Edward Fane's Rosebud (From "Twice Told Tales")
Author: Nathaniel Hawthorne
Date: 2005-11-01T05:00:00+00:00

The Project Gutenberg EBook of Edward Fane's Rosebud (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: Edward Fane's Rosebud (From "Twice Told Tales")

Author: Nathaniel Hawthorne

Posting Date: December 2, 2010 [EBook #9219]
Release Date: November, 2005
First Posted: August 23, 2003
Last Updated: February 5, 2007

Language: English

*** START OF THIS PROJECT GUTENBERG EBOOK EDWARD FANE'S ROSEBUD ***

Produced by David Widger. HTML version by Al Haines.

TWICE TOLD TALES

EDWARD FANE'S ROSEBUD

By Nathaniel Hawthorne

There is hardly a more difficult exercise of fancy, than, while gazing at a figure of melancholy age, to re-create its youth, and, without entirely obliterating the identity of form and features, to restore those graces which time has snatched away. Some old people, especially women, so age-worn and woeful are they, seem never to have been young and gay. It is easier to conceive that such gloomy phantoms were sent into the world as withered and decrepit as we behold them now, with sympathies only for pain and grief, to watch at death-beds, and weep at funerals. Even the sable garments of their widowhood appear essential to their existence; all their attributes combine to render them darksome shadows, creeping strangely amid the sunshine of human life. Yet it is no unprofitable task, to take one of these doleful creatures, and set fancy resolutely at work to brighten the dim eye, and darken the silvery locks, and paint the ashen cheek with rose-color, and repair the shrunken and crazy form, till a dewy maiden shall be seen in the old matron's elbow-chair. The miracle being wrought, then let the years roll back again, each sadder than the last, and the whole weight of age and sorrow settle down upon the youthful figure.

Wrinkles and furrows, the handwriting of Time, may thus be deciphered, and found to contain deep lessons of thought and feeling. Such profit might be derived, by a skilful observer, from my much-respected friend, the Widow Toothaker, a nurse of great repute, who has breathed the atmosphere of sick-chambers and dying breaths these forty years.

See! she sits cowering over her lonesome hearth, with her gown and upper petticoat drawn upward, gathering thriftily into her person the whole warmth of the fire, which, now at nightfall, begins to dissipate the autumnal chill of her chamber. The blaze quivers capriciously in front, alternately glimmering into the deepest chasms of her wrinkled visage, and then permitting a ghostly dimness to mar the outlines of her venerable figure. And Nurse Toothaker holds a teaspoon in her right hand, with which to stir up the contents of a tumbler in her left, whence steams a vapory fragrance, abhorred of temperance societies. Now she sips,—now stirs,—now sips again. Her sad old heart has need to be revived by the rich infusion of Geneva, which is mixed half and half with hot water, in the tumbler. All day long she has been sitting by a death-pillow, and quitted it for her home, only when the spirit of her patient left the clay and went homeward too. But now are her melancholy meditations cheered, and her torpid blood warmed, and her shoulders lightened of at least twenty ponderous years, by a draught from the true Fountain of Youth, in a case-bottle. It is strange that men should deem that fount a fable when its liquor fills more bottles than the Congress-water! Sip it again, good nurse, and see whether a second draught will not take off another score of years, and perhaps ten more, and show us, in your high-backed chair, the blooming damsel who plighted troths with Edward Fane. Get you gone, Age and Widowhood! Come back, unwedded Youth! But, alas! the charm will not work. In spite of fancy's most potent spell, I can see only an old dame cowering over the fire, a picture of decay and desolation, while the November blast roars at her in the chimney, and fitful showers rush suddenly against the window.

Yet there was a time when Rose Grafton—such was the pretty maiden name of Nurse Toothaker—possessed beauty that would have gladdened this dim and dismal chamber as with sunshine. It won for her the heart of Edward Fane, who has since made so great a figure in the world, and is now a grand old gentleman, with powdered hair, and as gouty as a lord. These early lovers thought to have walked hand in hand through life. They had wept together for Edward's little sister Mary, whom Rose tended in her sickness, partly because she was the sweetest child that ever lived or died, but more for love of him. She was but three years old. Being such an infant, Death could not embody his terrors in her little corpse; nor did Rose fear to touch the dead child's brow, though chill, as she curled the silken hair around it, nor to take her tiny hand, and clasp a flower within its fingers. Afterward, when she looked through the pane of glass in the coffin-lid, and beheld Mary's face, it seemed not so much like death, or life, as like a waxwork, wrought into the perfect image of a child asleep, and dreaming of its mother's smile. Rose thought her too fair a thing to be hidden in the grave, and wondered that an angel did not snatch up little Mary's coffin, and bear the slumbering babe to heaven, and bid her wake immortal. But when the sods were laid on little Mary, the heart of Rose was troubled. She shuddered at the fantasy, that, in grasping the child's cold fingers, her virgin hand had exchanged a first greeting with mortality, and could never lose the earthly taint. How many a greeting since! But as yet, she was a fair young girl, with the dewdrops of fresh feeling in her bosom; and instead of Rose, which seemed too mature a name for her half-opened beauty, her lover called her Rosebud.

The rosebud was destined never to bloom for Edward Fane. His mother was a rich and haughty dame, with all the aristocratic prejudices of colonial times. She scorned Rose Grafton's humble parentage, and caused her son to break his faith, though, had she let him choose, he would have prized his Rosebud above the richest diamond. The lovers parted, and have seldom met again. Both may have visited the same mansions, but not at the same time; for one was bidden to the festal hall, and the other to the sick-chamber; he was the guest of Pleasure and Prosperity, and she of Anguish. Rose, after their separation, was long secluded within the dwelling of Mr. Toothaker, whom she married with the revengeful hope of breaking her false lover's heart. She went to her bridegroom's arms with bitterer tears, they say, than young girls ought to shed at the threshold of the bridal chamber. Yet, though her husband's head was getting gray, and his heart had been chilled with an autumnal frost, Rose soon began to love him, and wondered at her own conjugal affection. He was all she had to love; there were no children.

In a year or two, poor Mr. Toothaker was visited with a wearisome infirmity which settled in his joints, and made him weaker than a child. He crept forth about his business, and came home at dinner-time and eventide, not with the manly tread that gladdens a wife's heart, but slowly, feebly, jotting down each dull footstep with a melancholy dub of his staff. We must pardon his pretty wife, if she sometimes blushed to own him. Her visitors, when they heard him coming, looked for the appearance of some old, old man; but he dragged his nerveless limbs into the parlor,—and there was Mr. Toothaker! The disease increasing, he never went into the sunshine, save with a staff in his right hand and his left on his wife's shoulder, bearing heavily downward, like a dead man's hand. Thus, a slender woman, still looking maiden-like, she supported his tall, broad-chested frame along the pathway of their little garden, and plucked the roses for her gray-haired husband, and spoke soothingly, as to an infant. His mind was palsied with his body; its utmost energy was peevishness. In a few months more, she helped him up the staircase, with a pause at every step, and a longer one upon the landingplace, and a heavy glance behind, as he crossed the threshold of his chamber. He knew, poor man, that the precincts of those four walls would thenceforth be his world,—his world, his home, his tomb,—at once a dwelling and a burial-place, till he were borne to a darker and a narrower one. But Rose was with him in the tomb. He leaned upon her, in his daily passage from the bed to the chair by the fireside, and back again from the weary chair to the joyless bed,—his bed and hers,—their marriage-bed; till even this short journey ceased, and his head lay all day upon the pillow, and hers all night beside it. How long poor Mr. Toothaker was kept in misery! Death seemed to draw near the door, and often to lift the latch, and sometimes to thrust his ugly skull into the chamber, nodding to Rose, and pointing at her husband, but still delayed to enter. "This bedridden wretch cannot escape me!" quoth Death. "I will go forth, and run a race with the swift, and fight a battle with the strong, and come back for Toothaker at my leisure!" O, when the deliverer came so near in the dull anguish of her worn-out sympathies, did she never long to cry, "Death, come in!"

But, no! We have no right to ascribe such a wish to our friend Rose. She never failed in a wife's duty to her poor sick husband. She murmured not, though a glimpse of the sunny sky was as strange to her as him, nor answered peevishly, though his complaining accents roused her from her sweetest dream, only to share his wretchedness. He knew her faith, yet nourished a cankered jealousy; and when the slow disease had chilled all his heart, save one lukewarm spot, which Death's frozen fingers were searching for, his last words were, "What would my Rose have done for her first love, if she has been so true and kind to a sick old man like me!" And then his poor soul crept away, and left the body lifeless, though hardly more so than for years before, and Rose a widow, though in truth it was the wedding-night that widowed her. She felt glad, it must be owned, when Mr. Toothaker was buried, because his corpse had retained such a likeness to the man half alive, that she hearkened for the sad murmur of his voice, bidding her shift his pillow. But all through the next winter, though the grave had held him many a month, she fancied him calling from that cold bed, "Rose! Rose! come put a blanket on my feet."

So now the Rosebud was the Widow Toothaker. Her troubles had come early, and, tedious as they seemed, had passed before all her bloom was fled. She was still fair enough to captivate a bachelor, or, with a widow's cheerful gravity, she might have won a widower, stealing into his heart in the very guise of his dead wife. But the Widow Toothaker had no such projects. By her watchings and continual cares, her heart had become knit to her first husband with a constancy which changed its very nature, and made her love him for his infirmities, and infirmity for his sake. When the palsied old man was gone, even her early lover could not have supplied his place. She had dwelt in a sick-chamber, and been the companion of a half-dead wretch, till she could scarcely breathe in a free air, and felt ill at ease with the healthy and the happy. She missed the fragrance of the doctor's stuff. She walked the chamber with a noiseless footfall. If visitors came in, she spoke in soft and soothing accents, and was startled and shocked by their loud voices. Often in the lonesome evening, she looked timorously from the fireside to the bed, with almost a hope of recognizing a ghastly face upon the pillow. Then went her thoughts sadly to her husband's grave. If one impatient throb bad wronged him in his lifetime,—if she had secretly repined, because her buoyant youth was imprisoned with his torpid age,—if ever, while slumbering beside him, a treacherous dream had admitted another into her heart,—yet the sick man had been preparing a revenge, which the dead now claimed. On his painful pillow, he had cast a spell around her; his groans and misery had proved more captivating charms than gayety and youthful grace; in his semblance, Disease itself had won the Rosebud for a bride; nor could his death dissolve the nuptials. By that indissoluble bond she had gained a home in every sick-chamber, and nowhere else; there were her brethren and sisters; thither her husband summoned her, with that voice which had seemed to issue from the grave of Toothaker. At length she recognized her destiny.

We have beheld her as the maid, the wife, the widow; now we see her in a separate and insulated character; she was, in all her attributes, Nurse Toothaker. And Nurse Toothaker alone, with her own shrivelled lips, could make known her experience in that capacity. What a history might she record of the great sicknesses, in which she has gone hand in hand with the exterminating angel! She remembers when the small-pox hoisted a red banner on almost every house along the street. She has witnessed when the typhus fever swept off a whole household, young and old, all but a lonely mother, who vainly shrieked to follow her last loved one. Where would be Death's triumph, if none lived to weep? She can speak of strange maladies that have broken out, as if spontaneously, but were found to have been imported from foreign lands, with rich silks and other merchandise, the costliest portion of the cargo. And once, she recollects, the people died of what was considered a new pestilence, till the doctors traced it to the ancient grave of a young girl, who thus caused many deaths a hundred years after her own burial. Strange that such black mischief should lurk in a maiden's grave! She loves to tell how strong men fight with fiery fevers, utterly refusing to give up their breath; and how consumptive virgins fade out of the world, scarcely reluctant, as if their lovers were wooing them to a far country. Tell us, thou fearful woman! tell us the death-secrets! Fain would I search out the meaning of words, faintly gasped with intermingled sobs, and broken sentences, half audibly spoken between earth and the judgment-seat!

An awful woman! She is the patron saint of young physicians, and the bosom friend of old ones. In the mansions where she enters, the inmates provide themselves black garments; the coffin-maker follows her; and the bell tolls as she comes away from the threshold. Death himself has met her at so many a bedside, that he puts forth his bony hand to greet Nurse Toothaker.

She is an awful woman! And, O, is it conceivable, that this handmaid of human infirmity and affliction—so darkly stained, so thoroughly imbued with all that is saddest in the doom of mortals—can ever again be bright and gladsome, even though bathed in the sunshine of eternity? By her long communion with woe, has she not forfeited her inheritance of immortal joy? Does any germ of bliss survive within her?

Hark! an eager knocking at Nurse Toothaker's door. She starts from her drowsy revery, sets aside the empty tumbler and teaspoon, and lights a lamp at the dim embers of the fire. Rap, rap, rap! again; and she hurries a-down the staircase, wondering which of her friends can be at death's door now, since there is such an earnest messenger at Nurse Toothaker's. Again the peal resounds, just as her hand is on the lock. "Be quick, Nurse Toothaker!" cries a man on the doorstep; "old General Fane is taken with the gout in his stomach, and has sent for you to watch by his death-bed. Make haste, for there is no time to lose!"

"Fane! Edward Fane! And has he sent for me at last? I am ready! I will get on my cloak and begone. So," adds the sable-gowned, ashen-visaged, funereal old figure, "Edward Fane remembers his Rosebud!"

Our question is answered. There is a germ of bliss within her. Her long-hoarded constancy—her memory of the bliss that was—remaining amid the gloom of her after life, like a sweet-smelling flower in a coffin, is a symbol that all maybe renewed. In some happier clime, the Rosebud may revive again with all the dewdrops in its bosom.

End of the Project Gutenberg EBook of Edward Fane's Rosebud (From "Twice
Told Tales"), by Nathaniel Hawthorne

*** END OF THIS PROJECT GUTENBERG EBOOK EDWARD FANE'S ROSEBUD ***

***** This file should be named 9219-h.htm or 9219-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/9/2/1/9219/

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.