Project Gutenberg's The Story Of The Little Mamsell, by Charlotte Niese This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Story Of The Little Mamsell Author: Charlotte Niese Translator: Miss E. C. Emerson Release Date: October 27, 2007 [EBook #23221] Last Updated: February 4, 2013 Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK THE STORY OF THE LITTLE MAMSELL *** Produced by David Widger
"Have you got something good? Then put the basket down and go along home!" This was one usual greeting from old Mahlmann when we brought him provisions. He was very old, and rarely out of his bed, only now and then on warm summer days he sat on the bench before his tiny cottage and basked in the sun. If a painter had ever strayed to our uninteresting little town he would certainly have put old Mahlmann's characteristic head on his canvas. He had a clever old face with a firm mouth and glittering eyes whose expression was so sombre and at the same time observant that we children imagined old Mahlmann was different from other people. And indeed so he was. To begin with he never thanked anyone for bringing him food; in fact he criticized freely the benefits he received. If one brought what was not to his liking, he would say: "Go home and tell your mother old Mahlmann is not a waste-tub where you throw what's not fit to eat. You needn't come again either!"
In this manner he got himself into disfavor with many a good housewife, who would protest by all that was holy that never would she send the hoary old sinner anything again. But Mahlmann never cared. His needs were few and there was always some one to satisfy them.
For me the old man with the sombre eyes had a peculiar fascination; I think from the fact that he once told me a wonderful ghost-story. There were at least half a dozen witches and a whole dozen ghosts in this tale, and for many nights after I went to bed in tears, and only on condition some one sat with me till I fell asleep. Still the spell of these horrors was so strong upon me that I visited Mahlmann all the more» and often bought him something out of my own slender pocket-money to induce him to tell stories. I was not always successful, for the old man had morose moods, when he spoke little. At other times he would tell us his own experiences, and his life had not lacked variety. He had been in Paris at the time of the Revolution, as servant to a Danish officer of high rank, and his description "how the fine gentlemen all rode in an old butcher's cart to have their heads chopped off," left nothing to the imagination. "My Baron was once near going himself to the 'Gartine,' or whatever they call it," he told me one day when he was especially talkative; "but he got well out of it. He was one that could turn the heads of the women, and it was a woman got him safely out of the city."
Mahlmann sat on the bench before the door and stretched his skinny hands to the sun. About his shoulders he had a ragged coat which had once been red, but was now a coat of many colors. It was so hot that I took shelter in the shadow of the doorway, but the chilly old man was shivering. I had brought him a great piece of cake and now offered it to him. He slowly reached for it, and slowly ate it up.
"That's like what I used to get in Paris. Dear me! My Baron was a handsome man, and for my age, I must have been about fifteen, I was a sharp lad—only I couldn't rightly understand their French lingo, which put me out. But I understood the affair of the little Mamsell well enough. She lived opposite; her father was a grocer and she helped in the shop. At first we didn't buy anything there, till a long-legged Englishman told my Baron that this grocer kept a fine Hungarian wine. It was out of the King's wine-cellar and he wasn't drinking any more wine because he had gone to the 'Gartine/ And a few sensible people had divided the wine, which was only right, and it was to be had very cheap. Then I went over and bought some. Mamsell Manon was in the shop, and laughed till she cried over my way of speaking. Then I got angry, and when I brought my Baron the wine I said that I wasn't going again to that stupid Mamsell who couldn't even understand German. The next day my master was for sending me again, but I rebelled. 'Herr Baron,' I said, 'you can give me the whip because I'm only a servant, but I won't go again to that silly girl opposite, and if you make me I'll accuse you to the authorities of being an aristocrat. We're all free and equal now, I can understand that much French, and I'll be sorry if you have to go to the "Gartine," but I won't be ill-treated!'
"My Baron looked at me queerly, but he listened to reason, and I didn't have to go to the Mamsell again because he went himself. And then he made friends with Mamsell Manon, and she came over and brought the King's wine herself. When I knew her better she wasn't bad; she laughed a good deal, and sang all the time like a little bird, but one can't go against nature. And she was a good girl too, for once when my Baron put his arm around her and tried to kiss her, she boxed his ears. I never knew my master could look such a fool. The fine gentlemen don't always get their way."
Mahlmann nodded once or twice and ate some crumbs of cake before he went on.
"No, they don't always get their way," he continued. "My Baron wanted to stay longer in Paris, though many of his noble friends lay already in the lime-pit with their heads off. He didn't want to go away, and sat half the day in the shop with Mamsell Manon, and said a Dane wasn't afraid of the French—they'd not do anything to him! Things never turn out as one expects, and one evening my Baron was fetched away by a couple of long soldiers. That was unpleasant I can tell you. My master had been at me sometimes with the whip, and I didn't care specially about him; but to be all alone in such a crazy town where there's not a Christian that understands a word you say, it's enough to give you the horrors. Then the next morning Mamsell Manon came and talked to me, and cried dreadfully, and stroked my cheeks, and I understood her all right in spite of that jabbering French. Mamsell thought a cousin of hers had got the Baron put in prison, because he was jealous. I don't know what more she said, but I soon found out what she wanted, and my hair stood on end. She wanted to borrow my confirmation suit that I had only had on three times; once at the confirmation, then for communion, and then when I came to the Baron to apply for the place. It was lying in my trunk because I had always worn livery, and when the French wouldn't have liveries any more, the Baron gave me an old gray suit of his. When Mamsell insisted upon having my best clothes I naturally said, 'nong, nong,' and shook my head till I was dizzy, but Manon patted me and coaxed me, and sure as the world she got her way, as women always do. All at once I had got my trunk unlocked and she ran away with my confirmation coat and all the rest of the tilings. And I was still looking after her with my mouth open, when she came back dressed like a man!"
Mahlmann was silent for a moment and wrapped himself with a shiver in his red coat.
"Dear me! how cold it always is now; it used to be warm in July. Things never turn out as one expects. The little Mamseli had promised me faithfully I should have my good clothes back—yes, indeed—bless you! But I must say she looked downright pretty in my best black suit, and I saw why she hadn't worn clothes of the Baron's, or of her own father's. He was short and fat, and the Baron was tall and broad-shouldered, and the little one would not have looked well in their things. Now she looked like a real boy, and like two boys we ran to one of the many prisons where the aristocrats were, I With a basket and she with a basket, with bread and writing-paper, and we took them to the wife of one of the gaolers who earned a lot of money by selling them. The aristocrats were always writing letters, which shows what do-nothings they were; for an honest man has a tongue to talk with, and doesn't need to make marks on paper to kill time. We went to the great prison two or three times; I stayed outside because I was afraid, but Mamseli Manon went in and talked with the gaolers. What more she did I don't know; I waited outside and thought of my confirmation suit, for the little Mamseli wasn't very careful of it. She had had it three days and took it home with her, and I never knew where it was when she was in the shop with her ordinary clothes on. It was always dark when we went out, then she'd come for me and we'd start* I must say she always brought me some* thing, a drop of wine or a bit of cake. The evening of the fourth day when I was waiting for her at the gate of the prison, someone seized hold of my shoulder and said in German, 'Forward!' It was my Baron who stood before me all at once and was in a devil of a hurry to get away. 'Franz!' he said to me, 'be quick or I am lost!' 'Where is the little Mamsell?' I asked, 'and where is my confirmation suit?' Then he grabbed me by the arm and dragged me through the streets till I was out of breath. 'She will come,' he said half to himself, 'to-morrow the mistake will be cleared up, when I am out of the city. Her father will save her.' But though he was still pulling me along, I stopped short. 'Herr Baron,' I said, 'the little Mamsell has got on my best black suit, and the trousers were made out of the Herr Pastor's own, and I tell you if I don't get my suit that I was confirmed in, I'll go to the gentlemen of the head-chopping company and tell them you've broken out of prison, which they certainly won't like. For by rights all the aristocrats ought to go to the "Gartine," or whatever you call it, so that we can have "égalité" and liberty, and we poor fellows can amuse ourselves instead of having all the good times used up by the great gentlemen!' Then he looked at me as if he would like to kill me, but he couldn't do that, so he tried to talk me round with promises. Dear me! what didn't the man promise me! A bag full of money, and a pig every year, and every year a black suit, if I would only go quietly home with him. And he put on my finger on the spot a ring with a red stone that I had always fancied, so I went along quietly with him to his apartment that I had the key of. The Baron slept in my attic room, and I had to lie on the sofa in his best room to look as if I was trying to play the gentleman. The next day the Baron went out twice in a blue blouse with a cap on his head, and the second morning we both went on foot out of the city, in clothes that I wouldn't have liked to touch with a pair of tongs!"
Mahlmann stopped and rubbed his left knee. "What rheumatism I do have! And in the month of July! Well, well, it's always the way when you begin to get old; I suppose I must be about ninety. My grandfather's aunt, though, was more than a hundred and only died then from eating too much at a pig-killing!" He sighed and nodded. "We've all got to be put under ground some day, but it's queer just the same what a difference there is about dying. I'm old now, and that time when I went through Paris in the early morning with a rag-bag on my back, and my Baron with just such another one, was the first time in my life that I ever thought of death, and it isn't a thought for a boy. It was because the carts were passing us with the aristocrats who were going to have their heads chopped off. I'd seen those old carts often enough and naturally thought nothing of it, because it was a good thing that the fine Monsieurs and Madames were got rid off; but this time it startled me, for the little Mamsell was in one of the ramshackle old wagons too. And the strangest of all was she still had on my confirmation suit that made her look like a pretty boy. She had folded her hands and looked as if she was going to communion. There weren't many people in the street,' it was so early, and I was just about to open my mouth and cry out that Mamsell had on my black suit and I wanted her to give it back, when my Baron clapped his hand over my mouth and I nearly choked. 'Donner-wetter' how he gripped me! But only a minute, for suddenly his strength gave out and he stood stock-still and began to tremble. He had looked at Manon and she at him. Such a smile came over her face and she bowed her head, and then the cart drove quickly on. My master stood in one spot for as much as a quarter of an hour, and big tears rolled down his cheeks. 'A horrible mistake!' he murmured, 'she told me she was in no danger, that her father would get her free the next day—he could not have found her! Heavenly Father, couldst thou not have pity on her youth and beauty?' He said much more and I got impatient when he wouldn't go on, and said, 'Herr Baron, the little Mamsell is gone for good and all, I suppose, and my black suit too, so there's no chance of my ever seeing that again, but if we stay here much longer they'll take us to the "Gartine" too, and the little Mamsell wouldn't wish that, or why should she have made all this fuss about my suit. And by this time she's certainly in heaven, and that's a very good place they say!'
"I talked like this to my Baron, till he began to walk, and went faster and faster, out through the city gates, and never looked back for me till we came to some houses where English lived in a village a few miles from Paris, where the French didn't make such a time as in the city itself. The English were going back to their own country, as all this was rather uncomfortable, and we traveled with them by slow stages to the coast, and then in a small boat to England, where they eat their beef too red for my taste; In other ways they live well enough, and I would have had nothing to complain of if my Baron had been a little more cheerful. He had forgotten how to laugh, had grown pale and silent, and nights instead of sleeping he lay groaning and muttering in French and Danish to himself. In his dreams he was always calling for Manon, a senseless thing to do since she couldn't come!"
The old man looked thoughtfully toward the setting sun. "When I thought over the whole affair I felt dreadfully sorry about little Mam-sell. She was such a pretty little thing with short brown hair, and such laughing eyes as if there were no trouble or sorrow in the world. I was only a green lad then, and knew nothing about women, but the memory of her smile as she sat in the cart stayed by me. Afterward I once saw a baby lying in its coffin, that looked as content as Mamsell Manon did that day, going to lay her white neck on the block, I grew more reasonable as time went on and forgot my vexation over my black suit. The Baron treated me very decently, I can't complain. Later on, though, he decided we had better part, for I had grown too free in my manners in Paris, He gave me a good present and if I hadn't had all sorts of bad luck I might be a rich man now. But it's always so, there's no 'égalité' in this country, and if we don't have a good revolution it will never be any different. Though it doesn't always turn out well for everyone even then, The French grocer who did such a good business with the King's wine was one of those who could never get enough aristocrats killed; and finally his own flesh and blood went to her death for the sake of one of them. If misfortune is bound to come there's no getting out of it, and it came to me the time they said I belonged to that band of thieves there was such a talk about. I defended myself well, but all the same I was put in gaol in Gluckstadt, and there's no knowing how long I might have stayed there if it hadn't been for a lucky chance that brought the Danish king to see the prison, along with a lot of fine gentlemen. All of us convicts had to stand in rank and file while old Friedrich inspected us. And who should be behind the King but my Baron, with white hair and bent back, and a great star on his breast. They were going slowly past us, when I coughed, and he started and came close to me. 'Do I not know you?' he said, and I laughed a little. 'Herr Baron, do you remember the story of my best black suit?' He looked rather queer and drew his hand across his forehead as if he were wiping something off, and passed on. The next day one of the wardens took me to the Baron's house, and he asked why I was in prison. When he had heard all about it, he sighed and spoke softly to himself and then sighed again. At last he got up and put his hand on my arm. 'You knew her, Franz, and because you knew her———' he could get no further and I was taken away, and soon after pardoned out. So I saw that the Baron remembered my confirmation suit; and ten years after I saw him again in Kiel, in a bath-chair, for he couldn't walk. I went to see him and he sent me ten thalers, and his servant told me he had great trouble with his sons. He is long dead, which is a pity, for he often sent me something. Everything comes to an end, everything. In the morning when I lie in bed and can't sleep, I often think of little Manon who died in my black suit in the midst of the aristocrats, where she didn't belong, and my black suit didn't belong there either. Things never turn out as one expects, never!"
End of Project Gutenberg's The Story Of The Little Mamsell, by Charlotte Niese
*** END OF THIS PROJECT GUTENBERG EBOOK THE STORY OF THE LITTLE MAMSELL ***
***** This file should be named 23221-h.htm or 23221-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/2/3/2/2/23221/
Produced by David Widger
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf.org
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
http://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.