The New York Times: Stanza: “The iPhone or iPod Touch can act as an electronic book reader.”
Tip of the Week: Turn Your iPhone Into an e-Book

The Great Taboo by Allen, Grant - CHAPTER XXXII.

(download Open eBook Format)

The Great Taboo

CHAPTER XXXII.

THE DOWN­FALL OF A PAN­THEON.

The Aus­tralasian's gig en­tered the la­goon through the fring­ing reef by its nar­row sea­ward mouth, and rowed steadi­ly for the land­ing place on the main is­land.

A lit­tle way out from shore, amid loud screams and yells, the na­tives came up with it in their laden war-​ca­noes. Shout­ing and ges­tic­ulat­ing and bran­dish­ing their spears with the shark's tooth tips, they en­deav­ored to stop its progress land­ward by pure noise and brava­do.

“We must be care­ful what we do, boys,” the cap­tain ob­served, in a qui­et voice of sea­man­like res­olu­tion to his armed com­pan­ions. “We mustn't fright­en the sav­ages too much, or show too hos­tile a front, for fear they should re­tal­iate on our friends on the is­land.” He held up his hand, with the gold braid on the wrist, to com­mand si­lence; and the na­tives, gaz­ing open-​mouthed, looked and won­dered at the ges­ture. These sail­ing gods were cer­tain­ly ar­rayed in most gor­geous vest­ments, and their ca­noe, though de­void of a grin­ning fig­ure-​head, was pro­vid­ed with a most ad­mirable and well-​uni­formed equip­ment.

A coral rock jut­ted high out of the sea to the left hard by. Its sum­mit was crowd­ed with a bask­ing pop­ula­tion of sea-​gulls and pel­icans. The cap­tain gave the word to “easy all.” In a sec­ond the gig stopped short, as those stout arms held her. He rose in his place and lift­ed the six-​shoot­er. Then he point­ed it os­ten­ta­tious­ly at the rock, away from the na­tive ca­noes, and held up his hand yet again for si­lence. “We'll give 'em a taste of what we can do, boys,” he said, “just to show 'em, not to hurt 'em.” At that he drew the trig­ger twice. His first two cham­bers were load­ed on pur­pose with duck-​shot car­tridges. Twice the big gun roared; twice the fire flashed red from its smok­ing mouth. As the smoke cleared away, the na­tives, dumb with sur­prise, and per­fect­ly cowed with ter­ror, saw ten or a dozen torn and bleed­ing birds float man­gled up­on the wa­ter.

“Now for the dy­na­mite!” the cap­tain said, cheer­ily, pro­ceed­ing to low­er a small ob­ject over­board by a sin­gle wire, while he held up his hand a third time to be­speak si­lence and at­ten­tion.

The na­tives looked again, with eyes start­ing from their heads. The cap­tain gave a lit­tle click, and point­ed with his fin­ger to a spot on the wa­ter's top, a lit­tle way in front of him. In­stant­ly, a loud re­port, and a col­umn of wa­ter spurt­ed up in­to the air, some ten or twelve feet, in a bois­ter­ous foun­tain. As it sub­sid­ed again, a hun­dred or so of the bright-​col­ored fish that browse among the sub­merged, coral-​groves of these still la­goons, rose dead or dy­ing to the seething, boil­ing sur­face.

The cap­tain smiled. In­stant­ly the na­tives set up a ter­ri­fied shout. “It is even as he said,” they cried. “These gods are his min­is­ters! The white-​faced Ko­rong is a very great de­ity! He is in­deed the true Tu-​Ki­la-​Ki­la. These gods have come for him. They are very mighty. Thun­der and light­ning and wa­ter­spouts are theirs. The waves do as they bid. The sea obeys them. They are here to take away our Tu-​Ki­la-​Ki­la from our midst. And what will then be­come of the is­land of Boupari? Will it not sink in the waves of the sea and dis­ap­pear? Will not the sun in heav­en grow dark, and the moon cease to shed its be­nign light on the earth, when Tu-​Ki­la-​Ki­la the Great re­turns at last to his own far coun­try?”

“That lot'll do for 'em, I ex­pect,” the cap­tain said cheer­ily, with a con­fi­dent smile. “Now for­ward all, boys. I fan­cy we've as­ton­ished the na­tives a tri­fle.”

They rowed on steadi­ly, but cau­tious­ly, to­ward the white bank of sand which formed the usu­al land­ing-​place, the cap­tain hold­ing the six-​shoot­er in readi­ness all the time, and keep­ing an eye firm­ly fixed on ev­ery move­ment of the sav­ages. But the war­riors in the ca­noes, thor­ough­ly cowed and over­awed by this sin­gu­lar ex­hi­bi­tion of the strangers' prowess, pad­dled on in whis­per­ing si­lence, near­ly abreast of the gig, but at a safe dis­tance, as they thought, and eyed the ad­vanc­ing Eu­ro­peans with qui­et looks of un­mixed sus­pi­cion.

At last, the ad­ven­tur­ous young chief, who had ad­vised killing Fe­lix off-​hand on the is­land, mus­tered up courage to pad­dle his own ca­noe a lit­tle near­er, and flung his spear mad­ly in the di­rec­tion of the gig. It fell short by ten yards. He stood ey­ing it an­gri­ly. But the cap­tain, grim­ly qui­et, rais­ing his Winch­ester to his shoul­der with­out one sec­ond's de­lay, and mark­ing his man, fired at the young chief as he stood, still half in the at­ti­tude of throw­ing, on the prow of his ca­noe, an easy aim for fire-​arms. The ball went clean through the sav­age's breast, and then ric­ochet­ted three times on the wa­ter afar off. The young chief fell stone dead in­to the sea like a log, and sank in­stant­ly to the bot­tom.

It was a crit­ical mo­ment. The cap­tain felt un­cer­tain whether the na­tives would close round them in force or not. It is al­ways dan­ger­ous to fire a shot at sav­ages. But the Boupari men were too ut­ter­ly awed to ven­ture on de­fence. “He was Tu-​Ki­la-​Ki­la's en­emy,” they cried, in as­ton­ished tones. “He raised his voice against the very high god. There­fore, the very high god's friends have smit­ten him with their light­ning. Their thun­der­bolt went through him, and hit the wa­ter be­yond. How strong is their hand! They can kill from afar. They are mighty gods. Let no man strive to fight against the friends of Tu-​Ki­la-​Ki­la.”

The sailors rowed on and reached the land­ing-​place. There, half of them, head­ed by the cap­tain, dis­em­barked in good or­der, with drawn cut­lass­es, while the oth­er half re­mained be­hind to guard the gig, un­der the third of­fi­cer. The na­tives al­so dis­em­barked, a lit­tle way off, and, mak­ing hum­ble signs of sub­mis­sion with knee and arm, en­deav­ored, by pan­tomime, to ex­press the idea of their will­ing­ness to guide the strangers to their friends' quar­ters.

The cap­tain waved them on with his hand. The na­tives, re­as­sured, led the way, at some dis­tance ahead, along the paths through the jun­gle. The cap­tain had his fin­ger on his six-​shoot­er the while; ev­ery sailor grasped his cut­lass and kept his re­volver ready for ac­tion. “I don't half like the look of it,” the cap­tain ob­served, part­ly to him­self. “They seem to be lead­ing us in­to an am­bus­cade or some­thing. Keep a sharp look­out against sur­prise from the jun­gle, boys; and if any na­tive shows fight shoot him down in­stant­ly.”

At last they emerged up­on a clear space in the front, where a great group of sav­ages stood in a cir­cle, with ser­ried spears, round a large wat­tled hut that oc­cu­pied the el­evat­ed cen­tre of the clear­ing.

For a minute or two the ac­tion of the sav­ages was un­cer­tain. Half of the de­fend­ers turned round to face the in­vaders an­gri­ly; the oth­er half stood ir­res­olute, with their spears still held in­ward, guard­ing a white line of sand with in­flex­ible de­vo­tion.

The war­riors who had pre­ced­ed them from the shore called aloud to their friends by the tem­ple in star­tled tones. The cap­tain and sailors had no idea what their words meant. But just then, from the midst of the cir­cle, an En­glish voice cried out in haste, “Don't fire! Do noth­ing rash! We're safe. Don't be fright­ened. The na­tives are dis­posed to par­ley and palaver. Take care how you act. They're ter­ri­bly afraid of you.”

Just out­side the taboo-​line the cap­tain halt­ed. The gray-​head­ed old chief, who had ac­com­pa­nied his fel­lows to the shore, spoke out in Poly­ne­sian. “Do not re­sist them,” he said, “my peo­ple. If you do, you will be blast­ed by their light­ning like a bare bam­boo in a mighty cy­clone. They car­ry thun­der in their hands. They are mighty, mighty gods. The white-​faced Ko­rong spoke no more than the truth. Let them do as they will with us. We are but their meat. We are as dust be­neath their sole, and as driv­en mul­ber­ry-​leaves be­fore the breath of the tem­pest.”

The de­fend­ers hes­itat­ed still a lit­tle. Then, sud­den­ly los­ing heart, they broke rank at last at a point close by where the cap­tain of the Aus­tralasian stood, one man af­ter an­oth­er falling aside slow­ly and shame­faced­ly a pace or two. The cap­tain, un­hesi­tat­ing­ly, over­stepped the white taboo-​line. Next in­stant, Fe­lix and Muriel were grasp­ing his hand hard, and M. Pey­ron was bow­ing a po­lite Parisian re­cep­tion.

Forth­with, the sailors crowd­ed round them in a hol­low square. Muriel and Fe­lix, half faint with re­lief from their long and anx­ious sus­pense, stag­gered slow­ly down the sea­ward path be­tween them. But there was no need now for fur­ther show of de­fence. The is­landers, press­ing near and fling­ing away their weapons, fol­lowed the pro­ces­sion close, with tears and lamen­ta­tions. As they went on, the wom­en, rush­ing out of their huts while the fugi­tives passed, tore their hair on their heads, and beat their breasts in ter­ror. The war­riors who had come from the shore re­count­ed, with their own ex­ag­ger­ative ad­di­tions, the mir­acle of the six-​shoot­er and the dy­na­mite car­tridge. Grad­ual­ly they ap­proached the land­ing-​place on the beach. There the third of­fi­cer sat wait­ing in the gig to re­ceive them. The lamen­ta­tions of the is­landers now be­came pos­itive­ly poignant. “Oh, my fa­ther,” they cried aloud, “my broth­er, my revered one, you are in­deed the true Tu-​Ki­la-​Ki­la. Do not go away like this and desert us! Oh, our moth­er, great queen, mighty god­dess, stop with us! Take not away your sun from the heav­ens, nor your rain from the crops. We ac­knowl­edge we have sinned; we have done very wrong; but the chief sin­ner is dead; the wrong-​do­er has paid; spare us who re­main; spare us, great de­ity; do not make the bright lights of heav­en be­come dark over us. Stay with your wor­ship­pers, and we will give you choice young girls to eat ev­ery day, we will sac­ri­fice the ten­der­est of our chil­dren to feed you.”

It is an aw­ful thing for any race or na­tion when its taboos fail all at once, and die out en­tire­ly. To the men of Boupari, the Tu-​Ki­la-​Ki­la of the mo­ment rep­re­sent­ed both the Moral Or­der and the reg­ular se­quence of the phys­ical uni­verse. An­ar­chy and chaos might rule when he was gone. The sun might be quenched, and the peo­ple run ri­ot. No won­der they shrank from the fear­ful con­se­quence that might next en­sue. King and priest, god and re­li­gion, all at one fell blow were to be tak­en away from them!

Fe­lix turned round on the shore and spoke to them again. “My peo­ple,” he said, in a kind­ly tone--for, af­ter all, he pitied them--“you need have no fear. When I am gone, the sun will still shine and the trees will still bear fruit ev­ery year as for­mer­ly. I will send the mes­sen­gers I promised from my own land to teach you. Un­til they come, I leave you this as a great Taboo. Tu-​Ki­la-​Ki­la en­joins it. Shed no hu­man blood; eat no hu­man flesh. Those who do will be pun­ished when an­oth­er fire-​ca­noe comes from the far land to bring my mes­sen­gers.”

The King of Fire bent low at the words. “Oh, Tu-​Ki­la-​Ki­la,” he said, “it shall be done as you say. Till your mes­sen­gers come, ev­ery man shall live at peace with all his neigh­bors.”

They stepped in­to the gig. Mali and Toko fol­lowed be­fore M. Pey­ron as nat­ural­ly as they had al­ways fol­lowed their mas­ters on the is­land be­fore.

“Who are these?” the cap­tain asked, smil­ing.

“Our Shad­ows,” Fe­lix an­swered. “Let them come. I will pay their pas­sage when I reach San Fran­cis­co. They have been very faith­ful to us, and they are afraid to re­main, lest the is­landers should kill them for let­ting us go or for not ac­com­pa­ny­ing us.”

“Very well,” the cap­tain an­swered. “For­ward all, there, boys! Now, ahead for the ship. And thank God, we're well out of it!”

But the is­landers still stood on the shore and wept, stretch­ing their hands in vain af­ter the de­part­ing boat, and cry­ing aloud in piteous tones, “Oh, my fa­ther, re­turn! Oh, my moth­er, come back! Oh, very great gods, do not fly and desert us!”

Sev­en weeks lat­er Mr. and Mrs. Fe­lix Thurstan, who had been mar­ried in the cathe­dral at Hon­olu­lu the very morn­ing the Aus­tralasian ar­rived there, sat in an em­inent­ly re­spectable draw­ing-​room in a Lon­don square, where Mrs. El­lis, Muriel's aunt by mar­riage, was act­ing as their host­ess.

“But how dread­ful it is to think, dear,” Mrs. El­lis re­marked for the twen­ti­eth time since their ar­rival, with a deep-​drawn sigh, “how dread­ful to think that you and Fe­lix should have been all those months alone on the is­land to­geth­er with­out be­ing mar­ried!”

Muriel looked up with a qui­et smile to­ward Fe­lix. “I think, Aunt Mary,” she said, dream­ily, “if you'd been there your­self, and suf­fered all those fears, and passed through all those hor­rors that we did to­geth­er, you'd have trou­bled your head very lit­tle in­deed about such con­ven­tion­al­ities, as whether or not you hap­pened to be mar­ried.... Be­sides,” she added, af­ter a pause, with a fine per­cep­tion of the in­ex­orable strin­gen­cy of Mrs. Grundy's law, “we weren't quite with­out chap­er­ons, ei­ther, don't you know; for our Shad­ows, of course, were al­ways with us.”

Where­at Fe­lix smiled an equal­ly qui­et smile. “And ter­ri­ble as it all was,” he put in, “I shall nev­er re­gret it, be­cause it made Muriel know how pro­found­ly I loved her, and it made me know how brave and trust­ful and pure a wom­an could be un­der such aw­ful con­di­tions.”

But Mrs. El­lis sat still in her chair and smiled un­com­fort­ably. It af­fect­ed her spir­its. Taboos, af­ter all, are much the same in Eng­land as in Boupari.

***END OF THE PROJECT GUTEN­BERG EBOOK THE GREAT TABOO***

******* This file should be named 13876.txt or 13876.zip *******

This and all as­so­ci­at­ed files of var­ious for­mats will be found in: http://www.guten­berg.org/dirs/1/3/8/7/13876

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.