The Project Gutenberg eBook of The Wonderful Story of Blue Beard, and His Last Wife
    
This ebook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this ebook or online
at www.gutenberg.org. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.

Title: The Wonderful Story of Blue Beard, and His Last Wife

Illustrator: George Cruikshank

Release date: January 1, 2014 [eBook #44558]

Language: English

Credits: Produced by Chris Curnow, Chris Whitehead and the Online
        Distributed Proofreading Team at http://www.pgdp.net (This
        file was produced from images generously made available
        by The Internet Archive)


*** START OF THE PROJECT GUTENBERG EBOOK THE WONDERFUL STORY OF BLUE BEARD, AND HIS LAST WIFE ***




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









  THE
  Wonderful Story
  OF
  BLUE BEARD,
  AND
  HIS LAST WIFE.

  With many illustrations

  BY GEORGE CRUIKSHANK.




  [Illustration]




  _NEW-YORK_:
  PUBLISHED BY HUESTIS & COZANS,
  No. 104 Nassau, corner of Ann St.

  STEREOTYPED BY              VINCENT L. DILL.




  THE WONDERFUL STORY
  OF
  BLUE BEARD.


Many years ago, a noble castle stood on the side of a hill, surrounded
by the most beautiful gardens, groves, and fields. It was the residence
of a man amazingly rich; and who therefore had the rooms of his castle
furnished with all the elegance that opulence could obtain.

Almost every one would suppose, that there could hardly be a happier
man than the possessor of so much wealth, and such a stately dwelling:
but it is not in the power of riches to give happiness; nor can
splendor remove every cause of sorrow and discontent.

It was the misfortune of this gentleman to be somewhat disfigured,
by the extraordinary circumstance of having a blue beard. His
general complexion was fair; and the hair on his head was of a light
brown colour. It is therefore no wonder that, with a blue beard,
his appearance should be considered so remarkable as to be almost
forbidding; indeed it was thought so strange, that he was known only by
the name of Blue Beard.

One of the chief misfortunes which this deformity produced, was the
unwillingness which every young lady felt, even to be in his company.
It was in vain that his costly carriages and Arabian horses were
continually admired; it was in vain that his wealth was constantly
mentioned in conversation; none of the young ladies would speak to him,
or meet him.

Perhaps one great cause of this aversion arose from a report that he
had had several wives; but no one seemed to know what had become of any
of them. They had disappeared, but no one knew how.

Amongst the families that lived within a short distance of his castle,
there was an elderly lady and her two daughters. Both these young
ladies were highly accomplished, and much admired: but the younger of
the two was also thought to be unusually handsome, and was therefore
noticed rather more than her sister. It often happens, that beauty is a
misfortune; because, if a young lady has not good sense, it will make
her vain; and a vain girl generally falls into some kind of misery or
trouble.

Blue Beard became acquainted with the mother of these young ladies;
who having found that he was a gentleman of agreeable conversation and
pleasing manners, told her daughters, she would not allow them to be
so rude as to shun any person merely on account of a circumstance for
which he ought not to be blamed nor despised. She told them that she
did not desire them to like this gentleman either for his wealth or
his behaviour; but that it was improper in them to show such weakness,
as to avoid any one for such a peculiarity; she reminded them how
liable we all are to changes of appearance, from beauty to ugliness,
by diseases which we can neither prevent nor remove; and that if they
shunned one man because he had a blue beard, they might also avoid
others for having black hair, or grey eyes.

The young ladies were convinced of the propriety of what their mamma
said; and though they were quite sure that they could never like Blue
Beard, yet they resolved to remain in the room when he visited their
mother, and to speak to him with proper civility.

After a few days he visited the house again, and had an opportunity
of seeing and conversing with the young ladies; they treated him with
politeness, and their fears (for they had been somewhat afraid of him)
began to subside. He met them in the same manner two or three times
afterwards; and at length prevailed on the old lady to come with her
daughters to his castle, and there spend with him a few days.

[Illustration: Mr. Blue Beard has bad dreams, and determines to get
married again.]

Vanity on their own account, and respect towards Blue Beard, induced
them to make the greatest preparations for the intended visit. The
young ladies thought of little but the magnificence of the dresses they
should wear, and the taste which should be displayed in every part of
their appearance.

Indeed, if both the young ladies had really been extremely fond of Blue
Beard, they could not have taken greater pains to show themselves
off, than they employed in preparing for their appearance at the
castle. But, in truth, neither of them liked him. Such, however, is the
thoughtless pride of some young ladies, that scarcely any thing pleases
them so well as an opportunity of surpassing each other in displaying
off their dress, jewels, or other finery.

[Illustration: Blue Beard's servant announces his master's intention of
coming a courting, to an interesting young lady.]

The two young ladies having fully prepared themselves, they,
accompanied by their mamma, on the day that had been appointed, set
out for the castle, and at length reached the gate that lead through
Blue Beard's grounds; and, although they had heard a great deal of the
taste and expence which had been employed to improve and decorate the
land around the castle, yet they were surprised by unexpected beauties.
The finest trees overshadowed the walks, and shaded them from the heat
of the sun; the most fragrant shrubs and flowers perfumed the air;
fountains were playing in every direction; and alcoves were found in
every inviting spot. Having passed through these delightful grounds,
they reached the castle itself; at the entrance of which they were
received by Blue Beard, and a retinue of servants in the most costly
dresses. The hall was large and very lofty; its roof was supported by
pillars of the finest marble; the windows were of beautiful stained
glass; and upon the walls were hanging the portraits of the former
possessors of this noble building.

[Illustration: Blue Beard's chosen love.]

They ascended the staircase, the rails of which were of brass work,
most curiously wrought, and most richly gilt; the stairs themselves
were of Egyptian marble, covered with crimson velvet. They proceeded
into a drawing room that completely surpassed their ideas of grandeur;
almost every piece of furniture was of silver; the floor was covered
with white velvet, but was ornamented with needle-work that must have
occupied the labour of years; the curtains were of satin, but were
adorned in a manner to correspond with the carpets: in short, every
thing was more splendid than words can describe.

[Illustration: The happy couple on their way home from church.]

The party continued in the castle several days; during which there was
a constant succession of the most pleasing amusements. Not an interval
was allowed to pass without some kind of entertainment; music, singing,
and dancing; banquets, consisting of every luxury, were in constant
succession.

Blue Beard had not been inattentive to the ladies in his personal
services: he seemed to watch every look, that he might know how to
please his fair visitors. Such attentions could not fail to produce
some favorable effect; for it seldom happens, that the person who
really desires to please, fails in pleasing.

When they were about to depart, Blue Beard entreated the younger of
the two ladies that have been mentioned, to consent to become his
wife. The splendor of every thing around her, the immense wealth she
would have at command, and the attentions she had received during her
visit, completely captivated the young lady, so that she no longer felt
disposed to resist; and accordingly, with her mother's approbation,
they were married. She, however, agreed that her sister should live
with her in the castle.

[Illustration: Blue Beard gives his wife the forbidden key.]

It would be impossible to describe the magnificence with which this
event was celebrated. The costly additions that were made to the
furniture; the expensive dresses that were provided for the bride;
and the sumptuous entertainments that were given to the company that
attended, far exceeded all imaginary description. Indeed, there was
scarcely any thing wanting for which she could have wished.

A new dining hall was prepared; and all the utensils of the table
used upon the occasion, were manufactured of pure gold and silver: and
persons were sent many miles to procure the greatest delicacies that
could possibly be obtained.

[Illustration: Mrs. Blue Beard examining her husband's treasures.]

But the greatest solicitude was shown in preparing the attire of the
intended bride. Whatever wealth could purchase, or ingenuity contrive,
were provided to give to her natural charms all the embellishments
which art could bestow.

Nor was Blue Beard himself unemployed: he not only gave orders for
himself, but all his servants were provided with the richest clothes,
according to their respective situations.

Numerous as were his horses, additional ones were purchased; and new
carriages of the grandest designs and the most costly materials, were
prepared for his bride against the approaching happy day.

[Illustration: Mrs. Blue Beard opens the door of the forbidden chamber.]

When the morning arrived on which this interesting ceremony was to take
place, the day had scarcely dawned when sounds of joy were heard. The
servants arose to prepare for the series of magnificence that was to
take place; but none of them were moving about earlier than the bride
and bridegroom; who, as they were the most immediately interested, were
also the most anxious, and therefore among the most early, in preparing
for the events of the day.

The company assembled to breakfast, and every thing marked the
magnificence of the occasion; and every countenance contributed to
the general cheerfulness. The church in which the ceremony was to
take place was at some distance. The company proceeded thither in ten
carriages, each drawn by six horses, and attended by a great retinue of
servants. The carriage in which the bride and bridegroom were seated,
was drawn by Arabian horses; the harness was made of white silk, woven
on purpose; the trappings were of pure silver; the carriage itself was
chiefly formed of pearl, ivory, and silver; and was lined with white
satin, beautifully embossed.

[Illustration: Mrs. Blue Beard and her sister considerably astonished.]

When the procession approached the church, it was met by one hundred
young maidens, dressed in white, singing to a band of the most skilful
musicians: and when the company alighted, the young maidens strewed
flowers for them to walk upon.

When the ceremony was over, they returned in the same manner, and
were treated with the same complimentary services: that the hearts of
all might rejoice, the bride and bridegroom distributed money as they
passed along.

The dinner far exceeded in sumptuousness all that imagination can
conceive. In the different recesses of this noble apartment,
artificial fountains were playing the most odoriferous waters. The most
luxuriant fruit-trees, standing in vases of gold, invited the guests to
pluck the delicious fruits they bore.

[Illustration: The sight that astonished Mrs. Blue Beard and her
sister.]

In the evening, the company were introduced to a ball room. But so
resplendent was this saloon, that on entering it, the eye was subdued
by its incomparable radiance.

Transparencies, executed by the most eminent painters, charmed the
attentive mind on every side; and the intervening spaces were filled
up with variegated lamps, all of which were hung upon the surface of
reflecting glass; while from the centre of the ceiling, a chandelier,
suspended by a chain of gold, diffused the splendor of five hundred
wax-lights. Here, also, were fountains of aromatic waters, and groves
of exotic fruit-trees.

In this apartment, which seemed to realize the fabled stories of
enchantment, dancing, and every other description of amusement, was
continued, until folding windows opened, as if of their own accord,
and disclosed a covered path through the most delightful part of the
gardens, to a room in which supper was prepared: this path was entirely
illuminated by splendid lamps; and the most brilliant fireworks were
unremittingly discharged by artists engaged for the purpose.

[Illustration: Blue Beard comes home.]

The bride seemed to think that her life must necessarily consist of
pleasure and happiness: indeed, she could imagine nothing that could be
wanting to complete her wishes.

The utmost expectations of the young wife were fully gratified: every
thing that she could wish for was hers, and her husband behaved with a
kindness which made her feel truly happy.

[Illustration: Mrs. Blue Beard in a quandary.]

Some time after the marriage had taken place, however, Blue Beard
informed his wife that he had occasion to take a journey on account
of some business, to which he must attend; "but I beg you, my dearest
Fatima, (for that was the young lady's name,) to have every sort of
entertainment that can amuse you during my absence. Here are all the
keys of the castle; you may therefore examine the different apartments
which you have not seen; and I hope you will find some that will
surprise and please you as well as those with which you are already
acquainted. I must however most earnestly caution and require you not
to open the blue closet at the end of the gallery; and although I leave
the key of it with you, yet I trust you will have the prudence to
fulfil my wishes in this particular. Remember this, as you value my
love and your own life and happiness."

[Illustration: Mr. Blue Beard in a passion.]

Fatima promised that she would obey his desire. She thanked her husband
for his kind attention to her comforts; and again promised that she
would not disappoint the confidence he had placed in her, but would
carefully abstain from examining the particular apartment he had named.

Blue Beard set off upon his journey; and Fatima having informed her
sister of every thing that had passed in their late conversation, they
agreed to invite their relatives and friends to an entertainment the
next day; but more particularly their two brothers, who, having been
absent from home as military officers, had not yet seen their sister's
magnificent residence.

Having arranged every thing for their intended party, Fatima proposed
that they should see the apartments of which she now had the keys. They
accordingly proceeded to that part of the extensive castle which they
had not as yet seen, and at last arrived at a most splendid suit of
rooms, far surpassing those to which they had been accustomed.

On one side of one of these apartments they perceived a door, which
they opened, and found behind it an iron gate of amazing strength.
Among the keys Blue Beard had left, they found one which opened this
massy portal.

When they entered the room which was before them, they were surprised
to find it almost full of large iron chests: but their surprise was
considerably increased when they had found, that they were full of
gold, silver, and jewels; even the costliness of the apartments they
had just quitted, seemed insignificant when compared with the riches
which this treasury contained.

Having fastened the entrance to the treasury, they sat down and
conversed upon what they had seen. Fatima could not avoid feeling that
the personal deformity in Blue Beard was compensated by the vast wealth
of which she was become the mistress; but both she and her sister were
almost lost in admiration of the immeasurable riches they had lately
beheld.

In returning to their usual apartments, they passed the door of the
mysterious blue closet, which Blue Beard had cautioned his wife not to
examine. They could not help expressing their mutual curiosity upon the
interior of this particular chamber. It could not have been his wish
to conceal any articles of value; as nothing could be more valuable
than the contents of the treasury. After some deliberation, Fatima
said that they could do no harm by merely looking inside; and although
her sister reminded her of the promise she had made her husband, and
of his express desire, yet she resolved to gratify her irresistible
curiosity, and put the key to the door.

[Illustration: Miss Anna on top of the tower, on the lookout for her
brother.]

She entered the closet, but it was too dark for her to discern any
object; however, she could just perceive that there was a window, the
shutters of which were closed: she went forward and removed them. The
instant that light was admitted, her curiosity was gratified. She found
herself amidst the severed limbs and mutilated bodies of her husband's
former wives. The scene was frightful! Her own future condition,
she immediately thought, might add to these dreadful objects! Her
blood chilled! The very hair rose upon her head! Nor was her terror
diminished, when she saw upon the wall these awful words--_The fate of
broken promises and disobedient curiosity._--She trembled excessively;
and in the alarm of the moment, she let fall the key of the closet,
which she had brought in her hand: she hastily snatched it from the
floor; and having summoned sufficient courage to close the shutters,
she came out of this dreadful apartment, and locked the door.

[Illustration: The Brother arrives.]

Fatima hastened to her sister, who not choosing to partake of her
sister's folly, had proceeded to their customary sitting-room. She
related what she had seen; particularly the sentence which was on
the wall. Her sister partook of her alarm; and feared that evil
consequences would result from this unfortunate affair. She asked
Fatima if she had closed the window-shutters and brought away the key:
and returned every thing she had moved to its proper place; Fatima said
she had; and, in proof of her answer to the inquiry, showed the key
itself.

The key, however, was no sooner produced than they both turned pale
with horror. This fatal instrument was covered with blood! and all
their endeavours could not clear it of its condemning evidence.

During the remainder of the evening they employed themselves in making
every sort of exertion to restore the key to its former state; but
all they could do was ineffectual; it still preserved the testimony
of Fatima's indiscretion. At night they retired to bed; but no
sleep did the wretched girls obtain. The splendor and riches of the
castle lost all their charms; Fatima no longer prided herself upon
her good fortune; she felt that no creature could be more miserable
than she was. How soon Blue Beard would return, she had no means of
conjecturing; it was not likely, however, that he would be at the
castle again for some days to come; she therefore resolved to escape
from this dreadful mansion as soon as the entertainment, which was
appointed for the next day, should have taken place.

When she arose in the morning, she communicated to her sister the
intention she had formed; and they both began to feel less dread than
they had experienced since the discoveries in the fatal closet. The day
advanced, and they looked forward to the arrival of the relatives and
friends whom they had invited to this day's entertainment.

However, in the midst of their mutual congratulations upon the plan
which had been formed, they heard the arrival of a carriage at
the castle, and in a few moments Blue Beard himself entered their
apartment. Fatima felt all the horror which the remembrance of the
closet could excite, and all the shame which the consciousness of her
own impropriety could not fail to produce.

Blue Beard did not seem to notice his wife's uneasiness; but with
apparent good humour said, "that he had not proceeded very far, when
he met a messenger who was coming to the castle to inform him that it
was no longer necessary he should proceed on his intended journey;
that he had therefore lost no time in returning home; where," he said,
"Fatima's presence rendered him so peculiarly happy."

Soon afterwards Blue Beard, as though he wanted something, asked his
wife for the keys. She went to the chamber and returned with all of
them excepting the one which belonged to the dreadful closet; for it
still preserved the evidence of her disobedience. He took them with
seeming good-natured indifference, and did not pretend to observe how
the wretched girl trembled. As he held them in his hand, he said to
her, with affected carelessness, "The key of the blue closet is not
here; bring it to me in my dressing-room."

He arose and left the apartment in which they were sitting; and Fatima
and her sister proceeded to her chamber. Again they tried to remove
the blood with which the key was stained; but all their efforts were
unavailing. At length Blue Beard called his wife, and as she and her
sister were going to his dressing-room, they met him in the gallery,
close to the stairs which led to the top of the castle.

As soon as she approached him, he threw off the disguise of good nature
which he had assumed in the sitting room, and demanded the key of the
closet. The tone of voice in which this was uttered, struck upon her
ear like the knell for her execution; she seemed to be deprived of the
power of speaking. He became impatient, and seizing her hand, took from
it the blood-stained key. The wretched girl fell upon her knees, the
tears rushed into her eyes, and enabled her to speak; but by this time
Blue Beard stood over her with his sword unsheathed.

Fatima's sister, as she stood by, almost petrified, gave a dreadful
shriek when she saw the instrument of death raised over her defenceless
sister. The sound caught the ear of Blue Beard; and for a moment his
intention was suspended. Looking upon his wretched victim, "Where,"
said he, "was your promise, when you were fool enough to enter the
closet? and where was the obedience you promised to pay me, when you
suffered your curiosity to overcome your duty? But you shall commit
no more crimes; therefore receive _the fate of broken promises, and
disobedient curiosity_."

These last words roused the almost inanimate girl; she recollected that
she had seen them on the wall of the fatal closet. He was now about to
fulfil his sentence; his arm was again uplifted; when she entreated him
to spare her for a few minutes, to prepare for this unexpected end. He
consented, after much entreaty, to allow her a quarter of an hour. As
soon as this indulgence was given her, she begged her sister to ascend
the staircase to the top of the castle, and see if any of their friends
were to be seen. She did so; but no signs of a human being could be
perceived.

At length the short interval which had been allowed her came to an
end, and Blue Beard approached to complete his determination. She
again implored mercy, and he, knowing that she was in his power, gave
her five minutes more. She now renewed her frenzied enquiries to her
sister; "Is no one coming?" asked she. After a short time her sister
told her that she saw something approaching; which cheered the heart of
the unhappy girl. Alas! it was but transient,--it was a flock of sheep.

Blue Beard's patience was now exhausted; and he came to the foot of the
tower where Fatima was; when her sister called out, "I see two horsemen
coming." "Make signs for them to hasten," shrieked the miserable girl.

Her brutal husband had now caught her by the hair of her head, and in
spite of her heart-rending cries for mercy, was about to strike at
her with his scymitar, when two men in soldiers' uniform rushed to the
spot, and plunged their swords in the breast of the relentless Blue
Beard.

The monster had still sufficient life to speak: he raised himself on
one arm, and looking on them all, thus spoke: "I am at last justly
punished. By the splendor of my riches, I have induced many a beautiful
woman to become my wife; but as soon as I discovered the least
deviation from truth, or disobedience to my will, she suffered death.
I put Fatima's veracity to the test, by obtaining her promise that
she would not open the door of the blue closet; and by leaving the
key with her, she broke her word, and the key, which has the property
of preserving the stains of blood, until it be rubbed with a peculiar
oil, afforded the evidence of her guilt. By the same means I knew that
she had disobeyed my orders, and broken her own promises. These two
faults had incurred my revenge. She has had a narrow escape; yet I
hope she will in future never break a promise, disobey those to whom
she promises submission, nor give way to the impulse of improper or
forbidden curiosity."

He grew faint; and having uttered a few prayers for forgiveness, he
fell back, and expired.

During the day, all the friends who had been invited arrived. They were
told the occurrences which had happened; and such of them as chose it,
saw the horrid proofs of Blue Beard's cruelty.

Fatima shortly afterwards had a day of great rejoicing; she not only
gave a magnificent entertainment to her relations and friends, but
the poor, for miles round, were collected together to partake of her
hospitality: and on this occasion every face glowed with smiles of
happiness.

Fatima's former days had showed her the sufferings and privations of
the poor; and now she had the power, she determined to better their
condition. With this view, instead of the miserable hovels usually
inhabited by the labouring poor, she had annually several comfortable
and pleasant cottages built, and to each one she added, a large plot of
ground. To every labouring family upon her extensive estates, she gave
one of these cottages, and where there were a family of children, she
added to this gift a cow, and a few sheep. By this means, she enabled
them, by their own exertions, instead of occasional want, always to
secure a humble competence; and in a very short time, every person upon
her estate was rendered happy, and became her firm friend.

[Illustration]




  PHILIP J. COZANS,
  PUBLISHER AND BOOKSELLER,
  No. 116 NASSAU STREET,
  _NEW-YORK_.

  HAS ALWAYS ON HAND
  AN EXTENSIVE ASSORTMENT OF
  VALENTINES,
  PLAIN AND COLORED TOY BOOKS, SONG BOOKS,
  ALMANACKS, PLAYS, CARDS,
  MOTTO VERSES, BLANK BOOKS, STATIONERY, &c.
  WHOLESALE AND RETAIL.

  _ALSO JUST PUBLISHED_,
  THE GUIDE TO PAINTING IN WATER COLORS,
  WITH COLORED PLATES,
  PRICE 25 CENTS.
  YOUTH'S NEW DRAWING BOOK,
  AND NEW PROGRESSIVE DRAWING-BOOK,
  PRICE 12-1/2 CENTS, EACH.
  THE ART OF GOOD BEHAVIOUR,
  CONTAINING DIRECTIONS FOR
  Giving and attending Parties, Balls, Weddings,
  _DINNERS, Etc._
  INCLUDING THE NECESSARY PREPARATIONS AND ARRANGEMENTS
  FOR THE
  MARRIAGE CEREMONY.

  Country orders attended to with punctuality--and liberal Discount
  TO THE TRADE.




TRANSCRIBER'S NOTE:

Obvious printer errors have been corrected. Otherwise, the author's
original spelling, punctuation, and hyphenation have been left intact.

Page 6 - The word 'expence' has been retained. It is an obsolete
spelling of 'expense'.







*** END OF THE PROJECT GUTENBERG EBOOK THE WONDERFUL STORY OF BLUE BEARD, AND HIS LAST WIFE ***


    

Updated editions will replace the previous one—the old editions will
be renamed.

Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project
Gutenberg eBooks may be modified and printed and given away—you may
do practically ANYTHING in the United States with eBooks not protected
by U.S. copyright law. Redistribution is subject to the trademark
license, especially commercial redistribution.


START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™
electronic works

1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the person
or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg™ electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg™
electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg™ electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg™ mission of promoting
free access to electronic works by freely sharing Project Gutenberg™
works in compliance with the terms of this agreement for keeping the
Project Gutenberg™ name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg™ License when
you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg™ work. The Foundation makes no
representations concerning the copyright status of any work in any
country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg™ License must appear
prominently whenever any copy of a Project Gutenberg™ work (any work
on which the phrase “Project Gutenberg” appears, or with which the
phrase “Project Gutenberg” is associated) is accessed, displayed,
performed, viewed, copied or distributed:

    This eBook is for the use of anyone anywhere in the United States and most
    other parts of the world at no cost and with almost no restrictions
    whatsoever. You may copy it, give it away or re-use it under the terms
    of the Project Gutenberg License included with this eBook or online
    at www.gutenberg.org. If you
    are not located in the United States, you will have to check the laws
    of the country where you are located before using this eBook.
  
1.E.2. If an individual Project Gutenberg™ electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg™
trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works
posted with the permission of the copyright holder found at the
beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg™ work in a format
other than “Plain Vanilla ASCII” or other format used in the official
version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg™ electronic works
provided that:

    • You pay a royalty fee of 20% of the gross profits you derive from
        the use of Project Gutenberg™ works calculated using the method
        you already use to calculate your applicable taxes. The fee is owed
        to the owner of the Project Gutenberg™ trademark, but he has
        agreed to donate royalties under this paragraph to the Project
        Gutenberg Literary Archive Foundation. Royalty payments must be paid
        within 60 days following each date on which you prepare (or are
        legally required to prepare) your periodic tax returns. Royalty
        payments should be clearly marked as such and sent to the Project
        Gutenberg Literary Archive Foundation at the address specified in
        Section 4, “Information about donations to the Project Gutenberg
        Literary Archive Foundation.”
    
    • You provide a full refund of any money paid by a user who notifies
        you in writing (or by e-mail) within 30 days of receipt that s/he
        does not agree to the terms of the full Project Gutenberg™
        License. You must require such a user to return or destroy all
        copies of the works possessed in a physical medium and discontinue
        all use of and all access to other copies of Project Gutenberg™
        works.
    
    • You provide, in accordance with paragraph 1.F.3, a full refund of
        any money paid for a work or a replacement copy, if a defect in the
        electronic work is discovered and reported to you within 90 days of
        receipt of the work.
    
    • You comply with all other terms of this agreement for free
        distribution of Project Gutenberg™ works.
    

1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg™ electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg™ collection. Despite these efforts, Project Gutenberg™
electronic works, and the medium on which they may be stored, may
contain “Defects,” such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right
of Replacement or Refund” described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg™ trademark, and any other party distributing a Project
Gutenberg™ electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

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

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

Section 2. Information about the Mission of Project Gutenberg™

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

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

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

The Foundation’s business office is located at 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 website
and official page at www.gutenberg.org/contact

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

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

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

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

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

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.

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

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.