The Project Gutenberg eBook of A story of the sawdust: The pathetic history of "Old Props'" darling
    
This ebook is for the use of anyone anywhere in the United States and
most other parts of the world 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.org. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.

Title: A story of the sawdust: The pathetic history of "Old Props'" darling

Author: Anonymous

Release date: November 14, 2022 [eBook #69349]

Language: English

Original publication: United States: A. B. Courtney

Credits: Demian Katz, Craig Kirkwood, and the Online Distributed Proofreading Team at https://www.pgdp.net (Images courtesy of the Digital Library@Villanova University.)


*** START OF THE PROJECT GUTENBERG EBOOK A STORY OF THE SAWDUST: THE PATHETIC HISTORY OF "OLD PROPS'" DARLING ***


Transcriber’s Note:

Text enclosed by underscores is in italics (_italics_).

Additional Transcriber’s Notes are at the end.

       *       *       *       *       *

PRICE 5 CENTS.




A STORY OF THE SAWDUST.


  The Pathetic History of “Old
  Props’” Darling.

  SHE DIED FOR HER LOVE.

  She met her Fate in New Zealand.--Ignorant,
  Uncultured,
  Who is there who can Blame
  Her?

  MULTUM IN PARVO LIBRARY.

  Entered at Boston Post Office as second
  class matter. Published by A. B. Courtney,
  Room 45, 74 Milk Street, Boston.

  Vol. 3. JANUARY, 1896. Published Monthly. No. 25

  Subscription Price, 50 Cents Per Year.




A STORY OF THE SAWDUST.


Her mother was a slack-wire performer in the circus, and Patty was born
in that part of the dressing-room reserved for the feminine talent,
the privacy of which was a pleasant piece of fiction due to the strip
of canvas that “Old Props” stretched across the tent in the centre.
Immediately behind the “wall” the male performers struggled into pink
tights, smoked cigarettes and streaked the air with loud-mouthed oaths,
regardless of the proximity of the ladies, whose own language, to tell
the truth, was none too choice.

Patty came into the world somewhat unexpectedly. Her parent, the only
one she ever knew, had been seized with a sudden dizziness right in
the middle of her great balancing act and had fallen heavily in the
ring, from which she was tenderly carried to the ladies’ dressing-room,
where, two hours later, on a hastily improvised bed of elephant
trappings, camel coverings and spangled suits, snatched from the
property wardrobe, a little mite of humanity was ushered into the world
amid the roaring of the lions, the hoarse bleat of the hippopotamus,
and the savage trumpetings of the elephants in the menagerie adjoining.

From her birth Patty was a great favorite with Old Props, who, in the
absence of a legitimate father, constituted himself the male protector
of the petite girl baby, whose tiny fingers toyed carelessly with the
grizzled, brick-dusty beard of the gruff circus man whenever he took
her in his arms. For Patty was raised with the circus. When she was two
weeks old her mother resumed her “act” on the slack wire and from that
time until her death, which occurred when Patty was ten years old, the
little girl lived almost continuously in the atmosphere of the sawdust
ring.

[Illustration: “OLD PROPS.”]

Patty was a veritable daughter of the arena. At a very tender age
she had been taught to balance herself on the back of a horse, and
when her mother died her education in bareback riding had so far
progressed that she was billed as an infant prodigy, and was the source
of endless entertainment to the youngsters of every town visited by
the circus. Old Props was her guardian, a duty that he had willingly
assumed when Patty’s mother died, leaving her daughter to his care. It
must be confessed that Patty’s education in the polite arts was sadly
neglected. Her grammar was atrocious, and her knowledge of things
in general, not germane to the circus, was deplorably slim. But her
professional studies were pursued with so much earnestness and avidity
that before she was in her teens her daring riding produced a genuine
sensation, and the advent of “Mdle. Patti,” as she was known to the
public, was always the signal for a burst of applause, to which the
young equestrienne responded with one of her most bewitching smiles.

Although fully up to the latest slang phrases, Patty was by no
means vicious, and only reflected what she had imbibed, since as a
tiny toddler of three she had been lifted on the trick pony’s back
by careful Old Props and jogged around the track, her merry eyes
ablaze with delight, her baby voice echoing the Hi! Ya! Hi! Ya! of
the property boys who clustered around the ring. In spite of her
surroundings Patty’s mind was remarkably pure. The coarse jokes of the
men and the covert allusions of the women seemed to leave no taint in
their wake, while her naive expressions were a constant delight to
Old Props, who secretly exulted in the innocence of his protegee and
jealously guarded her from the insidious advances of those in whom the
baser passions were uppermost.

Patty was _sui generis_. Of the world beyond the circus she was totally
ignorant. If she had a passion it was for gay dresses and stunning
jewelry, while the “bravas,” elicited from an admiring audience, was
the sweetest music that her ears ever knew. At the age of seventeen
she was a strikingly beautiful girl, overflowing with animal spirits
and enjoying perfect health, a robust young goddess to whom all the
other sawdust subjects paid homage. Hers was a beauty that lacked soul,
however. Patty, poor girl, had never known the refining influences
of a home and the effect of her environment was potent to the close
observer. Love was something foreign to her nature; that is the love
born of a tender passion. For Old Props she possessed a strong sense of
gratitude and a sort of filial affection, but for the genuine article
she seemed to be incapable of its entertainment.

When Patty was eighteen the circus to which she was attached arranged
for a tour of the Australian continent, and at San Francisco the
“main guy” engaged a lot of fresh talent, some of the old-timers not
relishing the salt water voyage. Several of these new performers were
adepts in their particular lines, and one was especially so, as Old
Props had bitter cause to remember. The circus showed all through New
Zealand with remarkable financial success and Patty won unbounded
honors from the colonials, and was, besides, the life of the troupe.
It was at this period--perhaps the semi-tropical climate was partially
responsible for it--that Patty was the recipient of numerous proposals
for her hand, both from within and without the circus. But each new
suitor was received in much the same manner. A merry laugh spoiled
all their sentimental speeches; they were referred to the ringmaster;
she excused herself on the plea of practising a new jig-step for the
side-show, or with the utmost unconcern declined the offer and went on
feeding the monkeys in the menagerie as if nothing unusual had happened
to disturb her tranquility. On one occasion when Old Props was leading
her horse around the ring while the clown was working the risibilities
of the audience she received a most impassioned proposal from one of
the balloon holders who was assisting her in her “act” and near whom
the horse was halted just as the clown reached the climax of his joke.
The offer came during the yelling of the delighted colonials, the sharp
snapping of the ring-master’s whip and the eccentric tumbling of the
professional joker, but for all that it was a fervid appeal. Yet her
sole answer was a derisive laugh as she spurred on her horse with a
“Hi! ya,” and the next minute she was jumping, not into her suitor’s
arms, but through the paper balloon he held outstretched in his hand.

But Patty’s days of freedom were rapidly diminishing, and before the
troupe reached Melbourne Old Props made a discovery that rendered him
very uneasy. At San Francisco the management had engaged among others
a handsome dashing young Apollo of perhaps twenty-five, who was a
perfect prodigy in his way. He was considered the cleverest leaper, the
most skillful rider, and the best all-round man in the troupe, and to
crown all, he possessed a college education, having, it is said, been
graduated at Harvard. His specialty was riding four horses bareback,
and owing to his prowess and fine presence he was soon styled the
“Adonis of the arena.”

It was not until the circus had unloaded at Auckland, N. Z., and
had toured through the middle island that Patty seemed cognizant of
the young fellow’s varied attractions, but before long she began to
manifest in many ways her approval of his society, much to the dismay
of her guardian, who scented trouble from the outset. The young Adonis
of the ring was quick to discover the interest he had awakened, and
deliberately applied himself to the task of winning Patty’s affections.
By a hundred delicate attentions and insinuating ways, such as Patty,
poor child, had never known in her previous career, he paved his way
into her good graces and aroused in her that feeling which lies latent
in the soul of every maiden, but which few would have supposed Patty
possessed.

It was to this heartless scamp that Patty unreservedly lost her heart.
To the warnings of Old Props, who, better versed in human nature,
penetrated her lover’s evil designs, the girl returned an indignant
protest, and for a time there was a coolness between the two that
grieved the old property man sorely. Those whom Patty had snubbed now
began to take a mean revenge by sneeringly alluding to her love affair
and hinting that all was not as it should be. Their remarks when made
in the hearing of Old Props drove him nearly frantic, and for several
weeks he was so ugly and crabbled that he was unbearable and even the
main guy was compelled to reprimand him for his surliness. As the
affair progressed Patty gradually lost all interest in her former
amusements, and even her little pet monkey in the menagerie was wholly
neglected. Instead of lingering before his cage to pet and caress
him as was her wont, she now hurried by to meet her lover, utterly
oblivious of the tiny outstretched paw or head cunningly askew waiting
for its accustomed caress. Poor “Mimi,” like Old Props, was forgotten.

That grizzled veteran knew too well how it would end. As the weeks
grew into months, and the foreign tour was drawing to a close, Old
Props, who watched Patty closer than any mother would her child, saw
with poignant regret how changed the girl had become. Seldom was heard
the old, mellow, ringing laugh that was wont to cheer his seared and
toughened heart, and the former jaunty step and vivacious air had
completely vanished. Yet to her guardian, who ached to receive her
confidence, Patty never vouchsafed a word.

It was at Wagga Wagga, in Australia, noted as the residence of the
once-famous Tichborne claimant, that Patty was taken ill, caused by
over-exertion in the ring, and a doctor who was called imperatively
forbade her proceeding any further. The circus was then on its way to
Sydney from Melbourne, overland, and as the vessel on which the return
journey was to be made was due to sail on a certain day the management
was compelled to leave Patty behind to follow on later. With the circus
went the contemptible wretch who was the cause of her undoing, and when
Old Props, who remained to take care of his darling, told poor Patty of
the fellow’s heartlessness, she gave a great gulp and then hid her face
on the old man’s breast and cried as she had never cried before. Her
whole pitiful story was unfolded in that bitter, heartbroken wail.

Patty was very ill for many weeks, during which time Old Props was her
sole and constant attendant. But the girl never rallied, and when her
baby was born, long after the circus was back in the States, she had
barely strength left to turn her head to gaze at the innocent mite. It
was a poor, weak, sick specimen, that lived for a few days only, and
then its light went quietly out with scarcely a perceptible struggle.
There were no tears in Patty’s eyes when her dead baby was lifted to
her face by the kind sister to receive a farewell kiss, but when Old
Props returned from the sad task of laying the little one away he was
alarmed at the ghastly change in Patty’s pinched, wasted features, and
realized that in a few days at the farthest she would rejoin her babe.

[Illustration: THE DEATH-BED.]

Poor, ignorant little Patty! Surely her sin will not be visited on her
head in the great hereafter, but rather on the one who deliberately
led her to ruin. She lies in the quiet little cemetery adjoining the
English church at Wagga Wagga, in the same grave with her baby, a plain
white stone erected by her heartbroken guardian marking the spot where
she is at rest. As for Old Props, he will never go out with the red
wagon again.




What He Thought.


“Sometimes,” sighed the man who is wedded to a woman with a mind of her
own, “I think my wife must take me for a pneumatic tire, the way she is
blowing me up all the time.”--Boston Transcript.




Thought She Was Safe.


Judge--Your age?

Lady--Thirty years.

Judge (incredulously)--You will have some difficulty in proving that.

Lady (excitedly)--You’ll find hard to prove the contrary, as the church
register which contained the entry of my name was burned in the year
1845.




His Tale of Woe.


The little boy was crying and his tears touched the heart of the
charitably inclined lady; he was so small and seemed to be in such
distress.

“Don’t cry, little boy,” she said, soothingly. “Dry your eyes and tell
me what the trouble is. Did some of the big boys hurt you?”

“No’m,” replied the waif, still sobbing.

“Are you sick or hungry?” she persisted.

“No’m.”

“Did your father beat you for something?”

“No’m, but he will.”

“Oh, that’s the trouble, is it?”

“Yes’m.”

“Well, it’s a shame,” she exclaimed, angrily. “Why will he beat you?”

“’Cause I lost ten cents.”

“Did he send you to buy something with it?”

“Yes’m.”

“And you lost it on the way?”

“Yes’m.”

“Oh, well, I guess we can fix that,” she said in her kindly way, as she
took a dime from her purse and handed it to the boy. “Now he won’t beat
you, will he?”

“No’m.”

“What did he send you to buy with it?”

“Beer.”

“Beer!” The good lady gasped at the thought.

“Yes’m.”

“And how did you lose it?”

“Matchin’ pennies.”

Before she had sufficiently recovered to demand the return of her dime
the boy was gone.




He Knew the Place.


The man with his coat collar turned up and his hat pulled down over his
eyes, who was slouching alone in the shadow of the buildings, suddenly
beckoned to the man on the other side of the street.

“Here’s a graft, Bill,” he said when the other had crossed over.

“Wot is?” asked Bill, gruffly.

“This here house,” replied the first speaker. “It’s just like finding
things all fixed for you. Some bloomin’ idiot has gone away and left
his latchkey in the door.”

Bill took a long look at the house and then shook his head.

“You kin have it,” he said. “I don’t want nuthin’ to do with the game.”

“Wot’s the matter?”

“The feller wot lives here ain’t to be trusted. He’s a low-down, mean,
tricky cuss. He ain’t got no feelin’s at all.”

“D’ye know him?”

“No; but I was here onct before, an’ I’m onto his game. He left the key
just like that before, an’ I thought it was dead easy. I went up and
tried to turn it, an’ I thought I was bein’ electrocuted sure.”




Johnny’s Apt Illustration.


Teacher (to class in philosophy)--What are the properties of heat,
Willie?

Willie--The properties of heat are to bake, cook, roast----

Teacher--Stop--next. What are the properties of heat?

Johnny--The properties of heat is that it expands bodies, while cold
contracts them.

Teacher--Very good. Can you give me an example?

Johnny--Yes, sir. In summer, when it is very hot, the day is long; in
winter, when it is cold, it gets to be very short.




Easy Enough.


Tramp--Yes’m, it’s hard to break away from all yer bad habits at once;
but I’ve given up some of ’em.

Lady--Which ones have you given up?

Tramp--Well, mum, I don’t get shaved on Sunday any more.




A Tempting Offer.


We will give either a $2.00 gold ring or a dozen silver spoons to any
person who sells a dollar’s worth of our standard goods. They are
needed in every household and we will send you the outfit when you send
us your name and address. After you have sold the goods, send us the
dollar and receive your gift. This is an honest offer for honest people
only. Address REX COMPANY, 1111 Arch St., PHILADELPHIA, PA.




Superfluous Hair.


Ladies who have superfluous hair will be happy to know that I have a
quick and sure remedy; doesn’t leave the slightest trace, nor injure
the skin. I will send (securely sealed) a $1.00 bottle Free to a few
ladies in each locality. Write to Mrs. J. DE VERE, P. O. Box 494,
Philadelphia, Pa.

       *       *       *       *       *

Transcriber’s Notes:

Punctuation has been made consistent.

Obvious typographical errors have been corrected.



*** END OF THE PROJECT GUTENBERG EBOOK A STORY OF THE SAWDUST: THE PATHETIC HISTORY OF "OLD PROPS'" DARLING ***


    

Updated editions will replace the previous one—the old editions will
be renamed.

Creating the works from print editions not protected by U.S. copyright
law 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™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project
Gutenberg eBooks may be modified and printed and given away—you may
do practically ANYTHING in the United States with eBooks not protected
by U.S. copyright law. 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™ 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™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™
electronic works

1.A. By reading or using any part of this Project Gutenberg™
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™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg™
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™ electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law 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™ mission of promoting
free access to electronic works by freely sharing Project Gutenberg™
works in compliance with the terms of this agreement for keeping the
Project Gutenberg™ 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™ 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™ work. The Foundation makes no
representations concerning the copyright status of any work in any
country other than 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™ License must appear
prominently whenever any copy of a Project Gutenberg™ 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 in the United States and most
    other parts of the world 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.org. If you
    are not located in the United States, you will have to check the laws
    of the country where you are located before using this eBook.
  
1.E.2. If an individual Project Gutenberg™ electronic work is
derived from texts not protected by U.S. copyright law (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™
trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ 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™ 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™
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg™.

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™ 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™ work in a format
other than “Plain Vanilla ASCII” or other format used in the official
version posted on the official Project Gutenberg™ website
(www.gutenberg.org), 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™ 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™ 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™ electronic works
provided that:

    • You pay a royalty fee of 20% of the gross profits you derive from
        the use of Project Gutenberg™ works calculated using the method
        you already use to calculate your applicable taxes. The fee is owed
        to the owner of the Project Gutenberg™ 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™
        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™
        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™ works.
    

1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg™ electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ 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
works not protected by U.S. copyright law in creating the Project
Gutenberg™ collection. Despite these efforts, Project Gutenberg™
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™ trademark, and any other party distributing a Project
Gutenberg™ 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 MERCHANTABILITY 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™ electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg™
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™ work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg™ work, and (c) any
Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ 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™’s
goals and ensuring that the Project Gutenberg™ 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™ 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 information page at www.gutenberg.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. 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 business office is located at 809 North 1500 West,
Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread
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 www.gutenberg.org/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 checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.

Project Gutenberg™ eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright 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 website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,
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.