The Damsel and the Sage: A Woman's Whimsies

By Elinor Glyn

The Project Gutenberg EBook of The Damsel and the Sage, by Elinor Glyn

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 Damsel and the Sage
       A Woman's Whimsies

Author: Elinor Glyn

Release Date: March 1, 2007 [EBook #20718]

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK THE DAMSEL AND THE SAGE ***




Produced by Suzanne Shell and the Online Distributed
Proofreading Team at http://www.pgdp.net










THE DAMSEL

AND

THE SAGE


THE DAMSEL

AND

THE SAGE

A WOMAN'S WHIMSIES

BY ELINOR GLYN


HARPER &
BROTHERS
PUBLISHERS
NEW YORK
& LONDON
MDCCCCIII


Copyright, 1903, by ELINOR GLYN.

_All rights reserved._

Published October, 1903.



TO

THE SUN'S RAYS




_A tree stood alone surrounded by high and low hills. It could be
observed from all sides, and it appeared different from each elevation._

_The tree was the same, only the point of view differed._

_Everything depends upon the point of view._

       *       *       *       *       *

"_And as to the meaning, it's what you please._"

_C. S. C._




THE DAMSEL AND THE SAGE


And the Damsel said to the Sage:

"Now, what is life? And why does the fruit taste bitter in the mouth?"

And the Sage answered, as he stepped from his cave:

"My child, there was once a man who had two ears like other people. They
were naturally necessary for his enjoyment of the day. But one of these
ears offended his head. It behaved with stupidity, thinking thereby to
enhance its value to him--it heard too much. Oh, it conducted itself
with a gross stupidity. 'Out upon you,' cried the man; 'since you have
overstepped the limit of the functions of an ear, I shall cut you from
my head!' And so, without hesitation, he took a sword and accomplished
the deed. The poor ear then lay upon the ground bleeding, and the man
went about with a mutilated head."

"And what was the good of all that?" said the Damsel.

"There was no good in it," replied the Sage. "But he was a man, and he
had punished the too-fond-and-foolish ear--also he hoped a new and more
suitable one would grow in its place. 'Change,' he said, 'was a thing to
be welcomed.'"

"And tell me, Sage, what became of the ear?" asked the Damsel.

"The ear fared better. Another man of greater shrewdness came along,
and, although he had two ears of his own, he said, 'A third will not
come amiss,' and he picked up the ear and heard with three ears instead
of two. So he became knowing and clever because of the information he
acquired in this way. The grafted ear grew and flourished, and, in spite
of its remaining abnormal, it obtained a certain enjoyment out of
existence."

"But who _really_ benefited by all this?" inquired the Damsel.

"No one," said the Sage; "the first man went about with only one ear;
the second man made himself remarkable with three--and the cut-off ear,
although alive and successful, felt itself an excrescence."

"Then what _could_ be the pleasure of it all?" demanded the Damsel.

"Out upon _you_!" exclaimed the Sage, in a passion. "You asked me what
was life--and why the fruit tasted bitter in the mouth? I have answered
you."

And he went back into his cave and barred the door.

The Damsel sat down upon a stone outside.

"It seems to me that men are fools," she said, and she clapped her hands
to her two ears. "When I am angry and offended with one of you, I will
cut the ear from off the head of some one else."

And she picked up an apple and ate it. And it tasted sweet.

       *       *       *       *       *

_A man will often fling away a woman who has wronged him although in
doing so he is deeply hurting himself. A woman will forgive a man who
has wronged her because her own personal pleasure in him is greater than
her outraged pride. Hence women are more unconscious philosophers than
men._

       *       *       *       *       *

The Damsel returned again to the cave of the Sage. There were other
questions she wished to ask about life. The door was hard to push ajar,
but at last she obtained entrance.

"What do you want now?" he demanded, with a voice of grumbling. "Were
you not content with my last utterances?"

"Yes--and no," said the Damsel. "I came to quite other conclusions
myself. I would have kept the ear on my head, since cutting one off,
however it had angered me, would have upset my own comfort."

"We have finished with that matter now," said the Sage, showing signs of
impatience--he was still a man. "What next?"

"I want to know," said the Damsel, "why a woman who has Diamonds and
Pearls and Emeralds and Rubies in her possession should set such store
upon a Topaz--a yellow Topaz--the color she dislikes--and a Topaz of
uneven temper and peculiar properties. She never wears this stone that
it does not bruise her, now her neck, now her arm. It is restless and
slips from its chain. It will not remain in the case with the other
jewels. And at last she has lost it--she fears for good and all. And so
now all the other stones, which seemed very well in their way, have
grown of even less value in her eyes, and she can only lament the loss
of her Topaz. 'I am brilliant,' cries the Diamond. 'I set off your eyes,
and I love you.' 'I am soft and caressing,' whispers the Pearl. 'I lie
close to your white skin and keep it cool, and I love you.' 'I am
witty,' laughs the Emerald. 'I make your thoughts flash, and I love
you.' 'I am the color of blood, and I would die for you,' chants the
Ruby, 'and I love you.' And all these things the stones say all the day
to her, and yet the woman only listens with half an ear, and their words
have no effect upon her because of the charm of this tiresome Topaz.
What does it all mean, Sage?"

"It means, first of all," said the Sage, "that the woman is a fool, as
what is the value of a Topaz in comparison with a Diamond or a Ruby? It
means, secondly, that the Topaz is a greater fool, because it would be
more agreeable surely to lie close to the woman's soft neck than to be
picked up by any stranger or lie neglected in the dust. But, above and
beyond everything, it means that cherries are ripest when out of reach,
and that the whole world is full of fools of either opinion, who do not
know when they are well off."

Upon which the Sage, with his usual lack of manners, retired into his
cave and slammed his door.

The Damsel sat down upon the rock and came again to her own conclusions.
The stone that apparently was a Topaz was in reality a yellow Diamond of
great rarity and worth, and that was why the woman valued it so highly.
Her instincts were stronger than her reason. But if she had not made
herself so cheap by adoring the stone, it would not have become restless
and she would not have lost it. Even stones cannot stand too much honey.
If ever the woman should find this yellow Diamond again she must be told
to keep it in a cool box and not caress it or place it above the others.

The Damsel thought aloud and the Sage heard her--he strode forth in a
rage.

"Why do you come here demanding my advice if you moralize yourself? Out
upon you again!" he thundered. "The woman will not find her Topaz, which
is now revelling in the sun of freedom and will soon go down into
nothingness and be forgotten. And after lamenting until her eyes look
gaunt, the woman will begin to see some beauty in a Sapphire and become
consoled, and so all will be well."

"I do not care what you say," said the Damsel. "_It is better to have
what one wants one's self than to try and learn to like anything else
that other people think better._"

And she refastened a bracelet with great care--which contained two
cat's-eyes of no value--as she went on her way.

       *       *       *       *       *

Seize the occasion lest it pass thee by and fall into the lap of
another.

       *       *       *       *       *

No man likes shooting tame rabbits.

       *       *       *       *       *

Most men like the hunt more than the quarry--therefore the wise woman is
elusive.

       *       *       *       *       *

It is a good hostess who never inclines her guests unconsciously to look
at the clock.

       *       *       *       *       *

Some things cause pride, some pleasure. There is only one thing which
causes infinite bliss and oblivion of time, and this one thing, unless
bound with chains, is called immoral.

       *       *       *       *       *

It is a wise man who knows when he is happy and can appreciate the
divine bliss of the tangible _now_. Most of us retrospect or anticipate
and so lose the present.

       *       *       *       *       *

Seize Love at whatever age he comes to you--if you can avoid being
ridiculous.

       *       *       *       *       *

"More questions?" exclaimed the Sage, as the Damsel tapped gently upon
the door of his cave.

"Women are never satisfied; they are as restless as the sea, and when
they have received all the best advice they invariably follow their own
inclinations."

"It was not to discuss women," replied the Damsel, timidly; "this time
it is of a man I wish to ask."

"Begin, then, and have done quickly," growled the Sage, averting his
head. The Damsel had an outline against the sky which caused ideas not
tranquillizing for Hermits.

"I wish to know why a man who possessed the most beautiful and noble
Bird of Paradise--a bird of rare plumage and wonderful qualities--should
suddenly see more beauty in an ordinary Cockatoo, whose only attraction
was its yellow feathers--a Cockatoo that screamed monotonously as it
swung backward and forward on its perch, and would eat sugar out of the
hand of any stranger while it cried 'Pretty Poll.' The man could not
afford to buy this creature also, so he deliberately sold his exquisite
Bird of Paradise to a person called Circumstance and with the money
became the possessor of the Cockatoo, who pierced the drums of his ears
with its eternal 'Pretty Poll' and wearied his sight with its yellow
feathers. Why did the man do this?"

The Sage laughed at so simple a question.

"Because he was a man, and even a screaming Cockatoo belonging to some
one else has more charm at times than the most divine Bird of Paradise
belonging to himself."

"But was it worth while to sell this rare thing for a very ordinary
one?" demanded the Damsel.

"Certainly not," said the Sage, impatiently. "What childish questions
you ask! The thing was a folly on the face of it; but, as I said before,
he was a man--and the Cockatoo belonged to some one else!"

"Then what will happen now?" asked the Damsel, placing herself in the
direction in which the Sage had turned his head.

"The Bird of Paradise will still be the most beautiful and glorious and
desirable bird in the world; and when the man realizes he has lost it
forever he will begin to value its every feather, and will spend his
days in comparing all its remembered perfections and advantages with the
screams and the yellow feathers of the Cockatoo."

"And what will the Cockatoo do?" inquired the Damsel.

"It will probably continue to shriek 'Pretty Poll,' and eat sugar out of
the hand of any stranger," replied the Sage, plucking his heard.

"And the man?"

"The man will go on telling every one he has bought the most divine bird
in the world, in the hope that some one will offer him a large sum of
money for it. The only person who gains in the affair is the Bird of
Paradise, who, instead of being caged as when in the possession of the
man, is absolutely free to fly with its new master, Circumstance, who
only seeks to please and soothe this glorious bird and make life fair
for it."

"But what will be the very end?" persisted the Damsel.

The Sage turned and looked full at her. He was angry with her
importunity and would have answered sternly.

Then he saw that the ripples of her hair were golden and his voice
softened.

"That will depend--upon Circumstance," he replied, and he closed his
door softly in her face.

       *       *       *       *       *

_A man wishes and a woman wishes, but Circumstance frequently wins the
game._

       *       *       *       *       *

Life is short--avoid causing yawns.

       *       *       *       *       *

It is possible for a woman to retain the amorous affection of a man for
many years--if he only sees her for the two best hours out of each
twenty-four.

       *       *       *       *       *

"Please open the door, Sage," entreated the Damsel, "and I will tell you
a story."

The Sage pushed it ajar with his foot, but he did not come out.

"There was once upon a time a man," she said, "who unexpectedly and for
no apparent reason became the possessor of a Tiger. It had been coveted
by numbers of people and was of a certain value and beauty. It had an
infinite variety of tricks. It was learned in caresses. It was fierce,
and gentle, and it could love passionately. Altogether a large price
would have been offered the man for it by many others if he had wished
to sell it. In the beginning he had greatly valued the possession of
this strange beast, and had fed it with his own hand. The little anxiety
as to whether it would eat him or not, or rush away, had kept him
interested. But gradually, as he became certain the Tiger adored him,
and would show none but velvet claws and make only purring sounds, his
keenness waned. He still loved it, but certainty is monotonous, and his
eyes wandered to other objects. 'The Tiger is nothing but a domestic
cat,' he said; 'I will pet and caress it when the mood takes me, and for
the rest of the time it can purr to itself by the fire.' At last one
day, after the Tiger was especially gracious and had purred with all
essence of love, the man yawned. 'It is really a charming beast,' he
said, 'but it is always the same; and then he went away and forgot even
to feed it. The Tiger felt hungry and restless. Its quietness and
gentleness became less apparent. The man on his travels chanced to think
of it and sent it a biscuit. So the Tiger waited, and when the man
returned and expected the usual docile caresses, it bit his hand. 'Vile
beast!' said the man. 'Have I not fed and kept you for weeks, and now
you bite my hand!' Now tell me, Sage, which was right--the man or the
Tiger?"

"Both, and neither," said the Sage, decidedly. "The man was only obeying
the eternal law in finding what he was sure of monotonous; but he
mistook the nature of the beast he had to deal with. Tigers are not of
the species that can ever be really monotonous, if he had known. The
Tiger was foolish to allow its true nature to be so disguised by its
love for the man that he was deceived into looking upon it as a domestic
cat. It thought to please him thereby and so lost its hold."

"And what will be the end?" asked the Damsel.

"The man's hand will smart to the end of his life, and he will never
secure another Tiger. And the Tiger will go elsewhere and console itself
by letting its natural instincts have full play. It will not be foolish
a second time."

But the Damsel's conclusion was different.

"No," she said. "The man's hand will heal up, and the Tiger will caress
him and make him forget the bite, and they will love each other to
eternity because they have both realized their own stupidity."

And without speaking further she allowed the Sage to close the door.

       *       *       *       *       *

_It is wiser to know the species one is playing with: do not offer
Tigers hay--or Antelopes joints of meat._

       *       *       *       *       *

Next day, in a pouring shower of rain, the Damsel knocked at the Sage's
door. It was for shelter, she said, this time, until the storm should
pass.

The Sage was fairly gracious, and to while away the time the Damsel
began a story.

"A man once owned a brown Sparrow. It had no attractions, and it made a
continuous and wearying noise as it chattered under the eaves. It did
the same thing every day, and had monotonous domestic habits that often
greatly irritated the man, but--he was accustomed to it, and did not
complain. After several years a travelling Showman came along; he had a
large aviary of birds of all sorts, some for sale, some not. Among them
was a glorious Humming Bird of wonderful brilliancy and plumage, a
creature full of beauty and grace and charm and elegance. The man became
passionately attached to it; he was ready to perpetrate any folly for
the sake of obtaining possession of it, and indeed he did commit numbers
of regrettable actions, and at last stole the bird from the Showman and
carried it away. Then, in a foreign palace, for a short while he
revelled in its beauty and the joy of owning it. The Humming Bird did
its best to be continually charming, but it felt its false position. And
the worry and annoyance of concealing the theft from the Showman, and
the different food the Humming Bird required, and the care that had to
be taken of it, at last began to weary the man. He chafed and was often
disagreeable to it, although he realized its glory and beauty and the
feather it was in his cap. Finally, one day, in a fit of desperation,
the man let the Humming Bird fly, and crept back home to the homely
brown Sparrow, with its irritating noises and utter want of beauty. Why
was this, Sage?"

The Sage had not to think long.

"Custom, my child," he said. "Custom forges stronger chains than the
finest plumage of a Humming Bird. The man had to put himself out and
exert himself to retain the Humming Bird in a way that was not agreeable
to his self-love, whereas the brown Sparrow lived on always the same,
causing him no trouble, and custom had deadened the sense of its want of
charm."

"Then it seems to me it was rather hard upon the poor Humming Bird!"
said the Damsel.

"It is always hard upon the Humming Birds," replied the Sage, and his
voice was quite sad.

       *       *       *       *       *

The rain did not cease for a long time. It was more than an hour before
the Damsel left the cave.

       *       *       *       *       *

_If you are a Humming Bird it is wiser for you to remain in the
possession of the Travelling Showman._

       *       *       *       *       *

A long period elapsed after this before the Damsel again tapped at the
Sage's door. He looked out morning and evening, and attributed his lack
of enthusiasm for his devotions to an attack of rheumatism from the damp
of his cave. At last, one morning he spied her sauntering slowly up the
hill, and he retired into the back of his cell, and the Damsel had to
knock twice before he opened the window shutter. She was in a gay mood,
and demanded a story, so the Sage began:

"There was once upon a time a Fish with glittering scales who swam about
in a deep river. It had been tempted by the flies of many Fishermen,
but had laughed at them all and swam away, just under the surface of the
water, so that the sun might shine on its glittering scales to please
the eyes of the Fishermen and to excite their desire to secure it. It
was a Fish who laughed a good deal at life. But one fine day a new
Angler came along; he was young and beautiful, and seemed lazy and
happy, and not particularly anxious to throw the line. The Fish peeped
at him from the sheltering shadow of a rock. 'This is the most perfect
specimen of a Fisherman I have ever seen,' it said to itself. 'I could
almost believe it would be agreeable to swallow the fly and let him land
me and put me in his basket.' The young Fisherman threw the line, and
the sun caught the glittering scales of the Fish at that moment. The
laziness vanished from the Fisherman, and he began to have a strong
desire to secure the Fish.

"He fished for some time, and the Fish swam backward and forward, making
up its mind. It saw the hook under the fly, but the attraction of the
Angler growing stronger and stronger, at last it deliberately decided to
come up and bite. 'I know all the emotions of swimming on the surface
and letting my scales shine in the sun,' it mused, 'but I know nothing
about the bank and the basket, and perhaps the tales that are drilled
into the heads of us Fish from infancy about suffocation and exhaustion
are not true.' And it mused again: 'He is a perfectly beautiful
Fisherman and looks kind, and I want to be closer to him and let him
touch my glittering scales. After all, one ought to know everything
before one dies.'

"So, its heart beating and its eyes melting, the Fish deliberately rose
to the surface and swallowed the fly. The hook caught in a gristly place
and did not hurt much, and the novel experience of being pulled onto the
green meadow delighted the Fish. It saw the Fisherman close, and felt
his hands as he tenderly disengaged the hook. He was full of joy and
pride at securing the difficult Fish and admired its scales. He talked
aloud and told it how bright he found it, and he was altogether charming
and delightful, and the Fish adored him and was glad it had been caught.

"Then after some time of this admiration and dalliance, the Fisherman
put it in the basket among the cool rushes. The Fish lay quiet, still
content. It had not yet begun to pant. For an hour almost the Fisherman
gloried in his catch. He opened the lid frequently and smiled at the
Fish.

"Then he lay down on the bank beside the basket and let his rod float
idly in the stream. The sun was warm and pleasant.

"'I wish,' he said to himself, 'after all, I had not secured the Fish
yet; the throwing of the fly and the excitement of trying to catch the
creature are better fun than having it safely landed and lying in the
basket,' and he yawned, and his eyes gradually closed and he slept.

"Now the Fish heard very plainly what he had said. Tell me, Damsel--you
who ask questions and answer them finally yourself--tell me, What did
the Fish do?"

The Damsel mused a moment. She stirred with her white fingers the water
in the basin of the fountain that sprang from the rock close by. Then
she looked at the Sage from under the shadow of her brows and answered,
thoughtfully:

"The Fish was stunned at first by this truth being uttered so near it.
It suddenly realized what it had done and what it had lost. 'I, who swam
about freely and showed my glittering scales in the sun, am now caught
and in a basket, with no prospect but suffocation and death in front of
me,' it said to itself. 'I could have even supported that, and the
knowledge that my scales will become dull and unattractive in the near
future, if the Fisherman had only continued to lift the lid and admire
me a little longer.' And it sighed and began to feel the sense of
suffocation. But it was a Fish of great determination and resources. 'I
have learned my lesson,' it gasped; 'the Fisherman has taught it to me
himself. Now I will make a great jump and try to get out of the basket.'

"So it jumped and opened the lid. The Fisherman stirred in his sleep and
put out his hand vaguely to close it again, but he was too sleepy to
fasten the catch, and with less noise the Fish bounced up again and
succeeded in floundering upon the grass. It lay panting and in great
distress, but it looked at the beautiful Angler with regret. He was so
beautiful and so desirable. 'I could almost stay now,' the Fish sighed.
Then it braced itself up and gave one more bound, and this time reached
the rock at the edge of the stream.

"Again the Fisherman awoke, and now casually, with his eyes still
closed, fastened up the basket before he slept again; but the Fish with
its third bound reached the river, and darted out into the middle of the
stream.

"'Good-bye, Beautiful Angler!' it said, sadly. 'You were sweet, but you
have taught me a lesson, and freedom is sweeter.'

"The splash of its reaching the water fully awakened the Fisherman, but
he saw the basket with the lid shut, and had no anxieties until his eye
caught the pink of the water where the Fish sheltered under the rock.
Its gill was still bleeding from the hook wound, and colored a circle
round it. Then he opened the lid and found the basket empty.

"'Good-bye,' said the Fish. 'Your wish has been granted, and your
pleasure can begin all over again!'

"But the Fisherman suddenly realized that his rod, while he slept, had
fallen into the river, and was floating away down the stream.

"'Good-bye again,' said the Fish; 'I have suffered, but I have now
experience, and I am grateful to you, and my gill will heal up, and I
will smile at you sometimes from just under the surface of the water,
and so all is well!' And it flashed its glittering scales in the sun
before it darted away out of sight in the strong current."

And the Damsel folded her hands and looked into distance.

"Thank you, Damsel," said the Sage, gently for him; "but the Fisherman
could procure another rod--rods are not rarities. What then?"

"That would be for another day," said the Damsel; "and--for another
Fish!" And she tripped away down the hill, and was deaf to the Sage, who
gruffly called after her.

       *       *       *       *       *

_When you have caught your Fish, it may be wiser to cook it and eat
it._

       *       *       *       *       *

The sun was setting when the Damsel next came to the Cave. She had a pet
falcon with her, and kept caressing it as she propounded her question.

"There lived a woman in a Castle who had three Knights devoted to her.
She loved one, and her vanity was pleased with the other two. While she
continued to play with them all, they all loved her to distraction; but
presently her preference for the one Knight became evident, and the two
others, after doing their utmost to supplant the third without success,
at last left the Castle and rode away. They were no sooner gone, and
things had become quiet, and no combats occurred to interrupt the
lovers' intercourse, when the chosen Knight began to weary, and he, too,
at last rode away, although before he had been the most ardent of all.
Why was this, Sage? And what should the woman do?"

"It was because the Knight had won the prize and the woman gave him no
trouble to keep it," replied the Sage. "He was bound to weary. When a
man's profession is fighting and he has fought hard and succeeded, after
sufficient rest he wishes to fight again. So if the woman wants her
lover back, she had better first summon the other two."

For once the Damsel had nothing to say, and had no excuse to remain
longer in the cave.

The Sage, however, was not in the mind to let her go so soon, so he
began a question:

"Why do you caress that bird so much? It appears completely indifferent
to you. Surely that is waste of time?"

"It is agreeable to waste time," replied the Damsel.

"Upon an insensible object?"

"Yes."

"More so than if it returned your caresses?"

"Probably--there is the speculation. It might one day respond, while
certainly if it repaid warmly my love now, one day it would not. Nothing
lasts in this world. You have told me so yourself."

The Sage was nettled.

"Yes, there is one thing that lasts, that is friendship," he said.

"Friendship!" exclaimed the Damsel; "but that is not made up of
caresses. It does not make the heart beat."

"We were not talking of beating hearts," said the Sage, sententiously.

"Very well. Good-bye, then, Sage," laughed the Damsel. "You must think
of more stories for me before I come again."

And, continuing to caress the falcon, she walked away, stately and fair,
into the setting sun.

When she had gone the Sage wondered why there was no twilight that
evening, and why it had suddenly become night.

       *       *       *       *       *

_Most men prefer to possess something that the other men want._

       *       *       *       *       *

It would be a peaceful world if we could only realize that the fever of
love is like other fevers. It comes to a crisis, and the patient either
dies or is cured. It cannot last at the same point forever.

       *       *       *       *       *

The Damsel came back again next day. She had remarked, the day she spent
with him in the rain, that the Sage was not so old or so uncomely as she
had at first supposed. "If he were to shave off his beard and wear a
velvet doublet, he would look as well as many a cavalier of the Court,"
she mused. And she called out before she reached the door:

"Sage, I have come back because I want to ask you just another question.
Will you not come out and sit in the sun while you answer?"

So the Sage advanced in a recalcitrant manner, but he would not sit
down beside her.

Then the Damsel began:

"A woman once possessed a ball of silk. It was of so fine and rare a
kind that, although of many thousand yards, it took up no space, and she
unwound it daily for her pleasure without any appreciable difference in
the size of the ball. At last she suddenly fancied she perceived some
alteration. It came upon her as a shock, but still she continued to use
the silk with the casual idea that a thing she had employed so long
_must_ go on forever. Then again, in about a week, there came another
shock. The ball was certainly smaller, and felt cold and hard and firm.
The thought came to her, 'What if it should not be silk all through and
I have come to the end of matters? What shall I do?' Now tell me, Sage,
should the woman go on to the end and find perhaps a stone? Or should
she try to rewind the silk? Which is the best course?"

The Damsel took up the Sage's staff, which he had dropped for the
moment, and with its point she drew geometrical figures in the sand. But
the sun made shadows with her eyelashes, and the Sage felt his voice
tremble, so he answered, tartly:

"That would depend upon the nature of the woman. If she continues to
unwind the silk she will certainly find a piece of adamant, which has
been cunningly covered with this rare, soft substance. If she tries to
rewind, she will discover the thread has become tangled, and the ball
can never again look smooth and even as before. She must choose which
she would prefer, a clean piece of adamant or an uneven ball of silk."

"But that is no answer to my question," said the Damsel, pouting. "I
asked which must she do for the best."

"Neither is better nor worse!" replied the Sage with asperity. "And
there is no best."

"You are quite wrong, Sage," returned the Damsel. "There is a third
course. She can cut the thread and leave the ball as it is, a coating of
smooth silk still--and an undiscovered possibility inside."

"You are too much for me!" exclaimed the Sage in a fury. "Answer your
own questions, to begin with, in future! I will have no more of you!"
and he went into his cave and ostentatiously fastened the door.

The Damsel smiled to herself and continued to draw geometrical figures
with the point of the Sage's staff in the sand.

       *       *       *       *       *

_There are always three courses in life: the good, the bad, and
the--indifferent. The good gives you calm, and makes you sleep; the bad
gives you emotions, and makes you weep; and the indifferent gives you no
satisfaction, and makes you yawn, so--choose wisely._

       *       *       *       *       *

One can swear to be faithful eternally, but how can one swear to love
eternally? The one is a question of will, the other a sentiment beyond
all human control. One might as sensibly swear to keep the wind in the
south, or the sun from setting!

       *       *       *       *       *

And yet we swear both vows--and break both vows.

       *       *       *       *       *

A woman is always hardest upon her own sins, committed by others.

A man is sometimes lenient to them.

A fool can win the love of a man, but it requires a woman of resources
to keep it.

       *       *       *       *       *

The Damsel did not go away from the cave, as was her custom. She
continued to draw geometrical figures in the sand. Presently she called
to the Sage once more.

"Come out again, dear Sage! Listen, I have something more to say."

He unfastened the window and stood leaning on the sill.

"Well?" he said, sternly. "Well?"

"A Ring Dove once was owned by a man. It was the sweetest and most
gentle of birds, besides being extremely beautiful. It adored the man
and lived contentedly in its cage. The perches, which the man had had
prepared especially for it, were endeared to it from association with
the happy hours when it had been caressed by the man. Altogether to it
the cage appeared a palace, and it lived content.

"The man was a brutal creature, more or less, and at last he cruelly
ill-treated the Ring Dove, and exalted a Cuckoo in its place. This
conduct greatly saddened the sweet Dove, but it over and over again
forgave its tormentor, so great was its love, and even saw the Cuckoo
advanced to the highest honors without anger, only a bleeding heart. How
long things would have continued in this way no one knows; but the man
suddenly gave the Cuckoo the Ring Dove's cage, and let the Cuckoo sleep
on the perches which the Dove was accustomed to consider its very own.
This overcame the gentle Dove. Its broken heart mended, and it flew
away. Tell me, Sage, why did this action cure the Dove of its great love
for the man, when it had borne all the blows and cruelty without
resentment?"

"That is an easy question to answer," replied the Sage. "The Dove was
really growing tired and seized this as a good opportunity to be off."

"Oh, how little you know of the female sex, even of Doves!" laughed the
Damsel. "I can give you the true reason myself. It was the bad taste of
the man in giving the Cuckoo the cage and perches of the Ring Dove,
which he had consecrated to her. That cured her, and enabled her to fly
away."

And the Damsel curtsied to the Sage and sauntered off, laughing and
looking back over her shoulder.

       *       *       *       *       *

_An action committed in bad taste is more curing and disillusionizing to
Love than the cruelest blows of rage and hate._

       *       *       *       *       *

A man would often be the lover of his wife--if he were married to some
one else.

       *       *       *       *       *

There come moments in life when we regret the old gods.

       *       *       *       *       *

Time and place--temperature and temperament--and after the sunset the
night--and then to-morrow.

       *       *       *       *       *

All the winter passed and the Damsel remained at the Court and the Sage
in his cave. Both found the days long and their occupation insufficient.

At last, when spring came, the Damsel again mounted the hill one morning
before dawn and tapped at the Sage's door.

His heart gave a bound, and he flew to open it without more ado.

"So you have come back?" he said; and his voice was eager, though it was
a gray light and he could not see her plainly.

"Yes," said she; "I want you to tell me one more story of life before I
go on a long voyage."

So the Sage began:

"There was once upon a time a man of half-measures, whose brain was
filled with dreams for his own glory, and he possessed a woman of flesh
and blood, who loved him, and would have turned the dreams into
realities. But _because_ he was happy with her, and because her hair was
black and her eyes were green, and her flesh like alabaster, he said to
himself, 'This is a fiend and a vampire. Nothing human can be so
delectable.' So he ran a stake through her body, and buried her at the
cross-roads. Then he found life an emptiness, and went down into
nothingness and was forgotten--"

"Oh, hush, Sage!" said the Damsel, trembling; "I wish to hear no more.
Come, shave off your beard, and put on a velvet doublet, and return
with me to the Court. See, life is short, and I am fair."

And the Sage suddenly felt he had found the philosopher's stone, and
knew the secret he had come into the wilds to find.

So he went back to his cave, and shaved his beard, and donned a velvet
doublet, long since lain by in lavender. And he took the Damsel by the
hand, and they gladly ran down the hill.

And the zephyrs whispered, and the day dawned, and all the world smiled
young--and gay.

       *       *       *       *       *

_Remember the tangible now._

"_Sic transit gloria mundi!_"

       *       *       *       *       *

BY MRS. HUMPHRY WARD

LADY ROSE'S DAUGHTER. Illustrated by HOWARD CHANDLER CHRISTY. Post 8vo,
Ornamented Cloth, $1.50.

This is Mrs. Humphry Ward's latest novel. It has been hailed as
undoubtedly her best, while Julie Le Breton, the heroine, has been
called "the most appealing type of heroine in English fiction."

"A story that must be read."--_New York Sun._

"Vividly alive from the first line."--_Chicago Record-Herald._

"The most marvellous work of its wonderful author."--_New York World._

"Absolutely different from anything else that has ever appeared in
fiction."--_Brooklyn Eagle._

"Love is not here the sentimental emotion of the ordinary novel or play,
but the power that purges the weaknesses and vivifies the dormant
nobilities of men and women."--_The Academy_, London, England.

"Quite sure to be the most widely and most highly considered book of the
year."--_Chicago Evening Post._

"The story is the combat between two powers of a brilliant woman's
nature. Sometimes you are sure the lawless, the vagabond, and the
intriguing side will win. But it doesn't...."--_Boston Transcript._

       *       *       *       *       *

HARPER & BROTHERS, Publishers
NEW YORK AND LONDON

[symbol: pointing hand] _The above work will be sent by mail, postage
prepaid, to any part of the United States, Canada, or Mexico, on receipt
of the price._

       *       *       *       *       *

BY HENRY SETON MERRIMAN

THE VULTURES. Illustrated. Post 8vo, Ornamented Cloth, $1.50.

A new novel by Henry Seton Merriman is always eagerly welcomed by every
reader of fiction. This is a story of intrigue, conspiracy, and exciting
adventure among the political factions of the great European nations.
One of the scenes is in Russia at the time of the assassination of the
Czar. The _attachés_ of the various Foreign Offices play an important
part. It is full of exciting, dramatic situations, most of which centre
around the love interest of the story--the love of a young English
diplomatist for the beautiful Countess Wanda of Warsaw.

       *       *       *       *       *

HARPER & BROTHERS, PUBLISHERS
NEW YORK AND LONDON

[symbol: pointing hand] _The above work will be sent by mail, postage
prepaid, to any part of the United States, Canada, or Mexico, on receipt
of the price._

BY ROBERT W. CHAMBERS

THE MAID-AT-ARMS. Illustrated by Howard Chandler Christy. Post 8vo,
Ornamented Cloth, $1.50.

Mr. Chambers has long since won a most enviable position among
contemporary novelists. The great popular success of "Cardigan" makes
this present novel of unusual interest to all readers of fiction. It is
a stirring novel of American life in days just after the Revolution. It
deals with the conspiracy of the great New York land-owners and the
subjugation of New York Province to the British. It is a story with a
fascinating love interest, and is alive with exciting incident and
adventure. Some of the characters of "Cardigan" reappear in this new
novel.

       *       *       *       *       *

HARPER & BROTHERS, Publishers
NEW YORK AND LONDON

[symbol: pointing hand] _The above work will be sent by mail, postage
prepaid, to any part of the United States, Canada, or Mexico, on receipt
of the price._

BY JOHN FOX, JR.


A MOUNTAIN EUROPA. With Portrait. Post 8vo, Cloth, Ornamental, $1.25.

The story is well worth careful reading for its literary art and its
truth to a phase of little-known American life.--_Omaha Bee._


THE KENTUCKIANS. A Novel. Illustrated by W. T. SMEDLEY. Post 8vo, Cloth,
Ornamental, $1.25.

This, Mr. Fox's first long story, sets him well in view, and
distinguishes him as at once original and sound. He takes the right view
of the story-writer's function and the wholesale view of what the art of
fiction can rightfully attempt.--_Independent_, N. Y.

"HELL FER SARTAIN," and Other Stories. Post 8vo, Cloth, Ornamental,
$1.00.

Mr. Fox has made a great success of his pictures of the rude life and
primitive passions of the people of the mountains of West Virginia and
Kentucky. His sketches are short but graphic; he paints his scenes and
his hill people in terse and simple phrases and makes them genuinely
picturesque, giving us glimpses of life that are distinctively
American.--_Detroit Free Press._

A CUMBERLAND VENDETTA, and Other Stories. Illustrated. Post 8vo, Cloth,
Ornamental, $1.25.

These stories are tempestuously alive, and sweep the heart-strings with
a master-hand.--_Watchman_, Boston.

       *       *       *       *       *

HARPER & BROTHERS, PUBLISHERS
NEW YORK AND LONDON

[symbol: pointing hand] _Any of the above works will be sent by mail,
postage prepaid, to any part of the United States, Canada, or Mexico, on
receipt of the price._





End of the Project Gutenberg EBook of The Damsel and the Sage, by Elinor Glyn

*** END OF THIS PROJECT GUTENBERG EBOOK THE DAMSEL AND THE SAGE ***

***** This file should be named 20718-8.txt or 20718-8.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/2/0/7/1/20718/

Produced by Suzanne Shell and the Online Distributed
Proofreading Team at http://www.pgdp.net


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.