Project Gutenberg's Four Hundred Humorous Illustrations, by Various This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Four Hundred Humorous Illustrations With Portrait and Biographical Sketch Author: Various Illustrator: John Leech Release Date: January 30, 2014 [EBook #44801] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK FOUR HUNDRED HUMOROUS ILLUSTRATIONS *** Produced by David Widger from page scans generously provided by the Internet Archive FOUR HUNDRED HUMOROUS ILLUSTRATIONS By John Leech With Portrait and Biographical Sketch. 1868 BIOGRAPHICAL SKETCH. John Leech was born in London, on the 29th August, 1817. His father, John Leech, was an Irishman, a man of fine culture, and a good Shakespearean scholar. He was the landlord of the London Coffee House on Ludgate Hill, one of the most important of the city hotels at that time. For a while the father was successful in his vocation, but ultimately, through financial embarrassment, was obliged to give up the hotel. The father was a man of real ability, possessing considerable skill with the pencil, and from him, no doubt, the son inherited his special talent. And, again, on the mother's side there was relationship with the great scholar Richard Bentley, so that on both sides of the house young Leech had considerable advantages so far as mental heredity was concerned. At a very early age the mother observed the extraordinary aptitude for drawing that her boy possessed, and did all in her power to encourage it. When young Leech was only three years old, he was found by the family friend, the great artist, Flaxman, seated on his mother's knee, drawing with much gravity. The sculptor pronounced his sketch to be remarkable, and gave the following advice:--"Do not let him be cramped with lessons in drawing, but let his genius follow its own bent. He will astonish the world." A few years after this, some more of the youthful artist's drawings were shown to the celebrated sculptor, and, after examination, he said--"The boy must be an artist; he will be nothing else or less." At seven, the boy was sent to Charterhouse. This early departure from home was, of course, a sore trial to the fond mother, who was bound up in her child, but, knowing that it was for her son's future welfare, she threw no obstacles in the way of his departure from home. She was, however, resolved that somehow she would see her child frequently. With this object she hired a room in one of the houses commanding a view of the playground, and there frequently she sat behind a blind, happy in getting an occasional glimpse of her boy--sometimes at play, and sometimes strolling about in the grounds with his school mates. During his stay of nine years at Charterhouse, the boy did not distinguish himself in classical studies. Indeed, all that can be said, is that he acquired a thoroughly sound English education. He was, however, liked by everyone at school for his good temper and winning ways. Among his fellow pupils was the famous William Makepeace Thackeray, with whom he formed a warm friendship that lasted throughout life. At sixteen years of age, young Leech left Charterhouse, and, notwithstanding Flaxman's advice that the boy should follow the profession of an artist, his father put him to the medical profession at St. Bartholomew's, under Mr Stanley, the surgeon of the Hospital. After a time he was placed under Mr Whittle, an eccentric practitioner at Hoxton, and subsequently under Dr John Cockle, afterwards physician to the Royal Free Hospital. Throughout his various situations, young Leech become famous among his fellow students and friends for his extremely clever--and, at the same time, always good-natured--caricatures. He was for ever drawing scenes, characters, and incidents in daily life. About this time, young Leech's liking for horses probably received its first development, through his friendship with Mr Charles Adams. Mr Adams was the owner of two horses which it was his delight to drive tandem fashion, and in his excursions Leech was his constant companion. To this circumstance we are, no doubt, partially indebted for many of the clever bits of driving and country road life depicted by the pencil of the artist. At this early period of his career, Leech made numerous life friendships with men who afterwards became distinguished. Notable among these men were Albert Smith and Percival Leigh. At eighteen years of age, Leech published his first work, entitled "Etchings and Sketchings by A. Pen, Esq." It was a small work of four quarto sheets. As he got more and more engrossed in artistic work, the young student seems to have gradually given up his medical studies, and to have resolved to live by his pencil. In course of time he turned his attention to lithography, and, having drawn pictures upon lithographic stones, he has been known to spend many a weary day in carrying such heavy stones from publisher to publisher in search of a buyer. But as his fame increased, the difficulty of getting remunerative employment rapidly diminished. A good deal of Leech's early work, among other things, was in connection with _Bell's Life in London_, the best-known sporting paper of the time. Here he was associated with Cruikshank, Madons, "Phiz," and Seymour. It was when at work for _Bell's Life_ that he first imbibed a taste for field sports, which developed into a strong feature in his pictorial career. He joined the hounds in Herefordshire, where Millais became his fellow pupil in acquiring the arts of the chase. Among the schemes of drollery that our artist participated in about this time was the _Comic Latin Grammar_, Leigh contributing the text, and Leech the illustrations. This was followed by the _Comic English Grammar_, and likewise by the _Children of the Mobility_, a parody on a well-known work devoted to the serious glorification of our juvenile aristocracy. But in August of 1841 Leech began the great work of his life--a work, indeed, which he never quitted but with life--namely, his connection with _Punch_. The first number of _Punch_ was issued on the 17th July, 1841, and Leech's first contribution to it appeared on the 7th August, in the fourth number. For about twenty years, it may be said, he was its leading spirit, and, by his contributions to its pages, got in all about £40,000. Political caricatures he produced by the score, and held up to ridicule many of the absurd customs of the pretensious and exclusive sections of Society. Like Thackeray and Dickens, Leech detested snobbery in all walks of life, and depicted it unsparingly in a way that it never had been dealt with before. Week after week there flowed from his pencil an endless stream of scenes of high life and low life, of indoor life and street life, now of England, and then of foreign lands, and of all times, seasons, and occasions, as also numerous scenes of deer-stalking and fishing, and of horses and hounds, in all cases depicting whatever he undertook with extraordinary accuracy combined with infinite humour. Also, when social or national wrong called for grave censure, Leech knew how to administer it, not only without giving unnecessary offence, but in the way best calculated to bring about reform and redress. In all circumstances he was essentially a humorist, and he found his most genial vocation in depicting life and character in the social circles he frequented. As a keen observer of the everyday life around him, he delighted to depict the corporation magnate, the artist, the medical student, the spendthrift, the policeman, the cab driver, the coster, the carman, and hundreds of other such phases of everyday life and character, seeing humour and drollery where others failed to observe anything but the commonest aspects of everyday monotony. Of course it should not be forgotten that, if Leech did great things for _Punch_, his connection with that journal gave him great opportunities, and brought him into the very forefront of British artists. He was considered the most successful humorist of the day, and his pencil was in constant request. In the course of years he became the illustrator of about eighty volumes. When it is realised that the sketches in _Punch_ and the illustrations in these eighty volumes combined amount to some thousands in number, the mind is much impressed with the great amount of industry and application that Leech displayed throughout life. Even a tour to the Highlands, or to Ireland, or an outing to any portion of the country, was at all times turned to practical account for work later on. This incessant brain-work produced an extreme nervous sensitiveness. In this state he was much affected by noise and was literally driven from his house in Brunswick Square by street music. He removed to Kensington, where he hoped to obtain a release from this annoyance by adopting a device of double windows. But he had no peace. He often introduced in the pages of _Punch_ the barrel-organ nuisance. The public, however, at that time had no idea what these sketches from real life cost the artist. In 1864, Leech was ordered to take a holiday on the Continent. Upon his return to his London home in the autumn of the same year, although better in health, he was still strangely susceptible to noise. He spoke with more than his usual earnestness about the sufferings which the street organs gave him, and about the smallness of the sympathy which he received from people who had no weakness in the same direction. This extraordinary sensitiveness to noise was only a secondary phase or symptom of the real ailment. The real malady from which he suffered was breast-pang, or spasms of the heart, a form of angina pectoris. Although it was necessary to warn Leech against all excitement, riding, quick walking, or overwork, it was not supposed that he was in immediate danger, and, if he could only find rest and quiet, great hopes were entertained of his recovery. However, the sad end came when quite unexpected. In the morning of the 29th of October, 1864, he spoke hopefully of the future to his wife. In a few hours afterwards he whispered into the same living ear--"I am going," and fell into his father's arms in a faint. Three hours afterwards he expired. The news of his death went over the country with a dismal shock; for in what house was John Leech not an inmate in one form or another? Leech was tall, with an elegant figure, over six feet in height, graceful and gentlemanly in manner, with a fine head and a handsome face. In action he was nimble, vigorous, and yet gentle, capable of the heartiest mirth, and yet generally quiet. He was singularly modest, both as a man and an artist. The perpetual going to nature kept him humble as well as made him rich. His consideration, too, for others was apparent at all times, and the gentleness of his nature was remarkable. When it is considered that all these beautiful traits of character were accompanied by such extraordinary talent and wisdom, one is profoundly impressed with the greatness of the man. No wonder so many mourned when such a great, gentle, and graceful spirit passed away. It was a national loss, and as such was realised throughout the homes of the United Kingdom. {017} [Illustration: 017] {018} [Illustration: 018] {019} [Illustration: 019] {020} [Illustration: 020] {021} [Illustration: 021] {022} [Illustration: 022] {023} [Illustration: 023] {024} [Illustration: 024] {025} [Illustration: 025] {026} [Illustration: 026] {027} [Illustration: 027] {028} [Illustration: 028] {029} [Illustration: 029] {030} [Illustration: 030] {031} [Illustration: 031] {032} [Illustration: 032] {033} [Illustration: 033] {034} [Illustration: 034] {035} [Illustration: 035] {036} [Illustration: 036] {037} [Illustration: 037] {038} [Illustration: 038] {039} [Illustration: 039] {040} [Illustration: 040] {041} [Illustration: 041] {042} [Illustration: 042] {043} [Illustration: 043] {044} [Illustration: 044] {045} [Illustration: 045] {046} [Illustration: 046] {047} [Illustration: 047] {048} [Illustration: 048] {049} [Illustration: 049] {050} [Illustration: 050] {051} [Illustration: 051] {052} [Illustration: 052] {053} [Illustration: 053] {054} [Illustration: 054] {055} [Illustration: 055] {056} [Illustration: 056] {057} [Illustration: 057] {058} [Illustration: 058] {059} [Illustration: 059] {060} [Illustration: 060] {061} [Illustration: 061] {062} [Illustration: 062] {063} [Illustration: 063] {064} [Illustration: 064] {065} [Illustration: 065] {066} [Illustration: 066] {067} [Illustration: 067] {068} [Illustration: 068] {069} [Illustration: 069] {070} [Illustration: 070] {071} [Illustration: 071] {072} [Illustration: 072] {073} [Illustration: 073] {074} [Illustration: 074] {075} [Illustration: 075] {076} [Illustration: 076] {077} [Illustration: 077] {078} [Illustration: 078] {079} [Illustration: 079] {080} [Illustration: 080] {081} [Illustration: 081] {082} [Illustration: 082] {083} [Illustration: 083] {084} [Illustration: 084] {085} [Illustration: 085] {086} [Illustration: 086] {087} [Illustration: 087] {088} [Illustration: 088] {089} [Illustration: 089] {090} [Illustration: 090] {091} [Illustration: 091] {092} [Illustration: 092] {093} [Illustration: 093] {094} [Illustration: 094] {095} [Illustration: 095] {096} [Illustration: 096] {097} [Illustration: 097] {098} [Illustration: 098] {099} [Illustration: 099] {100} [Illustration: 100] {101} [Illustration: 101] {102} [Illustration: 102] {103} [Illustration: 103] {104} [Illustration: 104] {105} [Illustration: 105] {106} [Illustration: 106] {107} [Illustration: 107] {108} [Illustration: 108] {109} [Illustration: 109] {110} [Illustration: 110] {111} [Illustration: 111] {112} [Illustration: 112] {113} [Illustration: 113] {114} [Illustration: 114] {115} [Illustration: 115] {116} [Illustration: 116] {117} [Illustration: 117] {118} [Illustration: 118] {119} [Illustration: 119] {020} [Illustration: 020] {121} [Illustration: 121] {122} [Illustration: 122] {123} [Illustration: 123] {124} [Illustration: 124] {125} [Illustration: 125] {126} [Illustration: 126] {127} [Illustration: 127] {128} [Illustration: 128] {129} [Illustration: 129] {130} [Illustration: 130] {131} [Illustration: 131] {132} [Illustration: 132] {133} [Illustration: 133] {134} [Illustration: 134] {135} [Illustration: 135] {136} [Illustration: 136] {137} [Illustration: 137] {138} [Illustration: 138] {139} [Illustration: 139] {140} [Illustration: 140] {141} [Illustration: 141] {142} [Illustration: 142] {143} [Illustration: 143] {144} [Illustration: 144] {145} [Illustration: 145] {146} [Illustration: 146] {147} [Illustration: 147] {148} [Illustration: 148] {149} [Illustration: 149] {150} [Illustration: 150] {151} [Illustration: 151] {152} [Illustration: 152] {153} [Illustration: 153] {154} [Illustration: 154] {155} [Illustration: 155] {156} [Illustration: 156] {157} [Illustration: 157] {158} [Illustration: 158] {159} [Illustration: 159] {160} [Illustration: 160] {161} [Illustration: 161] {162} [Illustration: 162] {163} [Illustration: 163] {164} [Illustration: 164] {165} [Illustration: 165] {166} [Illustration: 166] {167} [Illustration: 167] {168} [Illustration: 168] {169} [Illustration: 169] {170} [Illustration: 170] {171} [Illustration: 171] {172} [Illustration: 172] {173} [Illustration: 173] {174} [Illustration: 174] {175} [Illustration: 175] {176} [Illustration: 176] {177} [Illustration: 177] {178} [Illustration: 178] {179} [Illustration: 179] {180} [Illustration: 180] {181} [Illustration: 181] {182} [Illustration: 182] {183} [Illustration: 183] {184} [Illustration: 184] {185} [Illustration: 185] {186} [Illustration: 186] {187} [Illustration: 187] {188} [Illustration: 188] {189} [Illustration: 189] {190} [Illustration: 190] {191} [Illustration: 191] {192} [Illustration: 192] {193} [Illustration: 193] {194} [Illustration: 194] {195} [Illustration: 195] {196} [Illustration: 196] {197} [Illustration: 197] {198} [Illustration: 198] {199} [Illustration: 199] {200} [Illustration: 200] {201} [Illustration: 201] {202} [Illustration: 202] {203} [Illustration: 203] {204} [Illustration: 204] {205} [Illustration: 205] {206} [Illustration: 206] {207} [Illustration: 207] {208} [Illustration: 208] {209} [Illustration: 209] {210} [Illustration: 210] {211} [Illustration: 211] {212} [Illustration: 212] {213} [Illustration: 213] {214} [Illustration: 214] {215} [Illustration: 215] {216} [Illustration: 216] {217} [Illustration: 217] {218} [Illustration: 218] {219} [Illustration: 219] {020} [Illustration: 020] {221} [Illustration: 221] {222} [Illustration: 222] {223} [Illustration: 223] {224} [Illustration: 224] {225} [Illustration: 225] {226} [Illustration: 226] {227} [Illustration: 227] {228} [Illustration: 228] {229} [Illustration: 229] {230} [Illustration: 230] {231} [Illustration: 231] {232} [Illustration: 232] {233} [Illustration: 233] {234} [Illustration: 234] {235} [Illustration: 235] {236} [Illustration: 236] {237} [Illustration: 237] {238} [Illustration: 238] {239} [Illustration: 239] {240} [Illustration: 240] {241} [Illustration: 241] {242} [Illustration: 242] {243} [Illustration: 243] {244} [Illustration: 244] {245} [Illustration: 245] {246} [Illustration: 246] {247} [Illustration: 247] {248} [Illustration: 248] {249} [Illustration: 249] {250} [Illustration: 250] {251} [Illustration: 251] {252} [Illustration: 252] {253} [Illustration: 253] {254} [Illustration: 254] {255} [Illustration: 255] {256} [Illustration: 256] {257} [Illustration: 257] {258} [Illustration: 258] {259} [Illustration: 259] {260} [Illustration: 260] {261} [Illustration: 261] {262} [Illustration: 262] {263} [Illustration: 263] {264} [Illustration: 264] {265} [Illustration: 265] {266} [Illustration: 266] {267} [Illustration: 267] {268} [Illustration: 268] {269} [Illustration: 269] {270} [Illustration: 270] {271} [Illustration: 271] {272} [Illustration: 272] {273} [Illustration: 273] {274} [Illustration: 274] {275} [Illustration: 275] {276} [Illustration: 276] {277} [Illustration: 277] {278} [Illustration: 278] {279} [Illustration: 279] {280} [Illustration: 280] {281} [Illustration: 281] {282} [Illustration: 282] {283} [Illustration: 283] {284} [Illustration: 284] {285} [Illustration: 285] {286} [Illustration: 286] {287} [Illustration: 287] {288} [Illustration: 288] {289} [Illustration: 289] {290} [Illustration: 290] {291} [Illustration: 291] {292} [Illustration: 292] {293} [Illustration: 293] {294} [Illustration: 294] {295} [Illustration: 295] {296} [Illustration: 296] {297} [Illustration: 297] {298} [Illustration: 298] {299} [Illustration: 299] {300} [Illustration: 300] {301} [Illustration: 301] {302} [Illustration: 302] {303} [Illustration: 303] {304} [Illustration: 304] {305} [Illustration: 305] {306} [Illustration: 306] {307} [Illustration: 307] {308} [Illustration: 308] {309} [Illustration: 309] {310} [Illustration: 310] {311} [Illustration: 311] {312} [Illustration: 312] {313} [Illustration: 313] {314} [Illustration: 314] {315} [Illustration: 315] {316} [Illustration: 316] {317} [Illustration: 317] {318} [Illustration: 318] {319} [Illustration: 319] {320} [Illustration: 320] {321} [Illustration: 321] {322} [Illustration: 322] {323} [Illustration: 323] {324} [Illustration: 324] {325} [Illustration: 325] {326} [Illustration: 326] {327} [Illustration: 327] {328} [Illustration: 328] {329} [Illustration: 329] {330} [Illustration: 330] {331} [Illustration: 331] {332} [Illustration: 332] {333} [Illustration: 333] {334} [Illustration: 334] {335} [Illustration: 335] {336} [Illustration: 336] {337} [Illustration: 337] {338} [Illustration: 338] {339} [Illustration: 339] {340} [Illustration: 340] {341} [Illustration: 341] {342} [Illustration: 342] {343} [Illustration: 343] {344} [Illustration: 344] {345} [Illustration: 345] {346} [Illustration: 346] {347} [Illustration: 347] {348} [Illustration: 348] {349} [Illustration: 349] {350} [Illustration: 350] {351} [Illustration: 351] {352} [Illustration: 352] {353} [Illustration: 353] {354} [Illustration: 354] {355} [Illustration: 355] {356} [Illustration: 356] {357} [Illustration: 357] {358} [Illustration: 358] {359} [Illustration: 359] {360} [Illustration: 360] {361} [Illustration: 361] {362} [Illustration: 362] {363} [Illustration: 363] {364} [Illustration: 364] {365} [Illustration: 365] {366} [Illustration: 366] {367} [Illustration: 367] {368} [Illustration: 368] {369} [Illustration: 369] {370} [Illustration: 370] {371} [Illustration: 371] {372} [Illustration: 372] {373} [Illustration: 373] {374} [Illustration: 374] {375} [Illustration: 375] {376} [Illustration: 376] {377} [Illustration: 377] {378} [Illustration: 378] {379} [Illustration: 379] {380} [Illustration: 380] {381} [Illustration: 381] {382} [Illustration: 382] {383} [Illustration: 383] {384} [Illustration: 384] {385} [Illustration: 385] {386} [Illustration: 386] {387} [Illustration: 387] {388} [Illustration: 388] {389} [Illustration: 389] {390} [Illustration: 390] {391} [Illustration: 391] {392} [Illustration: 392] {393} [Illustration: 393] {394} [Illustration: 394] {395} [Illustration: 395] {396} [Illustration: 396] {397} [Illustration: 397] {398} [Illustration: 398] {399} [Illustration: 399] {400} [Illustration: 400] {401} [Illustration: 401] {402} [Illustration: 402] {403} [Illustration: 403] {404} [Illustration: 404] {405} [Illustration: 405] {406} [Illustration: 406] {407} [Illustration: 407] {408} [Illustration: 408] {409} [Illustration: 409] {410} [Illustration: 410] {411} [Illustration: 411] {412} [Illustration: 412] {413} [Illustration: 413] {414} [Illustration: 414] {415} [Illustration: 415] {416} [Illustration: 416] {417} [Illustration: 417] {418} [Illustration: 418] {419} [Illustration: 419] {420} [Illustration: 420] End of Project Gutenberg's Four Hundred Humorous Illustrations, by Various *** END OF THIS PROJECT GUTENBERG EBOOK FOUR HUNDRED HUMOROUS ILLUSTRATIONS *** ***** This file should be named 44801-8.txt or 44801-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/4/4/8/0/44801/ Produced by David Widger from page scans generously provided by the Internet Archive Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution. *** START: FULL LICENSE *** THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase "Project Gutenberg"), you agree to comply with all the terms of the Full Project Gutenberg-tm License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from the public domain (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase "Project Gutenberg" associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, "Information about donations to the Project Gutenberg Literary Archive Foundation." - You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg-tm License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg-tm works. - You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. - You comply with all other terms of this agreement for free distribution of Project Gutenberg-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread public domain works in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 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-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation 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 principal office is located at 4557 Melan Dr. S. Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation's web site and official page at www.gutenberg.org/contact For additional contact information: Dr. Gregory B. Newby Chief Executive and Director [email protected] Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit 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-tm electronic works. Professor Michael S. Hart was the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our Web site which has the main PG search facility: www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.