The Project Gutenberg eBook of Daffydowndilly and the Golden Touch, by
Alpha Banta Benson
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: Daffydowndilly and the Golden Touch
Author: Alpha Banta Benson
James Harvey Dulin
Release Date: September 24, 2021 [eBook #66372]
Language: English
Produced by: Charlene Taylor, Barry Abrahamsen, and the Online Distributed
Proofreading Team at https://www.pgdp.net (This file was
produced from images generously made available by The Internet
Archive/American Libraries.)
*** START OF THE PROJECT GUTENBERG EBOOK DAFFYDOWNDILLY AND THE GOLDEN
TOUCH ***
Daffydowndilly and the Golden Touch
------------------------------------------------------------------------
The Little Classic Series
The most popular works of standard authors and poets
arranged for use in schools, with introductions,
explanatory notes, biographical sketches, portraits,
and illustrations. Also elementary stories of
nature, myth, history, industry, geography,
biography, and literature. The grading suggested has
been extensively followed by teachers with very
satisfactory results, but may be varied to suit
special conditions.
The books have been carefully edited, are clearly
printed on good paper, and have extra strong paper
cover. Each book in the LITTLE CLASSIC SERIES
contains thirty-two pages.
SEVEN CENTS PER COPY
Twenty Copies for $1.20
=First and Second Grades=
No.
2719 Aesop’s Fables.
2713 Old Time Stories.
2725 Favorite Mother Goose Rhymes.
2707 First Steps in Reading.
2701 Jack and the Beanstalk.
2726 Favorite Mother Goose Jingles.
2720 Little Red Riding Hood.
2727 Story of Little Black Sambo.
2708 Bunny Cottontail Stories.
2728 Ten Little Indian Stories.
2721 Hiawatha and Henry W. Longfellow.
2730 Twelve Little Indian Stories.
2716 Bunny Boy.
2731 The Jenny Wren Book.
2704 Bob the Cat.
2723 Whitter and His Snow-Bound.
2732 The Bluebird Book.
2717 Thanksgiving Stories.
2733 Four Favorite Stories.
2705 The Story of Two Little Rabbits.
2724 The Three Misses Cottontail and King Rabbit.
2734 My Shadow, and Other Poems.
2718 Modern Fables.
2735 My Treasures, and Other Poems.
2706 Famous Poems of Famous Poets—First and Second Grades.
2819 Squirrel and Other Animal Stories.
=Second and Third Grades=
No.
2736 Three Popular Stories.
2714 The Story of Joseph.
2807 Beauty and the Beast and Other Favorite Fairy Tales.
2702 Susan Cottontail Stories.
2802 Cinderella and Other Favorite Fairy Tales.
2715 Robinson Crusoe.
2738 Stories from Grimm.
2729 Sixteen Little Indian Stories.
2809 The Coming of the Christ-Child.
2709 Our Three Little Sisters and Hiawatha.
2803 Christmas Stories.
2722 Pussy Willow and other Tree Stories.
2740 The Story of Peter Rabbit.
2710 Stories About Animals.
2810 The Little Story Reader.
2711 Mr. and Mrs. Stout of Beaver Dam and How Jackrabbit Lost His
Tail.
2823 Stories About Birds.
2712 The Tale of Bunny Cottontail—Abridged.
2825 Who Stole the Bird’s Nest, and Other Poems.
2824 Famous Poems of Famous Poets—For Third Grade.
2826 The Robin Redbreast Book.
2812 The Toyland of Santa Claus.
2827 The Chickadee Book.
2828 Brownie’s Ride and Brownie and the Cook.
2829 Escape at Bedtime, and Other Poems.
2830 My Ship and I, and Other Poems.
PUBLISHED BY
A. FLANAGAN COMPANY
CHICAGO
------------------------------------------------------------------------
Daffydowndilly and the
Golden Touch
ADAPTED BY
ALPHA BANTA BENSON
ILLUSTRATED BY
JAMES HARVEY DULIN
1923
_A. FLANAGAN COMPANY
CHICAGO_
------------------------------------------------------------------------
COPYRIGHT, 1922, BY A. FLANAGAN COMPANY
Printed in the United States of America
------------------------------------------------------------------------
DAFFYDOWNDILLY AND THE GOLDEN TOUCH
THE GOLDEN TOUCH.
There was once a king who was very rich. His name was Midas. King Midas
loved gold better than anything else in the world. There was nothing he
loved half so well except his little daughter, Marygold. He thought,
foolish man, that the way to show this love, was to get for her as much
gold as he could.
Down deep under his castle, was a small, dark room. In this room King
Midas kept his gold. Every day he went there to look at it.
He was always careful to lock the door, so that no one could follow him.
This room was a very dreary place. Only one little sunbeam ever thought
of peeping into it. King Midas loved this little sunbeam, because his
gold could not shine without it.
He used to put his treasure right where the little ray would fall upon
it. Then he would play with the pieces of gold, throwing them up and
catching them again. He had a large bowl of solid gold. It was so bright
that he could see himself in it. He would sit for hours and look at his
face in this rich mirror. Sometimes the face seemed to be making fun of
him. Then he would lay it aside.
Next, he would bring out his bags of gold dust and let the dust run
through his fingers, as a child plays with sand. He often said to
himself:
“Oh, I wish I had the whole world for my treasure-room, and full of gold
all my own; then I could be happy.”
One day while he was looking at his gold, he thought the sunbeam grew
larger. It seemed to fill the whole room. The rays danced in the corners
like fairies. King Midas looked up. There stood a beautiful young man
near the door. His face was so bright that the king shaded his eyes with
his hands as he looked.
“You are a very rich man, friend Midas. With all this gold you ought to
be the happiest man in the world.”
“Yes,” said Midas, “I have done very well; but it has taken almost a
lifetime to get this. Now, if I could live a thousand years, I might get
rich!”
“Why, haven’t you enough yet?” asked the young man, opening his eyes
very wide.
“No,” said Midas.
“Well,” said the stranger, “I should like to know what would satisfy
you. Will you be kind enough to tell me?”
The king thought for a time and then said:
“If I could have my way, everything I touch would turn to gold.”
“Are you quite sure this would satisfy you?” asked the young man.
“Sure of it?” cried Midas. “Why shouldn’t it satisfy me?”
“And are you sure you would never be sorry you made such a wish?” said
the stranger.
“How could I be sorry? I tell you I should be the happiest man in the
world.”
“Very well,” said the stranger, “to-morrow, at sunrise, you will have
the Golden Touch.”
[Illustration:
“IN THIS ROOM KING MIDAS KEPT HIS GOLD”
]
When King Midas awoke the next morning a little sunbeam shone on his
bed. He put out his hand and touched the coverlet. It was changed to
gold. With a cry of joy he sprang from his bed.
“Hurrah! I have the Golden Touch,” he cried.
He ran about touching everything in the room. Of course they all turned
to gold. Then he dressed himself and was delighted to find that his
clothes had become beautiful garments of gold. He put on his spectacles,
but could not see through them. Taking them off and rubbing them he saw
that the glass had become plates of gold.
As he went down stairs, he put his hand on the railing. It turned to
gold.
He opened the door and went into the garden. The roses were nodding in
the fresh morning breeze; the air was filled with their sweet perfume.
But King Midas did not care for this. What do you think he did? Why, he
changed everyone of those roses into hard, shining gold. The dew drops
became diamonds.
Then he went back to the house. Breakfast was ready. Marygold had not
yet come in, so he had her called. She always had bread and milk for her
breakfast. She ate it out of a beautiful china bowl. This bowl had
strange trees and houses painted upon it. While the father waited for
her, he thought he would change her bowl to gold.
“That will please her,” thought he.
Just then he heard her coming. The door opened and she came in. She had
her apron to her eyes and was crying as if her heart would break.
“Why, what is the matter my dear child?” asked the king.
“Oh, my beautiful roses! They are all ugly and yellow,” cried she. “When
I try to smell them, their hard petals prick my nose.”
“Well, dear, don’t cry about it. Sit down and eat your bread and milk.”
They both sat down to the table. He thought she would forget about the
roses, when she saw her golden bowl; but she was too sad to notice it.
Perhaps it was best that she did not, for she had always been so fond of
looking at the pictures upon it. These faded as soon as the bowl was
changed to gold.
His walk in the garden had given the king a good appetite. His breakfast
of baked potatoes, fish, hot cakes and coffee looked very good indeed.
“Well, this is nice,” he said, as he poured out a cup of coffee. He
smiled when he saw the coffee pot turn to gold.
“I shall soon have nothing but gold on my table,” thought he, and began
to wonder where he could keep his treasure.
He raised the cup of coffee to his lips. That, too, turned to gold. Of
course he could not drink it. He set the cup down quickly. Marygold
looked up and asked,
“What is the matter, father?”
“Nothing, child, nothing,” said the king.
He thought he would try one of the fish. As soon as he touched it, it
became hard and bright. Then he broke one of the cakes. It became yellow
and heavy.
“I don’t quite see how I am to get any breakfast,” thought the king.
He looked at Marygold. She was quietly eating her bread and milk. How he
longed to have just one bite! What good would all this gold do him, if
he could not eat anything?
The potatoes looked so tempting that he thought he would try again.
“Perhaps I can swallow so quickly, that a potato will not have time to
turn to gold,” thought he.
Poor foolish Midas! He popped one into his mouth, but it changed as soon
as he touched it. The hot gold burned him so that he jumped up and cried
out with pain.
“Why, what is the matter, dear father?” cried Marygold. “Have you burned
yourself?”
“Oh, my child,” said the king, “I don’t know what is to become of your
poor father!”
Marygold got down from her chair and ran to him. By this time Midas
hated the very sight of gold. He felt that Marygold was all he had to
love now. He took her in his arms and kissed her.
Oh, unhappy Midas! Marygold, too, had become hard, shining gold. There
were the tears still on her cheeks; they were little lumps of gold now.
Everything was the same, even the pretty dimple in her chin.
Poor Midas! His heart was almost broken. He threw himself upon the floor
and tried to pray. The words would not come.
All at once the room grew very bright. Midas raised his head. There
stood the stranger who had given him the Golden Touch. His face was sad,
yet Midas thought he saw a smile there, too, as he said:
“Well, friend Midas, how do you like the Golden Touch?”
“Hush!” cried the king. “I hate the very name of gold!”
“Why, how is this?” asked the stranger. “Have you not enough yet?”
“Enough!” cried the king. “Too much! I wish I might never see gold
again. Gold is not everything. See,” said he, pointing to Marygold. “I
would give all the gold in the world, just to see her smile again.”
“You are sure you have had enough of the Golden Touch?” asked the
stranger.
Midas’ look showed that he thought the question a very foolish one.
“Take a vase,” said the young man, “and go to the river that runs by
your garden; jump head first into the river and fill the vase with the
water; then put a few drops of it on anything you have changed to gold.
It will become as it was before,” and the stranger was gone.
You may be sure the king lost no time. He took a vase, and running to
the river, jumped in. As soon as he touched the water his heart seemed
to grow light. He was glad to see the vase become china again.
He filled it and went quickly to the house. The first thing he did was
to sprinkle a little water over Marygold. As soon as it touched her, her
cheeks became pink and her blue eyes opened wide.
“Why are you throwing water on me, father?” she cried. “You will soil my
pretty dress.”
The king said nothing. He did not want her to know how foolish he had
been. He took her in his arms and kissed her many times.
While she went to put on another dress, he took the vase into the garden
and put a few drops of water on each flower. When Marygold came out she
was delighted to see them bowing to her as if nothing had been wrong.
The king did not stop until he had put water on everything he had turned
to gold. Then he remembered that he was very hungry. Never had he eaten
anything half so good as that breakfast. He was a happy man now.
Two things were left to remind him of the Golden Touch. The sand in the
river sparkled like gold, and Marygold’s hair, which had once been
brown, now had a tinge of gold. As this made her more beautiful, Midas
was not sorry. He used to say it was the only gold he cared for now.
------------------------------------------------------------------------
LITTLE DAFFYDOWNDILLY.
There was once a little boy whose name was Daffydowndilly. Isn’t that a
pretty name? Well, Daffydowndilly was a very pretty little boy. He had
bright blue eyes and his cheeks were like roses, while his hair made one
think of spun gold.
You think his name sounds like the name of a flower? So it does. That is
why it was such a good name for this little boy. He looked like a bright
flower. He often played in the meadows all day long. He liked to do only
what was easy and pleasant.
Daffydowndilly’s mother was very kind to him. Her sweet face always wore
a smile for the little boy. Indeed, I do not think he knew what a frown
was.
But Daffydowndilly could not always play. Like all little boys, he was
soon old enough to go to school, and then was sent away from his
pleasant home to a school so many miles away, that he had to stay there
all the time. The schoolmaster’s name was Mr. Toil.
Daffydowndilly had never before seen a face like Mr. Toil’s. There were
such deep lines in it. How he frowned on the lazy boys! How harsh his
voice was when he spoke to them!
Daffydowndilly had been at school but a week when he said to himself, “I
don’t like to go to school. I’m afraid of Mr. Toil. I don’t like to
work. I want to play. I’ll run away.”
So the very next morning, Daffydowndilly ran away. He had some bread and
cheese for his breakfast and a little money in his pocket.
How glad he was to get away from school! He felt like a bird out of its
cage.
He had not gone far when he overtook a man who, also, was walking.
“Good morning, my boy,” said the stranger. “Where are you going so
early?”
Now, Daffydowndilly had never told a falsehood in his life and would not
tell one now. After looking at the stranger for a moment he said,
“I am running away from school because I do not like the master. His
name is Mr. Toil, and oh, he is so cross! I want to go where I shall
never hear of him again.”
[Illustration:
“I AM RUNNING AWAY FROM SCHOOL BECAUSE I DO NOT LIKE THE MASTER,” HE
SAID
]
“Oh, very well, my little friend,” said the stranger. “We will go
together. I, too, know Mr. Toil, and should like to find a place where
he has never been heard of.”
This did not quite please Daffydowndilly. He would like a little boy for
his companion much better. Then they could stop and gather flowers or
chase butterflies. That would be so pleasant. But he thought,
“This man will know better which way to go. He will take care of me and
keep me from harm.”
So he trudged along with the stranger. They had not gone far, when they
came to a field where men were at work, cutting the tall grass. Then
they spread it out in the sun to dry.
Daffydowndilly was delighted with the sweet smell of the new-mown grass.
The sun shown down on the field. The birds sang in the trees near by.
“Oh, how beautiful!” cried he. “Let us stop and watch them. I wish I
might stay here always. How much nicer it is here, than in that old
school room.”
Just then he saw something that made him start back and catch his
companion’s hand.
“Quick, quick!” cried he. “Let us run away or he will catch us!”
“Who will catch us?” asked the stranger.
“Mr. Toil, the old schoolmaster,” answered Daffydowndilly. “Don’t you
see him in the field there?”
He pointed to an old man who seemed to be the owner of the field. He had
taken off his coat and was working in his shirt sleeves. He did not rest
a moment. All the time he kept saying,
“Make hay while the sun shines, my men.”
Sure enough, he did look just like Mr. Toil. His voice, too, was the
same, yet Mr. Toil must have been in the school room at that time.
“Don’t be afraid,” said the stranger. “This is not Mr. Toil, the
schoolmaster. It is one of his brothers. He is a farmer. People say he
is worse than the schoolmaster. But he won’t trouble you, unless you go
to work on his farm.”
Daffydowndilly believed this, yet was glad to get away. By-and-by they
saw some carpenters building a house. Daffydowndilly wanted to stop
again. He loved to watch the men making doors and putting in windows.
How neatly they did their work.
It was a pretty sight to see the shavings roll from under the plane.
They looked like ribbons.
“How nice it would be to have a saw, a hammer, and a plane, and build a
little house for myself,” thought he.
While he was thinking what fine fun this would be, he saw something
which made him cry out,
“Make haste. Quick, quick! There he is again!”
“Who?” asked the stranger.
“Old Mr. Toil,” said Daffydowndilly. “There! Don’t you see him among the
carpenters? That’s my old schoolmaster, as sure as I live!”
The stranger looked where he pointed. He saw an old man with a
carpenter’s rule in his hand. He was marking out the work to be done.
All the time he was telling the men to work hard. And they sawed and
hammered and planed as if for their lives.
“Oh, no!” said the stranger, “this is not Mr. Toil, the schoolmaster. It
is another brother of his. He is a carpenter.”
“I’m very glad to hear it,” said Daffydowndilly. “But I’d like to get
out of his way as soon as I can.”
So on they went. Soon they heard the sound of a drum and fife.
Daffydowndilly knew there must be soldiers coming.
“Let us make haste,” said he, “I want to see the soldiers.”
They walked as fast as they could, and soon met a company of soldiers.
They were gayly dressed, with beautiful feathers in their caps and
carried bright guns on their shoulders.
In front marched two drummers and fifers. How they beat their drums and
played their fifes! What lively music they made! Daffydowndilly thought
he would like to follow them to the end of the world.
“If I were a soldier,” he thought, “Mr. Toil would never dare to look me
in the face.”
“Quick step! Forward march!” shouted a gruff voice.
Daffydowndilly started to run.
“There he is again,” he cried. “I know his voice.”
Daffydowndilly pointed to the captain. He was, indeed, the very image of
Mr. Toil. To be sure he wore a cap and feather, and carried a sword
instead of a stick. But Daffydowndilly was sure it was his old
schoolmaster.
“You are mistaken again, my little friend,” said the stranger. “This is
not Mr. Toil, the schoolmaster, but another brother of his. He is a
soldier and has been in the army all his life. You and I need not fear
him.”
“Well,” said Daffydowndilly, “I’m glad to hear it; but, if you please
sir, I don’t want to see the soldiers any more.”
On they went and, by-and-by, came to a house by the roadside. They could
hear the sound of a fiddle within and, through the open doorway could
see boys and girls dancing. They were having a merry time.
Daffydowndilly thought he had never seen anything half so pretty.
“Oh, let us stop here,” he said. “Mr. Toil would never dare show his
face where there is music and dancing. We shall be safe enough here.”
Just then he looked at the fiddler. Whom should he see again but old Mr.
Toil. He had a violin bow instead of a stick, but looked exactly like
the old schoolmaster.
“Oh, dear me!” said Daffydowndilly, turning pale. “Is there nobody but
Mr. Toil in the whole world! Who would have thought he could play a
fiddle!”
“This is not your old schoolmaster,” said the stranger. “This is another
brother of his. He calls himself Mr. Pleasure, but his real name is
Toil. Those who know him best, say he is worse than any of his
brothers.”
“Let us go a little farther,” said Daffydowndilly. “I don’t like the
looks of this fiddler at all.”
So they went on through shady lanes and pleasant villages. Everywhere
the sky was blue, the sun shone, and the birds sang. But go where they
would, there was the image of old Mr. Toil. Whether they stopped at a
cottage or a mansion, it was all the same. Sometimes they found him in
the parlor, very often in the kitchen. He was sure to be there
somewhere.
Daffydowndilly was very tired, and seeing some men lying in a shady
place by the roadside, he cried,
“Oh, let us sit down and rest. Mr. Toil will never come here. He hates
to see people resting.”
Just then he looked at one of the men. He seemed to be the laziest of
all. Who should it be again, but the very image of old Mr. Toil.
“There is a very large family of these Toils,” said the stranger. “This
is another one of the schoolmaster’s brothers. He is a very idle fellow
and does nothing but have, what he calls, a good time, but I think he
has a harder time than any of the others.”
Daffydowndilly began to cry.
“Oh, take me back! Take me back!” said he. “If there is nothing but toil
in the world, I may as well go back to the school house!”
“Well, there it is,” said the stranger. And, sure enough, there it was.
You see they had been going in a circle, instead of a straight line.
“Come, we will go back to school together.”
Something in the stranger’s voice made Daffydowndilly look at him.
There, again, was the face of old Mr. Toil! So the poor boy had been
with him all day, even while he was trying so hard to get away from him.
When he came to know the schoolmaster better, he found that he was not
so bad, after all. And when he learned his lessons well, the old
schoolmaster’s smile was almost as pleasant as was that of his own
mother.
------------------------------------------------------------------------
● Transcriber’s Notes:
○ Missing or obscured punctuation was silently corrected.
○ Typographical errors were silently corrected.
○ Inconsistent spelling and hyphenation were made consistent only
when a predominant form was found in this book.
○ Text that:
was in italics is enclosed by underscores (_italics_);
was in bold by is enclosed by “equal” signs (=bold=).
*** END OF THE PROJECT GUTENBERG EBOOK DAFFYDOWNDILLY AND THE GOLDEN
TOUCH ***
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 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-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 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-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 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-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 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-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 the Project Gutenberg Literary Archive Foundation, the manager 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 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-tm 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-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 website which has the main PG search
facility: www.gutenberg.org
This website 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.
