The Project Gutenberg EBook of The Battle of Sempach, by Robert Walser 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: The Battle of Sempach Author: Robert Walser Translator: Michael Wooff Release Date: November 30, 2012 [EBook #41518] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK THE BATTLE OF SEMPACH *** Produced by Michael Wooff The Battle of Sempach A Story By Robert Walser (1878-1956) Berlin. The Future Press. 1908. One day, in the middle of high summer, a military expedition was advancing slowly down the dusty country road that led towards a district of Luzern. The bright, actually more than bright, sun dazzled down over swaying armour serving to cover human bodies, over prancing horses, over helmets and parts of faces, over equine heads and tails, over ornaments and plumes and stirrups as big as snowshoes. To the right and to the left of the shining military expedition spread out meadows with thousands of fruit trees in them up as far as hills that, looming up out of the blue-smelling, half-hazy distance, beckoned and had the same effect as light and carefully painted window dressing. It was before noon and the heat was already oppressive. It was a meadowy heat, a heat contained in grass, hay and dust, for thick clouds of dust were being thrown up that sometimes descended like a veil over parts and sections of the army. Sluggishly, ploddingly, carelessly the long cavalcade moved forward. Sometimes it looked like a shimmering and elongated snake, sometimes like a lizard of enormous girth, sometimes like a large piece of cloth, richly embroidered with figures and colourful shapes and ceremoniously trailed as with ladies, elderly and domineering ones as far as I'm concerned, accustomed to dragging trains behind them. In all this military might's method and way of doing things, in the stamping of feet and the clinking of weapons, in this rough and ready clatter lurked an "as far as I'm concerned" that was uniform, something impudent, full of confidence, something upsetting, slowly pushing to one side. All these knights were conversing, as far as their iron-clad mouths would allow them, in joyful verbal banter with each other. Peals of laughter rang out and this sound was admirably suited to the bright tones emitted by weapons and chains and golden belts. The morning sun still appeared to caress a good deal of brass and finer metal. The sounds of tin whistles flew sunward. Now and again one of the many footmen walking as if on stilts would tender to his mounted lord a delicate titbit, stuck on a silver fork, right up to his swaying saddle. Wine was drunk on the move, poultry consumed and nothing edible spat out, with an easy-going, carefree amiability, for this was no earnest war involving chivalry they were riding to, but more of a punitive expedition, a statutory rape, bloody, scornful, histrionic things. Everybody there thought so and everybody saw already the heap of cut-off heads that would redden the meadow. Among the leaders of the expedition was many a wonderful noble young man splendidly attired, sitting on horseback like a male angel flown down from a blue uncertain heaven. Many a one had taken off his helmet to make things more comfortable for himself and given it to an attendant to carry. By doing so he displayed to the air a peculiarly finely drawn face that was a mixture of innocence and exuberance. They were telling the latest jokes and discussing the most up-to-date stories of courtly women. The serious ones in their company they tolerated as best they could; it seemed today as if a pensive expression was deemed to be improper and unchivalrous. The hair of the young knights who had taken their helmets off, shone and smelt of oil and unguents and sweet-smelling water that they had poured on it as if it had been a matter of riding to visit a coquette to sing her charming love songs. Their hands, from which the iron gauntlets had been taken off, did not look like those of warriors, but manicured and pampered, slender and white like the hands of young girls. Only one person in the wild procession was serious. Already his outward appearance, armour that was deep black broken up with tender gold, indicated how the person it covered thought. He was the noble Duke Leopold of Austria. This man did not speak a word and seemed completely lost in anxious thoughts. His face looked like that of a person who is being pestered by a fly that is impudently flying round his eye. This fly may well have been a presentiment that something bad was going to happen for a smile that was permanently both contemptuous and sad played over his mouth. He kept his head lowered. The whole world, however cheerful it looked, seemed to him to roll and thunder angrily. Or was it just the thunder of the trampling hooves of horses as the army was now passing over a wooden bridge that spanned the river Reuss? Nevertheless something foreshadowing misfortune hovered horribly around the duke's bodily form. * * * The army stopped near the little town of Sempach. It was now about two o'clock in the afternoon. It may have been three o'clock. It was a matter of indifference to the knights what the time might be. As far as they were concerned it could have been eight o'clock at night--they would have found that quite in order. They were already terribly bored and found even the slightest trace of military discipline laughable. It was a dull moment. It was like a parade ground manoeuvre how they jumped from their saddles to take up a position. No-one wanted to laugh any more. They had already laughed so much. Yawning and exhaustion had set in. Even the horses seemed to understand that all one could do now was yawn. The servants on foot tucked into the remnants of the food and wine, quaffed and scoffed what there was still left to scoff and quaff. How ridiculous this whole expedition appeared to all concerned! This shabby little town that was still holding out: how stupid it all was! The call of a horn rang out suddenly through the frightful heat and boredom. It left one or two more attentive ears particularly inquisitive as to what it might be. Listen: there it is again. It really did sound out again and it could generally have been believed that it was now ringing out from not so far away. "All good things come in threes," lisped a facetious fop. "Sound one more time, horn!" And time marched on. People had become somewhat pensive--and now, in addition, frightened, as if the thing had grown wings and was riding on fiery monsters in that direction, consumed by flames and shouting, setting up a long cry: We're coming! It was in truth as if a subterranean world had suddenly received a breath of fresh air, breaking in through the hard earth above. The sound was like the opening up of a dark precipice and it seemed as if the sun were shining down now out of a darkened sky even more glowingly, even more harshly, but a light coming down out of hell and not out of heaven. People laughed again--there are moments when man thinks he ought to smile when really what he feels is the icy grip of terror. The mood of a military expedition made up of many men is, at the end of the day, not very different from the mood of a single and solitary individual. The whole of the landscape in its stifling white heat now seemed to be still making a hooting noise. It had turned into the sounds of horns and now there entered without any more ado into the range of horns being blown, as if from an opening, the crowd of men from whom the sound had gone out. Now the landscape was featureless. The sky and the earth in summer came together as something solid. The season disappeared. A geographical location, a tilting yard, a bellicose play area had become a battlefield. Nature plays no part in a battle. Everything depends on luck, the calibre of the weaponry, one crowd of people and another crowd of people. The rushing forward, to all appearances heated, crowd drew nearer. And the crowd of knights stood firm seeming for once to have knit together. Lads of iron held their lances out in front of them so that you could have driven a coach and four over the resulting bridge so densely packed were the knights and so unsurprisingly lance after lance stuck out, immobile, unmovable, just the thing one might have thought for one of the pushing, pressing, human chests opposite to be spitted by. Here a stupid wall of sharp points, there men in shirts, only half dressed. Here the art of war practised in the most narrow-minded of ways, there men in the grip of inarticulate anger. One after another they ran forward boldly just to put an end to this despicable lack of enthusiasm and threw themselves onto the tip of a lance, crazy, mad, driven by rage and fury. They ended up, of course, falling over one another on the ground without having been able even to inflict a wound with their hand-held weapons on the plumed and helmeted louts of iron opposite. They fell face down into the dusty horse dung left behind on the ground by noble mounts. And so it befell nearly all these men in a state of undress while the lances, already reddened by their blood, seemed to smile at them disdainfully. * * * No. That was nothing. One saw oneself compelled to make use of a trick in order to be on the side of humanity. Confronted by art, either art or some lofty thought was called for and that lofty thought, in the shape of a man of lofty face, immediately stepped forward as if pushed there by a supernatural power and addressed his countrymen: "Look after my wife and my children. I'll make a path through for you." And he threw himself forthwith so as not to let cool his desire for self-sacrifice onto four or five lances and pulled down several more, as many as he could force to his chest in the act of dying. It was as if he could not embrace these iron points enough and drag them into himself to be able to die with unlimited resources and to lie on the ground and turn into a bridge for men who then trampled over his body, on the lofty thought that wanted to be trampled on. Nothing will ever again compare with such a thrashing and the way in which those lightly-clad valley and mountain folk smashed that clumsy, despicable wall and tore it and beat it to bits like tigers ripping to pieces a defenceless herd of cows. The knights had become almost totally defenceless since, being hemmed in, they could hardly move to the side. Mounted knights were popped from their horses like paper bags filled with air pop when you clap your hands on them. The herdsmen's weapons now proved frightful and their light summer clothing just right. Armour to the knights was that much more burdensome. Heads were stroked by side-swipes, only stroked apparently, and turned out to have been severed. More and more knights were being struck down, horses overturned and the power and rage of the onslaught kept increasing. The duke was killed outright. It would have been a miracle had he not been killed. Those who were raining down blows shouted as they did so, as if it were appropriate, as if just killing were too slight an annihilation, only a half measure. Heat, steam, the smell of blood, dirt and dust and the shouting and yelling merged in a wild, diabolical turmoil. The dying hardly even felt the onset of their death, they died so quickly. They suffocated in droves in their showy iron armour, those threshing flails. What further comment need be made? Each of them would gladly have given a damn, had they still been able to. Fine noblemen drowned in their hundreds; no, they were drownded in the nearby Lake of Sempach; they were drownded because they were pushed into the water like cats and dogs. They overbalanced and fell over one another in their elegant pointed shoes--it was a real shame. The most splendid armour plating could only vouchsafe to its wearer oblivion and the realisation of this frightening presentiment was not contradicted. What did it matter now that at home, in the Aargau or in Swabia, knights owned land and people, had a beautiful wife, servants, maidservants, fruit trees, fields and woods and collected taxes and enjoyed the finest privileges? That only made dying in these pools of water between the pressing down knee of a crazy herdsman and a piece of earth more bitter and more wretched. The warhorses in their uncontrolled flight naturally stamped on their own masters. Many knights, in the abruptness of their desire to dismount, got caught up in the stirrups with their silly but fashionable footwear and were left hanging from them so that they bumped themselves over the grass bleeding from the backs of their heads. Their shocked eyes in the meantime, before they closed for good, saw the sky burn above them like an angry flame. Herdsmen also died, of course, but for every one bare-breasted and bare-armed combatant who died there were always ten armour-plated and wrapped up ones. The battle of Sempach teaches us, in fact, how dreadfully stupid it is to wrap up well. If only those puppets had been able to move, yes, they would have done. Some did manage to do so, so that they were finally able to free themselves from that totally unbearable thing they were carrying on their body. "I am fighting with slaves. How disgusting!" cried a handsome youth with yellowish hair falling down to his shoulders and sank to the ground, hit full in his fair face by a vicious blow, where he, fatally wounded, bit the grass with his half-smashed teeth. A few herdsmen, whose deadly weapons had gone missing from their hands, pulled down like wrestlers in a wrestling ring their opponents from below by the scruff of the neck and head or threw themselves, avoiding counter blows, at the throat of a knight and throttled him, strangling him to death. * * * Meanwhile it had started to go dark. The dying light still glowed in trees and bushes while the sun went down among the dusky foothills of the Alps like a dead, sad and handsome man. The grim battle was over. The snow-white, pallid Alps let their fine, cold brows hang down and in the background was the world. Burial details gathered up the dead, went around quietly doing this, lifted up the fallen who were lying on the ground and took them to the mass grave that other men had dug. Standards and armour were piled up together till they formed an imposing heap. Money and treasure together. Everything was set down in a certain place. Most of these strong and simple men had grown silent and well-behaved. They were observing the captured valuables not without a melancholic contempt, walking up and down the meadows, looking at the faces of the slain and washing off the blood when it pleased them to see what the sullied facial features looked like. Two youths were found at the foot of some shrubs with young, bright faces, lips still smiling even in death and with their arms around each other as they lay on the ground. One of them had suffered a blow to the chest while the other had had his body ripped open. There was work for them to do till late at night. After that torches were used to find corpses. They came across the body of Arnold von Winkelried and beheld him with reverence. When the men buried him, they sang with deep voices one of their simple songs. There was no more pomp under the circumstances. There were no priests there. What would one have done with priests? Praying and thanking God for the hard-fought victory had to happen quietly without church candles. Then they went home. And after a few days they were scattered back again in their high valleys. They were working, serving, saving, looking after businesses, doing what needed to be done and still spoke occasionally of the battle they had lived through, though not much. They were not hailed as heroes (well, perhaps a little in Luzern on their triumphal entry to that town). No matter. The days glided over it, for the days, with their multiplicity of cares, were harsh and raw even then, in 1386. A great deed does not strike from the calendar the arduous sequence of days. Life does not stand still for long on the day of a battle. History just pauses a short while until it too, forced on by life's imperious demands, has to hasten forward. End of the Project Gutenberg EBook of The Battle of Sempach, by Robert Walser *** END OF THIS PROJECT GUTENBERG EBOOK THE BATTLE OF SEMPACH *** ***** This file should be named 41518.txt or 41518.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/4/1/5/1/41518/ Produced by Michael Wooff 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.