Introducing Eugene Field

*** START OF THE PROJECT GUTENBERG EBOOK A LITTLE BOOK OF PROFITABLE TALES ***
Produced by Juliet Sutherland, Sheila Vogtmann and PG Distributed Proofreaders

[Transcriber's notes: _ before and after a word or phrase indicate
italics, + indicate bolded text]

THE WRITINGS IN PROSE AND VERSE OF EUGENE FIELD
A LITTLE BOOK OF PROFITABLE TALES
NEW YORK 1901
by EUGENE FIELD.

TO MY SEVEREST CRITIC, MY MOST LOYAL ADMIRER, AND MY ONLY DAUGHTER, MARY
FRENCH FIELD, THIS LITTLE BOOK OF PROFITABLE TALES IS AFFECTIONATELY
DEDICATED. E.F.

INTRODUCTION

I have never read a poem by Mr. Field without feeling personally drawn to
the author. Long after I had known him as a poet, I found that he had
written in prose little scraps or long essays, which had attracted me in
just the same way, when I had met with them in the newspapers, although I
had not known who the author was.

All that he writes indeed is quite free from the conventionalisms to which
authorship as a profession is sadly liable. Because he is free from them,
you read his poems or you read his prose, and are affected as if you met
him. If you were riding in a Pullman car with him, or if you were talking
with him at breakfast over your coffee, he would say just such things in
just this way. If he had any art, it was the art of concealing art. But I
do not think that he thought much of art. I do not think that he cared
much for what people say about criticism or style. He wrote as he felt, or
as he thought, without troubling himself much about method. It is this
simplicity, or what it is the fashion of the day to call frankness, which
gives a singular charm to his writing.

EDWARD E. HALE.

[[*My Note* Selected piece for this blog is the final tale in the collection, entitled +THE FAIRIES OF PESTH+]]

THE FAIRIES OF PESTH [1]


An old poet walked alone in a quiet valley. His heart was heavy, and the
voices of Nature consoled him. His life had been a lonely and sad one.
Many years ago a great grief fell upon him, and it took away all his joy
and all his ambition. It was because he brooded over his sorrow, and
because he was always faithful to a memory, that the townspeople deemed
him a strange old poet; but they loved him and they loved his songs,--in
his life and in his songs there was a gentleness, a sweetness, a pathos
that touched every heart. "The strange, the dear old poet," they called
him.

Evening was coming on. The birds made no noise; only the whip-poor-will
repeated over and over again its melancholy refrain in the marsh beyond
the meadow. The brook ran slowly, and its voice was so hushed and tiny
that you might have thought that it was saying its prayers before going to
bed.

The old poet came to the three lindens. This was a spot he loved, it was
so far from the noise of the town. The grass under the lindens was fresh
and velvety. The air was full of fragrance, for here amid the grass grew
violets and daisies and buttercups and other modest wild-flowers. Under
the lindens stood old Leeza, the witchwife.

"Take this," said the poet to old Leeza, the witchwife; and he gave her a
silver piece.

"You are good to me, master poet," said the witchwife. "You have always
been good to me. I do not forget, master poet, I do not forget."

"Why do you speak so strangely?" asked the old poet. "You mean more than
you say. Do not jest with me; my heart is heavy with sorrow."

"I do not jest," answered the witchwife. "I will show you a strange thing.
Do as I bid you; tarry here under the lindens, and when the moon rises,
the Seven Crickets will chirp thrice; then the Raven will fly into the
west, and you will see wonderful things, and beautiful things you will
hear."

Saying this much, old Leeza, the witch-wife, stole away, and the poet
marvelled at her words. He had heard the townspeople say that old Leeza
was full of dark thoughts and of evil deeds, but he did not heed these
stories.

"They say the same of me, perhaps," he thought. "I will tarry here beneath
the three lindens and see what may come of this whereof the witch wife
spake."

The old poet sat amid the grass at the foot of the three lindens, and
darkness fell around him. He could see the lights in the town away off;
they twinkled like the stars that studded the sky. The whip-poor-will told
his story over and over again in the marsh beyond the meadow, and the
brook tossed and talked in its sleep, for it had played too hard that day.

"The moon is rising," said the old poet. "Now we shall see."

The moon peeped over the tops of the far-off hills. She wondered whether
the world was fast asleep. She peeped again. There could be no doubt; the
world was fast asleep,--at least so thought the dear old moon. So she
stepped boldly up from behind the distant hills. The stars were glad that
she came, for she was indeed a merry old moon.

The Seven Crickets lived in the hedge. They were brothers, and they made
famous music. When they saw the moon in the sky they sang "chirp-chirp,
chirp-chirp, chirp-chirp," three times, just as old Leeza, the witchwife,
said they would.

"Whir-r-r!" It was the Raven flying out of the oak-tree into the west.
This, too, was what the old witchwife had foretold. "Whir-r-r" went the
two black wings, and then it seemed as if the Raven melted into the night.
Now, this was strange enough, but what followed was stranger still.

Hardly had the Raven flown away, when out from their habitations in the
moss, the flowers, and the grass trooped a legion of fairies,--yes, right
there before the old poet's eyes appeared, as if by magic, a mighty troop
of the dearest little fays in all the world.

Each of these fairies was about the height of a cambric needle. The lady
fairies were, of course, not so tall as the gentleman fairies, but all
were of quite as comely figure as you could expect to find even among real
folk. They were quaintly dressed; the ladies wearing quilted silk gowns
and broadbrim hats with tiny feathers in them, and the gentlemen wearing
curious little knickerbockers, with silk coats, white hose, ruffled
shirts, and dainty cocked hats.

"If the witchwife had not foretold it I should say that I dreamed,"
thought the old poet. But he was not frightened. He had never harmed the
fairies, therefore he feared no evil from them.

One of the fairies was taller than the rest, and she was much more richly
attired. It was not her crown alone that showed her to be the queen. The
others made obeisance to her as she passed through the midst of them from
her home in the bunch of red clover. Four dainty pages preceded her,
carrying a silver web which had been spun by a black-and-yellow garden
spider of great renown. This silver web the four pages spread carefully
over a violet leaf, and thereupon the queen sat down. And when she was
seated the queen sang this little song:

"From the land of murk and mist
Fairy folk are coming
To the mead the dew has kissed,
And they dance where'er they list
To the cricket's thrumming.

"Circling here and circling there,
Light as thought and free as air,
Hear them ciy, 'Oho, oho,'
As they round the rosey go.

"Appleblossom, Summerdew,
Thistleblow, and Ganderfeather!
Join the airy fairy crew
Dancing on the swaid together!
Till the cock on yonder steeple
Gives all faery lusty warning,
Sing and dance, my little people,--
Dance and sing 'Oho' till morning!"

The four little fairies the queen called to must have been loitering. But
now they came scampering up,--Ganderfeather behind the others, for he was
a very fat and presumably a very lazy little fairy.

"The elves will be here presently," said the queen, "and then, little
folk, you shall dance to your heart's content. Dance your prettiest
to-night, for the good old poet is watching you."

"Ah, little queen," cried the old poet, "you see me, then? I thought to
watch your revels unbeknown to you. But I meant you no disrespect,--
indeed, I meant you none, for surely no one ever loved the little folk
more than I."

"We know you love us, good old poet," said the little fairy queen, "and
this night shall give you great joy and bring you into wondrous fame."

These were words of which the old poet knew not the meaning; but we, who
live these many years after he has fallen asleep,--we know the meaning of
them.

Then, surely enough, the elves came trooping along. They lived in the
further meadow, else they had come sooner. They were somewhat larger than
the fairies, yet they were very tiny and very delicate creatures. The elf
prince had long flaxen curls, and he was arrayed in a wonderful suit of
damask web, at the manufacture of which seventy-seven silkworms had
labored for seventy-seven days, receiving in payment therefor as many
mulberry leaves as seven blue beetles could carry and stow in seven times
seven sunny days. At his side the elf prince wore a sword made of the
sting of a yellow-jacket, and the hilt of this sword was studded with the
eyes of unhatched dragon-flies, these brighter and more precious than the
most costly diamonds.

The elf prince sat beside the fairy queen. The other elves capered around
among the fairies. The dancing sward was very light, for a thousand and
ten glowworms came from the marsh and hung their beautiful lamps over the
spot where the little folk were assembled. If the moon and the stars were
jealous of that soft, mellow light, they had good reason to be.

The fairies and elves circled around in lively fashion. Their favorite
dance was the ring-round-a-rosey which many children nowadays dance. But
they had other measures, too, and they danced them very prettily.

"I wish," said the old poet, "I wish that I had my violin here, for then I
would make merry music for you."

The fairy queen laughed. "We have music of our own," she said, "and it is
much more beautiful than even you, dear old poet, could make."

Then, at the queen's command, each gentleman elf offered his arm to a lady
fairy, and each gentleman fairy offered his arm to a lady elf, and so, all
being provided with partners, these little people took their places for a
waltz. The fairy queen and the elf prince were the only ones that did not
dance; they sat side by side on the violet leaf and watched the others.
The hoptoad was floor manager; the green burdock badge on his breast
showed that.

"Mind where you go--don't jostle each other," cried the hoptoad, for he
was an exceedingly methodical fellow, despite his habit of jumping at
conclusions.

Then, when all was ready, the Seven Crickets went "chirp-chirp,
chirp-chirp, chirp-chirp," three times, and away flew that host of little
fairies and little elves in the daintiest waltz imaginable:--

[Illustration: Musical notation]

The old poet was delighted. Never before had he seen such a sight; never
before had he heard so sweet music. Round and round whirled the sprite
dancers; the thousand and ten glowworms caught the rhythm of the music
that floated up to them, and they swung their lamps to and fro in time
with the fairy waltz. The plumes in the hats of the cunning little ladies
nodded hither and thither, and the tiny swords of the cunning little
gentlemen bobbed this way and that as the throng of dancers swept now
here, now there. With one tiny foot, upon which she wore a lovely shoe
made of a tanned flea's hide, the fairy queen beat time, yet she heard
every word which the gallant elf prince said. So, with the fairy queen
blushing, the mellow lamps swaying, the elf prince wooing, and the throng
of little folk dancing hither and thither, the fairy music went on and
on:--

[Illustration: Musical notation]

"Tell me, my fairy queen," cried the old poet, "whence comes this fairy
music which I hear? The Seven Crickets in the hedge are still, the birds
sleep in their nests, the brook dreams of the mountain home it stole away
from yester morning. Tell me, therefore, whence comes this wondrous fairy
music, and show me the strange musicians that make it."

[Illustration: Musical notation]

"Look to the grass and the flowers," said the fairy queen. "In every blade
and in every bud lie hidden notes of fairy music. Each violet and daisy
and buttercup,--every modest wild-flower (no matter how hidden) gives glad
response to the tinkle of fairy feet. Dancing daintily over this quiet
sward where flowers dot the green, my little people strike here and there
and everywhere the keys which give forth the harmonies you hear."

Long marvelled the old poet. He forgot his sorrow, for the fairy music
stole into his heart and soothed the wound there. The fairy host swept
round and round, and the fairy music went on and on.

[Illustration: Musical Notation]

"Why may I not dance?" asked a piping voice. "Please, dear queen, may I
not dance, too?"

It was the little hunchback that spake,--the little hunchback fairy who,
with wistful eyes, had been watching the merry throng whirl round and
round.

"Dear child, thou canst not dance," said the fairy queen, tenderly; "thy
little limbs are weak. Come, sit thou at my feet, and let me smooth thy
fair curls and stroke thy pale cheeks."

"Believe me, dear queen," persisted the little hunchback, "I can dance,
and quite prettily, too. Many a time while the others made merry here I
have stolen away by myself to the brookside and danced alone in the
moonlight,--alone with my shadow. The violets are thickest there. 'Let thy
halting feet fall upon us, Little Sorrowful,' they whispered, 'and we
shall make music for thee.' So there I danced, and the violets sang their
songs for me. I could hear the others making merry far away, but I was
merry, too; for I, too, danced, and there was none to laugh."

"If you would like it, Little Sorrowful," said the elf prince, "I will
dance with you."

"No, brave prince," answered the little hunchback, "for that would weary
you. My crutch is stout, and it has danced with me before. You will say
that we dance very prettily,--my crutch and I,--and you will not laugh, I
know."

Then the queen smiled sadly; she loved the little hunchback and she pitied
her.

"It shall be as you wish," said the queen. The little hunchback was
overjoyed.

"I have to catch the time, you see," said she, and she tapped her crutch
and swung one little shrunken foot till her body fell into the rhythm of
the waltz.

Far daintier than the others did the little hunchback dance; now one tiny
foot and now the other tinkled on the flowers, and the point of the little
crutch fell here and there like a tear. And as she danced, there crept
into the fairy music a tenderer cadence, for (I know not why) the little
hunchback danced ever on the violets, and their responses were full of the
music of tears. There was a strange pathos in the little creature's grace;
she did not weary of the dance: her cheeks flushed, and her eyes grew
fuller, and there was a wondrous light in them. And as the little
hunchback danced, the others forgot her limp and felt only the heart-cry
in the little hunchback's merriment and in the music of the voiceful
violets.

[Illustration: Musical notation]

Now all this saw the old poet, and all this wondrously beautiful music he
heard. And as he heard and saw these things, he thought of the pale face,
the weary eyes, and the tired little body that slept forever now. He
thought of the voice that had tried to be cheerful for his sake, of the
thin, patient little hands that had loved to do his bidding, of the
halting little feet that had hastened to his calling.

"Is it thy spirit, O my love?" he wailed, "Is it thy spirit, O dear, dead
love?"

A mist came before his eyes, and his heart gave a great cry.

But the fairy dance went on and on. The others swept to and fro and round
and round, but the little hunchback danced always on the violets, and
through the other music there could be plainly heard, as it crept in and
out, the mournful cadence of those tenderer flowers.

And, with the music and the dancing, the night faded into morning. And all
at once the music ceased and the little folk could be seen no more. The
birds came from their nests, the brook began to bestir himself, and the
breath of the new-born day called upon all in that quiet valley to awaken.

So many years have passed since the old poet, sitting under the three
lindens half a league the other side of Pesth, saw the fairies dance and
heard the fairy music,--so many years have passed since then, that had the
old poet not left us an echo of that fairy waltz there would be none now
to believe the story I tell.

[Illustration: Musical notation]

Who knows but that this very night the elves and the fairies will dance in
the quiet valley; that Little Sorrowful will tinkle her maimed feet upon
the singing violets, and that the little folk will illustrate in their
revels, through which a tone of sadness steals, the comedy and pathos of
our lives? Perhaps no one shall see, perhaps no one else ever did see,
these fairy people dance their pretty dances; but we who have heard old
Robert Volkmann's waltz know full well that he at least saw that strange
sight and heard that wondrous music.

And you will know so, too, when you have read this true story and heard
old Volkmann's claim to immortality.

1887.





End of Project Gutenberg's A Little Book of Profitable Tales, by Eugene Field

Get Reviewed At ReviewMe!

Gutenberg Ethics Surrounding Public Domain Items

For those who would like to know the terms by which Project
Gutenberg functions...

Below is the text that accompanies each download of Project
Gutenberg material.

I have tried to mainly copy and past the 'header' and 'final
end-of-document text' to show the format that Project Gutenberg
uses - in the event that someone needs to check on the terms.

Directly below the double lines is where Gutenberg 'form' starts:
==============================================================
==============================================================
Copyright laws are changing all over the world. Be sure to check the
copyright laws for your country before downloading or redistributing
this or any other Project Gutenberg eBook.

This header should be the first thing seen when viewing this Project
Gutenberg file. Please do not remove it. Do not change or edit the
header without written permission.

Please read the "legal small print," and other information about the
eBook and Project Gutenberg at the bottom of this file. Included is
important information about your specific rights and restrictions in
how the file may be used. You can also find out about how to make a
donation to Project Gutenberg, and how to get involved.


**Welcome To The World of Free Plain Vanilla Electronic Texts**

**eBooks Readable By Both Humans and By Computers, Since 1971**

*****These eBooks Were Prepared By Thousands of Volunteers!*****
==============================================================
==============================================================
[Title...]
[Author...]
[Release Date...[eBook #]
[First Posting}
[Edition]
[Language]
[Character Set Encoding Information]

[*** START OF THE PROJECT GUTENBERG EBOOK (whatever the title is)***]

[Produced by (whomever), (possibly more than one person) and usually
in co-operation with "PG Distributed Proofreaders"]

[Transcriber's notes: _ before and after a word or phrase indicate
italics, + indicate bolded text]
=============================================================
=============================================================
The Transcribed Work (literature) goes here, in between all of
the Project Gutenberg notes.

...At the close of the literary piece, Gutenberg makes note of
the end, then follows up with any details about the version
filename that should be used if the literary work is going
to be re-distributed...

And finally, all Project Gutenberg distributed materials contain
what you see below:
==============================================================
==============================================================
Project Gutenberg eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the US
unless a copyright notice is included. Thus, we usually do not
keep eBooks in compliance with any particular paper edition.

We are now trying to release all our eBooks one year in advance
of the official release dates, leaving time for better editing.
Please be encouraged to tell us about any error or corrections,
even years after the official publication date.

Please note neither this listing nor its contents are final til
midnight of the last day of the month of any such announcement.
The official release date of all Project Gutenberg eBooks is at
Midnight, Central Time, of the last day of the stated month. A
preliminary version may often be posted for suggestion, comment
and editing by those who wish to do so.

Most people start at our Web sites at:
http://gutenberg.net or
http://promo.net/pg

These Web sites include award-winning information about Project
Gutenberg, including how to donate, how to help produce our new
eBooks, and how to subscribe to our email newsletter (free!).


Those of you who want to download any eBook before announcement
can get to them as follows, and just download by date. This is
also a good way to get them instantly upon announcement, as the
indexes our cataloguers produce obviously take a while after an
announcement goes out in the Project Gutenberg Newsletter.

http://www.ibiblio.org/gutenberg/etext03 or
ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03

Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90

Just search by the first five letters of the filename you want,
as it appears in our Newsletters.


Information about Project Gutenberg (one page)

We produce about two million dollars for each hour we work. The
time it takes us, a rather conservative estimate, is fifty hours
to get any eBook selected, entered, proofread, edited, copyright
searched and analyzed, the copyright letters written, etc. Our
projected audience is one hundred million readers. If the value
per text is nominally estimated at one dollar then we produce $2
million dollars per hour in 2002 as we release over 100 new text
files per month: 1240 more eBooks in 2001 for a total of 4000+
We are already on our way to trying for 2000 more eBooks in 2002
If they reach just 1-2% of the world's population then the total
will reach over half a trillion eBooks given away by year's end.

The Goal of Project Gutenberg is to Give Away 1 Trillion eBooks!
This is ten thousand titles each to one hundred million readers,
which is only about 4% of the present number of computer users.

Here is the briefest record of our progress (* means estimated):

eBooks Year Month

1 1971 July
10 1991 January
100 1994 January
1000 1997 August
1500 1998 October
2000 1999 December
2500 2000 December
3000 2001 November
4000 2001 October/November
6000 2002 December*
9000 2003 November*
10000 2004 January*


The Project Gutenberg Literary Archive Foundation has been created
to secure a future for Project Gutenberg into the next millennium.

We need your donations more than ever!

As of February, 2002, contributions are being solicited from people
and organizations in: Alabama, Alaska, Arkansas, Connecticut,
Delaware, District of Columbia, Florida, Georgia, Hawaii, Illinois,
Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts,
Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New
Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio,
Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South
Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West
Virginia, Wisconsin, and Wyoming.

We have filed in all 50 states now, but these are the only ones
that have responded.

As the requirements for other states are met, additions to this list
will be made and fund raising will begin in the additional states.
Please feel free to ask to check the status of your state.

In answer to various questions we have received on this:

We are constantly working on finishing the paperwork to legally
request donations in all 50 states. If your state is not listed and
you would like to know if we have added it since the list you have,
just ask.

While we cannot solicit donations from people in states where we are
not yet registered, we know of no prohibition against accepting
donations from donors in these states who approach us with an offer to
donate.

International donations are accepted, but we don't know ANYTHING about
how to make them tax-deductible, or even if they CAN be made
deductible, and don't have the staff to handle it even if there are
ways.

Donations by check or money order may be sent to:

Project Gutenberg Literary Archive Foundation
PMB 113
1739 University Ave.
Oxford, MS 38655-4109

Contact us if you want to arrange for a wire transfer or payment
method other than by check or money order.

The Project Gutenberg Literary Archive Foundation has been approved by
the US Internal Revenue Service as a 501(c)(3) organization with EIN
[Employee Identification Number] 64-622154. Donations are
tax-deductible to the maximum extent permitted by law. As fund-raising
requirements for other states are met, additions to this list will be
made and fund-raising will begin in the additional states.

We need your donations more than ever!

You can get up to date donation information online at:

http://www.gutenberg.net/donation.html


***

If you can't reach Project Gutenberg,
you can always email directly to:

Michael S. Hart

Prof. Hart will answer or forward your message.

We would prefer to send you information by email.


**The Legal Small Print**


(Three Pages)

***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN EBOOKS**START***
Why is this "Small Print!" statement here? You know: lawyers.
They tell us you might sue us if there is something wrong with
your copy of this eBook, even if you got it for free from
someone other than us, and even if what's wrong is not our
fault. So, among other things, this "Small Print!" statement
disclaims most of our liability to you. It also tells you how
you may distribute copies of this eBook if you want to.

*BEFORE!* YOU USE OR READ THIS EBOOK
By using or reading any part of this PROJECT GUTENBERG-tm
eBook, you indicate that you understand, agree to and accept
this "Small Print!" statement. If you do not, you can receive
a refund of the money (if any) you paid for this eBook by
sending a request within 30 days of receiving it to the person
you got it from. If you received this eBook on a physical
medium (such as a disk), you must return it with your request.

ABOUT PROJECT GUTENBERG-TM EBOOKS
This PROJECT GUTENBERG-tm eBook, like most PROJECT GUTENBERG-tm eBooks,
is a "public domain" work distributed by Professor Michael S. Hart
through the Project Gutenberg Association (the "Project").
Among other things, this means that no one owns a United States copyright
on or for this work, so the Project (and you!) can copy and
distribute it in the United States without permission and
without paying copyright royalties. Special rules, set forth
below, apply if you wish to copy and distribute this eBook
under the "PROJECT GUTENBERG" trademark.

Please do not use the "PROJECT GUTENBERG" trademark to market
any commercial products without permission.

To create these eBooks, the Project expends considerable
efforts to identify, transcribe and proofread public domain
works. Despite these efforts, the Project's eBooks and any
medium they may be on may contain "Defects". Among other
things, Defects may take the form of incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged
disk or other eBook medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.

LIMITED WARRANTY; DISCLAIMER OF DAMAGES
But for the "Right of Replacement or Refund" described below,
[1] Michael Hart and the Foundation (and any other party you may
receive this eBook from as a PROJECT GUTENBERG-tm eBook) disclaims
all liability to you for damages, costs and expenses, including
legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR
UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT,
INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE
OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE
POSSIBILITY OF SUCH DAMAGES.

If you discover a Defect in this eBook within 90 days of
receiving it, you can receive a refund of the money (if any)
you paid for it by sending an explanatory note within that
time to the person you received it from. If you received it
on a physical medium, you must return it with your note, and
such person may choose to alternatively give you a replacement
copy. If you received it electronically, such person may
choose to alternatively give you a second opportunity to
receive it electronically.

THIS EBOOK IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS
TO THE EBOOK OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A
PARTICULAR PURPOSE.

Some states do not allow disclaimers of implied warranties or
the exclusion or limitation of consequential damages, so the
above disclaimers and exclusions may not apply to you, and you
may have other legal rights.

INDEMNITY
You will indemnify and hold Michael Hart, the Foundation,
and its trustees and agents, and any volunteers associated
with the production and distribution of Project Gutenberg-tm
texts harmless, from all liability, cost and expense, including
legal fees, that arise directly or indirectly from any of the
following that you do or cause: [1] distribution of this eBook,
[2] alteration, modification, or addition to the eBook,
or [3] any Defect.

DISTRIBUTION UNDER "PROJECT GUTENBERG-tm"
You may distribute copies of this eBook electronically, or by
disk, book or any other medium if you either delete this
"Small Print!" and all other references to Project Gutenberg,
or:

[1] Only give exact copies of it. Among other things, this
requires that you do not remove, alter or modify the
eBook or this "small print!" statement. You may however,
if you wish, distribute this eBook in machine readable
binary, compressed, mark-up, or proprietary form,
including any form resulting from conversion by word
processing or hypertext software, but only so long as
*EITHER*:

[*] The eBook, when displayed, is clearly readable, and
does *not* contain characters other than those
intended by the author of the work, although tilde
(~), asterisk (*) and underline (_) characters may
be used to convey punctuation intended by the
author, and additional characters may be used to
indicate hypertext links; OR

[*] The eBook may be readily converted by the reader at
no expense into plain ASCII, EBCDIC or equivalent
form by the program that displays the eBook (as is
the case, for instance, with most word processors);
OR

[*] You provide, or agree to also provide on request at
no additional cost, fee or expense, a copy of the
eBook in its original plain ASCII form (or in EBCDIC
or other equivalent proprietary form).

[2] Honor the eBook refund and replacement provisions of this
"Small Print!" statement.

[3] Pay a trademark license fee to the Foundation of 20% of the
gross profits you derive calculated using the method you
already use to calculate your applicable taxes. If you
don't derive profits, no royalty is due. Royalties are
payable to "Project Gutenberg Literary Archive Foundation"
the 60 days following each date you prepare (or were
legally required to prepare) your annual (or equivalent
periodic) tax return. Please contact us beforehand to
let us know your plans and to work out the details.

WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO?
Project Gutenberg is dedicated to increasing the number of
public domain and licensed works that can be freely distributed
in machine readable form.

The Project gratefully accepts contributions of money, time,
public domain materials, or royalty free copyright licenses.
Money should be paid to the:
"Project Gutenberg Literary Archive Foundation."

If you are interested in contributing scanning equipment or
software or other items, please contact Michael Hart at:
hart@pobox.com

[Portions of this eBook's header and trailer may be reprinted only
when distributed free of all fees. Copyright (C) 2001, 2002 by
Michael S. Hart. Project Gutenberg is a TradeMark and may not be
used in any sales of Project Gutenberg eBooks or other materials be
they hardware or software or any other related product without
express permission.]

*END THE SMALL PRINT! FOR PUBLIC DOMAIN EBOOKS*Ver.02/11/02*END*

Get Reviewed At ReviewMe!