The Story of the Little Mamsell

By Charlotte Niese

Project Gutenberg's The Story Of The Little Mamsell, by Charlotte Niese

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: The Story Of The Little Mamsell

Author: Charlotte Niese

Translator: Miss E. C. Emerson

Release Date: October 27, 2007 [EBook #23221]

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK THE STORY OF THE LITTLE MAMSELL ***




Produced by David Widger






THE STORY OF THE LITTLE MAMSELL

By Charlotte Niese

Translated from the German by Miss E. C. Emerson


"Have you got something good? Then put the basket down and go along
home!" This was one usual greeting from old Mahlmann when we brought
him provisions. He was very old, and rarely out of his bed, only now and
then on warm summer days he sat on the bench before his tiny cottage and
basked in the sun. If a painter had ever strayed to our uninteresting
little town he would certainly have put old Mahlmann's characteristic
head on his canvas. He had a clever old face with a firm mouth and
glittering eyes whose expression was so sombre and at the same time
observant that we children imagined old Mahlmann was different from
other people. And indeed so he was. To begin with he never thanked
anyone for bringing him food; in fact he criticized freely the benefits
he received. If one brought what was not to his liking, he would say:
"Go home and tell your mother old Mahlmann is not a waste-tub where you
throw what's not fit to eat. You needn't come again either!"

In this manner he got himself into disfavor with many a good housewife,
who would protest by all that was holy that never would she send the
hoary old sinner anything again. But Mahlmann never cared. His needs
were few and there was always some one to satisfy them.

For me the old man with the sombre eyes had a peculiar fascination; I
think from the fact that he once told me a wonderful ghost-story. There
were at least half a dozen witches and a whole dozen ghosts in this
tale, and for many nights after I went to bed in tears, and only on
condition some one sat with me till I fell asleep. Still the spell of
these horrors was so strong upon me that I visited Mahlmann all the
more» and often bought him something out of my own slender pocket-money
to induce him to tell stories. I was not always successful, for the old
man had morose moods, when he spoke little. At other times he would tell
us his own experiences, and his life had not lacked variety. He had been
in Paris at the time of the Revolution, as servant to a Danish officer
of high rank, and his description "how the fine gentlemen all rode in an
old butcher's cart to have their heads chopped off," left nothing to the
imagination. "My Baron was once near going himself to the 'Gartine,'
or whatever they call it," he told me one day when he was especially
talkative; "but he got well out of it. He was one that could turn the
heads of the women, and it was a woman got him safely out of the city."

Mahlmann sat on the bench before the door and stretched his skinny hands
to the sun. About his shoulders he had a ragged coat which had once
been red, but was now a coat of many colors. It was so hot that I
took shelter in the shadow of the doorway, but the chilly old man was
shivering. I had brought him a great piece of cake and now offered it to
him. He slowly reached for it, and slowly ate it up.

"That's like what I used to get in Paris. Dear me! My Baron was a
handsome man, and for my age, I must have been about fifteen, I was a
sharp lad--only I couldn't rightly understand their French lingo, which
put me out. But I understood the affair of the little Mamsell well
enough. She lived opposite; her father was a grocer and she helped in
the shop. At first we didn't buy anything there, till a long-legged
Englishman told my Baron that this grocer kept a fine Hungarian wine. It
was out of the King's wine-cellar and he wasn't drinking any more wine
because he had gone to the 'Gartine/ And a few sensible people had
divided the wine, which was only right, and it was to be had very cheap.
Then I went over and bought some. Mamsell Manon was in the shop, and
laughed till she cried over my way of speaking. Then I got angry, and
when I brought my Baron the wine I said that I wasn't going again to
that stupid Mamsell who couldn't even understand German. The next day my
master was for sending me again, but I rebelled. 'Herr Baron,' I said,
'you can give me the whip because I'm only a servant, but I won't go
again to that silly girl opposite, and if you make me I'll accuse you to
the authorities of being an aristocrat. We're all free and equal now, I
can understand that much French, and I'll be sorry if you have to go to
the "Gartine," but I won't be ill-treated!'

"My Baron looked at me queerly, but he listened to reason, and I didn't
have to go to the Mamsell again because he went himself. And then he
made friends with Mamsell Manon, and she came over and brought the
King's wine herself. When I knew her better she wasn't bad; she laughed
a good deal, and sang all the time like a little bird, but one can't go
against nature. And she was a good girl too, for once when my Baron put
his arm around her and tried to kiss her, she boxed his ears. I never
knew my master could look such a fool. The fine gentlemen don't always
get their way."

Mahlmann nodded once or twice and ate some crumbs of cake before he went
on.

"No, they don't always get their way," he continued. "My Baron wanted
to stay longer in Paris, though many of his noble friends lay already
in the lime-pit with their heads off. He didn't want to go away, and
sat half the day in the shop with Mamsell Manon, and said a Dane wasn't
afraid of the French--they'd not do anything to him! Things never turn
out as one expects, and one evening my Baron was fetched away by a
couple of long soldiers. That was unpleasant I can tell you. My master
had been at me sometimes with the whip, and I didn't care specially
about him; but to be all alone in such a crazy town where there's not a
Christian that understands a word you say, it's enough to give you the
horrors. Then the next morning Mamsell Manon came and talked to me, and
cried dreadfully, and stroked my cheeks, and I understood her all right
in spite of that jabbering French. Mamsell thought a cousin of hers had
got the Baron put in prison, because he was jealous. I don't know what
more she said, but I soon found out what she wanted, and my hair stood
on end. She wanted to borrow my confirmation suit that I had only had on
three times; once at the confirmation, then for communion, and then when
I came to the Baron to apply for the place. It was lying in my trunk
because I had always worn livery, and when the French wouldn't have
liveries any more, the Baron gave me an old gray suit of his. When
Mamsell insisted upon having my best clothes I naturally said, 'nong,
nong,' and shook my head till I was dizzy, but Manon patted me and
coaxed me, and sure as the world she got her way, as women always
do. All at once I had got my trunk unlocked and she ran away with my
confirmation coat and all the rest of the tilings. And I was still
looking after her with my mouth open, when she came back dressed like a
man!"

Mahlmann was silent for a moment and wrapped himself with a shiver in
his red coat.

"Dear me! how cold it always is now; it used to be warm in July. Things
never turn out as one expects. The little Mamseli had promised me
faithfully I should have my good clothes back--yes, indeed--bless you!
But I must say she looked downright pretty in my best black suit, and I
saw why she hadn't worn clothes of the Baron's, or of her own father's.
He was short and fat, and the Baron was tall and broad-shouldered,
and the little one would not have looked well in their things. Now she
looked like a real boy, and like two boys we ran to one of the many
prisons where the aristocrats were, I With a basket and she with a
basket, with bread and writing-paper, and we took them to the wife
of one of the gaolers who earned a lot of money by selling them. The
aristocrats were always writing letters, which shows what do-nothings
they were; for an honest man has a tongue to talk with, and doesn't need
to make marks on paper to kill time. We went to the great prison two or
three times; I stayed outside because I was afraid, but Mamseli Manon
went in and talked with the gaolers. What more she did I don't know;
I waited outside and thought of my confirmation suit, for the little
Mamseli wasn't very careful of it. She had had it three days and took
it home with her, and I never knew where it was when she was in the shop
with her ordinary clothes on. It was always dark when we went out, then
she'd come for me and we'd start* I must say she always brought me some*
thing, a drop of wine or a bit of cake. The evening of the fourth day
when I was waiting for her at the gate of the prison, someone seized
hold of my shoulder and said in German, 'Forward!' It was my Baron who
stood before me all at once and was in a devil of a hurry to get away.
'Franz!' he said to me, 'be quick or I am lost!' 'Where is the little
Mamsell?' I asked, 'and where is my confirmation suit?' Then he grabbed
me by the arm and dragged me through the streets till I was out of
breath. 'She will come,' he said half to himself, 'to-morrow the mistake
will be cleared up, when I am out of the city. Her father will save
her.' But though he was still pulling me along, I stopped short. 'Herr
Baron,' I said, 'the little Mamsell has got on my best black suit, and
the trousers were made out of the Herr Pastor's own, and I tell you if
I don't get my suit that I was confirmed in, I'll go to the gentlemen
of the head-chopping company and tell them you've broken out of prison,
which they certainly won't like. For by rights all the aristocrats ought
to go to the "Gartine," or whatever you call it, so that we can have
"égalité" and liberty, and we poor fellows can amuse ourselves instead
of having all the good times used up by the great gentlemen!' Then he
looked at me as if he would like to kill me, but he couldn't do that,
so he tried to talk me round with promises. Dear me! what didn't the man
promise me! A bag full of money, and a pig every year, and every year a
black suit, if I would only go quietly home with him. And he put on my
finger on the spot a ring with a red stone that I had always fancied,
so I went along quietly with him to his apartment that I had the key of.
The Baron slept in my attic room, and I had to lie on the sofa in his
best room to look as if I was trying to play the gentleman. The next day
the Baron went out twice in a blue blouse with a cap on his head, and
the second morning we both went on foot out of the city, in clothes that
I wouldn't have liked to touch with a pair of tongs!"

Mahlmann stopped and rubbed his left knee. "What rheumatism I do have!
And in the month of July! Well, well, it's always the way when you begin
to get old; I suppose I must be about ninety. My grandfather's aunt,
though, was more than a hundred and only died then from eating too much
at a pig-killing!" He sighed and nodded. "We've all got to be put under
ground some day, but it's queer just the same what a difference there is
about dying. I'm old now, and that time when I went through Paris in
the early morning with a rag-bag on my back, and my Baron with just such
another one, was the first time in my life that I ever thought of death,
and it isn't a thought for a boy. It was because the carts were passing
us with the aristocrats who were going to have their heads chopped off.
I'd seen those old carts often enough and naturally thought nothing of
it, because it was a good thing that the fine Monsieurs and Madames were
got rid off; but this time it startled me, for the little Mamsell was in
one of the ramshackle old wagons too. And the strangest of all was she
still had on my confirmation suit that made her look like a pretty boy.
She had folded her hands and looked as if she was going to communion.
There weren't many people in the street,' it was so early, and I was
just about to open my mouth and cry out that Mamsell had on my black
suit and I wanted her to give it back, when my Baron clapped his hand
over my mouth and I nearly choked. 'Donner-wetter' how he gripped me!
But only a minute, for suddenly his strength gave out and he stood
stock-still and began to tremble. He had looked at Manon and she at him.
Such a smile came over her face and she bowed her head, and then the
cart drove quickly on. My master stood in one spot for as much as a
quarter of an hour, and big tears rolled down his cheeks. 'A horrible
mistake!' he murmured, 'she told me she was in no danger, that her
father would get her free the next day--he could not have found her!
Heavenly Father, couldst thou not have pity on her youth and beauty?'
He said much more and I got impatient when he wouldn't go on, and said,
'Herr Baron, the little Mamsell is gone for good and all, I suppose, and
my black suit too, so there's no chance of my ever seeing that again,
but if we stay here much longer they'll take us to the "Gartine" too,
and the little Mamsell wouldn't wish that, or why should she have made
all this fuss about my suit. And by this time she's certainly in heaven,
and that's a very good place they say!'

"I talked like this to my Baron, till he began to walk, and went faster
and faster, out through the city gates, and never looked back for me
till we came to some houses where English lived in a village a few miles
from Paris, where the French didn't make such a time as in the city
itself. The English were going back to their own country, as all this
was rather uncomfortable, and we traveled with them by slow stages to
the coast, and then in a small boat to England, where they eat their
beef too red for my taste; In other ways they live well enough, and I
would have had nothing to complain of if my Baron had been a little more
cheerful. He had forgotten how to laugh, had grown pale and silent, and
nights instead of sleeping he lay groaning and muttering in French and
Danish to himself. In his dreams he was always calling for Manon, a
senseless thing to do since she couldn't come!"

The old man looked thoughtfully toward the setting sun. "When I thought
over the whole affair I felt dreadfully sorry about little Mam-sell. She
was such a pretty little thing with short brown hair, and such laughing
eyes as if there were no trouble or sorrow in the world. I was only
a green lad then, and knew nothing about women, but the memory of her
smile as she sat in the cart stayed by me. Afterward I once saw a baby
lying in its coffin, that looked as content as Mamsell Manon did that
day, going to lay her white neck on the block, I grew more reasonable
as time went on and forgot my vexation over my black suit. The Baron
treated me very decently, I can't complain. Later on, though, he
decided we had better part, for I had grown too free in my manners in
Paris, He gave me a good present and if I hadn't had all sorts of bad
luck I might be a rich man now. But it's always so, there's no 'égalité'
in this country, and if we don't have a good revolution it will never be
any different. Though it doesn't always turn out well for everyone even
then, The French grocer who did such a good business with the King's
wine was one of those who could never get enough aristocrats killed; and
finally his own flesh and blood went to her death for the sake of one of
them. If misfortune is bound to come there's no getting out of it, and
it came to me the time they said I belonged to that band of thieves
there was such a talk about. I defended myself well, but all the same I
was put in gaol in Gluckstadt, and there's no knowing how long I might
have stayed there if it hadn't been for a lucky chance that brought the
Danish king to see the prison, along with a lot of fine gentlemen.
All of us convicts had to stand in rank and file while old Friedrich
inspected us. And who should be behind the King but my Baron, with white
hair and bent back, and a great star on his breast. They were going
slowly past us, when I coughed, and he started and came close to me. 'Do
I not know you?' he said, and I laughed a little. 'Herr Baron, do you
remember the story of my best black suit?' He looked rather queer and
drew his hand across his forehead as if he were wiping something off,
and passed on. The next day one of the wardens took me to the Baron's
house, and he asked why I was in prison. When he had heard all about it,
he sighed and spoke softly to himself and then sighed again. At last he
got up and put his hand on my arm. 'You knew her, Franz, and because you
knew her------' he could get no further and I was taken away, and soon
after pardoned out. So I saw that the Baron remembered my confirmation
suit; and ten years after I saw him again in Kiel, in a bath-chair, for
he couldn't walk. I went to see him and he sent me ten thalers, and his
servant told me he had great trouble with his sons. He is long dead,
which is a pity, for he often sent me something. Everything comes to
an end, everything. In the morning when I lie in bed and can't sleep,
I often think of little Manon who died in my black suit in the midst
of the aristocrats, where she didn't belong, and my black suit didn't
belong there either. Things never turn out as one expects, never!"






End of Project Gutenberg's The Story Of The Little Mamsell, by Charlotte Niese

*** END OF THIS PROJECT GUTENBERG EBOOK THE STORY OF THE LITTLE MAMSELL ***

***** This file should be named 23221-8.txt or 23221-8.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/2/3/2/2/23221/

Produced by David Widger

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

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 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.