The Project Gutenberg eBook of Mollie Charane, and Other Ballads This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: Mollie Charane, and Other Ballads Translator: George Borrow Editor: Thomas James Wise Release date: December 4, 2008 [eBook #27408] Language: English Credits: Transcribed from the 1913 Thomas J. Wise pamphlet by David Price. Many thanks to Norfolk and Norwich Millennium Library, UK, for kindly supplying the images from which this transcription was made *** START OF THE PROJECT GUTENBERG EBOOK MOLLIE CHARANE, AND OTHER BALLADS *** Transcribed from the 1913 Thomas J. Wise pamphlet by David Price, email ccx074@pglaf.org. Many thanks to Norfolk and Norwich Millennium Library, UK, for kindly supplying the images from which this transcription was made. MOLLIE CHARANE AND OTHER BALLADS BY GEORGE BORROW LONDON: PRINTED FOR PRIVATE CIRCULATION 1913 _Copyright in the United States of America_ _by Houghton_, _Mifflin & Co. for Clement Shorter_. MOLLIE CHARANE {5} "O, Mollie Charane, where got you your gold?" Lone, lone you have left me here. "O not in the curragh, deep under the mould." Lone, lone, and void of cheer. "O, Mollie Charane, where got you your stock?" Lone, lone you have left me here. "O not in the curragh from under a block." Lone, lone, and void of cheer. "O, Mollie Charane, where got you your goods?" Lone, lone you have left me here. "O not in the curragh from under two sods." Lone, lone, and void of cheer. Two pair of stockings, and one pair of shoes-- Lone, lone you have left me here-- For twenty-six years old Mollie did use. Lone, lone, and void of cheer. His stockings were white, but his sandals, alack!-- Lone, lone you have left me here-- Were not of one colour, one white, t'other black. Lone, lone, and void of cheer. One sandal was white and t'other dark brown-- Lone, lone you have left me here;-- But he'd two of one colour for kirk and for town. Lone, lone, and void of cheer. "O, father, I really can't walk by your side"-- Lone, lone you have left me here-- "If you go to the church in those sandals of hide." Lone, lone, and void of cheer. "O, daughter, my dear, if my brogues give you pain"-- Lone, lone you have left me here-- "There's that in the coffer will make you look fain." Lone, lone, and void of cheer. A million of curses on Mollie Charane-- Lone, lone you have left me here-- The first who gave tocher to daughter in Man. Lone, lone, and void of cheer. THE DANES OF YORE Well we know from saga And from scaldic lore, That heroic warriors Were the Danes of yore. That the noble schildings, And the men they led, Oft for Danish honour Stoutly fought and bled. What a time for Athelings, What a time for thanes! What a time for yeomen, True devoted Danes! But I'll say with pleasure That, in ancient days, Death did not annihilate All that noble race. Frederic see, exalted On his father's throne, Sits a splendid monarch, Brighter never shone. Long to him be granted That of Grendel's kin He may check the cruel Cursed deeds of sin. And that long may flourish Round about the King, They who love gold treasures All around to fling. Lords, the first of heroes, With their trenchant swords; Counsellors held in honour, For their golden words. To the Lord of angels Praise devout I'll sing, That from out the grave-hill 'Twas my lot to bring Golden dishes, goblets, Things of mighty worth, Which for thousand winters Lay entombed in earth. That men in gold smithery Cunning, might from them For the grey haired hero Frame a diadem. Under which his grey locks Might all glorious shine, Whilst the sun, bright flaming, Seeks the western brine. Until, tired of glory, Such as meets it here, Soars the hero's spirit To a higher sphere; Where, with souls united Of departed friends, 'Twill experience glory Such as never ends. A SURVEY OF DEATH My blood is freezing, my senses reel, So horror stricken at heart I feel; Thinking how like a fast stream we range Nearer and nearer to that dread change, When the body becomes so stark and cold, And man doth crumble away to mould. Boast not, proud maid, for the grave doth gape, And strangely altered reflects thy shape; No dainty charms it doth disclose, Death will ravish thy beauty's rose; And all the rest will leave to thee When dug thy chilly grave shall be. O, ye who are tripping the floor so light, In delicate robes as the lily white, Think of the fading funeral wreath, The dying struggle, the sweat of death-- Think on the dismal death array, When the pallid corse is consigned to clay! O, ye who in quest of riches roam, Reflect that ashes ye must become; And the wealth ye win will brightly shine When buried are ye and all your line; For your many chests of much loved gold You'll nothing obtain but a little mould! DESIDERABILIA VITAE {13} Give me the haunch of a buck to eat, And to drink Madeira old; And a gentle wife to rest with, And in my arms to fold. An Arabic book to study, A gipsy pony to ride; And a house to live in shaded by trees, Near to a river's side. With such good things around me, And with good health withal, Though I should live for a hundred years For death I would not call. SAINT JACOB Saint Jacob he takes our blest Lord by the hand: "I gladly would Christianize Garsia land." "O how wilt thou bring it within Christian pale? No ship hast thou here o'er the salt sea to sail." "Thy power, O Lord, is so wondrously great, Full quickly a ship Thou for me canst create." "Saint Jacob, hie down to the salt ocean strand, There standeth so little a stone by the land." Saint Jacob he taketh a book in his hand, And down he proceeds to the salt ocean strand. Saint Jacob he made o'er the stone the cross-mark, From the land straight it floated, as though 'twere a bark. It rode o'er the billows so rapid and free, Right, right towards Garsia promontoree. So rapid the stone to glide thither began, A hundred miles space in one short hour it ran. In comes a foot-boy, to the King doffs his bonnet: "Here cometh a stone, and a man sits upon it." A woman rushed in, in her eyes wonder shone: "Here cometh a man, and he sits on a stone." King Garsia taketh his axe in his hand, And down he proceeds to the salt ocean strand. "Now hear thou, Saint Jacob, I say unto thee, What hast thou in this land, in this land here with me?" "Unto thee I am come to this land 'cross the brine, Because that my Maker is greater than thine." "O how can thy Maker be greater than mine? Mine drinks every day the brown mead and the wine." "O then my Creator is greater than thine, For mine can the water convert into wine. "My Maker can turn the black mould into bread, Can give life back to them who long, long have been dead." "If thou canst restore me my dearly loved son, I'll trust in thy Maker, and no other one. "If I again view him, with flesh and hair dight, As he fifteen years since disappeared from my sight; "If I get him again both with hawk and with hound, Just, just as he sank in the depths of the sound; "With hair on his head, and with flesh on his bone, As though he the pang of death never had known." Then the blessed Saint Jacob upon his book pored: "'Twill be no easy matter to get him restored." When he had stood reading a wee little time, He raised up the man from hell's sorrowful clime. "Now again thou hast got him with flesh and hair dight, As he fifteen years since disappeared from thy sight. "Thou hast got him again, both with hawk and with hound, Just, just as he sank in the ocean profound. "With hair on his head, and with flesh on his bone, As though he the pang of death never had known." "Now hear thou, my dear son, so fine and so fair, What news from thy journey afar dost thou bear?" "The news which I bring from the far distant place, Is that one little knows of the other's hard case. "There the woman, who's hated the child of her womb, Out of the snake-tower can ne'er hope to come. "There the cruel step-mother, her child who has slain, Goes begirt with a sword fraught with festering bane. "The merchants who here in heaps money up-rake, There hiss in the likeness of serpent and snake. "The Sysselmen, wretches with hearts hard as stone, There in the snake-tower despairingly moan." THE RENEGADE Now pay ye the heed that is fitting, Whilst I sing ye the Iran adventure; The pasha on sofa was sitting, Midst his harem's glorious centre. Greek sang, and Tcherkass, for his pleasure, And Kergoosian captive is dancing; In the eyes of the first heaven's azure, In the others black Eblis is glancing. But the pasha's attention is failing, O'er his visage his fair turban stealeth; From chebouk he sleep is inhaling, Whilst around him sweet vapours he dealeth. What rumour without is there breeding? Ye fair ranks asunder why wend ye? Kyslar Aga, a strange captive leading, Cometh forward, and crieth "Efendy." "Whose face has the power when present 'Mong the stars round the divan which muster? Who amidst the gems of night's crescent Has the blaze of Aldeboran's lustre? "Glance nearer, bright star! I have tiding, Glad tiding. Behold how in duty From far Lehistan the wind, gliding, Has brought this fresh tribute of beauty. "In the padishaw's garden there bloometh In proud Istambul no such blossom; From the wintry regions she cometh, Whose memory so lives in thy bosom." Then the gauzes removes he which shade her, At her beauty all wonder intensely; One moment the pasha surveyed her, Then, dropping his chebouk, without sense lay. His turban has fallen from his forehead, To assist him the bystanders started. His mouth foams, his face blackens horrid,-- See, the Renegade's soul has departed! AN IMPROMPTU And darest thou thyself compare With one who quaffs at Helicon; Whose playfellows the Muses are, And whom Apollo calleth son? Who, had he lived in olden day, With some fierce host had strode along; Like Taillefer to Hasting's fray, Cheering the Normans with his song. The laurel wreath Apollo gave I would not change for kingly crown; A King is but an exalted slave, Rebellion soon may hurl him down. But who can force me from the height Whereto I've soared on Eagle's wing? I leave to Monarchs ceaseless fright For what the coming day may bring. Though poor I be, I've Minstrelsy, When fortune frowns I'll strike my lyre; Against the world's inclemency 'Twill warm my soul with heavenly fire. Then wonder not if proud the air Of one who's high Apollo's son; Nor henceforth dare thyself compare With one who quaffs at Helicon. A HYMN O Jesus, Thou Fountain of solace and gladness Of Heaven's high Three second person divine; Forgive, O forgive me my blindness and madness, And guide to Thy kingdom this spirit of mine. Dearly, O Jesus, Thou boughtest me, Yon Friday dark Upon the tree. Thy foes were numerous, Fierce and fell; Few and weak those Who wished Thee well. Nigh stood Thy mother, Full of fears, Wringing her hands And bathed in tears. Often, O Jesus, Wilfully With my great sins I've tortured Thee. Causing Thy wounds To open again, Waking anew The ancient pain. All the kindness Thou hast display'd, With black ingratitude I've repaid. But Jesus, Creator of earth and of ocean, Who me, a vile sinner, so dearly didst buy; My damnable ignorance turn to devotion, And guide my poor soul to Thy courts in the sky. THE TRANSFORMED DAMSEL. {25} My father up of the country rode, A maiden he would wed; And a foul witch he married then, If the whole truth be said. The first night they together slept, She was a mother kind to me; But when the second night arrived, A cruel stepmother was she. I was seated at my father's board With dogs and whelps amused; Towards me striding my stepmother came, And cruelly me she used. She changed me to a little hind, Bade me into the forest wend; My seven maids then she changed to wolves, And ordered them my flesh to rend. But my seven maids would rend me not, So dearly me they loved; Then vexed sore my step-dame was, That no worse my fortune proved. Sir Orm he serves in the King's palace, A Knight is he so fair; He sighs for the maiden day and night, But in secret he keeps his care. Sir Orm he rode from the King's palace, He could enjoy no peace; He rode into the good green wood, The hart and hind to chase. Sir Orm set his bow his knee before, He rode to the hind so near; But the hind would not from the sleuth-hounds flee, For the Knight to her was dear. But the hounds advanced to the hind so near, That the hind was forced to fly; She changed herself to a little bird, And flew high up in the sky. Anon down flew the little bird, Perched a linden bough upon; Sir Orm he stood there down below, And sorely did he moan. Down flew the lovely little bird, And 'gan on the bait to feast, Which out of his bosom Sir Orm had cut, So well it pleased her taste. And then the lovely little bird Dropped down on the yellow sand, And she became the fairest damsel, Was ever seen in the land. The Damsel stood under the linden bough, Freed was she now from thrall; Sir Orm he stood so near thereby, They related their sorrows all. "Many thanks to thee, Sir Orm the bold Thou'st freed me from my woe; Except beside my snow-white side Thou sleep shalt nevermoe." Thanks be to him, Sir Orm the bold He kept his faith so well; The Monday morn thereafter His bridal it befell. * * * * * LONDON: Printed for THOMAS J. WISE, Hampstead, N.W _Edition limited to Thirty Copies_ Footnotes: {5} This ballad is founded on a real character--a miser--who by various means acquired a considerable property, and was the first person who ever left "tocher," that is fortune, to daughter in Man. His name was Mollie Charane, which words interpreted are "Praise the Lord." He lived and possessed an estate on the curragh, a tract of boggy ground, formerly a forest, on the northern side of the island, between the mighty mountains of the Snefell range and the sea. {13} Previously printed, with a slightly different text, and arranged in six lines instead of in three four-line stanzas, in _Lavengro_, 1851, Vol. i, p. 306. {25} This Ballad should be compared with _The Cruel Step-dame_, printed in _The Serpent Knight and Other Ballads_, 1913, pp. 30-33. Also with _The Transformed Damsel_, printed in _The Return of the Dead and Other Ballads_, 1913, pp. 13-14. *** END OF THE PROJECT GUTENBERG EBOOK MOLLIE CHARANE, AND OTHER BALLADS *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.