would_ be selfish, Rada. You know it's Christmas Eve. Nobody ought
to think of unpleasant things on Christmas Eve. I don't think it's right
to spoil people's pleasure on Christmas Eve. What have you done with the
Christmas tree, Rada?

ARRAM
And who's to blame? That's what I want to know. You don't blame _us_, do
you? Why, as likely as not, we shall be fighting on _your_ side against
somebody else before next Christmas.

MICHAEL
What have you got in there?
[_He points to the door on the left again and advances toward it._]

RADA
[_Hurriedly and as if misunderstanding him, opens a cupboard between him
and the door._]
Food! Food! Food for hungry men! Food enough for a wolf-pack. Come on,
help yourselves!

MICHAEL
Holy St. Peter, what a larder! Look at this, Arram. Here's a dinner for
forty men.

RADA
[_Laughing wildly._]
Better take your pick before the others come. It's our Christmas dinner.

[_She thrusts dishes into _MICHAEL'S_ hands and begins loading the table
with food._]

NANKO
If you happen to have any crystallized plums there, Rada, you might give
me one.

ARRAM
Lord, what a sight for hungry soldiers! We're in luck's way. Here, fetch
me a bowl of water! I'm hungry; but there are times when you can't enjoy
food without washing your hands.

[RADA _hesitates, then goes out of the room._ ARRAM _holds out a ring to_
MICHAEL.]

Her husband's ring. I got it off his finger
When he went down. He lay there on his back
Howling like a wolf, with his belly blown out.
I put him out of his misery. Look at my hands.
Ugh! I want to wash.

[NANKO _rises and peers at them._]

NANKO
Ah, but they're red.
Red, aren't they? And there's red on your coat, too.

[_He fingers it curiously._]

I suppose that's blood, eh? People are such cowards.
Many of them never seem to understand
That man's a fighting animal. They're afraid,
Dreadfully afraid of the sight of blood.
I think it's a beautiful colour, beautiful!
You know, in the Old Testament, they used
To splash it on the door-posts.

ARRAM
[_Pushing him off._]
Go and sit down,
You crazy old devil!

[RADA _enters with a bowl of water, sets it on a bench and returns to her
place_. ARRAM _washes his hands._]

MICHAEL
My hands want washing, too.
O Lord, you've turned the water into wine!
Fetch me some fresh.

[RADA _approaches, stares at the bowl and moves back, swaying a little, as
if faint._]

ARRAM
[Roughly]
I'll empty it. Give it to me.
[_He goes out_]

NANKO
The Old Testament, you know, is full of it.
_Who is this_, it says, _that cometh from Edom
In dyed garments from Bozrah_? It was blood
That dyed their garments. And in _Revelations_
Blood came out of the wine-press, till it splashed
The bridles of the horses; and the seas
Were all turned into blood. Doesn't that show
That man's a fighting animal?

MICHAEL
[_Goes to the door on the right and tries to open it._]
What's in here?

RADA
[_Thrusting herself between him and the door._]
No! No! Don't go in there! Don't go in there!

MICHAEL
So that's the treasury, is it? Loot? More loot?
What is it? The family stocking?

[ARRAM _enters with the bowl and sets it down.
Then goes to the table and begins eating._]

NANKO
O, no! no!
The stocking is in the chimney-corner, see!
[_He shakes the empty stocking that hangs in the fireplace._]
All ready for Santa Claus. It's a new custom.
They do it in Germany. The children, there,
Believe that Santa Claus comes down the chimney.
The doctor studied in Germany, you know.

MICHAEL
O, ho! So that's the trouble! A little girl,
Rada, a little girl? Well, Santa Claus
Must wash his hands. We mustn't frighten her.

RADA
It _is_ my little girl. She's twelve years old.
Don't wake her. She has slept all through this night.
Help me to save her. I'll do anything for you,
Anything! Only help me to get her away
Safely. I'll pray for you every night of my life.
I'll-----

[_The door opens behind her, and_ SUBKA, _in her night-dress, steals into
the room._]

SUBKA
Ah, I knew it couldn't be Santa Claus.

ARRAM
What? Don't you know me? I came down the chimney.

SUBKA
I don't see any soot upon your face.
[_She goes nearer._]
Nor on your clothes. That's red paint, isn't it?

ARRAM
Can't help it. Santa Claus--that is my name.
What's yours?

SUBKA
Mine? Subka!

ARRAM
  I've a little girl
At home called Subka! Just about your age.

SUBKA
You didn't come down the chimney.
[_To_ MICHAEL.]
He didn't, did he?
[_She runs to the stocking and examines it._]
There's nothing in the stocking.

ARRAM
Ah, Subka,
That remains to be seen; that remains to be seen.

SUBKA
[_Pointing to_ MICHAEL.]
Well, who is that?

ARRAM
The man that carries my bag.

SUBKA
[_With a sudden note of fear in her voice._]
Mother, where's Father?

RADA
[_Putting her arm round her._]
He will soon be here.
It's all right, darling.

SUBKA
Has the gramophone come?

RADA
Yes, darling, long ago.

SUBKA
You never told me.

NANKO
That was a secret, Subka, a great secret.

SUBKA
I thought, perhaps, you were getting the Christmas tree ready.
Can't we? Father won't mind.

NANKO
[_Putting the Christmas tree out from the corner._]
Ah, here it is.
Now that's a good idea. It's Christmas Eve.
We'll get it ready.

ARRAM
Here, put it on the table.

NANKO
What shall we hang on it?

MICHAEL
What do you think
Of that, now?
[_He hangs a revolver on the tree._]

SUBKA
[_Clapping her hands._]
O! O! What a great big pistol!
That'll be Father's present! And now what else?
What else?

ARRAM
Well, Subka, what do you say to a ring?
How prettily it hangs upon the bough!
See, Subka!

SUBKA
Why, it's just like Father's ring!

ARRAM
[_Striking a light._]
And now we'll light the candles.

NANKO
[_Clapping his hands and dancing._]
Yes that's right!
Light all the little candles on the tree!
O, doesn't the pistol shine, doesn't the ring Glitter!

SUBKA
But O, it _is_ like Father's ring.
He had a little piece of Mother's hair
Plaited inside it, just like that. It _is_
My father's ring!

RADA
No. There are many others
Just like it, Subka,--hundreds, hundreds of others.

MICHAEL
And now, what's in that package over there?

SUBKA
The gramophone! O, that's the gramophone!
That's Father's Christmas present to us all.

NANKO
O, what a wonderful man the doctor was.
Nobody else, in these parts, would have thought
Of buying a gramophone. Let's open it!

SUBKA
Yes! Yes! And we'll give Father a surprise.
It shall be playing a tune when he comes in.

[ARRAM _opens the package_. NANKO _capers round, rubbing his hands._]

NANKO
O, this will be a merry Christmas Eve.
There now--just see how this kind gentleman
Has opened the package for us. Doesn't it show
The value of training, military training?
That's what we want. It benefits the health.
Sets a man up. Look at old Peter's legs,
He's a disgrace to the nation, a disgrace!
Nobody shoots him, either. So he spoils
Everything; for you know, you must admit,
Subka, that war means natural selection,
Survival of the fittest, don't you see?
For instance, _I_ survive, and _you_ survive;
Don't we? So Peter shouldn't spoil it all.
They say that all the tall young men in France
Were killed in the Napoleonic wars,
So that most Frenchmen at the present day
Are short and fat. Isn't that funny, Subka?
[_She laughs._]
Which shows us that tall men are not required
To-day. So nobody knows. Perhaps thin legs
Like Peter's may be useful after all
In aeroplanes or something. Every ounce
Makes a great difference there. Nobody knows.
It's natural selection, after all.
Survival of the fittest! Don't you see?
Ah, now the gramophone's ready. Make it play
"Proud Nikephor Determined!"


MICHAEL
[_Taking out a record._]
Why, look here!
Here is the tune for Christmas Eve.

ARRAM
[_While he speaks he looks to outer door, and draws a curtain over the
window._]
Don't do it!
Don't start it playing if you want to keep
This Christmas party to ourselves, my boy.
The men are mad with drink and--other things.
Look here, Michael, what are we going to do
About this youngster, eh?

MICHAEL
Better keep quiet
Till morning. When the men have slept it off
They'll stand a better chance of slipping away.

NANKO
O, what a pity, Subka! I did think
That we should have some music. Well--I know!
Tell us the Christmas piece you learned in school.
That's right! Stand there! No! Stand up on the bench.
Your mother tells me that you won the prize
For learning it so beautifully, Subka.
That's right. These good kind gentlemen shall hear
Your Christmas piece.

SUBKA
It's about the first Christmas.
[_Her hands behind her as if in school, she obeys him._]
She laid him in a manger; because there was no room for them in the inn.
And there were in the same country shepherds abiding in the field, keeping
watch over their flock by night.

And, lo, the angel of the Lord came upon them, and the glory of the Lord
shone round about them: and they were sore afraid.

And the angel said unto them, "Fear not: for behold, I bring you good
tidings of great joy, which shall be to all people.

For unto you is born this day in the city of David a Saviour, which is
Christ the Lord.

And this shall be a sign unto you: ye shall find the babe wrapped in
swaddling clothes, lying in a manger."

And suddenly there was with the angel a multitude of the heavenly host
praising God and saying,

"Glory to God in the highest, and on earth peace, good will toward men."

[_There is silence for a moment, then the sound of a pistol shot, a
scream, and a roar of drunken laughter without, followed by a furious
pounding on the outer door._]

ARRAM
Here, Michael, what the devil are we to do
About this child?
[_He calls through the door._]
Clear out of this! The house
Is full! We want to sleep.
[_There is a louder shout outside, and the pounding is resumed._]
Bundle the child
Into that room, woman, at once!

[RADA _snatches the revolver from the Christmas tree and hurries_ SUBKA
_into the room on the right, just as the outer door bursts open and a
troop of drunken soldiers appear on the threshold, shouting and furious
with drink._]

FIRST SOLDIER
Come on!
They're in that room. I saw them! The only skirts
Left in the village. Come, it's Christmas Eve,
Comrades. You've had your fun.

ARRAM
Clear out of this,
We want to sleep.

SECOND SOLDIER
Well, hand the women over.

MICHAEL
There are no women here.

FIRST SOLDIER
You bloody wolf,
I saw them!

NANKO
Come! Come! Come! It's Christmas Eve.

SECOND SOLDIER
Well--if there are no women--where's the harm
In letting us poor soldiers take a squint
Thro' yonder door. My God, we'll do it, too.
Come on, my boys!
[_They make a rush towards the room._]

NANKO
Be careful! Or you'll smash
The Christmas tree! You'll smash the gramophone!

[_A soldier tries the door on the right. Suddenly it is opened from
within_ and RADA _appears on the threshold with the revolver in her
hand._]

FIRST SOLDIER
Liars! Liars!

RADA
There is one woman here,
One woman and a child----
And war they tell me is a noble thing;
It is the mother of heroic deeds,
The nurse of honour, manhood.

SECOND SOLDIER
Christ, a speech!

RADA
Yes, and your training benefits your health.

NANKO
[_Who is crouching over the fire again._]
Certainly, Rada! Military training!
Life is a battle.

RADA
You hear, drunk as you are,
Up to your necks in blood, you hear this fool,
This poor old fool, piping his dreary cry;
And through his lips, and through his softening brain,
You and the men that buy you, statesmen, kings,
Teach the poor sheep of the world that war is good.
Go! Take your manhood out of this. Or else----
[_She threatens to shoot._]
I have one bullet for the child, and five
To share between you and myself!

FIRST SOLDIER
O, Christ,
A speech!
[_They fall back before the revolver as she raises it._]

RADA
If you have children of your own,
Listen to me ... The child is twelve years old.
She has never had one hard word spoken to her
In all her life.

FIRST SOLDIER
Nor shall she now, by God!
Where is she? Bring her out!

SECOND SOLDIER
Twelve years of age!
That's ripe enough for marriage to a soldier.
[_They laugh._]

FIRST SOLDIER
She can't shoot! Look at the way she's holding it!
Duck down and make a rush for it! Come on!
[_Several of them make a rush_, RADA _steps back and shuts the door in
their faces._]

SECOND SOLDIER
Locked out, by God! We'll have to break it down.

MICHAEL
She'll keep her word. You'll never get 'em alive.

ARRAM
Never. I know that kind. You'd better clear out!

FIRST SOLDIER
Come on! We'll burst the door.
[_They put their shoulders to the door and it begins to give_. ARRAM
_makes a sign to_ MICHAEL, _urging him to interfere. A revolver shot is
heard within. The men pause, and there is another shot._]

ARRAM
By God, she's done it!
[_There is a booming of distant artillery._]

MICHAEL
Hear that! The enemy!
Making a night attack!
[_There is a loud bugle call without._]

ARRAM
There goes the bugle!
[_They all rush out, except_ NANKO, _who looks out into the night after
them, then closes the outer door, takes a crystallized plum from the
table, crosses the room and stares at the floor, near the door on the
right._]

NANKO
[_Calls aloud.]_
Rada, these plums are excellent. Don't you see
Life is a battle! Survival of the fittest!
Something red again. Trickling under the door?
Blood, I suppose. Well, I don't think it's right
To spoil a person's pleasure on Christmas Eve.
I wonder how the gramophone does work?
He said the tune that he was putting in
Was just the thing for Christmas Eve. I wonder,
I wonder what it was.

[_He picks up the box from which the record was taken and reads the
title._]

"_A Christmas Carol
Sung by the monks of St. Peter's monastery
At midnight mass, on Christmas Eve_--ADESTE, FIDELES!"

Fancy that! How wonderful!
A Christmas carol on the gramophone!
So all the future ages will be sure
To know exactly what religion was.
To think we cannot hear it! Well, no matter,
These plums _are_ excellent. Everybody's gone.
To think _I_ was the fittest, after all!
Come, Rada, you're pretending!
[_He accidentally starts the gramophone working and jumps back, a little
alarmed. He runs to the door and knocks._]
Rada! Rada!
I've started it! Subka! Subka! Do you hear?
The gramophone's working!
[_He stoops down and looks at the floor again. The artillery booms like a
thunder peal in the distance. Then the gramophone drowns it with the deep
voices of the monks, a great chorus, singing_ ADESTE, FIDELES! NANKO _dips
his finger in something on the floor and stares at it. A look of horror
comes into his face. He stands with his mouth open, listening._]
It's true!




CAST
of the first performance at the Christmas (1913)
Festival of THE MACDOWELL CLUB
OF NEW YORK CITY

RADA

_A Drama in One Act by Alfred Noyes_

(A Christmas Tragedy of the Balkans, being a
plea for "Peace on earth, good will toward men.")

       *       *       *       *       *

PERSONS OF THE PLAY

RADA, _wife of the vilage doctor_, Miss Mirzah Cheslir

SUBKA, _her daughter, aged twelve_, Miss Lenore Phelps

ARRAM,  }  _two hostile soldiers quartered_    Mr. Henry Hull
MICHAEL,}  _on her house in time of war_       Mr. Wright Kramer

NANKO, _a half-witted schoolmaster_, Mr. Charles White Whittlesey

FIRST SOLDIER ....... Mr. Charles Douville Coburn

SECOND SOLDIER ...... Mr. Harold Herts

                {..... Mr. Charles F. Peters
OTHER SOLDIERS  {..... Mr. Harold Butterfield
                {..... Mr. W. G. Belew

       *       *       *       *       *

SCENE: The living-room of a country doctor in the Balkans, in a village
which has just been taken by the enemy.

TIME: Christmas Eve.

Stage Director, Miss Mary Shaw





End of the Project Gutenberg EBook of Rada, by Alfred Noyes

*** END OF THIS PROJECT GUTENBERG EBOOK RADA ***

***** This file should be named 12220.txt or 12220.zip *****
This and all associated files of various formats will be found in:
        https://www.gutenberg.org/1/2/2/2/12220/

Produced by Juliet Sutherland, Juliet Sutherland, Charles M. Bidwell
and the Online Distributed Proofreading Team.


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions 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 with public domain eBooks.  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
https://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 in the public domain 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 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

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (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 Michael
Hart, 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
public domain works 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 F3.  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 MERCHANTIBILITY 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, is 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 web page at https://www.pglaf.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.  Its 501(c)(3) letter is posted at
https://pglaf.org/fundraising.  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 located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., 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
[email protected].  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     [email protected]

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 https://pglaf.org

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 including checks, online payments and credit card
donations.  To donate, please visit: https://pglaf.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 thirty 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 Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Each eBook is in a subdirectory of the same number as the eBook's
eBook number, often in several formats including plain vanilla ASCII,
compressed (zipped), HTML and others.

Corrected EDITIONS of our eBooks replace the old file and take over
the old filename and etext number.  The replaced older file is renamed.
VERSIONS based on separate sources are treated as new eBooks receiving
new filenames and etext numbers.

Most people start at our Web site which has the main PG search facility:

     https://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.

EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
are filed in directories based on their release date.  If you want to
download any of these eBooks directly, rather than using the regular
search system you may utilize the following addresses and just
download by the etext year.

     https://www.gutenberg.org/etext06

    (Or /etext 05, 04, 03, 02, 01, 00, 99,
     98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)

EBooks posted since November 2003, with etext numbers OVER #10000, are
filed in a different way.  The year of a release date is no longer part
of the directory path.  The path is based on the etext number (which is
identical to the filename).  The path to the file is made up of single
digits corresponding to all but the last digit in the filename.  For
example an eBook of filename 10234 would be found at:

     https://www.gutenberg.org/1/0/2/3/10234

or filename 24689 would be found at:
     https://www.gutenberg.org/2/4/6/8/24689

An alternative method of locating eBooks:
     https://www.gutenberg.org/GUTINDEX.ALL