The Project Gutenberg EBook of Mirèio, by Frédéric Mistral 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/license Title: Mirèio A Provençal Poem Author: Frédéric Mistral Translator: Harriet Waters Preston Release Date: November 21, 2017 [EBook #56008] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK MIREIO *** Produced by Chuck Greif, ellinora, Bryan Ness and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)
Mirèio
IN SAME SERIES. |
THE LADY FROM THE SEA. |
By Henrik Ibsen. |
A LONDON PLANE TREE. |
By Amy Levy. |
WORDSWORTH’S GRAVE. |
By William Watson. |
IPHIGENIA IN DELPHI. |
By Richard Garnett. |
{4}
Frontispiece
by
Joseph Pennell.
{5}
THIRTY odd years have come and gone since the curious litterateurs of Paris were excited and charmed by the apparition of Frédéric Mistral’s “Mirèio.” A pastoral poem in twelve cantos, composed in the dialect of the Bouches du Rhône, and first issued by an obscure bookseller at Avignon, it was produced before the great literary world with a parallel French version of the author’s own, very singular and rather sauvage as French, but exceedingly bold, picturesque, and poetic, and the poem had the further advantage of a most eloquent and sympathetic introduction in the Revue des Deux Mondes, of September 15, 1859, by Saint-René Taillandier.
The employment of a rustic southern dialect for the purposes of poetic narrative was by no means so unheard-of a thing, even to the men of that generation, as was indirectly assumed by the first reviewer of “Mirèio.” Had not Jacques Jasmin, the immortal barber of Agen, written, in his own local patois, “Françonette,” and “The Blind Girl of Castel Cuillé,” and the inimitable “Papillotes”? But the work of Mistral, along with that of the school which he claimed to represent, and of which he was easily chief, was heralded by a{8} certain fanfare—it came with a specific and impressive claim of ancient Provençal traditions to be revived, and a vast future inaugurated: pretensions which would have seemed almost droll to the Gascon Jasmin, with his exquisite humour and his adorable simplicity.
I can do no more than glance in this place at the history of the self-styled Provençal Revival, the most ambitious and by far the most romantic literary adventure of our day. It is an inviting subject, and will one day form an interesting chapter in the long annals of poesy; but the time is not yet fully come for estimating its results, and still less, with its greatest champion yet living, for writing its obituary.
Joseph Roumanille, a schoolmaster of St. Remy, near Tarascon, was the father of the movement. He first wrote poems in modern Provençal, so the pleasant legend says, because his old mother could not understand him when he essayed to read her those which he had written in French. Delighted, and, as it would seem, a little amazed at his own success, he came forward as the rightful heir to the long-lapsed inheritance of the Troubadours, assumed that the language, whose literary capacities he had re-discovered, was essentially the same as theirs, and contrived thoroughly to imbue with his own faith in its future a band of clever and ardent pupils, among whom, by the will of Heaven, there was one rare genius—Frédéric Mistral, and one wild enthusiast, who was, at the same time, an affluent and pathetic versifier—Théodore Aubanel. Animated by a mystical assurance, hardly less profound than that of Loyola and his companions upon Montmartre,{9} these knights of song bound themselves by a sort of vow, to write in the effete language of the French Academy no more. They constituted themselves a poetic order, and proceeded to adopt an elaborate and somewhat fantastic organization. The almost religious earnestness which animated them may be judged by the fact that when one of the original band, Eugène Garcin—formally saluted by name, along with some half-dozen others, in the sixth canto of “Mirèio”—cooled in his ardour a little, and attempted to point out the factitious and impracticable side of the movement, he was solemnly denounced by Mistral as “the Judas of our little church.” It was a defection of no serious moment, and the revival went its fervid way without Garcin.
The Provençal poets agreed to call themselves felibre, nobody knows to this day exactly why. There are those who say that the word means homme de foi libre, that is, emancipated from all slavish literary tradition—as Mistral and his first associates undoubtedly were; there are sticklers for antiquity and a direct descent from the Latin, who maintain the derivation qui facit libros. Howbeit the felibre began to publish at Avignon in the speech of the district, a periodical, which still, I think, appears at irregular intervals. They constructed a small grammar on the lines of the existing grammars of the ancient “Langue d’oc,” especially of Raynouard’s “Résumé de la Grammaire Romaine,” and they began the compilation of an extensive dictionary, which has never even approached completion. They also revived the institution of an annual poetic tournament with floral prizes—a silver lily, a golden violet—where the{10} native bards recited their verses, and received their rewards, after the supposed manner of the olden time. These jousts were usually held in the late summer or the early autumn. There were others appointed for the yet more appropriate month of May, which received the name of the feast of the Santo Estello, or Holy Star,—memourativo de la reneissenço dou Gai-Sabe—to commemorate the renascence of the Gay Science. Once in seven years this feast was to be celebrated with extraordinary splendour, “in honour” (I continue to quote from the address of Mistral at the Floral Games held at Hyères in 1885) “of the seven rays of that mysterious star which leads, whithersoever God will, our bark with its orange-freight.” That is to say, which determines, after the manner of the Star of Bethlehem, the place where our society shall assemble and listen to the pieces entered for competition.
Were it possible for a new language to be created, or a decaying one revived, of determinate purpose, by native genius, fiery enthusiasm and unstinted devotion to the cause, that miracle would surely have been wrought by the felibre of the Bouches du Rhône. But the triumph of a language, like that of the kingdom of heaven, is among the things which do not come by observation. It is determined by causes as vast as those which shape the continents, and quite as independent of the theories of individual men. The order of the Holy Star, was after all only a kind of idealized mutual admiration society, and of all its members during a full quarter of a century, three names only have advanced from local renown to anything like general recognition.{11} They are the three names already cited of Roumanille, Aubanel, and Mistral.
The two former have already passed away, leaving behind them many charming lyrics, but no work of universal and lasting interest. Mistral is gloriously young at sixty, able, and let us hope willing, to give us in that rich and flowing idiom, which no one else has ever managed with such mastery as he, many more historical and narrative poems, vivid with local colour, and teeming with local tradition, like “Calendau”—a romance of the last century, which appeared in 1873 and “Nerto”—a tale of the time of the Popes at Avignon, published in 1884. But it is safe to prophesy that neither Mistral nor any other felibre will ever give us another “Mirèio”—so spontaneous, artless, and impassioned, so dewy with the memories of the poet’s own childhood on a Provençal farm, or mas, so gay with the laughter and moving with the tears of simple folk, reflecting in so flawless a mirror every change of the seasons, every aspect of the free, primitive, bucolic life of the Mediterranean shore.
The success of Aubanel was perhaps frustrated by the very extravagance of his own aims. When we find him at the fêtes of Forcalquier in 1875 apostrophizing the arbiters of literary renown in France in terms like these: “Sachez que nous sommes un grand peuple, et qu’il n’est plus temps de nous mépriser. Trente départements parlent notre langue, d’une mer à l’autre mer, des Pyrénées jusqu’aux Alpes, de Crau à Limousin; le même amour fait battre notre poitrine, l’amour de la terre natale et de la langue maternelle.... Sachez que vous serez tombés longtemps alors{12} que le Provençal, toujours jeune, parlera encore de vous avec pitié”—we can then understand that Saint-René Tallandier, the original sponsor of Mirèio, should have made haste to express his grave apprehensions for the sanity of the revivalist movement, and to repudiate in the name of the great Review all countenance of so vast a pretension on behalf of an “idiom which had vanished for six hundred years from the battlefield of ideas.”
One is reminded of the lament of the late William Barnes that the dialect of Dorset had not prevailed in England over the tongue of Shakespeare. Yet William Barnes, like the felibre, wrote poems in the local patois, far more beautiful and pathetic than any which he ever produced in proper English.
Mistral himself, with the profounder instincts and wiser judgment of a really large mind, has grown more modest from year to year in his hopes concerning the final harvest of that generous enterprise to which his life and powers have been consecrated. He was not quite able to extend a hearty welcome to Alphonse Daudet, when that most humane and sympathetic of realists appeared upon the scene with “Numa Roumestan” and the “Lettres de mon Moulin,” describing in the most pellucid French and with a fidelity equal to his own, the prose aspect of the life of the South, and all the rustic scenes which Mistral had so affectionately poetized. All the felibre, indeed, looked askance at Daudet as an intruder, and this is one more sign, if not of the limitations of their leader’s genius, at least of the narrow and ephemeral character of their collective ideal. However, in an{13} address delivered before the previously-mentioned assembly at Hyères in 1885—ten years after Aubanel had hurled his fierce defiance at the French Academy—Mistral might have been heard pleading, with much earnestness and good sense, that French and Provençal should be kept resolutely distinct, both in the teaching of the schools, and in the talk of the people, and that, by way of preserving the purity of both forms of speech.
His remarks had an especial appropriateness then and there, because the prose work crowned upon that occasion was a series of naïve and highly dramatic dialogues, entitled “Scènes de la Vie Provençale,” by M. C. Sénès, of Toulon, officially known as La Sinse. French of the most barbaric, and Provençal of the most pliant, are mixed up in these delightfully comic dialogues exactly as they are upon the lips of the common folk. It is the most amusing, perhaps the only distinctly amusing work which the school of the felibre has ever produced, and anybody who reads French may read and have a hearty laugh over it. And I may add, from my own experience, that a very short residence in the ancient Provincia is enough to show that the local idiom is much more intelligible phonetically than it looks at first sight upon paper.
I may be mistaken, but I take the truth to be that modern Provençal is, after all, a dialect only, and not, as was so long and passionately claimed by the confederate poets, a language. As a matter of fact, it resembles the plastic idiom of the ancient Troubadours very little more than it resembles modern French, and certainly no more than it resembles Gascon, Catalan, or the Italian of the Western Riviera. All the Romance dialects, {14}however fallen from literary honour, or untamed by literary law, are closely akin, and bear marks, even in their utmost degradation, of the same illustrious pedigree. They are like certain wild flowers, the pimpernel, the anemone, whose species can never be mistaken, but whose colours present, and that spontaneously, an almost infinite variety.
The poem of “Mirèio,” in parallel French and Provençal, first fell in my way in the summer of 1871; and I admire my own audacity in immediately attempting to turn it into English verse,[1] almost as much as I do that of the men who first preached the Provençal crusade against the language of Racine and Molière. Of course I knew no more of the idiom in which it was originally composed than could be gathered from a close comparison of the same with Mistral’s own French, aided by a smattering of old Provençal. I may plead in extenuation of my effrontery that there was virtually no more to be known at that time, for even the grammar already mentioned had not then been published. There is not very much more to be known even now.
[1] Boston, U.S.A., Roberts Bros., 1872.
The scheme of the Provençal verse, though elaborate, and seemingly very artificial, was easily enough intelligible to an English ear; more so, I should fancy, than to a Parisian one, on account of its obvious jingle—or, to speak by the book, the exuberance of its rhymes, and the strength of its tonic accents. The same remark, as is well known, applies in a general way to the songs of the Troubadours. Mistral’s stanza consists of five eight-syllabled iambic lines with feminine rhymes, in groups of two and three, and two twelve-syllabled{15} iambic lines, with masculine rhymes. The Quaker poet Whittier had fallen upon a somewhat similar verse, in one of the finest of his earlier poems—“Lines written at Hampton Beach”:—
But this is far simpler than Mistral’s.
I did actually make an attempt to transfer this florid measure to our own sober English tongue, and that eminent American poet and very distinguished connoisseur in poetic metres, the late Mr. Longfellow, once told me that he greatly wished I had persevered, and that he thought it would have been quite possible to render the whole poem in the same way. Perhaps it would have been, to a master of versification, like himself; and for his sake, and out of respect for his opinion, I subjoin the opening stanzas of the poem in Provençal, and my own attempt to imitate their metre, premising, for the benefit of the unskilled, that in Provençal every letter sounds, the vowels as in French, while of the consonants g and j before e and i are pronounced like ds, and ch always like ts. A final vowel is elided, in scanning, before another vowel; and the tonic accent is strongly marked:—
Or thus:—
To me the thought of keeping this up for twelve cantos was simply appalling. Even in my trial stanzas, as will be seen, I had sacrificed many of the feminine rhymes; and I am now inclined to think, though I speak under correction, that Mistral himself and his followers availed themselves pretty liberally of the license which the classic Troubadours are well known to have employed, of manipulating their final syllables more or less in order to make them rhyme.
The measure finally adopted—ten-syllabled iambic lines with consecutive rhymes, usually masculine but sometimes feminine—was essentially{17} the same as that employed by William Morris in the “Earthly Paradise.” That beautiful work was then new, and very popular in America, and it seemed, and I own that to me it seems still, to present almost the ideal of English narrative poetry. But I broke my version into stanzas of six lines, by way, I suppose, of making it look more like the original.
In those comparatively early days, I also held, and rather doated on, a theory of my own about what are called imperfect rhymes. I was persuaded that rhymes where the consonant sounds correspond while the vowel sounds merely approximate—like wreck and make, gone and son—are the counterpart on the one hand of assonances upon the other, in which the vowels correspond but not the consonants; that their relation to perfect rhymes is exactly that of minor to major harmonies, and that they relieve the ear in a long-rhymed poem, no less than the latter in a musical composition. Though very naturally censured for the freedom with which I exercised this caprice in my version of “Mirèio,” I still clung to it tenaciously as late as 1880, when I made a version of the Georgics of Vergil. I am by no means certain even now that there is not sound musical justification for the idea, but I have grown conservative with years, as we are all apt to do, and I cherish an ever-increasing respect for law—literary and other. In the present edition of my “Mirèio,” I have therefore reformed and, so to speak, ranged some scores of these licentious rhymes, aiming always, at the same time, at coming closer to the meaning of the original, as I now understand it, even if need be, at the sacrifice of some picturesqueness in the English line.{18}
I had always beside me when I first made my version, the English prose translation of “Mirèio,” by Mr. C. H. Grant, to which I feel myself to have been not a little indebted. In artlessness of narrative, in vigour and felicity of expression, I have never hoped to surpass this unrhymed and unmeasured version, which needed, as it seemed to me, only a rhythmic form to render it worthy of the essentially musical original.
A second English translation, by H. Crichton, with which I became acquainted subsequently, had been published by Macmillan and Co., London, in 1868. This version was a metrical one, and fairly close, but it failed, I think, in catching, not the music merely, but the rural freshness and fragrance, the genuinely bucolic spirit of the Provençal. It is because, I venture to hope, that my version, with all its faults, does reflect something of all this, that a new edition of it is offered to the public after so long a time.
HARRIET WATERS PRESTON.
Brussels,
April, 1890.
. . . . .
The Gresham Press,
UNWIN BROTHERS,
CHILWORTH AND LONDON.
End of the Project Gutenberg EBook of Mirèio, by Frédéric Mistral *** END OF THIS PROJECT GUTENBERG EBOOK MIREIO *** ***** This file should be named 56008-h.htm or 56008-h.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/5/6/0/0/56008/ Produced by Chuck Greif, ellinora, Bryan Ness and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.) 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/license 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.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-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, are 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 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.org 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.