0% found this document useful (0 votes)
4 views28 pages

Railroads of Indiana

The document discusses the book 'Railroads of Indiana', available for download in various formats like PDF and EPUB, and describes its condition as used but good. It also includes a fictional narrative involving characters discussing social events and personal interactions, highlighting themes of relationships and societal expectations. The text features dialogue and character development, showcasing the dynamics between the characters and their social circles.

Uploaded by

rondasama1096
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
0% found this document useful (0 votes)
4 views28 pages

Railroads of Indiana

The document discusses the book 'Railroads of Indiana', available for download in various formats like PDF and EPUB, and describes its condition as used but good. It also includes a fictional narrative involving characters discussing social events and personal interactions, highlighting themes of relationships and societal expectations. The text features dialogue and character development, showcasing the dynamics between the characters and their social circles.

Uploaded by

rondasama1096
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
You are on page 1/ 28

Railroads Of Indiana

Featured on alibris.com
( 4.5/5.0 ★ | 255 downloads )
-- Click the link to download --

https://click.linksynergy.com/link?id=*C/UgjGtUZ8&offerid=1494105.26
539780253333513&type=15&murl=http%3A%2F%2Fwww.alibris.com%2Fsearch%2
Fbooks%2Fisbn%2F9780253333513
Railroads Of Indiana

ISBN: 9780253333513
Category: Media > Books
File Fomat: PDF, EPUB, DOC...
File Details: 11.1 MB
Language: English
Website: alibris.com
Short description: Used-Good: A book that has been read but is in good
condition. Very minimal damage to the cover including scuff marks but
no holes or tears. The dust jacket for hard covers may not be
included. Binding has minimal wear. The majority of pages are
undamaged with minimal creasing or tearing minimal pencil underlining
of text no highlighting of text no writing in margins. No missing
pages.

DOWNLOAD: https://click.linksynergy.com/link?id=*C/UgjGtUZ8&
offerid=1494105.26539780253333513&type=15&murl=http%3A%2F%2F
www.alibris.com%2Fsearch%2Fbooks%2Fisbn%2F9780253333513
Railroads Of Indiana

• Click the link: https://click.linksynergy.com/link?id=*C/UgjGtUZ8&offerid=1494105.2653978025333351


3&type=15&murl=http%3A%2F%2Fwww.alibris.com%2Fsearch%2Fbooks%2Fisbn%2F9780253333513 to do
latest version of Railroads Of Indiana in multiple formats such as PDF, EPUB, and more.

• Don’t miss the chance to explore our extensive collection of high-quality resources, books, and guides on
our website. Visit us regularly to stay updated with new titles and gain access to even more valuable
materials.
.
"Oh yes, of course—was it not hard I could not go too? I am
always thwarted and ill-used."
"I wish your sister Emma would come down; she is always shut up
in your father's room; I called here on purpose to see her."
"I dare say she will come presently—do sit down here; I am sure
you ought to rest yourself; you seem to have had a very dirty ride."
"You could not go and call her, I suppose?"
"Oh no, she will come when she has done reading to my father.
Do take something—a biscuit and a glass of wine, or something of
that kind."
"Quite unnecessary, I have but just breakfasted. I do not keep
such gothic hours as some of my friends do. I am able to please
myself—a free and independent man."
"No doubt a happy one. Ah, Mr. Musgrove, you are most
fortunate. You cannot tell the misery, the low spirits, the—the—in
short all we poor helpless women suffer from, how much heart-
breaking sorrow we endure in silence—bitterness of heart of which
the world knows nothing."
Tom only whistled again in reply to this very pathetic address,
then turning round began to examine the ornaments on the
chimney-piece. Even Margaret could not quite blind herself to the
change in his manner since the period when her smiles seemed the
object he most coveted.
Presently he began again.
"Whilst your sisters were at Howard's did they see much of the
Osbornes?"
Before Margaret had time to give an account of the visit to the
Castle, Elizabeth entered the room.
"So I understand, Miss Watson, you have been playing the truant,
and been obliged to be brought back almost by force."
"And are you come to congratulate or condole with me on our
return?"
"I am come to wish you joy about being overwhelmed in the
snow. I little thought when I was last at Osborne Castle we were
such near neighbours."
"When were you there?" cried Elizabeth.
"Let me see—I think it was Thursday. I am there very often, but I
think Thursday was the last day. How droll it would have been had
we met."
"Emma," cried Miss Watson, as her youngest sister just then
entered the room, "Mr. Musgrove says he was at the Castle on
Thursday."
"Oh," said Emma.
"I wonder we did not hear of it," pursued Elizabeth. "Miss Osborne
never mentioned it."
"How do you like Miss Osborne," enquired Tom, who wanted to
appear perfectly well informed as to what had passed, and was,
therefore, ashamed of asking questions which might betray his real
ignorance.
"She seems a very pleasant, amiable young lady," replied
Elizabeth, "don't you think so, Emma."
"Yes," replied she, quietly.
"Did she know you were friends of mine, Miss Watson? Miss
Emma, did she not talk about me?"
"No, indeed," replied Emma, with much satisfaction; "we never
heard your name mentioned the whole time we were in company
with her."
"How did you hear we had been there," enquired Elizabeth.
"I think Osborne mentioned it on Saturday, when I saw him for a
minute," then seating himself by Emma, who was a little apart from
the others, he whispered; "He told me the beautiful, but obdurate
Miss Watson had been at Howard's parsonage. Why do you treat him
with such scorn, Miss Emma? You will drive my poor friend to
despair."
"I should be sorry to think that I merited your accusation, Mr.
Musgrove: scorn cannot be a becoming quality in a young lady."
"Nay, there can be nothing unbecoming which you can do; youth
and beauty have unlimited privileges," whispered he again. "Miss
Osborne vows you eclipse Miss Carr in beauty, and she would rather
have you for a friend. She is dying to be introduced to you."
"It is quite unnecessary to inflict such a death upon her even in
imagination, Mr. Musgrove—for our acquaintance has progressed too
far for that phrase to be at all applicable to it."
"Yes now, I dare say; Osborne told me, but I forget, you went
over the castle I think."
"No, we did not."
"You did not! that was unlucky; I wish I had known you were
going, I would have been there, and I could have suggested it to
Miss Osborne; I dare say she would have shewn you all the rooms."
"She offered to do so, but we put it off till another time; we
thought we should be too hurried."
"It's a pity you did not dine there; its something quite grand to
see all the plate—I quite enjoy it—they give such good dinners."
"You do not seem aware that we did dine there," replied Emma,
"and, as I had seen other large establishments before, I saw nothing
so very astonishing at their table."
"You did dine there—yes—but that was in a family way; the thing
is to see a regular great dinner—twenty people sitting down—that is
what I like."
"I am not fond of large dinner parties; unless one has a very
pleasant neighbour they are apt to be dull."
"Very much so—very much so indeed; I quite agree with you, a
little, quiet, social dinner—where one person can talk and the others
listen, that is pleasant. You get every thing hot and quickly—that's
the thing!"
Emma did not feel called on to answer, and presently he added:
"I should like to have you for a neighbour at such a dinner."
Emma was still obdurately silent, and Mr. Musgrove, to
recompense himself, turned to Elizabeth, and began to talk to her.
As soon as her attention was released Emma left the room, and
throwing on a bonnet and cloak, determined to take refuge in the
garden as the day was fine, and she longed for fresh air. Hardly had
she quitted the entrance, however, when her attention was attracted
by the sound of wheels in the lane, and looking up her cheek
crimsoned with pleasure at perceiving Mr. Howard.
The pleasure was certainly mutual, judging from the alacrity with
which he sprang from the carriage to meet and address her. There
was no mistaking the look and air with which he advanced, it was
the genuine expression of a cordial welcome, met with equal though
more bashful cordiality on her side.
He was come, of course, to redeem his promise of fetching back
his sister's property; she would have come also, but she had a cold
which confined her to the house. But he had another object in his
visit—he was the bearer of an invitation to herself and sisters to
attend a concert at the Castle, which was to take place in the
afternoon, and to be followed by a ball in the evening. Miss Osborne
hoped they would excuse her mother's not having called on them;
she scarcely ever paid visits, never in the winter, or she would have
accompanied her daughter to the Vicarage when they were there.
Emma read the note which was addressed to herself, and felt very
much pleased. It contained, besides the invitation to the ball for
herself and sisters, a most pressing request that she would pay a
lengthened visit at the Castle; over this she pondered long, and then
ended with coming to no conclusion, suddenly remembering that she
was detaining Mr. Howard out of doors, when she ought to have
allowed him to enter the house.
"You will find Mr. Tom Musgrove sitting with my sisters," continued
she; "but if you will be so kind as not to mention the contents of the
note before him, you would greatly oblige me."
"Could I not see Mr. Watson?" replied Mr. Howard; "I wish to call
on him, and perhaps when my visit to him is over your sisters will be
disengaged."
"Certainly; I am sure my father would have great pleasure in
seeing you," said Emma much gratified; "allow me to show you the
way."
She ushered him accordingly to her father's dressing-room, and
having witnessed the very cordial reception which Mr. Watson
offered him, she was about to withdraw, but her father stopped her.
"I am sure you can have nothing particular to do, Emma, so you
may just as well stay and talk to Mr. Howard—I like very much to
hear you, but you know I am not strong enough to converse myself."
"I am sure, my dear father, nobody talks half so well when you are
equal to it, but indeed you must not fancy yourself unwell, or you
will frighten Mr. Howard away."
"When Mr. Howard has reached my age, my dear, and felt half the
pain that I do, from gout and dyspepsia, he will be very glad to set
his daughter to talk for him, my dear; so I beg you will stay."
"I wish I enjoyed the prospect of realizing your picture, my dear
sir; a daughter exactly like Miss Emma Watson would be indeed a
treasure."
"But remember it is to be purchased at the expense of gout, and
you must not look for it these thirty years, Mr. Howard," said Emma
laughing. "When the sacrifice is complete you will talk in a very
different strain."
Mr. Howard looked very incredulous, but said nothing more on that
subject.
Emma then mentioned the note she had received; her father
began to murmur.
"The Osbornes will all turn all your heads with their balls and their
visits, child," said he pettishly. "I wish you had never known them."
Emma looked down.
"I am sure I do not wish to go, if you dislike it," said she, in a
voice which rather trembled.
It was evident to Mr. Howard that she did wish it very much.
Mr. Watson began again.
"What am I to do if you are going away for two or three days? You
are but just come home as it is—I cannot do without you."
"Then I, at all events, can stay with you," replied Emma cheerfully,
"and my sisters can do as they please."
Annoyed at the gentleman's selfishness, Mr. Howard felt inclined
to interpose, but doubted whether he should not do more harm than
good.
Emma knew better, or acted more wisely in not contradicting him,
for like many irritable people, the moment he found himself
unopposed, he began to relent, and said in a more placid voice,
"What's the invitation, read it again, Emma, I am not quite clear
about it."
Emma complied.
"Well, I do not know; she does not want you all to stay over the
ball—and as Elizabeth will be at home, perhaps I could spare you for
a day or two."
"Elizabeth would like to go to the ball too, papa."
"Yes, yes, but then she and Margaret would come home at night,
and I should not be all day alone. I think you might go—you must
have a post-chaise and a pair of horses to take you, I suppose, and
bring your sisters back again. Would you like it, my dear?"
"Very much, sir, if it does not disturb you."
Like it indeed—the words served but coldly to express the
pleasure with which her heart beat at the idea. It was so very kind
of Miss Osborne to think of her in that way, and it was so very
pleasant to see how much consequence Mr. Howard attached to her
acceptance of the offer. She had not dared to look quite at him; but
the first glance she had ventured on, showed in his face an
expression of deep interest, not to be mistaken, and now looking up,
she met his eyes fixed on her with a look which immediately sunk
hers again to the ground, and seemed to call all the blood from her
heart to her cheeks.
"I am sure," cried he, speaking hurriedly to relieve her
embarrassment, "Miss Osborne would have been exceedingly
disappointed had you settled otherwise. I can venture to assert, sir,
that Miss Osborne is very fond of your daughter, and extremely
anxious to cultivate her acquaintance."
"I dare say, I dare say, why should she not; but I hope Emma
does not flatter her to win her good will."
"I hope not, sir," said Emma, "I should despise myself if I did."
"It is impossible that it should be necessary," cried Mr. Howard.
"Miss Osborne is not to be propitiated by flattery, and it would
require, on Miss Emma's part, nothing beyond her natural manners
to produce a wish to carry on the acquaintance."
"I suppose Miss Osborne desired you to make civil speeches for
her," said Mr. Watson, laughing.
"No, I do it of my own free will, my dear sir."
Mr. Howard's visit was long and lively; Mr. Watson was evidently
cheered by it, and pressed him to renew it.
"I am afraid I ask what is not agreeable," continued he; "I dare
say I am dull and unpleasant; but if you knew what a treat it is to
me to see cheerful faces, you would not wonder at my selfish wish.
You, Mr. Howard, and Emma do me good."
There was something very pleasant to Emma's ears in hearing her
name thus connected with Mr. Howard's; and it was not unwelcome
to the young man either, who warmly pressed her father's hand, and
promised readily to come as often as he could.
"And mind, Emma, when he does come, you bring him to me,"
said her father; "it is not every young man that I care to see. Your
Tom Musgroves, and such young dandies, are not at all to my mind;
but a young man who listens to what his elders say, and does not
flout and jeer at them, but shows a proper respect to age and
experience, that's what I like. I shall be happy to see you, Mr.
Howard, whenever you can come."
After renewing his promise to be a regular and frequent visitor, Mr.
Howard was conducted by Emma to the parlour, from whence they
found Tom Musgrove had departed. Her two sisters looked up as if
surprised to see Emma and her companion; but their pleasure much
exceeded their surprise, when they learnt the nature of the embassy
with which he was charged. Margaret especially, who had formed
most exalted ideas of the nature and felicity of a visit to the castle,
was at first in a perfect rapture. She was certain that the whole
affair would be in the most superlative style of excellence; that Miss
Osborne must be a lady of first rate taste and talent; that the
company would be select in an extraordinary degree, and in short
that she should never have known what grandeur, beauty, elegance,
and taste meant, but for Lady Osborne's invitation to the concert
and ball. She determined to do her best to make her court to the
whole family of Osbornes, and had great hopes of becoming an
especial favorite with them all. It was not till after Mr. Howard's
departure, which took place after a visit of about ten minutes, that a
cloud came over her bright vision. She then learnt the sad fact that
Emma was invited to remain at the castle, but that she herself was
to return home.
This discovery made her very angry; she could comprehend no
reason for such a marked preference; why should Miss Osborne
invite Emma who was the youngest, and exclude herself; it really
surpassed her comprehension; it was most extraordinary; she had a
great mind not to go at all; she would let Miss Osborne see that she
was not to be treated with neglect; she was not a person to come
and go at any one's bidding; if Miss Osborne could ask Emma, why
not herself too; she surely had as much claim to attention. Then she
turned to Emma and required her to promise that she would not
accept the invitation. But Emma said she had done so already. She
had written a note which Mr. Howard had charge of; and she was
not to be induced to retract. Margaret grew quite angry, accusing
her of being mean-spirited and servile, fawning on Miss Osborne,
and winning her favor only by her base concessions; she said
everything which an irritated and jealous temper could suggest, and
tormented Emma into tears at her crossness and ill-will.
"I wonder you mind her, Emma," remonstrated Elizabeth, when
she discovered that her sister's eyes were red, and wrung from her
an acknowledgment of the cause. Elizabeth had not been present
when the discussion which pained Emma so much, had taken place.
"It's not the least use fretting about Margaret's ill-temper and
teazing ways—she always was a plague and a torment from a child,
and there's no chance of her being any better. She is so abominably
selfish. But I cannot bear her to make you cry."
"I dare say you think me very foolish," replied Emma, wiping her
eyes, "but I have never been used to be crossly spoken to, and it
quite upsets me."
"No, I don't think you foolish, Emma; you are only much too good
and tender for this situation. I shall be glad when you are married
and safe with Mr. Howard, and nobody to scold you or make you
spoil your beauty by crying."
"Nonsense, Elizabeth."
"It's not nonsense, Emma, I believe he is very good-natured, and I
dare say you will be very happy with him. How long were you tête-à-
tête, with him, before you brought him into the parlour?"
"We came from my father's room then."
"Oh, you need not apologise; I think you were quite right to have
a comfortable chat with him, before bringing him into Margaret's
company. It is but little conversation you can have when she is by. I
saw you with him in the garden."
Emma blushed.
"I assure you we did not stay there five minutes; he came to call
on my father, and we went to him immediately."
Elizabeth only answered by a look; but it was a look which shewed
that she was not in the least convinced by Emma's assertions, but
only wondered that she should think them necessary.

END OF VOL. I.

T. C. Newby, Printer, 30, Welbeck-street, Cavendish-sq.


Transcriber's Notes:
A few cases of inconsistent spelling were regularized.
Punctuation and spelling were made consistent when a
predominant form was found in this book; otherwise they
were not changed.
"beant" on page 70, word retained. A contraction of be
not, probably. See also "woant" on page 143.
The spelling of Shakespeare was corrected. There were
two instances of the name, one spelled correctly, the other
incorrectly.
With the view of producing a project containing all three
volumes, a Table of Contents was added.
The cover image was created by the transcriber and is
placed in the public domain.
*** END OF THE PROJECT GUTENBERG EBOOK THE YOUNGER
SISTER: A NOVEL, VOL. I. ***

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.

You might also like