IV

V

THE GREAT TOMB

Gilliatt walked along the water-side, passed rapidly through St. Peter's Port, and then turned towards St. Sampson by the seashore. In his anxiety to meet no one whom he knew, he avoided the highways now filled with foot-passengers by his great achievement.

For a long time, as the reader knows, he had had a peculiar manner of traversing the country in all parts without being observed. He knew the bye-paths, and favoured solitary and winding routes; he had the shy habits of a wild beast who knows that he is disliked, and keeps at a distance. When quite a child, he had been quick to feel how little welcome men showed in their faces at his approach, and he had gradually contracted that habit of being alone which had since become an instinct.

He passed through the Esplanade, then by the Salerie. Now and then he turned and looked behind him at the Cashmere in the roads, which was beginning to set her sails. There was little wind; Gilliatt went faster than the Cashmere. He walked with downcast eyes among the lower rocks at the water's edge. The tide was beginning to rise.

Suddenly he stopped, and, turning his back, contemplated for some minutes a group of oaks beyond the rocks which concealed the road to Vale. They were the oaks at the spot called the Basses Maisons. It was there that Déruchette once wrote with her finger the name of Gilliatt in the snow. Many a day had passed since that snow had melted away.

Then he pursued his way.

The day was beautiful; more beautiful than any that had yet been seen that year. It was one of those spring days when May suddenly pours forth all its beauty, and when nature seems to have no thought but to rejoice and be happy. Amidst the many murmurs from forest and village, from the sea and the air, a sound of cooing could be distinguished. The first butterflies of the year were resting on the early roses. Everything in nature seemed new—the grass, the mosses, the leaves, the perfumes, the rays of light. The sun shone as if it had never shone before. The pebbles seemed bathed in coolness. Birds but lately fledged sang out their deep notes from the trees, or fluttered among the boughs in their attempts to use their new-found wings. There was a chattering all together of goldfinches, pewits, tomtits, woodpeckers, bullfinches, and thrushes. The blossoms of lilacs, May lilies, daphnes, and melilots mingled their various hues in the thickets. A beautiful kind of water-weed peculiar to Guernsey covered the pools with an emerald green; where the kingfishers and the water-wagtails, which make such graceful little nests, came down to bathe their wings. Through every opening in the branches appeared the deep blue sky. A few lazy clouds followed each other in the azure depths. The ear seemed to catch the sound of kisses sent from invisible lips. Every old wall had its tufts of wallflowers. The plum-trees and laburnums were in blossom; their white and yellow masses gleamed through the interlacing boughs. The spring showered all her gold and silver on the woods. The new shoots and leaves were green and fresh. Calls of welcome were in the air; the approaching summer opened her hospitable doors for birds coming from afar. It was the time of the arrival of the swallows. The clusters of furze-bushes bordered the steep sides of hollow roads in anticipation of the clusters of the hawthorn. The pretty and the beautiful reigned side by side; the magnificent and the graceful, the great and the little, had each their place. No note in the great concert of nature was lost. Green microscopic beauties took their place in the vast universal plan in which all seemed distinguishable as in limpid water. Everywhere a divine fulness, a mysterious sense of expansion, suggested the unseen effort of the sap in movement. Guttering things glittered more than ever; loving natures became more tender. There was a hymn in the flowers, and a radiance in the sounds of the air. The wide-diffused harmony of nature burst forth on every side. All things which felt the dawn of life invited others to put forth shoots. A movement coming from below, and also from above, stirred vaguely all hearts susceptible to the scattered and subterranean influence of germination. The flower shadowed forth the fruit; young maidens dreamed of love. It was nature's universal bridal. It was fine, bright, and warm; through the hedges in the meadows children were seen laughing and playing at their games. The fruit-trees filled the orchards with their heaps of white and pink blossom. In the fields were primroses, cowslips, milfoil, daffodils, daisies, speedwell, jacinths, and violets. Blue borage and yellow irises swarmed with those beautiful little pink stars which flower always in groups, and are hence called "companions." Creatures with golden scales glided between the stones. The flowering houseleek covered the thatched roofs with purple patches. Women were plaiting hives in the open air; and the bees were abroad, mingling their humming with the murmurs from the sea. Nature, sensitive to the touch of spring, exhaled delight.

When Gilliatt arrived at St. Sampson, the water had not yet risen at the further end of the harbour, and he was able to cross it dry-footed unperceived behind the hulls of vessels fixed for repair. A number of flat stones were placed there at regular distances to make a causeway.

He was not observed. The crowd was at the other end of the port, near the narrow entrance, by the Bravées. There his name was in every mouth. They were, in fact, speaking about him so much that none paid attention to him. He passed, sheltered in some degree by the very commotion that he had caused.

He saw from afar the sloop in the place where he had moored it, with the funnel standing between its four chains; observed a movement of carpenters at their work, and confused outlines of figures passing to and fro; and he could distinguish the loud and cheery voice of Mess Lethierry giving orders.

He threaded the narrow alleys behind the Bravées. There was no one there beside him. All curiosity was concentrated on the front of the house. He chose the footpath alongside the low wall of the garden, but stopped at the angle where the wild mallow grew. He saw once more the stone where he used to pass his time; saw once more the wooden garden seat where Déruchette was accustomed to sit, and glanced again at the pathway of the alley where he had seen the embrace of two shadows which had vanished.

He soon went on his way, climbed the hill of Vale Castle, descended again, and directed his steps towards the Bû de la Rue.

The Houmet-Paradis was a solitude.

His house was in the same state in which he had left it in the morning, after dressing himself to go to St. Peter's Port.

A window was open, through which his bagpipe might have been seen hanging to a nail upon the wall.

Upon the table was the little Bible given to him in token of gratitude by the stranger whom he now knew as Caudray.

The key was in the door. He approached; placed his hand upon it; turned it twice in the lock, put the key in his pocket, and departed.

He walked not in the direction of the town, but towards the sea.

He traversed his garden diagonally, taking the shortest way without regard to the beds, but taking care not to tread upon the plants which he placed there, because he had heard that they were favourites with Déruchette.

He crossed the parapet wall, and let himself down upon the rocks.

Going straight on, he began to follow the long ridge of rocks which connected the Bû de la Rue with the great natural obelisk of granite rising erect from the sea, which was known as the Beast's Horn. This was the place of the Gild-Holm-'Ur seat.

He strode on from block to block like a giant among mountains. To make long strides upon a row of breakers is like walking upon the ridge of a roof.

A fisherwoman with dredge-nets, who had been walking naked-footed among the pools of sea-water at some distance, and had just regained the shore, called to him, "Take care; the tide is coming." But he held on his way.

Having arrived at the great rock of the point, the Horn, which rises like a pinnacle from the sea, he stopped. It was the extremity of the promontory.

He looked around.

Out at sea a few sailing boats at anchor were fishing. Now and then rivulets of silver glittered among them in the sun: it was the water running from the nets. The Cashmere was not yet off St. Sampson. She had set her main-topsail, and was between Herm and Jethou.

Gilliatt rounded the rock, and came under the Gild-Holm-'Ur seat, at the foot of that kind of abrupt stairs where, less than three months before, he had assisted Caudray to come down. He ascended.

The greater number of the steps were already under water. Two or three only were still dry, by which he climbed.

The steps led up to the Gild-Holm-'Ur seat. He reached the niche, contemplated it for a moment, pressed his hand upon his eyes, and let it glide gently from one eyelid to the other—a gesture by which he seemed to obliterate the memory of the past—then sat down in the hollow, with the perpendicular wall behind him, and the ocean at his feet.

The Cashmere at that moment was passing the great round half-submerged tower, defended by one sergeant and a cannon, which marks the half way in the roads between Herm and St. Peter's Port.

A few flowers stirred among the crevices in the rock about Gilliatt's head. The sea was blue as far as eye could reach. The wind came from the east; there was a little surf in the direction of the island of Sark, of which only the western side is visible from Guernsey. In the distance appeared the coast of France like a mist, with the long yellow strips of sand about Carteret. Now and then a white butterfly fluttered by. The butterflies frequently fly out to sea.

The breeze was very slight. The blue expanse, both above and below, was tranquil. Not a ripple agitated those species of serpents, of an azure more or less dark, which indicate on the surface of the sea the lines of sunken rocks.

The Cashmere, little moved by the wind, had set her topsail and studding-sails to catch the breeze. All her canvas was spread, but the wind being a side one, her studding-sails only compelled her to hug the Guernsey coast more closely. She had passed the beacon of St. Sampson, and was off the hill of Vale Castle. The moment was approaching when she would double the point of the Bû de la Rue.

Gilliatt watched her approach.

The air and sea were still. The tide rose not by waves, but by an imperceptible swell. The level of the water crept upward without a palpitation. The subdued murmur from the open sea was soft as the breathing of a child.

In the direction of the harbour of St. Sampson, faint echoes could be heard of carpenters' hammers. The carpenters were probably the workmen constructing the tackle, gear, and apparatus for removing the engine from the sloop. The sounds, however, scarcely reached Gilliatt by reason of the mass of granite at his back.

The Cashmere approached with the slowness of a phantom.

Gilliatt watched it still.

Suddenly a touch and a sensation of cold caused him to look down. The sea had reached his feet.

He lowered his eyes, then raised them again.

The Cashmere was quite near.

The rock in which the rains had hollowed out the Gild-Holm-'Ur seat was so completely vertical, and there was so much water at its base, that in calm weather vessels were able to pass without danger within a few cables' lengths.

The Cashmere was abreast of the rock. It rose straight upwards as if it had grown out of the water; or like the lengthening out of a shadow. The rigging showed black against the heavens and in the magnificent expanse of the sea. The long sails, passing for a moment over the sun, became lighted up with a singular glory and transparence. The water murmured indistinctly; but no other noise marked the majestic gliding of that outline. The deck was as visible as if he had stood upon it.

The steersman was at the helm; a cabin-boy was climbing the shrouds; a few passengers leaning on the bulwarks were contemplating the beauty of the scene. The captain was smoking; but nothing of all this was seen by Gilliatt.

There was a spot on the deck on which the broad sunlight fell. It was on this corner that his eyes were fixed. In this sunlight were Déruchette and Caudray. They were sitting together side by side, like two birds, warming themselves in the noonday sun, upon one of those covered seats with a little awning which well-ordered packet-boats provided for passengers, and upon which was the inscription, when it happened to be an English vessel, "For ladies only." Déruchette's head was leaning upon Caudray's shoulder; his arm was around her waist; they held each other's hands with their fingers interwoven. A celestial light was discernible in those two faces formed by innocence. Their chaste embrace was expressive of their earthly union and their purity of soul. The seat was a sort of alcove, almost a nest; it was at the same time a glory round them; the tender aureola of love passing into a cloud.

The silence was like the calm of heaven.

Caudray's gaze was fixed in contemplation. Déruchette's lips moved; and, amidst that perfect silence, as the wind carried the vessel near shore, and it glided within a few fathoms of the Gild-Holm-'Ur seat, Gilliatt heard the tender and musical voice of Déruchette exclaiming:

"Look yonder. It seems as if there were a man upon the rock."

The vessel passed.

Leaving the promontory of the Bû de la Rue behind, the Cashmere glided on upon the waters. In less than a quarter of an hour, her masts and sails formed only a white obelisk, gradually decreasing against the horizon. Gilliatt felt that the water had reached his knees.

He contemplated the vessel speeding on her way.

The breeze freshened out at sea. He could see the Cashmere run out her lower studding-sails and her staysails, to take advantage of the rising wind. She was already clear of the waters of Guernsey. Gilliatt followed the vessel with his eyes.

The waves had reached his waist.

The tide was rising: time was passing away.

The seamews and cormorants flew about him restlessly, as if anxious to warn him of his danger. It seemed as if some of his old companions of the Douvres rocks flying there had recognised him.

An hour had passed.

The wind from the sea was scarcely felt in the roads; but the form of the Cashmere was rapidly growing less. The sloop, according to all appearance, was sailing fast. It was already nearly off the Casquets.

There was no foam around the Gild-Holm-'Ur; no wave beat against its granite sides. The water rose peacefully. It was nearly level with Gilliatt's shoulders.

Another hour had passed.

The Cashmere was beyond the waters of Aurigny. The Ortach rock concealed it for a moment; it passed behind it, and came forth again as from an eclipse. The sloop was veering to the north upon the open sea. It was now only a point glittering in the sun.

The birds were hovering about Gilliatt, uttering short cries. Only his head was now visible. The tide was nearly at the full. Evening was approaching. Behind him, in the roads, a few fishing-boats were making for the harbour.

Gilliatt's eyes continued fixed upon the vessel in the horizon. Their expression resembled nothing earthly. A strange lustre shone in their calm and tragic depths. There was in them the peace of vanished hopes, the calm but sorrowful acceptance of an end far different from his dreams. By degrees the dusk of heaven began to darken in them, though gazing still upon the point in space. At the same moment the wide waters round the Gild-Holm-'Ur and the vast gathering twilight closed upon them.

The Cashmere, now scarcely perceptible, had become a mere spot in the thin haze.

Gradually, the spot, which was but a shape, grew paler.

Then it dwindled, and finally disappeared.

At the moment when the vessel vanished on the line of the horizon, the head of Gilliatt disappeared. Nothing was visible now but the sea.

Printed in Great Britain by Richard Clay & Sons, Limited, bungay, suffolk.






End of the Project Gutenberg EBook of Toilers of the Sea, by Victor Hugo

*** END OF THIS PROJECT GUTENBERG EBOOK TOILERS OF THE SEA ***

***** This file should be named 32338-h.htm or 32338-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/3/2/3/3/32338/

Produced by StevenGibbs, Jane Hyland and the Online
Distributed Proofreading Team at http://www.pgdp.net


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.org/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

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

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 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.


327 of 340
14 pages left
CONTENTS
Chapters
Highlights