A very queer craft is a Chinese junk. Few Europeans have any defined idea what they are like. They are of different sizes, most of them suited to the numerous rivers and canals which intersect the country in every part. The largest are of about one thousand tons burden. The whole mode of building is most peculiar. Instead of the timbers being first raised as with us, they are the last in their places, and the vessel is put together with immense spiked nails. The next process is doubling and clamping above and below decks. Two immense beams or string pieces are then ranged below, fore and aft, and keep the other beams in their places. The deck-frames are an arch, and a platform erected on it protects it from the sun, and from other injuries otherwise inevitable. The seams are caulked either with old fishing-net or bamboo shavings, and then paid with a cement called chinam, consisting of oyster-shells burnt to lime, with a mixture of fine bamboo shavings, pounded together with a vegetable oil extracted from a ground nut. When dried it becomes excessively hard; it never starts, and the seams thus secured are perfectly safe and water-tight. All the work about her is of the roughest kind. The trees when found of a suitable size are cut down, stripped of their bark, and sawn into convenient lengths; the sides are not squared, but left just as they grew. No artificial means are resorted to for any bends; a tree or branch of a tree is found with the requisite natural curvature. There is not in the building, rigging, or fitting-up of a Chinese junk one single thing which is similar to what we see on board a European vessel. Everything is different; the mode of construction; the absence of keel, bowsprit, and shrouds; the materials employed; the mast, the sails, the yard, the rudder, the compass, the anchor--all are dissimilar.
The vessel in which I now found myself, the _King-Shing_, was of about seven hundred tons. She was built entirely of teak, and her skipper, or Ty Kong, as he is called, alleged that she was more than a hundred years old, and said that one of her crew who had recently died, had served in her for fifty years. Her extreme length was one hundred and sixty feet; breadth of beam, twenty-five feet and a half; depth of hold, twelve feet; height of poop from the water, thirty-eight feet; height of bow, thirty feet. Her most attractive portion was the saloon, or state cabin, the beauty of whose furniture and decorations formed a curious contrast to the rude and rough workmanship of the cabin itself. Its carved and gilded entrance was protected by a sort of skylight, the sides of which were formed of the prepared oyster-shells so commonly used in China instead of glass, the latter being too expensive for general purposes. The enclosure was thirty feet long, twenty-five broad, and eleven in height. From the beams overhead were suspended numbers of the different kinds of lanterns used in China. They were of every imaginable form, size, and variety of material. The sides and deck-roof were of a yellow ground, and covered with paintings of flowers, leaves, fruit, insects, birds, monkeys, dogs, and cats; some of those latter animals were what in heraldic language would be called _queue-fourchee_. The place was filled with a vast assortment of curious and beautiful articles, gathered together during the long existence of the vessel. To give a list of them would require pages; brought to Europe they would have made the reputations of a dozen museums.
At the end of the saloon was the Joss-house, or idol-house, containing the idol Chin-Tee, having eighteen arms, with her attendants, Tung-Sam and Tung-See. The richly-gilt idol was made of one solid piece of camphor-wood, and had a red scarf thrown round it. An altar-table, also of camphor-wood, and painted red, stood in front of the Joss-house, with an incense burner placed upon it. The red ground of the table had gilt carvings of flowers and insects, and the imperial dragons with the ball of flame between them. On each side of the front was a square place painted green, with words in Chinese inviting worshippers to bring gold and agate stones as offerings.
The sleeping berths of the crew were all _aft_, on a lower deck. Close by these was the most astonishing part of the vessel, the colossal rudder, not hung with pintles and gudgeons, the vessel having no stern-post, but suspended to two windlasses by three large ropes made of cane and hemp; one round a windlass on the next deck, and two round a windlass on the upper deck of all, so that it could be raised or lowered according to the depth of water. When lowered to its full extent it drew about twenty-four feet, being twelve feet more than the draught of the vessel. It was steered on this berth-deck when fully lowered. It was also drawn close into the stern, into a kind of socket, by means of two immense bamboo ropes attached to the bottom of the rudder, passing beneath the bottom of the vessel, and coming over the bow on the upper deck, and there hove in taut and fastened. When let down to its greatest depth it required occasionally the strength of fifteen men to move the large tiller.
On ascending to the next deck, one passed under a covering made of oyster-shells, similar to that over the entrance to the saloon; under this hung a flag which had been borne before the Emperor on one of the most solemn religious processions. On a piece of wood near one of the windlasses was inscribed--“May the sea never wash over this junk.” Close by was the sailors' Joss-house, containing the deity of the sea with her two attendants, each with a red scarf. Near the principal goddess was a piece of the wood from the first timber of the junk that was laid; this was taken to one of their principal temples, there consecrated, and then brought on board, and placed as symbolic of the whole vessel's being under the protection of the deity. A small earthen pot, containing sacred earth and rice, stood in front, in which Joss-sticks and other incense was burnt. A lighted lamp, too, was here always kept burning; if it had gone out during a voyage it would have been considered an omen of bad luck. On the right and left, before coming to this Joss-house, were paintings. One panel represented the Mandarin Ducks; another, a Chinese lady at her toilette; a third, a globe of gold-fish. On this deck were cabins for passengers and supercargoes, the doors painted with different devices. Above was the lofty poop-deck, with one of the rudder-windlasses on it, and the mizzen-mast, fifty feet long, and placed on one side, in order to allow the tiller to work when in shallow water. The main-mast was ninety-five feet in length, and ten feet in circumference at the bottom. It was one spar of teak, and just as the tree grew with merely the bark taken off. It was not perfectly straight--a defect with us, but not so considered by the Chinese, who prefer a mast with a bend in it to one without, thinking it adds to the strength, and is conclusive evidence of the goodness of the spar. This mast was hooped round, in consequence of being cracked while undergoing the process of hardening. The mode adopted for this purpose by the Chinese is to bury the timber for a considerable time in marshy ground; thus treated, they say teak becomes hard as iron. The mast did not go within four feet of the bottom--the ship having no kelson--but, to use the technical term, was “toggled” to two large pieces of wood which answered as partners. To these were added two other heavy pieces as chocks, which were intended to keep the huge spars in their places. Neither stays nor shrouds were used. The main yards were made of teak quite rough; the upper one was seventy-five feet long, and the lower sixty.
The sails were made of closely-woven matting, a substance much lighter than canvas. It holds the wind better, and rarely splits, because it never shakes in the wind. So large and heavy was the mainsail of the _King-Shing_, that it required forty men with the aid of the capstan to raise it. Without the capstan eighty men would have been needed. It had eighteen reefs. The sails were reefed by being lowered, which precluded any necessity for going aloft.
The vane was in the shape of a fish, the body formed of rattan work, the head and gills of painted matting, with two projections like the antennae of a butterfly. The tail was furnished with long streamers, and little flags were stuck in the body for additional ornament. There were also Chinese characters painted on the body signifying “Good luck to the Junk.” Between the main-mast and fore-mast were two large rough windlasses stretching across the deck, and used for getting up the anchor. By the entrance to the forecastle were two water-tanks, capable of holding one thousand five hundred gallons each. The fore-mast was seventy-five feet from the deck. It raked forward, and was supported by a large piece of wood on the after part, and secured similarly to the main-mast. The anchors were of wood, the flukes shod with iron, and attached to the shank by strong lashings of bamboo. The stock was composed of three separate pieces of wood lashed together by rattan ropes, and was fixed to the crown. As the Chinese drag their anchors on board instead of catting and fishing as other seamen do, this position of the stock offers no impediment. The flukes were of the same dimensions as those of similar sized anchors with us; they were straight and not rounded, and there were no palms. There was also a kedge, with only one fluke. The cables were of rattan. The junk had no bitts, but to supply their place the strong beams across the deck had large holes for stoppers. The “wales” formed another singular feature of the vessel--airtight boxes, projecting three feet from the side; their object was to make the vessel more buoyant, to enable her to carry more cargo, and prevent her rolling, but this last, in my opinion, was chiefly prevented by the size and position of the rudder.
The cook-house was placed differently from the galleys of European vessels, being aft of the main-mast. The lower part was built of brick, with two square holes in front for the fires. Troughs of water were placed in front of these holes, so that any ignited fuel that might drop out would be at once extinguished. Wood was the fuel used. For cooking they used iron pans surrounded by red tiles. One was covered by a kind of half cask; this was used for boiling the rice, the cover being to preserve the steam after the water was boiled away, which causes the rice to be beautifully done and not soddened, as is often the case in our cooking. It also prevents it from being thrown out when the vessel rolls. The quantity of rice for each man was about three pounds daily. All washing of dishes, etc., was performed on a stage outside the galley so that it might be kept perfectly clean. The proper allowance for each mess was delivered in front. Close to the cook-house was a water-tank of wood, painted in imitation of bricks, and capable of holding three thousand gallons.
Such was the _King-Shing_ junk, and such are most of the craft of the Celestials. They would appear to be gradually coming round to Western ideas in the matter of ships, and in fact have done so entirely for war purposes, but the fashions of their ancestors are still good enough for most of them, and the junk is to be seen everywhere. Not a mere thing of yesterday is the junk. Vessels essentially similar to the one I have described were navigating the Chinese seas and rivers when the fleets of Rome and Carthage were contesting the supremacy of the Mediterranean, and long before. Rome and Carthage, and many another mighty maritime power, have risen and passed away utterly, like bubbles, or dreams, but the Chinaman and his everlasting junk are still here.
The vessel belonged to some mandarins at Shanghai, who used it for trading to Cochin-China. It had recently, however, been despatched with a cargo to Cheefoo, had been blown away north by a gale, and forced to run into the harbour at Port Arthur to escape the Japanese. There it had lain until the place fell. The crew numbered fifty-four, all told.
After floating off the sand-bank, and getting an offing, we were within the Gulf of Pechili, and determined to make for one or other of its ports, but on the first day we encountered a very heavy nor'-wester, which blew us far out of the Gulf. When, after lasting a day and a night, the gale abated, we were well down the Yellow Sea, and the skipper, or Ty Kong, whose name was Sam-Sing, determined to hold on for the port where the junk's owners dwelt. I had no objection to make to this, nor had the mandarin, who possessed friends and relatives in the south. The soldiers on board, however, were very discontented and mutinous, and as they considerably outnumbered the crew I began to fear trouble. They were all from northern provinces and had no desire to go south. Their language was scarcely intelligible even to their nominal countrymen. The immense diversity of dialects in China is, in fact, a great hindrance to progress by preventing the unification of the people. After some excited discussion they were prevailed upon to acquiesce by the solemn promise of the mandarin to make arrangements with the authorities for their return to their own parts, or failing that to send them back at his own expense; besides, the representation that to turn north again would most likely end in capture by the Japanese vessels, through whose present cruising-ground the gale had luckily blown us, had great weight.
I was vastly amused, during my voyage in the _King-Shing_, by the superstitions of her crew. Their devotion to their idols was indeed truly edifying. A religious man, according to his lights, was Sam-Sing, and rigidly punctual in the daily observance of incense-burning, gong-banging, and other rites supposed to be propitiatory of the deity. He was also, however, greatly addicted to opium-smoking, and when under the influence of the drug, of which, as an old stager, he could consume great quantities without being stupefied, the idea of the occult power of the goddess, never absent from his mind, was turned completely upside down. When free from the fumes of opium nobody could have been more respectful to the Josses, but when intoxicated, and with the weather threatening, he openly poured upon them abuse, reviling, and suspicion. He usually started a pipe of opium about noon, and the change in his demeanour came round gradually during the afternoon. In the morning he was sober and pious, in the evening intoxicated and blasphemous, particularly, as I have said, when the weather was bad. “As for that infernal Chin-Tee,” he would say in effect, shaking his fist in the direction of the idol, “it's all her fault we're in this mess. What's the use of her--lazy harridan! Much she cares what becomes of us”--and so on till overpowered by excess. When by the next morning he had slept off his debauch, and came round to recollection of his enormities, his penitence knew no bounds; he would prostrate himself in the Joss-house, and in the most abject terms implore forgiveness for his intemperate language over-night. Then he would generally abstain for two or three days, but at the first sign of bad weather, he took to his pipe, and Chin-Tee came in for another blast of abuse. The rest of the crew were always horrified by the shocking impiety of the Ty Kong, and on more than one occasion I really feared that they were about to proceed to Jonahize him. They were by no means all opium-smokers; some of them smoked tobacco, of a vile quality, in metal pipes, with an under-hanging curved portion containing water, through which the smoke passed. The opium-pipe is a quite different thing. It is a reed of about an inch in diameter, and the aperture in the bowl for the admission of the opium is not larger than a pin's head. The drug is prepared by boiling and evaporation to the consistence of treacle. Very few whiffs can be taken from a single pipe, but one is enough to have an effect on a beginner, as I have already described in my own case, but an old hand, like the Ty Kong, can smoke for hours.
The incense burned before the idols consisted mostly of pieces of aromatic wood, called Joss-sticks, silvered paper, and tin-foil. One of their most revered objects was the mariner's compass, and before it they would place tea, sweet cake, and pork, in order to keep it faithful and true! It is well known that the Chinese were acquainted with the phenomenon of the magnetized needle centuries before it was known in Europe, and their compass differs materially from ours; instead of consisting of a movable card attached to the needle, theirs is simply a needle of little more than an inch in length balanced in a glazed hole in the centre of a solid wooden dish, finely varnished. It has only twenty-four points, and with its use they combine some of their most ancient astrological ideas. The broad circumference of the dish is marked off into concentric circles, inscribed with mystical figures. We say the needle points to the north; they hold that the attraction is to the south, and therefore colour that end of the needle red, a hue that appears to have a mysterious efficacy in their eyes. I have already told how the Josses were wrapped in red scarves, and bits of red cloth were tied on the rudder, cable, mast, and other principal parts of the vessel, as safeguards against danger. There was also a large painted eye on either side of the bow, to enable the junk to see her way! At first I could not understand the meaning of this, and told Chung to ask the Ty Kong for an explanation. “Have eye,” translated Chung, “can see; no have eye, no can see.” On occasions of special religious demonstration these optics were decorated with strips of red cloth. On one occasion when a steamer suspiciously like a Japanese cruiser hove in sight, they tied red rags to their antique guns, or gin-galls, and with this consecration on their defensive arrangements, seemed to feel perfectly secure. I suppose the English-trained crews of their navy must have been persuaded out of these amazing notions, and taught the European compass, but the ideas of Sam-Sing and his merry men were as old as their vessel.
I have not yet described my mandarin friend. His name was Ki-Chang; he was a mandarin of the fifth class, his distinctive mark being a crystal button on the top of his cap. He was forty-six years old, intelligent, amiable, and gentlemanly. He and I had much intercourse during the voyage, with Chung for an interpreter. I taught him a little English, and how to write his name in English, an accomplishment of which he seemed extremely proud. Like most of the educated Chinese, he wrote his own language very beautifully. He was a wealthy and influential man.
The _King-Shing_ showed herself a remarkably good sea-boat, but desperately slow. No device could get more than eight knots out of her, and this was much above her average. We encountered one or two violent storms, in which she behaved wonderfully. One night the wind, after veering all round the compass with vivid lightning and thunder, settled in the south-west and blew a perfect hurricane. All sails were lowered, except half the fore-sail, and twenty-five men were required at the mammoth rudder. We were obliged to start some eight tons of water out of the deck tanks, and everything on deck, fore and aft, was secured. The junk laboured heavily, but shipped no water. At day-break the weather moderated, and we were able to set more sail; but in two or three hours the wind chopped round to the north-west, and blew more fiercely than ever, attended by squalls of hailstones as big as marbles, the knocks of which made my countenance look as if I had come off second-best in a middle-weight “scrap.” We lowered the main-sail again, and set four reefs of fore-sail to scud under. At three o'clock the vessel took a tremendous lurch, and washed away our lee-quarter boat. It was dark, and the sea barely discernible at a distance of thirty yards, being blown into a thick mist. At six the hurricane continued with unabated fury with terrific squalls; a fearful sea struck the ship and nearly broached her to. The sea was a mass of foam, and running very high, but kept down to some extent by the violence of the wind. Later we were running under bare poles. Again the gale went down, and again we got up sail, but without warning a tremendous squall struck us and laid us on our beam ends. A boat was blown away, the fore-sail split, and through the carelessness of the men at the rudder they jibed the main-sail; it came over with terrific force, but fortunately did no harm. Luckily the sails could be very easily and rapidly lowered. One only had to let go or cut the halyards and down they came. Throughout all this the junk behaved in a manner which astounded me. She actually never shipped any water, that which came aboard being tops of seas blown off. But the very qualities which made her so steady-going militated against her speed. She was a safe boat at all points. One night we had to anchor off a dead lee-shore; the crew decorated their cables with some extra red rags, and with death grinning under our lee, went to supper with a serenity which I should have been glad to be able to imitate. But their confidence was as well grounded as their anchors, which held with an unshakable tenacity.
Though so long acquainted with the compass, the Chinese have always been as unenterprising in sailoring as in everything else, and seldom lose sight of the land, if they can help it. Their fondness for hugging the coast was very noticeable to me, and, unused to the constant vigilance and care which a long sea voyage demands, their system of duty was very lax and careless. There were no proper watches; at nightfall the Ty Kong used quietly to lower about three reefs of the main-sail and the whole of the mizzen. All the crew would then go to their cabin, leaving the helmsmen alone on deck. At midnight a supper was prepared, and the sleepers awakened. The meal ended, the helm would be relieved and the men retired to their berths again.
At this rate it may be supposed that we made slow progress, and more than one incipient mutiny had to be dealt with, some of the crew refusing to work, and the soldiers complaining on the far from unreasonable ground that they had not enough to eat. We spoke several northward-bound vessels, both native and foreign, to whom we wished to entrust the discontented warriors, but these ships one and all gratefully but firmly declined the compliment. By dint of necessity, aided by the mandarin's promises, we struggled along, and as everything must come to an end some time or other, we reached our port at the beginning of January.
I have little more to add. Ki-Chang showed himself grateful, and not only entertained me royally, but gave me substantial pecuniary aid, a thing I was in very pressing need of. Of course I have long since repaid his loan.
I obtained a passage in a French steamer to Callao, whence I made my way overland to San Francisco. I called on Mr. H----, who informed me that the _Columbia_ (not then in port) had made another successful trip, but with results so diminished in the pecuniary sense that he had determined not to risk her again for inadequate profits. _Columbia_, I may say, was not the steamer's real name.
I next met Webster at Sydney. The explanation of my being left behind at Port Arthur was simple enough. The “houtcast” had taken so many “caulkers” of rum during the day that he became oblivious to the fact of my being ashore, and Chubb took it for granted that I had returned on board, especially as I had sent back the boat in which I landed with the Chinese agent. My absence was not noted until the small hours of the ensuing morning, when the swift steamer was far enough away. Webster wanted to put back for me, but Chubb, whose regards were strictly confined to number one, decided against it, coolly saying that they could pick me up next trip, and that as it was Webster's fault I had been left, he, Webster, might if he liked swim back for me. This unmessmate-like conduct, when recounted to me, so excited my ire, that if the worthy Chubb had been within kicking distance at the time, he should have known something further about it. I have not, however, seen him since.
Such were the things I saw and did where the Dragon Flag waves in splendid impotence. I took no notes of anything, excepting as to the build and fittings of the junk, and that merely for my own information, and it was not until long after that the idea of writing an account of these occurrences entered my mind; but I can trust my memory for the main events. If my little narrative should for only a few furnish not merely entertainment but admonition, I shall not have gone through quite uselessly my varied and painful experience of life.
THE END
Richard Clay & Sons, Limited, London & Bungay.
***END OF THE PROJECT GUTENBERG EBOOK UNDER THE DRAGON FLAG***
******* This file should be named 16407.txt or 16407.zip *******
This and all associated files of various formats will be found in: http://www.gutenberg.org/dirs/1/6/4/0/16407
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 F3. 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, is 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.gutenberg.net/fundraising/pglaf.
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S. Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email 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://www.gutenberg.net/about/contact
For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org
Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.
The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit http://www.gutenberg.net/fundraising/donate
While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.
International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a number of other ways including including checks, online payments and credit card donations. To donate, please visit: http://www.gutenberg.net/fundraising/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.