The Project Gutenberg EBook of A Bell's Biography, 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: A Bell's Biography Author: Nathaniel Hawthorne Posting Date: December 20, 2010 [EBook #9237] Release Date: November, 2005 First Posted: September 18, 2003 Last Updated: February 6, 2007 Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK A BELL'S BIOGRAPHY *** Produced by David Widger. HTML version by Al Haines THE SNOW-IMAGE AND OTHER TWICE-TOLD TALES A BELL'S BIOGRAPHY By Nathaniel Hawthorne Hearken to our neighbor with the iron tongue. While I sit musing over my sheet of foolscap, he emphatically tells the hour, in tones loud enough for all the town to hear, though doubtless intended only as a gentle hint to myself, that I may begin his biography before the evening shall be further wasted. Unquestionably, a personage in such an elevated position, and making so great a noise in the world, has a fair claim to the services of a biographer. He is the representative and most illustrious member of that innumerable class, whose characteristic feature is the tongue, and whose sole business, to clamor for the public good. If any of his noisy brethren, in our tongue-governed democracy, be envious of the superiority which I have assigned him, they have my free consent to hang themselves as high as he. And, for his history, let not the reader apprehend an empty repetition of ding-dong-bell. He has been the passive hero of wonderful vicissitudes, with which I have chanced to become acquainted, possibly from his own mouth; while the careless multitude supposed him to be talking merely of the time of day, or calling them to dinner or to church, or bidding drowsy people go bedward, or the dead to their graves. Many a revolution has it been his fate to go through, and invariably with a prodigious uproar. And whether or no he have told me his reminiscences, this at least is true, that the more I study his deep-toned language, the more sense, and sentiment, and soul, do I discover in it. This bell--for we may as well drop our quaint personification--is of antique French manufacture, and the symbol of the cross betokens that it was meant to be suspended in the belfry of a Romish place of worship. The old people hereabout have a tradition, that a considerable part of the metal was supplied by a brass cannon, captured in one of the victories of Louis the Fourteenth over the Spaniards, and that a Bourbon princess threw her golden crucifix into the molten mass. It is said, likewise, that a bishop baptized and blessed the bell, and prayed that a heavenly influence might mingle with its tones. When all due ceremonies had been performed, the Grand Monarque bestowed the gift--than which none could resound his beneficence more loudly--on the Jesuits, who were then converting the American Indians to the spiritual dominion of the Pope. So the bell,--our self-same bell, whose familiar voice we may hear at all hours, in the streets,--this very bell sent forth its first-born accents from the tower of a log-built chapel, westward of Lake Champlain, and near the mighty stream of the St. Lawrence. It was called Our Lady's Chapel of the Forest. The peal went forth as if to redeem and consecrate the heathen wilderness. The wolf growled at the sound, as he prowled stealthily through the underbrush; the grim bear turned his back, and stalked sullenly away; the startled doe leaped up, and led her fawn into a deeper solitude. The red men wondered what awful voice was speaking amid the wind that roared through the tree-tops; and, following reverentially its summons, the dark-robed fathers blessed them, as they drew near the cross-crowned chapel. In a little time, there was a crucifix on every dusky bosom. The Indians knelt beneath the lowly roof, worshipping in the same forms that were observed under the vast dome of St. Peter's, when the Pope performed high mass in the presence of kneeling princes. All the religious festivals, that awoke the chiming bells of lofty cathedrals, called forth a peal from Our Lady's Chapel of the Forest. Loudly rang the bell of the wilderness while the streets of Paris echoed with rejoicings for the birthday of the Bourbon, or whenever France had triumphed on some European battle-field. And the solemn woods were saddened with a melancholy knell, as often as the thick-strewn leaves were swept away from the virgin soil, for the burial of an Indian chief. Meantime, the bells of a hostile people and a hostile faith were ringing on Sabbaths and lecture-days, at Boston and other Puritan towns. Their echoes died away hundreds of miles southeastward of Our Lady's Chapel. But scouts had threaded the pathless desert that lay between, and, from behind the huge tree-trunks, perceived the Indians assembling at the summons of the bell. Some bore flaxen-haired scalps at their girdles, as if to lay those bloody trophies on Our Lady's altar. It was reported, and believed, all through New England, that the Pope of Rome, and the King of France, had established this little chapel in the forest, for the purpose of stirring up the red men to a crusade against the English settlers. The latter took energetic measures to secure their religion and their lives. On the eve of an especial fast of the Romish Church, while the bell tolled dismally, and the priests were chanting a doleful stave, a band of New England rangers rushed from the surrounding woods. Fierce shouts, and the report of musketry, pealed suddenly within the chapel. The ministering priests threw themselves before the altar, and were slain even on its steps. If, as antique traditions tell us, no grass will grow where the blood of martyrs has been shed, there should be a barren spot, to this very day, on the site of that desecrated altar. While the blood was still plashing from step to step, the leader of the rangers seized a torch, and applied it to the drapery of the shrine. The flame and smoke arose, as from a burnt-sacrifice, at once illuminating and obscuring the whole interior of the chapel,--now hiding the dead priests in a sable shroud, now revealing them and their slayers in one terrific glare. Some already wished that the altar-smoke could cover the deed from the sight of Heaven. But one of the rangers--a man of sanctified aspect, though his hands were bloody--approached the captain. "Sir," said he, "our village meeting-house lacks a bell, and hitherto we have been fain to summon the good people to worship by beat of drum. Give me, I pray you, the bell of this popish chapel, for the sake of the godly Mr. Rogers, who doubtless hath remembered us in the prayers of the congregation, ever since we began our march. Who can tell what share of this night's good success we owe to that holy man's wrestling with the Lord?" "Nay, then," answered the captain, "if good Mr. Rogers hath holpen our enterprise, it is right that he should share the spoil. Take the bell and welcome, Deacon Lawson, if you will be at the trouble of carrying it home. Hitherto it hath spoken nothing but papistry, and that too in the French or Indian gibberish; but I warrant me, if Mr. Rogers consecrate it anew, it will talk like a good English and Protestant bell." So Deacon Lawson and half a score of his townsmen took down the bell, suspended it on a pole, and bore it away on their sturdy shoulders, meaning to carry it to the shore of Lake Champlain, and thence homeward by water. Far through the woods gleamed the flames of Our Lady's Chapel, flinging fantastic shadows from the clustered foliage, and glancing on brooks that had never caught the sunlight. As the rangers traversed the midnight forest, staggering under their heavy burden, the tongue of the bell gave many a tremendous stroke,--clang, clang, clang!--a most doleful sound, as if it were tolling for the slaughter of the priests and the ruin of the chapel. Little dreamed Deacon Lawson and his townsmen that it was their own funeral knell. A war-party of Indians had heard the report, of musketry, and seen the blaze of the chapel, and now were on the track of the rangers, summoned to vengeance by the bell's dismal murmurs. In the midst of a deep swamp, they made a sudden onset on the retreating foe. Good Deacon Lawson battled stoutly, but had his skull cloven by a tomahawk, and sank into the depths of the morass, with the ponderous bell above him. And, for many a year thereafter, our hero's voice was heard no more on earth, neither at the hour of worship, nor at festivals nor funerals. And is he still buried in that unknown grave? Scarcely so, dear reader. Hark! How plainly we hear him at this moment, the spokesman of Time, proclaiming that it is nine o'clock at night! We may therefore safely conclude that some happy chance has restored him to upper air. But there lay the bell, for many silent years; and the wonder is, that he did not lie silent there a century, or perhaps a dozen centuries, till the world should have forgotten not only his voice, but the voices of the whole brotherhood of bells. How would the first accent of his iron tongue have startled his resurrectionists! But he was not fated to be a subject of discussion among the antiquaries of far posterity. Near the close of the Old French War, a party of New England axe-men, who preceded the march of Colonel Bradstreet toward Lake Ontario, were building a bridge of logs through a swamp. Plunging down a stake, one of these pioneers felt it graze against some hard, smooth substance. He called his comrades, and, by their united efforts, the top of the bell was raised to the surface, a rope made fast to it, and thence passed over the horizontal limb of a tree. Heave ho! up they hoisted their prize, dripping with moisture, and festooned with verdant water-moss. As the base of the bell emerged from the swamp, the pioneers perceived that a skeleton was clinging with its bony fingers to the clapper, but immediately relaxing its nerveless grasp, sank back into the stagnant water. The bell then gave forth a sullen clang. No wonder that he was in haste to speak, after holding his tongue for such a length of time! The pioneers shoved the bell to and fro, thus ringing a loud and heavy peal, which echoed widely through the forest, and reached the ears of Colonel Bradstreet, and his three thousand men. The soldiers paused on their march; a feeling of religion, mingled with borne-tenderness, overpowered their rude hearts; each seemed to hear the clangor of the old church-bell, which had been familiar to hint from infancy, and had tolled at the funerals of all his forefathers. By what magic had that holy sound strayed over the wide-murmuring ocean, and become audible amid the clash of arms, the loud crashing of the artillery over the rough wilderness-path, and the melancholy roar of the wind among the boughs? The New-Englanders hid their prize in a shadowy nook, betwixt a large gray stone and the earthy roots of an overthrown tree; and when the campaign was ended, they conveyed our friend to Boston, and put him up at auction on the sidewalk of King Street. He was suspended, for the nonce, by a block and tackle, and being swung backward and forward, gave such loud and clear testimony to his own merits, that the auctioneer had no need to say a word. The highest bidder was a rich old representative from our town, who piously bestowed the bell on the meeting-house where he had been a worshipper for half a century. The good man had his reward. By a strange coincidence, the very first duty of the sexton, after the bell had been hoisted into the belfry, was to toll the funeral knell of the donor. Soon, however, those doleful echoes were drowned by a triumphant peal for the surrender of Quebec. Ever since that period, our hero has occupied the same elevated station, and has put in his word on all matters of public importance, civil, military, or religious. On the day when Independence was first proclaimed in the street beneath, he uttered a peal which many deemed ominous and fearful, rather than triumphant. But he has told the same story these sixty years, and none mistake his meaning now. When Washington, in the fulness of his glory, rode through our flower-strewn streets, this was the tongue that bade the Father of his Country welcome! Again the same voice was heard, when La Fayette came to gather in his half-century's harvest of gratitude. Meantime, vast changes have been going on below. His voice, which once floated over a little provincial seaport, is now reverberated between brick edifices, and strikes the ear amid the buzz and tumult of a city. On the Sabbaths of olden time, the summons of the bell was obeyed by a picturesque and varied throng; stately gentlemen in purple velvet coats, embroidered waistcoats, white wigs, and gold-laced hats, stepping with grave courtesy beside ladies in flowered satin gowns, and hoop-petticoats of majestic circumference; while behind followed a liveried slave or bondsman, bearing the psalm-book, and a stove for his mistress's feet. The commonalty, clad in homely garb, gave precedence to their betters at the door of the meetinghouse, as if admitting that there were distinctions between them, even in the sight of God. Yet, as their coffins were borne one after another through the street, the bell has tolled a requiem for all alike. What mattered it, whether or no there were a silver scutcheon on the coffin-lid? "Open thy bosom, Mother Earth!" Thus spake the bell. "Another of thy children is coming to his long rest. Take him to thy bosom, and let him slumber in peace." Thus spake the bell, and Mother Earth received her child. With the self-same tones will the present generation be ushered to the embraces of their mother; and Mother Earth will still receive her children. Is not thy tongue a-weary, mournful talker of two centuries? O funeral bell! wilt thou never be shattered with thine own melancholy strokes? Yea, and a trumpet-call shall arouse the sleepers, whom thy heavy clang could awake no more! Again--again thy voice, reminding me that I am wasting the "midnight oil." In my lonely fantasy, I can scarce believe that other mortals have caught the sound, or that it vibrates elsewhere than in my secret soul. But to many hast thou spoken. Anxious men have heard thee on their sleepless pillows, and bethought themselves anew of to-morrow's care. In a brief interval of wakefulness, the sons of toil have heard thee, and say, "Is so much of our quiet slumber spent?--is the morning so near at hand?" Crime has heard thee, and mutters, "Now is the very hour!" Despair answers thee, "Thus much of this weary life is gone!" The young mother, on her bed of pain and ecstasy, has counted thy echoing strokes, and dates from them her first-born's share of life and immortality. The bridegroom and the bride have listened, and feel that their night of rapture flits like a dream away. Thine accents have fallen faintly on the ear of the dying man, and warned him that, ere thou speakest again, his spirit shall have passed whither no voice of time can ever reach. Alas for the departing traveller, if thy voice--the voice of fleeting time--have taught him no lessons for Eternity! End of Project Gutenberg's A Bell's Biography, by Nathaniel Hawthorne *** END OF THIS PROJECT GUTENBERG EBOOK A BELL'S BIOGRAPHY *** ***** This file should be named 9237.txt or 9237.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/9/2/3/9237/ 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.