The Project Gutenberg eBook of A Child's Garden of Verses, by Robert Louis Stevenson.
The Project Gutenberg eBook of A Child's Garden of Verses
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: A Child's Garden of Verses
Author: Robert Louis Stevenson
Illustrator: E. Mars
Maud Hunt Squire
Release date: May 27, 2008 [eBook #25617]
Most recently updated: January 3, 2021
Language: English
Credits: Produced by Juliet Sutherland, Christine D. and the Online
Distributed Proofreading Team at https://www.pgdp.net
*** START OF THE PROJECT GUTENBERG EBOOK A CHILD'S GARDEN OF VERSES ***
There are several editions of this ebook in the Project Gutenberg collection. Various characteristics of each ebook are listed to aid in selecting the preferred file. Click on any of the filenumbers below to quickly view each ebook.
Robert Lewis Balfour Stevenson, or Robert Louis Stevenson, as the world
knows him, was still a boy when he published this rare volume of "A
Child's Garden of Verses," although by the calendar he was thirty-five
years old. You and I have sighed, no doubt, to be a boy again, but here
was one who, while he outgrew his knickerbockers, never outgrew the quick
sympathy, the brave heart, the fresh outlook, the confident faith and
buoyant spirit of the little Scotch boy who roamed the hills 'round
Edinburgh. Better than any man of any time he was able to enter into the
heart of a boy, to view things with a boy's eyes, and to write of them in
simple verse, touched with the warmth and color of his rich imagination.
In these "Verses" he writes as a child rather than about children, and in
this lies much of the charm which they possess for little readers. There
is in them the surprise of reality, the beauty of a simple rhythm, and the
mysterious flavor of magic that grips a boy's heart and will not let him
go until the book has become a part of him. Surely this is a rare quality
in schoolbooks.
The Stevensons had been famous engineers for more than a hundred years,
building lighthouses along the Scottish coast, and it was natural that his
father should have expected Robert Louis to follow in the family
footsteps. But the slim boy with brown eyes, who at eight had written a
"History of Moses," and illustrated it with his own pen; who was slow to
learn from books, but quick to understand things that he saw and felt; the
boy who carried a volume of history in one pocket and a notebook in
another, had other plans for himself, and even his father came to see the
wisdom of his son's choice of a literary life. As early as[Pg 6] 1873, when
only twenty-three years old, Stevenson was ordered south for the winter by
his physician, to ward off impending consumption. For more than twenty
years, or until his death in Samoa late in 1894, he was never far from
this pursuing enemy. It followed him over tossing seas and through many
lands as he journeyed in search of health; yet through all these years he
carried a brave and happy heart, and wrote at the end this Requiem, the
last three lines of which are upon his tomb on the mountain-top in Samoa;
"Under the wide and starry sky, Dig the grave and let me lie. Glad did I live and gladly die, And I laid me down with a will. "This be the verse you grave for me: Here he lies where he longed to be; Home is the sailor, home from sea, And the hunter home from the hill."
Robert Louis Stevenson's first book, "An Inland Voyage," was published in
1878, when he was twenty-eight years old, and is a fresh and charming
account of a canoe trip up the rivers of Holland. It was during this
journey that he wrote: "If we were charged so much a head for sunsets, or
if God sent around a drum before the hawthorn came into flower, what a
work we should make about their beauty! But these things, like good
companions, stupid people early cease to observe."
The next year came his "Travels With a Donkey," which told in the same
naïve style the story of his journey through the Cevennes Mountains with
no other companion than a donkey, whose gait he describes as being "As
much slower than a walk as a walk is slower than a run."
He first visited America in 1879, in search of health, returning in 1880
to Scotland with Mrs. Stevenson, whom he had married in California. In
1887 he came again with the hope that a dry winter in the Adirondack
Mountains would stand off the hand of[Pg 7] Death. But he was little benefited,
and took up his search for health by chartering a yacht for a voyage
through the South Seas. It was on this trip that he fell in love with the
beauty of the scenery and the healthful climate of Samoa, and in 1890 he
took up his home there, never again to leave the island except for
occasional visits to Honolulu and Sydney. And when the time came for him
to die, the natives, with their knives and axes cut a path up the steep
mountain-side and carried him on their broad shoulders to his grave on the
mountain-top.
"A Child's Garden of Verses" was first published in London in 1885, and
long ago became a children's classic; yet it is now for the first time
made available as a supplementary reader for the primary grades in a
suitable form and at a possible price. There have been many and beautiful
editions, but they have all appealed to "grown-ups" rather than to boys
and girls to whom the book really belongs. To put such a book, with its
simple style, its wise observations, its kindly sympathy, and fanciful
humor into the hands of a boy or girl, is not only to make him happy, it
is to start him on the straight path to culture.
This volume contains all the poems originally appearing under the title "A
Child's Garden of Verses." The poems grouped under "The Child Alone,"
"Garden Days," and "Envoys" have been omitted, as many of them are too
philosophical to be understood by children in the primary grades.
The illustrations in this book are used by special arrangement with Harper
& Brothers of New York City, who publish the complete "Verses" in a
beautiful edition suitable for the home or the library.
So with Stevenson's own words the book is yours:
"Go little book, and wish to all, Flowers in the garden, meat in the hall, A living river by the door, A nightingale in the sycamore."
For the long nights you lay awake And watched for my unworthy sake: For your most comfortable hand That led me through the uneven land: For all the story-books you read: For all the pains you comforted: For all you pitied, all you bore, In sad and happy days of yore:— My second Mother, my first Wife, The angel of my infant life— From the sick child, now well and old, Take, nurse, the little book you hold!
And grant it, Heaven, that all who read May find as dear a nurse at need, And every child who lists my rhyme, In the bright, fireside, nursery clime, May hear it in as kind a voice As made my childish days rejoice!
I have a little shadow that goes in and out with me, And what can be the use of him is more than I can see, He is very, very like me from the heels up to the head; And I see him jump before me, when I jump into my bed.
The funniest thing about him is the way he likes to grow— Not at all like proper children, which is always very slow; For he sometimes shoots up taller like an india-rubber ball, And he sometimes gets so little that there's none of him at all.
He hasn't got a notion of how children ought to play, And can only make a fool of me in every sort of way. He stays so close beside me, he's a coward you can see; I'd think shame to stick to nursie as that shadow sticks to me!
One morning, very early, before the sun was up, I rose and found the shining dew on every buttercup; But my lazy little shadow, like an arrant sleepy-head, Had stayed at home behind me and was fast asleep in bed.
When I was down beside the sea A wooden spade they gave to me To dig the sandy shore. My holes were empty like a cup, In every hole the sea came up. Till it could come no more.
Whenever the moon and stars are set, Whenever the wind is high, All night long in the dark and wet, A man goes riding by. Late in the night when the fires are out, Why does he gallop and gallop about? [Pg 23]
Whenever the trees are crying aloud, And ships are tossed at sea, By, on the highway, low and loud, By at the gallop goes he. By at the gallop he goes, and then By he comes back at the gallop again.
Three of us afloat in the meadow by the swing. Three of us aboard in the basket on the lea. Winds are in the air, they are blowing in the spring. And waves are on the meadow like the waves there are at sea.
Where shall we adventure, to-day that we're afloat, Wary of the weather and steering by a star? Shall it be to Africa, a-steering of the boat, To Providence, or Babylon, or off to Malabar?
Hi! but here's a squadron a-rowing on the sea— Cattle on the meadow a-charging with a roar! Quick, and we'll escape them, they're as mad as they can be. The wicket is the harbor and the garden is the shore.
We built a ship upon the stairs, All made of the back-bedroom chairs, And filled it full of sofa pillows To go a-sailing on the billows.
We took a saw and several nails, And water in the nursery pails; And Tom said, "Let us also take An apple and a slice of cake";— Which was enough for Tom and me To go a-sailing on, till tea.
We sailed along for days and days, And had the very best of plays; But Tom fell out and hurt his knee, So there was no one left but me.
I should like to rise and go Where the golden apples grow;— Where below another sky Parrot islands anchored lie, And, watched by cockatoos and goats, Lonely Crusoes building boats;— Where in sunshine reaching out Eastern cities, miles about, Are with mosque and minaret Among sandy gardens set, And the rich goods from near and far Hang for sale in the bazaar;— Where the Great Wall round China goes, And on one side the desert blows, And with bell and voice and drum, Cities on the other hum;—
Where are forests, hot as fire, Wide as England, tall as a spire, Full of apes and cocoa-nuts And the negro hunters' huts;— Where the knotty crocodile Lies and blinks in the Nile, And the red flamingo flies Hunting fish before his eyes;— Where in jungles, near and far, Man-devouring tigers are, Lying close and giving ear Lest the hunt be drawing near, Or a comer-by be seen Swinging in a palanquin;— Where among the desert sands Some deserted city stands, All its children, sweep and prince, Grown to manhood ages since, Not a foot in street or house, Not a stir of child or mouse, And when kindly falls the night, [Pg 45]In all the town no spark of light. There I'll come when I'm a man With a camel caravan; Light a fire in the gloom Of some dusty dining room; See the pictures on the walls, Heroes, fights and festivals; And in a corner find the toys Of the old Egyptian boys.
The lights from the parlor and kitchen shone out Through the blinds and the windows and bars; And high overhead and all moving about, There were thousands of millions of stars. There ne'er were such thousands of leaves on a tree, Nor of people in church or the Park, As the crowds of the stars that looked down upon me, And that glistened and winked in the dark. [Pg 49]
The Dog, and the Plough, and the Hunter, and all, And the star of the sailor, and Mars, These shown in the sky, and the pail by the wall Would be half full of water and stars. They saw me at last, and they chased me with cries, And they soon had me packed into bed; But the glory kept shining and bright in my eyes, And the stars going round in my head.
Faster than fairies, faster than witches, Bridges and houses, hedges and ditches, And charging along like troops in a battle, All through the meadows the horses and cattle: All of the sights of the hill and the plain Fly as thick as driving rain; And ever again, in the wink of an eye, Painted stations whistle by. [Pg 51]
Here is a child who clambers and scrambles,— All by himself and gathering brambles; Here is a tramp who stands and gazes; And there is the green for stringing the daisies! Here is a cart run away in the road Lumping along with man and load; And here is a mill and there is a river: Each a glimpse and gone for ever!
I saw you toss the kites on high And blow the birds about the sky; And all around I heard you pass, Like ladies' skirts across the grass— O wind, a-blowing all day long! O wind, that sings so loud a song!
I saw the different things you did, But always you yourself you hid. I felt you push, I heard you call, I could not see yourself at all— O wind, a-blowing all day long, O wind, that sings so loud a song!
O you that are so strong and cold, O blower, are you young or old? Are you a beast of field and tree, Or just a stronger child than me? O wind, a-blowing all day long, O wind, that sings so loud a song!
Come up here, O dusty feet! Here is fairy bread to eat Here in my retiring room, Children, you may dine On the golden smell of broom And the shade of pine; And when you have eaten well, Fairy stories hear and tell.
Over the borders, a sin without pardon, Breaking the branches and crawling below, Out through the breach in the wall of the garden, Down by the banks of the river, we go.
Here is the mill with the humming of thunder, Here is the weir with the wonder of foam, Here is the sluice with the race running under— Marvelous places, though handy to home!
Sounds of the village grow stiller and stiller, Stiller the note of the birds on the hill; Dusty and dim are the eyes of the miller, Deaf are his ears with the moil of the mill. [Pg 63]
Years may go by, and the wheel in the river Wheel as it wheels for us, children, to-day, Wheel and keep roaring and foaming for ever— Long after all the boys are away.
Home from the Indies and home from the ocean, Heroes and soldiers we all shall come home; Still we shall find the old mill wheel in motion, Turning and churning that river to foam.
You with the bean that I gave when we quarreled, I with your marble of Saturday last, Honored and old and all gaily appareled, Here we shall meet and remember the past.
My tea is nearly ready and the sun has left the sky; It's time to take the window to see Leerie going by; For every night at teatime and before you take your seat, With lantern and with ladder he comes posting up the street. [Pg 71]
Now Tom would be a driver and Maria go to sea, And my papa's a banker and as rich as he can be; But I, when I am stronger and can choose what I'm to do, O Leerie, I'll go round at night and light the lamps with you!
For we are very lucky, with a lamp before the door, And Leerie stops to light it as he lights so many more; And O, before you hurry by with ladder and with light, O Leerie, see a little child and nod to him to-night!
The moon has a face like the clock in the hall; She shines on thieves on the garden wall, On streets and fields and harbor quays, And birdies asleep in the forks of the trees.
The squalling cat and the squeaking mouse, The howling dog by the door of the house, The bat that lies in bed at noon, All love to be out by the light of the moon.
But all of the things that belong to the day Cuddle to sleep to be out of her way; And flowers and children close their eyes Till up in the morning the sun shall arise.
All round the house is the jet-black night; It stares through the window-pane; It crawls in the corners, hiding from the light, And it moves with the moving flame. [Pg 85]
Now my little heart goes a-beating like a drum, With the breath of Bogie in my hair, And all round the candle the crooked shadows come, And go marching along up the stair.
The shadow of the balusters, the shadow of the lamp, The shadow of the child that goes to bed— All the wicked shadows coming, tramp, tramp, tramp, With the black night overhead.
The following key explains the symbols which are used in the vocabulary of
"A Child's Garden of Verses," to indicate the pronunciation of the words.
It is based upon the 1901 edition of Webster's International Dictionary.
ā
as in fāte.
ŏ
as in nŏt.
ā̍
as in pref´ ā̍ce.
ô
as in lôrd.
ă
as in ădd.
ä
as in fär.
ū
as in ūse.
ȧ
as in grȧss.
ū̍
as in ū̍-nite´.
a̤
as in a̤ll.
ŭ
as in ŭp.
û
as in fûrl.
ē
as in ēve.
ṳ
as in rṳde.
ē̍
as in ē̍-vent´.
ĕ
as in ĕnd.
ȳ
as in flȳ.
ẽ
as in hẽr.
y̆
as in pit´y̆.
ī
as in īce.
o̅o
as in mo̅on.
ĭ
as in pĭn.
ou
as in out.
oi
as in oil.
ō
as in rōw.
ṉ = ng
as in iṉk.
ō̍
as in ō̍-bey´.
th
as in this.
Certain vowels, as a and e, when obscured, are italicized.
broom (bro̅om). A plant from the twigs of which brooms are made.
caravan (kăr´ ȧ văn). A large company traveling together.
cockatoos (kŏk´ ȧ to̅oz´). A bird of the parrot family.
counterpane (koun´ tẽr pān´). A coverlet for a bed.
crocodile (krŏk´ ō̍ dīl). A reptile which grows to the length of 16 or 18
feet, and lives in the large rivers of Africa, Asia, and America.
Crow (krō). The name of a tribe of Indians. [Pg 91] Crusoes (krṳ´sōz). Men like the hero of De Foe's great novel, "Robinson Crusoe."
curious (kū´ rĭ ŭs). Strange.
dale (dāl). Valley.
deserted (dē̍ zẽrt´ ĕd). Forsaken; abandoned.
diet (dī´ ĕt). Food.
Dog (dŏg). One of the two ancient constellations lying south of the
zodiac, known as Canis Major and Canis Minor, or the Greater Dog
and the Lesser Dog.
Egyptian (ē̍ jĭp´ shan). A native of Egypt.
emperors (ĕm´ pẽr ẽrz). The rulers of empires.
estate (ĕs tāt´). Condition; state.
flamingo (flȧ mĭṉ´ gō̍). A large bird, usually red or pink in color.
foreign (fŏr´ ĭn). Strange; distant.
gabies (gā´ bĭz). Simpletons; dunces.
Great Wall (grāt wa̤l). Fifteen hundred miles in length, built in 215 b. c.,
along the north frontier of China. It is the most gigantic work of
defense ever made by man.
Grenadier (grĕn´ ȧ dēr´). One of a company attached to each regiment,
taking post on the right of the line, and wearing a peculiar uniform.
harbor (här´ bẽr). Station for rest and safety.
haunted (hänt´ ĕd). Frequented by ghosts.
hearty (härt´ y̆). Bold; active.
Highland bonnet (hī´ land bŏn´ nĕt). A closely woven, seamless wool
cap worn by the Highland Scotchman.
Hunter (hŭnt´ ẽr). A constellation representing a centaur (a monster,
half man and half horse) drawing a bow. It is called the Archer.
increases (ĭn krēs´ ĕz). Grows.
jungles (jŭṉ´ g'lz). Heavy growths of brushwood, grasses and vines,
so dense as to hardly be penetrated. [Pg 92]
lea (lē). A grassy field.
leaden (lĕ´ 'n). Made of lead.
Leerie (lē̍r´ ĭ). The lamplighter.
Malabar (măl´ a bär´). A district in British India.
man-devouring (măn´-dē̍ vour´ ĭng). Man-eating.
Mars (märz). One of the planets of the solar system. It gives a very
red light.
marten (mär´ tĕn). One of several species of swallows.
martial (mär´ shal). Military; warlike; brave.
marvelous (mär´ vĕl ŭs). Wonderful; strange.
minaret (mĭn´ ȧ rĕt). A high, slender tower attached to a mosque.
moil (moil). Labor; toil.
mosque (mŏsk). A Mohammedan church or place of religious worship.
notion (nō´ shŭn). An idea.
nursery (nûrs´ ẽr y̆). The children's room.
palanquin (păl aṉ kē̍n´). An enclosed carriage about four feet long,
carried on the shoulders of four men by means of two long poles.
It is used in India and China.
perils (pĕr´ ĭlz). Dangers.
pier (pēr). Landing place.
pillage (pĭl´ lā̍j). Plunder; that which is taken from another by force.
pirate (pī´ rā̍t). A robber on the high seas.
Plough (plou). The group of stars commonly called the Dipper.
prudent (prṳ´ dent). Cautious; careful; sensible.
pursue (pûr sū´). Follow; chase.
quays (kēz). Wharfs; landing places.
rear (rēr). The division of an army that marches behind the main body
to protect it.
sages (sāj´ ĕz). Wise men.
scythe (sïth). An instrument for mowing grass and grain.
sedately (sē̍ dāt´ ly̆). Calmly; quietly. [Pg 93] Sioux (so̅o). Certain tribes of Indians.
sire (sīr). Father; the head of the family.
sleepsin-by (slēp´ ¦ sĭn-by̆´). The land of sleep.
sluice (slūs). A passage made for water to pass through, fitted with a
gate.
squadron (skwŏd´ rŭn). A number of vessels under command of one
officer.
star of the sailor. The North Star.
sweep (swēp). As found in "Travel," meaning chimney-sweep.
trundle (trŭn´ d'l). Roll along.
undaunted (ŭn dānt´ ĕd). Fearless; brave.
unduly (ŭn dū´ ly̆). In an extreme manner.
uniform (ū´ nĭ fôrm). Soldier's dress.
wary (wā´ ry̆). Carefully watching; cautious.
wearied (wē´ rĭd). Grown tired.
weir (wēr). A dam in a river used to raise the water back of it.
*** END OF THE PROJECT GUTENBERG EBOOK A CHILD'S GARDEN OF VERSES ***
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.