The Project Gutenberg EBook of Study of a Woman, by Honore de Balzac 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: Study of a Woman Author: Honore de Balzac Translator: Katharine Prescott Wormeley Release Date: February 23, 2010 [EBook #1373] Last Updated: April 3, 2013 Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK STUDY OF A WOMAN *** Produced by John Bickers, and Dagny, and David Widger
The Marquise de Listomere is one of those young women who have been brought up in the spirit of the Restoration. She has principles, she fasts, takes the sacrament, and goes to balls and operas very elegantly dressed; her confessor permits her to combine the mundane with sanctity. Always in conformity with the Church and with the world, she presents a living image of the present day, which seems to have taken the word "legality" for its motto. The conduct of the marquise shows precisely enough religious devotion to attain under a new Maintenon to the gloomy piety of the last days of Louis XIV., and enough worldliness to adopt the habits of gallantry of the first years of that reign, should it ever be revived. At the present moment she is strictly virtuous from policy, possibly from inclination. Married for the last seven years to the Marquis de Listomere, one of those deputies who expect a peerage, she may also consider that such conduct will promote the ambitions of her family. Some women are reserving their opinion of her until the moment when Monsieur de Listomere becomes a peer of France, when she herself will be thirty-six years of age,—a period of life when most women discover that they are the dupes of social laws.
The marquis is a rather insignificant man. He stands well at court; his good qualities are as negative as his defects; the former can no more make him a reputation for virtue than the latter can give him the sort of glamor cast by vice. As deputy, he never speaks, but he votes RIGHT. He behaves in his own home as he does in the Chamber. Consequently, he is held to be one of the best husbands in France. Though not susceptible of lively interest, he never scolds, unless, to be sure, he is kept waiting. His friends have named him "dull weather,"—aptly enough, for there is neither clear light nor total darkness about him. He is like all the ministers who have succeeded one another in France since the Charter. A woman with principles could not have fallen into better hands. It is certainly a great thing for a virtuous woman to have married a man incapable of follies.
Occasionally some fops have been sufficiently impertinent to press the hand of the marquise while dancing with her. They gained nothing in return but contemptuous glances; all were made to feel the shock of that insulting indifference which, like a spring frost, destroys the germs of flattering hopes. Beaux, wits, and fops, men whose sentiments are fed by sucking their canes, those of a great name, or a great fame, those of the highest or the lowest rank in her own world, they all blanch before her. She has conquered the right to converse as long and as often as she chooses with the men who seem to her agreeable, without being entered on the tablets of gossip. Certain coquettish women are capable of following a plan of this kind for seven years in order to gratify their fancies later; but to suppose any such reservations in the Marquise de Listomere would be to calumniate her.
I have had the happiness of knowing this phoenix. She talks well; I know how to listen; consequently I please her, and I go to her parties. That, in fact, was the object of my ambition.
Neither plain nor pretty, Madame de Listomere has white teeth, a dazzling skin, and very red lips; she is tall and well-made; her foot is small and slender, and she does not put it forth; her eyes, far from being dulled like those of so many Parisian women, have a gentle glow which becomes quite magical if, by chance, she is animated. A soul is then divined behind that rather indefinite form. If she takes an interest in the conversation she displays a grace which is otherwise buried beneath the precautions of cold demeanor, and then she is charming. She does not seek success, but she obtains it. We find that for which we do not seek: that saying is so often true that some day it will be turned into a proverb. It is, in fact, the moral of this adventure, which I should not allow myself to tell if it were not echoing at the present moment through all the salons of Paris.
The Marquise de Listomere danced, about a month ago, with a young man as modest as he is lively, full of good qualities, but exhibiting, chiefly, his defects. He is ardent, but he laughs at ardor; he has talent, and he hides it; he plays the learned man with aristocrats, and the aristocrat with learned men. Eugene de Rastignac is one of those extremely clever young men who try all things, and seem to sound others to discover what the future has in store. While awaiting the age of ambition, he scoffs at everything; he has grace and originality, two rare qualities because the one is apt to exclude the other. On this occasion he talked for nearly half an hour with madame de Listomere, without any predetermined idea of pleasing her. As they followed the caprices of conversation, which, beginning with the opera of "Guillaume Tell," had reached the topic of the duties of women, he looked at the marquise, more than once, in a manner that embarrassed her; then he left her and did not speak to her again for the rest of the evening. He danced, played at ecarte, lost some money, and went home to bed. I have the honor to assure you that the affair happened precisely thus. I add nothing, and I suppress nothing.
The next morning Rastignac woke late and stayed in bed, giving himself up to one of those matutinal reveries in the course of which a young man glides like a sylph under many a silken, or cashmere, or cotton drapery. The heavier the body from its weight of sleep, the more active the mind. Rastignac finally got up, without yawning over-much as many ill-bred persons are apt to do. He rang for his valet, ordered tea, and drank immoderately of it when it came; which will not seem extraordinary to persons who like tea; but to explain the circumstance to others, who regard that beverage as a panacea for indigestion, I will add that Eugene was, by this time, writing letters. He was comfortably seated, with his feet more frequently on the andirons than, properly, on the rug. Ah! to have one's feet on the polished bar which connects the two griffins of a fender, and to think of our love in our dressing-gown is so delightful a thing that I deeply regret the fact of having neither mistress, nor fender, nor dressing-gown.
The first letter which Eugene wrote was soon finished; he folded and sealed it, and laid it before him without adding the address. The second letter, begun at eleven o'clock, was not finished till mid-day. The four pages were closely filled.
"That woman keeps running in my head," he muttered, as he folded this second epistle and laid it before him, intending to direct it as soon as he had ended his involuntary revery.
He crossed the two flaps of his flowered dressing-gown, put his feet on a stool, slipped his hands into the pockets of his red cashmere trousers, and lay back in a delightful easy-chair with side wings, the seat and back of which described an angle of one hundred and twenty degrees. He stopped drinking tea and remained motionless, his eyes fixed on the gilded hand which formed the knob of his shovel, but without seeing either hand or shovel. He ceased even to poke the fire,—a vast mistake! Isn't it one of our greatest pleasures to play with the fire when we think of women? Our minds find speeches in those tiny blue flames which suddenly dart up and babble on the hearth. We interpret as we please the strong, harsh tones of a "burgundian."
Here I must pause to put before all ignorant persons an explanation of that word, derived from a very distinguished etymologist who wishes his name kept secret.
"Burgundian" is the name given, since the reign of Charles VI., to those noisy detonations, the result of which is to fling upon the carpet or the clothes a little coal or ember, the trifling nucleus of a conflagration. Heat or fire releases, they say, a bubble of air left in the heart of the wood by a gnawing worm. "Inde amor, inde burgundus." We tremble when we see the structure we had so carefully erected between the logs rolling down like an avalanche. Oh! to build and stir and play with fire when we love is the material development of our thoughts.
It was at this moment that I entered the room. Rastignac gave a jump and said:—
"Ah! there you are, dear Horace; how long have you been here?"
"Just come."
"Ah!"
He took up the two letters, directed them, and rang for his servant.
"Take these," he said, "and deliver them."
Joseph departed without a word; admirable servant!
We began to talk of the expedition to Morea, to which I was anxious to be appointed as physician. Eugene remarked that I should lose a great deal of time if I left Paris. We then conversed on various matters, and I think you will be glad if I suppress the conversation.
When the Marquise de Listomere rose, about half-past two in the afternoon of that day, her waiting-maid, Caroline, gave her a letter which she read while Caroline was doing her hair (an imprudence which many young women are thoughtless enough to commit).
"Dear angel of love," said the letter, "treasure of my life and happiness—"
At these words the marquise was about to fling the letter in the fire; but there came into her head a fancy—which all virtuous women will readily understand—to see how a man who began a letter in that style could possibly end it. When she had turned the fourth page and read it, she let her arms drop like a person much fatigued.
"Caroline, go and ask who left this letter."
"Madame, I received it myself from the valet of Monsieur le Baron de Rastignac."
After that there was silence for some time.
"Does Madame intend to dress?" asked Caroline at last.
"No—He is certainly a most impertinent man," reflected the marquise.
I request all women to imagine for themselves the reflections of which this was the first.
Madame de Listomere ended hers by a formal decision to forbid her porter to admit Monsieur de Rastignac, and to show him, herself, something more than disdain when she met him in society; for his insolence far surpassed that of other men which the marquise had ended by overlooking. At first she thought of keeping the letter; but on second thoughts she burned it.
"Madame had just received such a fine love-letter; and she read it," said Caroline to the housemaid.
"I should never have thought that of madame," replied the other, quite surprised.
That evening Madame de Listomere went to a party at the Marquis de Beauseant's, where Rastignac would probably betake himself. It was Saturday. The Marquis de Beauseant was in some way a connection of Monsieur de Rastignac, and the young man was not likely to miss coming. By two in the morning Madame de Listomere, who had gone there solely for the purpose of crushing Eugene by her coldness, discovered that she was waiting in vain. A brilliant man—Stendhal—has given the fantastic name of "crystallization" to the process which Madame de Listomere's thoughts went through before, during, and after this evening.
Four days later Eugene was scolding his valet.
"Ah ca! Joseph; I shall soon have to send you away, my lad."
"What is it, monsieur?"
"You do nothing but make mistakes. Where did you carry those letters I gave you Saturday?"
Joseph became stolid. Like a statue in some cathedral porch, he stood motionless, entirely absorbed in the labors of imagination. Suddenly he smiled idiotically, and said:—
"Monsieur, one was for the Marquise de Listomere, the other was for Monsieur's lawyer."
"You are certain of what you say?"
Joseph was speechless. I saw plainly that I must interfere, as I happened to be again in Eugene's apartment.
"Joseph is right," I said.
Eugene turned and looked at me.
"I read the addresses quite involuntarily, and—"
"And," interrupted Eugene, "one of them was not for Madame de Nucingen?"
"No, by all the devils, it was not. Consequently, I supposed, my dear fellow, that your heart was wandering from the rue Saint-Lazare to the rue Saint-Dominique."
Eugene struck his forehead with the flat of his hand and began to laugh; by which Joseph perceived that the blame was not on him.
Now, there are certain morals to this tale on which young men had better reflect. First mistake: Eugene thought it would be amusing to make Madame de Listomere laugh at the blunder which had made her the recipient of a love-letter which was not intended for her. Second mistake: he did not call on Madame de Listomere for several days after the adventure, thus allowing the thoughts of that virtuous young woman to crystallize. There were other mistakes which I will here pass over in silence, in order to give the ladies the pleasure of deducing them, "ex professo," to those who are unable to guess them.
Eugene at last went to call upon the marquise; but, on attempting to pass into the house, the porter stopped him, saying that Madame la marquise was out. As he was getting back into his carriage the Marquis de Listomere came home.
"Come in, Eugene," he said. "My wife is at home."
Pray excuse the marquis. A husband, however good he may be, never attains perfection. As they went up the staircase Rastignac perceived at least a dozen blunders in worldly wisdom which had, unaccountably, slipped into this page of the glorious book of his life.
When Madame de Listomere saw her husband ushering in Eugene she could not help blushing. The young baron saw that sudden color. If the most humble-minded man retains in the depths of his soul a certain conceit of which he never rids himself, any more than a woman ever rids herself of coquetry, who shall blame Eugene if he did say softly in his own mind: "What! that fortress, too?" So thinking, he posed in his cravat. Young men may not be grasping but they like to get a new coin in their collection.
Monsieur de Listomere seized the "Gazette de France," which he saw on the mantelpiece, and carried it to a window, to obtain, by journalistic help, an opinion of his own on the state of France.
A woman, even a prude, is never long embarrassed, however difficult may be the position in which she finds herself; she seems always to have on hand the fig-leaf which our mother Eve bequeathed to her. Consequently, when Eugene, interpreting, in favor of his vanity, the refusal to admit him, bowed to Madame de Listomere in a tolerably intentional manner, she veiled her thoughts behind one of those feminine smiles which are more impenetrable than the words of a king.
"Are you unwell, madame? You denied yourself to visitors."
"I am well, monsieur."
"Perhaps you were going out?"
"Not at all."
"You expected some one?"
"No one."
"If my visit is indiscreet you must blame Monsieur le marquis. I had already accepted your mysterious denial, when he himself came up, and introduced me into the sanctuary."
"Monsieur de Listomere is not in my confidence on this point. It is not always prudent to put a husband in possession of certain secrets."
The firm and gentle tones in which the marquise said these words, and the imposing glance which she cast upon Rastignac made him aware that he had posed in his cravat a trifle prematurely.
"Madame, I understand you," he said, laughing. "I ought, therefore, to be doubly thankful that Monsieur le marquis met me; he affords me an opportunity to offer you excuses which might be full of danger were you not kindness itself."
The marquise looked at the young man with an air of some surprise, but she answered with dignity:—
"Monsieur, silence on your part will be the best excuse. As for me, I promise you entire forgetfulness, and the pardon which you scarcely deserve."
"Madame," said Rastignac, hastily, "pardon is not needed where there was no offence. The letter," he added, in a low voice, "which you received, and which you must have thought extremely unbecoming, was not intended for you."
The marquise could not help smiling, though she wished to seem offended.
"Why deceive?" she said, with a disdainful air, although the tones of her voice were gentle. "Now that I have duly scolded you, I am willing to laugh at a subterfuge which is not without cleverness. I know many women who would be taken in by it: 'Heavens! how he loves me!' they would say."
Here the marquise gave a forced laugh, and then added, in a tone of indulgence:—
"If we desire to continue friends let there be no more mistakes, of which it is impossible that I should be the dupe."
"Upon my honor, madame, you are so—far more than you think," replied Eugene.
"What are you talking about?" asked Monsieur de Listomere, who, for the last minute, had been listening to the conversation, the meaning of which he could not penetrate.
"Oh! nothing that would interest you," replied his wife.
Monsieur de Listomere tranquilly returned to the reading of his paper, and presently said:—
"Ah! Madame de Mortsauf is dead; your poor brother has, no doubt, gone to Clochegourde."
"Are you aware, monsieur," resumed the marquise, turning to Eugene, "that what you have just said is a great impertinence?"
"If I did not know the strictness of your principles," he answered, naively, "I should think that you wished either to give me ideas which I deny myself, or else to tear a secret from me. But perhaps you are only amusing yourself with me."
The marquise smiled. That smile annoyed Eugene.
"Madame," he said, "can you still believe in an offence I have not committed? I earnestly hope that chance may not enable you to discover the name of the person who ought to have read that letter."
"What! can it be still Madame de Nucingen?" cried Madame de Listomere, more eager to penetrate that secret than to revenge herself for the impertinence of the young man's speeches.
Eugene colored. A man must be more than twenty-five years of age not to blush at being taxed with a fidelity that women laugh at—in order, perhaps, not to show that they envy it. However, he replied with tolerable self-possession:—
"Why not, madame?"
Such are the blunders we all make at twenty-five.
This speech caused a violent commotion in Madame de Listomere's bosom; but Rastignac did not yet know how to analyze a woman's face by a rapid or sidelong glance. The lips of the marquise paled, but that was all. She rang the bell for wood, and so constrained Rastignac to rise and take his leave.
"If that be so," said the marquise, stopping Eugene with a cold and rigid manner, "you will find it difficult to explain, monsieur, why your pen should, by accident, write my name. A name, written on a letter, is not a friend's opera-hat, which you might have taken, carelessly, on leaving a ball."
Eugene, discomfited, looked at the marquise with an air that was both stupid and conceited. He felt that he was becoming ridiculous; and after stammering a few juvenile phrases he left the room.
A few days later the marquise acquired undeniable proofs that Eugene had told the truth. For the last fortnight she has not been seen in society.
The marquis tells all those who ask him the reason of this seclusion:—
"My wife has an inflammation of the stomach."
But I, her physician, who am now attending her, know it is really nothing more than a slight nervous attack, which she is making the most of in order to stay quietly at home.
Bianchon, Horace
Father Goriot
The Atheist's Mass
Cesar Birotteau
The Commission in Lunacy
Lost Illusions
A Distinguished Provincial at Paris
A Bachelor's Establishment
The Secrets of a Princess
The Government Clerks
Pierrette
A Study of Woman
Scenes from a Courtesan's Life
Honorine
The Seamy Side of History
The Magic Skin
A Second Home
A Prince of Bohemia
Letters of Two Brides
The Muse of the Department
The Imaginary Mistress
The Middle Classes
Cousin Betty
The Country Parson
In addition, M. Bianchon narrated the following:
Another Study of Woman
Joseph
The Magic Skin
Listomere, Marquis de
The Lily of the Valley
A Distinguished Provincial at Paris
Listomere, Marquise de
The Lily of the Valley
Lost Illusions
A Distinguished Provincial at Paris
A Daughter of Eve
Rastignac, Eugene de
Father Goriot
A Distinguished Provincial at Paris
Scenes from a Courtesan's Life
The Ball at Sceaux
The Interdiction
Another Study of Woman
The Magic Skin
The Secrets of a Princess
A Daughter of Eve
The Gondreville Mystery
The Firm of Nucingen
Cousin Betty
The Member for Arcis
The Unconscious Humorists
End of the Project Gutenberg EBook of Study of a Woman, by Honore de Balzac
*** END OF THIS PROJECT GUTENBERG EBOOK STUDY OF A WOMAN ***
***** This file should be named 1373-h.htm or 1373-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/1/3/7/1373/
Produced by John Bickers, and Dagny, and David Widger
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, 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.