The Project Gutenberg eBook of Some forgotten Pennsylvania heroines
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: Some forgotten Pennsylvania heroines
Author: Henry W. Shoemaker
Release date: October 9, 2025 [eBook #77017]
Language: English
Original publication: Altoona: Times Tribune Co, 1922
Credits: Charlene Taylor, Paul Fatula and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)
*** START OF THE PROJECT GUTENBERG EBOOK SOME FORGOTTEN PENNSYLVANIA HEROINES ***
Some Forgotten
Pennsylvania Heroines
An Address By
Henry W. Shoemaker
At meeting of
Bellefonte Chapter
Daughters of the American Revolution
Bellefonte, Pa., May 6, 1922
[Illustration: Woman’s face]
Altoona
[Illustration: Union label]
Published by Times Tribune Co., 1922
Some Forgotten Pennsylvania Heroines
Mrs. Richard, and Ladies of Bellefonte Chapter, D. A. R.
Some months ago, in the daily newspapers, a dispatch dated Washington,
D. C., propounded this question: “Who were the greatest women in the
past history of Pennsylvania?” Without waiting for the readers of the
article to offer suggestions, the following names were mentioned:
Betsey Ross, Rebecca Biddle, Lydia Darrah, and Lucretia Mott. It would
seem a pity if this quartet should be regarded as the final estimate of
greatness in Pennsylvania womanhood, despite the years of persistent
propaganda at work in favor of some of them. In the first place the
genuineness of Betsey Ross’s connection other than professional with
the first American Flag has been frequently questioned, and were it
not for her social connections her claims would probably be entirely
outlawed; the same is the case with Rebecca Biddle and Lydia Darrah. In
this present age we are too prone to estimate a person’s greatness on
the basis of wealth and social position. If a wealthy woman delivers
a speech, writes a few paragraphs, makes a donation to charity, she
is accorded an exalted place in a sycophantic world. A woman’s social
position cannot be judged by her occupation; a servant girl may
come of an aristocratic family, and a millionaire’s wife, a common
vulgarian. It is women like Lucretia Mott, who have triumphed over
life’s obstacles, or broken the bonds of caste, and done something
uplifting and permanently worth while who will ultimately be classed as
the greatest of Pennsylvania women. Lucretia Mott, preacher, teacher
and reformer, is too widely known to need further mention here, but
there are many other Pennsylvania women, some scarcely mentioned in
history’s pages, who should be re-discovered. It may some day be a part
of the unselfish labors of the D. A. R. to establish them in their
proper places among Pennsylvania heroines. In point of fame which
transcends the borders of the State, like in the case of Lucretia
Mott, we must not fail to mention Mary Jemison, known as the “White
Woman of the Genessee.” In beautiful Letchworth Park, near Rochester,
New York, a handsome bronze statue, on a granite pedestal, testifies
the high regard in which this remarkable Pennsylvania woman is held
by the people of the Empire State. As a child, in 1755, Mary Jemison
was captured by Indians at her parents’ home on Marsh Creek, Franklin
County, and taken to Ohio. Later after the fall of Fort Duquesne, she
was given the chance to return to her family, but refused, preferring
the society of the Indians. She first married a warrior named
Sheningey, and after his death became the wife of Hiakatoo, commonly
known as Gardeau, a fighting Indian whose name is not remembered in a
kindly manner by residents of the West Branch Valley. His part in the
tomahawking of the wounded at Fort Freeland, near Milton in 1779, gave
him an unenviable reputation, but as to the merits of the case the
loyal “White Woman of the Genessee” is silent. As the wife of Hiakatoo,
Mary Jemison became the mother of a large family, who inherited a
sort of Kingship or overlordship of the Senecas in Western New York
State. The last “King” Jemison died several years ago near Red House,
on the Allegheny River; in his lifetime he sold patent medicines
in Pittsburgh, and exhibited a unique collection of Indian relics,
including the silver war crowns of Chiefs Cornplanter, Blacksnake,
and Red Jacket. Mary Jemison is principally remembered by her book of
memoirs which she dictated to James E. Seaver, an historian, shortly
before her death, and which gives a vivid picture of Indian warfare
and pioneer conditions during her long life. Her influence on the
Indians was beneficent, and her aim was always to bring the two races
together in friendly intercourse, her feeling being that, of the two,
the Indians were the least savage and warlike. Eastern Pennsylvania can
claim another equally picturesque Indian captive in Regina Hartman,
yet her unmarked last resting place in Tulpehocken Churchyard, near
Stouchsburg, Berks County, is known only to a few, among them Dr.
Walker L. Stephen, of Reading, the best-posted Indian folk-lorist in
Pennsylvania. If Regina Hartman had lived in New England or Europe she
would rank as one of the great historical personages of all time, yet
Pennsylvania claims only a mild acquaintance with her. For the benefit
of those present who have not heard of her strange story, we will
summarize it briefly. During an Indian attack along the Blue Mountains,
in the vicinity of the present Town of Orwigsburg, Regina, then nine
years of age, was carried into captivity by the Indians, and for seven
years was taken from place to place by her captors. At last, after the
final peace of the French and Indian War, in 1763, when Mary Jemison
elected to remain with the Indians, a great army of white prisoners
were turned over to the British Colonial forces, and sent east to
Carlisle Barracks, to be restored to their relatives. Regina Hartman’s
mother journeyed to Carlisle, but out of the long line of sunburned
children who were marched past her could not recognize her long lost
daughter. The unhappy woman, in bitter disappointment after her long
trip, broke down and wept. Her grief attracted the attention of Colonel
Henry Bouquet, the brave deliverer of Fort Duquesne, a Huguenot from
Switzerland, who was in charge of the released captives, and addressing
her in Pennsylvania German, he asked if there was any song that she
used to sing to her missing daughter in the old childhood days. The
poor woman recollected one particular hymn, and going along the lines
of refugees started to sing:
“Allein, and doch nicht ganz allein
Bin ich”----
It was there that a tall girl sprang from the crowd, and fell into her
mother’s arms. The reunion was complete and Regina spent the remainder
of her life ministering to her mother’s comfort at their humble home
in Northern Berks County. After her mother’s death she lived alone,
becoming known locally as a saint, through manifold deeds of goodness
and charity. Now she rests in an unmarked grave, and later historians
have attempted to class her as a myth, alongside of “Molly Pitcher,”
who luckily has been rescued from such obloquy by the prompt action
of the Pennsylvania Legislature and Governor Brumbaugh. In 1916, when
the handsome bronze monument to Mary Ludwig, known as “Molly Pitcher,”
a real daughter of the American Revolution, was unveiled in the old
Cemetery at Carlisle, her identity was made sure by the engraving
of all her names, and her sobriquet, on the front of the granite
pedestal, so that she may rank for all time as one of the greatest of
Pennsylvania heroines. Mary Ludwig, known as “Molly with the Pitcher”
and “Molly Pitcher,” was born in the Palatinate, but brought as a
small child by her parents to Berks County; later they moved to the
Cumberland Valley, where Mary became a servant in the home of Colonel
William Irvine. At the time of the Revolution she was the wife of
Sergeant Casper Hays; at the battle of Monmouth, when her husband, a
cannoneer was wounded she successfully took charge of the cannon; and
later when relieved carried water to the soldiers under fire. It is
said that General Washington was an observer of her bravery, and made
her a sergeant by brevet. In the battle, one of her former admirers, a
man of wealth and position, was given up for dead, and tossed into a
trench for burial the next morning. Despite the fatigues of the day,
Molly crept out at dead of night, and carried him back to the lines,
and helped to nurse him back to health. After the war she returned to
Carlisle, where Sergeant Hays died; later she married Sergeant Jerry
McCanley, a semi-invalid from shell shock. In her later years she
scrubbed the marble floors of the Court House at Carlisle, unable to
support her helpless husband and children on a pension of $40.00 per
year. For further information concerning this remarkable woman see the
article by Rev. C. P. Wing, in “Pennsylvania Magazine,” 1879, Volume
III, and Judge E. W. Biddle’s scholarly address delivered at the time
of the dedication of the monument. Among the lesser known Pennsylvania
heroines, Somerset County is justly proud of Peggy Marteeny, the
daughter of Henry Marteeny, an old soldier of the Revolution, of
Huguenot antecedents. During an attack by Indians along the old Forbes
Road, Peggy was riding her spotted Spanish pony through the woods
when she came upon a white man, badly wounded, and badly frightened,
running for dear life, closely pursued by redmen, who were brandishing
scalping knives. Without a moment’s hesitation Peggy sprang from her
horse, and put the white man on it, then giving it a few smacks across
the flanks, sent the animal galloping away, trusting to her own long
legs to escape the savage pursuers. Somerset County was also the home
of Rebecca Statler and Rhoda Boyd, heroines of Indian adventures.
Near “Molly Pitcher’s” handsome moniment in the ancient Cemetery at
Carlisle, are the graves of Hugh H. Brackenridge, the distinguished
Pittsburg Jurist, and author of that amusing work “Modern Chivalry,” a
story much on the style of “Don Quixote”--and his wife, formerly the
Pennsylvania German girl Sabina Wolfe. On one of Judge Brackenridge’s
horseback journeys through the mountains he noticed the graceful Sabina
nimbly vaulting over a stake and rider fence, and fell in love with her
on the spot; athletic prowess still seems to be a compelling motive in
the awakening of love, for we have recently read in the papers of a
wealthy western youth who eloped with a show girl, who he said he fell
in love with after she had won a race on a Pogo stick at the Midnight
Follies. The Brackenridge-Wolfe marriage turned out very well, so much
so that the unknown Sabina soon became the social arbiter of the Smoky
City. Pennsylvania Mountain girls are noted not only for their beauty,
but for their courage. Kentucky accords a high place in history to the
small dark girl, Mabel Hite, whose forbears went from Berks County to
the “Dark and Bloody Ground” for her heroism in carrying water under
a heavy fire from hostile Indians to the brave defenders of the Fort
at Bryant’s Station, who were an earlier “Lost Battalion” and might
have perished of thirst but for the intrepid bravery of this young
Pennsylvania girl. Barbara Frietchie, who some historians say was a
myth, but will ever be immortalized in Whittier’s stirring poem, was
born in Pennsylvania, but was taken to Frederick, Maryland, by her
parents at an early age. Your speaker once asked General Henry Kyd
Douglas of Hagerstown, who was an Aide to General “Stonewall” Jackson
during his famous ride through Frederick Town, if Barbara Frietchie
really lived. The old General replied that he knew Barbara well, that
she was no myth, the only mythical part was that the flag which she
hung out was the stars and bars, and not the stars and stripes. Perhaps
in the excess of his Southern sympathies, this gallant old Confederate
may have been temporarily color blind. Another celebrated frontier girl
was Frances Slocum, the Indian captive of the Wyoming Valley, whose
memory is splendidly perpetuated by the able historians of the North
Branch Valley; then there is Elizabeth Zane, the early love of Daniel
Boone, a Pennsylvania frontier girl whose life was full of stirring
adventures, and whose relatives were the founders of Zanesville, Ohio;
there is Jennie Wade, the unhappy heroine of the Battle of Gettysburg,
shot while baking bread the same day that her lover was killed in
battle, and Jane Annesley, the beautiful red headed girl of the West
Branch Valley, whose auburn tresses were coveted by the warlike Indian
Skanando, and who followed her until he scalped her. She survived the
scalping many years, being still remembered by older residents about
Lock Haven as an aged woman hoeing corn, wearing a black scull cap. And
we must not forget to mention Genevieve Loverhill, the intrepid girl
scout and scalp hunter, also of the West Brandy Valley. The mother of
the immortal Abraham Lincoln, plain Nancy Hanks, was of Pennsylvania
origin, like her husband Thomas Lincoln. By a strange coincidence
the early homes of the Lincoln, Hanks, and Boone families were close
together in Eastern Berks County. Montgomery, Chester, and Berks County
have vied with one another as the early home of the Hanks family,
but Rev. J. W. Early, a venerable clergyman of Reading, writing on
the 100th anniversary of “Father Abraham’s” Birth, in 1909, in the
Reading Times, stated that the family originated in Berks County, and
the early spelling of the name was Hanck, whereas in Chester County
there is a family called Hanke, possibly of a different stock. Nancy
Hanks, the typical pioneer mother, occupies an outstanding place in
the Nation’s history, and we can feel closer to her, and her ideals,
by reckoning her as one of our Pennsylvania women. Dr. Stephen, before
mentioned, tells us that Jane Borthwick, to whom Robert Burns, in his
youth, dedicated several lovely poems, and who later emigrated to
Pennsylvania, is buried in Womelsdorf, Berks County. We cannot close
this rambling discourse without mentioning a little known Centre County
heroine, Mary Wolford, for whom Young Woman’s Town, now ruthlessly
re-named North Bend, and Young Woman’s Creek, now ruthlessly polluted
by tanneries, are named. While encamped with her parents, formerly from
Buffalo Valley, near the great hollow buttonwood tree, below Milesburg,
where the spartan Indian chief Woapalannee, or Bald Eagle, is said
to have slept standing up, this fierce warrior fell in love with the
tall, slim and beautiful pioneer girl. She was indifferent to his
advances, being engaged to James Quigley Brady, the “Young Captain of
the Susquehanna,” a younger brother of the famous Captain “Sam” Brady.
Bald Eagle managed to have the “Young Captain” scalped, which caused
his death, and later captured Mary Wolford, and started North with
her, towards the old Boone Road, leading to New York State. Somewhere,
beyond the creek, which now bears her name, the lovely Mary broke loose
from her captors, although a wooden gag was in her mouth, and her hands
were tied behind her back. Boldly she plunged into the stream, which
was swollen by a flood; gagged and her arms helpless, she was carried
off by the swift current and drowned. Days afterwards her body was
washed ashore at Northumberland, near where young Brady was buried, and
the lovers sleep their long sleep side by side. There are many more
forgotten Pennsylvania heroines, but the list just given will suffice
for the present. If we can honor these, as are their due, we will have
enhanced the cause of Pennsylvania history and helped to place it
alongside that of New York, New England, the South, and other sections
where deeds of worth and valor are recognized. All of these forgotten
women were brave, courageous, simple and God fearing, well worthy to
serve as a high ideal for our young girlhood. They also show that the
noblest traits are found in the humblest homes, that womanhood can be
brave and intrepid just as much as man, that there are self-made women
as well as self-made men. Some day let us hope that in the rotunda
of the Capitol at Harrisburg, purged of its group of professional
politician statues, or some Hall of Fame specially constructed for
the purpose, we can gaze upon lifelike effigies in marble of Lucretia
Mott, Mary Jemison, Regina Hartman, Molly Pitcher, Peggy Marteeny,
Mabel Hite, Frances Slocum, Mary Wolford, and above all Nancy Hanks,
typical of the most exalted heights to which womanhood can attain,
unaided, many of them untaught, but pure in patriotism, pure in heart,
the bright galaxy of the glory of Pennsylvania womanhood. We cannot
honor them too highly, we cannot praise them extravagantly enough, for
they are milestones in the normal development of our feminism. This
great work is going on. That women of equal worth are being born under
similar conditions and are alive today, let us but remember that Jane
Addams, the daughter of a Berks County innkeeper, has done more for her
sex, and for humanity in general than almost any other woman living,
and carries out fully the lofty standard that Pennsylvania sets for its
womanhood.
[Illustration: Woman]
Transcriber’s Notes
p. 4, hyphenation of “folk-lorist” has been retained.
p. 6, “horeback” changed to “horseback”.
p. 7, period spelling of “moniment” (monument) has been retained.
p. 7, “Pensylvania” changed to “Pennsylvania”.
p. 9, “loftly” changed to “lofty”.
*** END OF THE PROJECT GUTENBERG EBOOK SOME FORGOTTEN PENNSYLVANIA HEROINES ***
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.
