The snow man

CAUTION.—Amateurs and Professionals are hereby warned that “THE SNOW MAN”, being fully protected under the copyright laws of the United States, is subject to royalty, and any one presenting the play without the consent of the author or his authorized agent, will be liable to the penalties by law provided. Application for the right to produce “THE SNOW MAN” must be made to Samuel French, 28-30 West 38th Street, New York City.

CHARACTERS.

Scene:—A poor peasant dwelling, barely furnished with articles of the roughest description, a tressle-table, two benches,—a large one serving as a window-seat, and a smaller one standing by the hearth,—a wooden chair, a spinning wheel, a large bread pan, a shelf containing household crockery, and on the inner wall of the ingle a few pots and pans hanging on the wall. The room is wide and low; to the left is a deep hooded fireplace with containing walls on either side of it,—to one side a bread oven, to the other a cubby-bed with doors; opposite to the fireplace is a door leading to the woodshed. The house door is at the back rather to the right; in its left a long low window extends almost to a line with the fireplace. In the right hand corner stands a large chest. The roof is of heavy beams gray with smoke, and between them shows an inner surface of thatch, the walls are of blue plaster marked by mildew, with patches here and there where the plaster has peeled off. It is winter and daylight is drawing in. Outside the world is white with snow. A peasant-woman moves to and fro with quick dogged pace. The pace of a hard worker tired but always pushed for time. She takes black bread out of the oven, lays it out on the table, cuts off two pieces, and puts the remainder into the bread-pan. Then she takes down the garments from before the fire, presses them with a heavy iron, and puts them[Pg 6] away in the chest. While crossing the room to and fro she economizes her time, never going empty-handed. She puts milk to warm on the fire, and gets down two small mugs from a shelf. She also gets from the cubby-bed two night garments, and hangs them to warm over the bench by the hearth. While she is thus engaged, children’s voices are heard outside, laughing and shouting. The woman, absorbed in her work, pays no attention. Two small romping figures occasionally pass the window. Presently they begin to sing.

(She speaks in a good-humored scolding tone which the children seem not in the least afraid of. She goes and looks out)

Joan. Ah, what are you up to there? Back you go, quick. Or else you’ll get the rod! (They skip back to the fireplace) Now you kneel down and say your prayers. “Pray God”——

Joan. (As she moves about folding up clothes, etc.) “Pray God make Baba good”——

Joan. (Still musing) Nay, nay! You leave the snowman out! He knows his way—he knows his way.

(Joan stands lost in her own thoughts. The children creep behind her toward the window.)

(Mary Ann goes and opens cubby-bed and begins to climb in. Matthew stops outside.)

Joan. There, you get in! you’ve prayed enough to-night. (She goes to close doors)

Joan. (Putting away the bread and the milk-mugs and folding up the strewn garments; starts to sing in a dull toneless voice with little tune)

(While she sings, the firelight dies down and the light of the candle loses its warmth. Outside is a sound of rising wind, and the soft lash of snow against the pane. She goes and looks out of window)

(Knock. The light burns blue. She opens the door. Pause. Slowly the snowman enters and moves across the room toward the bed)

Joan. Why do you come here? Who are you?[Pg 13] Answer! (He again moves forward) No, you don’t go there! You shan’t, you shan’t come nigh of ’em.

(Pause. The snowman lifts his hand and points toward the bed. Joan sees his meaning.)

Joan. Nowhere. He roves about. Seeing the world, ’e calls it. Roving blood. That’s been ’is curse; and mind, ’is roving blood, it haven’t always roved. He liked his ease, he liked the victuals I give him well enough, he liked his fireside, and he liked his bed when I was by ’im. Ah! And then one day he’d ’ad enough of comfort, and was off,—looking for what? ’Ardship? He might have ’ad that ’ere if he’d but stayed. Aye, that ’e could—for it’s been ’ard enough—with they two there. Ah, you may look at ’em, they ’aven’t known trouble—yet they was with me all the time. Why, there’ve been days when I’ve not ’ad enough to eat myself. And what ’ave fed me? Just to ’ear ’em laugh and think they ’aven’t known. What do you look at me like that for? What do you know? What did you come for? Say!

Joan. Comfort? I’ve got no place for comfort in me now. It isn’t that I want—it’s rest.

Snowman. Here—near at hand. Come, come and do not be afraid. (He takes her hand)

(As they touch hands a mist draws over the stage, the walls of the house seem to fade away, the sound of the storm grows loud around them. They stand in a white world full of obscure movement and pale drifting forms.)

Joan. No one I know. No—only you. What? You say you saw him on the road, coming? How do you know that it was ’im? Yes—yes—’e was like that. But younger, ’andsomer than that,—not lame——

(The snowman looses her hand, and she falls. The mist clears from a dark stage, the walls close in again, the chamber remains in darkness. A figure stumbles past the window, the door is[Pg 17] thrown open, the Snowman stands aside. Enter Jaspar.)

(He lifts her onto the chair by the hearth and now holds the candle to her face, then draws away with a growing fear of what other deaths may be there. He advances to the crib, and looks in on the sleeping children. He assures himself that they are alive. It startles him to fresh hope; he turns back to his wife)

(He bends and kisses her on the lips. The Snowman makes a pass toward her with his hand. She moves, and opens her eyes, all dazed and dreaming)

Jaspar. Oh, you be alive! (He sinks down broken, with his head on her breast. She takes his[Pg 19] head in her hands stroking it softly. The Snowman moves slowly to the door, fades through it, and disappears)

Joan. So you’ve come back, I knew you’d come—some day. What’s this? (She touches the coat)

Jaspar. My coat. I found you lyin’ there cold, so I put it round yer. But you made no sign—until I thought as yer was dead.

(They lie still in each other’s arms. Dawn light begins to creep in. A sound of sliding snow is heard on the roof, a sharp twittering of birds; down across the window masses of snow fall in soft thunder. There follows a sound of dropping water: the thaw has begun. The outer world grows radiant with light. The doors of the cubby-bed fly open, the two children peep out. A soft but heavy crash of falling snow is heard. It strikes the door.)

Mary. Mother, what’s that? Get up, get up, it’s light! (Jumps out of bed, followed by Matthew) Oh, come and look! The snow’s all falling—right down off the roof. Look how it’s letting go!

A NEW SERIES OF AMATEUR PLAYS BY THE BEST AUTHORS, ANCIENT AND MODERN, ESPECIALLY TRANSLATED WITH HISTORICAL NOTES, SUGGESTIONS FOR STAGING, Etc., FOR THE USE OF SCHOOLS, COLLEGES, AND DRAMATIC CLUBS

With the immensely increased demand for new plays for purposes of production by amateurs comes a correspondingly great demand for a careful selection of those plays which can be easily and well presented by clubs and colleges. The plays in the present series have been chosen with regard to their intrinsic value as drama and literature, and at the same time to their adaptability to the needs and limitations of such organizations.

The Series, under the personal supervision of Mr. Barrett H. Clark, instructor in the department of Dramatic Literature at Chautauqua, New York, assistant stage manager and actor with Mrs. Fiske (season 1912-1913), now comprises 44 titles, more will make their appearance during the year. Eventually there will be plays from ancient Greece and Rome, Italy, Spain, France, Russia, Germany, and the Scandinavian countries, representative of some of the best drama of all ages and lands.

Each Play is prefaced by a concise historical note by Mr. Clark and with a few suggestions for staging.

INDIAN SUMMER, a comedy in one act by Meilhac and Halevy. This little play, by two of the most famous writers of comedy of the last century, has been played at the Comédie Francaise at Paris for upwards of forty years, and remains one of the brightest and most popular works of the period. Price 25 Cents.

ROSALIE, by Max Maurey. A “Grand Guignol” comedy in one act, full of verve and clever dialogue. Rosalie, the stubborn maid, leads her none too amiable master and mistress into uncomfortable complications by refusing to open the front door to a supposed guest of wealth and influence. Price 25 Cents.

MODESTY, by Paul Hervieu. A delightful trifle by one of the most celebrated of living dramatists. Price 25 Cents.

THE ART OF BEING BORED, (Le Monde où l’on s’Ennuie), a comedy in three acts by Edouard Pailleron. Probably the best-known and most frequently acted comedy of manners in the realm of nineteenth century French drama. It is replete with wit and comic situations. For nearly forty years it has held the stage, while countless imitators have endeavored to reproduce its freshness and charm. Price 25 Cents.

A MARRIAGE PROPOSAL, by Anton Tchekhoff, a comedy in one act, by one of the greatest of modern Russian writers. This little farce is very popular in Russia, and satirizes the peasants of that country in an amusing manner. Price 25 Cents.

THE GREEN COAT, by Alfred de Musset and Emile Augier. A slight and comic character sketch of the life of Bohemian artists in Paris, written by one of France’s greatest poets and one of her best-known dramatists. Price 25 Cents.

THE WAGER, by Giuseppe Giacosa. This one act poetic comedy, written by the most celebrated dramatist of modern Italy, was the author’s first work. It treats of a wager made by a proud young page, who risks his life on the outcome of a game of chess. Price 25 Cents.

PANURGE’S SHEEP, a comedy in one Act by Meilhac and Halevy. A famous and often-acted little play based upon the obstinacy of a charming woman, who is finally induced to marry. 1 man, 2 women. Price 25 Cents.

THE LAW-SUIT (Der Prozess), a comedy in one act by Roderich Benedix. A famous comedy by the well-known German-dramatist—author of “The Obstinate Family,” and “The Third Man.” The play is full of amusing situations and bright lines. 5 men. Price 25 Cents.

THE THIRD MAN (Der Dritte), a comedy in one act by Roderich Benedix. A highly amusing little comedy based upon the obstinacy of human beings, and proves the truth of the saying that “love finds a way.” 3 women, 1 man. Price 25 Cents.

THE GENTLEMAN TRADESMAN (Le Bourgeois Gentile-homme), a comedy in four acts by Moliere. One of the best-known comedies of the celebrated master of comedy. “The Gentleman Tradesman” ridicules the affectations of M. Jourdain, a rich parvenu. 9 men, 5 women. Price 50 Cents.

THE SICILIAN (Le Sicilien), a farce in two scenes by Moliere. One of the lighter comedies of intrigue. This play is laid in Sicily, and has to do with the capture of a beautiful Greek slave from her selfish and tyrannical master. 4 men, 3 women. Price 25 Cents.

DOCTOR LOVE (L’Amour Medecine), a farce in three acts by Moliere. An uproarious farce, satirizing the medical profession. Through it runs the story of a young girl who pretends to be ill in order that she may marry the man she loves. 5 men, 4 women. Price 25 Cents.

THE AFFECTED YOUNG LADIES (Les Precieuses Ridicules), a comedy in one act by Moliere. The famous satire on intellectual and social affectation. Like most of Moliere’s plays, the theme in this is ever modern. 3 women, 6 men. Price 25 Cents.

I’M GOING! A comedy in one act by Tristan Bernard. A delightful bit of comedy of obstinacy and reconciliation. 1 man, 1 woman. Price 25 Cents.

THE FAIRY (La Fee), a romantic comedy in one act by Octave Feuillet. Laid in a hut in Normandy, this little comedy is full of poetic charm and quiet humor. The element of the supernatural is introduced in order to drive home a strong lesson. 1 woman, 3 men. Price 25 Cents.

THE VILLAGE (Le Village), a comedy in one act by Octave Feuillet. The author here paints the picture of an elderly couple, and shows that they have not realized their happiness until it is on the point of being taken from them. 2 women, 2 men. Price 25 Cents.

THE DOCTOR IN SPITE OF HIMSELF, by Moliere. A famous farce by the greatest of French dramatists. Sganarelle has to be beaten before he will acknowledge that he is a doctor, which he is not. He then works apparently miraculous cures. The play is a sharp satire on the medical profession in the 17th Century. Price 25 Cents.

BRIGNOL AND HIS DAUGHTER, by Capus. The first comedy in English of the most sprightly and satirical of present-day French dramatists. Price 50 Cents.

CHOOSING A CAREER, by G. A. de Caillavet. Written by one of the authors of “Love Watches.” A farce of mistaken identity, full of humorous situations and bright lines. Price 25 Cents.

FRENCH WITHOUT A MASTER, by Tristan Bernard. A clever farce by one of the most successful of French dramatists. It is concerned with the difficulties of a bogus-interpreter who does not know a word of French. Price 25 Cents.

PATER NOSTER, a poetic play in one act, by Francois Coppee. A pathetic incident of the time of the Paris Commune, in 1871. Price 25 Cents.

THE ROMANCERS, a comedy in three acts, by Edmond Rostand. New translation of this celebrated and charming little romantic play by the famous author of “Cyrano de Bergerac” and “Chantecler.” Price 25 Cents.

THE MERCHANT GENTLEMAN, (Le Bourgeois Gentil-homme), by Moliere. New translation of one of Moliere’s comic masterpieces, a play which is peculiarly well adapted to amateur production. Price 50 Cents.

THE HOUSE OF FOURCHAMBAULT, by Emile Augier. One of the greatest of recent French family dramas. Although the play is serious in tone, it contains touches which entitle it to a position among the best comedies of manners of the times. Price 50 Cents.

THE LAW-SUIT, (Der Prozess), a comedy in one act by Roderich Benedix. A famous comedy by the well-known German-dramatist—author of “The Obstinate Family,” and “The Third Man.” The play is full of amusing situations and bright lines. 5 men. Price 25 Cents.

I’M GOING! A comedy in one act by Tristan Bernard. A delightful bit of comedy of obstinacy and reconciliation. 1 man, 1 woman. Price 25 Cents.

THE BENEFICENT BEAR, a comedy in three acts, by Goldoni. One of the best-known comedies of the Father of Italian Comedy. A costume piece laid in 18th century France, the principal character in which is a good-hearted, though gruff, old uncle. 4 men, 3 women. Price 25 Cents.

GRAMMAR (La Grammaire), a farce in one act by Labiche. An amusing and charming comedy by one of the greatest of 19th century French dramatists. 4 men, 1 woman. Price 25 Cents.

THE TWO COWARDS (Les Deux Timides), a comedy in one act by Labiche. A very amusing and human little comedy, in which a strong-willed girl helps her father choose for her the man she wishes to marry. 2 women, 3 men. Price 25 Cents.

MASTER PATELIN, SOLICITOR, a comedy in three acts. Special version by Brueys. One of the most famous of early French farces. The setting and character belong to the late Middle Ages. The play is concerned with the crooked dealings of a clever lawyer. 7 men, 2 women. Price 25 Cents.

CRISPIN, HIS MASTER’S RIVAL, a comedy in one act by Le Sage. A famous comedy by the author of “Gil Blas,” concerned with the pranks of two clever valets. 18th century costumes and settings. 4 men, 3 women. Price 25 Cents.

THE LEGACY, a comedy in one act by Marivaux. A delicate high comedy of intrigue. Marivaux one of the masters of old French comedy, and this play is full of deft touches of characterization. 2 women, 4 men. Price 25 Cents.

AFTER THE HONEYMOON, a farce in one act by Wolfgang Gyalui. A Hungarian farce full of brilliant dialog and movement. 1 man, 1 woman. Price 25 Cents.

A CHRISTMAS TALE, a poetic play by Maurice Bouchor. A beautiful little miracle play of love and devotion, laid in 15th century Paris. 2 men, 2 women. Price 25 Cents.

CRAINQUEBILLE, a play in three scenes by Anatole France. A delightful series of pictures of Parisian street life, by the author of “The Man Who Married a Dumb Wife.” 12 men, 6 women. Price 25 Cents.

JEAN-MARIE, a poetic play in one act by Andre Theuriet. A pathetic play of Norman peasant life. 2 men, 1 woman. Price 25 Cents.

THE REBOUND, a comedy in one act by L. B. Picard. A clever comedy of intrigue, and a satire of social position. 2 women, 5 men. Price 25 Cents.

BRIGNOL AND HIS DAUGHTER, by Capus. The first comedy in English of the most sprightly and satirical of present-day French dramatists. Price 50 Cents.

CHOOSING A CAREER, by G. A. de Caillavet. Written by one of the authors of “Love Watches.” A farce of mistaken identity, full of humorous situations and bright lines. Price 25 Cents.

PATER NOSTER, a poetic play in one act, by Francois Coppee. A pathetic incident of the time of the Paris Commune, in 1871. Price 25 Cents.

THE MERCHANT GENTLEMAN (Le Bourgeois Gentil-homme), by Moliere. New translation of one of Moliere’s comic masterpieces, a play which is peculiarly well adapted to amateur production. Price 50 Cents.

*** END OF THE PROJECT GUTENBERG EBOOK THE SNOW MAN ***

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

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.

Joan		A peasant woman
Mary Ann	}	Her children
Matthew Mark	}	Her children
Jaspar		Her husband
The Snow Man

The Project Gutenberg eBook of The snow man

The Snow Man:
a Metrical Play in One Act:
by Laurence Housman

THE SNOW MAN.

CHARACTERS.

THE SNOW MAN

THE FULL PROJECT GUTENBERG LICENSE

The Project Gutenberg eBook of The snow man

The Snow Man: a Metrical Play in One Act: by Laurence Housman

THE SNOW MAN.

CHARACTERS.

THE SNOW MAN

THE FULL PROJECT GUTENBERG LICENSE

The Snow Man:
a Metrical Play in One Act:
by Laurence Housman