How to tell the Birds from the Flowers, and other Wood-cuts
by Robert Williams Wood · English · Gutenberg #33346 · 38,617 chars · public domain (US)
The Project Gutenberg eBook of How to tell the Birds from the Flowers, and other Wood-cuts
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: How to tell the Birds from the Flowers, and other Wood-cuts
Author: Robert Williams Wood
Release date: August 4, 2010 [eBook #33346]
Most recently updated: January 6, 2021
Language: English
Other information and formats: www.gutenberg.org/ebooks/33346
Credits: Produced by Juliet Sutherland, David Garcia and the Online
Distributed Proofreading Team at https://www.pgdp.net
*** START OF THE PROJECT GUTENBERG EBOOK HOW TO TELL THE BIRDS FROM THE FLOWERS, AND OTHER WOOD-CUTS ***
Produced by Juliet Sutherland, David Garcia and the Online
Distributed Proofreading Team at https://www.pgdp.net
How To Tell The Birds
From The Flowers
And Other Wood-cuts.
A Revised Manual of Flornithology for Beginners.
[Illustration]
Verses and Illustrations
By Robert Williams Wood.
Published By Duffield and Co.
New York.
Copyright 1917.
By
Duffield and Co.
[Illustration]
Contents.
The Burr. The Bird. 1.
The Crow. The Crocus. 2.
The Plover. The Clover. 3.
Ole Gander. Oleander. 4.
The Hen. The Lichen. 5.
The Pelican. The Panicle. 6.
The Pea. The Pewee. 7.
The Parrot. The Carrot. 8.
The Rue. The Rooster. 9.
The Hawk. The Hollyhock. 10.
The Pecan. The Toucan. 11.
The Cat-bird. The Cat-nip. 12.
The Quail. The Kale. 13.
The Auk. The Orchid. 14.
The Cow-bird. The Cowslip. 15.
The Butter-ball. The Buttercup. 16.
The Roc. The Shamrock. 17.
A Sparrer. Asparagus. 18.
The Blue Mountain Lory. 19.
The Blue Morning Glory. 19.
The Tern. The Turnip. 20.
The Larks. The Larkspur. 22.
Cross Bill. Sweet William. 23.
The Ibis. The 'Ibiscus. 24.
The Pipe. The Snipe. 25.
The Bay. The Jay. 26.
The Gent-ian. The Lady-bird. 27.
Puffin. Nuffin. 28.
Bee. Beet. Beetle. 29.
The Bunny. The Tunny. 30.
The Puss. The Octopus. 31.
The Eel. The Eelephant. 32.
The Ant. The Pheasant. 33.
The Hare. The Harrier. 34.
The Pen-guin. The Sword-fish. 35.
The Gnu. The Newt. 36.
The Ray. The Raven. 38.
The Ape. The Grape. 40.
The Doe. The Dodo. 41.
The Pipe-fish. The Sea-gar. 42.
The Elk. The Whelk. 43.
The P-cock. The Q-cumber. 44.
The Sloe. The Sloth. 45.
The Cow. The Cowry. 46.
The Antelope. The Cantelope. 47.
The Pansy. The Chim-pansy. 48.
Naught. Nautilus. 49.
Intro-duc-tion.
[Illustration]
By other Nature books I'm sure,
You've often been misled,
You've tried a wall-flower to secure.
And "picked a hen" instead:
You've wondered what the egg-plants lay,
And why the chestnut's burred,
And if the hop-vine hops away,
It's perfectly absurd.
I hence submit for your inspection,
This very new and choice collection,
Of flowers on Storks, and Phlox of birds,
With some explanatory words.
Not every one is always able
To recognize a vegetable,
For some are guided by tradition,
While others use their intuition,
And even I make no pretense
Of having more than common sense.
Indeed these strange homologies
Are in most flornithologies,
And I have freely drawn upon
The works of Gray and Audubon,
Avoiding though the frequent blunders
Of those who study Nature's wonders.
[Illustration]
Burr. Bird.
[Illustration: Burr. Bird.]
Who _is_ there who has never heard,
About the Burdock and the Bird?
And yet how very very few,
Discriminate between the two,
While even Mr. Burbank can't,
Transform a Bird into a Plant.
[Illustration: Burbank.]
The Crow. The Crocus.
[Illustration: The Crow. The Crocus.]
Some are unable, as you know,
To tell the Crocus from the Crow;
The reason why is just be-caws
They are not versed in Nature's laws.
The noisy cawing Crows all come,
Obedient to the Cro'custom,
A large Crow Caw-cus to convoke.
You never hear the Crocus croak!
The Clover. The Plover.
[Illustration: The Clover. The Plover.]
The Plover and the Clover can be told apart with ease,
By paying close attention to the habits of the Bees,
For En-to-molo-gists aver, the Bee can be in Clover,
While Ety-molo-gists concur, there is no B in Plover.
The Ole Gander. The Oleander.
[Illustration: The Ole Gander. The Oleander.]
The Gander loves to promenade,
Around the farmer's poultry yard,
While as we see, the Oleander
Is quite unable to meander:
The Gardener tied it up indeed,
Fearing that it might run to seed.
The Hen. The Lichen.
[Illustration: The Hen. The Lichen.]
Lichens, regardless of conventions,
Exist in only two dimensions,
A life restricted to a plane,
On rocks and stones a greenish stain,
They live upon the simplest fare,
A drop of dew, a breath of air.
Contrast them with the greedy Hen,
And her most careless regimen,
She shuns the barren stones and rocks,
And thrives upon the garbage box.
The Pelican. The Panicle.
[Illustration: The Pelican. The Panicle.]
The Panicle and Pelican have often been confused,
The letters which spell Pelican, in Panicle are used.
If you recognize this Anagram you'll never go astray,
Or make the careless blunder that was made by Mr. Gray.
The Pea. The Pewee.
[Illustration: The Pea. The Pewee.]
To tell the Pewee from the Pea,
Requires great per-spi-ca-city.
Here in the pod we see the Pea,
While perched close by is the Pewee;
The Pea he hears the Pewee peep,
While Pewee sees the wee Pea weep,
There'll be but little time to see,
How Pewee differs from the Pea.
The Parrot. The Carrot.
[Illustration: The Parrot. The Carrot.]
The Parrot and the Carrot one may easily confound,
They're very much alike in looks and similar in sound,
We recognize the Parrot by his clear articulation,
For Carrots are unable to engage in conversation.
The Rue. The Rooster.
[Illustration: The Rue. The Rooster.]
When you awake at half-past-two,
And hear a "Cock-a-doodle-doo,"
No argument need then ensue,
It is the Rooster, not the Rue,
Which never thus disturbs our dreams,
With ruthless rude nocturnal screams.
We sleep less soundly than we used ter
And love the Rue but rue the Rooster.
The Hawk. The Hollyhock.
[Illustration: The Hawk. The Hollyhock.]
To recognize this bird-of-prey,
The broody hen you should survey:
She takes her chicks on daily walks,
Among the neighboring Hollyhocks,
While with the Hawk association,
Is quite beyond her toleration.
The Pecan. The Toucan.
[Illustration: The Pecan. The Toucan.]
Very few can
Tell the Toucan
From the Pecan--
Here's a new plan:
To take the Toucan from the tree,
Requires im-mense a-gil-i-tee,
While anyone can pick with ease
The Pecans from the Pecan trees.
It's such an easy thing to do,
That even the Toucan he can too.
The Cat-bird. The Cat-nip.
[Illustration: The Cat-bird. The Cat-nip.]
The Cat-bird's call resembles that
Emitted by the Pussy Cat,
While Cat-nip growing by the wall,
Is never known to caterwaul:
It's odor though attracts the Kits,
And throws them in Cat-nip-tion fits.
[Illustration]
The Quail. The Kale.
[Illustration: The Quail. The Kale.]
The California Quail is said
To have a tail upon his head,
While contrary-wise we style the Kale,
A cabbage-head upon a tail.
It is not hard to tell the two,
The Quail commences with a queue.
The Auk. The Orchid.
[Illustration: The Auk. The Orchid.]
We seldom meet, when out to walk,
Either the Orchid or the Auk.
The awk-ward Auk is only known
To dwellers in the Auk-tic zone,
While Orchids can be found in legions,
Within the equatorial regions.
So if by chance you travel on
The Lena or the Am-a-zon,
Be certain of the tem-pera-ture
Or you will make mistakes I'm sure.
The Cow Bird. The Cowslip.
[Illustration: The Cow Bird. The Cowslip.]
Although the Cow'slips on this plant,
Suggest perhaps a ru-min-ant,
One never sees the opening bud,
Devour the grass or chew its cud.
The Cowbird picture, I suspect,
Is absolutely incorrect;
We make such errors now and then,
A sort of cow slip of the pen.
The Butter-ball. The Butter-cup.
[Illustration: The Butter-ball. The Butter-cup.]
The little Butter-cup can sing,
From morn 'till night like anything.
The quacking of the Butter-ball,
Cannot be called a song at all.
We thus the flower may learn to know,
Its song is reproduced below.
[Illustration]
The Roc. The Shamrock.
[Illustration: The Roc. The Shamrock.]
Although I never took much stock,
In Sinbad's yarn about the Roc,
And really must confess I am
Inclined to think the Roc a sham:
Take notice that, the Sham-rock may
Be seen upon St. Patrick's day.
A Sparrer. Asparagus.
[Illustration: A Sparrer. Asparagus.]
Of the fall of the Sparrow we often have heard,
And I've here represented the fall of the bird:
In the case of Asparagus though, I may mention,
A fall such as this, is quite out of the question:
For observe that Asparagus, fat and well fed,
Spends all of his time in the 'sparagus bed.
The Blue Mountain Lory. The Blue Morning Glory.
[Illustration: The Blue Mountain Lory. The Blue Morning Glory.]
The Insects, to avoid surprise
By Birds, sometimes themselves disguise
As leaves and twigs, and thus escape
The appetizing Insect's fate.
Observe how cleverly this Vine
Has forced its leaves and flowers to twine
Themselves into a Bird design.
And how it's artful turns and twists,
Hides it from zealous Botanists.
The Tern. The Turnip.
[Illustration: The Tern. The Turnip.]
To tell the Turnip from the Tern,
A thing which everyone should learn,
Observe the Tern up in the air,
See how he turns, and now compare
Him with this in-ert veg-et-able,
Who thus to turn is quite unable,
For he is rooted to the spot,
While as we see, the Tern is not:
He is not always doomed to be
Thus bound to earth e-_tern_-ally
For "cooked to a tern" may be inferred,
To change the Turnip to a bird.
[Illustration]
Observe the Turnip in the Pot.
The Tern is glad that he is not!
The Larks. The Larkspur.
[Illustration: The Larks. The Larkspur.]
You must not make ad-verse remarks,
About my drawing of the Larks.
For, by the minor poet's lore
The Larks--per-pet-ually soar.
While Larkspurs, bordering garden walks,
Are perched securely on their stalks.
Cross Bill. Sweet William.
[Illustration: Cross Bill. Sweet William.]
Nobody but an imbecile
Mistakes Sweet William for Cross Bill:
And even I can scarcely claim,
The skill to make them look the same.
Some other shrubs and vines and trees,
Express emotion much like these,
You've seen the mad-wort plant I guess,
And weeping willows and sigh-press,
The passion-flower, at it's climax,
The glad-iolus and the smile-ax.
The Ibis. The 'Ibiscus.
[Illustration: The Ibis. The 'Ibiscus.]
The sacred Ibis, one might say,
Was classified a "Bird-of-Pray"
His body, after death, was dried,
Embalmed in pitch, and mummyfied,
And thus was handed down to us
In some old King's sarcophagus.
The Mallow, growing in the bogs,
('Ibiscus termed by pedagogues)
Is much opposed to dessication,
And bears no marks of veneration.
The Pipe. The Snipe.
[Illustration: The Pipe. The Snipe.]
Observe the hybrid Indian Pipe,
Likewise the high-bred English Snipe,
Who is distinguished, as we see,
By his superior pedigree.
[Illustration:
Two crosses botonny
Bend sinister]
[Illustration:
Fess Argent
Mantlets Sable]
The Jay. The Bay.
[Illustration: The Jay. The Bay.]
The Blue Jay, as we clearly see,
Is so much like the green Bay tree
That one might say the only clue,
Lies in their dif-fer-ence of hue,
And if you have a color sense,
You'll see at once this difference.
The Gent-ians. The Lady-bird.
[Illustration: The Gent-ians. The Lady-bird.]
The reason why this beetle gay,
Is called the Lady-bird, they say,
Is just because he wastes his hours,
In running after pretty flowers,
Who, quite regardless of conventions,
Most openly invite attentions.
(And hence are aptly termed the Gent-ians.)
Puffin. Nuffin.
[Illustration: Puffin. Nuffin.]
Upon this cake of ice is perched,
The paddle-footed Puffin:
To find his double I have searched,
But have discovered--Nuffin'.
The Bee. The Beet. The Beetle.
[Illustration: The Bee. The Beet. The Beetle.]
Good Mr. Darwin once contended
That Beetles were from Bees descended,
And as my pictures show I think
The Beet must be the missing link.
The sugar-beet and honey-bee
Supply the Beetle's pedigree:
The family is now complete,--
The Bee, the Beetle and the Beet.
The Bunny. The Tunny.
[Illustration: The Bunny. The Tunny.]
The superficial naturalists have often been misled,
By failing to discriminate between the tail and head:
It really is unfortunate such carelessness prevails,
Because the Bunnies have their heads where Tunnies have their tails.
The Puss. The Octo-pus.
[Illustration: The Puss. The Octo-pus.]
The Octopus or Cuttle-fish!
I'm sure that none of us would wish
To have him scuttle 'round the house,
Like Puss, when she espies a mouse:
When _you_ secure your house-hold pet,
Be very sure you do not get
The Octopus, or there may be
Domestic in-_felis_-ity.
The Eel. The Eelephant.
[Illustration: The Eel. The Eelephant.]
The marked aversion which we feel,
When in the presence of the Eel,
Makes many view with consternation,
The Elephant's front ele-vation.
Such folly must be clearly due
To their peculiar point of view.
The Ant. The Pheas-ant.
[Illustration: The Ant. The Pheas-ant.]
The ant is known by his ant-ennae,
Where-as the pheas-ant has'nt any,
And that is why he wears instead,
A small red cap upon his head:
Without his Fez, indeed the pheasant,
Would be quite bald and quite un-pleasant.
The Hare. The Harrier.
[Illustration: The Hare. The Harrier.]
The Harrier, harassed by the Hare,
Presents a picture of despair;
Although as far as I'm concerned,
I love to see the tables turned.
The Harrier flies with all his might,
It is a harum-scare'm flight:
I'm not surprised he does not care
To meet the fierce pursuing Hare.
The Pen-guin. The Sword-fish.
[Illustration: The Pen-guin. The Sword-fish.]
We have for many years been bored
By that old saw about the sword
And pen, and now we all rejoice,
To see how Nature made her choice:
She made, regardless of offendin',
The Sword-fish mightier than the Penguin.
The Gnu. The Newt.
[Illustration: The Gnu. The Newt.]
The Gnu conspicuously wears
His coat of gnumerous bristling hairs,
While, as we see, the modest Newt
Of such a coat is destitute.
(I'm only telling this to you,
And it is strictly "entre gnu")
In point of fact the Newt is nude,
And therefore he does not obtrude,
But hides in some secluded gnook,
Beneath the surface of the brook.
It's almost more than he can bear,
To issue slyly from his lair,
And snatch a hasty breath of air,
His need of which is absolute,
Because, you see, he is a pneu-t.[A]
[Illustration]
[Footnote A:
This word, of _air_ is emblematic,
Greek, "pneumos"--air--compare Pneumatic.]
The Ray. The Raven.
[Illustration: The Ray. The Raven.]
I always sing the hymn of hate,
When I perceive the Ray (or skate)
His ugly mouth I can't abide,
His eyes are on the other side,
His features are all out of place
He hasn't even any face.
I do not mind the Raven, though
Maligned by Edgar Allan Poe:
By his fun-er-ial array
We recognize him from the Ray,
Whose epiderm is white as snow,
Not black as night, like Mr Crow.
Though black, morose, and quite unshaven
I'm sure we all prefer the Raven.
[Illustration]
The Ape. The Grape.
[Illustration: The Ape. The Grape.
To see her shape,
Invert the Ape!]
The Apes, from whom we are descended,
Hang ape-x down from trees suspended,
And since we find them in the trees,
We term them arbor-ig-i-nes.
This quite explains the monkey-shines
Cut up by those who pluck from vines
The Grape, and then subject its juices,
To Bacchanalian abuses.
The Doe. The Dodo.
[Illustration: The Doe. The Dodo.]
The Doe and her phonetic double,
No longer are a source of trouble,
Because the Dodo, it appears,
Has been extinct for many years:
_She_ was too haughty to embark,
With total strangers in Noah's ark,
And we rejoice because her pride,
Our nature book has simplified.
The Pipe-fish. The Sea-gar.
[Illustration: The Pipe-fish. The Sea-gar.]
To smoke a herring is to make
A most lam-_en_-table mistake,
Particularly since there are
The pipe-fish and the long Sea-gar.
Bear this in mind when next you wish
To smoke your after-dinner fish.
The Elk. The Whelk.
[Illustration: The Elk. The Whelk.]
A roar of welkome through the welkin
Is certain proof you'll find the Elk in;
But if you listen to the shell,
In which the Whelk is said to dwell,
And hear a roar, beyond a doubt
It indicates the Whelk is out.
The P-Cock. The Q-Cumber.
[Illustration: The P-Cock. The Q-Cumber.]
The striking similarity of this P-Q-liar pair,
No longer need en-cumber us, or fill us with despair:
The P-Cock and the Q-Cumber you never need confuse,
If you pay attention to the Eyes and mind your P's and Q's.
[Illustration]
The Sloe. The Sloth.
[Illustration: The Sloe. The Sloth.]
See what a fix the Sloth is in,
He has been captured by the gin:
This gin is not the same gin though,
In which we sometimes find the Sloe.
This shows how careful one must be,
To treat the gin most gingerly.
The Cow. The Cowry.
[Illustration: The Cow. The Cowry.]
The Cowry seems to be, somehow,
A sort of mouth-piece for the Cow:
A speaking likeness one might say,
Which I've endeavored to portray.
The Antelope. The Cantelope.
[Illustration: The Antelope. The Cantelope.]
If you will tap the Cantelope reposing on the ground
It will not move, but just emit a melon-choly sound
But if you try this method on the antlered antelope,
His departure will convince you that he is a mis-an-thrope.
The Pansy. The Chim-pansy.
[Illustration: The Pansy. The Chim-pansy.]
Observe how Nature's necromancies
Have clearly painted on the Pansies,
These almost human counten-ances,
In yellow, blue and black nu-ances.
The face however seems to me
To be that of the Chim-pan-zee:
A fact that makes the gentle Pansy,
Appeal no longer to my fancy.
Naught. Nautilus.
[Illustration: Naught. Nautilus.]
The Argo-naut or Nautilus,
With habits quite adventurous,
A com-bin-a-tion of a snail,
A jelly-fish and paper sail.
The parts of him that did not jell,
Are packed securely in his shell.
It is not strange that when I sought
To find his double, I found Naught.
*** END OF THE PROJECT GUTENBERG EBOOK HOW TO TELL THE BIRDS FROM THE FLOWERS, AND OTHER WOOD-CUTS ***
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/33346