Gutenberg · eo1.org

← catalogue

My First Battle: A Sergeant's Story

by Adam Mickiewicz · English · Gutenberg #28277 · 40,627 chars · public domain (US)

The Project Gutenberg eBook of My First Battle: A Sergeant's Story
    
This eBook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this eBook or online
at www.gutenberg.org. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.

Title: My First Battle: A Sergeant's Story

Author: Adam Mickiewicz

Translator: Jimmy O'Regan


        
Release date: March 7, 2009 [eBook #28277]
                Most recently updated: June 20, 2020

Language: English

Other information and formats: www.gutenberg.org/ebooks/28277


*** START OF THE PROJECT GUTENBERG EBOOK MY FIRST BATTLE: A SERGEANT'S STORY ***





                             Adam Mickiewicz

                             MY FIRST BATTLE

                            A SERGEANT’S STORY






They envy Attila, who fought a thousand battles, and in the thousandth
still felt that, which he called _gaudia certaminum_, that is, the delight
in the slaughter. Oh, that old general was a lecher of blood. As far as I
am concerned, holding the rank of light artillery sergeant, I confess,
that I was truly in love with war, but only during the first week of my
military career, and that only one single time I tasted Attila’s delight.
For this reason my honeymoon and first battle will never leave my memory.

The first battle has the most particular similarity to first love. How
many hopes! how many illusions! before this ceremonial action, which
resolves the fate of nations, any recruit feels obliged  to play at least
a role… as a hero of history or a romance.

It finally comes to the trial and you stand before it with impatience and
a certain anxiety, experiencing once mortal terror, then again a crazed
joy; now fear pierces you, now the pride of the triumphant picks you up..
In one hour you pass through crowds of emotions, and you collect keepsakes
for your whole life! but in order to feel it in full force, you must have
the heart of a virgin, the heart of a recruit.

Someone said that every man can compose a good romance, telling only the
simple story of his first love. This insight encouraged me to describe the
first battle, in which I was. You need to know that this battle is only an
episode of a famous war, that in it we achieved a great victory, and that
in its time it won us the admiration of the European people. Admittedly,
these are times long past, because people have well forgotten both about
our defeats and about our triumphs. In spite of this, the Polish soldier
will never forget about the Battle of Stoczek.

After the revolution of the 29th of November(1), I decided to join the
ranks, and I pondered, whether to the infantry, or to the cavalry? To make
a definite choice, I ran through the streets of Warsaw, eyeing closely the
uniforms of several regiments. I stopped ahead of a battalion of
grenadiers, who marched in tight rows, silently, in order and seriously.
Each moustachiod, with chevrons on his shoulders. These were the remains
of the Napoleonic legions. As they passed, they were yielded to with the
utmost respect, and they were whispering in the crowd: “There are my
soldiers! there are our defenders!” I envy them, I thought, it’s a
beautiful thing to be a grenadier! And I approached the division, and
having taken the place beside the drummer, I marched in the grenadiers’
step, singling out the commander, to whom I immediately wished to offer my
services.

Suddenly, on the other side of the street, a new military meteor appeared
to me. He was a Krakus(2) on a white horse, in a white _sukmana_(3), in a
red cap with a white feather, which cut like a swan through black waves of
crowding townsfolk. He turned his horse beautifully; he welcomed
pedestrians with a nod, with cavalrymen squeezed hands, and to beautiful
ladies, standing in windows, sent grateful kisses. All eyes turned towards
him; men clapped, women smiled in silence; and the beautiful Krakus became
the god of the moment.

It came to my mind right away, that a Krakus’ uniform at my age and height
would suit me better, and so my true calling manifested itself: God had
made me a Krakus!

So I turned in the direction of the cavalry barracks; but halfway across
the road I fell into the immeasurable crowd who captured me into itself
and bore towards the tollbooths.  The people pressed to meet the newly
approaching rows. A stranger figure rode at the front; it was it is an old
Capuchin in habit and on a horse, in one hand a lance and the other
blessing people with a cross, who kissed his legs. Behind the Capuchin
followed a thousand archers from the Augustów forests. They had slung
double-barrelled guns and badger skin bags with claws and bared teeth,
whitening on green jackets. Another thousand villagers, armed with crooked
scythes and axes, brought up the rear of the procession. Never had the
entrance of the most beautiful regiments, even the entrance of Prince
Józef at the head of victorious legions, aroused such enthusiasm, as this,
with which the people of Warsaw greeted badger skin bags and bark clogs.
Now there wasn’t applause, or smiles, but shouts, thundering hurrah! and
blessings, mixed with loud crying. Because the people, surprised by their
own instincts, could seize the noble and beautiful side of the image. At
the sight of these priests, of these farmers who had left monastic cells
and their forests, in order to beat the enemies of the homeland, people
understood the whole horror of danger, and also comprehended with complete
trust that it was the only means of defense.

I was overcome by a sudden temptation to steal immediately behind the
scythe or double-barrelled gun and to join the row with the peasants in
order to share with them the triumphant entry to the capital. But how to
do it? how to fit myself in with the bold and taunting movements of
Mazowian scythe-bearers, or the grim expressions and wild shooters from
the Nieman? How to match them in the height and breadth of their backs?
amongst these giants I would look like a rabbit among wolves. So what will
I do with myself? Should I be a Krakus, or a grenadier! This uncertainty
cost me dearly.

A colonel of my acquaintance met me in passing, and patting me on the
shoulder, said: “I am in  command of a guerrilla unit; some of my people
have already left for the field, I myself am setting off today from
Warsaw, I need gunners; perhaps you know where I can find them?”

“I know about one,” I said, assuming a military posture; “you need a
gunner, here you have him!”

“Agreed!” the colonel said, “put on a uniform and be at my place this
evening at ten o’clock exactly, do you understand?”

Soldiers were being recruited in this manner during the uprising. That day
at eleven at night I marched in uniform by the cannons. During the march
we trained ourselves in the use of weapons, and I added so much urgency,
that after three days I was appointed sergeant and a cannon was placed
under my orders. The envious claimed that I had owed my rank to the
colonel’s peculiar considerations.

After all, I myself was surprised, confused and almost ashamed at such a
sudden promotion. My head spun and only after a few hours of astonishment
did I start to feel the influence of my new dignity. Involuntarily I
adopted a martial and more serious face; having gravely stretched my right
hand, I laid it on my property, on the muzzle of the cannon. This large
piece of bronze, I thought to myself, will be a pillar in the temple of my
fame; will be the first step in my knightly profession, or perhaps even
lead me to the throne! A well aimed cannon often settles the fate of a
war. And how did Napoleon get his start, if not as a gunner? Full of these
dreams I fell in love with my bronze cannon as if with a young girl and
from then on I was always beside her. I examined her defects and
attributes, I debated character and got to know most precisely her entire
composition and nature; physical as moral. She is so well engraved in my
memory, that I could paint her portrait from memory. I knew sound of her
voice so well that I could have recognised it amongst the roar of the
liveliest cannonade, even if it were Leipzig, or Ostrołęka. My beloved
cannon! what happened to you? into whose hands did you fall? Certainly
nobody will caress you as I did… Only that thought comforts me. She was
admittedly a little eight pounder, but to me she was huge, as she was
pregnant with my entire future. As well as well settled, simple to
manoeuvre and with a strangely accurate shot. A whole day was barely
enough for me in fulfilling my duties by the beloved cannon, and at night
I didn’t stop thinking about the object of my love. And so, one night I
dreamed of battle, and who did I see opposite me? Field Marshall von
Diebitsch! At once I take aim—poof! and my cannon ball cuts him in two. I
took off, to tear off his head and carry it still warm to our
Commander-in-Chief, Prince Radziwiłł; but the corpse of von Diebitsch was
so heavily defended, that until I awoke completely into reality, instead
of the head of the Muscovite leader, I held the head of the gunner
sleeping opposite me. Another night a worse thing happened to me: I
dreamed that the Muscovite cavalry fell on us unexpectedly; they killed me
in advance, then cut down my gunners, and finally a Muscovite cuirassier
mounted my cannon like a horse and started to plug it, looking at me with
contemptuous eyes. Then I felt all the torments of the husband of Lucretia
and the torments of the father of Virginia. Although I was already a cold
and stiff corpse, nevertheless I gathered all my strength to give some
sign of life and adjusting to myself, I managed at last to scream so
strongly, that I both woke myself and alarmed the entire camp. Having
jumped to my feet, and just as day was beginning to break, my eyes seek my
cannon and I see with no little joy, that she’s there, that she sits free
and calm on her carriage.

Her open jaws seemed to draw the coolness of the morning, and the gleaming
surface reflected the first rays of sunshine. I lay down again on the wet
ground, but this time as a precaution I held on to a spoke.

So passed a whole week, my first week after marrying the beautiful eight
pounder: the honeymoon of an artillery sergeant, the happiest week of my
life! I kept busy every moment, in the belief that I had already achieved
the purpose of my existence in world; my soul went completely into the
beloved cannon.

Meanwhile we drew closer and closer to the banks of the Vistula; ice was
already giving way in many places and  here and there you could see water
appearing. Our colonel, with a long pole in his hand, was first to go
through the ice, wading in the water up to his knees, then he ordered us
to follow him. Follow him with our cannons over such weak ice? At this
order I went pale as death, because our entire military future could
drown. In the end we passed happily and we stopped on the opposite bank
with the shout: Long live Poland!

That same evening saw the joining of the corps, with the front sent from
Warsaw. They awaited us impatiently; because young soldiers have an
elevated opinion of the power of artillery, and it worried them very much
that on the eve of the expected battle they had no cannons. Having heard
the rattle of cannon wheels, the whole camp lost possession of itself in
joy: “our artillery approaches! Long live the artillery!” they called from
all sides and ran to meet us, and placed us in the centre of the camp.

We also enthusiastically greeted our comrades. Until then marching in
loneliness, now we were in a crowd of brave soldiers, whose number gave
itself significance to the eye. That raised our confidence. Only
altogether there weren’t more than twelve squadrons, filling a wide area.
Proudly we looked at a forest of stuck lances, on which new flags sparkled
with colours, still not knowing blood or dust. After a cheerful and grand
supper we lay down to sleep, swung with the sound of military music and
the singing of the mazurka.

At dawn, when our corps entered the village, mixed shouts reached us. We
pulled in; they sent for reconnaissance and it turned out that these were
shouts of victory! The first triumph! You should have seen, how pleased we
were with them. These Cossacks, bearded, disarmed, walked with heads
lowered and with sour expressions. As they went by us, our young soldiers
jeered at them, cursed or threatened. And I had a desire to do the same,
but the duty attached to the rank didn’t permit it, so severely
reprimanding them, I said: “Poles! respect misfortune! The fate of war is
often doubtful! Death to our enemies! Mercy to the conquered! Long live
Poland!”

The soldiers calmed down, taken aback by the nobility of my emotions and
sententious eloquence. For some time my attention turned to one old
gunner, riding beside me, who constantly climbed in his stirrups, lifted
his head, neck craned over the shoulders of his comrades.

“What are you looking at, Mateusz?”

“At those beasts, sergeant, may the hangman take them”… and pointed his
finger at hills, which were ahead of us. I saw then, how something was
blackening the hilltop. Where they bushes, or the caps of the Muscovite
infantry? I didn’t have time to look longer, because the officers came
running, calling with all their might: “Forward artillery! stand in
position!” We moved, every horse jumping. A cannon shot and the ball,
having killed one of our horses, rained earth on us and flew onwards,
ricocheting. We occupied the hill, directly opposite the enemy, who
doubled fire.

A wide plain, surrounded by bushes and forest, stretched before us. In the
centre of it, on the hill, rolled a Muscovite battery of twelve heavy
gauge cannons who powdered us with cannon balls and grenades. Behind the
battery you could see thick ranks of cavalry, standing motionless. Our
cavalry similarly stood calmly, leaving time for the operations of the
artillery.

I noticed that soldiers of different weapons throughout the battle
preserved the stance and the facial expression characteristic of
themselves. And as the artilleryman has neither the cavalry’s
extravagance, nor the infantry’s impatience, but attentive to command,
fast and accurate amid all the commotion, appearing calm, though his eyes
burned with the smoke, bloodshot, eyebrows furrowed, face pale, mouth
clenched, speech short and hard, expressing fierce, suppressed and
concentrated fury.

In the middle of this fire, even though death swept past their heads, they
didn’t stop making jokes; every time each cannon ball ricocheted, the
young soldiers made a point of talking to it, and to give it advice. A
ricocheting cannon ball can be seen from afar, as it jumps across the
field, so if it was going to one side, to the left, they were calling to
it: “Where are you going, blind man! get to the right!” and if it was
going straight, they encouraged it: “good, good!” and so they spoke to it
until it fell  right in the middle of the enemy line and then they were
applauding it.

I don’t know now, how many hours that cannonade lasted. Although we passed
each other feverishly beside the cannon, in the same way this play lasted
too long, to not wish for nightfall. The Russian artillery had an obvious
advantage over us, both in numbers, and in cannon gauge. They had already
hit a few of our people, many were wounded, but everyone, although
extremely tired, equally didn’t sink in spirits and nobody even thought
about retreat.

Suddenly from the left cannons roared horribly. The Muscovites had placed
a new battery right there, which fired at us from the side. We turned two
of our cannons against this new threat, with whom we needed to chat; but
our position was becoming more and more unpleasant, because six field
cannons to answer twenty heavy gauge cannons is no small matter! Our
soldiers, at the sight of this imbalance of power, seemed to be stirred.
Now their movements weakened, now our shots happened less frequently, and
what’s more the anecdotes and jokes ceased completely.

It seems that our commander was waiting until the Muscovites separated
their forces, in order to profit from that moment and strike them; I
suppose, although they aren’t tempting themselves to debate the battle
plan. I only know that at the most critical moment we heard from the left
a horse’s hoofbeat, rushing at a gallop and a few minutes later that
second battery went silent, when it was conquered.

Our commander turned around and dashed to the main strength of our troops,
calling: “Forward at a trot! everyone forward!” And our entire cavalry,
drawn up in two rows, moved out, passing our battery. “They’re going to
charge!” cried our gunners and at once we ceased firing. How did it look?
The young lancers with eager gaze, fevered face, burst impatiently
forward, but advised or unadvised they still needed to obey the strict
orders of the commander, who still repeated: “Trot! forward! trot!” You
could see from the movement of the flags, how feverishly the soldiers’
hands were twitching. In the end the trumpets sounded, flags descended and
now they kicked themselves off towards the enemy. “Forward! Gallop!
everyone forward!”

They took off—we stayed by our cannons, doing nothing, and even thinking
nothing. The artillery recently so busy and noisy, now seemed to be
petrified. Our souls flew far and rested on the tips of the lances. Now
the Muscovites are close! Already the Muscovite ranks are deploying, in
order to receive them. The gunners climbed on the gun carriages, on the
ammunition carts and stare into space, looking ahead with gaping mouths;
it was so quiet that you could hear the flight of a fly. Each of us felt,
that on this clash hung our fate, the fate of our army, perhaps even our
homeland! It was a moment of expectation and terrible uncertainty, luckily
lasting only a few minutes. Our cavalry clashed with the Muscovites on the
high ground, both lines clashed with each other and mixed.

In the whole of this mass it boiled and the whole mass disappeared, like a
dust cloud driven by the wind.

I don’t know who, but someone among us shouted at the top of his
lungs—that shout broke the deathly silence, because he proclaimed victory,
however nobody accompanied him. Because we, young soldiers, still we
weren’t understanding, nor guessing the outcome of this battle, but
besides that we feared to yield to premature joy. “Wait!” someone or other
said—“as yet there’s nothing certain; nothing to be seen, everyone seems
to have disappeared!”

Finally, the part of the mass that we could see, as it vanished from our
sight, started to come towards us. By their colours we recognised our
lancers and by the war cry: Poland Is Not Yet Lost.(4)

Now there’s no doubt, victory is ours! The approaching mass presented a
peculiar spectacle. In it you could see a lot of foot soldiers with
diverse weapons, in addition wagons, ammunition carts, artillery pieces…
There were Muscovite prisoners, captured with the artillery and the whole
encampment.

I wouldn’t be able to describe our joy, this frantic joy! How can it be!
their whole artillery! this mighty artillery in our hands. We rushed
headlong upon these cans, pressing them, caressing them, and I myself for
a moment forgot about my love, the eight-pounder.

Beautiful they were, these Russian cannons, so huge, new, well mounted and
stocked with everything.

“Look, sergeant” the gunner Mateusz called out “look at what red, shining
cannons these cursed Muscovites(5) have!”

I started with a delicate hand to stroke the polished bronze surface, and
everyone repeated in chorus: “Oh, but how these muscovite cans do shine!”
“and what a calibre” noticed one gunner, “that’s the calibre for me!”
“that’s no peashooter!”

I started measuring the muzzle of the cannon, and the soldiers repeated:
“those jaws are no joke!”

Then, when we started examining the harness, then again they called as a
choir: “Oh, what sturdy straps those cursed Muscovites have!”

Nobody will guess in the end, what caused us the greatest joy; it was none
other than ordinary oats, taken as spoils. Our cavalry didn’t have any
more fodder, but the Muscovites had it in ample amounts; their wagons,
caissons, gun carriages even, were full of oats. Soldiers rushed on them
hungrily, filling sacks with them, cartridge cases, pockets, and saying
that they had  never seen such beautiful oats.

The leader rode up and at the sight of him a shout of enthusiasm and
worship thundered. Perhaps he was very tired, because despite a cool day,
sweat flowed from him in drops.

We surrounded him in a dense crowd. Amid the general commotion and bursts
of joy, he alone was calm and silent, though visibly moved.

“My children,” he said to us, “I promised to lead you to the enemy; you
promised to beat him—and so both you and I have kept our words.”

Such was our memorable day at Stoczek. With night falling stories began by
the camp’s bonfires, there were no listeners, because everyone spoke;
everyone bravely acquitted themselves in battle, everyone had
jokes—because everyone was happy.

If that blessed hour comes to me, that I can again fight for my country,
to see the Muscovite army in panic, to seek out my beloved eight pounder
and to hurl cannon balls from it at golden roofs of the Tsarist capital
city, then I will call myself happy; but even then I wouldn’t be able to
feel that, which I experienced in the first battle, in the memorable
Battle of Stoczek.





    1 1831.

    2 A soldier of the Cracovian cavalary. “Krakus” is an alternative name
      of _Krak_, the legendary founder of Cracow, and is used to refer to
      an inhabitant of the city.

    3 A type of tunic, of Turkish influence, typical of Cracow.

    4 The first line of “Dąbrowski’s Mazurka”, now the National Anthem of
      Poland.

    5 Untranslatable: Mateusz here uses the non-human form, echoing his
      earlier use of “beasts”








*** END OF THE PROJECT GUTENBERG EBOOK MY FIRST BATTLE: A SERGEANT'S STORY ***


    

Updated editions will replace the previous one—the old editions will
be renamed.

Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project
Gutenberg eBooks may be modified and printed and given away—you may
do practically ANYTHING in the United States with eBooks not protected
by U.S. copyright law. Redistribution is subject to the trademark
license, especially commercial redistribution.


START: FULL LICENSE

THE FULL PROJECT GUTENBERG™ LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg
electronic works

1.A. By reading or using any part of this Project Gutenberg
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the person
or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg
electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg mission of promoting
free access to electronic works by freely sharing Project Gutenberg
works in compliance with the terms of this agreement for keeping the
Project Gutenberg name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg License when
you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg work. The Foundation makes no
representations concerning the copyright status of any work in any
country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg License must appear
prominently whenever any copy of a Project Gutenberg work (any work
on which the phrase “Project Gutenberg” appears, or with which the
phrase “Project Gutenberg” is associated) is accessed, displayed,
performed, viewed, copied or distributed:

    This eBook is for the use of anyone anywhere in the United States and most
    other parts of the world at no cost and with almost no restrictions
    whatsoever. You may copy it, give it away or re-use it under the terms
    of the Project Gutenberg™ License included with this eBook or online
    at www.gutenberg.org. If you
    are not located in the United States, you will have to check the laws
    of the country where you are located before using this eBook.
  
1.E.2. If an individual Project Gutenberg electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg
trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg License for all works
posted with the permission of the copyright holder found at the
beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg.

1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg work in a format
other than “Plain Vanilla ASCII” or other format used in the official
version posted on the official Project Gutenberg website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg electronic works
provided that:

    • You pay a royalty fee of 20% of the gross profits you derive from
        the use of Project Gutenberg works calculated using the method
        you already use to calculate your applicable taxes. The fee is owed
        to the owner of the Project Gutenberg trademark, but he has
        agreed to donate royalties under this paragraph to the Project
        Gutenberg Literary Archive Foundation. Royalty payments must be paid
        within 60 days following each date on which you prepare (or are
        legally required to prepare) your periodic tax returns. Royalty
        payments should be clearly marked as such and sent to the Project
        Gutenberg Literary Archive Foundation at the address specified in
        Section 4, “Information about donations to the Project Gutenberg
        Literary Archive Foundation.”
    
    • You provide a full refund of any money paid by a user who notifies
        you in writing (or by e-mail) within 30 days of receipt that s/he
        does not agree to the terms of the full Project Gutenberg™
        License. You must require such a user to return or destroy all
        copies of the works possessed in a physical medium and discontinue
        all use of and all access to other copies of Project Gutenberg™
        works.
    
    • You provide, in accordance with paragraph 1.F.3, a full refund of
        any money paid for a work or a replacement copy, if a defect in the
        electronic work is discovered and reported to you within 90 days of
        receipt of the work.
    
    • You comply with all other terms of this agreement for free
        distribution of Project Gutenberg™ works.
    

1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg™ electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg™ collection. Despite these efforts, Project Gutenberg™
electronic works, and the medium on which they may be stored, may
contain “Defects,” such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right
of Replacement or Refund” described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg™ trademark, and any other party distributing a Project
Gutenberg™ electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg™ electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg™
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg work, and (c) any
Defect you cause.

Section 2. Information about the Mission of Project Gutenberg

Project Gutenberg is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg’s
goals and ensuring that the Project Gutenberg collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 41 Watchung Plaza #516,
Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread
public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine-readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular state
visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg electronic works

Professor Michael S. Hart was the originator of the Project
Gutenberg concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg eBooks with only a loose network of
volunteer support.

Project Gutenberg eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.


Showing first 200,000 characters. Full text: gutenberg.org/ebooks/28277