    Project Gutenberg's A New History of Blue Beard, by Gaffer Black Beard

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

    Title: A New History of Blue Beard
           For the Amusement of Little Lack Beard, and his Pretty Sisters

    Author: Gaffer Black Beard

    Release Date: June 28, 2013 [EBook #43050]

    Language: English

    Character set encoding: ISO-8859-1

    *** START OF THIS PROJECT GUTENBERG EBOOK A NEW HISTORY OF BLUE BEARD ***

    Produced by Chris Curnow, Lisa Tang and the Online
    Distributed Proofreading Team at http://www.pgdp.net (This
    file was produced from images generously made available
    by The Internet Archive)

[pg 2]
[pg 3]

# A
NEW HISTORY
OF
BLUE BEARD.

WRITTEN BY
GAFFER BLACK BEARD.

For the Amusement of Little LACK
BEARD, and his PRETTY
SISTERS.

Adorned with Cuts.

From Sidney's Press,
NEW-HAVEN.
1806

[pg 5]

## A New History of
BLUE BEARD.

Once upon a time there lived, a great way off, an old man who had two daughters, the name of the eldest was Fatima, the youngest Irene. Irene was a very pretty girl, but Fatima was beauty itself; and so very good besides, that every body loved her: you may see her introduced to a gentleman, to whom she was going to be married, her father having given his consent, had not the fame of her beauty reached the ears of a very great man, I should have said tyrant, for he was a very [pg 6]cruel over-bearing nobleman, and had been married to several ladies, of whom nobody knew what was become: but as he was very rich, and lived in a grand castle, of which I here present you with the drawing; he some how or other, was never long without a wife. This nobleman, whose name was Abomelique, but generally called Blue Beard, [pg 7]on account of his beard being of that color, being determined to see her, under a pretence of business paid the father of Fatima a visit. Poor Fatima! she little thought the great Abomelique was come to her father's cottage on her account; but so it was, he came attended like a king, (you may see him in the picture) the father of Fatima standing at the door to receive him; as soon as he [pg 8]entered the house the old man entertained him in the best manner he could, and ordered his two daughters to dress themselves in their best, and wait upon him; who, being good girls, soon did as they were bid; no sooner did Blue Beard see Fatima than he fell violently in love with her. I should not say love, for it was that kind of love a wolf has for a pretty innocent lamb; so [pg 9]without any more ado, he told her father the reason of his coming, offering to make her his wife; and that himself, and his other daughter, should go and live with him at the Castle.

The father was quite delighted with the offer, especially as Blue Beard told him he should be the master of all his slaves, and next himself in power. Irene too tho't she should like it vastly; "what a fine thing," said she to herself, "it will be to have fine rooms to walk in when the weather is bad, and gardens to range in when the weather is fine; well, I almost wish he had fallen in love with me, for I don't think the great Abomelique would be so ugly, if it was not for his monstrous [pg 10]great Blue Beard;" Such was the thought of Irene. As to poor Fatima she fainted away, which frightened Blue Beard, who would have been glad to have found her agreeable to his wishes, however with much ado they brought her to herself when Blue Beard left her, promising to come the next day, and fetch her in state to the Castle: after he was gone nothing ran in the father's head but how he should enjoy himself at the Castle. As to Irene, she could not help pitying her sister, who was in a sad taking.

Fatima had a real love for Selim, to whom her father had promised his consent in marriage. You see promises with some, like pye-crust, is made to be broken. Ah! silly[pg 11] old man, you little think about the evil that hangs over your daughter's head. As Fatima knew she should be forced to go with Blue Beard, she wrote immediately to Selim. Now only think what a fine thing it is to be a scholar, for if Fatima could not have wrote to her lover, nobody else would have done it for her, and what would have been the consequence you will find by and by; so above all things learn to read your book, that your daddy and mammy may learn you to write too; well as soon as she had finished her letter, she gave it to a trusty messenger, who set off full speed and soon arrived at Selim's house. I must now return to Blue Beard, who could not get a wink of sleep all [pg 12]night, so much did he think of his intended bride: so, no sooner had the sun gilded the mountain's tops than he was up, and the procession was ordered to move towards the village; you can think what a fine sight it was, first came two trumpeters, then two kettle-drums, then two French horns, then two men with fine silken flags, then some of his black slaves armed with bows [pg 13]and arrows; next came the great Abomelique himself, riding on an elephant, under a fine silken canopy; next followed another elephant richly dressed, with a fine seat on his back, with a silken canopy over it, for Fatima and her sister; a fine Arabian horse followed, led by a black slave, for her father; a band of music following; then his slaves armed with bows and arrows, closed the procession. Blue Beard brought some fine clothes along with him for Fatima and her sister, which the father insisted upon her wearing. It was in vain for her to tell him she could not be happy, as her heart was given to Selim; he knew that Blue Beard was very rich, and like many others, he thought happiness [pg 14]consisted in wealth; so, says he, have him you must, and have him you shall: Abomelique, at the same time, took all manner of pains to please her; for, beside the fine clothes, he brought her jewels and diamonds in profusion, and promised she should want for nothing when she got to the castle.

After being dressed in a very grand manner she was put or rather forced into her seat on the elephant's back along with her sister Irene; the ladies round about, who came to the sight, could scarce keep from envying her, forgetting that very fine clothes may hide a very heavy heart, as it did now. No sooner was the company seated than the music began to play, and off the great Abomelique [pg 15]marched in triumph with his prize. Her lover Selim no sooner received her letter, than knowing no time was to be lost, went directly to his brother, who commanded a troop, who promised to assist him to the utmost, so it was agreed to muster their men, and to set off immediately for the father, and bring Fatima away: or, if Blue Beard had already got her, to force her from him, who by now had arrived at his Castle. Sure nothing could equal the rejoicings made to welcome her.—Blue Beard conducted her to a fine seat in a magnificent garden, where refreshments were placed and some of the females were ordered to dance to entertain her; but for all this she was still melancholy; as to her father [pg 16]he was as merry as a grig, pulling about the women, and driving about the men; and Irene would have been merry could she have seen her sister so. Blue Beard having a mind to leave her a little to herself, pretended he had business of the utmost importance to transact, told her he must leave her till the evening, giving her at the same time the keys of all the apartments of the Castle, telling her, as she was mistress of the place to go freely into any of them, except that room, the door of which was in the Blue Chamber; and of which this key, set with diamonds, opens the lock; upon your life don't go into that chamber, giving Fatima the keys; and then with a look that frightened her sadly, left her; as [pg 17]soon as he was gone, Irene cried, 'now is not that kind of him to give you the keys to go where you please?' 'No, my dear sister,' said Fatima, 'I had much rather he had kept them; you find I am forbid going into one room, did not you hear him say, my life depended on it.'

'I don't think anything of that,' said Irene, I long to see that chamber in particular; come don't mope so, if you had not seen Selim first, you might be very happy, for setting aside his beard I don't think Abomelique so very ugly; now as he won't be at home till evening, pray do let us go over the Castle, I long to have a rummage.' It was a long while before Irene could persuade her sister to go; however she agreed [pg 18]at length, and away they went; it would tire your patience if I told you all the fine things they saw, in one of the rooms there was a fine guitar hanging up, which Fatima took down, and began playing upon to divert her melancholy.

Irene would not let her sister play upon it long, for she was impatient to see the rest of the chambers, when at length they arrived at the blue one, this was the grandest of all, it was lined with looking glasses, ornamented with fine blue enamelled frames; here you might see yourself from head to foot; the mantle piece was supported by pillars of the finest blue china; and though it was called the Blue Chamber, it might as well have[pg 19] been called the Golden one as the floor was lined with it, two glass chandeliers hung from the ceiling by chains of gold. In short, nothing was wanting to make this the finest room that ever was seen: in the middle of this chamber stood the door of that they were forbid to enter: 'well, sister Fatima,' says Irene, 'I am quite delighted with this place, I should like to see the next chamber vastly, I dare say it must be finer still; come, what say you to it, shall we look at it? there is nobody here to see us, and you know we need not tell of ourselves.'

'Dear sister,' said Fatima, 'pray don't ask me, I dread the thought of it, let us be satisfied with what we have seen, and return; indeed [pg 20]I begin to be tired with the ramble we have had;' 'well, my dear sister, said Irene, 'we may not have such another opportunity a great while, if you wont go in, let us just open the door, and only look in, sure there can be no great harm in that.' 'I could like to please you,' says Fatima, 'but I am sadly afraid;' 'Pho!' cried Irene, 'don't be afraid before you are hurt; come, fear nothing.' Fatima, to please her, took the key all sparkling with diamonds, and put it to the lock, when the door flew open in an instant, and discovered such a dismal scene, that Fatima instantly fainted away, the walls were lined with the skeletons, and the floor was strewed with the limbs of the dead wives the cruel [pg 21]Blue Beard had already murdered, which were swimming in their blood, into which, when Fatima fainted, she dropt the key. At one end of this dismal room stood the figure of death holding a dart, and over him was wrote, in characters of blood, The punishment of curiosity. 'Mercy on me!' said Fatima, as soon as she recovered, 'what will become of me. Abomelique will surely find me out, and no doubt serve me as he has done the poor creatures we have just seen.'

'Come, dear sister,' said Irene, 'let us get away, I am very sorry I persuaded you to open the door;'—'Where is the key gone,' says Fatima, ''tis not in the door?' 'Perhaps it is dropt,' says Irene; and so it [pg 22]was sure enough, and what was worse, into the blood: she took it up, locked the door, and wiped the blood from off her hands, but in spite of all they could do, they could not wipe it from the key. Now you must know this key was the gift of a fairy to Blue Beard; and when poor Fatima found she could not clean it, she cried bitterly, and Irene could not help crying too. 'You know, my dear, 'tis a saying, one trouble seldom comes alone;' and that was the case now; for while they were thinking what they should do, a black slave entered to tell them Abomelique was returned, and expected them in the grand saloon. This was terrible news for Fatima, who [pg 23]gave herself up for lost; however, go she must.

'Now as they were going,' Fatima says to Irene, 'my dear sister, yesterday I wrote to Selim, and as I make no doubt but he received the letter, this day I hoped to see him; pray do you go to the top of the tower, and if he should be coming, beckon him with your handkerchief to make haste.' Away went Irene with a heavy heart; while Fatima, with a heavier one, went to meet Blue Beard; who, as soon as he saw her, cried out, 'Well Madam, how have you entertained yourself? don't you think there are sights in the Castle worth looking at?' 'Yes,' replied Fatima, sighing, 'there are indeed!'—'But why [pg 24]sigh, my love!' says Blue Beard, 'I hope you have not broke the order I gave you; come, give me the keys.' Poor Fatima with an aching heart, put her hand into her pocket, and pulling out the keys, gave them to him with a trembling hand.

Blue Beard was afraid something had happened by her trembling; he no sooner saw the blood on the key of the chamber he forbid her to enter, than his countenance changed, and he roared out in a voice like thunder, 'Ah! wretch, I see what you have been at; you have seen my former wives, who have forfeited their lives by their curiosity, and you shall now go and lay among them.'

[pg 25]

So saying he seized her by the hair of her head: when, falling on her knees, she besought him to spare her life; but he was a monster not to be moved. When she found he was determined to kill her, she begged him to grant her a little time to say her prayers. He bid her go, but not be long or he would fetch her.

Getting up into her chamber, she called for her sister, and asked her if she saw any thing. 'No, dear sister,' said Irene, 'nothing but the dreary common and the sky.' 'Are you most done?' said Blue Beard; 'yes,' cried Fatima; when calling again to Irene, she said, 'sister, what do you see?' 'Nothing, dear sister, but a flock of sheep.' [pg 26]'Are you not a coming?' said Blue Beard, in a surlier voice than before; 'yes directly,' said Fatima; when calling to her sister, she asked her if she saw nothing? 'yes,' cried Irene, 'I see a great cloud of dust, but it is a great way off.' 'If you don't come down,' Blue Beard roared out, 'I will fetch you;' 'coming,' cried Fatima: when calling again to her sister, she asked her what she saw? 'I see,' cried Irene, 'a number of horsemen riding full speed towards the Castle;' 'wave your handkerchief, dear sister, that they may make more haste, or I fear it will be all over with me.'

At this instant entered Blue Beard, and seizing her hair, began dragging her towards the Blue [pg 27] Chamber, while her shrieks were enough to pierce the heart of stone. He had not dragged her far before he heard the sound of feet on the stairs and as tyrants are always cowards, he stopt to listen.

He had not stopt long before Selim, (who had forced into the Castle) following the cries of Fatima, rushed into the room, with his [pg 28]sword in hand. 'Villain,' said Blue Beard, drawing his scymater, 'what dost thou here?' 'Tyrant,' cried Selim, 'to punish such a monster as thou art.' They said no more, but at it they went. Despair lent courage to Blue Beard; love to Selim; while poor Fatima sat trembling on the floor. At length Selim prevailed: for running Blue Beard through the body, he laid him breathless on the floor.

He now went to Fatima, who was fainting, and taking her in his arms, carried her to the window to give her air.

In the mean time his brother had overcome the slaves, who were not sorry to hear of Blue Beard's death.

[pg 29]

Selim took possession of the Castle, gave the slaves their liberty, and married Fatima. Selim's brother fell in love with and married Irene, and they all lived together happily.

[pg 30]

Cruel Blue Beard being dead

And those lovers in his stead,

Time goes merrily along,

Now a dance, and then a song:

for whenever true love's found,

Joy and pleasure will abound.

By the poor around they're blest,

By the rich around carest;

Guilt may leave behind its stings,

Nought but comfort virtue brings.

## Transcriber's Note

The cover image has been created using the information from and design of the original front matter. This cover is placed in the public domain without restriction.

    End of Project Gutenberg's A New History of Blue Beard, by Gaffer Black Beard

    *** END OF THIS PROJECT GUTENBERG EBOOK A NEW HISTORY OF BLUE BEARD ***

    ***** This file should be named 43050-h.htm or 43050-h.zip *****
    This and all associated files of various formats will be found in:
            http://www.gutenberg.org/4/3/0/5/43050/

    Produced by Chris Curnow, Lisa Tang and the Online
    Distributed Proofreading Team at http://www.pgdp.net (This
    file was produced from images generously made available
    by The Internet Archive)

    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
      www.gutenberg.org/license.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    1.F.

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

    1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
    of Replacement or Refund" described in paragraph 1.F.3, the Project
    Gutenberg Literary Archive Foundation, the owner of the Project
    Gutenberg-tm trademark, and any other party distributing a Project
    Gutenberg-tm electronic work under this agreement, disclaim all
    liability to you for damages, costs and expenses, including legal
    fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
    LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
    PROVIDED IN PARAGRAPH 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-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 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 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
    contact links and up to date contact information can be found at the
    Foundation's web site and official page at www.gutenberg.org/contact

    For additional contact information:
         Dr. Gregory B. Newby
         Chief Executive and Director
         gbnewby@pglaf.org

    Section 4.  Information about Donations to the Project Gutenberg
    Literary Archive Foundation

    Project Gutenberg-tm depends upon and cannot survive without wide
    spread public support and donations to carry out its mission of
    increasing the number of public domain and licensed works that can be
    freely distributed in machine readable form accessible by the widest
    array of equipment including outdated equipment.  Many small donations
    ($1 to $5,000) are particularly important to maintaining tax exempt
    status with the IRS.

    The Foundation is committed to complying with the laws regulating
    charities and charitable donations in all 50 states of the United
    States.  Compliance requirements are not uniform and it takes a
    considerable effort, much paperwork and many fees to meet and keep up
    with these requirements.  We do not solicit donations in locations
    where we have not received written confirmation of compliance.  To
    SEND DONATIONS or determine the status of compliance for any
    particular state visit 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-tm electronic
    works.

    Professor Michael S. Hart was the originator of the Project Gutenberg-tm
    concept of a library of electronic works that could be freely shared
    with anyone.  For forty 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:

         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.