The King's Messenger

By F. Marion Crawford

The Project Gutenberg eBook of The King's Messenger
    
This ebook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this ebook or online
at www.gutenberg.org. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.

Title: The King's Messenger

Author: F. Marion Crawford

Illustrator: Frank Snapp

Release date: April 21, 2025 [eBook #75905]

Language: English

Original publication: New York: International Magazine Company, 1907

Credits: Roger Frank


*** START OF THE PROJECT GUTENBERG EBOOK THE KING'S MESSENGER ***





                        THE KING’S MESSENGER

                        By F. Marion Crawford
                      Illustrated By Frank Snapp


It was a rather dim daylight dinner. I remember that quite distinctly,
for I could see the glow of the sunset over the trees in the park,
through the high window at the west end of the dining-room. I had
expected to find a larger party, I believe, for I recollect being a
little surprised at seeing only a dozen people assembled at table. It
seemed to me that in old times, ever so long ago, when I had last stayed
in that house, there had been as many as thirty or forty guests. I
recognized some of them among a number of beautiful portraits that hung
on the walls. There was room for a great many because there was only one
huge window, at one end, and one large door at the other. I was very
much surprised, too, to see a portrait of myself, evidently painted
about twenty years ago by Lenbach. It seemed very strange that I should
have so completely forgotten the picture, and that I should not be able
to remember having sat for it. We were good friends, it is true, and he
might have painted it from memory, without my knowledge, but it was
certainly strange that he should never have told me about it. The
portraits that hung in the dining-room were all very good indeed and
all, I should say, by the best painters of that time.

My left-hand neighbor was a lovely young girl whose name I had
forgotten, though I had known her long, and I fancied that she looked a
little disappointed when she saw that I was beside her. On my right
there was a vacant seat, and beyond it sat an elderly woman with
features as hard as the overwhelmingly splendid diamonds she wore. Her
eyes made me think of gray glass marbles cemented into a stone mask. It
was odd that her name should have escaped me, too, for I had often met
her.

The table looked irregular, and I counted the guests mechanically while
I ate my soup. We were only twelve, but the empty chair beside me was
the thirteenth place.

I suppose it was not very tactful of me to mention this, but I wanted to
say something to the beautiful girl on my left, and no other subject for
a general remark suggested itself. Just as I was going to speak I
remembered who she was.

“Miss Lorna,” I said, to attract her attention, for she was looking away
from me toward the door, “I hope you are not superstitious about there
being thirteen at table, are you?”

“We are only twelve,” she said, in the sweetest voice in the world.

“Yes; but some one else is coming. There’s an empty chair here beside
me.”

“Oh, he doesn’t count,” said Miss Lorna quietly. “At least, not for
everybody. When did you get here? Just in time for dinner, I suppose.”

“Yes,” I answered. “I’m in luck to be beside you. It seems an age since
we were last here together.”

“It does indeed!” Miss Lorna sighed and looked at the pictures on the
opposite wall. “I’ve lived a lifetime since I saw you last.”

I smiled at the exaggeration. “When you are thirty, you won’t talk of
having your life behind you,” I said.

“I shall never be thirty,” Miss Lorna answered, with such an odd little
air of conviction that I did not think of anything to say. “Besides,
life isn’t made up of years or months or hours, or of anything that has
to do with time,” she continued. “You ought to know that. Our bodies are
something better than mere clocks, wound up to show just how old we are
at every moment, by our hair turning gray and our teeth falling out and
our faces getting wrinkled and yellow, or puffy and red! Look at your
own portrait over there. I don’t mind saying that you must have been
twenty years younger when that was painted, but I’m sure you are just
the same man to-day--improved by age, perhaps.”

I heard a sweet little echoing laugh that seemed very far away; and
indeed I could not have sworn that it rippled from Miss Lorna’s
beautiful lips, for though they were parted and smiling my impression is
that they did not move, even as little as most women’s lips are moved by
laughter.

“Thank you for thinking me improved,” I said. “I find you a little
changed, too. I was just going to say that you seem sadder, but you
laughed just then.”

“Did I? I suppose that’s the right thing to do when the play is over,
isn’t it?”

“If it has been an amusing play,” I answered, humoring her.

The wonderful violet eyes turned to me, full of light. “It’s not been a
bad play. I don’t complain.”

“Why do you speak of it as over?”

“I’ll tell you, because I’m sure you will keep my secret. You will,
won’t you? We were always such good friends, you and I, even two years
ago when I was young and silly. Will you promise not to tell anyone till
I’m gone?”

“Gone?”

“Yes. Will you promise?”

“Of course I will. But----” I did not finish the sentence, because Miss
Lorna bent nearer to me, so as to speak in a much lower tone. While I
listened, I felt her sweet young breath on my cheek.

“I’m going away to-night with the man who is to sit at your other side,”
she said. “He’s a little late--he often is, for he is tremendously busy;
but he’ll come presently, and after dinner we shall just stroll out into
the garden and never come back. That’s my secret. You won’t betray me,
will you?”

Again, as she looked at me, I heard that far-off silver laugh, sweet and
low. I was almost too much surprised by what she had told me to notice
how still her parted lips were, but that comes back to me now, with many
other details.

“My dear Miss Lorna,” I said, “do think of your parents before taking
such a step!”

“I have thought of them,” she answered. “Of course they would never
consent, and I am very sorry to leave them, but it can’t be helped.”

At this moment, as often happens when two people are talking in low
tones at a large dinner-table, there was a momentary lull in the general
conversation, and I was spared the trouble of making any further answer
to what Miss Lorna had told me so unexpectedly, and with such profound
confidence in my discretion.

To tell the truth, she would very probably not have listened, whether my
words expressed sympathy or protest, for she had turned suddenly pale,
and her eyes were wide and dark. The lull in the talk at table was due
to the appearance of the man who was to occupy the vacant place beside
me.

He had entered the room very quietly, and he made no elaborate apology
for being late, as he sat down, bending his head courteously to our
hostess and her husband, and smiling in a gentle sort of way as he
nodded to the others.

“Please forgive me,” he said quietly. “I was detained by a funeral and
missed the train.”

It was not until he had taken his place that he looked across me at Miss
Lorna and exchanged a glance of recognition with her. I noticed that the
lady with the hard face and the splendid diamonds, who was at his other
side, drew away from him a little, as if not wishing even to let his
sleeve brush against her bare arm. It occurred to me at the same time
that Miss Lorna must be wishing me anywhere else than between her and
the man with whom she was just about to run away, and I wished for their
sake and mine that I could change places with him.

He was certainly not like other men, and though few people would have
called him handsome there was something about him that instantly fixed
the attention; rarely beautiful though Miss Lorna was, almost everyone
would have noticed him first on entering the room, and most people, I
think, would have been more interested by his face than by hers. I could
well imagine that some women might love him, even to distraction, though
it was just as easy to understand that others might be strongly repelled
by him, and might even fear him.

For my part, I shall not try to describe him as one describes an
ordinary man, with a dozen or so adjectives that leave nothing to the
imagination but yet offer it no picture that it can grasp. My instinct
was to fear him rather than think of him as a possible friend, but I
could not help feeling instant admiration for him, as one does at first
sight for anything that is very complete, harmonious, and strong. He was
dark, and pale with a shadowy pallor I never saw in any other face; the
features of thrice-great Hermes were not modeled in more perfect
symmetry; his luminous eyes were not unkind, but there was something
fateful in them, and they were set very deep under the grand white brow.
His age I could not guess, but I should have called him young; standing,
I had seen that he was tall and sinewy, and now that he was seated, he
had the unmistakable look of a man accustomed to be in authority, to be
heard and to be obeyed. His hands were white, his fingers straight,
lean, and very strong.

Everyone at the table seemed to know him, but as often happens among
civilized people, no one called him by name in speaking to him.

“We were beginning to be afraid that you might not get here,” said our
host.

“Really?” The Thirteenth Guest smiled quietly, but shook his head. “Did
you ever know me to break an engagement, under any circumstances?”

The master of the house laughed, though not very cordially, I thought.
“No,” he answered. “Your reputation for keeping your appointments is
proverbial. Even your enemies must admit that.”

The Guest nodded and smiled again. Miss Lorna bent toward me.

“What do you think of him?” she asked, almost in a whisper.

“Very striking sort of man,” I answered, in a low tone. “But I’m
inclined to be a little afraid of him.”

“So was I, at first,” she said, and I heard the silver laugh again. “But
that soon wears off,” she went on. “You’ll know him better some day!”

“Shall I?”

“Yes; I’m quite sure you will. Oh, I don’t pretend that I fell in love
with him at first sight! I went through a phase of feeling afraid of
him, as almost everyone does. You see, when people first meet him they
cannot possibly know how kind and gentle he can be, though he is so
tremendously strong. I’ve heard him called cruel and ruthless and cold,
but it’s not true. Indeed it’s not! He can be as gentle as a woman, and
he’s the truest friend in all the world.”

I was going to ask her to tell me his name, but just then I saw that she
was looking at him, across me, and I sat as far back in my chair as I
could, so that they might speak to each other if they wished to. Their
eyes met, and there was a longing light in both--I could not help
glancing from one to the other--and Miss Lorna’s sweet lips moved almost
imperceptibly, though no sound came from them. I have seen young lovers
make that small sign to each other even across a room, the signal of a
kiss given and returned in the heart’s thoughts.

If she had been less beautiful and young, if the man she loved had not
been so magnificently manly, it would have irritated me; but it seemed
natural that they should love and not be ashamed of it, and I only hoped
that no one else at the table had noticed the tenderly quivering little
contraction of the young girl’s exquisite mouth.

“You remembered,” said the man quietly. “I got your message this
morning. Thank you.”

“I hope it’s not going to be very hard,” murmured Miss Lorna, smiling.
“Not that it would make any great difference if it were,” she added more
thoughtfully.

“It’s the easiest thing in life,” he said, “and I promise that you shall
never regret it.”

“I trust you,” the young girl answered simply.

Then she turned away, for she no doubt felt the awkwardness of talking
to him across me of a secret which she had confided to me without
letting him know that she had done so. Instinctively I turned to him,
feeling that the moment had come for disregarding formality and making
his acquaintance, since we were neighbors at table in a friend’s house
and I had known Miss Lorna so long. Besides, it is always interesting to
talk with a man who is just going to do something very dangerous or
dramatic and who does not guess that you know what he is about.

“I suppose you motored here from town, as you said you missed the
train,” I said. “It’s a good road, isn’t it?”

“Yes, I literally flew,” replied the dark man, with his gentle smile. “I
hope you’re not superstitious about thirteen at table?”

“Not in the least,” I answered. “In the first place, I’m a fatalist
about everything that doesn’t depend on my own free will. As I have not
the slightest intention of doing anything to shorten my life, it will
certainly not come to an abrupt end by any autosuggestion arising from a
silly superstition like that about thirteen.”

“Autosuggestion? That’s rather a new light on the old belief.”

“And secondly,” I continued, “I don’t believe in death. There is no such
thing.”

“Really?” My neighbor seemed greatly surprised. “How do you mean?” he
asked. “I don’t think I understand you.”

“I’m sure _I_ don’t,” put in Miss Lorna, and the silver laugh followed.
She had overheard the conversation, and some of the others were
listening, too.

“You don’t kill a book by translating it,” I said, rather glad to
expound my views. “Death is only a translation of life into another
language. That’s what I mean.”

“That’s a most interesting point of view,” observed the Thirteenth Guest
thoughtfully. “I never thought of the matter in that way before, though
I’ve often seen the expression ‘translated’ in epitaphs. Are you sure
that you are not indulging in a little paronomasia?”

“What’s that?” inquired the hard-faced lady, with all the contempt which
a scholarly word deserves in polite society.

“It means punning,” I answered. “No, I am not making a pun. Grave
subjects do not lend themselves to low forms of humor. I assure you, I
am quite in earnest. Death, in the ordinary sense, is not a real
phenomenon at all, so long as there is any life in the universe. It’s a
name we apply to a change we only partly understand.”

“Learned discussions are an awful bore,” said the hard-faced lady very
audibly.

“I don’t advise you to argue the question too sharply with your neighbor
there,” laughed the master of the house, leaning forward and speaking to
me. “He’ll get the better of you! He’s an expert at what you call
‘translating people into another language.’”

If the man beside me was a famous surgeon, as our host perhaps meant, it
seemed to me that the remark was not in very good taste. He looked more
like a soldier.

“Does our friend mean that you are in the army, and that you are a
dangerous person?” I asked of him.

“No,” he answered quietly. “I’m only a King’s Messenger, and in my own
opinion I’m not at all dangerous.”

“It must be rather an active life,” I said, in order to say something;
“constantly coming and going, I suppose?”

“Yes, constantly.”

I felt that Miss Lorna was watching and listening, and I turned to her,
only to find that she was again looking beyond me, at my neighbor,
though he did not see her. I remember her face very distinctly as it was
just then; the recollection is, in fact, the last impression I retain of
her matchless beauty, for I never saw her after that evening.

It is something to have seen one of the most beautiful women in the
world gazing at the man who was more to her than life and all it held;
it is something I cannot forget. But he did not return her look just
then, for he had joined in the general conversation, and very soon
afterward he practically absorbed it.

He talked well; more than well, marvelously; for before long even the
lady with the hard face was listening spellbound, with the rest of us,
to his stories of nations and tales of men, brilliant descriptions,
anecdotes of heroism and tenderness that were each a perfect coin from
the mint of humanity, with dashes of daring wit, glimpses of a profound
insight into the great mystery of the beyond, and now and then a manly
comment on life that came straight from the heart: never, in all my long
experience, have I heard poet, or scholar, or soldier, or ruler of men
talk as he did that evening. And as I listened I was more and more
amazed that such a man should be but a simple King’s Messenger, as he
said he was, earning a poor gentleman’s living by carrying his majesty’s
despatches from London to the ends of the earth, and I made some sad and
sober inward reflections on the vast difference between the gift of
talking supremely well and the genius a man must have to accomplish even
one little thing that may endure in history, in literature, or in art.

“Do you wonder that I love him?” whispered Miss Lorna.

Even in the whisper I heard the glorious pride of the woman who loves
altogether and wholly believes that there is no one like her chosen man.

“No,” I answered, “for it is no wonder. I only hope----” I stopped,
feeling that it would be foolish and unkind to express the doubt I felt.

“You hope that I may not be disappointed,” said Miss Lorna, still almost
in a whisper. “That was what you were going to say, I’m sure.”

I nodded, in spite of myself, and met her eyes; they were full of a
wonderful light.

“No one was ever disappointed in him,” she murmured--“no living being,
neither man, nor woman, nor child. With him I shall have peace and love
without end.”

“Without end?”

“Yes. Forever and ever!”

After dinner we scattered through the great rooms in the soft evening
light of mid-June, and by and by I was standing at an open window, with
the mistress of the house, looking out across the garden.

In the distance, Lorna was walking slowly away down the broad avenue
with a tall man; and while they were still in sight, though far away, I
am sure that I saw his arm steal round her as if he were drawing her on,
and her head bent lovingly to his shoulder; and so they glided away into
the twilight and disappeared.

Then at last I turned to my hostess. “Do you mind telling me the name of
that man who came in late and talked so well?” I asked. “You all seemed
to know him like an old friend.”

She looked at me in profound surprise. “Do you mean to say that you do
not know who he is?” she asked.

“No. I never met him before. He is a most extraordinary man to be only a
King’s Messenger.”

“He is indeed the King’s Messenger, my dear friend. His name is Death.”

                   *       *       *       *       *

I dreamed this dream one afternoon last summer, dozing in my chair on
deck, under the double awning, when the _Alda_ was anchored off Goletta,
in sight of Carthage, and the cool north breeze was blowing down the
deep gulf of Tunis. I must have been wakened by some slight sound from a
boat alongside, for when I opened my eyes my man was standing a little
way off, evidently waiting till I should finish my nap. He brought me a
telegram which had just come on board, and I opened it rather drowsily,
not expecting any particular news.

It was from England, from a very dear friend.

    Lorna died suddenly last night at Church Hadley.

That was all; the dream had been a message.

“With him I shall have peace and love without end.”

Thank God, I hear those words in her own voice, whenever I think of her.


[Transcriber’s Note: This story appeared in the November 1907 issue
_Cosmopolitan Magazine_]






*** END OF THE PROJECT GUTENBERG EBOOK THE KING'S MESSENGER ***


    

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

Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project
Gutenberg eBooks may be modified and printed and given away—you may
do practically ANYTHING in the United States with eBooks not protected
by U.S. copyright law. Redistribution is subject to the trademark
license, especially commercial redistribution.


START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ 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™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™
electronic works

1.A. By reading or using any part of this Project Gutenberg™
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™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg™
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™ electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg™ mission of promoting
free access to electronic works by freely sharing Project Gutenberg™
works in compliance with the terms of this agreement for keeping the
Project Gutenberg™ 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™ 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™ work. The Foundation makes no
representations concerning the copyright status of any work in any
country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg™ License must appear
prominently whenever any copy of a Project Gutenberg™ work (any work
on which the phrase “Project Gutenberg” appears, or with which the
phrase “Project Gutenberg” is associated) is accessed, displayed,
performed, viewed, copied or distributed:

    This eBook is for the use of anyone anywhere in the United States and most
    other parts of the world at no cost and with almost no restrictions
    whatsoever. You may copy it, give it away or re-use it under the terms
    of the Project Gutenberg License included with this eBook or online
    at www.gutenberg.org. If you
    are not located in the United States, you will have to check the laws
    of the country where you are located before using this eBook.
  
1.E.2. If an individual Project Gutenberg™ electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg™
trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ 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™ 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™
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg™.

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™ 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™ work in a format
other than “Plain Vanilla ASCII” or other format used in the official
version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ 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™ 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™ electronic works
provided that:

    • You pay a royalty fee of 20% of the gross profits you derive from
        the use of Project Gutenberg™ works calculated using the method
        you already use to calculate your applicable taxes. The fee is owed
        to the owner of the Project Gutenberg™ 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™
        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™
        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™ works.
    

1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg™ electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg™ collection. Despite these efforts, Project Gutenberg™
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™ trademark, and any other party distributing a Project
Gutenberg™ electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg™ electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg™
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™ work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg™ work, and (c) any
Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ 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™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West,
Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread
public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine-readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular state
visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.

Project Gutenberg™ eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,
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.