Love Sonnets of an Office Boy

By Samuel E. Kiser

Project Gutenberg's Love Sonnets of an Office Boy, by Samuel Ellsworth Kiser

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: Love Sonnets of an Office Boy

Author: Samuel Ellsworth Kiser

Illustrator: John T. McCutcheon

Release Date: January 14, 2012 [EBook #38572]

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK LOVE SONNETS OF AN OFFICE BOY ***




Produced by David Edwards, David E. Brown and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
file was produced from images generously made available
by The Internet Archive)









  LOVE SONNETS OF AN
  OFFICE BOY




  [Illustration]




  Love Sonnets of an
  Office Boy

  By
  Samuel Ellsworth Kiser

  Illustrated by
  John T. McCutcheon

  Forbes & Company
  Boston and Chicago
  1902

  _Copyright, 1902_
  BY SAMUEL ELLSWORTH KISER

  Published by arrangement with
  THE CHICAGO RECORD-HERALD

  Colonial Press: Electrotyped and Printed
  by C. H. Simonds & Co., Boston, U.S.A.




  LOVE SONNETS OF AN
  OFFICE BOY




  I.


  Oh, if you only knowed how much I like
    To stand here, when the "old man" ain't around,
    And watch your soft, white fingers while you pound
  Away at them there keys! Each time you strike
    It almost seems to me as though you'd found
  Some way, while writin' letters, how to play
    Sweet music on that thing, because the sound
  Is something I could listen to all day.

  You're twenty-five or six and I'm fourteen,
    And you don't hardly ever notice me--
    But when you do, you call me Willie! Gee,
  I wisht I'd bundles of the old long green
    And could be twenty-eight or nine or so,
    And something happened to your other beau.




  II.


  I heard the old man scoldin' yesterday
    Because your spellin' didn't suit him quite;
    He said you'd better go to school at night,
  And you was rattled when he turned away;
    You had to tear the letter up and write
  It all again, and when nobody seen
    I went and dented in his hat for spite:
  That's what he got for treatin' you so mean.

  I wish that you typewrote for me and we
    Was far off on an island, all alone;
  I'd fix a place up under some nice tree,
  And every time your fingers struck a key
    I'd grab your hands and hold them in my own,
  And any way you spelt would do for me.




[Illustration]




  III.


  I wish a fire'd start up here, some day,
    And all the rest would run away from you--
    The boss and that long-legged bookkeeper, too,
  That you keep smilin' at--and after they
  Was all down-stairs you'd holler out and say:
    "Won't no one come and save me? Must I choke
    And die alone here in the heat and smoke?
  Oh, cowards that they was to run away!"

  And then I'd come and grab you up and go
    Out through the hall and down the stairs, and when
    I got you saved the crowd would cheer, and then
  They'd take me to the hospital, and so
    You'd come and stay beside me there and cry
    And say you'd hate to live if I would die.




[Illustration]




  IV.


  Yesterday I stood behind your chair
    When you was kind of bendin' down to write,
    And I could see your neck, so soft and white,
  And notice where the poker singed your hair,
  And then you looked around and seen me there,
    And kind of smiled, and I could seem to feel
  A sudden empty, sinkish feelin' where
    I'm all filled up when I've just e't a meal.

  Dear Frankie, where your soft, sweet finger tips
  Hit on the keys I often touch my lips,
    And wunst I kissed your little overshoe,
  And I have got a hairpin that you wore--
  One day I found it on the office floor--
    I'd throw my job up if they fired you.




  V.


  She's got a dimple in her chin, and, oh,
    How soft and smooth it looks; her eyes are blue;
    The red seems always tryin' to peep through
  The middle of her cheeks. I'd like to go
  And lay my face up next to hers and throw
    My arms around her neck, with just us two
    Alone together, but not carin' who
  Might scold if they should see us actin' so.

  If I would know that some poor girl loved me
    As much as I do her, sometimes I'd take
    Her in my arms a little while and make
  Her happy just for kindness, and to see
    The pleased look that acrost her face'd break,
  And hear the sighs that showed how glad she'd be.




  VI.


  When you're typewritin' and that long-legged clerk
    Tips back there on his chair and smiles at you,
    And you look up and get to smilin', too,
  I'd like to go and give his chair a jerk
    And send him flyin' till his head went through
  The door that goes out to the hall, and when
    They picked him up he'd be all black and blue
  And you'd be nearly busted laughin' then.

  But if I done it, maybe you would run
    And hold his head and smooth his hair and say
    It made you sad that he got dumped that way,
  And I'd get h'isted out for what I done--
    I wish that he'd get fired and you'd stay
    And suddenly I'd be a man some day.


[Illustration]




  VII.


  If I was grown to be a man, and you
    And all the others that are workin' here
    Was always under me, and I could clear
  The place to-morrow if I wanted to,
  I'd buy an easy chair all nice and new
    And get a bird to sing above your head,
    And let you set and rest all day, instead
  Of hammerin' them keys the way you do.

  I'd bounce that long-legged clerk and then I'd raise
    Your wages and move up my desk beside
    Where you'd be settin,' restin' there, and I'd
  Not care about the weather--all the days
    Would make me glad, and in the evenings then
    I'd wish't was time to start to work again.




[Illustration]




  VIII.


  This morning when that homely, long-legged clerk
    Come in he had a rose he got somewhere;
    He went and kind of leaned against her chair,
  Instead of goin' on about his work,
  And stood around and talked to her awhile,
    Because the boss was out,--and both took care
    To watch the door; and when he left her there
  He dropped the flower with a sickish smile.

  I snuck it from the glass of water she
    Had stuck it in, and tore it up and put
    It on the floor and smashed it with my foot,
  When neither him nor her was watchin' me--
    I'd like to rub the stem acrost his nose,
    And I wish they'd never be another rose.




  IX.


  Yesterday I watched you when you set
    There with your little lunch-box in your lap;
    I seen you nibble at a ginger snap,
  And wished that where your lips had made it wet
  I'd have a chance to take a bite and let
    My mouth be right where yours was before;
  And after you had got your apple e't,
    And wasn't lookin', I picked up the core.

  I pressed my mouth against it then, and so
    It seemed almost the same as kissin' you,
    Your teeth had touched it, and your red lips, too,
  And it was good and tasted sweet, and, oh,
    I wished you'd bring an apple every day
    And I could have the cores you'd throw away.




  X.


  I wish, when you was through your work some night
    And goin' home alone, and had your pay
    Stuck in your stockin'--what you drew that day--
  A robber'd come along with all his might
  And you'd be nearly scared to death, and right
    There in the street you'd almost faint and say:
    "Good robber, please don't hurt me--go away!"
  And as he grabbed you then I'd come in sight.

  I wish I'd be as strong as two or three
    Big giants then, and when I handed one
    Out to him he'd be through, all in, and done,
  And then you'd look and see that it was me,
    And, thinkin' of the great escape you had,
    You'd snuggle in my arms and just be glad.




[Illustration]




  XI.


  Her brother come this morning with a note
    What said that she was home and sick in bed;
    She's got an awful bad cold in her head--
  They think it might run into the sore throat,
  And oh, what if she'd not come back again,
    And they would get some other girl instead
    Of her to typewrite here, and she'd be dead?
  I wouldn't care no more for nothin' then.

  I wish I was the doctor that they'd get,
    And when I'd take her pulse I'd hold her hand
  And say "Poor little girl!" to her, and set
  Beside the bed awhile and kind of let
    My arm go 'round her, slow and careful, and
  Say, "Now put out your tongue a little, pet."




  XII.


  She's back to work again; I'm awful glad;
    When she was sick it seemed to me as though
    The clocks all got to goin' kind of slow,
  And every key she pounds looked kind of sad.
    It's tough to have to hear her coughin' so--
  I wish that I could take her cold and she
    Would know I took it, and not have to blow
  Her nose no more, and be as well as me.

  She takes some kind of cough stuff in a spoon,
    I seen her lickin' it this morning when
    She took a dose and put it down again,
  And when the rest went out awhile at noon
    I got her spoon and licked it, and it seemed
    As though it all was something nice I dreamed.




  XIII.


  Last night I dreamed about her in my sleep;
    I thought that her and me had went away
    Out on some hill where birds sung 'round all day,
  And I had got a job of herdin' sheep.
  I thought that she had went along to keep
    Me comp'ny, and we'd set around for hours
    Just lovin', and I'd go and gather flowers
  And pile them at her feet, all in a heap.

  It seemed to me like heaven, bein' there
    With only her besides the sheep and birds,
    And us not sayin' anything but words
  About the way we loved. I wouldn't care
    To ever wake again if I could still
    Dream we was there forever on the hill.




[Illustration]




  XIV.


  This morning when we come to work I got
    Jammed in the elevator back of you, and there
    They made you stick your elbow in me where
  The mince pie lands; the lunch that I had brought
    Was all smashed flat, but still I didn't care;
  You leaned against me, for you couldn't stand
  Because the ones in front were crowdin', and
    My nose was pressed deep into your back hair.

  I wish we'd had to go ten times as high,
    Or else that we'd be shootin' upward yet,
    And never stop no more until we'd get
  Away above the clouds and in the sky,
    And you'd lean back forevermore and let
  Your hairpins always jab me in the eye.




  XV.


  When her and me were here alone, at noon,
    And she had bit a pickle square in two,
    I set and watched and listened to her chew,
  And thought how sweet she was, and pretty soon
  She happened to look down at me and say:
    "You seem so sad, poor boy; what's wrong with you?"
    And then I got to shiverin' all through
  And wished that I was forty miles away.

  I tried to think of some excuse to make,
    But something seemed all whirly in my head,
    And so the first blame thing I knew I said:
  "It's nothin' only just the stummick ache."
    Sometimes I almost wisht that I was dead
  For settin' there and makin' such a break.




  XVI.


  Last night I heard Jones astin' you to go
    To see the opery next Thursday night,
    And you said yes--and he'll be settin' right
  Beside you there all through the whole blamed show,
  And you'll be touchin' him with your elbow,
    And mebby he'll say things that tickle you
    And buy a box of chock'luts for you, too,
  And I'll not be around nor never know.

  I wish I'd be the hero on the stage,
    And you was the fair maiden that got stoled,
    And he would be the villain that would hold
  You frettin' like a song-bird in its cage--
    And then I'd come along and smash him one,
    And you'd say: "Take me, dear, for what you done."




[Illustration]




  XVII.


  When I was dustin' off her desk one day,
    And she was standin' there, I took the pad
    She writes on when she gets dictates and had
  A notion to tear off a leaf and lay
  It up against my heart at night, when they
    Was something made her come to where I stood
    And say, "Poor boy," as softly as she could--
  It almost seemed to take my breath away.

  That night I couldn't sleep at all becuz
    The thoughts about them words that she had said
    Kep' all the time a-goin' through my head
  With thoughts about how beautiful she wuz,
    And then I knowed she loved me, too, or she
    Would not of cared how hard I worked, you see.




  XVIII.


  I'd like to have a lock of her brown hair,
    For that would be a part of her, you know;
    And if she'd tie it with a little bow
  Of ribbon, then I'd fasten it somewhere
  Clear down inside, next to my heart, to wear,
    And fix it over every week or so,
    When I changed undershirts, or maw she'd go
  And raise a fuss because she found it there.

  One day when bizness wasn't on the boom
    She trimmed her finger-nails, and one piece flew
  To where I was, almost acrost the room;
    I watched the spot where it went tumblin' to,
  And now a piece of her is mine; it come
  Right from the end of her dear little thumb.




  XIX.


  I wish, some day, when she's typewritin' and
    I've took a note out for the boss somewhere,
    They'd be some outlaws sneak in here and scare
  That long-legged clerk to death and then the band
    Would steal her, and nobody else would dare
  To try to save her, and they'd run away
    To where they had their cave, and keep her there,
  And ast more for her than her folks could pay.

  Then I would get a gun and bowie-knife
    And take the name of Buckskin Bob or Joe,
    And track them to their den, and then I'd go
  A-galley whoopin' in, and save her life,
    And she would say: "My hero's came at last!"
    And we'd stand there and hold each other fast.




[Illustration]




  XX.


  Last night, when she'd got on her coat and hat
    And felt her dress behind and then her hair,
    To see if everything was all right there,
  She stopped and said: "Well, now just look at that!"
  And then put out one foot a little bit,
    And says: "Ain't that provokin'? I declare,
    The string's untied!" She put it on a chair,
  A-motionin' for me to fasten it.

  So then that long-legged clerk he pushed me back
    And grabbed the shoe-strings that were hangin' down--
    I wish I was the strongest man in town--
  Oh, wouldn't I of let him have a whack!
    And I'd of kicked him so blamed hard I'll bet
    He'd wonder what he might come down on yet.




  XXI.


  My darling, often when you set and think
    Of things that seem to kind of bother you,
    You put your pencil in your mouth and chew
  Around the wood, and let your sweet teeth sink
  Down in it till it's all marked up and split,
    And yesterday I seen you when you threw
    A stub away that you'd bit up; it flew
  Behind the bookcase, where I gobbled it.

  I put it in my mouth, the way you'd done,
    And I could feel the little holes you made--
    The places where your teeth sunk in--I laid
  My tongue tight up against them, every one,
    And shut my eyes, and then you seemed to be
    There with your lips on mine and kissin' me.




  XXII.


  When I was tellin' ma, two days ago,
    About our beautiful typewriter girl
    She dropped the dough and give a sudden whirl
  And said: "She's twic't as old as you, you know--
  She must be twenty-five or six or so.
    Don't think about her any more, my dear,
    And you and me'll be always happy here--
  Besides, she's nothing but an old scarecrow."

  It made me sad to hear her talk that way;
    My darling's just a little girl almost--
    I can't see why ma give her such a roast,
  And I could hardly eat my lunch next day,
    For every time I took a bite of bread
    I almost hated ma for what she said.




[Illustration]




  XXIII.


  The other day a rusty pen got stuck
    Away deep in her finger, and she held
    Her poor, dear little hand up then and yelled
  For me to hurry over there and suck
  The poison out, and when I went I struck
    My toe against the old man's cuspidor
    And rolled about eight feet along the floor
  Before I knew what happened, blame the luck!

  When I set up and looked around, at last
    That long-legged, homely clerk was there, and so
    He had her finger in his mouth, and, oh,
  I'll bet you I'd 'a' kicked him if I dast!
    I never seen the beat the way things go
    When there's a chance for me to stand a show.




  XXIV.


  That homely clerk took her out for a ride
    Last Sunday in a buggy, and they rode
    Around all through the parks; I wisht I'd knowed
  About it, and the horse would kind of shied,
  And then got scared and run and kicked, and I'd
    Of been a piece ahead and saw him jump
    And leave her hangin' on alone, the chump,
  And she'd of been so 'fraid she'd nearly died.

  Then I'd of give a spring and caught the bit,
    And landed on the horse's back, where all
  The people there could see me doin' it,
    And when I got her saved the crowd would call
    Three cheers for me, and then she'd come and fall
  Against my buzzum, and he'd have a fit.




  XXV.


  I don't care if she's twic't as old as me,
    For I've been figgerin' and figgers shows
    That I'll grow older faster than she grows,
  And when I'm twenty-one or so, why, she
  Won't be near twic't as old as me no more,
    And then almost the first thing that she knows
    I might ketch up to her some day, I s'pose,
  And both of us be gladder than before.

  When I get whiskers I can let them grow
    All up and down my cheeks and on my chin,
    And in a little while they might begin
  To make me look as old as her, and so
    She'd snuggle up to me and call me "paw."
    And then I'd call her "pet" instead of "maw."




[Illustration]




  XXVI.


  One morning when the boss was out somewhere
    And when the clerk was at the bank and me
    And her was here alone together, she
  Let out a screech and jumped up in the air
  And grabbed her skirts and yelled: "A mouse!" And there
    One come a-runnin' right at her, and, gee!
    They wasn't a blame thing that I could see
  To whack it with, except an office chair.

  I grabbed one up and made a smash and hit
    Her desk and broke a leg clear off somehow,
  And when the boss came back and looked at it
    He said that I would have to pay, and now,
  When ma finds out I know just what I'll git--
    Next pay-day there will be an awful row.




  XXVII.


  It's over now; the blow has fell at last;
    It seems as though the sun can't shine no more,
    And nothing looks the way it did before;
  The glad thoughts that I used to think are past.
  Her desk's shut up to-day, the lid's locked fast;
    The keys where she typewrote are still; her chair
    Looks sad and lonesome standin' empty there--
  I'd like to let the tears come if I dast.

  This morning when the boss come in he found
    A letter that he'd got from her, and so
  He read it over twice and turned around
    And said: "The little fool's got married!" Oh,
  It seemed as if I'd sink down through the ground,
    And never peep no more--I didn't, though.




  XXVIII.


  The chap's a beau we didn't know she had
    He come from out of town somewhere, they say;
    I hope he's awful homely, and that they
  Will fight like cats and dogs and both be sad.
  But still there's one thing makes me kind of glad:
    The long-legged clerk must stay and work away,
    And, though he keeps pretendin' to be gay,
  It's plain enough to see he's feelin' bad.

  I wish when I'm a man and rich and proud,
    She'd see me, tall and handsome then, and be
    Blamed sorry that she didn't wait for me,
  And that she'd hear the people cheerin' loud
  When I went past, and down there in the crowd
    I'd see her lookin' at me sorrowf'ly.




[Illustration]




  _Now in Press_

  Ballads of the Busy Days

  BY S. E. KISER

  Price, $1.25

  FORBES & COMPANY, PUBLISHERS

  BOSTON AND CHICAGO




  A CHARMING ROMANCE

  BUELL HAMPTON

  By WILLIS GEORGE EMERSON

  A tale of love, of surprises, of a mystery


  "'Buell Hampton' is a strong and original story."--_Philadelphia North
  American._

  "It is a good story in every particular. Nothing better has been done
  in its line."--_The Mirror_ (_St. Louis_).

  "One of the leading books of the year. Every page breathes; is alive
  with people who do things and say bright and witty things."--_Chicago
  Journal._

  "As a distinctly American novel, 'Buell Hampton' has, for abundance of
  thrilling incident and pure interestingness, no superior."--_Albany
  Times-Union._

  "Many a year has passed since so strong, so bright, and so clever a
  novel as 'Buell Hampton' has made its appearance. There are no dull
  patches in it. Every page is filled with dewy freshness."--_Opie
  Read._

  _Printing choice and binding handsome. Price, $1.50_

  FORBES & COMPANY, PUBLISHERS

  BOSTON AND CHICAGO




  _Now in Twentieth Thousand_

  BEN KING'S VERSE


  If I Should Die To-Night

        If I should die to-night
  And you should come to my cold corpse and say,
  Weeping and heartsick o'er my lifeless clay--
        If I should die to-night
  And you should come in deepest grief and woe
  And say, "Here's that ten dollars that I owe"--
        I might arise in my large white cravat
        And say, "What's that?"

        If I should die to-night
  And you should come to my cold corpse and kneel,
  Clasping my bier to show the grief you feel--
        I say, if I should die to-night
        And you should come to me, and there and then
  Just even hint 'bout payin' me that ten,
        I might arise the while;
        But I'd drop dead again.

                             (_From "Ben King's Verse."_)


  "'Ben King's Verse' will be appreciated by all who enjoy good
  things."--_John Kendrick Bangs._

  "Ben King's verses may be recommended to those suffering from
  melancholy."--_The Chicago Daily News._

  "Lovers of real poetry and of quaint, whimsical humor will treasure
  'Ben King's Verse' as a volume which can be read and re-read with
  pleasure, a companion for all moods and times."--_The Journalist_
  (_New York_).

  _Beautifully made. 292 pages. Price, $1.25_

  FORBES & COMPANY, PUBLISHERS

  BOSTON AND CHICAGO




  Popular Humorous Verse

  By NIXON WATERMAN

  In Merry Mood,--A Book of Cheerful
  Rhymes

  A Book of Verses

  "Nixon Waterman needs no introduction to the American public. One of
  our most natural and musical singers, his verses have been quoted in
  every newspaper in the land, and have gone straight to the heart of
  the great army of 'just common folks.' He is always an optimist. The
  world is better--both happier and better--for such verses as these of
  Nixon Waterman."--_Chicago Record-Herald._

  _Price, each, $1.25_


  By FRED EMERSON BROOKS

  Pickett's Charge and Other Poems

  Old Ace and Other Poems

  "Fred Emerson Brooks is a great poet and a genius of great ability.
  Humor and pathos abound throughout his poems, and many partake of the
  inspiration of the war-drum, but he is thoroughly at home in whatever
  strain of melody he chooses to adopt."--_Atlanta Constitution._

  _Price, each, $1.25_


  FORBES & COMPANY

  P. O. BOX 1478
  BOSTON, MASS.

  P. O. BOX 464
  CHICAGO, ILL.




TRANSCRIBER'S NOTES:

  Text in italics is surrounded by underscores: _italics_.






End of the Project Gutenberg EBook of Love Sonnets of an Office Boy, by 
Samuel Ellsworth Kiser

*** END OF THIS PROJECT GUTENBERG EBOOK LOVE SONNETS OF AN OFFICE BOY ***

***** This file should be named 38572.txt or 38572.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/3/8/5/7/38572/

Produced by David Edwards, David E. Brown and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
file was produced from images generously made available
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
http://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 http://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
http://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 http://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 http://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 checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart is 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:

     http://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.