The Project Gutenberg EBook of The Surrender of Santiago, by Frank Norris 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 Surrender of Santiago An Account of the Historic Surrender of Santiago to General Shafter, July 17, 1898 Author: Frank Norris Release Date: July 11, 2008 [EBook #26026] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK THE SURRENDER OF SANTIAGO *** Produced by Greg Bergquist and The Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries)
AN ACCOUNT OF THE
HISTORIC SURRENDER OF SANTIAGO
TO GENERAL SHAFTER
JULY 17, 1898
by FRANK NORRIS
SAN FRANCISCO
PAUL ELDER AND COMPANY
NINETEEN SEVENTEEN
Copyright, 1913, 1917
by Otis F. Wood
or two days we had been at the headquarters of the Second Brigade (General McKibben's), so blissfully contented because at last we had a real wooden and tiled roof over our heads that even the tarantulas—Archibald shook two of them from his blanket in one night—had no terrors for us.
The headquarters were in an abandoned country seat, a little six-roomed villa, all on one floor, called the Hacienda San Pablo. To the left of us along the crest of hills, in a mighty crescent that reached almost to the sea, lay the army, panting from the effort of the first, second and third days of the month, resting on its arms, its eyes to its sights, Maxim, Hotchkiss and Krag-Jorgenson held ready, alert, watchful, straining in the leash, waiting the expiration of the last truce that had now been on for twenty-four hours.
That night we sat up very late on the porch of the hacienda, singing "The Spanish Cavalier"—if you will recollect the words, singularly appropriate—"The Star-Spangled Banner," and
'Tis a way we had at Caney, sir,
'Tis a way we had at Caney, sir,
'Tis a way we had at Caney, sir,
To drive the Dons away,
an adaptation by one of the General's aides, which had a great success.
Inside, the General himself lay on his spread blankets, his hands clasped under his head, a pipe in his teeth, feebly applauding us at intervals and trying to pretend that we sang out of tune. The night was fine and very still. The wonderful Cuban fireflies, that are like little electric lights gone somehow adrift, glowed and faded in the mango and bamboo trees, and after a while a whip-poor-will began his lamentable little plaint somewhere in the branches of the gorgeous vermilion Flamboyana that overhung the hacienda.
The air was heavy with smells, smells that inevitable afternoon downpours had distilled from the vast jungle of bush and vine and[Pg 5] thicket all up and down the valley. In Cuba everything, the very mud and water, has a smell. After every rain, as soon as the red-hot sun is out again, vegetation reeks and smokes and sweats, and these smells steam off into the air all night, thick and stupefying, like the interior of a cathedral after high mass.
The orderly who brought the despatch should have dashed up at a gallop, clicked his spurs, saluted and begun with "The commanding General's compliments, sir," et cetera. Instead, he dragged a very tired horse up the trail, knee-deep in mud, brought to, standing with a gasp of relief, and said, as he pushed his hat back from his forehead:
"Say, is here where General McKibben is?"
We stopped singing and took our feet down from the railing of the veranda. In the room back of us we heard the General raise on an elbow and tell his orderly to light a candle. The orderly went inside, drawing a paper from his pocket, and the aides followed. Through the open window we could plainly hear what followed, and see, too, for that matter, by twisting a bit on our chairs.
The General had mislaid his eyeglasses and so passed the despatch to one of his aides, [Pg 6]saying: "I'll get you to read this for me, Nolan." On one knee, and holding the despatch to the candle-light, Nolan read it aloud.
It began tamely enough with the usual military formulas, and the first thirty words might have been part of any one of the many despatches the General had been receiving during the last three days. And then "to accompany the commanding General to a point midway between the Spanish and American lines and there to receive the surrender of General Toral. At noon, precisely, the American flag will be raised over the Governor's Palace in the city of Santiago. A salute of twenty-one guns will be fired from Captain Capron's battery. The regimental bands will play 'The Star-Spangled Banner' and the troops will cheer. Shafter."
There was a silence. The aide returned the paper to the General and straightened up, rubbing the dust from his knee. The General shifted his pipe to the other corner of his mouth. The little green parrot who lived in the premises trundled gravely across the brick floor, and for an instant we all watched her with the intensest attention.
"Hum," muttered the General reflectively [Pg 7]between his teeth. "Hum. They've caved in. Well, you won't have to make that little reconnaissance of yours down the railroad, after all, Mr. Nolan." And so it was that we first heard of the surrender of Santiago de Cuba.
We were up betimes the next morning. By six o'clock the General had us all astir and searching in our blanket rolls and haversacks for "any kind of a black tie." It was an article none of us possessed, and the General was more troubled over this lack of a black tie than the fact that he had neither vest nor blouse to do honor to the city's capitulation.
But we had our own troubles. The flag was to be raised over the city at noon. Sometime during the morning the Spanish General would surrender to the American. The General—our General—and his aides, as well as all the division and brigade commanders, would ride out to be present at the ceremony—but how about the correspondents?
Almost to a certainty they would be refused. Privileges extended to journalists and magazine writers had been few and very far between throughout the campaign. We would watch the affair through glasses from some hilltop, two miles, or three maybe, to the rear.[Pg 8] But for all that, we saddled our horses and when the General and his staff started to ride down to corps headquarters, fell in with the aides, and resolved to keep up with the procession as far as our ingenuity and perseverance would make possible.
It was early when we started and the heat had not yet begun to be oppressive. All along and through the lines there were signs of the greatest activity. Over night the men had been withdrawn from the trenches and were pitching their shelter tents on the higher and drier ground, and where our road crossed the road from Caney to Santiago we came upon hundreds of refugees returning to the city whence they had been driven a few days previous.
Headquarters had been moved a mile or two nearer the trenches during the truce, and we found it occupying the site of General Wheeler's tent on the battlefield of San Juan. The ground is high and open hereabouts, and, as we came up we could see the general officers—each of them accompanied by his staff—closing in from every side upon the same spot.
It was a great gathering. We had seen but few of these generals; most of them had been but mere names, names that found place in a[Pg 9] breathless fragment of news shouted by an orderly galloping to or from the front. But now they were all here: Wheeler, small, white-bearded and wiry; Ludlow, who always contrived to appear better dressed than everyone else, in his trim field uniform and white leggings; Randolph, with his bull neck and fine, salient chin, perhaps the most soldierly-looking of all, and others and others and others; Kent, Lawton, Wood, Chaffee, Young, Roosevelt, and our own General, who, barring Wheeler, had perhaps done more actual fighting in the course of his life than any three of the others put together, yet who was like the man in Mr. Nye's song, "without coat or vest," even without "any kind of a black tie."
Shafter himself sat under the fly of his tent, his inevitable pith helmet on his head, a headgear he had worn ever since leaving the ship, holding court as it were on this, his own particular day. In the field below, the cavalry escort was forming, and aides, orderlies and adjutants came and went at the top speed of their horses, just as the military dramas had taught us to expect they should.
But, except ourselves, not a correspondent was in sight, and we were very like to be [Pg 10]ordered back at any moment. But the god descended from the machine in the person of Captain McKittrick of the commanding General's staff, and we were given an unqualified permission to fall in so soon as the start should be made, provided only that we fell in at the rear of any one of the generals' staffs.
But here a difficulty developed itself. The procession started almost immediately, and when we fell in at the rear of one of the staffs we found ourselves naturally at the head of the one immediately behind. It was a time when, if ever, precedence and rank were of paramount importance, and a brigadier-general does not take it kindly when two rather forlorn-appearing men, wearing neither stripe nor shoulder strap, and mounted upon an unkempt mule and a lamentable little white pony, rank him out of his place when he is marching to receive an enemy's surrender. As much was said to us, at first with military terseness, and latterly, this proving of no effect, with cursings and blasphemies. Our deus ex machina was far ahead with General Shafter by this time, and it was only our mule that saved us from ultimate discomfiture. He belonged to a pack-train and his life had been spent in [Pg 11]following close upon the footsteps of the animal in front of him. He was a mule with one idea; his universe collapsed, his cosmos came tumbling about his ears the instant that it became impossible for him to follow in a train. It was all one that Archibald tore and tugged at the bit, or roweled him red. He could as easily have reined a locomotive from its track as to have swerved the creature from its direct line of travel by so much as an inch.
So what with this and with that, we worried along until just beyond the line of our trenches, where the road broadened very considerably and we could compromise by riding on the flanks of the column.
And an imposing column it was, nearly three hundred strong, and it actually appeared as if one-half was made up of brigadier-generals, major-generals, generals commanding divisions, staff officers and the like. A mere colonel was hardly better than a private on that day. We moved forward at a quick trot, General Shafter's pith helmet bobbing briskly along on ahead. As we passed through our lines there was a smart cheer or two from the men, and at one point a band was banging away at a nimble Sousa quickstep as we trotted by.
We were now on what had been the debatable ground, as much the enemy's as ours, and had not gone far before we were suddenly aware of a group of Spanish horsemen over the hedge of cactus to the left of the road, brightly dressed young fellows wearing the blue linen and red facings of the guarda civile, who at the sight of us turned and dashed back through the fields as though to give news of our approach. Then there was a freshly macheted opening in the hedge; the column turned in, advanced parallel with the road some hundred yards through a field of standing grass and at last halted.
At once the place was alive with Spanish soldiery. They came forward to meet us in very brave and gay attire. First a corps of trumpeters sounded a pretty trumpet march. They blew defiantly, did these Spanish trumpeters, and as loudly as ever they could, just to show us that they were not afraid—that they did not care, not they, pooh! After these came a small detachment of guarda, with arms, who watched the Yankee soldiers with bovine intentness while they came to a halt and ordered arms in front of our position.
Toral, the defeated General, came next. [Pg 13]Suddenly it had become very quiet. The trumpeters had ceased blowing, and the rattling accoutrements of the moving troops had fallen still with the halt. The beaten General came out into the open space ahead of his staff, and General Shafter rode out to meet him, and they both removed their hats.
I cast a quick glance around the scene, at the Spaniards in their blue linen uniforms, the red and lacquer of the guarda civile, the ordered Mausers, the trumpeters resting their trumpets on their hips, at our own array, McKibben in his black shirt, Ludlow in his white leggings, and the rank and file of the escort, the bronzed, blue-trousered troopers, erect and motionless upon their mounts. It was war, and it was magnificent, seen there under the flash of a tropic sun with all that welter of green to set it off, and there was a bigness about it so that to be there seeing it at all, and, in a way, part of it, made you feel that for that moment you were living larger and stronger than ever before. It was Appomattox again, and Mexico and Yorktown. Tomorrow nearly a hundred million people the world round would read of this scene, and as many more, yet unborn, would read of it, but today you could sit in your [Pg 14]saddle on the back of your little white bronco and view it as easily as a play.
Toral rode forward toward Shafter and, as I say, both uncovered. Toral was well-looking, his face rather red from the sun and half hidden by a fine gray mustache. He was a little bald and his forehead was high and round. As the two Generals shook hands it was so still that the noise of a man chopping wood in our lines nearly half a mile away was plainly audible. Immediately at their backs the staffs of the two watched. The escort watched. Back along the Spanish and the American trenches thousands of men stood in line and watched; Santiago watched, and Washington, Spain and the United States, the two hemispheres, the Old World and the New, paused on that moment, watching. A sentence or two was spoken in low tones and the Generals replaced their hats and shook hands smilingly.
Instantly a great creaking of saddles took place as the men eased their positions, and conversation began again. The Spanish soldiers filed off through a break in the barbed wire fence, the defiant trumpeters playing their pretty march-call more defiantly than ever.
Introductions were the order of the next few[Pg 15] moments, Shafter introducing all his major and brigadier-generals to Toral. Meanwhile Spanish soldiers were defiling past us along the road going toward our lines, and without arms. There was no rancor or bitterness in the expression of these men. They evinced mostly an abnormal curiosity in observing the cavalrymen who formed our escort, and the cavalry repaid it in kind. The soldiers on both sides wanted to know just what manner of men they had been fighting these last few weeks.
I, myself, became lost in the fascination of these silent-shod soldiers (for they wear a kind of tennis shoe) filing off at their rapid marching gait. We noted that most of them were young, jolly, rather innocent-looking fellows, and we looked especially for officers, studying them and watching to see how "they took it." One fellow led a very fat cow, with his knapsack and impedimenta bound to her horns.
They had nearly gone by and the end of their pack-train of little donkeys was already in sight when a general movement of our escort made me gather up the reins. The head of our column was just descending into the road, going on at a trot. The ride into the city was beginning.
Shall I ever forget that ride? We rode three abreast, always at a rapid trot and sometimes even at a canter, the General himself always setting the pace. Just after leaving the field where the surrender had taken place the road broadened still more until it became a veritable highway, the broadest and best we had ever seen in Cuba, but disfigured here and there with the dead horses of officers, the saddle and headstall still on the carcass. The city was in plain sight now, but its aspect, with which we had become so familiar, was changing with every hundred yards.
At the junction of the Caney road a block house was passed with its usual trench and trocha, strong enough against infantry, as we all knew by now. This one was of unusual strength and we would have given it more serious attention had not our eyes been smitten with the sight of a veritable marvel. It might have been the white swan of Lohengrin there on the stony margin of the road, or the green dragon of Whantley, or the Holland submarine torpedo boat; but it was none of these. It was a carriage—a carriage.
I say it was a carriage, a hack, with girls in white muslin frocks in it, the driver lounging[Pg 17] on the box and two miserable horses dozing in the harness. I suppose it would be quite impossible to make a reader understand how incongruous this apparition seemed to us. It was in use, no doubt, carrying refugees from Caney back into the city and its presence was easily accounted for. But Mr. Kipling's phantom rickshaw could hardly have produced a greater sensation.
"A carriage!"
"Say, will you look at that!"
"Well, for God's sake!"
"Damned if it isn't a carriage!"
"Say, Jim, look at the carriage!"
"It is a carriage for a fact—well, of all the things!"
"Well, that get's me—a carriage!"
It was among the troopers of the escort that the carriage had the greatest success. They chuckled over it as if it had some hidden, mirthful significance. They addressed strange allusions to the lounging driver, and when they had ridden by they turned in their saddles and watched it out of sight at the risk of breaking their necks. They rode the sprucer for it; they were in better spirits for it. They laughed, they talked, they went at a faster[Pg 18] pace, they cocked their hats, they were gay, they were debonair. They had seen a carriage!
And now we were close up. Here was the hospital on the very outskirts, with its plethora of Red Cross flags. It was a hospital, after all, and not a barracks, as we had said, studying it through our field glasses during the last week, for blanketed and beflanneled objects, hollow-eyed, with bandaged heads, crowded silently at the grated windows staring at us galloping past. Here was an abandoned trench, and here—steady all, pull down to a walk—here is the barbed wire entanglement we have heard so much about. Formidable enough, surely; three lines of posts right across the road with barbed wire interwoven. A rabbit could not have passed here; and back of it trenches and rifle pits; nothing but artillery could have forced these lines. What fools to have abandoned them—well.
We passed through the gap single file and gingerly, then forward again at a hard gallop, clattering rough-shod over paved streets, for now at last we were in the city of Santiago.
Soldiers without arms, refugees, the men in brown derby hats—Cubans, negroes, dark women with black lace upon their heads, and[Pg 19] children absolutely naked, watched us very silently from the sidewalks and from balconies. The houses were of adobe, painted pale blue and pink, and roofed with rugged lichen-blackened tiles. The windows reached from sidewalk to roof and were grated heavily, the doors oak and clenched with great nail heads. Santiago, Santiago at last, after so many days of sailing, of marching, of countermarching, and of fighting.
Here we were in the city at last, riding in, hoofs clattering, sabres rattling, saddles creaking, and suddenly a great wave of exultation came over us all. I know the General felt it. I know the last trooper of the escort felt it. There was no thought of humanitarian principles then. The war was not a "crusade," we were not fighting for Cubans just then, it was not for disinterested motives that we were there sabred and revolvered and carbined. Santiago was ours—was ours, ours, by the sword we had acquired, we, Americans, with no one to help—and the Anglo-Saxon blood of us, the blood of the race that has fought its way out of a swamp in Friesland, conquering and conquering and conquering, on to the westward, the race whose blood instinct is the[Pg 20] acquiring of land, went galloping through our veins to the beat of our horses' hoofs.
Every trooper that day looked down from his saddle upon Cuban and Spanish soldier as from a throne. Even though not a soldier, it was impossible not to know their feeling, glorying, arrogant, the fine, brutal arrogance of the Anglo-Saxon, and we rode on there at a gallop through the crowded streets of the fallen city, heads high, sabres clattering, a thousand iron hoofs beating out a long roll—triumphant, arrogant conquerors.
At the Plaza we halted and dismounted. The Cathedral was here, the Cuban and Spanish clubs and the Governor's Palace, a rather unimposing affair all on one floor, with the architectural magnificence of a railway station of the French provinces. The General and the generals went in and crowded the hall of audience, very clinquant with its black and white floor, glass chandeliers, long mirrors and single gilded center table. Here for an hour deputations were received. The Chief of Police, Leonardo Ras y Rodriguez, the ex-Governor, and last of all and most imposing, Monsignor Francisco Saenz de Urturi, the Archbishop, in his robes, purple cap and gold chain, followed[Pg 21] by his suite. Him, General Shafter, came forward to meet, and the two shook hands under the tawdry chandelier. It was a strange enough sight. By many and devious and bloody ways had the priest and the soldier come to meet each other on that day.
But it was drawing toward noon. I went out into the Plaza again. The troops were already forming a line of cavalry that stretched along the street immediately before the Governor's Palace, and two companies of the Ninth Infantry and the band occupied the center where the little park is. I went across the Plaza and stood on the terrace in front of the main doors of the Cathedral. Directly opposite was the Governor's Palace, the naked flagstaff on the roof over the door standing out lean and stark against the background of green hills.
The sidewalks and streets outside the lines of soldiers were crowded with an even mixture of civilians and disarmed Spanish soldiers. The Spanish Club on the left was suddenly closed, but the balconies of the San Carlos—the Cuban Club—were filled with black-bearded, voluble gentlemen in white ducks and straw hats. Every window in the "hotel" was occupied, each one of the little[Pg 22] balconies of the Cafe Venus had its gathering, while the terrace of the Cathedral was packed close. There were perhaps five thousand in the Plaza de Armas of Santiago on that seventeenth day of July.
At five minutes of the noon hour everything fell quiet. Captain McKittrick and Lieutenant Miley had appeared on the roof of the Palace by the flagstaff. Unfortunately there was not a breath of wind. The minutes passed, two, three, four. The silence was profound, nobody spoke. In all those five thousand people there was scarcely a movement.
Then back of us from the direction of the Cathedral's clock tower there came a slow wheezing as of the expansion of decrepit lungs, a creaking and jarring of springs and cog-wheels that grew rapidly louder till it culminated abruptly in a single sonorous stroke. At once Captain McKittrick laid his hand to the halyards of the flagstaff, a bundle of bunting rose in the air, shapeless and without definite color. But suddenly, wonderful enough, there came a breeze, a brisk spurt out of the north. The bunting caught it, twisted upon itself, tumbled, writhed, then suddenly shook itself free, and in a single long billow rolled[Pg 23] out into the Stars and Stripes of Old Glory.
"Pre-sent h' ar-r-r!"
That was from the square, and in answer to the order came the Krag-Jorgensons leaping to the fists and the cavalry sabres swishing and flashing out into the sunlight.
Then the band: "Oh, say, can you see—" while far off on the hills from our intrenchments Capron's battery began to thunder the salute.
The moment was perhaps the most intense of the whole campaign. There was no cheering and that was the best of it. It is hard to understand this, but the occasion was too big for mere shouting, and infinitely too solemn. I have heard the "Miserere" in the Sistine Chapel, and in comparison with the raising of the flag over the city of Santiago it was opera comique.
For perhaps a full minute we stood with bared heads reverently watching the great flag as it strained in the breeze that, curiously enough, was now steady and strong, watching it as it strained and stiffened and grew out broader and broader over the conquered city till you believed the glory of it and the splendor and radiance of it must go flashing off[Pg 24] there over those leagues of tumbling water till it blazed like a comet over Madrid itself.
And the great names came to the mind again—Lexington, Trenton, Yorktown, 1812, Chapultepec, Mexico, Shiloh, Gettysburg, the Wilderness, Appomattox, and now—Guasima, San Juan, El Caney, Santiago.
The Surrender of Santiago, a thrilling account of an historic event, was graphically set down by the late Frank Morris, and first published by Otis F. Wood, in the Sun, New York, through whose courtesy it is now reprinted in booklet form. Issued by Paul Elder & Company at their Tomoye Press, under the direction of Ricardo J. Orozco, in May, nineteen seventeen.
End of Project Gutenberg's The Surrender of Santiago, by Frank Norris *** END OF THIS PROJECT GUTENBERG EBOOK THE SURRENDER OF SANTIAGO *** ***** This file should be named 26026-h.htm or 26026-h.zip ***** This and all associated files of various formats will be found in: https://www.gutenberg.org/2/6/0/2/26026/ Produced by Greg Bergquist and The Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries) 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 https://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 https://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 https://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 https://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 https://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 including checks, online payments and credit card donations. To donate, please visit: https://pglaf.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart was 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: https://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.