Chippings with a Chisel (From "Twice Told Tales")
Author: Nathaniel Hawthorne
Date: 2005-11-01T05:00:00+00:00

The Project Gutenberg EBook of Chippings With A Chisel (From "Twice Told
Tales"), by Nathaniel Hawthorne

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.net

Title: Chippings With A Chisel (From "Twice Told Tales")

Author: Nathaniel Hawthorne

Posting Date: December 2, 2010 [EBook #9215]
Release Date: November, 2005
First Posted: August 23, 2003
Last Updated: February 5, 2007

Language: English

*** START OF THIS PROJECT GUTENBERG EBOOK CHIPPINGS WITH A CHISEL ***

Produced by David Widger. HTML version by Al Haines.

TWICE TOLD TALES

CHIPPINGS WITH A CHISEL

By Nathaniel Hawthorne

Passing a summer, several years since, at Edgartown, on the island of Martha's Vineyard, I became acquainted with a certain carver of tombstones, who had travelled and voyaged thither from the interior of Massachusetts, in search of professional employment. The speculation had turned out so successful, that my friend expected to transmute slate and marble into silver and gold, to the amount of at least a thousand dollars, during the few months of his sojourn at Nantucket and the Vineyard. The secluded life, and the simple and primitive spirit which still characterizes the inhabitants of those islands, especially of Martha's Vineyard, insure their dead friends a longer and dearer remembrance than the daily novelty and revolving bustle of the world can elsewhere afford to beings of the past. Yet while every family is anxious to erect a memorial to its departed members, the untainted breath of ocean bestows such health and length of days upon the people of the isles, as would cause a melancholy dearth of business to a resident artist in that line. His own monument, recording his disease by starvation, would probably be an early specimen of his skill. Gravestones, therefore, have generally been an article of imported merchandise.

In my walks through the burial-ground of Edgartown,—where the dead have lain so long that the soil, once enriched by their decay, has returned to its original barrenness,—in that ancient burial-ground I noticed much variety of monumental sculpture. The elder stones, dated a century back, or more, have borders elaborately carved with flowers, and are adorned with a multiplicity of death's-heads, cross-bones, scythes, hour-glasses, and other lugubrious emblems of mortality, with here and there a winged cherub to direct the mourner's spirit upward. These productions of Gothic taste must have been quite beyond the colonial skill of the day, and were probably carved in London, and brought across the ocean to commemorate the defunct worthies of this lonely isle. The more recent monuments are mere slabs of slate, in the ordinary style, without any superfluous flourishes to set off the bald inscriptions. But others—and those far the most impressive, both to my taste and feelings—were roughly hewn from the gray rocks of the island, evidently by the unskilled hands of surviving friends and relatives. On some there were merely the initials of a name; some were inscribed with misspelt prose or rhyme, in deep letters, which the moss and wintry rain of many years had not been able to obliterate. These, these were graves where loved ones slept! It is an old theme of satire, the falsehood and vanity of monumental eulogies; but when affection and sorrow grave the letters with their own painful labor, then we may be sure that they copy from the record on their hearts.

My acquaintance, the sculptor,—he may share that title with Greenough, since the dauber of signs is a painter as well as Raphael,—had found a ready market for all his blank slabs of marble, and full occupation in lettering and ornamenting them. He was an elderly man, a descendant of the old Puritan family of Wigglesworth, with a certain simplicity and singleness, both of heart and mind, which, methinks, is more rarely-found among us Yankees than in any other community of people. In spite of his gray head and wrinkled brow, he was quite like a child in all matters save what had some reference to his own business; he seemed, unless my fancy misled me, to view mankind in no other relation than as people in want of tombstones; and his literary attainments evidently comprehended very little, either of prose or poetry, which had not, at one time or other, been inscribed on slate or marble. His sole task and office among the immortal pilgrims of the tomb—the duty for which Providence had sent the old man into the world, as it were with a chisel in his hand—was to label the dead bodies, lest their names should be forgotten at the resurrection. Yet he had not failed, within a narrow scope, to gather a few sprigs of earthly, and more than earthly, wisdom,—the harvest of many a grave.

And lugubrious as his calling might appear, he was as cheerful an old soul as health, and integrity, and lack of care, could make him, and used to set to work upon one sorrowful inscription or another with that sort of spirit which impels a man to sing at his labor. On the whole, I found Mr. Wigglesworth an entertaining, and often instructive, if not an interesting character; and partly for the charm of his society, and still more because his work has an invariable attraction for "man that is born of woman," I was accustomed to spend some hours a day at his workshop. The quaintness of his remarks, and their not infrequent truth,—a truth condensed and pointed by the limited sphere of his view,—gave a raciness to his talk, which mere worldliness and general cultivation would at once have destroyed.

Sometimes we would discuss the respective merits of the various qualities of marble, numerous slabs of which were resting against the walls of the shop; or sometimes an hour or two would pass quietly, without a word on either side, while I watched how neatly his chisel struck out letter after letter of the names of the Nortons, the Mayhews, the Luces, the Daggets, and other immemorial families of the Vineyard. Often, with an artist's pride, the good old sculptor would speak of favorite productions of his skill, which were scattered throughout the village graveyards of New England. But my chief and most instructive amusement was to witness his interviews with his customers, who held interminable consultations about the form and fashion of the desired monuments, the buried excellence to be commemorated, the anguish to be expressed, and finally, the lowest price in dollars and cents for which a marble transcript of their feelings might be obtained. Really, my mind received many fresh ideas, which, perhaps, may remain in it even longer than Mr. Wigglesworth's hardest marble will retain the deepest strokes of his chisel.

An elderly lady came to bespeak a monument for her first love, who had been killed by a whale in the Pacific Ocean no less than forty years before. It was singular that so strong an impression of early feeling should have survived through the changes of her subsequent life, in the course of which she had been a wife and a mother, and, so far as I could judge, a comfortable and happy woman. Reflecting within myself, it appeared to me that this lifelong sorrow—as, in all good faith, she deemed it—was one of the most fortunate circumstances of her history. It had given an ideality to her mind; it had kept her purer and less earthly than she would otherwise have been, by drawing a portion of her sympathies apart from earth. Amid the throng of enjoyments, and the pressure of worldly care, and all the warm materialism of this life, she had communed with a vision, and had been the better for such intercourse. Faithful to the husband of her maturity, and loving him with a far more real affection than she ever could have felt for this dream of her girlhood, there had still been an imaginative faith to the ocean-buried, so that an ordinary character had thus been elevated and refined. Her sighs had been the breath of Heaven to her soul. The good lady earnestly desired that the proposed monument should be ornamented with a carved border of marine plants, intertwined with twisted sea-shells, such as were probably waving over her lover's skeleton, or strewn around it, in the far depths of the Pacific. But Mr. Wigglesworth's chisel being inadequate to the task, she was forced to content herself with a rose, hanging its head from a broken stem. After her departure, I remarked that the symbol was none of the most apt.

"And yet," said my friend the sculptor, embodying in this image the thoughts that had been passing through my own mind, "that broken rose has shed its sweet smell through forty years of the good woman's life."

It was seldom that I could find such pleasant food for contemplation as in the above instance. None off the applicants, I think, affected me more disagreeably than an old man who came, with his fourth wife hanging on his arm, to bespeak gravestones for the three former occupants of his marriage-bed. I watched with some anxiety to see whether his remembrance of either were more affectionate than of the other two, but could discover no symptom of the kind. The three monuments were all to be of the same material and form, and each decorated, in bas-relief, with two weeping-willows, one of these sympathetic trees bending over its fellow, which was to be broken in the midst and rest upon a sepulchral urn. This, indeed, was Mr. Wigglesworth's standing emblem of conjugal bereavement. I shuddered at the gray polygamist, who had so utterly lost the holy sense of individuality in wedlock, that methought he was fain to reckon upon his fingers how many women, who had once slept by his side, were now sleeping in their graves. There was even—if I wrong him it is no great matter—a glance sidelong at his living spouse, as if he were inclined to drive a thriftier bargain by bespeaking four gravestones in a lot. I was better pleased with a rough old whaling captain, who gave directions for a broad marble slab, divided into two compartments, one of which was to contain an epitaph on his deceased wife, and the other to be left vacant, till death should engrave his own name there. As is frequently the case among the whalers of Martha's Vineyard, so much of this storm-beaten widower's life had been tossed away on distant seas, that out of twenty years of matrimony he had spent scarce three, and those at scattered intervals, beneath his own roof. Thus the wife of his youth, though she died in his and her declining age, retained the bridal dewdrops fresh around her memory.

My observations gave me the idea, and Mr. Wigglesworth confirmed it, that husbands were more faithful in setting up memorials to their dead wives than widows to their dead husbands. I was not ill-natured enough to fancy that women, less than men, feel so sure of their own constancy as to be willing to give a pledge of it in marble. It is more probably the fact, that while men are able to reflect upon their lost companions as remembrances apart from themselves, women, on the other hand, are conscious that a portion of their being has gone with the departed whithersoever he has gone. Soul clings to soul; the living dust has a sympathy with the dust of the grave; and, by the very strength of that sympathy, the wife of the dead shrinks the more sensitively from reminding the world of its existence. The link is already strong enough; it needs no visible symbol. And, though a shadow walks ever by her side, and the touch of a chill hand is on her bosom, yet life, and perchance its natural yearnings, may still be warm within her, and inspire her with new hopes of happiness. Then would she mark out the grave, the scent of which would be perceptible on the pillow of the second bridal? No—but rather level its green mound with the surrounding earth, as if, when she dug up again her buried heart, the spot had ceased to be a grave. Yet, in spite of these sentimentalities, I was prodigiously amused by an incident, of which I had not the good fortune to be a witness, but which Mr. Wigglesworth related with considerable humor. A gentlewoman of the town, receiving news of her husband's loss at sea, had bespoken a handsome slab of marble, and came daily to watch the progress of my friend's chisel. One afternoon, when the good lady and the sculptor were in the very midst of the epitaph, which the departed spirit might have been greatly comforted to read, who should walk into the workshop but the deceased himself, in substance as well as spirit! He had been picked up at sea, and stood in no present need of tombstone or epitaph.

"And how," inquired I, "did his wife bear the shock of joyful surprise?"

"Why," said the old man, deepening the grin of a death's-head, on which his chisel was just then employed, "I really felt for the poor woman; it was one of my best pieces of marble,—and to be thrown away on a living man!"

A comely woman, with a pretty rosebud of a daughter, came to select a gravestone for a twin-daughter, who had died a month before. I was impressed with the different nature of their feelings for the dead; the mother was calm and wofully resigned, fully conscious of her loss, as of a treasure which she had not always possessed, and, therefore, had been aware that it might be taken from her; but the daughter evidently had no real knowledge of what death's doings were. Her thoughts knew, but not her heart. It seemed to me, that by the print and pressure which the dead sister had left upon the survivor's spirit, her feelings were almost the same as if she still stood side by side, and arm in arm, with the departed, looking at the slabs of marble; and once or twice she glanced around with a sunny smile, which, as its sister smile had faded forever, soon grew confusedly overshadowed. Perchance her consciousness was truer than her reflection,—perchance her dead sister was a closer companion than in life. The mother and daughter talked a long while with Mr. Wigglesworth about a suitable epitaph, and finally chose an ordinary verse of ill-matched rhymes, which had already been inscribed upon innumerable tombstones. But, when we ridicule the triteness of monumental verses, we forget that Sorrow reads far deeper in them than we can, and finds a profound and individual purport in what seems so vague and inexpressive, unless interpreted by her. She makes the epitaph anew, though the self-same words may have served for a thousand graves.

"And yet," said I afterwards to Mr. Wigglesworth, "they might have made a better choice than this. While you were discussing the subject, I was struck by at least a dozen simple and natural expressions from the lips of both mother and daughter. One of these would have formed an inscription equally original and appropriate."

"No, no," replied the sculptor, shaking his head, "there is a good deal of comfort to be gathered from these little old scraps of poetry; and so I always recommend them in preference to any new-fangled ones. And somehow, they seem to stretch to suit a great grief, and shrink to fit a small one."

It was not seldom that ludicrous images were excited by what took place between Mr. Wigglesworth and his customers. A shrewd gentlewoman, who kept a tavern in the town, was anxious to obtain two or three gravestones for the deceased members of her family, and to pay for these solemn commodities by taking the sculptor to board. Hereupon a fantasy arose in my mind, of good Mr. Wigglesworth sitting down to dinner at a broad, flat tombstone, carving one of his own plump little marble cherubs, gnawing a pair of cross-bones, and drinking out of a hollow death's-head, or perhaps a lachrymatory vase, or sepulchral urn; while his hostess's dead children waited on him at the ghastly banquet. On communicating this nonsensical picture to the old man, he laughed heartily, and pronounced my humor to be of the right sort.

"I have lived at such a table all my days," said he, "and eaten no small quantity of slate and marble."

"Hard fare!" rejoined I, smiling; "but you seemed to have found it excellent of digestion, too."

A man of fifty, or thereabouts, with a harsh, unpleasant countenance, ordered a stone for the grave of his bitter enemy with whom he had waged warfare half a lifetime, to their mutual misery and ruin. The secret of this phenomenon was, that hatred had become the sustenance and enjoyment of the poor wretch's soul; it had supplied the place of all kindly affections; it had been really a bond of sympathy between himself and the man who shared the passion; and when its object died, the unappeasable foe was the only mourner for the dead. He expressed a purpose of being buried side by side with his enemy.

"I doubt whether their dust will mingle," remarked the old sculptor to me; for often there was an earthliness in his conceptions.

"O yes," replied I, who had mused long upon the incident; "and when they rise again, these bitter foes may find themselves dear friends. Methinks what they mistook for hatred was but love under a mask."

A gentleman of antiquarian propensities provided a memorial for an Indian of Chabbiquidick, one of the few of untainted blood remaining in that region, and said to be an hereditary chieftain, descended from the sachem who welcomed Governor Mayhew to the Vineyard. Mr. Wigglesworth exerted his best skill to carve a broken bow and scattered sheaf of arrows, in memory of the hunters and warriors whose race was ended here; but he likewise sculptured a cherub, to denote that the poor Indian had shared the Christian's hope of immortality.

"Why," observed I, taking a perverse view of the winged boy and the bow and arrows, "it looks more like Cupid's tomb than an Indian chief's!"

"You talk nonsense," said the sculptor, with the offended pride of art; he then added, with his usual good-nature, "How can Cupid die when there are such pretty maidens in the Vineyard?"

"Very true," answered I; and for the rest of the day I thought of other matters than tombstones.

At our next meeting I found him chiselling an open book upon a marble headstone, and concluded that it was meant to express the erudition of some black-letter clergyman of the Cotton Mather school. It turned out, however, to be emblematical of the scriptural knowledge of an old woman who had never read anything but her Bible; and the monument was a tribute to her piety and good works, from the Orthodox church, of which she had been a member. In strange contrast with this Christian woman's memorial, was that of an infidel, whose gravestone, by his own direction, bore an avowal of his belief that the spirt within him would be extinguished like a flame, and that the nothingness whence he sprang would receive him again. Mr. Wigglesworth consulted me as to the propriety of enabling a dead man's dust to utter this dreadful creed.

"If I thought," said he, "that a single mortal would read the inscription without a shudder, my chisel should never cut a letter of it. But when the grave speaks such falsehoods, the soul of man will know the truth by its own horror."

"So it will," said I, struck by the idea; "the poor infidel may strive to preach blasphemies from his grave; but it will be only another method of impressing the soul with a consciousness of immortality."

There was an old man by the name of Norton, noted throughout the island for his great wealth, which he had accumulated by the exercise of strong and shrewd faculties, combined with a most penurious disposition. This wretched miser, conscious that he had not a friend to be mindful of him in his grave, had himself taken the needful precautions for posthumous remembrance, by bespeaking an immense slab of white marble, with a long epitaph in raised letters, the whole to be as magnificent as Mr. Wigglesworth's skill could make it. There was something very characteristic in this contrivance to have his money's worth even from his own tombstone, which, indeed, afforded him more enjoyment in the few months that he lived thereafter, than it probably will in a whole century, now that it is laid over his bones. This incident reminds me of a young girl, a pale, slender, feeble creature, most unlike the other rosy and healthful damsels of the Vineyard, amid whose brightness she was fading away. Day after day did the poor maiden come to the sculptor's shop, and pass from one piece of marble to another, till at last she pencilled her name upon a slender slab, which, I think, was of a more spotless white than all the rest. I saw her no more, but soon afterwards found Mr. Wigglesworth cutting her virgin name into the stone which she had chosen.

"She is dead,—poor girl," said he, interrupting the tune which he was whistling, "and she chose a good piece of stuff for her headstone. Now which of these slabs would you like best to see your own name upon?"

"Why, to tell you the truth, my good Mr. Wigglesworth," replied I, after a moment's pause,—for the abruptness of the question had somewhat startled me,—"to be quite sincere with you, I care little or nothing about a stone for my own grave, and am somewhat inclined to scepticism as to the propriety of erecting monuments at all, over the dust that once was human. The weight of these heavy marbles, though unfelt by the dead corpse of the enfranchised soul, presses drearily upon the spirit of the survivor, and causes him to connect the idea of death with the dungeon-like imprisonment of the tomb, instead of with the freedom of the skies. Every gravestone that you ever made is the visible symbol of a mistaken system. Our thoughts should soar upward with the butterfly,—not linger with the exuviae that confined him. In truth and reason, neither those whom we call the living, and still less the departed, have anything to do with the grave."

"I never heard anything so heathenish!" said Mr. Wigglesworth, perplexed and displeased at sentiments which controverted all his notions and feelings, and implied the utter waste, and worse, of his whole life's labor; "would you forget your dead friends, the moment they are under the sod?"

"They are not under the sod," I rejoined; "then why should I mark the spot where there is no treasure hidden! Forget them? No! But to remember them aright, I would forget what they have cast off. And, to gain the truer conception of DEATH, I would forget them GRAVE!"

But still the good old sculptor murmured, and stumbled, as it were, over the gravestones amid which he had walked through life. Whether he were right or wrong, I had grown the wiser from our companionship and from my observations of nature and character, as displayed by those who came, with their old griefs or their new ones, to get them recorded upon his slabs of marble. And yet, with my gain of wisdom, I had likewise gained perplexity; for there was a strange doubt in my mind, whether the dark shadowing of this life, the sorrows and regrets, have not as much real comfort in them—leaving religious influences out of the question—as what we term life's joys.

End of the Project Gutenberg EBook of Chippings With A Chisel (From "Twice
Told Tales"), by Nathaniel Hawthorne

*** END OF THIS PROJECT GUTENBERG EBOOK CHIPPINGS WITH A CHISEL ***

***** This file should be named 9215-h.htm or 9215-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/9/2/1/9215/

Produced by David Widger. HTML version by Al Haines.

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.net/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.net

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.net),
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 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 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.net

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.