Footprints on the Sea-Shore (From "Twice Told Tales")

By Nathaniel Hawthorne

The Project Gutenberg EBook of Footprints on the Sea-Shore (From "Twice
Told Tales"), by Nathaniel Hawthorne

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: Footprints on the Sea-Shore (From "Twice Told Tales")

Author: Nathaniel Hawthorne

Posting Date: December 2, 2010 [EBook #9218]
Release Date: November, 2005
First Posted: August 23, 2003
Last Updated: February 5, 2007

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK FOOTPRINTS ON THE SEA-SHORE ***




Produced by David Widger.  HTML version by Al Haines.









                        TWICE TOLD TALES

                   FOOTPRINTS ON THE SEA-SHORE

                     By Nathaniel Hawthorne



It must be a spirit much unlike my own, which  can keep itself in
health and vigor without sometimes stealing from the sultry sunshine
of the world, to plunge into the cool bath of solitude. At  intervals,
and not infrequent ones, the forest and the ocean summon me--one with
the roar of its waves, the other with the murmur of its boughs--forth
from the  haunts of men.  But I must wander many a mile, ere I could
stand beneath the shadow of even one primeval tree, much less be lost
among the multitude of hoary trunks, and hidden from earth and sky by
the mystery  of darksome foliage.  Nothing is within my daily reach
more like a forest than the acre or two of woodland near some suburban
farm-house. When, therefore, the yearning for seclusion becomes a
necessity within me, I am  drawn to the sea-shore, which extends its
line of rude rocks and seldom-trodden sands, for leagues around our
bay.  Setting forth at my last ramble, on a September  morning, I
bound myself with a hermit's vow, to interchange no thoughts with man
or woman, to share no social pleasure, but to derive all that day's
enjoyment from shore, and sea, and sky,--from my soul's communion with
these, and from fantasies, and recollections, or anticipated
realities.  Surely here is enough to feed a human spirit for a single
day.  Farewell, then, busy world!  Till your evening lights shall
shine along the street,--till they gleam upon my sea-flushed face, as
I tread homeward,--free me from your ties, and let me be a peaceful
outlaw.

Highways and cross-paths are hastily traversed, and, clambering down a
crag, I find myself at the extremity of a long beach.  How gladly does
the spirit leap forth, and suddenly enlarge its sense of being to the
full extent of the broad, blue, sunny deep!  A greeting and a homage
to the Sea!  I descend over its margin, and dip my hand into the wave
that meets me, and bathe my brow.  That far-resounding roar is Ocean's
voice of welcome.  His salt breath brings a blessing along with it.
Now let us pace together--the reader's fancy arm in arm with
mine--this noble beach, which extends a mile or more from that craggy
promontory to yonder rampart of broken rocks.  In front, the sea; in
the rear, a precipitous bank, the grassy verge of which is breaking
away, year after year, and flings down its tufts of verdure upon the
barrenness below.  The beach itself is a broad space of sand, brown
and sparkling, with hardly any pebbles intermixed.  Near the water's
edge there is a wet margin, which glistens brightly in the sunshine,
and reflects objects like a mirror; and as we tread along the
glistening border, a dry spot flashes around each footstep, but grows
moist again, as we lift our feet.  In some spots, the sand receives a
complete impression of the sole, square toe and all; elsewhere it is
of such marble firmness, that we must stamp heavily to leave a print
even of the iron-shod heel.  Along the whole of this extensive beach
gambols the surf wave: now it makes a feint of dashing onward in a
fury, yet dies away with a meek murmur, and does but kiss the strand;
now, after many such abortive efforts, it rears itself up in an
unbroken line, heightening as it advances, without a speck of foam on
its green crest.  With how fierce a roar it flings itself forward, and
rushes far up the beach!

As I threw my eyes along the edge of the surf, I remember that I was
startled, as Robinson Crusoe might have been, by the sense that human
life was within the magic circle of my solitude.  Afar off in the
remote distance of the beach, appearing like sea-nymphs, or some
airier things, such as might tread upon the feathery spray, was a
group of girls.  Hardly had I beheld them, when they passed into the
shadow of the rocks and vanished.  To comfort myself--for truly I
would fain have gazed a while longer--I made acquaintance with a flock
of beach birds.  These little citizens of the sea and air preceded me
by about a stone's-throw along the strand, seeking, I suppose, for
food upon its margin.  Yet, with a philosophy which mankind would do
well to imitate, they drew a continual pleasure from their toil for a
subsistence.  The sea was each little bird's great playmate. They
chased it downward as it swept back, and again ran up swiftly before
the impending wave, which sometimes overtook them and bore them off
their feet.  But they floated as lightly as one of their own feathers
on the breaking crest.  In their airy flutterings, they seemed to rest
on the evanescent spray.  Their images--long-legged little figures,
with gray backs and snowy bosoms--were seen as distinctly as the
realities in the mirror of the glistening strand.  As I advanced, they
flew a score or two of yards, and, again alighting, recommenced their
dalliance with the surf wave; and thus they bore me company along the
beach, the types of pleasant fantasies, till, at its extremity, they
took wing over the ocean, and were gone.  After forming a friendship
with these small surf-spirits, it is really worth a sigh, to find no
memorial of them, save their multitudinous little tracks in the sand.

When we have paced the length of the beach, it is pleasant, and not
unprofitable, to retrace our steps, and recall the whole mood and
occupation of the mind during the former passage.  Our tracks, being
all discernible, will guide us with an observing consciousness through
every unconscious wandering of thought and fancy.  Here we followed
the surf in its reflux, to pick up a shell which the sea seemed loath
to relinquish.  Here we found a sea-weed, with an immense brown leaf,
and trailed it behind us by its long snake-like stalk.  Here we seized
a live horseshoe by the tail, and counted the many claws of the queer
monster.  Here we dug into the sand for pebbles, and skipped them upon
the surface of the water.  Here we wet our feet while examining a
jelly-fish, which the waves, having just tossed it up, now sought to
snatch away again.  Here we trod along the brink of a fresh-water
brooklet, which flows across the beach, becoming shallower and more
shallow, till at last it sinks into the sand, and perishes in the
effort to bear its little tribute to the main.  Here some vagary
appears to have bewildered us; for our tracks go round and round, and
are confusedly intermingled, as if we had found a labyrinth upon the
level beach.  And here, amid our idle pastime, we sat down upon almost
the only stone that breaks the surface of the sand, and were lost in
an unlooked-for and overpowering conception of the majesty and
awfulness of the great deep.  Thus, by tracking our footprints in the
sand, we track our own nature in its wayward course, and steal a
glance upon it, when it never dreams of being so observed.  Such
glances always make us wiser.

This extensive beach affords room for another pleasant pastime. With
your staff you may write verses--love-verses, if they please you best--and
consecrate them with a woman's name.  Here, too, may be inscribed
thoughts, feelings, desires, warm out-gushings from the heart's secret
places, which you would not pour upon the sand without the certainty
that, almost ere the sky has looked upon them, the sea will wash them
out.  Stir not hence till the record be effaced.  Now--for there is
room enough on your canvas--draw huge faces,--huge as that of the
Sphinx on Egyptian sands,--and fit them with bodies of corresponding
immensity, and legs which might stride half-way to yonder island.
Child's play becomes magnificent on so grand a scale.  But, after all,
the most fascinating employment is simply to write your name in the
sand.  Draw the letters gigantic, so that two strides may barely
measure them, and three for the long strokes!  Cut deep, that the
record may be permanent!  Statesmen, and warriors, and poets have
spent their strength in no better cause than this.  Is it
accomplished?  Return, then, in an hour or two, and seek for this
mighty record of a name.  The sea will have swept over it, even as
time rolls its effacing waves over the names of statesmen, and
warriors, and poets.  Hark, the surf wave laughs at you!

Passing from the beach, I begin to clamber over the crags, making my
difficult way among the ruins of a rampart, shattered and broken by
the assaults of a fierce enemy.  The rocks rise in every variety of
attitude; some of them have their feet in the foam, and are shagged
half-way upward with sea-weed; some have been hollowed almost into
caverns by the unwearied toil of the sea, which can afford to spend
centuries in wearing away a rock, or even polishing a pebble.  One
huge rock ascends in monumental shape, with a face like a giant's
tombstone, on which the veins resemble inscriptions, but in an unknown
tongue.  We will fancy them the forgotten characters of an
antediluvian race; or else that Nature's own hand has here recorded a
mystery, which, could I read her language, would make mankind the
wiser and the happier.  How many a thing has troubled me with that
same idea! Pass on, and leave it unexplained.  Here is a narrow
avenue, which might seem to have been hewn through the very heart of
an enormous crag, affording passage for the rising sea to thunder back
and forth, filling it with tumultuous foam, and then leaving its floor
of black pebbles bare and glistening.  In this chasm there was once an
intersecting vein of softer stone, which the waves have gnawed away
piecemeal, while the granite walls remain entire on either side.  How
sharply, and with what harsh clamor, does the sea rake hack the
pebbles, as it momentarily withdraws into its own depths!  At
intervals, the floor of the chasm is left nearly dry; but anon, at the
outlet, two or three great waves are seen struggling to get in at
once; two hit the walls athwart, while one rushes straight through,
and all three thunder, as if with rage and triumph.  They heap the
chasm with a snow-drift of foam and spray.  While watching this scene,
I can never rid myself of the idea that a monster, endowed with life
and fierce energy, is striving to burst his way through the narrow
pass.  And what a contrast, to look through the stormy chasm, and
catch a glimpse of the calm bright sea beyond!

Many interesting discoveries may be made among these broken cliffs.
Once, for example, I found a dead seal, which a recent tempest had
tossed into the nook of the rocks, where his shaggy carcass lay rolled
in a heap of eel-grass, as if the sea-monster sought to hide himself
from my eye.  Another time, a shark seemed on the point of leaping
from the surf to swallow me; nor did I wholly without dread approach
near enough to ascertain that the man-eater had already met his own
death from some fisherman in the bay.  In the same ramble, I
encountered a bird,--a large gray bird,--but whether a loon, or a wild
goose, or the identical albatross of the Ancient Mariner, was beyond
my ornithology to decide.  It reposed so naturally on a bed of dry
sea-weed, with its head beside its wing, that I almost fancied it
alive, and trod softly lest it should suddenly spread its wings
skyward. But the sea-bird would soar among the clouds no more, nor
ride upon its native waves; so I drew near, and pulled out one of its
mottled tail-feathers for a remembrance.  Another day, I discovered an
immense bone, wedged into a chasm of the rocks; it was at least ten
feet long, curved like a cimeter, bejewelled with barnacles and small
shell-fish, and partly covered with a growth of sea-weed.  Some
leviathan of former ages had used this ponderous mass as a jawbone.
Curiosities of a minuter order may be observed in a deep reservoir,
which is replenished with water at every tide, but becomes a lake
among the crags, save when the sea is at its height.  At the bottom of
this rocky basin grow marine plants, some of which tower high beneath
the water, and cast a shadow in the sunshine.  Small fishes dart to
and fro, and hide themselves among the sea-weed; there is also a
solitary crab, who appears to lead the life of a hermit, communing
with none of the other denizens of the place; and likewise several
five-fingers,--for I know no other name than that which children give
them.  If your imagination be at all accustomed to such freaks, you
may look down into the depths of this pool, and fancy it the
mysterious depth of ocean.  But where are the hulks and scattered
timbers of sunken ships? where the treasures that old Ocean
hoards?--where the corroded cannon?--where the corpses and skeletons
of seamen, who went down in storm and battle?

On the day of my last ramble (it was a September day, yet as warm as
summer), what should I behold as I approached the above-described
basin but three girls sitting on its margin, and--yes, it is veritably
so--laving their snowy feet in the sunny water!  These, these are the
warm realities of those three visionary shapes that flitted from me on
the beach.  Hark!  their merry voices, as they toss up the water with
their feet!  They have not seen me.  I must shrink behind this rock,
and steal away again.

In honest truth, vowed to solitude as I am, there is something in this
encounter that makes the heart flutter with a strangely pleasant
sensation.  I know these girls to be realities of flesh and blood,
yet, glancing at them so briefly, they mingle like kindred creatures
with the ideal beings of my mind.  It is pleasant, likewise, to gaze
down from some high crag, and watch a group of children, gathering
pebbles and pearly shells, and playing with the surf, as with old
Ocean's hoary beard.  Nor does it infringe upon my seclusion, to see
yonder boat at anchor off the shore, swinging dreamily to and fro, and
rising and sinking with the alternate swell; while the crew--four
gentlemen, in round-about jackets--are busy with their fishing-lines.
But, with an inward antipathy and a headlong flight, do I eschew the
presence of any meditative stroller like myself, known by his pilgrim
staff, his sauntering step, his shy demeanor, his observant yet
abstracted eye.  From such a man, as if another self had scared me, I
scramble hastily over the rocks, and take refuge in a nook which many
a secret hour has given me a right to call my own.  I would do battle
for it even with the churl that should produce the title-deeds.  Have
not my musings melted into its rocky walls and sandy floor, and made
them a portion of myself?

It is a recess in the line of cliffs, walled round by a rough, high
precipice, which almost encircles and shuts in a little space of sand.
In front, the sea appears as between the pillars of a portal.  In the
rear, the precipice is broken and intermixed with earth, which gives
nourishment not only to-clinging and twining shrubs, but to trees,
that gripe the rock with their naked roots, and seem to struggle hard
for footing and for soil enough to live upon.  These are fir-trees;
but oaks hang their heavy branches from above, and throw down acorns
on the beach, and shed their withering foliage upon the waves.  At
this autumnal season, the precipice is decked with variegated
splendor; trailing wreaths of scarlet flaunt from the summit downward;
tufts of yellow-flowering shrubs, and rose-bushes, with their reddened
leaves and glossy seed-berries, sprout from each crevice; at every
glance, I detect some new light or shade of beauty, all contrasting
with the stern, gray rock.  A rill of water trickles down the cliff
and fills a little cistern near the base.  I drain it at a draught,
and find it fresh and pure.  This recess shall be my dining-hall.
And what the feast?  A few biscuits, made savory by soaking them in
seawater, a tuft of samphire gathered from the beach, and an apple for
the dessert. By this time, the little rill has filled its reservoir
again; and, as I quaff it, I thank God morn heartily than for a civic
banquet, that he gives me the healthful appetite to make a feast of
bread and water.

Dinner being over, I throw myself at length upon the sand, and,
basking in the sunshine, let my mind disport itself at will.  The
walls of this my hermitage have no tongue to tell my follies, though I
sometimes fancy that they have ears to hear them, and a soul to
sympathize.  There is a magic in this spot.  Dreams haunt its
precincts, and flit around me in broad sunlight, nor require that
sleep shall blindfold me to real objects, ere these be visible.  Here
can I frame a story of two lovers, and make their shadows live before
me, and be mirrored in the tranquil water, as they tread along the
sand, leaving no footprints.  Here, should I will it, I can summon up
a single shade, and be myself her lover. Yes, dreamer,--but your
lonely heart will be the colder for such fancies.  Sometimes, too, the
Past comes back, and finds me here, and in her train come faces which
were gladsome, when I knew them, yet seem not gladsome now.  Would
that my hiding-place were lonelier, so that the past might not find
me!  Get ye all gone, old friends, and let me listen to the murmur of
the sea,--a melancholy voice, but less sad than yours.  Of what
mysteries is it telling?  Of sunken ships, and whereabouts they lie?
Of islands afar and undiscovered, whose tawny children are unconscious
of other islands and of continents, and deem the stars of heaven their
nearest neighbors?  Nothing of all this. What then?  Has it talked for
so many ages, and meant nothing all the while--No; for those ages find
utterance in the sea's unchanging voice, and warn the listener to
withdraw his interest from mortal vicissitudes, and let the infinite
idea of eternity pervade his soul.  This is wisdom; and, therefore,
will I spend the next half-hour in shaping little boats of drift-wood,
and launching them on voyages across the cove, with the feather of a
sea-gull for a sail.  If the voice of ages tell me true, this is as
wise an occupation as to build ships of five hundred tons, and launch
them forth upon the main, bound to "far Cathay."  Yet, how would the
merchant sneer at me!

And, after all, can such philosophy be true?  Methinks I could find a
thousand arguments against it.  Well, then, let yonder shaggy rock,
mid-deep in the surf,--see! he is somewhat wrathful,--he rages and
roars and foams,--let that tall rock be my antagonist, and let me
exercise my oratory like him of Athens, who bandied words with an
angry sea and got the victory.  My maiden speech is a triumphant one;
for the gentleman in sea-weed has nothing to offer in reply, save an
immitigable roaring.  His voice, indeed, will be heard a long while
after mine is hushed. Once more I shout, and the cliffs reverberate
the sound.  O, what joy for a shy man to feel himself so solitary,
that he may lift his voice to its highest pitch without hazard of a
listener! But, hush!--be silent, my good friend!--whence comes that
stifled laughter?  It was musical,--but how should there be such music
in my solitude?  Looking upwards, I catch a glimpse of three faces,
peeping from the summit of the cliff, like angels between me and their
native sky.  Ah, fair girls, you may make yourselves merry at my
eloquence,--but it was my turn to smile when I saw your white feet in
the pool!  Let us keep each other's secrets.

The sunshine has now passed from my hermitage, except a gleam upon the
sand just where it meets the sea.  A crowd of gloomy fantasies will
come and haunt me, if I tarry longer here, in the darkening twilight
of these gray rocks.  This is a dismal place in some moods of the
mind.  Climb we, therefore, the precipice, and pause a moment on the
brink, gazing down into that hollow chamber by the deep where we have
been, what few can be, sufficient to our own pastime,-yes, say the
word outright!--self-sufficient to our own happiness.  How lonesome
looks the recess now, and dreary, too,--like all other spots where
happiness has been!  There lies my shadow in the departing sunshine
with its head upon the sea.  I will pelt it with pebbles.  A hit! a
hit! I clap my hands in triumph, and see!  my shadow clapping its
unreal hands, and claiming the triumph for itself.  What a simpleton
must I have been all day,--since my own shadow makes a mock of my
fooleries!

Homeward! homeward!  It is time to hasten home.  It is time; it is
time; for as the sun sinks over the western wave, the sea grows
melancholy, and the surf has a saddened tone.  The distant sails
appear astray, and not of earth, in their remoteness amid the desolate
waste.  My spirit wanders forth afar, but finds no resting-place, and
comes shivering back.  It is time that I were hence.  But grudge me
not the day that has been spent in seclusion, which yet was not
solitude, since the great sea has been my companion, and the little
sea-birds my friends, and the wind has told me his secrets, and airy
shapes have flitted around me in my hermitage.  Such companionship
works an effect upon a man's character, as if he had been admitted to
the society of creatures that are not mortal.  And when, at noontide,
I tread the crowded streets, the influence of this day will still be
felt; so that I shall walk among men kindly and as a brother, with
affection and sympathy, but yet shall not melt into the
indistinguishable mass of humankind.  I shall think my own thoughts,
and feel my own emotions, and possess my individuality unviolated.

But it is good, at the eve of such a day, to feel and know that there
are men and women in the world.  That feeling and that knowledge are
mine, at this moment; for, on the shore, far below me, the fishing-party
have landed from their skiff, and are cooking their scaly prey
by a fire of drift-wood, kindled in the angle of two rude rocks.  The
three visionary girls are likewise there.  In the deepening twilight,
while the surf is dashed near their hearth, the ruddy gleam of the
fire throws a strange air of comfort over the wild cove, bestrewn as
it is with pebbles and sea-weed, and exposed to the "melancholy main."
Moreover, as the smoke climbs up the precipice, it brings with it a
savory smell from a pan of fried fish, and a black kettle of chowder,
and reminds me that my dinner was nothing but bread and water, and a
tuft of samphire, and an apple.  Methinks the party night find room
for another guest, at that flat rock which serves them for a table;
and if spoons be scarce, I could pick up a clamshell on the beach.
They see me now; and--the blessing of a hungry man upon him!--one of
them sends up a hospitable shout,--halloo, Sir Solitary! come down and
sup with us!  The ladies wave their handkerchiefs.  Can I decline?
No; and be it owned, after all my solitary joys, that this is the
sweetest moment of a Day by the Sea-shore.









End of the Project Gutenberg EBook of Footprints on the Sea-Shore (From
"Twice Told Tales"), by Nathaniel Hawthorne

*** END OF THIS PROJECT GUTENBERG EBOOK FOOTPRINTS ON THE SEA-SHORE ***

***** This file should be named 9218.txt or 9218.zip *****
This and all associated files of various formats will be found in:
        https://www.gutenberg.org/9/2/1/9218/

Produced by David Widger.  HTML version by Al Haines.

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
https://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 MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

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

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

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

Volunteers and financial support to provide volunteers with the
assistance they need 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 web page at https://www.pglaf.org.


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

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

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected].  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     [email protected]


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

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

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

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

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

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations.  To donate, please visit: https://pglaf.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 thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.


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


Most people start at our Web site which has the main PG search facility:

     https://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.