The Project Gutenberg EBook of The Old Man's Bag, by T. W. H. Crosland This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Old Man's Bag Author: T. W. H. Crosland Illustrator: J. R. Monsell Release Date: November 15, 2007 [EBook #23485] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK THE OLD MAN'S BAG *** Produced by David Edwards and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) Transcriber's Note: Minor typographical errors have been corrected without note. THE OLD MAN'S BAG T. W. H. CROSLAND AND J. R. MONSELL The Dumpy Books for Children NO. 22. THE OLD MAN'S BAG. THE DUMPY BOOKS FOR CHILDREN. _Cloth, Royal 32 mo, 1/6 each._ I. The Flamp, the Ameliorator, and the Schoolboy's Apprentice. By E. V. LUCAS. II. Mrs. Turner's Cautionary Stories. Edited by E. V. LUCAS. III. The Bad Family. By MRS. FENWICK. Edited by E. V. LUCAS. IV. The Story of Little Black Sambo. Illustrated in Colours. By HELEN BANNERMAN. V. The Bountiful Lady. By THOMAS COBB. VI. A Cat Book. Portraits by H. OFFICER SMITH. Text by E. V. LUCAS. VII. A Flower Book. Illustrated in Colours by NELLIE BENSON. Text by EDEN COYBEE. VIII. The Pink Knight. Illustrated in Colours by J. R. MONSELL. IX. The Little Clown. By THOMAS COBB. X. A Horse Book. Illustrated in Colours. By MARY TOURTEL. XI. Little People: An Alphabet. Illustrated in Colours by HENRY MAYER. Verses by T. W. H. CROSLAND. XII. A Dog Book. Illustrated in Colours by CARTON MOORE PARK. Text by ETHEL BICKNELL. XIII. The Adventures of Samuel and Selina. Illustrated in Colours by JEAN C. ARCHER. XIV. The Little Girl Lost. By ELEANOR RAPER. XV. Dollies. Illustrated in Colours by RUTH COBB. Verses by RICHARD HUNTER. XVI. The Bad Mrs. Ginger. Illustrated in Colours by HONOR C. APPLETON. XVII. Peter Piper's Practical Principles. Illustrated in Colours. XVIII. Little White Barbara. Illustrated in Colours by ELEANOR S. MARCH. XIX. The Japanese Dumpy Book. Illustrated in Colours by YOSHIO MARKINO. XX. Towlocks and His Wooden Horse. Illustrated in Colours by HONOR C. APPLETON. Text by ALICE M. APPLETON. XXI. The Three Little Foxes. By MARY TOURTEL. Illustrated in Colours. XXII. The Old Man's Bag. By T. W. H. CROSLAND. Illustrated in Colours by J. R. MONSELL. XXIII. The Three Goblins. By M. E. TAGGART. Illustrated in Colours. _A Cloth Case to contain Twelve Volumes can be had, price 2s. net; or the First Twelve Volumes in Case, price £1 net._ LONDON: GRANT RICHARDS, 48 Leicester Square. [Illustration: The old man went for a walk and took the bag with him.] THE OLD MAN'S BAG By T. W. H. CROSLAND PICTURES BY J. R. MONSELL LONDON: GRANT RICHARDS 1903 ILLUSTRATIONS. THE OLD MAN WENT FOR A WALK _Frontispiece_ PAGE THE OLD MAN SAID "CHUCK, CHUCK!" 2 THE RED POLICEMAN RAN AFTER HIM 7 "WHATEVER ARE YOU LAUGHING AT?" 10 SHE TOOK THE BAG DOWN 15 "BUTTER IS CHEAP TO-DAY" 18 "YOU ARE A VERY FOOLISH OLD WOMAN" 23 WHO SHOULD STEP IN BUT THE RED POLICEMAN 26 "PLEASE MEASURE ME FOR A SOLDIER'S SUIT" 31 HE BEGAN TO STRUT ABOUT 42 THE OLD WOMAN WAS KNOCKING APPLES OFF A TREE 47 BURNT THE PIECES ON THE FIRE 58 THE OLD MAN'S BAG. CHAPTER I. The old man lived in a wood. He had a wife and a bag. The bag was quite a large bag. One day the old man went out for a walk. He took the bag with him. By and by he saw a hen in a field. Now when you see a hen in a field you say "Chuck, chuck!" The old man said "Chuck, chuck!" And the hen came to him. So that he caught her by the neck and put her in his bag. She made a great to-do, but he put her in. [Illustration: The old man said "Chuck, chuck!" and the hen came to him.] On his way home, just as he turned a corner, the old man saw a policeman. The policeman had a red suit. He was one of those policemen who wear red suits because they are tired of wearing blue. The red policeman looked very hard at the old man and very hard at his bag. In fact he looked so very very hard that the old man got frightened and turned round and ran away. Of course the red policeman ran after him. When they had run about five miles the old man dropped his bag in order that he might run quicker. The red policeman had made up his mind to catch him; so that he did not stop to pick up the bag but kept on running after the old man. At length when they had run about ten miles he caught him. [Illustration: The red policeman ran after him.] "Now, sir," said the red policeman, "what have you got in that bag?" "Nothing," said the old man. "Oh, you wicked old person," said the red policeman. "You know perfectly well that you have a hen in it. But you must come back with me, and we will soon find out." So the red policeman took the old man back to the place where he had dropped the bag. The bag was there, and the red policeman picked it up and opened it with great care. But the hen had got away. There was a big hole in the corner of the bag, and through this the hen had squeezed herself and run home as fast as ever she could. When the policeman found that the bag was empty he looked much puzzled. The old man for his part smiled a great deal. "I told you there was nothing in it," he said. The red policeman said, "Well, I expect I shall have to let you go this time. BUT MIND YOU DON'T DO IT AGAIN." And the old man went home quite cheerfully with his bag under his arm. CHAPTER II. When the old man got home to his house in the wood he hung the bag up tidily on a nail. Then he sat down in a chair and began to laugh. He laughed for nearly a quarter of an hour by the clock. At length his wife came in to him from the garden and said, "Whatever are you laughing at?" [Illustration: "Whatever are you laughing at?"] "Oh," replied the old man, holding his sides, "I am so amused!" Then he went on laughing. He laughed so much indeed that the tears came into his eyes and he nearly choked. His wife had to pat his back and give him a drink of water to put him right. Then he told her what had happened. How he had put a hen in his bag, how the red policeman had run after him, how he dropped the bag and let the policeman catch him, and how when the policeman took him back to the bag, the hen was gone. "Did she open the bag and fly away?" said the old woman. "No," said the old man. "She got out through that hole in the corner." "Ah," said the old woman, "I must sew up that hole." And she took the bag down from its nail and sewed up the hole. For she was a very neat woman and she did not like to see holes in bags. [Illustration: She took the bag down and sewed up the hole.] CHAPTER III. The next day was market day. On market day people who have butter or cheese to sell take it into the market to sell it. And people who have money and happen to want butter or cheese go into the market to buy it. The old man's wife had nothing to sell. Neither had she any money. But she wanted some butter very badly. So she took the old man's bag off the nail and carried it to market. She walked round the market with the bag under her arm and looked at all the stalls and enquired how much the strawberries were a pound; but she did not buy anything because she had no money. In a little while she came to a stall on which there were six rolls of fine fresh butter, and in front of them was a card on which the man who brought the butter to market had written-- BUTTER IS CHEAP TO-DAY. [Illustration: "Butter is cheap to-day!"] "I am glad butter is cheap to-day," said the old woman to herself, and when the man who had brought the butter to market was not looking she picked up a roll and dropped it into her bag. Then she ran away as fast as she could. When she got round the corner the red policeman saw her. He shouted out, "What have you got in that bag?" "Nothing," said the old woman, still running. But the policeman kept running after her. When they had run about five miles the old woman dropped the bag, so that she might run quicker. The policeman, however, had made up his mind to catch her, and when they had run about ten miles he caught her. "Now," he said, "you must come back with me to your bag, and we will see if there is anything in it." The old man's wife said that she was sure there was nothing in it. "All right," said the policeman, "but if you don't mind we will go back and see." So they went back to the bag, and the policeman opened it with great care. Inside he found the roll of butter. The old man's wife began to cry. "Oh dear, oh dear," she said, "what a pity it is that I sewed up that hole." "Why?" asked the red policeman. "Because if I had not sewn up the hole the butter might have got out, like my husband's hen." "You are a very foolish old woman," said the policeman. "Do you not know that a roll of butter cannot walk like a hen?" [Illustration: "You are a very foolish old woman."] "Is that really so?" said the old woman. "Well, well. But I have seen butter run when it was melted." "Never mind that," said the red policeman, "you will have to come with me to prison." "I am too busy to go with you just now," said the old woman, "and my husband wants the butter for his tea. But if you like to call for me in the morning and the weather is fine I will come with you with pleasure." "You are very polite," said the red policeman. "If you had been rude I should have made you go with me now. As it is I will call for you in the morning providing it doesn't rain." "Thank you so much," said the old woman. And she shook the red policeman warmly by the hand and went off to her husband. CHAPTER IV. When she got home the old man was sat in his chair by the fire. She could see by his face that he was in a bad temper. But she went up to him and kissed him and said, "Please don't be grumpy, for I have brought you something very nice for your tea." "What is it?" said the old man, "a hen?" "No," she said, "people don't have hens for tea, do they?" "Perhaps not," said the old man. "But if you had brought a hen she might have laid an egg, and I could have had that. You know very well that I am fond of new laid eggs." "New laid eggs are all very fine," said the old woman, "but butter is cheap to-day. I have brought you a beautiful fresh roll." The old man smacked his lips. While they were having tea the old woman began to laugh very much. "What are you laughing at?" said the old man. "Did you meet the red policeman?" "Yes, I did," said the old woman. "And did he catch you?" "Yes, he did," said the old woman. "And he let you go?" "Yes, he did," said the old woman. "Why?" "Because I was polite to him," said the old woman. "Well I never," said the old man. "But he is coming for me in the morning, providing the weather is fine," said the old woman. The old man sat still in his chair and thought a great deal. And by and by he said, "If you had asked the red policeman to tea like a sensible woman he might have let you off altogether." "I shall know better next time," said the old woman. CHAPTER V. When the old man and his wife woke up next morning they looked out of the window and saw that the weather was quite fine. The old man began to whistle and sing. He always did this when the weather was fine because he said fine weather always made him feel in such good spirits. In a little while the old woman began to sing too. Then the old man stopped. "What are you singing for?" he said to the old woman. "I feel in such good spirits," the old woman replied. "Oh, you do, do you?" said the old man. "You appear to forget that the red policeman is coming for you." "Oh dear, oh dear," said the old woman. "What a bad memory I have to be sure. Whatever shall I do?" And she burst into tears. "There, there," said the old man, "don't cry. We will give him sixpence when he calls, and ask him to have a piece of bread and butter with jam on it. Then perhaps he will go away." They went downstairs and had breakfast. They had just finished when there came an awfully loud knock at the door. The old woman went very pale. "It is the red policeman," she said. The old man went to open the door. But the old woman pulled him back. "You are forgetting the sixpence," she said, "and the piece of bread and butter with jam on it." "Of course, of course," said the old man, and he felt in his pocket for sixpence while the old woman cut a nice large thick slice of bread and covered it with butter and jam. "Perhaps after all," said the old man, "we had better not open the door, but hand the policeman the sixpence and the bread and butter with jam on it through the window." So he opened the window a little way and held out the sixpence and the bread and butter with jam on it to the person outside. "Thanks very much," said the person outside. And he put the sixpence in his pocket and began to eat the bread and butter with jam on it. And when he had finished eating he knocked again very loudly at the door. "Go away," said the old man. "My wife is not coming out with you to-day." "I don't want your wife to come out with me," said the person at the door; "I have called to look at the gas meter." "We haven't got a gas meter now," said the old man, "we burn nothing but electric light." "Many, many thanks," said the person at the door, and he went away. "I feel all of a flutter," said the old woman, sinking into a chair. "So do I," said the old man. "And he has got my sixpence too." CHAPTER VI. In a little while the old woman began to put the breakfast things away. Afterwards she took up the table-cover and went out into the garden with it to shake off the bread crumbs. As she stepped out of the door who should step in but the red policeman. The old woman trembled very much when she saw him go in, and she shook the table-cover several times over in order that she might think what to say to the red policeman. Just then it began to rain. The old woman ran into the house at once. [Illustration: Who should step in but the red policeman.] "Good morning, madam," said the red policeman, and he made a nice bow. "Good morning, sir," said the old woman. "What, might I ask, brings you here?" "I have called, madam," replied the red policeman, making another bow, "for the purpose of taking you with me to prison for stealing a roll of butter." "Where is the roll of butter?" said the old woman. The policeman looked very hard at the butter dish, but there was no butter on it. The old man and his wife and the gas-man had eaten it all. "I beg your pardon, I am sure," said the policeman. "The idea!" said the old woman. "Besides you said you would not call this morning unless the weather were fine, and you see for yourself that it is now raining cats and dogs." "I am truly sorry, madam," said the policeman, bowing once more. "When I come to think of it, I did say that I would not call if it rained. Pray forgive me. We all make mistakes sometimes, you know." "I don't like such mistakes," said the old woman. "Now kindly leave the house." "Oh, please don't turn me out," said the red policeman, "it is raining very hard indeed, and I might get my feet wet." "We should always be kind," said the old woman, "even to policemen, and as it is raining and I left my umbrella in an omnibus the other day, I will lend you my sunshade. But please go." The old woman put the sunshade into the policeman's hand. He looked at it very hard. "It is a blue one," he said. "It is not fashionable to wear a blue sunshade with a red suit. Thank you all the same, but I think I will go without it." He went. The old man, who had been quietly laughing to himself, danced about with joy when he saw the policeman leave. Then he ran to the window and put his head out, and called out after the policeman, "I say. When your clothes are quite wet enough be sure you come back and have them dried." But the red policeman took no notice of him. CHAPTER VII. The red policeman got so wet that by the time he reached his house all the dye had come out of his suit. He felt very angry indeed. "I must try not to make mistakes," he said, "sometimes they bring one into fearful trouble. As my suit is spoilt I think I will give up being a policeman. A policeman without a suit is no good at all." So he went to bed and had hot bricks to his feet and a mustard plaster on his chest, and sent for the tailor to measure him for a new suit of clothes. When the tailor came the policeman said to him, "I am quite tired of being a policeman, and I think I should now like to be a soldier. Please measure me for a soldier's suit. The coat you will make of green cloth and the trousers must be yellow." [Illustration: "Please measure me for a soldier's suit."] "But," said the tailor, "soldiers wear scarlet coats and blue trousers." "That is just the point," said the policeman. "I don't want to be like all the others. If I did I should go in for khaki. Just you do what I tell you, and make me a green coat and yellow trousers at once." The tailor said, "Yes, sir," and went away. In a few days he called again, bringing with him a yellow coat and green trousers. The policeman could have cried with disappointment. "Didn't I tell you quite plainly that I wanted a green coat and yellow trousers?" "I am truly sorry, sir," said the tailor, "but as you no doubt know, the best of us make mistakes sometimes." "There is something in that," said the policeman, "and if the suit fits me I will forgive you." Then he went into his dressing-room and put on the yellow coat and the green trousers. They fitted him beautifully. So that he forgave the tailor, and sent round to him to say that he would try to pay his bill when he got some money. [Illustration: He began to strut about in his new clothes.] After looking at himself a good deal in the mirror the policeman went out into the street and began to strut about in his new clothes. "This is much better than being a policeman," he said, "a policeman has little to do, but a soldier has nothing to do till he is sent for to fight. By the way I must go and buy a sword, and then I will go up to the old man's house and let him see me in my new clothes. Perhaps he will give me two halfpennies to put in the pockets." He bought his sword at the toy shop and went straight to the old man's house. When he got there the old woman was in the garden knocking apples off a tree with a clothes prop. No sooner did she see the policeman in his yellow coat and green trousers than she ran screaming into the house, and hid herself under the bed. [Illustration: The old woman was knocking apples off a tree.] But when the old man saw him he shouted, "Hurrah, hurrah, the red policeman has turned soldier. Now we needn't be afraid of him any more." And he called upstairs to his wife, "Come down at once and get me my bag." The old woman came downstairs quickly. She took down the bag from its nail and handed it to her husband. "Run," she said, "as hard as you can, and bring me a hen and anything else nice that takes your fancy. Bags were made to put things in. And the red policeman--the soldier, that is to say--will stay to dinner." The soldier sat down in the chair and lit his pipe, and the old man went out with the bag. Very soon he returned with two hens, a fat duck, several rolls of butter, a large piece of bacon, some cabbages, some ice cream, and two pots of marmalade. The old woman cooked everything but the ice cream and the marmalade, and they had a very good dinner indeed. "This is much better than being a policeman," said the soldier when they had finished. "I should just think it was," said the old man. "And so should I," said the old woman. "Now I must wish you both good evening," said the soldier, "for I hear the bugle calling." CHAPTER VIII. When a soldier hears the bugle calling he is bound to go even if he would like to have stayed for supper. That is why the soldier went. "I am glad I am not a soldier," said the old man, "because I do not have to go when the bugle calls." "No," said the old woman, "but you have to go when I tell you, which is pretty much the same thing." "Perhaps it is," said the old man. "And I think," said the old woman, "that it might be just as well for you to go out this evening with the bag and get a few nice little things for breakfast and dinner to-morrow. For when you come to think of it there is no reason why the soldier should not take it into his head to be a red policeman again, and if he did he would run after us when he saw us with the bag. So that we had better get what we want before he changes his mind." "A very good idea, my dear," said the old man, "give me the bag and I will go out at once." The old woman gave him the bag and off he went. He was away a very long time. Indeed he did not get back till nearly midnight. When he set the bag down on the table the old woman could see that he had got a good many things, because the bag bulged so. "How good of you," she said. "Now show me what you have got." Then the old man opened the bag. First he pulled out a pretty little kitten with her mother, an old grey cat. "Very nice," said the old woman, "but we can't cook them." "You cooked the hens," said the old man. Then he pulled out a pillow case full of hay. "Quite nice," said the old woman, "but we can't cook it." "You cooked the cabbages," said the old man. Then he pulled out a box full of pieces of broken glass. "Beautiful!" said the old woman, "but we can't eat it." "You ate the marmalade fast enough," said the old man. Then the old woman said, "If you go on talking so foolishly I shall be very cross. Turn that cat and her kitten out at once, burn the hay, and throw the broken glass out of the window." "And what shall I do with the bag?" said the old man. "You can do just as you please with the bag," said the old woman; "I am going to bed." And off she went. The old man opened the door and turned out the cat and her kitten. Then he burnt the hay a little bit at a time on the fire, and threw the broken glass out of the window. After doing this he sat down in his chair to think. "What shall I do with the bag?" he said to himself. "My wife said I might do what I pleased with it. Perhaps I had better burn it." So he cut it in pieces with a knife, and burnt the pieces on the fire. [Illustration: Burnt the pieces on the fire.] In the morning when the old woman came downstairs to breakfast she looked on the nail for the bag, but of course it was not there. "What have you done with the bag?" she called to the old man. "I have burnt it," said the old man. "Why did you burn it?" said the old woman. "Guess," said the old man. The old woman guessed and guessed and guessed and guessed and guessed. But she could not guess right, and the old man had to keep on saying, "Guess again, guess again, guess again." Now why did the old man burn his bag? You must get your Mamma to tell you. End of the Project Gutenberg EBook of The Old Man's Bag, by T. W. H. Crosland *** END OF THIS PROJECT GUTENBERG EBOOK THE OLD MAN'S BAG *** ***** This file should be named 23485-8.txt or 23485-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/2/3/4/8/23485/ Produced by David Edwards and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution. *** START: FULL LICENSE *** THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase "Project Gutenberg"), you agree to comply with all the terms of the Full Project Gutenberg-tm License (available with this file or online at http://gutenberg.net/license). Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from the public domain (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase "Project Gutenberg" associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.net), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, "Information about donations to the Project Gutenberg Literary Archive Foundation." - You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg-tm License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg-tm works. - You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. - You comply with all other terms of this agreement for free distribution of Project Gutenberg-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread public domain works in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need, is critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation web page at http://www.pglaf.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. Its 501(c)(3) letter is posted at http://pglaf.org/fundraising. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws. The Foundation's principal office is located at 4557 Melan Dr. S. Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email business@pglaf.org. Email contact links and up to date contact information can be found at the Foundation's web site and official page at http://pglaf.org For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit http://pglaf.org While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a number of other ways including including checks, online payments and credit card donations. To donate, please visit: http://pglaf.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart is the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For thirty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our Web site which has the main PG search facility: http://www.gutenberg.net This Web site includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.