
The Project Gutenberg EBook of The Sea Fogs, by Robert Louis Stevenson

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 Sea Fogs

Author: Robert Louis Stevenson

Release Date: June 1, 2009 [EBook #5272]
Last Updated: November 26, 2012

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK THE SEA FOGS ***




Produced by David Schwan, and David Widger

THE SEA FOGS

By Robert Louis Stevenson

With an Introduction by Thomas Rutherford Bacon

Western Classics No. 1

               A sheeted spectre white and tall,
               The cold mist climbs the castle wall
               And lays its hand upon thy cheek.

               —Longfellow.

Introduction

THE SEA FOGS

Introduction

Robert Louis Stevenson first came to California in 1879 for the purpose of getting married. The things that delayed his marriage are sufficiently set forth in his "Letters" (edited by Sidney Colvin) and in his "Life" (written by Graham Balfour). It is here necessary to refer only to the last of the obstacles, the breaking down of his health. It is in connection with the evil thing that came to him at this time that he first makes mention of "the sea fogs," that beset a large part of the California coast. He speaks of them as poisonous; and poisonous they are to any one who is afflicted with pulmonary weakness, but bracing and glorious to others. They give the charm of climate to dwellers around the great bay. How he took this first very serious attack of the terrible malady is indicated in the letter to Edmund Gosse, dated April 16, 1880. His attitude toward death is shown here, and is further shown in his little paper AEs Triplex, in which he successfully vindicates his generation from the charge of cowardice in the face of death. Stevenson's two distinguishing characteristics were his courage and his determination to be happy as the right way of making other people happy. His courage, far more than change of scene and climate, gave him fourteen more years in which to contribute to the sweetness and light of the world. These years were made fruitful to others by his determined happiness, a happiness in which the main factor, outside of his own determination, came from the companionship which his marriage brought to him. The great principles by which he lived influenced those who did not know him personally, through his gift of writing. He always maintained that it was not a gift but an achievement, and that any one could write as well as he by taking as much pains. We may well doubt the soundness of this theory, but we cannot doubt the spiritual attitude from which it came. It came from no mock humility, but from a feeling that nothing was creditable to him except what he did. He asked no credit for the talents committed to his charge. He asked credit only for the use be made of the talents. Stevenson was married May 19, 1880. His health, which had delayed the marriage, determined the character of the honeymoon. He must get away from the coast and its fogs. His honeymoon experiences are recorded in one of the most delightful of his minor writings, "The Silverado Squatters." He went, with his wife, his stepson and a dog, to squat on the eastern shoulder of Mount Saint Helena, a noble mountain which closes and dominates the Napa Valley, a wonderful and fertile valley, running northward from the bay of San Francisco. Silverado was a deserted mining-camp. Stevenson has intimated that there are more ruined cities in California than in the land of Bashan, and in one of these he took up his residence for about two months, "camping" in the deserted quarters of the extinct mining company. Had he gone a little beyond the toll-house, just over the shoulder of the mountain, he would probably never have seen the glory of "the sea fogs." It would have been better for his health but worse for English literature. My first knowledge of that glory came to me twenty years ago. I had come to California to care for one dearly beloved by me, who was fighting the same fight that Stevenson fought, and against the same enemy, and who was fighting it just as bravely. I took him to the summit of the Santa Cruz Mountains in the hope that we might escape the fogs. As I watched on the porch of the little cottage where he lay, I saw night after night what I believe to be the most beautiful of all natural phenomena, the sea fog of the Pacific, seen from above. Under the full moon, or under the early sun which slowly withers it away, the great silver sea with its dark islands of redwood seemed to me the most wonderful of things. With my wonder and delight, perhaps making them more poignant, was the fear lest the glory should mount too high, and lay its attractive hand on my beloved. The fog has been dear to me ever since. I have often grumbled at it when I was in it or under it, but when I have seen it from above, that first thrill of wonder and delight has come back to me —always. Whether on the Berkeley hills I see its irresistible columns moving through the Golden Gate across the bay to take possession of the land, or whether I stand on the height of Tamalpais and look at the white, tangled flood below,—

     "My heart leaps up when I behold."

It remains to me—

    "A vision, a delight and a desire."

When the beauty of the fog first got hold of me, I wondered whether any one had given literary expression to its supreme charm. I searched the works of some of the better-known California poets, not quite without result. I was familiar with what seem to me the best of the serious verses of Bret Harte, the lines on San Francisco,—wherein the city is pictured as a penitent Magdalen, cowled in the grey of the Franciscans, —the soft pale grey of the sea fog. The literary value of the figure is hardly injured by the cold fog that the penitence of this particular Magdalen has never been of an enduring quality. It is to be noted that what Harte speaks of is not the beauty of the fog, but its sobriety and dignity. Sill, with his susceptibility to the infinite variety of nature and with the spark of the divine fire which burned in him, refers often to some of the effects of the fog, such as the wonderful sunset colors on the Berkeley hills in summer. But I find only one direct allusion to the beauty of the fog itself:—

     (1)"There lies a little city in the hills;
     White are its roofs, dim is each dwelling's door,
     And peace with perfect rest its bosom fills.

     "There the pure mist, the pity of the sea,
     Comes as a white, soft hand, and reaches o'er
     And touches its still face most tenderly."

In 1887 I had not read "The Silverado Squatters." Part of it had been published in Scribner's Magazine. It was only in the following year that I got hold of the book and found an almost adequate expression of my own feeling about the sea fogs. Stevenson did not know all their beauty, for he was not here long enough, but he could tell what he saw. In other words, he had a gift which is denied to most of us. Silverado is now a quite impossible place for squatting. When I first tried to enter, I found it so given over to poison-oak and rattlesnakes that I did not care to pursue my investigations very far. I did not know at that time that I was quite immune from the poison of the oak and that the California rattlesnake was quite so friendly and harmless an animal as John Muir has since assured us that he is. The last time that I passed Silverado, it was accessible only by the aid of a gang of wood-choppers. Curiously, the last great fog effect that I have seen was almost the same which Stevenson has described. Last summer we had been staying for a month with our friends who have a summer home about three miles beyond Stevenson's "toll-house." It is, I believe, the most beautiful country-seat on this round earth, and its free and gentle hospitality cannot be surpassed. We left this delightful place of sojourning between three and four o'clock in the morning to catch the early train from Calistoga. Our steep climb up to the toll-house was under the broad smile of the moon, which gradually gave way to the brilliant dawn. When we passed the toll-house, the whole Napa Valley should have been revealed to us, but it was not. The fog had surged through it and had hidden it. What we saw was better than the beautiful Napa Valley. I should like to tell what we saw, but I cannot,—"For what can the man do who cometh after the king?" (1) This exquisite little poem is unaccountably omitted from the Household (and presumably complete) Edition of Sill's poems issued by Houghton, Mifflin & Co., 1906. It is found in the little volume, "Poems," by Edward Rowland Sill, published by the same firm at an earlier date. Mountain View Cemetery is no longer a "little city."

THE SEA FOGS

A change in the colour of the light usually called me in the morning. By a certain hour, the long, vertical chinks in our western gable, where the boards had shrunk and separated, flashed suddenly into my eyes as stripes of dazzling blue, at once so dark and splendid that I used to marvel how the qualities could be combined. At an earlier hour, the heavens in that quarter were still quietly coloured, but the shoulder of the mountain which shuts in the canyon already glowed with sunlight in a wonderful compound of gold and rose and green; and this too would kindle, although more mildly and with rainbow tints, the fissures of our crazy gable. If I were sleeping heavily, it was the bold blue that struck me awake; if more lightly, then I would come to myself in that earlier and fairer light. One Sunday morning, about five, the first brightness called me. I rose and turned to the east, not for my devotions, but for air. The night had been very still. The little private gale that blew every evening in our canyon, for ten minutes or perhaps a quarter of an hour, had swiftly blown itself out; in the hours that followed, not a sigh of wind had shaken the treetops; and our barrack, for all its breaches, was less fresh that morning than of wont. But I had no sooner reached the window than I forgot all else in the sight that met my eyes, and I made but two bounds into my clothes, and down the crazy plank to the platform. The sun was still concealed below the opposite hilltops, though it was shining already, not twenty feet above my head, on our own mountain slope. But the scene, beyond a few near features, was entirely changed. Napa Valley was gone; gone were all the lower slopes and woody foothills of the range; and in their place, not a thousand feet below me, rolled a great level ocean. It was as though I had gone to bed the night before, safe in a nook of inland mountains and had awakened in a bay upon the coast. I had seen these inundations from below; at Calistoga I had risen and gone abroad in the early morning, coughing and sneezing, under fathoms on fathoms of gray sea vapour, like a cloudy sky—a dull sight for the artist, and a painful experience for the invalid. But to sit aloft one's self in the pure air and under the unclouded dome of heaven, and thus look down on the submergence of the valley, was strangely different and even delightful to the eyes. Far away were hilltops like little islands. Nearer, a smoky surf beat about the foot of precipices and poured into all the coves of these rough mountains. The colour of that fog ocean was a thing never to be forgotten. For an instant, among the Hebrides and just about sundown, I have seen something like it on the sea itself. But the white was not so opaline; nor was there, what surprisingly increased the effect, that breathless crystal stillness over all. Even in its gentlest moods the salt sea travails, moaning among the weeds or lisping on the sand; but that vast fog ocean lay in a trance of silence, nor did the sweet air of the morning tremble with a sound. As I continued to sit upon the dump, I began to observe that this sea was not so level as at first sight it appeared to be. Away in the extreme south, a little hill of fog arose against the sky above the general surface, and as it had already caught the sun it shone on the horizon like the topsails of some giant ship. There were huge waves, stationary, as it seemed, like waves in a frozen sea; and yet, as I looked again, I was not sure but they were moving after all, with a slow and august advance. And while I was yet doubting, a promontory of the hills some four or five miles away, conspicuous by a bouquet of tall pines, was in a single instant overtaken and swallowed up. It reappeared in a little, with its pines, but this time as an islet and only to be swallowed up once more and then for good. This set me looking nearer, and I saw that in every cove along the line of mountains the fog was being piled in higher and higher, as though by some wind that was inaudible to me. I could trace its progress, one pine tree first growing hazy and then disappearing after another; although sometimes there was none of this forerunning haze, but the whole opaque white ocean gave a start and swallowed a piece of mountain at a gulp. It was to flee these poisonous fogs that I had left the seaboard, and climbed so high among the mountains. And now, behold, here came the fog to besiege me in my chosen altitudes, and yet came so beautifully that my first thought was of welcome. The sun had now gotten much higher, and through all the gaps of the hills it cast long bars of gold across that white ocean. An eagle, or some other very great bird of the mountain, came wheeling over the nearer pinetops, and hung, poised and something sideways, as if to look abroad on that unwonted desolation, spying, perhaps with terror, for the eyries of her comrades. Then, with a long cry, she disappeared again toward Lake County and the clearer air. At length it seemed to me as if the flood were beginning to subside. The old landmarks, by whose disappearance I had measured its advance, here a crag, there a brave pine tree, now began, in the inverse order, to make their reappearance into daylight. I judged all danger of the fog was over. This was not Noah's flood; it was but a morning spring, and would now drift out seaward whence it came. So, mightily relieved, and a good deal exhilarated by the sight, I went into the house to light the fire. I suppose it was nearly seven when I once more mounted the platform to look abroad. The fog ocean had swelled up enormously since last I saw it; and a few hundred feet below me, in the deep gap where the Toll House stands and the road runs through into Lake County, it had already topped the slope, and was pouring over and down the other side like driving smoke. The wind had climbed along with it; and though I was still in calm air, I could see the trees tossing below me, and their long, strident sighing mounted to me where I stood. Half an hour later, the fog had surmounted all the ridge on the opposite side of the gap, though a shoulder of the mountain still warded it out of our canyon. Napa Valley and its bounding hills were now utterly blotted out. The fog, sunny white in the sunshine, was pouring over into Lake County in a huge, ragged cataract, tossing treetops appearing and disappearing in the spray. The air struck with a little chill, and set me coughing. It smelt strong of the fog, like the smell of a washing-house, but with a shrewd tang of the sea-salt. Had it not been for two things—the sheltering spur which answered as a dyke, and the great valley on the other side which rapidly engulfed whatever mounted—our own little platform in the canyon must have been already buried a hundred feet in salt and poisonous air. As it was, the interest of the scene entirely occupied our minds. We were set just out of the wind, and but just above the fog; we could listen to the voice of the one as to music on the stage; we could plunge our eyes down into the other, as into some flowing stream from over the parapet of a bridge; thus we looked on upon a strange, impetuous, silent, shifting exhibition of the powers of nature, and saw the familiar landscape changing from moment to moment like figures in a dream. The imagination loves to trifle with what is not. Had this been indeed the deluge, I should have felt more strongly, but the emotion would have been similar in kind. I played with the idea as the child flees in delighted terror from the creations of his fancy. The look of the thing helped me. And when at last I began to flee up the mountain, it was indeed partly to escape from the raw air that kept me coughing, but it was also part in play. As I ascended the mountainside, I came once more to overlook the upper surface of the fog; but it wore a different appearance from what I had beheld at daybreak. For, first, the sun now fell on it from high overhead, and its surface shone and undulated like a great nor'land moor country, sheeted with untrodden morning snow. And, next, the new level must have been a thousand or fifteen hundred feet higher than the old, so that only five or six points of all the broken country below me still stood out. Napa Valley was now one with Sonoma on the west. On the hither side, only a thin scattered fringe of bluffs was unsubmerged; and through all the gaps the fog was pouring over, like an ocean into the blue clear sunny country on the east. There it was soon lost; for it fell instantly into the bottom of the valleys, following the watershed; and the hilltops in that quarter were still clear cut upon the eastern sky. Through the Toll House gap and over the near ridges on the other side, the deluge was immense. A spray of thin vapour was thrown high above it, rising and falling, and blown into fantastic shapes. The speed of its course was like a mountain torrent. Here and there a few treetops were discovered and then whelmed again; and for one second, the bough of a dead pine beckoned out of the spray like the arm of a drowning man. But still the imagination was dissatisfied, still the ear waited for something more. Had this indeed been water (as it seemed so, to the eye), with what a plunge of reverberating thunder would it have rolled upon its course, disembowelling mountains and deracinating pines And yet water it was and sea-water at that—true Pacific billows, only somewhat rarefied, rolling in mid-air among the hilltops. I climbed still higher, among the red rattling gravel and dwarf underwood of Mount Saint Helena, until I could look right down upon Silverado, and admire the favoured nook in which it lay. The sunny plain of fog was several hundred feet higher; behind the protecting spur a gigantic accumulation of cottony vapour threatened, with every second to blow over and submerge our homestead; but the vortex setting past the Toll House was too strong; and there lay our little platform, in the arms of the deluge, but still enjoying its unbroken sunshine. About eleven, however, thin spray came flying over the friendly buttress, and I began to think the fog had hunted out its Jonah after all. But it was the last effort. The wind veered while we were at dinner, and began to blow squally from the mountain summit and by half-past one all that world of sea fogs was utterly routed and flying here and there into the south in little rags of cloud. And instead of a lone sea-beach, we found ourselves once more inhabiting a high mountainside, with the clear green country far below us, and the light smoke of Calistoga blowing in the air. This was the great Russian campaign for that season. Now and then, in the early morning, a little white lakelet of fog would be seen far down in Napa Valley but the heights were not again assailed, nor was the surrounding world again shut off from Silverado.

  Here Ends No. One the Western Classics Being The Sea Fogs by Robert
  Louis Stevenson With an Introduction by Thomas Rutherford Bacon & A
  Photogravure Frontispiece After A Painting by Albertine Randall Wheelan
  of this First Edition One Thousand Copies Have Been Issued Printed Upon
  Fabriano Handmade Paper the Typography Designed by J. H. Nash Published
  by Paul Elder and Company & Done Into A Book for Them at the Tomoye
  Press in the City of New York MCMVII






End of the Project Gutenberg EBook of The Sea Fogs, by Robert Louis Stevenson

*** END OF THIS PROJECT GUTENBERG EBOOK THE SEA FOGS ***

***** This file should be named 5272-h.htm or 5272-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/5/2/7/5272/

Produced by David Schwan, 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, 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.