The Project Gutenberg eBook of A dramatization of Longfellow's Hiawatha: A spectacular drama in six acts 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: A dramatization of Longfellow's Hiawatha: A spectacular drama in six acts Author: Henry Wadsworth Longfellow Alice L. De Vine Release date: January 12, 2022 [eBook #67148] Language: English Original publication: United States: Unknown Credits: Charlene Taylor and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.) *** START OF THE PROJECT GUTENBERG EBOOK A DRAMATIZATION OF LONGFELLOW'S HIAWATHA: A SPECTACULAR DRAMA IN SIX ACTS *** Transcriber’s Notes: Underscores “_” before and after a word or phrase indicate _italics_ in the original text. Small capitals have been converted to SOLID capitals. Typographical and punctuation errors have been silently corrected. A DRAMATIZATION OF LONGFELLOW’S HIAWATHA. A Spectacular Drama in Six Acts. Delineating the Characteristics and Customs OF THE NATIVE NORTH AMERICAN INDIAN. _Re-written, Revised, Arranged and Dramatized By A. L. DE VINE._ _Entered According to Act of Congress in the Year 1895 By A. L. DE VINE. In the Office of the Librarian of Congress at Washington._ ALL RIGHTS RESERVED. _Copyrighted in Great Britain and British Possessions, France, Germany, Italy, Belgium, Denmark, Portugal and Switzerland._ INTRODUCTORY. To ye whose hearts are fresh and simple Who have faith in God and Nature, Who believe that in all ages Every human heart is human, That in even savage bosoms There are longings, yearnings, strivings For the good they comprehend not, That the feeble hands and helpless, Groping blindly in the darkness, Touch God’s right hand in that darkness And are lifted up and strengthened, Is submitted this portrayal of the primitive life of the American Indians in their native forest home. Fully realizing how rapidly the race is becoming extinct before the onward march of civilizing influences, and how little the people of this and other countries really know of such customs, dress, and peculiarities, it is believed this spectacular drama will be found historical, an educator to the young and interesting to ALL. In thus depicting the higher and better life of the Indian race, their mode of living, dress, pastimes, feats of skill, dances, wooings, wedding feasts, festivities, death scenes and legends, the author has adhered to the original language of the poem as closely as is consistent with a faithful dramatization thereof. This is the first and only known drama of this kind or character in existence, and no other subject, throughout the wide and varied field of poetry, offers like opportunities to the facile pen of the skilled playwright. SYNOPSIS OF SCENES AND INCIDENTS. ACT I. THE PEACE PIPE. Gitche Manitou (Great Spirit) descends from Heaven and admonishes the tribes to cease warfare and bloodshed—Indians discard weapons and war paint—Gitche Manitou promises to send Hiawatha as a guide—Fashions a Peace Pipe—Sets fire to the forest and vanishes in smoke. ACT II. HIAWATHA’S CHILDHOOD. Tribe of Ojibways—Hiawatha a babe in Indian cradle—Nokomis swinging cradle—Indian lullaby. ACT III. HIAWATHA’S WOOING. Scene 1—Hiawatha grown to manhood—Desires to wed Minnehaha, a Dakotah maiden—Discussion—Departs on journey—Nokomis sorrowing. Scene 2—Hiawatha in forest—Shoots a deer—Shoulders it. Scene 3—Tribe of Dakotahs—Minnehaha Falls—Wigwam of Arrow-maker—Hiawatha’s arrival and welcome—Wooing of Minnehaha—Departure of Hiawatha and Minnehaha—Climbing of Falls—Arrow-maker’s despondency—Tableaux. ACT IV. WEDDING FEAST. Forest—Ojibway village—Arrival of Hiawatha and Minnehaha—Welcome—Festivities—Feasts, songs, feats of skill, games, dancing and specialties—Tableaux. ACT V. FEVER, FAMINE AND MINNEHAHA’S DEATH. Winter—Tepee of Nokomis—Starvation—Minnehaha begs for food—Enter Famine and Fever—Hiawatha hunting food—Disheartened—Appeal to Great Spirit—Minnehaha’s sufferings and death—Lamentations—Hiawatha’s return—Grief—Indian funeral—Tableaux. ACT VI. HIAWATHA’S DEPARTURE. Summer—Indian village—Canoe approaches from distance containing Minnehaha as angel—Music—Colored lights—Indians’ astonishment—Hiawatha awaits her coming—Joins her—Hiawatha’s farewell—Canoe disappears—Tableaux. “HIAWATHA” DRAMATIS PERSONÆ. Gitche Manito; the Indian Great Spirit and Father of all Nations. Hiawatha; the Prophet of Peace, of the tribe of Ojibways, sent to guide the Indian nations. Ancient Arrow-maker; Minnehaha’s Father. Chibiabos; the Singer. Pau-Puk-Keewis; the Dancer. Bukadawin; Famine. Ahkosewin; Fever. Minnehaha; Hiawatha’s Bride, a Dakotah Maiden. Old Nokomis; Hiawatha’s Grand-mother. Miscellaneous Indian Braves. Miscellaneous Indian Women. SYNOPSIS. Act 1st. The Peace Pipe. Act 2nd. Hiawatha’s Childhood. } Scene 1st. Hiawatha’s Discussion Act 3rd. Hiawatha’s } with Nokomis and Departure. Wooing. } Scene 2nd. Hiawatha’s Journey. } Scene 3rd. Wooing of Minnehaha. { Home of Arrow-maker. { View of Minnehaha Falls. Act 4th. Wedding Feast. Act 5th. Fever and Famine and Minnehaha’s Death. Act 6th. Hiawatha’s Reunion with Minnehaha and Departure. ACT I. THE PEACE PIPE. _Scenery_: _Description as nearly as possible to follow description according to the poem. In background, high mountains. In foreground, lower hills, with forest trees and Indian tents in the distance: GITCHE MANITO; The great Spirit and FATHER of all NATIONS descends from the clouds encircled in a flood of bright lights of various colors; strains of soft sweet Music, as from a distance, accompanying his descent as though from Heaven to Earth or to the top of the mountain. The Indian representatives from all Nations in their peculiar distinct dress of the several different tribes, grouped here and there among the trees and rocks are attracted by the smoke signal and are then seen coming from all directions in full Indian war paint and costume; when signaled to by GITCHE MANITO, the Great Spirit, as per the following poem_: _Act and Description of Gitche Manito_: On the Mountains of the Prairie, On the great Red Pipe-stone Quarry, Gitche Manito, the Mighty, He the Master of Life DESCENDING, On the red craigs of the quarry Stood erect, and called the Nations, Called the tribes of men together. From his footprints flowed a river, Leaped into the light of morning, O’er the precipice plunging downward Gleamed like Ishkoodah, the comet. And the Spirit, stooping earthward, With his finger on the meadow Traced a winding pathway for it, Saying to it, _Gitche Manito_: Run in this way! From the red stone of the quarry With his hand he broke a fragment, Moulded it into a pipe-head, Shaped and fashioned it with figures; From the margin of the river Took a long reed for a pipe-stem, With its dark green leaves upon it; Filled the pipe with bark of willow, With the bark of the red willow; Breathed upon the neighboring forest, Made its great bows chafe together, Till in flame they burst and kindled; And erect upon the mountains Gitche Manito, the Mighty, Smoked the calumet, the Peace Pipe, As a signal to the nations, And the smoke rose slowly, slowly, Through the tranquil air of morning, First a single line of darkness, From the vale of Tawasenthena, From the Valley of Wyoming From the groves of Tuscaloosa, From the far-off Rocky Mountains, From the Northern lakes and rivers. _Act, Indians_: All the tribes beheld the signal, Saw the distant smoke ascending, The Pukwana of the Peace Pipe. _Indian Warriors_ (_to each other, pointing_): Behold it, the Pukwana! By this signal from afar off, Bending like a wand of willow, Waving like a hand that beckons, Gitche Manito, the Mighty, Calls the tribes of men together, Calls the warriors to his council! _Act of Indian Tribes_: Down the rivers o’er the prairies, Came the warriors of the nations, All the warriors drawn together By the signal of the Peace Pipe To the Mountains of the Prairie, To the great Red Pipe-stone Quarry. And they stood there on the meadow, With their weapons and their war-gear, Painted like the leaves of Autumn, Painted like the sky of morning, Wildly glaring at each other; In their faces stern defiance, In their hearts the feuds of ages, The hereditary hatred The ancestral thirst of vengeance. _Act, Gitche Manito_: Gitche Manito, the mighty, The Creator of the nations, Looked upon them with compassion, With paternal love and pity; Over them he stretched his right hand. _Gitche Manito_: O my children; my poor children! Listen to the words of wisdom, Listen to the words of warning! From the lips of the Great Spirit, From the Master of life, who made you! I have given you lands to hunt in, I have given you streams to fish in, I have given you bear and bison, I have given you roe and reindeer, I have given you brant and beaver, Filled the marshes full of wild fowl, Filled the rivers full of fishes; Why then are you not contented? Why then will you hunt each other? I am weary of your quarrels, Weary of your wars and bloodshed, Weary of your prayers for vengeance, All your strength is in your union, All your danger is in discord; Therefore be at peace henceforward, And as brothers live together. “I will send a Prophet to you, Hiawatha will I send to you A deliverer of the nations, Who shall guide you and shall teach you Who shall toil and suffer with you. If you listen to his counsels, You will multiply and prosper; If his warnings pass unheeded You will fade away and perish! Bathe now in the stream before you Wash the war-paint from your faces, Wash the blood stains from your fingers, Bury your war clubs and your weapons, Break the red stone from this quarry, Mould and make it into Peace Pipes, Take the reeds that grow beside you, Deck them with your brightest feathers, Smoke the calumet together, And as brothers live henceforward!” _Act, Indians_: Then upon the ground the warriors Threw their cloaks and shirts of deer-skin, Threw their weapons and their war-gear, Leaped into the rushing river, Washed the war-paint from their faces. Clear above them flowed the water, Clear and limpèd from the footprints Of the Master of Life descending; Dark below them flowed the water, Soiled and stained with streaks of crimson, As if blood were mingled with it. From the river came the warriors. Cleaned and washed from all their war-paint, On the banks their clubs they buried, Buried all their warlike weapons. _Act, Gitche Manito_: Gitche Manito, the Mighty, The Great Spirit, the Creator, Smiled upon his helpless children. _Act, Indians_: And in silence all the warriors Broke the red stone of the quarry, Smoothed and formed it into Peace Pipes, Broke the long reeds by the river. Decked them with their brightest feathers. _A beautiful transformation. Scene and tableaux can be given here with the groups of Indians, Bright colored lights, soft Heavenly music, and GITCHE MANITO ASCENDING again to Heaven in a CLOUD of SMOKE._ (_See following description._) While the Master of Life, ASCENDING Through the opening of cloud-curtains, Through the doorways of the HEAVEN Vanished from before their faces, In the smoke that rolled around him. [Illustration] ACT II. HIAWATHA’S CHILDHOOD. _Scenery_: _A short scene or acting tableaux, can be given here, the scenery to follow the description in the poem, HIAWATHA, a baby, in an Indian cradle swung between the trees which is being rocked by old NOKOMIS (his grandmother) while she is singing the Lullaby song, Little Owlet._ (_See following description._) By the shining Big-Sea-Water, Stood the wigwam of Nokomis. Daughter of the Moon, Nokomis. Dark behind it rose the forest, Rose the black and gloomy pine-trees, Rose the firs with cones upon them; Bright before it beat the water, Beat the clear and sunny water, Beat the shining Big-Sea-Water. There the wrinkled, old Nokomis Nursed the little Hiawatha, Rocked him in his linden cradle, Bedded soft in moss and rushes, Safely bound with reindeer sinews; Stilled his fretful wail by saying, _Nokomis_: Hush! the Naked Bear will hear thee! Lulled him into slumber singing, _Nokomis Song_: Ewa-yea! my little owlet! Who is this, that lights the wigwam? With his great eyes lights the wigwam? Ewa-yea! my little owlet! Wah-wah-taysee, little fire-fly, Little, flitting, white-fire insect, Little, dancing, white-fire creature, Light us with your little candle, Ere upon your bed I lay you Ere in sleep you close your eyelids! [Illustration] ACT III. HIAWATHA’S WOOING, TRIBE OF OJIBWAYS. Scene First. Hiawatha’s Discussion with Nokomis and Departure. _Scenery_: _Same as Act II. This is supposed to be the TRIBE and land of THE OJIBWAYS. Showing the INTERIOR of the TEPEE of Old NOKOMIS. HIAWATHA; (tall, straight, of majestic figure, commanding aspect, dashing and handsome,) is seen shaping an arrow to fit a bow. NOKOMIS; a majestic Indian woman as befits HIAWATHA’S grandmother, sits making a robe of deer skin or work of like kind. HIAWATHA sits working, thinking, pondering._ _Description of Hiawatha_: Out of childhood into manhood Now had grown my Hiawatha. Skilled in all the craft of hunters, Learned in all the lore of old men, In all youthful sports and pastimes, In manly arts and labors. Swift of foot was Hiawatha; He could shoot an arrow from him, And run forward with such fleetness, That the arrow fell behind him! Strong of arm was Hiawatha; He could shoot ten arrows upward, Shoot them with such strength and swiftness, That the tenth had left the bow-string Ere the first to earth had fallen! He had mittens, Minjekahwun, Magic mittens made of deer-skin; When upon his hands he wore them, He could smite the rocks asunder He could grind them into powder. He had moccasins enchanted, Magic moccasins of deer-skin: When he bound them round his ankles, When upon his feet he tied them, At each stride a mile he measured! _Hiawatha_; (_speaking meditatively_): As unto the bow the cord is, So unto the man is woman, Though she bends him, she obeys him, Though she draws him, yet she follows, Useless each without the other! _Nokomis_; (_in a warning and dissuading voice_): Wed a maiden of your people, Go not eastward, go not westward, For a stranger, whom we know not! Like a fire upon the hearth-stone Is a neighbor’s homely daughter, Like the starlight or the moonlight Is the handsomest of strangers! _Hiawatha_; (_persuadingly_): Dear old Nokomis, Very pleasant is the firelight. But I like the starlight better, Better do I like the moonlight! _Nokomis_; (_gravely_): Bring not here an idle maiden, Bring not here a useless woman, Hands unskillful, feet unwilling; Bring a wife with nimble fingers, Heart and hand that move together, Feet that run on willing errands! _Hiawatha_, (_Smiling_): In the land of the Dacotahs Lives the Arrow-maker’s daughter, Minnehaha, Laughing water, Handsomest of all the women. I will bring her to your wigwam, She shall run upon your errands, Be your starlight, moonlight, firelight, Be the sunlight of my people! _Nokomis_, (_still dissuading_): Bring not to my lodge a stranger From the land of the Dacotahs! Very fierce are the Dacotahs, Often is there war between us. There are feuds yet unforgotten, Wounds that ache and still may open! _Hiawatha_, (_laughing_): For that reason, if no other, Would I wed the fair Dacotah, That our tribes might be united, That old feuds might be forgotten, And old wounds be healed forever! _During this conversation HIAWATHA stops his work and prepares for his journey, OLD NOKOMIS becoming more and more earnest and entreating as his preparations proceed: when he goes, she follows and tries to detain him, then watches him out of sight, and the curtain falls while she stands alone, weeping, despondent and sorrowing at the door of her wigwam._ _Description of Hiawatha_: Dressed for travel, armed for hunting; Dressed in deer-skin shirt and leggings, Richly wrought with quills and wampum; On his head his eagle-feathers. Round his waist his belt of wampum, In his hand his bow of ash-wood, Strung with sinews of the reindeer; In his quiver oaken arrows, Tipped with jasper, winged with feathers; With his mittens, Minjekahwun, With his moccasins enchanted. _Act, Hiawatha_: Thus departed Hiawatha To the land of the Dacotahs, To the land of handsome women; _Act, Nokomis_: Homeward weeping went Nokomis Sorrowing for her Hiawatha. ACT III. Scene Second. Hiawatha’s Journey. _Scenery:_ _A short scene can be given here, showing a deep forest, also giving a view of Hiawatha upon his journey and with his bow and arrow, shooting the deer which he takes MINNEHAHA as a gift, and lays at her feet on his arrival._ _Act, Hiawatha_: Through the forest deep and lonely, Then he journeyed without resting, Till he heard the cataract’s laughter, Heard the Falls of Minnehaha Calling to him through the silence. Standing, Listening, he murmured, _Hiawatha_: Pleasant is the sound! Pleasant is the voice that calls me! On the outskirts of the forest, Twixt the shadow and the sunshine, Herds of fallow deer were feeding. But they saw not Hiawatha; _Hiawatha (whispering to his bow)_: Fail not! _Hiawatha (whispering to his arrow)_: Swerve not! Sent it singing on its errand, To the red heart of the roebuck; Threw the deer across his shoulder, And sped forward without pausing. ACT III. “TRIBE OF THE DACOTAHS,” HOME OF THE ARROW-MAKER. Scene Third. Wooing of Minnehaha. _Scenery_: _As perfect an imitation as possible of the Scenery of and about MINNEHAHA FALLS. With the FALLS, also Very High Rocks in the background. In the foreground, at the base of Minnehaha Falls, a wigwam, representing the appearance and interior of a wigwam of the DACOTAH TRIBE. MINNEHAHA to be tall, straight, dashing and handsome. (See the following Description.)_ In the land of the Dacotahs, Where the Falls of Minnehaha Flash and gleam among the oak-trees, Laugh and leap into the valley. Very spacious was the wigwam, Made of deer-skin dressed and whitened, With the Gods of the Dacotahs Drawn and painted on its curtains, And so tall the doorway, hardly Hiawatha stooped to enter, Hardly touched his eagle-feathers As he entered at the doorway. _Act, Arrow-maker_: At the doorway of his wigwam Sat the ancient Arrow-maker, In the land of the Dacotahs, Making arrow-heads of jasper, Arrow-heads of chalcedony. _Description of Minnehaha_: At his side in all her beauty, Sat the lovely Minnehaha, Sat his daughter, Laughing water Plaiting mats of flags and rushes; Feet as rapid as the river, Tresses flowing like the water, And as musical a laughter; And he named her from the river, From the water-fall he named her, Minnehaha, Laughing Water _Act, Minnehaha_: She was thinking of a hunter, From another tribe and country, Young and tall and very handsome. On the mat her hands lay idle, And her eyes were very dreamy. Through her thoughts she heard a footstep, Heard a rustling in the branches, _Act, Hiawatha_: And with glowing cheek and forehead, With the deer upon his shoulders, Suddenly from out the woodlands Hiawatha stood before them. _Act, Arrow-maker_: Straight the ancient Arrow-maker Looked up gravely from his labor, Laid aside the unfinished arrow, Bade him enter at the doorway, Saying, as he rose to meet him, _Arrow-maker_: Hiawatha, you are welcome! _Act, Hiawatha_: At the feet of Laughing Water Hiawatha laid his burden, Threw the red deer from his shoulders; _Act, Minnehaha_: And the maiden looked up at him, Looked up from her mat of rushes, Said with gentle look and accent. _Minnehaha_: You are welcome, Hiawatha! _Act, Minnehaha_: Then uprose the Laughing Water, From the ground fair Minnehaha, Laid aside her mat unfinished, Brought forth food and set before them, Water brought them from the brooklet, Gave them food in earthen vessels, Gave them drink in bowls of bass-wood. _The following conversation to be carried on between the ARROW-MAKER and HIAWATHA while MINNEHAHA brings the food etc., and sets before them._ _Hiawatha, (with much expression)_: “You know of my wondrous birth and being, How I prayed and how I fasted, How I lived, and toiled, and suffered, That the tribes of men might prosper, That I might advance my people!” Dear Old Nokomis who has nursed me in my childhood needs a daughter now to help her. To the lodge of old Nokomis I would bring the moonlight, starlight, firelight, Bring the sunshine to my people, Give me Minnehaha, Laughing Water, Handsomest of all the women In the land of the Dacotahs, In the land of handsome women. There is happiness and plenty In the land of the Ojibways, In the pleasant land and peaceful. _Act, Minnehaha_: See the face of Laughing Water, Peeping from behind the curtain, Hear the rustling of her garments From behind the waving curtain, Listened while the guest was speaking, Listened while her father answered, But not once her lips she opened, Not a single word she uttered. Yes, as in a dream she listened To the words of Hiawatha. _Hiawatha, (with deep feeling)_: After many years of warfare, Many years of strife and bloodshed, There is peace between the Ojibways And the tribe of the Dacotahs. _Hiawatha; In his earnestness rising, speaking slowly, with Great Expression, and turning toward Minnehaha._ “That this peace may last forever, And our hands be clasped more closely, And our hearts be more united, Give me as my wife this maiden, Minnehaha, Laughing Water, Loveliest of Dacotah women!” _Act, Hiawatha_: _Reseats himself, looking expectantly and earnestly at the Arrow-maker for his reply._ _Act, Arrow-maker_: And the ancient Arrow-maker Paused a moment ere he answered, Smoked a little while in silence, Looked at Hiawatha proudly, Fondly looked at Laughing Water, Then made answer very gravely: _Arrow-maker (with deep feeling)_: Yes, if Minnehaha wishes; Let your heart speak, Minnehaha. _Act, Minnehaha_: And the lovely Laughing Water Seemed more lovely, as she stood there, Neither willing nor reluctant. _Act, Minnehaha_: _Turns FIRST to ONE and THEN to the OTHER, hesitates at thought of leaving her father, goes to him, then turning, looking at Hiawatha, hesitates._ _Act, Minnehaha_: Then, she went to Hiawatha Softly took the seat beside him, While she said, and blushed to say it. _Minnehaha_: I will follow you my husband! _Arrow-maker_: _Rising, going over and speaking to Hiawatha._ You have wooed and won my maiden, With your stories of the North-land! Happy are you, Hiawatha, Having such a wife to love you! _Arrow-maker; turning, speaking to his daughter_: Happy are you, Laughing Water, Having such a noble husband! _Arrow-maker, (to both)_: O my children, Love is sunshine, hate is shadow, Life is checkered shade and sunshine, Rule by love, O Hiawatha! “O my children, Day is restless, night is quiet, Man imperious, women feeble; Half is hers although she follows Rule by patience, Laughing Water!” _Act, Hiawatha and Minnehaha_: From the wigwam he departed, Leading with him Laughing Water; Hand in hand they went together, Left the old man standing lonely At the doorway of his wigwam. _Arrow-maker, very sorrowfully_: Fare thee well, O Minnehaha! _Act, Arrow-maker_: And the ancient Arrow-maker Turned again unto his labor, Sat down by his sunny doorway, Murmuring to himself, and saying: _Arrow-maker, (meditatively and with much expression)_: “Thus it is our daughters leave us Those we love, and those who love us! Just when they have learned to help us, Just when we are old and lean upon them, Comes a youth with flaunting feathers, With his flute of reeds, a stranger Wanders piping through the village, Beckons to the fairest maiden, And she follows where he leads her, Leaving father, mother, home, friends, Leaving ALL things, for the Stranger.” _Hiawatha and Minnehaha are to be seen (while Arrow-maker is thus sitting at the doorway and meditating); first winding in and out among the trees, then climbing the rocks, coming into view, then disappearing behind rocks; then again being seen wending their way higher and higher upon the rocks, and when the SUMMIT of the MINNEHAHA FALLS is reached, they are seen, Hiawatha, with his arm around Minnehaha, pointing to the wigwam in the valley below. The Old Arrow-maker sees them at the same time, rises, (shading his eyes with his hand) and looks upward at them. HOME SWEET HOME is played behind the scenes, soft and low, with stringed instruments, while they are climbing the rocks, and various colored lights are thrown upon the scene, making an effective and beautiful tableaux._ ACT IV. HIAWATHA’S WEDDING FEAST. _Scenery_: _Scene first; same as Act III. Lake shore with forest, with the Tepee of Old Nokomis on the shore of the lake. Many Indians grouped here and there with NOKOMIS waiting and watching for the arrival of HIAWATHA and MINNEHAHA who are seen approaching from a distance, NOKOMIS and the Indians coming joyously forward to welcome them. In this scene are introduced an imitation of, or, better still, a Genuine Indian Feast; Indian Music; Indian Songs; Sports and Pastimes, and Indian Dances in Native Costumes by Native Indians—if possible._ _Description_: Sumptuous was the feast Nokomis Made at Hiawatha’s wedding; All the bowls were made of bass-wood, White and polished very smoothly. All the spoons of horn of bison, Black and polished very smoothly. She had sent through all the village And the wedding guests assembled, Clad in all their richest raiment, Robes of fur and belts of wampum, Splendid with their paint and plumage, Beautiful with beads and tassels. _Act, Nokomis, (seeing Hiawatha and Bride approaching)_: With a shout and song of triumph, On the shore stood old Nokomis, _Nokomis_: We bid you welcome Hiawatha, We have waited long your coming, Welcome to your home and people. _Hiawatha, (leading forward Minnehaha)_: Dear Old Nokomis, A daughter have I brought to you From the land of the Dacotahs, Minnehaha, Laughing Water, Who shall run upon your errands, Be the sunlight of my people. _Nokomis, to Minnehaha_: The Objibways welcome the Dacotah maiden, You shall be my starlight, moonlight, firelight; You shall be the sunlight of our people. _Indians_: Honor be to Hiawatha. _Act, Indians_: And the people of the village Welcomed them with songs and dances, Made a joyous feast, and shouted: _Description of Feast_: First they ate the sturgeon, Nahma, And the pike, the Maskenoza, Caught and cooked by old Nokomis; Then on pemmican they feasted, Pemmican and buffalo marrow, Haunch of deer and hump of bison, Yellow cakes of the Mondamin, And the wild rice of the river. _Act, Hiawatha, Minnehaha and Nokomis_: But the gracious Hiawatha, And the lovely Laughing Water, And the careful old Nokomis, Tasted not the food before them, Only waited on the others, Only served their guests in silence. _Act, Nokomis_: And when all the guests had finished, Old Nokomis, brisk and busy, From an ample pouch of otter, Filled the red stone pipes for smoking With tobacco from the South-land, Then she said to Chibiabos, To the friend of Hiawatha, To the sweetest of all singers, To the best of all musicians. _Nokomis_: Sing to us, O Chibiabos! Songs of love and songs of longing, That the feast may be more joyous, That the time may pass more gayly, And our guests be more contented! _Act, Chibiabos_: And the gentle Chibiabos Sang in accents sweet and tender, Sang in tones of deep emotion, Songs of love and songs of longing; Looking still at Hiawatha, Looking at fair Laughing Water, Sang he softly, sang in this wise: _Chibiabos Song_: Onaway! Awake, beloved! Thou the wild-flower of the forest! Thou the wild-bird of the prairie! Thou with eyes so soft and fawn-like! If thou only lookest at me, I am happy, I am happy, As the lilies of the prairie, When they feel the dew upon them! Sweet thy breath is as the fragrance Of the wild-flowers in the morning, As their fragrance is at evening, In the Moon when leaves are falling. Does not all the blood within me Leap to meet thee, leap to meet thee, As the springs to meet the sunshine, In the Moon when nights are brightest? Onaway! my heart sings to thee, Sings with joy when thou art near me, As the sighing, singing branches In the pleasant Moon of Strawberries. When thou art not pleased, beloved, Then my heart is sad and darkened, As the shining river darkens, When the clouds drop shadows on it! When thou smilest, my beloved, Then my troubled heart is brightened, As in sunshine gleam the ripples That the cold wind makes in rivers. Smiles the earth, and smiles the waters, Smile the cloudless skies above us, But I lose the way of smiling When thou art no longer near me! I myself, myself, behold me! Blood of my beating heart, behold me! O awake, awake, beloved! Onaway! awake, beloved! _Nokomis, to Pau-Puk-Keewis_: O Pau-Puk-Keewis, Dance for us your merry dances, Dance the Beggar’s Dance to please us, That the feast may be more joyous, That the time may pass more gayly, And our guests be more contented! _Act, Pau-Puk-Keewis_: Then the handsome Pau-Puk-Keewis, He the Idle Yenadizze, He the merry mischief-maker, Whom the people called the Storm-Fool, Rose among the guests assembled. Skilled was he in sports and pastimes, In the game of quoits and ball play, In all games of skill and hazard. He was dressed in shirt of doe-skin, White and soft, and fringed with ermine, All inwrought with beads of wampum; He was dressed in deer-skin leggings, Fringed with hedgehog quills and ermine, And in moccasins of buckskin, Thick with quills and beads embroidered. On his head were plumes of swan’s down, On his heels were tails of foxes, In one hand a fan of feathers, And a pipe was in the other. Barred with streaks of red and yellow, Streaks of blue and bright vermilion, Shone the face of Pau-Puk-Keewis. From his forehead fell his tresses, Smooth, and parted like a woman’s. Shining bright with oil, and plaited, Hung with braids of scented grasses, As among the guests assembled, To the sound of flutes and singing, To the sound of drums and voices, Rose the handsome Pau-Puk-Keewis, And began his mystic dances _Dance, Pau-Puk-Keewis_: First he danced a solemn measure, Very slow in step and gesture, In and out among the pine-trees, Through the shadows and the sunshine, Treading softly like a panther. Then more swiftly and still swifter, Whirling, spinning round in circles, Leaping o’er the guests assembled, Eddying round and round the wigwam, Till the leaves went whirling with him, Till the dust and wind together Swept in eddies round about him. Then along the sandy margin Of the lake, the Big-Sea-Water, On he sped with frenzied gestures. Stamped upon the sand, and tossed it Wildly in the air around him; Till the wind became a whirlwind, Till the sand was blown and sifted Like great snowdrifts o’er the landscape, Sand Hills of the Nagow Wudjoo! Thus the merry Pau-Puk-Keewis Danced his Beggar’s Dance to please them, And, returning, sat down laughing There among the guests assembled, Sat and fanned himself serenely With his fan of turkey-feathers. _Act, Chibiabos_: Then again sang Chibiabos, Sang a song of love and longing, In those accents sweet and tender, In those tones of pensive sadness, Sang a maiden’s lamentation For her lover, her Algonquin. _Song_: _The original of this song may be found in Oneata, p. 15_. When I think of my beloved, Ah me! think of my beloved, When my heart is thinking of him, O my sweetheart, my Algonquin! “Ah me! when I parted from him, Round my neck he hung the wampum, As a pledge, the snow-white wampum, O my sweetheart, my Algonquin! “I will go with you he whispered, Ah me! to your native country; Let me go with you, he whispered, O my sweetheart, my Algonquin! “Far away, away, I answered, Very far away, I answered, Ah me! is my native country, O my sweetheart, my Algonquin! “When I looked back to behold him, Where we parted, to behold him, After me he still was gazing, O my sweetheart, my Algonquin! “By the tree he still was standing, By the fallen tree was standing, That had dropped into the water, O my sweetheart, my Algonquin! “When I think of my beloved, Ah me! think of my beloved, When my heart is thinking of him, O my sweetheart, my Algonquin!” _Indian pastimes, games, dances and specialties should be here introduced. If possible a national Indian dance by a number of Indians. The Harvest Dance, Ghost Dance or a War Dance, with colored lights thrown upon the scene and soft music behind scenes, forming tableaux during dances and before the curtain falls._ _CURTAIN._ ACT V. FAMINE, FEVER AND MINNEHAHA’S DEATH. _Scenery_: _Forest and Lake, same as Act IV, but WINTER. Interior of Nokomis’ Tepee. Present, Hiawatha, Nokomis and Minnehaha all of whose appearance indicate starvation and great suffering. Fever and Famine, the ghosts, two tall, slim girls, with white, haggard faces, dressed entirely in black drapery with no lines to break effect._ _Hiawatha: (with great depth of feeling.)_ O this long and dreary Winter O this cold and cruel Winter! Ever thicker, thicker, thicker Grows the ice on lake and river, Ever deeper, deeper, deeper Falls the snow o’er all the landscape, Falls the covering snow, and drifting Through the forest, round the village, Hardly from his buried wigwam Can the hunter force a passage; With my mittens and my snowshoes Vainly walked I through the forest, Sought for bird or beast and found none, Saw no track of deer or rabbit, In the snow beheld no footprints, In the ghastly, gleaming forest Fell, and could not rise from weakness, Almost perished there from cold and hunger. O the famine and the fever! O the wasting of the famine! O the blasting of the fever! O the wailing of the children! O the anguish of the women! All the earth is sick and famished; Hungry is the air around them, Hungry is the sky above them, And the hungry stars in heaven Like the eyes of wolves glare at them! _Minnehaha, (turning to Hiawatha, reaching out her hands and piteously beseeching of him:)_ Give me food, O Hiawatha, Give us food, for we are starving, Give us food, or we must perish. _Act, Fever and Famine_: Then the curtain of the doorway From without was slowly lifted; And two women entered softly, Passed the doorway uninvited, Without word of salutation, Without sign of recognition, Sat down in the farthest corner, Crouching low among the shadows. Very pale and haggard were they, As they sat there sad and silent, Trembling, cowering with the shadows, Sobbing, weeping, wailing. _Minnehaha, Softly_: They are famished; Let them do what best delights them; Let them eat, for they are famished. _Hiawatha, musingly to himself_: Who are they? What strange guests has Minnehaha? _Hiawatha, to Fever and Famine_: I bid you welcome To my lodge, to my fireside; O guests! why is it That your hearts are so afflicted, That you sob so in the sunlight? Has perchance the old Nokomis, Has my wife, my Minnehaha, Ever wronged or grieved you by unkindness, Ever failed in hospitable duties? _Fever and Famine_: We are ghosts of the departed, Souls of those who once were with you. Hither have we come to try you. These are corpses clad in garments, These are ghosts that come to haunt you, From the kingdom of Ponemah, From the land of the Hereafter! Cries of grief and lamentation Reach us in the Blessed Islands; Cries of anguish from the living, Calling back their friends departed, Sadden us with useless sorrow. Therefore have we come to try you; No one knows us, no one heeds us. We are but a burden to you, And we see that the departed Have no place among the living. Think of this, O Hiawatha! Speak of it to all the people, That henceforward and forever They no more with lamentations Sadden the souls of the departed In the Islands of the Blessed. Do not lay such heavy burdens In the graves of those you bury. Farewell, noble Hiawatha! We have put you to the trial, To the proof have put your patience, By the insult of our presence, By the outrage of our actions. We have found you great and noble, Faint not in the greater trial, Faint not in the hardest struggle. _Fever and Famine, with haggard and hollow eyes, turn toward and approach Minnehaha, meanwhile Hiawatha, Nokomis and Minnehaha trying to ward them off._ _Famine_, Behold me! I am Famine, Bukadawin! _Fever_, Behold me! I am Fever, Ahkosewin! _Act, Minnehaha_: And the lovely Minnehaha Shuddered as they looked upon her, Shuddered at the words they uttered, Lay down on her bed in silence, Hid her face but made no answer; Lay there trembling, Freezing, burning At the looks they cast upon her, At the fearful words they uttered. _Act, Hiawatha, first preparing for journey_, Wrapped in furs and armed for hunting, With his mighty bow of ash-tree, With his quiver full of arrows, With his mittens, Minjekahwun, Forth into the empty forest Rushed the maddened Hiawatha; In his heart was deadly sorrow, In his face a stony firmness; On his brow the sweat of anguish Started, but it froze and fell not. Into the vast and vacant forest On his snowshoes strode he forward. _Scene shifts, showing Hiawatha in a dense forest, with trees covered with snow and ice, hunting food for Minnehaha, becoming discouraged, he sits down on a log or rock, ponders and talks to himself._ _Hiawatha, despondently, ruminating_, Lo! how all things fade and perish! From the memory of the old men Pass away the great traditions, On the grave-posts of our fathers Are no signs, no figures painted; Who are in those graves we know not, Only know they are our fathers, Of what kith they are and kindred, From what old, ancestral Totem, Be it Eagle, Bear or Beaver, They descended, this we know not, Only know they are our fathers. Face to face we speak together, But we cannot speak when absent, Cannot send our voices from us To the friends that dwell afar off; Cannot send a secret message, But the bearer learns our secret, May pervert it, may betray it, May reveal it unto others. ’Twas through this forest, dark and gloomy, In the balmy days of summer That I brought my bride, Laughing Water, From the land of the Dakotahs, Through this forest, bleak and frozen, Brought my moonlight, starlight, firelight, Brought the sunshine of my people, Minnehaha, Laughing Water, Handsomest of all the women In the land of the Dacotahs, In the land of handsome women. When she followed me, her husband. _Buries his head in his hands, then rising, stretching his hands toward Heaven with head uplifted cries aloud with great feeling._ “Gitche Manitou, the Mighty!” In this bitter hour of anguish, Give your children food, O father! Give us food, or we must perish! Give me food for Minnehaha, For my dying Minnehaha! _Act, Hiawatha_: Through the far-resounding forest, Through the forest vast and vacant Rang that cry of desolation, But there came no other answer Than the echo of his crying, Than the echo of the woodlands. _Echo._ Minnehaha! Minnehaha! Ha! Ha! _Hiawatha disappears in the forest looking for game._ _Scene changes showing the interior of the tepee where Minnehaha lies sick and dying. Fever sitting at her head, Famine at her feet, both staring at her. Old Nokomis sitting at the back of the couch, watching over and caring for her with maternal love and pity._ _Minnehaha, feebly_, _To Fever and Famine_. To-morrow Is the last day of my conflict, Is the last day of my fasting. You will conquer and o’ercome me; _Turning to Nokomis, pathetically_: Dear old Nokomis, Make a bed for me to lie in, Where the rain may fall upon me, Where the sun may come and warm me; Lay me in the earth, and make it Soft and loose and light above me. Let no hand disturb my slumber, Only come yourself to watch me, Till I wake, and start, and quicken, Till I leap into the sunshine. _After a silence._ Ah me! think of my beloved, In the bleak and frozen forest My heart is thinking of him. _Another silence._ Far away, away, Very far away, Ah me! is my native country. _Half raising herself and speaking wildly_: Hark! I hear a rushing, Hear a roaring and a rushing, Hear the Falls of Minnehaha Calling to me from a distance! _Nokomis, soothingly_: No, no, my child! ’Tis only the night-wind in the pine-trees! _Minnehaha, deliriously, pointing_: Look! I see my father Standing lonely at his doorway, Beckoning to me from his wigwam In the land of the Dakotahs! _Nokomis_: No, no, my child! ’Tis only the smoke, that waves and beckons! _Minnehaha, wildly, raving_: Ah! The eyes of Pauguk Glare upon me in the darkness, I can feel his icy fingers Clasping mine amid the darkness! Hiawatha! Hiawatha! _Shrieking loudly and falls back dead._ _Fever and Famine at Minnehaha’s death, glide out, Nokomis changes position taking a seat at her feet, then rocking back and forth wails and moans._ _Nokomis_: Wahonowin! Wahonowin! Would that I had perished for you, Would that I were dead as you are! Wahonowin! Wahonowin! Ah! why do the living, Lay such heavy burdens on us! Better were it to go naked, Better were it to go fasting, Than to bear such heavy burdens On our long and weary journey! O that I were dead! O that I were dead, as thou art? No more work, and no more weeping, Wahonowin! Wahonowin! _During this scene a low, soft dirge should be played behind the scenes. Indians are to be seen peeping from behind trees and rocks, some after the death coming to look into the wigwam._ _Indian chiefs, wailing and shaking their medicine-pouches over the head of Minnehaha._ Hi-au-ha! Way-ha-way! She has gone To the land of ghosts and shadows. Hi-au-ha! Way-ha-way! _Act, Hiawatha_: Hiawatha rushed into the wigwam, Saw the old Nokomis slowly Rocking to and fro and moaning, Saw his lovely Minnehaha Lying dead and cold before him, And his bursting heart within him Uttered such a cry of Anguish, That the forest moaned and shuddered, That the very stars in heaven Shook and trembled with his anguish. _Hiawatha, astounded, shocked, then mournfully._ Dead out of the empty heaven, Dead among the starving people, _Calling to Heaven, despairingly_: Master of Life! Must our lives depend on these things? _Moans, cries, then softly murmurs._ Ah, showain nemeshin, Nosa! Pity, pity me, my father! _Pathetically beseeching Minnehaha_: O! my Minnehaha; O, my Laughing Water, Do not leave me thus; You were my moonlight, starlight, firelight You were the sunshine of my life, _Whispering to her in her slumbers_: Though you are far from me In the land of Sleep and Silence, Still the voice of love should reach you! _Nokomis, sorrowfully, resignedly_: She is dead, the Laughing Water! She the dearest of all creatures! She has gone from us forever, She has moved a little nearer To the Master of all life, To the Master of all sunshine! She has gone To the regions of the home-wind, Of the Northwest wind Keewaydin, To the Islands of the Blessed, To the kingdom of Ponemah, To the land of the Hereafter! _Hiawatha, sitting down, looking lovingly and mournfully at her meditates_, Oh! those willing feet, that never More will lightly run to meet me, Never more will lightly follow. _Act, Hiawatha_: Then he sat down, still and speechless On the bed of Minnehaha At the head of Laughing Water, As if in a swoon he sat there, Speechless, motionless, unconscious. _After awhile, rising, he goes back of the couch, thus standing, looks down upon her, saying with sorrow and deep pathos_, Farewell! Minnehaha! Farewell, O my Laughing Water! All my heart is buried with you, All my thoughts go onward with you! Come not back again to labor, Come not back again to suffer, Where the Famine and the Fever, Wear the heart and waste the body. Soon my task will be completed, Soon your footsteps I shall follow To the Islands of the Blessed, To the Kingdom of Ponemah, To the Land of the Hereafter! _A reproduction of an Indian death scene and an Indian funeral could here be given. Soft music behind scenes. Colored lights should be thrown upon the scene making a very effective tableau, showing interior of the tepee with Indians seen scattered here and there outside in the wintry forest._ _CURTAIN._ ACT VI. HIAWATHA’S DEPARTURE. _Scenery_: _Shore of the lake with a forest on its margin. A peaceful quiet summer scene. In the distance Indian tents, and nearer the tepee of Nokomis. Indians scattered here and there, some making a birch bark canoe in true Ojibway fashion, others shooting at target and indulging in Indian pastimes. Hiawatha standing on the lake shore. Here can be given a transformation and spectacular scene and tableaux, showing Minnehaha in the distance as an angel and hovering o’er them. Or, the following spectacular_—Suddenly in the distance soft low sweet music is heard (by stringed instruments behind the scenes), and across the lake through a rift in the sky is seen a bright heavenly light, growing brighter and brighter, then an object is seen growing more and more distinct as the music grows louder, the object draws nearer and the light brighter, and as the object comes into view it is discovered to be a birch bark canoe gliding toward them. In the canoe is Minnehaha dressed as an angel and using paddle. The soft sweet music grows nearer and louder, and the halo of light surrounding her brighter as the canoe approaches. The Indians stop their various pursuits and stand in attitudes of astonishment watching the canoe approach. Hiawatha, stepping forward to the margin of the lake when Minnehaha is first seen, stands shading his eyes, expectantly watching and waiting. Nokomis also comes forth from her tepee. Minnehaha beckons to Hiawatha. As she approaches them Hiawatha recognizing her, steps forward, close to the waters edge, and with hands extended and a smile of joy and triumph, and a look of exultation waits. As the boat stops close to shore and Minnehaha again beckons to him, he apparently hesitates between her and leaving his people, then again turns to her, with exultation, hope, joy and deep feeling. _Hiawatha_: Oh, my angel, Minnehaha, Long have I been waiting for you! Youth is lovely, age is lonely, Youth is fiery, age is frosty; You bring back the days departed, You bring back my youth of passion, O my beautiful Laughing Water My lovely wife, my Minnehaha. _Hiawatha turns first to Nokomis and then to his people, as though loth to leave them. Then, again looking at Minnehaha, who motions to him smilingly_: _Act, Minnehaha_: O’er the water, flying, Through the shining mist of morning, Comes a birch canoe with paddles, Rising, sinking on the water, Dripping, flashing in the sunshine; O’er the water floating, flying, Something in the hazy distance, Something in the mists of morning, Loomed and lifted from the water, Now seemed floating, now seemed flying, Coming nearer, nearer, nearer. _Act, Hiawatha_: From the brow of Hiawatha Gone was every trace of sorrow. As the fog from off the water, As the mist from off the meadow. With a smile of joy and triumph, With a look of exultation, As of one who in a vision Sees what is to be, but is not, Stood and waited Hiawatha. And the noble Hiawatha, With his hands aloft extended, Held aloft in sign of welcome, Waited, full of exultation. _Hiawatha, to Nokomis, tenderly_: I am going, O Nokomis, On a long and distant journey, To the portals of the Sunset, To the regions of the home-wind, Of the Northwest wind, Keewaydin. _Motioning to his people._ In your watch and ward I leave them, See that never harm comes near them, See that never fear molests them, Never danger nor suspicion, Never want of food nor shelter, In the lodge of Hiawatha. _Nokomis, sobbing._ Farewell, O Hiawatha! Farewell, my child, my noble Hiawatha. _Hiawatha, turning to Indians_: Gitche Manitou, the Mighty, Showed me in my vision, All the secrets of the future, Of the distant days that shall be. I beheld the westward marches Of the unknown crowded nations. All the land was full of people, Restless, struggling, toiling, striving, Speaking many tongues, yet feeling But one heart-beat in their bosoms. In our woodlands rang their axes, Smoked their towns in all our valleys, Over all the lakes and rivers Rushed their great canoes of thunder. Then a darker, drearier vision Passed before me, vague and cloud-like: I beheld our nation scattered, All forgetful of my counsels. There are great men, I have known such, Whom their own people understand not, Whom they even make a jest of. _Stepping into canoe and drifting away._ I am going, O my people, On a long and distant journey; Many moons and many winters Will have come and will have vanished, Ere again I meet you. _Indian Chiefs_: We have listened to your message, We have heard your words of wisdom, We will think on what you tell us. Farewell, O Hiawatha! _All Indians, sorrowfully, watching and waving adieu._ Farewell, Hiawatha, the beloved! Farewell, forever! Farewell, O Hiawatha. _Canoe is seen disappearing in the distance._ _CURTAIN._ *** END OF THE PROJECT GUTENBERG EBOOK A DRAMATIZATION OF LONGFELLOW'S HIAWATHA: A SPECTACULAR DRAMA IN SIX ACTS *** 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.