No More Learning

He was black in the face, and they scarcely could trace
The least likeness to what he had been:
While so great was his fright that his waistcoat turned white--
A wonderful thing to be seen!

[Illustration: "SO GREAT WAS HIS FRIGHT THAT HIS WAISTCOAT TURNED WHITE. "]

To the horror of all who were present that day,
He uprose in full evening dress,
And with senseless grimaces endeavoured to say
What his tongue could no longer express.

Down he sank in a chair--ran his hands through his hair--
And chanted in mimsiest tones
Words whose utter inanity proved his insanity,
While he rattled a couple of bones.

"Leave him here to his fate--it is getting so late! "
The Bellman exclaimed in a fright.
"We have lost half the day. Any further delay,
And we sha'n't catch a Snark before night! "


Fit the Eighth.

_THE VANISHING. _

They sought it with thimbles, they sought it with care;
They pursued it with forks and hope;
They threatened its life with a railway-share;
They charmed it with smiles and soap.

They shuddered to think that the chase might fail,
And the Beaver, excited at last,
Went bounding along on the tip of its tail,
For the daylight was nearly past.

"There is Thingumbob shouting! " the Bellman said.
"He is shouting like mad, only hark!
He is waving his hands, he is wagging his head,
He has certainly found a Snark! "

They gazed in delight, while the Butcher exclaimed
"He was always a desperate wag! "
They beheld him--their Baker--their hero unnamed--
On the top of a neighbouring crag,

Erect and sublime, for one moment of time.
In the next, that wild figure they saw
(As if stung by a spasm) plunge into a chasm,
While they waited and listened in awe.

"It's a Snark! " was the sound that first came to their ears,
And seemed almost too good to be true.
Then followed a torrent of laughter and cheers:
Then the ominous words "It's a Boo--"

Then, silence. Some fancied they heard in the air
A weary and wandering sigh
That sounded like "--jum! " but the others declare
It was only a breeze that went by.

[Illustration: "THEN, SILENCE"]

They hunted till darkness came on, but they found
Not a button, or feather, or mark,
By which they could tell that they stood on the ground
Where the Baker had met with the Snark.

In the midst of the word he was trying to say,
In the midst of his laughter and glee,
He had softly and suddenly vanished away--
For the Snark _was_ a Boojum, you see.




SIZE AND TEARS.

[Illustration]


When on the sandy shore I sit,
Beside the salt sea-wave,
And fall into a weeping fit
Because I dare not shave--
A little whisper at my ear
Enquires the reason of my fear.

I answer "If that ruffian Jones
Should recognise me here,
He'd bellow out my name in tones
Offensive to the ear:
He chaffs me so on being stout
(A thing that always puts me out). "

Ah me! I see him on the cliff!
Farewell, farewell to hope,
If he should look this way, and if
He's got his telescope!
To whatsoever place I flee,
My odious rival follows me!

For every night, and everywhere,
I meet him out at dinner;
And when I've found some charming fair,
And vowed to die or win her,
The wretch (he's thin and I am stout)
Is sure to come and cut me out!

[Illustration: "HE'S THIN AND I AM STOUT"]

The girls (just like them! ) all agree
To praise J. Jones, Esquire:
I ask them what on earth they see
About him to admire?
They cry "He is so sleek and slim,
It's quite a treat to look at him! "

They vanish in tobacco smoke,
Those visionary maids--
I feel a sharp and sudden poke
Between the shoulder-blades--
"Why, Brown, my boy! You're growing stout! "
(I told you he would find me out! )

"My growth is not _your_ business, Sir! "
"No more it is, my boy!
But if it's _yours_, as I infer,
Why, Brown, I give you joy!
A man, whose business prospers so,
Is just the sort of man to know!

"It's hardly safe, though, talking here--
I'd best get out of reach:
For such a weight as yours, I fear,
Must shortly sink the beach! "--

Insult me thus because I'm stout!
I vow I'll go and call him out!

[Illustration]




ATALANTA IN CAMDEN-TOWN.


Ay, 'twas here, on this spot,
In that summer of yore,
Atalanta did not
Vote my presence a bore,
Nor reply to my tenderest talk "She had heard all that nonsense before. "

She'd the brooch I had bought
And the necklace and sash on,
And her heart, as I thought,
Was alive to my passion;
And she'd done up her hair in the style that the Empress had brought
into fashion.

[Illustration]

I had been to the play
With my pearl of a Peri--
But, for all I could say,
She declared she was weary,
That "the place was so crowded and hot, and she couldn't abide that
Dundreary. "

Then I thought "'Tis for me
That she whines and she whimpers! "
And it soothed me to see
Those sensational simpers,
And I said "This is scrumptious! "--a phrase I had learned from the
Devonshire shrimpers.

And I vowed "'Twill be said
I'm a fortunate fellow,
When the breakfast is spread,
When the topers are mellow,
When the foam of the bride-cake is white, and the fierce orange-blossoms
are yellow! "

O that languishing yawn!
O those eloquent eyes!
I was drunk with the dawn
Of a splendid surmise--
I was stung by a look, I was slain by a tear, by a tempest of sighs.

And I whispered "'Tis time!
Is not Love at its deepest?
Shall we squander Life's prime,
While thou waitest and weepest?
Let us settle it, License or Banns? --though undoubtedly Banns are the
cheapest. "

"Ah, my Hero," said I,
"Let me be thy Leander! "
But I lost her reply--
Something ending with "gander"--
For the omnibus rattled so loud that no mortal could quite understand
her.




THE LANG COORTIN'.


The ladye she stood at her lattice high,
Wi' her doggie at her feet;
Thorough the lattice she can spy
The passers in the street.

"There's one that standeth at the door,
And tirleth at the pin:
Now speak and say, my popinjay,
If I sall let him in. "

Then up and spake the popinjay
That flew abune her head:
"Gae let him in that tirls the pin:
He cometh thee to wed. "

O when he cam' the parlour in,
A woeful man was he!
"And dinna ye ken your lover agen,
Sae well that loveth thee? "

[Illustration]

"And how wad I ken ye loved me, Sir,
That have been sae lang away?
And how wad I ken ye loved me, Sir?
Ye never telled me sae. "

Said--"Ladye dear," and the salt, salt tear
Cam' rinnin' doon his cheek,
"I have sent thee tokens of my love
This many and many a week.

"O didna ye get the rings, Ladye,
The rings o' the gowd sae fine?
I wot that I have sent to thee
Four score, four score and nine. "

"They cam' to me," said that fair ladye.
"Wow, they were flimsie things! "
Said--"that chain o' gowd, my doggie to howd,
It is made o' thae self-same rings. "

"And didna ye get the locks, the locks,
The locks o' my ain black hair,
Whilk I sent by post, whilk I sent by box,
Whilk I sent by the carrier? "

"They cam' to me," said that fair ladye;
"And I prithee send nae mair! "
Said--"that cushion sae red, for my doggie's head,
It is stuffed wi' thae locks o' hair. "

"And didna ye get the letter, Ladye,
Tied wi' a silken string,
Whilk I sent to thee frae the far countrie,
A message of love to bring? "

"It cam' to me frae the far countrie
Wi' its silken string and a';
But it wasna prepaid," said that high-born maid,
"Sae I gar'd them tak' it awa'. "

"O ever alack that ye sent it back,
It was written sae clerkly and well!
Now the message it brought, and the boon that it sought,
I must even say it mysel'. "

Then up and spake the popinjay,
Sae wisely counselled he.
"Now say it in the proper way:
Gae doon upon thy knee! "

The lover he turned baith red and pale,
Went doon upon his knee:
"O Ladye, hear the waesome tale
That must be told to thee!

"For five lang years, and five lang years,
I coorted thee by looks;
By nods and winks, by smiles and tears,
As I had read in books.

"For ten lang years, O weary hours!
I coorted thee by signs;
By sending game, by sending flowers,
By sending Valentines.

"For five lang years, and five lang years,
I have dwelt in the far countrie,
Till that thy mind should be inclined
Mair tenderly to me.

"Now thirty years are gane and past,
I am come frae a foreign land:
I am come to tell thee my love at last--
O Ladye, gie me thy hand! "

The ladye she turned not pale nor red,
But she smiled a pitiful smile:
"Sic' a coortin' as yours, my man," she said
"Takes a lang and a weary while! "

And out and laughed the popinjay,
A laugh of bitter scorn:
"A coortin' done in sic' a way,
It ought not to be borne! "

[Illustration: "AND OUT AND LAUGHED THE POPINJAY"]

Wi' that the doggie barked aloud,
And up and doon he ran,
And tugged and strained his chain o' gowd,
All for to bite the man.

"O hush thee, gentle popinjay!
O hush thee, doggie dear!
There is a word I fain wad say,
It needeth he should hear! "

Aye louder screamed that ladye fair
To drown her doggie's bark:
Ever the lover shouted mair
To make that ladye hark:

Shrill and more shrill the popinjay
Upraised his angry squall:
I trow the doggie's voice that day
Was louder than them all!

The serving-men and serving-maids
Sat by the kitchen fire:
They heard sic' a din the parlour within
As made them much admire.

[Illustration: "O HUSH THEE, GENTLE POPINJAY! "]

Out spake the boy in buttons
(I ween he wasna thin),
"Now wha will tae the parlour gae,
And stay this deadlie din? "

And they have taen a kerchief,
Casted their kevils in,
For wha should tae the parlour gae,
And stay that deadlie din.

When on that boy the kevil fell
To stay the fearsome noise,
"Gae in," they cried, "whate'er betide,
Thou prince of button-boys! "

Syne, he has taen a supple cane
To swinge that dog sae fat:
The doggie yowled, the doggie howled
The louder aye for that.

Syne, he has taen a mutton-bane--
The doggie ceased his noise,
And followed doon the kitchen stair
That prince of button-boys!

[Illustration: "THE DOGGIE CEASED HIS NOISE"]

Then sadly spake that ladye fair,
Wi' a frown upon her brow:
"O dearer to me is my sma' doggie
Than a dozen sic' as thou!

"Nae use, nae use for sighs and tears:
Nae use at all to fret:
Sin' ye've bided sae well for thirty years,
Ye may bide a wee langer yet! "

Sadly, sadly he crossed the floor
And tirled at the pin:
Sadly went he through the door
Where sadly he cam' in.

"O gin I had a popinjay
To fly abune my head,
To tell me what I ought to say,
I had by this been wed.

"O gin I find anither ladye,"
He said wi' sighs and tears,
"I wot my coortin' sall not be
Anither thirty years:

"For gin I find a ladye gay,
Exactly to my taste,
I'll pop the question, aye or nay,
In twenty years at maist. "

[Illustration]




FOUR RIDDLES.

[These consist of two Double Acrostics and two Charades.

No. I. was written at the request of some young friends, who had gone to a
ball at an Oxford Commemoration--and also as a specimen of what might be
done by making the Double Acrostic _a connected poem_ instead of what it
has hitherto been, a string of disjointed stanzas, on every conceivable
subject, and about as interesting to read straight through as a page of a
Cyclopaedia. The first two stanzas describe the two main words, and each
subsequent stanza one of the cross "lights. "

No. II. was written after seeing Miss Ellen Terry perform in the play of
"Hamlet. " In this case the first stanza describes the two main words.

No. III. was written after seeing Miss Marion Terry perform in Mr.
Gilbert's play of "Pygmalion and Galatea. " The three stanzas respectively
describe "My First," "My Second," and "My Whole. "]


I.

There was an ancient City, stricken down
With a strange frenzy, and for many a day
They paced from morn to eve the crowded town,
And danced the night away.

I asked the cause: the aged man grew sad:
They pointed to a building gray and tall,
And hoarsely answered "Step inside, my lad,
And then you'll see it all. "

* * * * *

Yet what are all such gaieties to me
Whose thoughts are full of indices and surds?
x{2} + 7x + 53
= 11/3.

But something whispered "It will soon be done:
Bands cannot always play, nor ladies smile:
Endure with patience the distasteful fun
For just a little while! "

A change came o'er my Vision--it was night:
We clove a pathway through a frantic throng:
The steeds, wild-plunging, filled us with affright:
The chariots whirled along.

Within a marble hall a river ran--
A living tide, half muslin and half cloth:
And here one mourned a broken wreath or fan,
Yet swallowed down her wrath;

And here one offered to a thirsty fair
(His words half-drowned amid those thunders tuneful)
Some frozen viand (there were many there),
A tooth-ache in each spoonful.

There comes a happy pause, for human strength
Will not endure to dance without cessation;
And every one must reach the point at length
Of absolute prostration.

At such a moment ladies learn to give,
To partners who would urge them over-much,
A flat and yet decided negative--
Photographers love such.

There comes a welcome summons--hope revives,
And fading eyes grow bright, and pulses quicken:
Incessant pop the corks, and busy knives
Dispense the tongue and chicken.

Flushed with new life, the crowd flows back again:
And all is tangled talk and mazy motion--
Much like a waving field of golden grain,
Or a tempestuous ocean.

And thus they give the time, that Nature meant
For peaceful sleep and meditative snores,
To ceaseless din and mindless merriment
And waste of shoes and floors.

And One (we name him not) that flies the flowers,
That dreads the dances, and that shuns the salads,
They doom to pass in solitude the hours,
Writing acrostic-ballads.

How late it grows! The hour is surely past
That should have warned us with its double-knock?
The twilight wanes, and morning comes at last--
"Oh, Uncle, what's o'clock? "

The Uncle gravely nods, and wisely winks.
It _may_ mean much, but how is one to know?
He opes his mouth--yet out of it, methinks,
No words of wisdom flow.


II.

Empress of Art, for thee I twine
This wreath with all too slender skill.
Forgive my Muse each halting line,
And for the deed accept the will!

* * * * *

O day of tears! Whence comes this spectre grim,
Parting, like Death's cold river, souls that love?
Is not he bound to thee, as thou to him,
By vows, unwhispered here, yet heard above?

And still it lives, that keen and heavenward flame,
Lives in his eye, and trembles in his tone:
And these wild words of fury but proclaim
A heart that beats for thee, for thee alone!

But all is lost: that mighty mind o'erthrown,
Like sweet bells jangled, piteous sight to see!
"Doubt that the stars are fire," so runs his moan,
"Doubt Truth herself, but not my love for thee! "

A sadder vision yet: thine aged sire
Shaming his hoary locks with treacherous wile!
And dost thou now doubt Truth to be a liar?
And wilt thou die, that hast forgot to smile?

Nay, get thee hence! Leave all thy winsome ways
And the faint fragrance of thy scattered flowers:
In holy silence wait the appointed days,
And weep away the leaden-footed hours.


III.

The air is bright with hues of light
And rich with laughter and with singing:
Young hearts beat high in ecstasy,
And banners wave, and bells are ringing:
But silence falls with fading day,
And there's an end to mirth and play.
Ah, well-a-day!

Rest your old bones, ye wrinkled crones!
The kettle sings, the firelight dances.
Deep be it quaffed, the magic draught
That fills the soul with golden fancies!
For Youth and Pleasance will not stay,
And ye are withered, worn, and gray.
Ah, well-a-day!

O fair cold face! O form of grace,
For human passion madly yearning!
O weary air of dumb despair,
From marble won, to marble turning!
"Leave us not thus! " we fondly pray.
"We cannot let thee pass away! "
Ah, well-a-day!


IV.

My First is singular at best:
More plural is my Second:
My Third is far the pluralest--
So plural-plural, I protest
It scarcely can be reckoned!

My First is followed by a bird:
My Second by believers
In magic art: my simple Third
Follows, too often, hopes absurd
And plausible deceivers.

My First to get at wisdom tries--
A failure melancholy!
My Second men revered as wise:
My Third from heights of wisdom flies
To depths of frantic folly.

My First is ageing day by day:
My Second's age is ended:
My Third enjoys an age, they say,
That never seems to fade away,
Through centuries extended.

My Whole? I need a poet's pen
To paint her myriad phases:
The monarch, and the slave, of men--
A mountain-summit, and a den
Of dark and deadly mazes--

A flashing light--a fleeting shade--
Beginning, end, and middle
Of all that human art hath made
Or wit devised! Go, seek _her_ aid,
If you would read my riddle!




FAME'S PENNY-TRUMPET.

[Affectionately dedicated to all "original researchers" who pant for
"endowment. "]


Blow, blow your trumpets till they crack,
Ye little men of little souls!
And bid them huddle at your back--
Gold-sucking leeches, shoals on shoals!

Fill all the air with hungry wails--
"Reward us, ere we think or write!
Without your Gold mere Knowledge fails
To sate the swinish appetite! "

And, where great Plato paced serene,
Or Newton paused with wistful eye,
Rush to the chace with hoofs unclean
And Babel-clamour of the sty!

Be yours the pay: be theirs the praise:
We will not rob them of their due,
Nor vex the ghosts of other days
By naming them along with you.

They sought and found undying fame:
They toiled not for reward nor thanks:
Their cheeks are hot with honest shame
For you, the modern mountebanks!

Who preach of Justice--plead with tears
That Love and Mercy should abound--
While marking with complacent ears
The moaning of some tortured hound:

Who prate of Wisdom--nay, forbear,
Lest Wisdom turn on you in wrath,
Trampling, with heel that will not spare,
The vermin that beset her path!

Go, throng each other's drawing-rooms,
Ye idols of a petty clique:
Strut your brief hour in borrowed plumes,
And make your penny-trumpets squeak:

[Illustration: "GO, THRONG EACH OTHER'S DRAWING-ROOMS"]

Deck your dull talk with pilfered shreds
Of learning from a nobler time,
And oil each other's little heads
With mutual Flattery's golden slime:

And when the topmost height ye gain,
And stand in Glory's ether clear,
And grasp the prize of all your pain--
So many hundred pounds a year--

Then let Fame's banner be unfurled!
Sing Paeans for a victory won!
Ye tapers, that would light the world,
And cast a shadow on the Sun--

Who still shall pour His rays sublime,
One crystal flood, from East to West,
When ye have burned your little time
And feebly flickered into rest!


THE END.




[TURN OVER.




WORKS BY LEWIS CARROLL.


ALICE'S ADVENTURES IN WONDERLAND. With Forty-two Illustrations by TENNIEL.
Crown 8vo, cloth, gilt edges, price 6_s. _ Seventy-first Thousand.

TRANSLATIONS OF THE SAME--into French, by HENRI BUE--into German, by
ANTONIE ZIMMERMANN--and into Italian, by T. PIETROCOLA ROSSETTI--with
TENNIEL'S Illustrations. Crown 8vo, cloth, gilt edges, price 6_s. _ each.

THROUGH THE LOOKING-GLASS, AND WHAT ALICE FOUND THERE. With Fifty
Illustrations by TENNIEL. Crown 8vo, cloth, gilt edges, price 6_s. _
Fifty-second Thousand.

RHYME? AND REASON? With Sixty-five Illustrations by ARTHUR B. FROST, and
Nine by HENRY HOLIDAY. (This book is a reprint, with a few additions, of
the comic portion of "Phantasmagoria and other Poems," and of "The Hunting
of the Snark. " Mr. Frost's pictures are new. ) Crown 8vo, cloth, coloured
edges, price 7_s. _


N. B. In selling the above-mentioned books to the Trade, Messrs. Macmillan
and Co. will abate 2_d. _ in the shilling (no odd copies), and allow 5 per
cent. discount for payment within six months, and 10 per cent. for cash.
In selling them to the Public (for cash only) they will allow 10 per cent.
discount.


MR. LEWIS CARROLL, having been requested to allow "AN EASTER GREETING" (a
leaflet, addressed to children, and frequently given with his books) to be
sold separately, has arranged with Messrs. HARRISON, of 59, Pall Mall, who
will supply a single copy for 1_d. _, or 12 for 9_d. _, or 100 for 5_s. _


MACMILLAN & CO. , LONDON.

LONDON: R. CLAY, SONS, AND TAYLOR, PRINTERS.




Transcriber's Notes:

Passages in italics are indicated by _italics_.

Superscripted characters are indicated by {superscript}.






End of the Project Gutenberg EBook of Rhyme? And Reason? , by Lewis Carroll

*** END OF THIS PROJECT GUTENBERG EBOOK RHYME? AND REASON? ***

***** This file should be named 33582-8. txt or 33582-8. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/3/3/5/8/33582/

Produced by Chris Curnow and the Online Distributed
Proofreading Team at http://www. pgdp. net.


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. org/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. org

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. 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-tm
License as specified in paragraph 1. E. 1.

1. E. 7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1. E. 8 or 1. E. 9.

1. E. 8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation. "

- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1. F. 3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.

- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.

1. E. 9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.

1. F.

1. F. 1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1. F. 2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1. F. 3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1. F. 3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1. F. 3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1. F.