The Project Gutenberg eBook of Flower legends for children
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: Flower legends for children
Author: Hilda Murray
Illustrator: J. S. Eland
Release date: June 26, 2026 [eBook #78952]
Language: English
Original publication: London: Longmans, Green, 1901
Other information and formats: www.gutenberg.org/ebooks/78952
Credits: Richard Tonsing and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
*** START OF THE PROJECT GUTENBERG EBOOK FLOWER LEGENDS FOR CHILDREN ***
[Illustration: Illustrated cover of 'Flower Legends for Children'
featuring a girl in a lush lily garden flanked by ancient ruins.]
[Illustration: Endpaper: Illustration of a girl playing a cello on a
brick wall while flower fairies dance below inside roses and irises.]
[Illustration: Flyleaf: Nighttime illustration of flower fairies
sleeping inside roses and irises while a young girl sleeps against her
cello below a brick wall.]
[Illustration: Illustrated half-title page for 'Flower Legends for
Children' showing two small fairies on a yellow banner above a field of
pansies and white lilies.]
[Illustration: Illustrated dedication page featuring a poem surrounded
by hanging incense censers with white lilies on the left and bumblebees
in a meadow on the right.]
DEDICATION
Fair, or less Fair, dear Child, as haply you may be,
Fashioned or straight or crooked, of low or high degree,
So be thou kind and good, this book is meant for _thee_.
For, of all blooms, the best and sweetest flowers for me
Are those whose beauty’s but the shrine of fragrant purity.
And, in the perfumed garden of GOD’S world, we see
That children, too, like flowers, may pour their incense free,
Swinging the smoking censers of their prayers that we
May homeward rise to heaven’s hive like swift gold-powdered bee.
J·S·E·
[Illustration: Illustrated title page for 'Flower Legends for Children'
showing a woman gathering children on a lawn next to topiary hedges,
with a castle in the background.]
FLOWER LEGENDS FOR CHILDREN
BY
HILDA MURRAY
PICTURED BY J · S · ELAND
PUBLISHED BY LONGMANS, GREEN, & Cº
LONDON, NEW YORK, & BOMBAY.
[Illustration: Illustrated 'Contents' banner showing winged cherubs
packing and decorating an old cannon with ropes of flowers amidst
ancient ruins.]
CONTENTS
PAGE.
THE MOSS ROSE 11
THE TULIP 15
THE FORGET-ME-NOT 21
ROSES RED AND WHITE 25
THE ROWAN 29
FLEUR-DE-LYS 30
THE ASPEN 33
THE HAWTHORN 34
THE ALMOND TREE 37
THE LAUREL 41
THE CHRISTMAS ROSE 45
THE POPLAR TREE 49
MISTLETOE 51
NARCISSUS 59
THE RED LILY 63
[Illustration: Black and white illustration of two winged cherubs,
woodland rabbits, and a field mouse near a parchment bearing a short
poem.]
CHILD!
To your little rose-shell ear
Hold the tender flowers near.
Listen, then, and they will tell
How they live in fairy dell:
They will kiss your gentle hand,
And tell you tales of Flower-land!
[Illustration: Illustration of a winged figure in a gold robe lounging
on a high grassy cliff beneath a flowering tree, looking out over a sea
of clouds under a crescent moon.]
[Illustration: Illustrated story header banner for 'The Moss Rose'
featuring a black and white sketch of a rose and thorny leaves.]
THE MOSS ROSE
Once upon a time, says the old legend, the angel whose work on earth was
to guard the flowers, lay down one night to sleep under a rose tree.
With gentle whisperings she lulled him to rest, and through the star-lit
night waved perfumed branches over his head.
Day broke over the shadowy, mist-clad valley, and bars of orange-scarlet
light touched the distant eastern peaks into gold. In the sky above was
the morning star, and the crescent moon hung over all.
When he awoke, refreshed, the angel asked the rose what he could give
her as a reward for the shelter she had given him, and for the sweet
sleep he had enjoyed beneath her scented flowers. The rose blushed, and,
looking more lovely still, made request that something might be added to
her beauty.
[Illustration: Story page illustration showing a winged angel standing
in a storm next to a tall rose plant, with a decorative floral border at
the bottom.]
The angel thought for a moment, wondering if it were possible to make
her more lovely than she already was; and then he threw about her a veil
of transparent fresh green moss, to protect her from the cold winds and
rain, and from that day the moss rose has worn the angel’s gift.
[Illustration: Illustration of butterfly-winged fairies tending to tiny
human babies nestled inside large pink tulips in a garden field.]
[Illustration: Illustrated story page for 'The Tulip' featuring a black
and white sketch of tall tulips framing two blocks of text.]
THE TULIP.
Once upon a time, there was an old woman who lived in a cottage set in
the midst of a pretty garden, and in the garden was a bed of beautiful
tulips.
Fairies and pixies are very fond of these flowers; and every night they
brought their babies to put them to sleep under the tulips in the old
woman’s garden, and the tulips sang and rocked the little pixies to
sleep.
As soon as the babies were asleep the fairy mothers and fathers would
return to the fields, and there dance in moon-lit rings all night. When
morning came they returned to the tulips to wake their little ones with
gentle kisses.
[Illustration: Story page illustration showing an old man with a shovel
looking down at a tiny fairy in a tulip bed, with a thatched cottage
border on the right.]
The tulips thus visited by the fairies kept fresh and beautiful much
longer than any other flowers in the garden, and, strange to say, they
also smelt as sweet as roses. The old woman was therefore so proud of
her tulips that she never allowed anyone to touch them. One sad day, the
old woman died, and an unkind man came to live in her cottage, who did
not love flowers. He tore them all up, and planted a parsley bed
instead; but he was well punished, for the fairies were so angry at the
way he had treated their tulips that every night they danced and
trampled on the parsley, so that it withered away. Indeed, they allowed
nothing to grow in that garden for a long time.
[Illustration: Story page illustration showing a group of tiny fairies
dancing on a lawn at night beneath a drooping yellow tulip while a snail
plays a pan flute.]
The fairies, however, took great care of the grave where the old woman
was buried, and mosses and grasses grew on it, and sweet wild flowers;
and that was how they showed their gratitude to the old woman for
keeping lovely tulips as cradles for their babies.
[Illustration: Color illustration of a royal family in Renaissance
attire on a riverbank, with a man gesturing toward swans and a castle on
a distant hill.]
[Illustration: Art Nouveau style decorative border panel featuring a
symmetrical design of forget-me-not flowers, vines, and small yellow
bows on a pale background.]
THE FORGET-ME-NOT.
A long time ago a knight and his lady were walking by the banks of a
river, when suddenly they saw a spray of little blue flowers floating on
the water not far from the bank, and it seemed as if they would soon be
swept away by the quick-running stream.
The knight, loving well his lady, and thinking it would please her if he
saved the flowers for her, jumped into the river and grasped them; but,
alas, the current was too strong for him: and as he was swept past the
poor lady, who was wringing her hands at the sight of her drowning
knight, he threw the flowers at her feet, calling out “Forget-me-not,”
and the little blue flowers have been called by that name to this day.
There is another story connected in legend with the Forget-me-not, and
it is this:—
When Adam and Eve were in the Garden of Eden, it is said, Adam gave all
the flowers their names, and told them to be sure and remember what he
called them.
One little flower, however, was careless and forgot its name. The next
time Adam passed it in the Garden, in order to see if he was as short of
memory as itself, the little flower called out to him: “By what name
dost thou call me?” “Forget-me-not,” was Adam’s reply.
[Illustration: Illustration of a crowned woman in a blue gown and red
cloak dancing through a field of thorny wild roses beneath a swirling
flock of small birds.]
ROSES RED AND WHITE.
There was once a beautiful goddess called Venus, and she loved the
handsome young god Adonis. Poor Adonis died from the wound of a wild
boar he was hunting, and, when Venus heard of this, she ran
grief-stricken through the woods in despair, to look for and aid her
beloved Adonis.
As she was running along, her foot was pricked by a thorn, and the blood
that flowed from the wound suddenly sprang up into a beautiful red rose.
[Illustration: Story page illustration featuring a detailed black and
white pen-and-ink sketch of blooming rose bushes.]
Afterwards, Venus sat and wept because Adonis was dead; and where her
tears fell on the ground there blossomed a lovely white rose.
[Illustration: Illustration of six children in Edwardian clothing
gathering bright red berries from a large rowan tree in a hilly
landscape.]
[Illustration: Story header titled 'The Rowan' featuring a winged fairy
child nestled among leafy rowan branches with red berries.]
THE ROWAN.
All the fairies and pixies are very fond of this tree, with its
beautiful scarlet berries, and people say the good fairies take special
care of the children who carry a few of the berries in their pockets.
In Scotland, rowan trees are often planted near the cottages and
cow-stables, and then it is supposed no wicked sprites or elves can harm
those who live in them.
There is a legend in Norway about this tree that the great god, called
Thor, one day was crossing a deep river, and looking for a stick to help
him across, when he saw a rowan. He pulled it up and took it as a staff,
and after that it was called Thor’s helper.
[Illustration: Story page titled 'Fleur-de-Lys' with a black and white
sketch of blooming irises on the upper left and three toads in the grass
at the bottom left.]
FLEUR-DE-LYS.
Many hundred years ago, there was a king of France named Clovis, whose
coat-of-arms was three black toads. But, one night, an old hermit saw a
most wonderful vision in his cell. An angel appeared to him, holding a
shield of great beauty. Its colour was the blue of the sky, and on it
were emblazoned three golden lilies. The hermit was told to give it to
the wife of Clovis, Queen Clotilde; this he did, and Clovis took the
three lilies as the emblem of France, instead of the three black toads.
From the day he did so his armies were everywhere victorious.
[Illustration: Illustration of a group of astonished woodcutters in
eastern robes halting their work as a woman's face emerges from the
trunk of a tree by a stream.]
THE ASPEN.
This is a tree which has the peculiarity that its pale green leaves are
never still for a moment, but are always quivering and trembling. The
reason of this is a very sad one, and explains why the Aspen can never
be at rest. We are told that the Cross of Our Blessed Lord was made of
the wood of the Aspen, and that the poor tree was so terribly grieved to
be used for such a purpose that it has trembled ever since.
THE HAWTHORN.
The crown of thorns of Our Blessed Lord is said to have been made from
this tree. It looks so fair in the May-time with its snow-like mantle of
white blossoms, that it is only when quite close to it that the long
cruel thorns are seen, thick on all its branches. The simple story goes
on to say that as Our Lord was on His way to be crucified, a little bird
lighted on His head, and with its beak pulled out one of the long thorns
that were piercing His brow. The blood that flowed from the wound
covered the bird’s breast and dyed it crimson. That dear little bird was
no other than Robin Red-breast!
[Illustration: Story page titled 'The Hawthorn' featuring a black and
white sketch of Jesus carrying the cross on the right and blooming
hawthorn flowers at the bottom left.]
[Illustration: Illustration of a classical terrace overlooking the sea,
featuring a woman in an veil shielding her eyes while others sit by a
vine-draped statue.]
[Illustration: Story header featuring a horizontal banner titled 'The
Almond Tree' entwined with a black and white sketch of blooming almond
branches.]
THE ☆︎ ALMOND TREE
There is a charming story about the almond tree in Grecian history. A
young Greek, called Demophoon, was on his way home from the siege of
Troy; but as the ship passed the shores of Thrace, there was a great
storm, and he was shipwrecked.
Now the King of Thrace had a beautiful daughter, named Phyllis, who
received Demophoon with kindness, and he fell in love with her, and she
promised to marry him.
Before the wedding Demophoon said he must go to his country to get his
palace ready for his beautiful princess.
Away he went in another ship, and the princess was quite happy at first
as Demophoon had promised to return very soon, but time went on and he
never came. The princess watched and waited, but in vain; and, in course
of time, as Demophoon never returned, she became very thin and ill, and,
at last, she died.
Then because she had been so faithful and constant to the unworthy
Demophoon the fairies changed her into a beautiful almond tree.
[Illustration: Vibrant color illustration of a young Greek musician with
a lyre and a flying cloak running toward a woman whose body is morphing
into a leafy laurel bush.]
[Illustration: Story header titled 'The Laurel' with a large decorative
initial 'T' and a illustration of laurel leaf clusters.]
THE LAUREL
Daphne was a young Greek goddess, and Apollo, the god of the sun, fell
desperately in love with her. But, charming as Apollo was, Daphne did
not like him, and whenever she saw him she ran away.
One day she was flying through the woods to escape from Apollo, and,
terrified lest he should overtake her, she implored the water gods to
change her form. No sooner had she expressed this wish, than her feet
became fastened to the ground, and lengthened themselves into roots, her
hair turned into leaves, and her arms to boughs, so that when Apollo
came to where he had last seen her running from him, he found instead a
beautiful laurel tree.
Then Apollo declared that as she was no longer Daphne, and, therefore,
could not be his love, as a laurel she should be his tree, and that a
crown of her leaves should be the reward of the highest honour and fame.
Apollo further declared that her boughs should never be bare in
winter-time, but should always be clothed with glistening emerald
leaves.
[Illustration: Color illustration of a radiant, winged angel holding
white lilies and appearing to a young shepherd with a flock of sheep
under a starry night sky.]
[Illustration: Story header titled 'The Christmas Rose' featuring a
dense black and white sketch of blooming hellebore flowers draped over a
textured banner.]
THE CHRISTMAS ROSE
Among the shepherds who watched their flocks on the first Christmas
night, was a little maiden, and when she saw the bright star in the
East, and the Wise Men on their way to Bethlehem, she followed them to
see whither they went. She saw these old men go down on bended knee
before the Babe lying in His manger cradle, and bring out rare and
beautiful gifts to lay before Him. Then the little maid’s heart yearned
towards the Babe, and she too longed to lay some offering before Him,
but she was poor and had neither gold nor silver with which to buy
gifts. So she turned sadly away, and went back to guard her sheep.
Suddenly she saw a bright light, and in the midst of the light an angel
stood, whose raiment shone like glittering snow, and whose face was so
fair and gentle that the little maid knew no fear.
[Illustration: A horizontal black and white line-art header banner
featuring a dense, repeating arrangement of blooming Christmas rose
hellebore flowers and dark, veined foliage.]
“The angel spoke, his voice was low and sweet
As the sea’s murmur on low-lying shore,
Or whisper of the wind in ripened wheat;”
and he asked the maiden why she looked so downcast. She told him of her
wish, and how she had nothing to give the Holy Child. Without a word,
the angel touched the ground with the branch of waving lilies he held in
his hand, and immediately the field was white with lovely flowers. The
little maid at once gathered many of them, and, running back to the
stable, laid them very near the Babe, who smiled at her and stretched
out His tiny hands to the flowers. Then the little shepherdess’s heart
was glad, and she returned this time to her flocks full of joy, and
thanking God that He had given her her heart’s desire. And the angel’s
flowers were the Christmas Roses.
[Illustration: A clean horizontal decorative footer banner composed of
an alternating repeating pattern of single hellebore flowers and
individual five-pointed leaves.]
[Illustration: Color illustration of Hermes with his caduceus and spear
standing in an enchanted forest, looking at a tree spirit surrounded by
floating silver spoons.]
[Illustration: Color illustration of an ornate golden spoon handle
shaped like the figure Ganymede, supporting a large blue spoon bowl that
contains a reflection of green trees.]
THE POPLAR TREE.
Once upon a time, Jupiter had some beautiful silver spoons stolen from
him. Knowing that one of the trees of the forest was the thief, he
called Ganymede, his cupbearer, and told him to go and find out which
tree had done this wrong thing, so that he might recover the spoons and
punish the thief.
Off went Ganymede into the forest, and first he went to the oak: “My
lord Jupiter’s silver spoons have been stolen, and one of the trees of
the forest has taken them. I have come to find the spoons and the thief;
Oak, do you know anything of this matter?” But the oak shook all his
great branches and his breath roared through them with rage. Said he: “I
am king of the trees, and have thousands of golden cups and emerald
plates; why should I be accused of stealing common silver spoons? I have
never even heard of them.”
So Ganymede bowed low, made his apology, and passed on. Next he went to
a lovely birch, and of her he asked the same question; but the birch
drew herself up haughtily and answered: “I have silver enough of my own
without stealing other people’s. I know nothing about my lord Jupiter’s
spoons.” Again Ganymede bowed low, asking the lady of the forest to
pardon him, and went on to the other trees.
The beech tree showered thousands of prickly nuts on him for his pains;
the elm tree nearly blew him off the earth at such an insulting
question, and the fir tree pelted him with cones.
At last Ganymede came to the poplar: “Dear me,” answered this tree, in
reply to the cupbearer’s question, “How very shocking to think that any
tree could do such a dreadful thing as to steal my lord Jupiter’s
spoons. Well, whoever it is, it is not I.”
To make Ganymede believe how innocent he was, the poplar threw up all
his branches to show he could not be hiding the spoons anywhere, but he
had not tucked them away safe enough, and as he held up his arms, out
clattered the spoons on every side.
Ganymede picked them up, and ran back to Jupiter. He told him that the
poplar was not only a thief but a story-teller. Jupiter was so angry
that he punished the poplar by making him hold up his branches for
evermore.
[Illustration: Story page layout titled 'MISTLETOE' featuring small
clusters of white berries on a blue background and a large detailed
sketch of tangled mistletoe branches.]
MISTLETOE
Once, in Norway, there was a handsome young god called Baldur. So good
and universally beloved was he that his mother, Freya, terrified lest
something dreadful should happen to him, determined to take an oath from
all things created that they would do no harm to her son. She asked
fire, water, earth, iron, stones, trees, beasts, birds, insects,
poisons, and diseases, and each promised it would never hurt Baldur.
There was only one thing Freya passed over, and that was a bunch of
mistletoe growing on an old gnarled oak, near the palace of the gods; it
looked so soft and innocent and powerless, with its clinging green and
white berries, that she thought it could harm no one.
[Illustration: A minimal black and white line-art sketch of a single
small mistletoe sprig with narrow leaves and clusters of round white
berries.]
Now there was a very bad spirit in Norway, called Loki, who was always
trying to do mischief and make others unhappy. Loki hated Baldur on
account of his goodness and beauty, for he himself was wicked and ugly.
One day Baldur and the other gods were playing at their favourite game;
Baldur stood as a target, and the others threw darts and stones at him,
and hacked at him with swords and axes, for they knew nothing could hurt
him, and they delighted to show how wonderful he was. When Loki saw
this, he longed that Baldur might be hurt, and he determined to find out
the secret of his safety. Then Loki changed himself into a lovely
maiden, and went to the house of Freya, Baldur’s mother, who received
him very kindly and asked whence he came. “From the place where the gods
make a target of Baldur the good without harming him,” answered the
false Loki.
[Illustration: Color illustration of classical Norse figures testing
Baldur's invulnerability in a forest, while the trickster Loki watches
from a tree above a sprig of mistletoe.]
“Ah,” said Freya, “neither metal nor wood can hurt Baldur, for all
created things have promised that they will not touch him with evil.”
“What,” exclaimed Loki, astonished and dismayed, “have all things sworn
to spare Baldur?” “All things,” replied Freya, “except one little plant
called mistletoe. I thought it so tender and feeble that I did not ask a
promise from it.”
Loki smiled to himself with secret joy, and leaving Freya as quickly as
he could, he flew to the oak whereon grew the fatal mistletoe, and made
a sharp dart of it. Then he hurried back to where the gods were still
playing their odd game. There was a blind god among them called Hodur,
who was standing apart, and to him Loki went and said: “Why do you not
also throw something at Baldur?” “Because I am blind, and besides, I
have nothing to throw,” replied he. “Come on,” said Loki, “and do as the
rest do, and show honour to Baldur by throwing this twig at him.”
[Illustration: A horizontal decorative divider line consisting of a
sparse repeating pattern of small, curled mistletoe leaf fragments.]
So saying, Loki put the dart of mistletoe into Hodur’s hand, and,
directing his aim, flung it at Baldur, who, hit by the fatal plant, fell
lifeless at once.
All the gods were in despair at first, for the love which they bore to
Baldur, and nearly killed Loki in their rage. Then together they
resolved to bring back Baldur to life; and having done this, to prevent
the mistletoe ever doing so much harm again, they dedicated it to his
mother Freya, and the mistletoe was made to promise never to do any evil
again as long as it did not touch the earth.
That is why at Christmas, the time of joy and peace, mistletoe is hung
up, and people kiss each other as they pass beneath it, for as long,
they say, as it does not touch the ground, mistletoe brings happiness to
those who pass under its leaves.
[Illustration: A horizontal decorative divider line featuring three
small pen-and-ink sketches of curled mistletoe leaf fragments arranged
in an alternate sequence.]
[Illustration: Color illustration of a classical man and woman on a
grassy riverbank interacting with a group of four white swans near water
lilies.]
[Illustration: Story header layout titled 'SWEET NARCISSUS' on a small
scroll banner wrapped around a tall bundle of blooming narcissus flowers
and long, blade-like leaves.]
NARCISSUS.
In Greece long ago there lived a beautiful youth called Narcissus. At
his birth it was foretold that he should live happily until he beheld
his own face.
So he grew up, free from care, and light of heart, and was greatly
beloved of all the lovely wood and water nymphs.
But he paid little heed to them; for Narcissus was vain, and loved no
one but himself.
There was one nymph who loved him more dearly than the others, and her
name was Echo. She was very lovely and graceful, and she did all in her
power to win the heart of Narcissus. Alas! it was in vain; and at last
poor Echo pined away till there was nothing left of her but her soft
voice, that still answers from the glens and woodlands.
His vanity was the unhappy cause of this sad event, for one day
Narcissus had bent over a stream to drink, and, seeing his own face
reflected in the clear water, he instantly fell in love with what he
imagined to be a beautiful water nymph. From that moment Narcissus knew
no peace or happiness. He determined to win her for his bride, but no
answer could he ever obtain to all his passionate appeals. The beautiful
face only mocked him as it imitated all his expressions.
[Illustration: Story page layout titled 'ECHO' showing a woman's faded
face blending into dark waves and long-stemmed narcissus flowers.]
Every day he returned to the same spot, and sat gazing at his fancied
love, till in despair he grew pale and thin, and at length pined away
and died, or, as others say, perished in the very water pool which had
charmed him with its reflections. Thus was poor Echo avenged, and the
old prophecy made at his birth fulfilled.
His name was not, however, to be forgotten, for, by the bank of the
stream where he died, there sprang up the beautiful flowers that are
called Narcissus to this day. And, when the nymphs came to place his
body for the burning on the funeral pile they had raised, this was all
they found.
[Illustration: Color illustration of Jesus praying against a tree in a
moonlit garden filled with red lilies, while a crowd of soldiers with
swords approaches in the background.]
[Illustration: A vertical or horizontal decorative page accent showing
three minimal pen-and-ink line drawings of stylized lily flowers on
braided leafy stems.]
THE RED LILY
Our Blessed Lord was walking in the Garden of Gethsemane, where there
were many beautiful flowers growing, and each as He passed bowed its
head in love and sympathy for Him in His hour of pain and sorrow.
But when the tall white lily saw Him coming, she said to herself: “I
will hold up my face for Him to look on, and the sight of my beauty will
comfort Him; and I will not bow my head like all the other foolish
flowers.”
So when Our Blessed Lord came to where the lily was, erect in all her
proud beauty, He stopped and looked at her, and the lily was so overcome
with shame at having been so vain and boastful, that she blushed crimson
and hung her head, as we see her descendants in the garden now.
[Illustration: Color illustration set within a large blue heart shape,
showing two winged cherub angels looking down from clouds onto a young
child nestled among blooming lily of the valley stalks.]
[Illustration: Flyleaf: Color illustration of six joyful, naked child
figures emerging from the centers of blooming iris and yellow rose
flowers, dancing below a brick wall where a young girl sits playing a
violin.]
[Illustration: A symmetrical, endpaper design featuring a repeating Art
Nouveau grid pattern of stylized blue irises and yellow roses on a muted
olive green background.]
[Illustration: Back cover illustration featuring a central yellow
circular vignette of a winged cherub sitting on the grass and playing a
double pipe for a leaping baby goat.]
------------------------------------------------------------------------
TRANSCRIBER’S NOTES
● Fixed typos; non-standard spelling and dialect retained.
● The entire book was printed in landscape format.
● Enclosed italics font in _underscores_.
● HTML alt text is used for every image caption.
*** END OF THE PROJECT GUTENBERG EBOOK FLOWER LEGENDS FOR CHILDREN ***
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 41 Watchung Plaza #516,
Montclair NJ 07042, USA, +1 (862) 621-9288. 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.
