The Project Gutenberg eBook, The Gold Horns, by Adam Gottlob
Oehlenschlager, Edited by Edmund Gosse, Translated by George Borrow


This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org





Title: The Gold Horns


Author: Adam Gottlob Oehlenschlager

Editor: Edmund Gosse

Release Date: June 15, 2009  [eBook #29124]

Language: English

Character set encoding: ISO-646-US (US-ASCII)


***START OF THE PROJECT GUTENBERG EBOOK THE GOLD HORNS***

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.

THE GOLD HORNS

translated by
GEORGE BORROW

from the Danish of
ADAM GOTTLOB OEHLENSCHLÄGER

Edited
with an Introduction by
EDMUND GOSSE, C.B.

London:
printed for private circulation
1913

p. 4Copyright in the United States of America
by Houghton, Mifflin & Co. for Clement Shorter.

p. 5INTRODUCTION

Early in the present year Mr. Thos. J. Wise discovered among the miscellaneous MSS. of Borrow a fragment which proved to be part of a version of Oehlenschläger’s Gold Horns.  His attention being drawn to the fact, hitherto unknown, that Borrow had translated this famous poem, he sought for, and presently found, a complete MS. of the poem, and from this copy the present text has been printed.  The paper on which it is written is watermarked 1824, and it is probable that the version was composed in 1826.  The hand-writing coincides with that of several of the pieces included in the Romantic Ballads of that year, and there can be little doubt that Borrow intended The Gold Horns for that volume, and rejected it at last.  He was conscious, perhaps, that his hand had lacked the p. 6skill needful to reproduce a lyric the melody of which would have taxed the powers of Coleridge or of Shelley.  Nevertheless, his attempt seems worthy of preservation.

The Gold Horns marks one of the most important stages in the history of Scandinavian literature.  It is the earliest, and the freshest, specimen of the Romantic Revival in its definite form.  In this way, it takes in Danish poetry a place analogous to that taken by The Ancient Mariner in English poetry.

The story of the events which led to the composition of The Gold Horns is told independently, by Steffens and by Oehlenschläger in their respective Memoirs, and the two accounts tally completely.  Adam Gottlob Oehlenschläger (1779–1850), the greatest poet whom the North of Europe has produced, had already attracted considerable renown and even profit by his writings, which were in the classico-sentimental manner of the late 18th century, when, in the summer of 1802, the young Norwegian philosopher, Henrik Steffens, arrived in Copenhagen from Germany, where he had imbibed the new romantic ideas.  He began to give lectures on p. 7æsthetics, and these awakened a turmoil of opposition.  Among those who heard him, no one was more scandalised than Oehlenschläger, then in his twenty-third year.  He was not acquainted with Steffens, but in the course of the autumn they happened to meet at a restaurant in Copenhagen, when they instantly experienced a violent mutual attraction.  Steffens has described how deep an impression was made upon him by the handsome head, flashing eyes, and graceful vivacity of the poet, while Oehlenschläger bears witness to being no less fascinated by the gravity and enthusiasm of the philosopher.  The new friends found it impossible to part, and sixteen hours had gone by, and 3 a.m. had struck, before Oehlenschläger could tear himself away from the company of Steffens.

He scarcely slept that night, and rose in a condition of bewilderment and rapture.  His first act, after breakfast, was to destroy a whole volume of his own MS. poetry, which was ready for press, and for which a publisher had promised him a handsome sum of money.  His next was to sit down and write The Gold Horns, a manifesto p. 8of his complete conversion to the principles of romanticism.  Later in the day he presented himself again at Steffens’ lodgings, bringing the lyric with him, “to prove,” as he says, “to Steffens that I was a poet at last beyond all doubt or question.”  His new friend received him with solemn exultation.  “Now you are indeed a poet,” he said, and folded him in his arms.  The conversion of Oehlenschläger to romanticism meant the conquest of Danish literature by the new order of thought.

Oehlenschläger has explained what it was that suggested to him the leading idea of his poem.  Two antique horns of gold, discovered some time before in the bogs of Slesvig, had been recently stolen from the national collection at Rosenborg, and the thieves had melted down the inestimable treasures.  Oehlenschläger treats these horns as the reward for genuine antiquarian enthusiasm, shown in a sincere and tender passion for the ancient relics of Scandinavian history.  From a generation unworthy to appreciate them, the Horns had been withdrawn, to be mysteriously restored at the due romantic hour.  He was, when he came under p. 9the influence of Steffens, absolutely ripe for conversion, filled with the results of his Icelandic studies, and with an imagination redolent of Edda and the Sagas.  To this inflammable material, Henrik Steffens merely laid the torch of his intelligence.

It is impossible to pretend that Borrow has caught the enchanting beauty and delicacy of the Danish poem.  But he has made a gallant effort to reproduce the form and language of Oehlenschläger, and we have thought it not without interest to print opposite his version the whole of the original Danish.

Edmund Gosse.

p. 10GULDHORNENE [10]

THE GOLD HORNS

De higer og söger
I gamle Böger,
I oplukte Höie,
Med speidende Öie,
Paa Sværd og Skjolde,
I mulne Volde,
Paa Runestene,
Blandt smuldnede Bene.

Upon the pages
Of the olden ages,
And in hills where are lying
The dead, they are prying;
On armour rusty,
In ruins musty,
On Rune-stones jumbled,
With bones long crumbled.

Oldtids Bedrifter
Anede trylle,
Men i Mulm de sig hylle,
De gamle Skrifter.
Blikket stirrer,
Sig Tanken forvirrer,
I Taage de famle.
“I gamle, gamle,
Forsvundne Dage!
Da det straalte paa Jorden,
Da Östen var i Norden,
Giver Glimt tilbage!”

Eld’s deeds, through guesses
Beheld, are delighting,
But mist possesses
The ancient writing.
The eye-ball fixed is,
The thought perplexed is;
In darkness they’re groping
Their mouths they’re op’ing:
“Ye days long past,
When the North was uplighted,
And with earth heav’n united,
A glimpse back cast.”

p. 12Skyen suser,
Natten bryser,
Gravhöien sukker,
Rosen sig lukker.
De sig möde, de sig möde,
De forklarede Höie,
Kampfarvede, röde,
Med Stjerneglands i Öie.

The clouds are bustling,
The night blasts rustling,
Sighs are breaking,
From grave-hills quaking,
The regions were under
Thunder.
Of the mighty and daring,
The ghosts there muster,
Stains of war bearing,
In their eye star lustre.

“I, som rave iblinde,
Skal finde
Et ældgammelt Minde,
Der skal komme og svinde!
Dets gyldne Sider
Skal Præget bære,
Afældste Tider.

“Ye who blind are straying,
And praying,
Shall an ag’d relic meet,
Which shall come and shall fleet,
Its red sides golden,
The stamp displaying
Of the times most olden.

p. 14Af det kan I lære,
Med andagtsfuld Ære
I vor Gave belönne!
Det skjönneste Skjönne,
En Mö
Skal Helligdommen finde!”

That shall give ye a notion
To hold in devotion
Our gift, is your duty!
A maiden, of beauty
Most rare.
Shall find the token!”

Saa sjunge de og svinde,
Lufttonerne döe.

They vanished; this spoken
Their tones die in air.

Hrymfaxe, den sorte,
Puster og dukker
Og i Havet sig begraver;
Morgenens Porte
Delling oplukker,
Og Skinfaxe traver
I straalende Lue
Paa Himmelens Bue.

Black Hrymfax, weary,
Panteth and bloweth,
And in sea himself burieth;
Belling, cheery,
Morn’s gates ope throweth;
Forth Skinfax hurrieth,
On heaven’s bridge prancing,
And with lustre glancing.

p. 16Og Fuglene synge;
Dugperler bade
Blomsterblade,
Som Vindene gynge;
Og med svævende Fjed
En Mö hendandser
Til Marken afsted.
Violer hende krandser,
Hendes Rosenkind brænder,
Hun har Liljehænder;
Let som et Hind,
Med muntert Sind
Hun svæver og smiler;
Og som hun iler
Og paa Elskov grubler,
Hun snubler—
Og stirrer og skuer
Gyldne Luer
Og rödmer og bæver
Og skjælvende hæver
Med undrende Aand
Udaf sorten Muld
Med snehvide Haand,
Det röde Guld.
p. 18En sagte Torden
Dundrer;
Hele Norden
Undrer.

The little birds quaver,
Pearls from night’s weeping;
The flowers are steeping
In the winds which waver;
To the meadows, fleet
A maiden boundeth;
Violet fillet neat
Her brows surroundeth;
Her cheeks are glowing,
Lilly hands she’s showing;
Light as a hind,
With sportive mind
She smiling frisketh.
And as on she whisketh,
And thinks on her lover,
She trips something over;
And, her eyes declining,
Beholds a shining,
And red’neth and shaketh,
And trembling uptaketh
With wondering sprite
From the dingy mould,
With hand snow-white,
The ruddy gold.
A gentle thunder
Pealeth;
The whole North wonder
Feeleth.

Og hen de stimle
I store Vrimle;
De grave, de söge
Skatten at foröge.
Men intet Guld!
Deres Haab har bedraget:
De see kun det Muld,
Hvoraf det er taget.

Forth rush with gabble
A countless rabble;
The earth they’re upturning,
For the treasure burning.
But there’s no gold!
Their hope is mistaken;
They see but the mould,
From whence it is taken.

Et Sekel svinder!

An age by rolleth.

Over Klippetinder
Det atter bruser.
Stormens Sluser
Bryde med Vælde
Over Norges Fjelde
Til Danmarks Dale.
I Skyernes Sale
De forklarede Gamle
Sig atter samle.

Again it howleth
O’er the tops of the mountains.
Of the rain the fountains
Burst with fury;
The spirits of glory
From Norge’s highlands,
To Denmark’s islands,
In the halls of ether
Again meet together.

p. 20“For de sjeldne Faa,
Som vor Gave forstaae,
Som ei Jordlænker binde
Men hvis Sjæle sig hæve
Til det Eviges Tinde;
Som ane det Höie
I Naturens Öie;
Som tilbedende bæve
For Guddommens Straaler
I Sole, Violer,
I det Mindste, det Störste,
Som brændende törste
Efter Livets Liv;
Som, o store Aand
For de svundne Tider!
Se dit Guddomsblik
Paa Helligdommens Sider:
For dem lyder atter vort Bliv.

“For the few there below
Who our gift’s worth know,
Who earth’s fetters spurn all,
And whose souls are soaring
To the throne of th’ Eternal;
Who in eye of Nature
Behold the Creator;
And tremble adoring,
’Fore the rays of his power
In the sun, in the flower,
In the greatest and least,
And with thirst are possest
For of life the spring;
Who, O powerful sprite
Of the times departed!
See thy look bright
From the relic’s sides darted:
For them our Be once more shall ring.

“Naturens Sön,
Ukjændt i Lön,
Men som sine Fædre
Kraftig og stor,
Dyrkende sin Jord,
Ham vil vi hædre,
Han skal atter finde!”
Saa syngende de svinde.

“Nature’s son, whose name
Is unknown to fame,
But his acre tilling,
Strong-armed and tall,
Like his forefathers all,
Him to honour we’re willing,
He shall find the second token!”
They vanished, this spoken.

p. 22Hrymfaxe, den sorte,
Puster og dukker
Og i Havet sig begraver:
Morgenens Porte
Delling oplukker;
Skinfaxe traver
I straalende Lue
Paa Himmelens Bue.

Black Hrymfax weary
Panteth and bloweth,
And in sea himself buried;
And Belling cheery
Morn’s gates ope throweth;
Forth Skinfax hurrieth,
On heaven’s bridge prancing,
And with lustre glancing.

Ved lune Skov
Öxnene traekke
Den tunge Plov
Over sorten Dække.

By the bright green shaw
The oxen striding
The heavy plough draw,
The soil dividing.

Da standser Ploven
En Gysen farer
Igjennem Skoven;
Fugleskaren
Pludsclig tier;
Hellig Taushed
Alt indvier.

The plough stops; sorest
Of shudders rushes
Right through the forest;
The bird-quire hushes
Sudden its strains;
Holy silence
O’er all reigns.

Da klinger i Muld
Det gamle Guld.

Then rings in the mould
The ancient gold.

p. 24Tvende Glimt fra Oldtidsdage
   Funkle i de nye Tider;
Selsomt vendte de tilbage,
   Gaadefyldt paa blanke Sider.

Glimpses two from period olden
   Lo! in modern time appearing;
Strange returned those glimpses golden,
   On their sides enigmas bearing.

Skjulte Helligdom omsvæver
   Deres gamle Tegn og mærker;
Guddomsglorien ombæver
   Evighedens Underværker.

Holiness mysterious hovers
   O’er their signs, of meaning pond’rous;
Glory of the Godhead covers
   These eternal works so wondrous.

Hædre dem ved Bön og Psalter;
   Snart maaske er hver forsvunden.
Jesu Blod paa Herrens Alter
   Fylde dem, som Blod i Lunden.

Reverence them, for nought is stable;
   They may vanish, past all seeking.
Let Christ’s blood on Christ’s own table
   Fill them, once with red blood reeking.

Men I see kun Guldets Lue,
   Ikke de Ærværdighöie!
Sæte dem som Pragt tilskue
   For et mat, nysgjerrigt Öie!

But their majesty unviewing,
   And their lustre but descrying,
Them as spectacles ye’re shewing
   To the silly and the prying.

Himlen sortner, Storme brage!
   Visse Time, du er kommen.
Hvad de gav, de tog tilbage—
   Evig bortsvandt Helligdommen.

Storm-winds bellow, blackens heaven!
   Comes the hour of melancholy;
Back is taken what was given,—
   Vanished is the relic holy.

 

p. 26London:
Printed for THOMAS J. WISE, Hampstead, N.W.
Edition limited to Thirty Copies.

Footnotes:

[10]  The left-hand column contains the even pages of the printed pamphlet, and the right-hand column the corresponding odd pages which appear opposite them.—DP.

***END OF THE PROJECT GUTENBERG EBOOK THE GOLD HORNS***



***** This file should be named 29124-h.htm or 29124-h.zip******


This and all associated files of various formats will be found in:
http://www.gutenberg.org/dirs/2/9/1/2/29124



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://www.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.gutenberg.org/fundraising/pglaf.


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 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://www.gutenberg.org/about/contact

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://www.gutenberg.org/fundraising/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:
http://www.gutenberg.org/fundraising/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.