The Project Gutenberg EBook of A Day With Longfellow, by 
Anonymous and Henry Wadsworth Longfellow

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: A Day With Longfellow

Author: Anonymous
        Henry Wadsworth Longfellow

Release Date: November 11, 2011 [EBook #37980]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK A DAY WITH LONGFELLOW ***




Produced by Delphine Lettau, Susan Theresa Morin and the
Online Distributed Proofreading Team at http://www.pgdp.net

Click to ENLARGE Painting by A. E. Jackson. THE CHILDREN'S HOUR.

Between the dark and the daylight,

When the night is beginning to lower,

Comes a pause in the day's occupations,

That is known as the Children's Hour.

*  *  *  *  *

They climb up into my turret,

O'er the arms and back of my chair;

If I try to escape they surround me,

They seem to be everywhere.

A · DAY · WITH

LONGFELLOW

A DAY WITH LONGFELLOW

The expression of serious and tender thoughtfulness, which always characterized the quiet face of Henry Wadsworth Longfellow, had deepened during his later years, into something akin to melancholy. The tragic loss of his beloved wife,—burned to death while she was sealing up in paper little locks of her children's hair,—had left its permanent and irrevocable mark upon his life. Still, he did not seclude himself with his sorrow: the professor of Modern Languages at Harvard could hardly do that. He remained the selfsame kindly, gentle, industrious man, welcoming with ready courtesy the innumerable visitors to the Craigie House.

This is a large old-fashioned house in Cambridge, Massachusetts—a place of grassy terraces, long verandahs, lilac bushes, and shady trees—a perfect dwelling for a man of cultured tastes, as the interior also testifies.

From the Poet's study, a spacious, sunny room upon the ground floor, he could look across the meadows behind the house to the distant silver windings of the River Charles. It was a most orderly room. Every book and paper lay where he could put his hand on it in a moment. Book-cases full of valuable volumes—precious first editions—busts and portraits,—were to be seen on every side. A certain austere simplicity was noticeable all over Longfellow's house. "His private rooms," it has been said, "were like those of a German professor." But the attractiveness and delightfulness of Craigie House arose not from any intrinsic opulence of its contents, but from the personality of the man who lived there. "By his mere presence he rendered the sunshine brighter, and the place more radiant of kindness and peace."

The Poet began his day, so long as age and health permitted, by a brisk morning walk. He would be out and about by six, observing and enjoying the beauty of earth and air, and subsequently recording his exquisite impressions:

The morning's post brought the first consignment of that enormous number of epistles which were at once an affliction and an amusement to him. The Poet was besieged by letters from ambitious aspirants seeking advice, and from self-styled failures, desirous of help. To these last he was peculiarly drawn, for he was distinguished by "a grace almost peculiar to himself at the time in which he lived—his tenderness towards the undeveloped artist, struggling towards individual expression." In short, his first desire was to help on people, and bring out the best in them.

Of apparent failure or success he recked little, believing, like Stevenson, that the true success is labour,—that pursuit, and not attainment is the worthiest object of existence; and his philosophy is summed up in the well-known words of The Ladder of Saint Augustine,

Constant requests for autographs formed the bulk of the day's budget, and these also never went unanswered—even when couched in terms the most mal à propos, much as those of the man who said that "he loved poetry in 'most any style,"—"and would you please copy your 'Break, break, break' for the writer?" Possibly the worst offenders, in this matter of autograph-hunting, were those multitudinous schoolgirls of whom Longfellow humorously complained that he was always "kept busy answering." They ignored the fact of his professional duties, and his own unremitting work; anything to get a reply in the handwriting of the celebrity! But he had a special delight in budding womanhood, and had depicted it with magical insight and rare delicacy of touch, in lines which have never been excelled in their charm and purity.

Click to ENLARGE Painting by W. H. Margetson. MAIDENHOOD.

The early instalment of letters attended to, the Poet could devote himself to his own affairs. He believed in working at poetry, methodically, systematically: although inspiration might flow with sudden fervour, it was not to be waited for. "Regular, proportioned, resolute, incessant industry," was the secret of his success, and the erasures and substitutions in his MSS. bear witness to his care in craftsmanship. The least conspicuous word must be as perfect as he could make it. Longfellow's creed, as expounded in The Builders, allowed for no scamped work.

Work, indeed, whether mental or physical, was his first instinct, and he has preached the gospel of honest work to the whole English-speaking world in some of the most familiar lines in the language.

Click to ENLARGE Painting by Dudley Tennant. THE VILLAGE BLACKSMITH.

Not for long, however, might Longfellow remain undisturbed in his sunny room. Sometimes he welcomed the opening door that saw "a little figure stealing gently in, laying an arm round his neck as he bent over his work, and softly whispering some childish secret in his ear." For this was no obstacle to the current of his tranquil thoughts. "My little girls are flitting about my study," he wrote to a friend, "as blithe as two birds. They are preparing to celebrate the birthday of one of their dolls…. What a beautiful world this child's world is! I take infinite delight in seeing it go on all around me."

It was with absolute sincerity that he had exclaimed:

But these were congenial moments. There were visitors much less desirable. "He was besieged," as one of his friends declares, "by every possible form of interruption which the ingenuity of the human brain could devise." For his admirers, whose name was legion, were not satisfied with hero-worship afar off: they must needs force themselves into his presence, and express their admiration vivâ-voce. Most amazing folks swooped suddenly down upon him, ruthless and unabashed.

Longfellow, always quick to see the comical side of a situation, would tell with great delight strange tales of his unexpected guests. "One man," he said, "a perfect stranger, came with an omnibus full of ladies. He introduced himself, then returning to the omnibus, took out all the ladies, one, two, three, four, five, with a little girl, and brought them in. I entertained them to the best of my ability, and they stayed an hour."

On another occasion, an English gentleman, with no letter of introduction, abruptly introduced himself, thus: "In other countries, you know, we go to see ruins, and the like—but you have no ruins in your country, and I thought," growing embarrassed, "I would call and see you!" Another strange gentleman accosted him with great fervour, "Mr. Longfellow, I have long desired the honour of knowing you. I am one of the few men who have read your Evangeline!"

All these worshippers at his shrine were received by the Poet with his unfailing courtesy and patience; but he was invariably adroit in warding off compliments. To applause and flattery he was impervious—reference to his own works was distasteful to him. His perfect modesty was the reflex of his natural reticence.

Longfellow regarded life from the standpoint of eternity, and thus was one who, in the words of à Kempis, "careth little for the praise or dispraise of men." His gaze was riveted upon that "Land of the Hereafter," to which he was always more than ready to set out, and in the departure of Hiawatha he had imaged his longing for the "Happiest Land."

Click to ENLARGE Painting by J. Finnemore. HIAWATHA.

Personal friends, of whom the Poet possessed many, would arrive in time for lunch, and be welcomed by the master of Craigie House at the gate in the lilac hedge. He would bring them into the large, cheerful dining-room, and the children would sit at a little table on the verandah, while the host, with his own hands, set the copper kettle singing, and made tea in the antique silver pot.

It was a peaceful, happy hour for the guests. Longfellow, unlike Tennyson, was never much of a talker: he was a listener and observer, who dwelt in a speaking silence—in what has been defined as a heavenly unfathomableness. Ruskin had written: "You come as such a calm influence to me … you give me such a feeling of friendship and repose." And this feeling was enhanced by the man's natural dignity and grace, the refinement of his features, the perfect taste of his dress, and the exquisite simplicity of his manners. Many have alluded to his soft, musical voice, to his steady blue-grey eyes, to the "innate charm of tranquillity," which gave a peculiar spiritual sweetness to his smile. But the man was even more, and better than the poet; so much so that a young enthusiast exclaimed "All the vulgar and pretentious people in the world ought to be sent to Mr. Longfellow to show them how to behave!" Nor was this calm the outcome of natural placidity—it had been attained through bitter suffering: it was that gleam of a hero's armour which the "red planet Mars" unveils to a tear-dimmed sight, when

After lunch, the guests would be taken round the house, and its various treasures pointed out: books in every corner, and on every wall pictures and portraits; antique furniture, interesting mementoes of every sort. It was a home well worth seeing: and an old-world air pervaded all, from the quaint drawing-room, with its old-fashioned, rose-festooned wall-paper, to the upper rooms with the Dutch-tiled hearths.

Later on, to those with whom he felt specially en rapport, Longfellow would read aloud some poems, new or old, his own, or those of other men. He was not a forcible or a dramatic reader; the simplicity which he loved "in all things," as he had said, "but specially in poetry," was evident also here. Yet perhaps no other man could have done equal justice to the lingering hexameters of his most successful poem—for such, by reason of its novelty, pathos, and beauty, Evangeline must always be considered. "It has become a purifying portion," says Rossetti, "of the experiences of the heart … a long-drawn sweetness and sadness"; and, though sixty years have elapsed since Evangeline first appeared, the ideal maiden of this "idyll of the heart" has lost no fraction of her loveliness.

In the course of the afternoon, some of the Poet's guests taking leave, others would accompany him to a concert, organ recital, or any other musical function which might be available. Longfellow was passionately fond of good music, and lost no opportunity of hearing it. His own lyrics are singularly susceptible, as all composers know, of an adequate musical setting.

Click to ENLARGE Painting by H. M. Brock. EVANGELINE.

Few short poems in the world have been so often sung as "Stars of the summer night"—"Good-night, beloved"—"The rainy day"—and other well-known verses. A most effective sense of sound and rhythm, joined with perfect simplicity of diction, evince the inherent artistry of a man who was no musician in the technical sense, but who could express himself in such lines as

After dinner, to which perhaps an intimate friend or two remained, the poet would remain awhile in his study: not actually at work, for his writing was only done in the morning hours, but considering and criticising work already accomplished, and carefully perusing that great translation of Dante which he considered, rightly or wrongly, as the most important work of his life. The twilight would slowly fade into the dusk of a "blindman's holiday," and then came the sweetest moment of the day.

Longfellow's intense affection for all little ones, his touching kindness to them, his sympathy with their most trivial joys or troubles, were focussed and centred in the love he bore to his own dear, motherless children.

A brief period of childish gaiety would supervene, to which the man of childlike heart responded readily; and when the little feet had pattered bedward, and the house was silent from the merry little voices, the father would sit on until midnight in his spacious empty room. He would occupy himself with letters—long, fragrant, pleasant gossips to his best and most familiar friends at a distance: till midnight came upon him unawares. "It is nearly one o'clock—I am the only person up in the house: my candle is sinking in its socket."

And a double loneliness descended upon him as his weary hand laid down the pen. He remained inert and brooding; the solitude was almost tangible. But this solitude was presently peopled by visions, fraught with ineffable consolation to a mind never out of touch with "other-worldly" influences.

"Empty is a horrid word," the Poet had written to a friend—but the room is no longer empty. It has become a habitation for other visitants than the motley throng of flatterers impelled by curiosity, who hindered his morning hours. Unspoken benedictions lie thick upon the air—the man's griefs are soothed away by the touch of invisible fingers. Patient, unselfish, indomitable, he resumes the burden of his daily life with new hope and courage for the morrow.

End of the Project Gutenberg EBook of A Day With Longfellow, by 
Anonymous and Henry Wadsworth Longfellow

*** END OF THIS PROJECT GUTENBERG EBOOK A DAY WITH LONGFELLOW ***

***** This file should be named 37980-h.htm or 37980-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/3/7/9/8/37980/

Produced by Delphine Lettau, Susan Theresa Morin and the
Online Distributed Proofreading Team at http://www.pgdp.net


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 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 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, are 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.