The Project Gutenberg EBook of The Adventures of Pinocchio, by C. Collodi--Pseudonym of Carlo Lorenzini 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 Title: The Adventures of Pinocchio Author: C. Collodi--Pseudonym of Carlo Lorenzini Release Date: January 12, 2006 [EBook #500] [Most recently updated: September 28, 2020] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THE ADVENTURES OF PINOCCHIO *** Produced by Charles Keller (for Tina); and David Widger
* Cornmeal mushGeppetto had a very bad temper. Woe to the one who called him Polendina! He became as wild as a beast and no one could soothe him. “Good day, Mastro Antonio,” said Geppetto. “What are you doing on the floor?” “I am teaching the ants their A B C’s.” “Good luck to you!” “What brought you here, friend Geppetto?” “My legs. And it may flatter you to know, Mastro Antonio, that I have come to you to beg for a favor.” “Here I am, at your service,” answered the carpenter, raising himself on to his knees. “This morning a fine idea came to me.” “Let’s hear it.” “I thought of making myself a beautiful wooden Marionette. It must be wonderful, one that will be able to dance, fence, and turn somersaults. With it I intend to go around the world, to earn my crust of bread and cup of wine. What do you think of it?” “Bravo, Polendina!” cried the same tiny voice which came from no one knew where. On hearing himself called Polendina, Mastro Geppetto turned the color of a red pepper and, facing the carpenter, said to him angrily: “Why do you insult me?” “Who is insulting you?” “You called me Polendina.” “I did not.” “I suppose you think Idid! Yet I KNOW it was you.” “No!” “Yes!” “No!” “Yes!” And growing angrier each moment, they went from words to blows, and finally began to scratch and bite and slap each other. When the fight was over, Mastro Antonio had Geppetto’s yellow wig in his hands and Geppetto found the carpenter’s curly wig in his mouth. “Give me back my wig!” shouted Mastro Antonio in a surly voice. “You return mine and we’ll be friends.” The two little old men, each with his own wig back on his own head, shook hands and swore to be good friends for the rest of their lives. “Well then, Mastro Geppetto,” said the carpenter, to show he bore him no ill will, “what is it you want?” “I want a piece of wood to make a Marionette. Will you give it to me?” Mastro Antonio, very glad indeed, went immediately to his bench to get the piece of wood which had frightened him so much. But as he was about to give it to his friend, with a violent jerk it slipped out of his hands and hit against poor Geppetto’s thin legs. “Ah! Is this the gentle way, Mastro Antonio, in which you make your gifts? You have made me almost lame!” “I swear to you I did not do it!” “It was I, of course!” “It’s the fault of this piece of wood.” “You’re right; but remember you were the one to throw it at my legs.” “I did not throw it!” “Liar!” “Geppetto, do not insult me or I shall call you Polendina.” “Idiot.” “Polendina!” “Donkey!” “Polendina!” “Ugly monkey!” “Polendina!” On hearing himself called Polendina for the third time, Geppetto lost his head with rage and threw himself upon the carpenter. Then and there they gave each other a sound thrashing. After this fight, Mastro Antonio had two more scratches on his nose, and Geppetto had two buttons missing from his coat. Thus having settled their accounts, they shook hands and swore to be good friends for the rest of their lives. Then Geppetto took the fine piece of wood, thanked Mastro Antonio, and limped away toward home.
* A military policemanPinocchio saw the Carabineer from afar and tried his best to escape between the legs of the big fellow, but without success. The Carabineer grabbed him by the nose (it was an extremely long one and seemed made on purpose for that very thing) and returned him to Mastro Geppetto. The little old man wanted to pull Pinocchio’s ears. Think how he felt when, upon searching for them, he discovered that he had forgotten to make them! All he could do was to seize Pinocchio by the back of the neck and take him home. As he was doing so, he shook him two or three times and said to him angrily: “We’re going home now. When we get home, then we’ll settle this matter!” Pinocchio, on hearing this, threw himself on the ground and refused to take another step. One person after another gathered around the two. Some said one thing, some another. “Poor Marionette,” called out a man. “I am not surprised he doesn’t want to go home. Geppetto, no doubt, will beat him unmercifully, he is so mean and cruel!” “Geppetto looks like a good man,” added another, “but with boys he’s a real tyrant. If we leave that poor Marionette in his hands he may tear him to pieces!” They said so much that, finally, the Carabineer ended matters by setting Pinocchio at liberty and dragging Geppetto to prison. The poor old fellow did not know how to defend himself, but wept and wailed like a child and said between his sobs: “Ungrateful boy! To think I tried so hard to make you a well-behaved Marionette! I deserve it, however! I should have given the matter more thought.” What happened after this is an almost unbelievable story, but you may read it, dear children, in the chapters that follow.
HERE LIES THE LOVELY FAIRY WITH AZURE HAIR WHO DIED OF GRIEF WHEN ABANDONED BY HER LITTLE BROTHER PINOCCHIOThe poor Marionette was heartbroken at reading these words. He fell to the ground and, covering the cold marble with kisses, burst into bitter tears. He cried all night, and dawn found him still there, though his tears had dried and only hard, dry sobs shook his wooden frame. But these were so loud that they could be heard by the faraway hills. As he sobbed he said to himself: “Oh, my Fairy, my dear, dear Fairy, why did you die? Why did I not die, who am so bad, instead of you, who are so good? And my father—where can he be? Please dear Fairy, tell me where he is and I shall never, never leave him again! You are not really dead, are you? If you love me, you will come back, alive as before. Don’t you feel sorry for me? I’m so lonely. If the two Assassins come, they’ll hang me again from the giant oak tree and I will really die, this time. What shall I do alone in the world? Now that you are dead and my father is lost, where shall I eat? Where shall I sleep? Who will make my new clothes? Oh, I want to die! Yes, I want to die! Oh, oh, oh!” Poor Pinocchio! He even tried to tear his hair, but as it was only painted on his wooden head, he could not even pull it. Just then a large Pigeon flew far above him. Seeing the Marionette, he cried to him: “Tell me, little boy, what are you doing there?” “Can’t you see? I’m crying,” cried Pinocchio, lifting his head toward the voice and rubbing his eyes with his sleeve. “Tell me,” asked the Pigeon, “do you by chance know of a Marionette, Pinocchio by name?” “Pinocchio! Did you say Pinocchio?” replied the Marionette, jumping to his feet. “Why, I am Pinocchio!” At this answer, the Pigeon flew swiftly down to the earth. He was much larger than a turkey. “Then you know Geppetto also?” “Do I know him? He’s my father, my poor, dear father! Has he, perhaps, spoken to you of me? Will you take me to him? Is he still alive? Answer me, please! Is he still alive?” “I left him three days ago on the shore of a large sea.” “What was he doing?” “He was building a little boat with which to cross the ocean. For the last four months, that poor man has been wandering around Europe, looking for you. Not having found you yet, he has made up his mind to look for you in the New World, far across the ocean.” “How far is it from here to the shore?” asked Pinocchio anxiously. “More than fifty miles.” “Fifty miles? Oh, dear Pigeon, how I wish I had your wings!” “If you want to come, I’ll take you with me.” “How?” “Astride my back. Are you very heavy?” “Heavy? Not at all. I’m only a feather.” “Very well.” Saying nothing more, Pinocchio jumped on the Pigeon’s back and, as he settled himself, he cried out gayly: “Gallop on, gallop on, my pretty steed! I’m in a great hurry.” The Pigeon flew away, and in a few minutes he had reached the clouds. The Marionette looked to see what was below them. His head swam and he was so frightened that he clutched wildly at the Pigeon’s neck to keep himself from falling. They flew all day. Toward evening the Pigeon said: “I’m very thirsty!” “And I’m very hungry!” said Pinocchio. “Let us stop a few minutes at that pigeon coop down there. Then we can go on and be at the seashore in the morning.” They went into the empty coop and there they found nothing but a bowl of water and a small basket filled with chick-peas. The Marionette had always hated chick-peas. According to him, they had always made him sick; but that night he ate them with a relish. As he finished them, he turned to the Pigeon and said: “I never should have thought that chick-peas could be so good!” “You must remember, my boy,” answered the Pigeon, “that hunger is the best sauce!” After resting a few minutes longer, they set out again. The next morning they were at the seashore. Pinocchio jumped off the Pigeon’s back, and the Pigeon, not wanting any thanks for a kind deed, flew away swiftly and disappeared. The shore was full of people, shrieking and tearing their hair as they looked toward the sea. “What has happened?” asked Pinocchio of a little old woman. “A poor old father lost his only son some time ago and today he built a tiny boat for himself in order to go in search of him across the ocean. The water is very rough and we’re afraid he will be drowned.” “Where is the little boat?” “There. Straight down there,” answered the little old woman, pointing to a tiny shadow, no bigger than a nutshell, floating on the sea. Pinocchio looked closely for a few minutes and then gave a sharp cry: “It’s my father! It’s my father!” Meanwhile, the little boat, tossed about by the angry waters, appeared and disappeared in the waves. And Pinocchio, standing on a high rock, tired out with searching, waved to him with hand and cap and even with his nose. It looked as if Geppetto, though far away from the shore, recognized his son, for he took off his cap and waved also. He seemed to be trying to make everyone understand that he would come back if he were able, but the sea was so heavy that he could do nothing with his oars. Suddenly a huge wave came and the boat disappeared. They waited and waited for it, but it was gone. “Poor man!” said the fisher folk on the shore, whispering a prayer as they turned to go home. Just then a desperate cry was heard. Turning around, the fisher folk saw Pinocchio dive into the sea and heard him cry out: “I’ll save him! I’ll save my father!” The Marionette, being made of wood, floated easily along and swam like a fish in the rough water. Now and again he disappeared only to reappear once more. In a twinkling, he was far away from land. At last he was completely lost to view. “Poor boy!” cried the fisher folk on the shore, and again they mumbled a few prayers, as they returned home.
GREAT SPECTACLE TONIGHT LEAPS AND EXERCISES BY THE GREAT ARTISTS AND THE FAMOUS HORSES of the COMPANY First Public Appearance of the FAMOUS DONKEY called PINOCCHIO THE STAR OF THE DANCE —— The Theater will be as Light as DayThat night, as you can well imagine, the theater was filled to overflowing one hour before the show was scheduled to start. Not an orchestra chair could be had, not a balcony seat, nor a gallery seat; not even for their weight in gold. The place swarmed with boys and girls of all ages and sizes, wriggling and dancing about in a fever of impatience to see the famous Donkey dance. When the first part of the performance was over, the Owner and Manager of the circus, in a black coat, white knee breeches, and patent leather boots, presented himself to the public and in a loud, pompous voice made the following announcement: “Most honored friends, Gentlemen and Ladies! “Your humble servant, the Manager of this theater, presents himself before you tonight in order to introduce to you the greatest, the most famous Donkey in the world, a Donkey that has had the great honor in his short life of performing before the kings and queens and emperors of all the great courts of Europe. “We thank you for your attention!” This speech was greeted by much laughter and applause. And the applause grew to a roar when Pinocchio, the famous Donkey, appeared in the circus ring. He was handsomely arrayed. A new bridle of shining leather with buckles of polished brass was on his back; two white camellias were tied to his ears; ribbons and tassels of red silk adorned his mane, which was divided into many curls. A great sash of gold and silver was fastened around his waist and his tail was decorated with ribbons of many brilliant colors. He was a handsome Donkey indeed! The Manager, when introducing him to the public, added these words: “Most honored audience! I shall not take your time tonight to tell you of the great difficulties which I have encountered while trying to tame this animal, since I found him in the wilds of Africa. Observe, I beg of you, the savage look of his eye. All the means used by centuries of civilization in subduing wild beasts failed in this case. I had finally to resort to the gentle language of the whip in order to bring him to my will. With all my kindness, however, I never succeeded in gaining my Donkey’s love. He is still today as savage as the day I found him. He still fears and hates me. But I have found in him one great redeeming feature. Do you see this little bump on his forehead? It is this bump which gives him his great talent of dancing and using his feet as nimbly as a human being. Admire him, O signori, and enjoy yourselves. I let you, now, be the judges of my success as a teacher of animals. Before I leave you, I wish to state that there will be another performance tomorrow night. If the weather threatens rain, the great spectacle will take place at eleven o’clock in the morning.” The Manager bowed and then turned to Pinocchio and said: “Ready, Pinocchio! Before starting your performance, salute your audience!” Pinocchio obediently bent his two knees to the ground and remained kneeling until the Manager, with the crack of the whip, cried sharply: “Walk!” The Donkey lifted himself on his four feet and walked around the ring. A few minutes passed and again the voice of the Manager called: “Quickstep!” and Pinocchio obediently changed his step. “Gallop!” and Pinocchio galloped. “Full speed!” and Pinocchio ran as fast as he could. As he ran the master raised his arm and a pistol shot rang in the air. At the shot, the little Donkey fell to the ground as if he were really dead. A shower of applause greeted the Donkey as he arose to his feet. Cries and shouts and handclappings were heard on all sides. At all that noise, Pinocchio lifted his head and raised his eyes. There, in front of him, in a box sat a beautiful woman. Around her neck she wore a long gold chain, from which hung a large medallion. On the medallion was painted the picture of a Marionette. “That picture is of me! That beautiful lady is my Fairy!” said Pinocchio to himself, recognizing her. He felt so happy that he tried his best to cry out: “Oh, my Fairy! My own Fairy!” But instead of words, a loud braying was heard in the theater, so loud and so long that all the spectators—men, women, and children, but especially the children—burst out laughing. Then, in order to teach the Donkey that it was not good manners to bray before the public, the Manager hit him on the nose with the handle of the whip. The poor little Donkey stuck out a long tongue and licked his nose for a long time in an effort to take away the pain. And what was his grief when on looking up toward the boxes, he saw that the Fairy had disappeared! He felt himself fainting, his eyes filled with tears, and he wept bitterly. No one knew it, however, least of all the Manager, who, cracking his whip, cried out: “Bravo, Pinocchio! Now show us how gracefully you can jump through the rings.” Pinocchio tried two or three times, but each time he came near the ring, he found it more to his taste to go under it. The fourth time, at a look from his master he leaped through it, but as he did so his hind legs caught in the ring and he fell to the floor in a heap. When he got up, he was lame and could hardly limp as far as the stable. “Pinocchio! We want Pinocchio! We want the little Donkey!” cried the boys from the orchestra, saddened by the accident. No one saw Pinocchio again that evening. The next morning the veterinary—that is, the animal doctor—declared that he would be lame for the rest of his life. “What do I want with a lame donkey?” said the Manager to the stableboy. “Take him to the market and sell him.” When they reached the square, a buyer was soon found. “How much do you ask for that little lame Donkey?” he asked. “Four dollars.” “I’ll give you four cents. Don’t think I’m buying him for work. I want only his skin. It looks very tough and I can use it to make myself a drumhead. I belong to a musical band in my village and I need a drum.” I leave it to you, my dear children, to picture to yourself the great pleasure with which Pinocchio heard that he was to become a drumhead! As soon as the buyer had paid the four cents, the Donkey changed hands. His new owner took him to a high cliff overlooking the sea, put a stone around his neck, tied a rope to one of his hind feet, gave him a push, and threw him into the water. Pinocchio sank immediately. And his new master sat on the cliff waiting for him to drown, so as to skin him and make himself a drumhead.
The Fairy with Azure Hair returns fifty pennies to her dear Pinocchio with many thanks for his kind heart.The Marionette opened the purse to find the money, and behold—there were fifty gold coins! Pinocchio ran to the mirror. He hardly recognized himself. The bright face of a tall boy looked at him with wide-awake blue eyes, dark brown hair and happy, smiling lips. Surrounded by so much splendor, the Marionette hardly knew what he was doing. He rubbed his eyes two or three times, wondering if he were still asleep or awake and decided he must be awake. “And where is Father?” he cried suddenly. He ran into the next room, and there stood Geppetto, grown years younger overnight, spick and span in his new clothes and gay as a lark in the morning. He was once more Mastro Geppetto, the wood carver, hard at work on a lovely picture frame, decorating it with flowers and leaves, and heads of animals. “Father, Father, what has happened? Tell me if you can,” cried Pinocchio, as he ran and jumped on his Father’s neck. “This sudden change in our house is all your doing, my dear Pinocchio,” answered Geppetto. “What have I to do with it?” “Just this. When bad boys become good and kind, they have the power of making their homes gay and new with happiness.” “I wonder where the old Pinocchio of wood has hidden himself?” “There he is,” answered Geppetto. And he pointed to a large Marionette leaning against a chair, head turned to one side, arms hanging limp, and legs twisted under him. After a long, long look, Pinocchio said to himself with great content: “How ridiculous I was as a Marionette! And how happy I am, now that I have become a real boy!”
End of the Project Gutenberg EBook of The Adventures of Pinocchio, by C. Collodi--Pseudonym of Carlo Lorenzini *** END OF THIS PROJECT GUTENBERG EBOOK THE ADVENTURES OF PINOCCHIO *** ***** This file should be named 500-h.htm or 500-h.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/5/0/500/ Produced by Charles Keller (for Tina); and David Widger Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution. *** START: FULL LICENSE *** THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg-tm License (available with this file or online at http://gutenberg.org/license). Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from the public domain (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg-tm License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” - You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg-tm License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg-tm works. - You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. - You comply with all other terms of this agreement for free distribution of Project Gutenberg-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread public domain works in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 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 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.