The Project Gutenberg EBook of The Popular Story of Blue Beard, by Charles Perrault and John H. Hall 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/license Title: The Popular Story of Blue Beard Author: Charles Perrault John H. Hall Release Date: August 13, 2013 [EBook #43457] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK THE POPULAR STORY OF BLUE BEARD *** Produced by Chris Curnow, Sue Fleming and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) POPULAR STORY OF BLUE BEARD. FRONTISPIECE. [Illustration caption: While Fatima is kneeling to Blue Beard, and supplicating for mercy, he seizes her by the hair, and raises his scymetar to cut off her head.] THE POPULAR STORY OF BLUE BEARD. Embellished with neat Engravings. [Illustration] COOPERSTOWN: Printed and sold by H. and E. Phinney. 1828 _The Alphabet._ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z _A B C D E F G H I J K L M N O P Q R S T U V W X Y Z_ _a b c d e f g h i j k l m n o p q r s t u v w x y z_ fi fl ff ffi ffl--_fi fl ff ffi ffl_ 1 2 3 4 5 6 7 8 9 0 . , ; : ? ! ' () [] * [dagger] [double dagger] § || ¶ THE POPULAR STORY OF BLUE BEARD. A long time ago, and at a considerable distance from any town, there lived a gentleman, who was not only in possession of great riches, but of the largest estates in that part of the country. Although he had some very elegant neat mansions on his estates, he generally resided in a magnificent castle, beautifully situated on a rising ground, surrounded with groves of the finest evergreens, and other choice trees and shrubs. The inside of this fine castle was even more beautiful than the outside; for the rooms were all hung with the richest damask, curiously ornamented; the chairs and sofas were covered with the finest velvet, fringed with gold; and his table-dishes and plates were either of silver or gold, finished in the most elegant style. His carriages and horses might have served a king, and perhaps were finer than any monarch's of the present day. The gentleman's appearance, however, did not altogether correspond to his wealth; for, to a fierce disagreeable countenance, was added an ugly blue beard, which made him an object of fear and disgust in the neighbourhood, where he usually went by the name of Blue Beard. There resided, at some considerable distance from Blue Beard's castle, an old lady and her two daughters, who were people of some rank, but by no means wealthy. The two young ladies were very pretty, and the fame of their beauty having reached Blue Beard, he determined to ask one of them in marriage. Having ordered a carriage, he called at their house, where he saw the two young ladies, and was very politely received by their mother, with whom he begged a few moments conversation. [Illustration] After the two young ladies left the room, he began by describing his immense riches, and then told her the purport of his visit, begging she would use her interest in his favour. They were both so lovely, he said, that he would be happy to get either of them for his wife, and would therefore leave it to their own choice to determine upon the subject, and immediately took his leave. When the proposals of Blue Beard were mentioned to the young ladies by their mother, both Miss Anne and her sister Fatima protested, that they would never marry an ugly man, and particularly one with such a frightful blue beard; because, although he possessed immense riches, it was reported in the country, that he had married several beautiful ladies, and nobody could tell what had become of them. Their mother said, that the gentleman was agreeable in his conversation and manners; that the ugliness of his face, and the blue beard, were defects which they would soon be reconciled to from habit: that his immense riches would procure them every luxury their heart could desire; and he was so civil, that she was certain the scandalous reports about his wives must be entirely without foundation. The two young ladies were as civil as they possibly could be, in order to conceal the disgust they felt at Blue Beard, and, to soften their refusal, replied to this effect,--That, at present, they had no desire to change their situation; but if they had, the one sister could never think of depriving the other of so good a match, and that they did not wish to be separated. Blue Beard having called next day, the old lady told him what her daughters had said; on which he sighed deeply, and pretended to be very much disappointed; but as he had the mother on his side, he still continued his visits to the family. Blue Beard, knowing the attractions that fine houses, fine furniture, and fine entertainments, have on the minds of ladies in general, invited the mother, her two daughters, and two or three other ladies who were then on a visit to them, to spend a day or two with him at his castle. [Illustration] Blue Beard's invitation was accepted, and having spent a considerable time in arranging their wardrobe, and in adorning their persons, they all set out for the splendid mansion of Blue Beard. On coming near the castle, although they had heard a great deal of the taste and expense that had been employed in decorating it, they were struck with the beauty of the trees that overshadowed the walks through which they passed, and with the fragrancy of the flowers which perfumed the air. When they reached the castle, Blue Beard, attended by a number of his servants in splendid dresses, received them with the most polite courtesy, and conducted them to a magnificent drawing-room. An elegant repast was ready in the dining-room, to which they adjourned. Here they were again astonished by the grandeur of the apartment and the elegance of the entertainment, and they felt so happy, that the evening passed away before they were aware. Next day, after they had finished breakfast, the ladies proceeded to examine the pictures and furniture of the rooms that were open, and were truly astonished at the magnificence that every where met their view. [Illustration] The time rolled pleasantly away amidst a succession of the most agreeable amusements, consisting of hunting, music, dancing, and banquets, where the richest wines, and most tempting delicacies, in most luxurious profusion, presented themselves in every direction. The party felt so agreeable amidst these scenes of festivity, that they continued at the castle several days, during which the cunning Blue Beard, by every obsequious service, tried to gain the favour of his fair guests. Personal attentions, even although paid us by an ugly creature, seldom fail to make a favourable impression; it was therefore no wonder that Fatima, the youngest of the two sisters, began to think Blue Beard a very polite, pleasant, and civil gentleman; and that the beard, which she and her sister had been so much afraid of, was not so very blue. A short time after her return home, Fatima, who was delighted with the attention which had been paid her at the castle, told her mother that she did not now feel any objections to accept of Blue Beard as a husband. The old lady immediately communicated to him the change in her daughter's sentiments. Blue Beard, who lost no time in paying the family a visit, was in a few days privately married to the young lady and soon after the ceremony, Fatima, accompanied by her sister, returned to the castle the wife of Blue Beard. [Illustration] On arriving there, they were received at the entrance by all his retinue, attired in splendid dresses, and Blue Beard, after saluting his bride, led the way to an elegant entertainment, where, every thing that could add to to their comfort being prepared, they spent the evening in the most agreeable manner. The next day, and every succeeding day, Blue Beard always varied the amusements, and a month had passed away imperceptibly, when he told his wife that he was obliged to leave her for a few weeks, as he had some affairs to transact in a distant part of the country, which required his personal attendance. "But," said he, "my dear Fatima, you may enjoy yourself in my absence in any way that will add to your happiness, and you can invite your friends to make the time pass more agreeably, for you are sole mistress in this castle. Here are the keys of the two large wardrobes; this is the key of the great box that contains the best plate, which we use for company; this of my strong box, where I keep my money; and this belongs to the casket, in which are all my jewels. Here also is a master-key to all the rooms in the house; but this small key belongs to the blue closet at the end of the long gallery on the ground floor. I give you leave," he continued, "to open, or do what you like with all the rest of the castle except this closet: now, my dear, remember you must not enter it, nor even put the key into the lock. If you do not obey me in this, expect the most dreadful of punishments." [Illustration] She promised him implicit obedience to his orders, and then accompanied him to the gate, where Blue Beard, after saluting her in a tender manner, stepped into the coach, and drove away. When Blue Beard was gone, Fatima sent a kind invitation to her friends to come immediately to the castle, and ordered a grand entertainment to be prepared for their reception. She also sent a messenger to her two brothers, both officers in the army, who were quartered about forty miles distant, requesting they would obtain leave of absence, and spend a few days with her. So eager were her friends to see the apartments and the riches of Blue Beard's castle, of which they had heard so much, that in less than two hours after receiving notice, the whole company were assembled, with the exception of her brothers, who were not expected till the following day. As her guests had arrived long before the time appointed them for the entertainment. Fatima took them thro' every apartment in the castle, and displayed all the wealth she had acquired by her marriage with Blue Beard. They went from room to room, and from wardrobe to wardrobe, expressing fresh wonder and delight at every new object they came to; but their surprise was increased when they entered the drawing-rooms, and saw the grandeur of the furniture. During the day, Fatima was so much engaged, that she never once thought of the blue closet, which Blue Beard had ordered her not to open; but when all the visitors were gone, she felt a great curiosity to know its contents. She took out the key, which was made of the finest gold, and went to consult with her sister on the subject. Anne used every argument she could think of to dissuade Fatima from her purpose, and reminded her of the threats of Blue Beard; but all in vain, for Fatima was now bent on gratifying her curiosity. She therefore, in spite of all her sister could do, seized one of the candles, and hurried down stairs to the fatal closet. On reaching the door she stopped, and began to reason with herself on the propriety of her conduct; but her curiosity at length overcame every other consideration, and, with a trembling hand, she applied the key to the lock, and opened the door. She had only advanced a few steps, when the most frightful scene met her view, and, struck with horror and dismay, she dropped the key of the closet. She was in the midst of blood, and the heads, bodies, and mutilated limbs of murdered ladies lay scattered on the floor. These ladies had all been married to Blue Beard, and had suffered for their imprudent curiosity, the key, which was the gift of a fairy, always betraying their fatal disobedience. [Illustration] The terror of Fatima was not diminished on observing these dreadful words on the wall--"_The Reward of Disobedience and Imprudent Curiosity!_" She trembled violently; but, on recovering a little, she snatched up the key, and having again locked the door, left this abode of horror. As soon as she reached her sister's chamber, she related the whole of her horrid adventure. They then examined the key, but it was all covered with blood, and they both turned pale with fear. They spent a good part of the night in trying to clean off the blood from the key, but it was without effect, for though they washed and scoured it with brick dust and sand, no sooner was the blood removed from one side, than it appeared on the other. Fatigued with their exertions, they at last retired to bed, where they passed a sleepless and anxious night. Fatima rose at a late hour next day, and consulted with her sister how she ought to proceed. She thought first of escaping from the castle, but as her brothers were expected in an hour or two, she resolved to wait their arrival. A loud knock at the gate made her almost leap for joy, and she cried, "they are come! they are come!" but what was her consternation when Blue Beard hastily opened the door, and entered. It was impossible for Fatima to conceal her agitation, although she pretended to be very happy at his sudden and unexpected return. Blue Beard, who guessed what she had been about, requested the keys, in order, as he said, that he might change his dress. She went to her chamber, and soon returned with the keys, all except the one belonging to the blue closet. He took the keys from her with seeming indifference, and after glancing at them minutely, said, rather sternly, "How is this, Fatima! I do not see the key of the blue closet here! Go and bring it to me instantly." The poor girl, feeling the crisis of her fate approaching, said, "I will go and search for it," and left the apartment in tears. She went straight to her sister's chamber, where they again tried, but in vain, to remove the blood from the key. The voice of Blue Beard again calling for her, she was forced to return, and reluctantly to give him the fatal key. [Illustration] On examining the key, Blue Beard burst into a terrible rage. "Pray Madam," said he, "how came this blood to be here?" "I am sure I do not know," replied she, trembling, and turning pale. "What! do you not know!" cried Blue Beard, in a voice like thunder, which made poor Fatima start with fear; "but I know well! You have been in the forbidden blue closet! And since you are so fond of prying into secrets, you shall take up your abode with the ladies you saw there." [Illustration] Almost expiring with fear and terror, the trembling Fatima sunk upon her knees, and implored him in the most piteous manner to forgive her. But the cruel Blue Beard, deaf to her intreaties, drew his dreadful scymetar, and bid her prepare for immediate death. Blue Beard had raised his arm to give the fatal blow, when a dreadful shriek from her sister, who at that moment entered the apartment, arrested his attention. She entreated him to spare the life of Fatima, but he was deaf to her intercession, and would only grant her one quarter of an hour, that she might make her peace with Heaven, before he put her to death. Blue Beard then dragged her up to a large hall in the top of the tower of the castle, to prevent her groans being heard, to which they were followed by her sister. He then told her to make the best use of the time, as she might expect his return the moment it elapsed, and immediately left the place. When alone with her sister, Fatima felt her dreadful situation, and again burst into tears. Only fifteen minutes between her and the most cruel death, without the least chance of escape; for Blue Beard had secured the door when he retired, and the staircase they saw only led to the battlements. Fatima's thoughts were now turned to her brothers, whom she expected that day; and she requested her sister to ascend to the top of the tower, to see if there was any appearance of them. Fatima's sister immediately ascended to the top of the battlements, while the poor trembling girl below, every minute, cried out, "Sister Anne, my dear sister Anne, do you see any one coming yet?" Her sister always replied, "There is not a human being in view, and I see nothing but the sun and the grass." She was upon her knees bewailing her fate, when Blue Beard, in a tremendous voice, cried out, "Are you ready? the time is expired;" and she heard the sound of his footsteps approaching. She again supplicated him to allow her five minutes longer to finish her prayers, which he, knowing she was completely within his power, granted her, and again left her. Fatima again renewed her inquiries to her sister; "Do you see any one coming yet?" Her sister replied, "There is not a human being within sight." When the five minutes were elapsed, the voice of Blue Beard was heard bawling out, "Are you ready yet?" She again beseeched him to allow her only two minutes more, and then addressed her sister, "Dear Anne, do you see any one coming yet?" [Illustration] "I see," said her sister, "a cloud of dust rising a little to the left." In breathless agitation, she cried, "Do you think it is my brothers?" "Alas! no, my dearest Fatima," returned her sister, "it is only a flock of sheep." Again the voice of Blue Beard was heard, and she begged for one minute longer. She then called out for the last time, "Sister Anne, do you see no one coming yet?" Her sister quickly answered, "I see two men on horseback, but they are still a great way off." "Thank heaven," exclaimed Fatima, "I shall yet be saved, for it must be my two brothers! My dearest sister, make every signal in your power to hasten them forward, or they will be too late." Blue Beard's patience being now exhausted, he burst open the door in a rage, and made a blow at the wretched Fatima, with the intention of striking off her head; but she sprang close to him and evaded it. Furious at being foiled in his aim, he threw her from him, and then seizing her by the hair of the head, was in the act of striking her a blow with his scymetar, when the noise of persons approaching, with hasty steps, arrested the progress of his sanguinary arm. Blue Beard had not time to conjecture who the intruders might be, when the door opened, and two officers, with their swords drawn, rushed into the apartment. [Illustration] Struck with terror, the guilty wretch released his wife from his grasp, and without attempting to resist, he tried to effect his escape from the resentment of her brothers; but they pursued and seized him before he had got above twenty paces from the place. After reproaching Blue Beard with his cruelty, they dragged him back to the spot where he intended to have murdered their sister; and there, stabbing him to the heart with their swords, he expired, uttering the most horrid oaths and execrations. Fatima, who had fallen to the ground at the time Blue Beard quitted his hold of her, still lay in the same situation insensible; for the appearance of her brothers, at the moment she expected certain death, had thrown her into a faint, which continued during the whole of the time they were engaged in despatching her husband. The two young officers now turned their attention to their sister, whom they raised from the ground; but she could hardly be persuaded of her safety, till they pointed to where Blue Beard lay extended and lifeless. Fatima, on recovering a little, tenderly embraced her deliverers; and the appearance of their sister Anne, who had come down from the top of the battlements, added to their happiness. [Illustration] As all those horrid murders which had been committed by Blue Beard, were unknown to his domestics, on whose credulity he imposed by falsehoods, which they had no means of detecting, Fatima and her brothers thought the most prudent way to act, was to assemble them together, and then disclose the wickedness of their late master. By the direction of Fatima, her two brothers conducted all the servants to the dreadful scene of her husband's cruelties, and then showing them his dead body, related the whole occurrences which had taken place. They all said that his punishment was not adequate to what he deserved, and begged that they might be continued in the service of their mistress. As Blue Beard had no relations, Fatima was sole heir to the whole of his immense property, and mistress of the castle, in the possession of which she was confirmed by the laws of the country. She then sent notice to all the families in the neighbourhood of the death of her husband, and the horrid proofs of his cruelty were laid open for two days to all who chose to inspect them. He was then buried privately, along with all the bodies of the ladies he had murdered, and the fatal closet underwent a complete repair, which removed every trace of his barbarity. Soon after this, Fatima gave a magnificent entertainment to all her friends, where happiness was seen in every face; and on this occasion the poor, who were assembled for many miles round, partook most liberally of her bounty. Though possessed of riches almost inexhaustible, Fatima disposed of them with so much discretion, that she gained the esteem of every one who knew her. She bestowed handsome fortunes on her two brothers; and to her sister, who was married about two months after, she gave a very large dowry. The beauty, riches, and amiable conduct of Fatima, attracted a number of admirers, and among others, a young nobleman of very high rank, who, to a handsome person, added every quality calculated to make a good husband; and after a reasonable time spent in courtship, their marriage was celebrated with great rejoicings. FINIS Transcriber's Note: On page 12 the word themsevles is now themselves. End of the Project Gutenberg EBook of The Popular Story of Blue Beard, by Charles Perrault and John H. Hall *** END OF THIS PROJECT GUTENBERG EBOOK THE POPULAR STORY OF BLUE BEARD *** ***** This file should be named 43457-8.txt or 43457-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/4/3/4/5/43457/ Produced by Chris Curnow, Sue Fleming and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) 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 http://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/license 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 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 web page at http://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 http://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 http://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 http://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 checks, online payments and credit card donations. To donate, please visit: http://pglaf.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart is 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. Most people start at our Web site which has the main PG search facility: http://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.