An. 901. Here died Ælfred Æthulfing [Æthelwulfing—the son of Æthelwulf], six nights ere All Hallow Mass. He was king over all English-kin, bar that deal that was under Danish weald [dominion]; and he held that kingdom three half-years less than thirty winters. There came Eadward his son to the rule. And there seized Æthelwold ætheling, his father's brother's son, the ham [villa] at Winburne [Wimbourne], and at Tweoxneam [Christchurch], by the king's unthank and his witan's [without leave from the king]. There rode the king with his fyrd till he reached Badbury against Winburne. And Æthelwold sat within the ham, with the men that to him had bowed, and he had forwrought [obstructed] all the gates in, and said that he would either there live or there lie. Thereupon rode the ætheling on night away, and sought the [Danish] host in Northumbria, and they took him for king and bowed to him. And the king bade ride after him, but they could not outride him. Then beset man the woman that he had erst taken without the king's leave, and against the bishop's word, for that she was ere that hallowed a nun. And on this ilk year forth-fared Æthelred (he was ealdorman on Devon) four weeks ere Ælfred king.

During the Augustan age the Chronicle grows less full, but contains several fine war-songs, of the genuine old English type, full of savagery in sentiment, and abrupt or broken in manner, but marked by the same wild poetry and harsh inversions as the older heathen ballads. Amongst them stand the lines on the fight of Brunanburh, whose exordium is quoted above. Its close forms one of the finest passages in old English verse:—

Behind them they Left,   the Lych to devour,
The Sallow kite   and the Swart raven,
Horny of beak,—   and Him, the dusk-coated,
The white-afted Erne,   the corse to Enjoy,
The Greedy war-hawk,   and that Grey beast,
The Wolf of the Wood.   No such Woeful slaughter
Aye on this Island   Ever hath been,
By edge of the Sword,   as book Sayeth,
Writers of Eld,   since of Eastward hither
English and Saxons   Sailed over Sea,
O'er the Broad Brine,—   landed in Britain,
Proud Workers of War,   and o'ercame the Welsh,
Earls Eager of fame,   Obtaining this Earth.

During the decadence, in the disastrous reign of Æthelred, the Chronicle regains its fulness, and the following passage may be taken as a good specimen of its later style. It shows the approach to comment and reflection, as the compilers grew more accustomed to historical writing in their own tongue:—

An. 1009. Here on this year were the ships ready of which we ere spake, and there were so many of them as never ere (so far as books tell us) were made among English kin in no king's day. And man brought them all together to Sandwich, and there should they lie, and hold this earth against all outlanders [foreigners'] hosts. But we had not yet the luck nor the worship [valour] that the ship-fyrd should be of any good to this land, no more than it oft was afore. Then befel it at this ilk time or a little ere, that Brihtric, Eadric's brother the ealdorman's, forwrayed [accused] Wulfnoth child to the king: and he went out and drew unto him twenty ships, and there harried everywhere by the south shore, and wrought all evil. Then quoth man to the ship-fyrd that man might easily take them, if man were about it. Then took Brihtric to himself eighty ships and thought that he should work himself great fame if he should get Wulfnoth, quick or dead. But as they were thitherward, there came such a wind against them such as no man ere minded [remembered], and it all to-beat and to-brake the ships, and warped them on land: and soon came Wulfnoth and for-burned the ships. When this was couth [known] to the other ships where the king was, how the others fared, then was it as though it were all redeless, and the king fared him home, and the ealdormen, and the high witan, and forlet the ships thus lightly. And the folk that were on the ships brought them round eft to Lunden, and let all the people's toil thus lightly go for nought: and the victory that all English kin hoped for was no better. There this ship-fyrd was thus ended; then came, soon after Lammas, the huge foreign host, that we hight Thurkill's host, to Sandwich, and soon wended their way to Canterbury, and would quickly have won the burg if they had not rather yearned for peace of them. And all the East Kentings made peace with the host, and gave it three thousand pound. And the host there, soon after that, wended till it came to Wightland, and there everywhere in Suth-Sex, and on Hamtunshire, and eke on Berkshire harried and burnt, as their wont is. Then bade the king call out all the people, that men should hold against them on every half [side]: but none the less, look! they fared where they willed. Then one time had the king foregone before them with all the fyrd as they were going to their ships, and all the folk was ready to fight them. But it was let, through Eadric ealdorman, as it ever yet was. Then, after St. Martin's mass, they fared eft again into Kent, and took them a winter seat on Thames, and victualled themselves from East-Sex and from the shires that there next were, on the twain halves of Thames. And oft they fought against the burg of Lunden, but praise be to God, it yet stands sound, and they ever there fared evilly. And there after mid-winter they took their way up, out through Chiltern, and so to Oxenaford [Oxford], and for-burnt the burg, and took their way on to the twa halves of Thames to shipward. There man warned them that there was fyrd gathered at Lunden against them; then wended they over at Stane [Staines]. And thus fared they all the winter, and that Lent were in Kent and bettered [repaired] their ships.

We possess several manuscript versions of the Chronicle, belonging to different abbeys, and containing in places somewhat different accounts. Thus the Peterborough copy is fullest on matters affecting that monastery, and even inserts several spurious grants, which, however, are of value as showing how incapable the writers were of scientific forgery, and so as guarantees of the general accuracy of the document. But in the main facts they all agree. Nor do they stop short at the Norman Conquest. Most of them continue half through the reign of William, and then cease; while one manuscript goes on uninterruptedly till the reign of Stephen, and breaks off abruptly in the year 1154 with an unfinished sentence. With it, native prose literature dies down altogether until the reign of Edward III.

As a whole, however, the Conquest struck the death-blow of Anglo-Saxon literature almost at once. During the reigns of Ælfred's descendants Wessex had produced a rich crop of native works on all subjects, but especially religious. In this literature the greatest name was that of Ælfric, whose Homilies are models of the classical West Saxon prose. But after the Conquest our native literature died out wholly, and a new literature, founded on Romance models, took its place. The Anglo-Saxon style lingered on among the people, but it was gradually killed down by the Romance style of the court writers. In prose, the history of William of Malmesbury, written in Latin, and in a wider continental spirit, marks the change. In poetry, the English school struggled on longer, but at last succumbed. A few words on the nature of this process will not be thrown away.

The old Teutonic poetry, with its treble system of accent, alliteration, and parallelism, was wholly different from the Romance poetry, with its double system of rime and metre. But, from an early date, the English themselves were fond of verbal jingles, such as "Scot and lot," "sac and soc," "frith and grith," "eorl and ceorl," or "might and right." Even in the alliterative poems we find many occasional rimes, such as "hlynede and dynede," "wide and side," "Dryht-guman sine drencte mid wine," or such as the rimes already quoted from Cynewulf. As time went on, and intercourse with other countries became greater, the tendency to rime settled down into a fixed habit. Rimed Latin verse was already familiar to the clergy, and was imitated in their works. Much of the very ornate Anglo-Saxon prose of the latest period is full of strange verbal tricks, as shown in the following modernised extract from a sermon of Wulfstan. Here, the alliterative letters are printed in capitals, and the rimes in italics:—

No Wonder is it that Woes befall us, for Well We Wot that now full many a year men little care what thing they dare in word or deed; and Sorely has this nation Sinned, whate'er man Say, with Manifold Sins and with right Manifold Misdeeds, with Slayings and with Slaughters, with robbing and with stabbing, with Grasping deed and hungry Greed, through Christian Treason and through heathen Treachery, through guile and through wile, through lawlessness and awelessness, through Murder of Friends and Murder of Foes, through broken Troth and broken Truth, through wedded unchastity and cloistered impurity. Little they trow of marriage vow, as ere this I said: little they reck the breach of oath or troth; swearing and for-swearing, on every side, far and wide, Fast and Feast they hold not, Peace and Pact they keep not, oft and anon. Thus in this land they stand, Foes to Christendom, Friends to heathendom, Persecutors of Priests, Persecutors of People, all too many; spurners of godly law and Christian bond, who Loudly Laugh at the Teaching of God's Teachers and the Preaching of God's Preachers, and whatso rightly to God's rites belongs.

The nation was thus clearly preparing itself from within for the adoption of the Romance system. Immediately after the Conquest, rimes begin to appear distinctly, while alliteration begins to die out. An Anglo-Saxon poem on the character of William the Conqueror, inserted in the Chronicle under the year of his death, consists of very rude rimes which may be modernised as follows—

Gold he took by might,
And of great unright,
From his folk with evil deed
For sore little need.
He was on greediness befallen,
And getsomeness he loved withal.
He set a mickle deer frith,

And he laid laws therewith,
That whoso slew hart or hind
Him should man then blinden.
He forbade to slay the harts,
And so eke the boars.
So well he loved the high deer
As if he their father were.
Eke he set by the hares
That they might freely fare.
His rich men mourned it
And the poor men wailed it.
But he was so firmly wrought
That he recked of all nought.
And they must all withal
The king's will follow,
If they wished to live
Or their land have,
Or their goods eke,
Or his peace to seek.
Woe is me,
That any man so proud should be,
Thus himself up to raise,
And over all men to boast.
May God Almighty show his soul mild-heart-ness,
And do him for his sins forgiveness!

From that time English poetry bifurcates. On the one hand, we have the survival of the old Teutonic alliterative swing in Layamon's Brut and in Piers Plowman—the native verse of the people sung by native minstrels: and on the other hand we have the new Romance rimed metre in Robert of Gloucester, "William of Palerne," Gower, and Chaucer. But from Piers Plowman and Chaucer onward the Romance system conquers and the Teutonic system dies rapidly. Our modern poetry is wholly Romance in descent, form, and spirit.

Thus in literature as in civilisation generally, the culture of old Rome, either as handed down ecclesiastically through the Latin, or as handed down popularly through the Norman-French, overcame the native Anglo-Saxon culture, such as it was, and drove it utterly out of the England which we now know. Though a new literature, in Latin and English, sprang up after the Conquest, that literature had its roots, not in Sleswick or in Wessex, but in Greece, in Rome, in Provence, and in Normandy. With the Normans, a new era began—an era when Romance civilisation was grafted by harsh but strong hands on to the Anglo-Saxon stock, the Anglo-Saxon institutions, and the Anglo-Saxon tongue. With the first step in this revolution, our present volume has completed its assigned task. The story of the Normans will be told by another pen in the same series.

[1] The original of this heathen charm is in the Old High German dialect; but it is quoted here as a good specimen of the early form of alliterative verse. A similar charm undoubtedly existed in Anglo-Saxon, though no copy of it has come down to our days, as we possess a modernised and Christianised English version, in which the name of our Lord is substituted for that of Balder.

[2] It is right to state, however, that many scholars regard Beowulf as a late translation from a Danish original.


CHAPTER XXI.

ANGLO-SAXON INFLUENCES IN MODERN BRITAIN.

Perhaps the best way of summing up the results of the present inquiry will be by considering briefly the main elements of our existing life and our actual empire which we owe to the Anglo-Saxon nationality. We may most easily glance at them under the five separate heads of blood, character, language, civilisation, and institutions.

In blood, it is probable that the importance of the Anglo-Saxon element has been generally over-estimated. It has been too usual to speak of England as though it were synonymous with Britain, and to overlook the numerical strength of the Celtic population in Scotland, Wales, Cornwall, and Ireland. It has been too usual, also, to neglect the considerable Danish, Norwegian, and Norman element, which, though belonging to the same Low German and Scandinavian stock, yet differs in some important particulars from the Anglo-Saxon. But we have seen reason to conclude that even in the most purely Teutonic region of Britain, the district between Forth and Southampton Water, a considerable proportion of the people were of Celtic or pre-Celtic descent, from the very first age of English settlement. This conclusion is borne out both by the physical traits of the peasantry and the nature of the early remains. In the western half of South Britain, from Clyde to Cornwall, the proportion of Anglo-Saxon blood has probably always been far smaller. The Norman conquerors themselves were of mixed Scandinavian, Gaulish, and Breton descent. Throughout the middle ages, the more Teutonic half of Britain—the southern and eastern tract—was undoubtedly the most important: and the English, mixed with Scandinavians from Denmark or Normandy, formed the ruling caste. Up to the days of Elizabeth, Teutonic Britain led the van in civilisation, population, and commerce. But since the age of the Tudors, it seems probable, as Dr. Rolleston and others have shown, that the Celtic element has largely reasserted itself. A return wave of Celts has inundated the Teutonic region. Scottish Highlanders have poured into Glasgow, Edinburgh, and London: Welshmen have poured into Liverpool, Manchester, and all the great towns of England: Irishmen have poured into every part of the British dominions. During the middle ages, the Teutonic portion of Britain was by far the most densely populated; but at the present day, the almost complete restriction of coal to the Celtic or semi-Celtic area has aggregated the greatest masses of population in the west and north. If we take into consideration the probable large substratum of Celts or earlier races in the Teutonic counties, the wide area of the undoubted Celtic region which pours forth a constant stream of emigrants towards the Teutonic tract, the change of importance between south-east and north-west, since the industrial development of the coal country, and the more rapid rate of increase among the Celts, it becomes highly probable that not one-half the population of the British Isles is really of Teutonic descent. Moreover, it must be remembered that, whatever may have been the case in the primitive Anglo-Saxon period, intermarriages between Celts and Teutons have been common for at least four centuries past; and that therefore almost all Englishmen at the present day possess at least a fraction of Celtic blood.

"The people," says Professor Huxley, "are vastly less Teutonic than their language." It is not likely that any absolutely pure-blooded Anglo-Saxons now exist in our midst at all, except perhaps among the farmer class in the most Teutonic and agricultural shires: and even this exception is extremely doubtful. Persons bearing the most obviously Celtic names—Welsh, Cornish, Irish, or Highland Scots—are to be found in all our large towns, and scattered up and down through the country districts. Hence we may conclude with great probability that the Anglo-Saxon blood has long since been everywhere diluted by a strong Celtic intermixture. Even in the earliest times and in the most Teutonic counties, many serfs of non-Teutonic race existed from the very beginning: their masters have ere now mixed with other non-Teutonic families elsewhere, till even the restricted English people at the present day can hardly claim to be much more than half Anglo-Saxon. Nor do the Teutons now even retain their position as a ruling caste. Mixed Celts in England itself have long since risen to many high places. Leading families of Welsh, Cornish, Scotch, and Irish blood have also been admitted into the peerage of the United Kingdom, and form a large proportion of the House of Commons, of the official world, and of the governing class in India, the Colonies, and the empire generally. These families have again intermarried with the nobility and gentry of English, Danish, or Norman extraction, and thus have added their part to the intricate intermixture of the two races. At the present day, we can only speak of the British people as Anglo-Saxons in a conventional sense: so far as blood goes, we need hardly hesitate to set them down as a pretty equal admixture of Teutonic and Celtic elements.

In character, the Anglo-Saxons have bequeathed to us much of the German solidity, industry, and patience, traits which have been largely amalgamated with the intellectual quickness and emotional nature of the Celt, and have thus produced the prevailing English temperament as we actually know it. To the Anglo-Saxon blood we may doubtless attribute our general sobriety, steadiness, and persistence; our scientific patience and thoroughness; our political moderation and endurance; our marked love of individual freedom and impatience of arbitrary restraint. The Anglo-Saxon was slow to learn, but retentive of what he learnt. On the other hand, he was unimaginative; and this want of imagination may be traced in the more Teutonic counties to the present day. But when these qualities have been counteracted by the Celtic wealth of fancy, the race has produced the great English literature,—a literature whose form is wholly Roman, while in matter, its more solid parts doubtless owe much to the Teuton, and its lighter portions, especially its poetry and romance, can be definitely traced in great measure to known Celtic elements. While the Teutonic blood differentiates our somewhat slow and steady character from the more logical but volatile and unstable Gaul, the Celtic blood differentiates it from the far slower, heavier, and less quick or less imaginative Teutons of Germany and Scandinavia.

In language we owe almost everything to the Anglo-Saxons. The Low German dialect which they brought with them from Sleswick and Hanover still remains in all essentials the identical speech employed by ourselves at the present day. It received a few grammatical forms from the cognate Scandinavian dialects; it borrowed a few score or so of words from the Welsh; it adopted a small Latin vocabulary of ecclesiastical terms from the early missionaries; it took in a considerable number of Romance elements after the Norman Conquest; it enriched itself with an immense variety of learned compounds from the Greek and Latin at the Renaissance period: but all these additions affected almost exclusively its stock of words, and did not in the least interfere with its structure or its place in the scientific classification of languages. The English which we now speak is not in any sense a Romance tongue. It is the lineal descendant of the English of Ælfred and of Bæda, enlarged in its vocabulary by many words which they did not use, impoverished by the loss of a few which they employed, yet still essentially identical in grammar and idiom with the language of the first Teutonic settlers. Gradually losing its inflexions from the days of Eadgar onward, it assumed its existing type before the thirteenth century, and continuously incorporated an immense number of French and Latin words, which greatly increased its value as an instrument of thought. But it is important to recollect that the English tongue has nothing at all to do in its origin with either Welsh or French. The Teutonic speech of the Anglo-Saxon settlers drove out the old Celtic speech throughout almost all England and the Scotch Lowlands before the end of the eleventh century; it drove out the Cornish in the eighteenth century; and it is now driving out the Welsh, the Erse, and the Gaelic, under our very eyes. In language at least the British empire (save of course India) is now almost entirely English, or in other words, Anglo-Saxon.

In civilisation, on the other hand, we owe comparatively little to the direct Teutonic influence. The native Anglo-Saxon culture was low, and even before its transplantation to Britain it had undergone some modification by mediate mercantile transactions with Rome and the Mediterranean states. The alphabet, coins, and even a few southern words, (such as "alms") had already filtered through to the shores of the Baltic. After the colonisation of Britain, the Anglo-Saxons learnt something of the higher agriculture from their Romanised serfs, and adopted, as early as the heathen period, some small portion of the Roman system, so far as regarded roads, fortifications, and, perhaps buildings. The Roman towns still stood in their midst, and a fragment, at least, of the Romanised population still carried on commerce with the half-Roman Frankish kingdom across the Channel. The re-introduction of Christianity was at the same time the re-introduction of Roman culture in its later form. The Latin language and the Mediterranean arts once more took their place in Britain. The Romanising prelates,—Wilfrith, Theodore, Dunstan,—were also the leaders of civilisation in their own times. The Norman Conquest brought England into yet closer connection with the Continent; and Roman law and Roman arts still more deeply affected our native culture. Norman artificers supplanted the rude English handicraftsmen in many cases, and became a dominant class in towns. The old English literature, and especially the old English poetry, died utterly out with Piers Plowman; while a new literature, based upon Romance models, took its origin with Chaucer and the other Court poets. Celtic-Latin rhyme ousted the genuine Teutonic alliteration. With the Renaissance, the triumph of the southern culture was complete. Greek philosophy and Greek science formed the starting-point for our modern developments. The ecclesiastical revolt from papal Rome was accompanied by a literary and artistic return to the models of pagan Rome. The Renaissance was, in fact, the throwing off of all that was Teutonic and mediæval, the resumption of progressive thought and scientific knowledge, at the point where it had been interrupted by the Germanic inroads of the fifth century. The unjaded vigour of the German races, indeed, counted for much; and Europe took up the lost thread of the dying empire with a youthful freshness very different from the effete listlessness of the Mediterranean culture in its last stage. Yet it is none the less true that our whole civilisation is even now the carrying out and completion of the Greek and Roman culture in new fields and with fresh intellects. We owe little here to the Anglo-Saxon; we owe everything to the great stream of western culture, which began in Egypt and Assyria, permeated Greece and the Archipelago, spread to Italy and the Roman empire, and, finally, now embraces the whole European and American world. The Teutonic intellect and the Teutonic character have largely modified the spirit of the Mediterranean civilisation; but the tools, the instruments, the processes themselves, are all legacies from a different race. Englishmen did not invent letters, money, metallurgy, glass, architecture, and science; they received them all ready-made, from Italy and the Ægean, or more remotely still from the Euphrates and the Nile. Nor is it necessary to add that in religion we have no debt to the Anglo-Saxon, our existing creed being entirely derived through Rome from the Semitic race.

In institutions, once more, the Anglo-Saxon has contributed almost everything. Our political government, our limited monarchy, our parliament, our shires, our hundreds, our townships, are considered by the dominant school of historians to be all Anglo-Saxon in origin. Our jury is derived from an Anglo-Saxon custom; our nobility and officials are representatives of Anglo-Saxon earls and reeves. The Teuton, when he settled in Britain, brought with him the Teutonic organisation in its entirety. He established it throughout the whole territory which he occupied or conquered. As the West Saxon over-lordship grew to be the English kingdom, and as the English kingdom gradually annexed or coalesced with the Welsh and Cornish principalities, the Scotch and Irish kingdoms,—the Teutonic system spread over the whole of Britain. It underwent some little modification at the hands of the Normans, and more still at those of the Angevins; but, on the whole, it is still a wide yet natural development of the old Germanic constitution.

Thus, to sum up in a single sentence, the Anglo-Saxons have contributed about one-half the blood of Britain, or rather less; but they have contributed the whole framework of the language, and the whole social and political organisation; while, on the other hand, they have contributed hardly any of the civilisation, and none of the religion. We are now a mixed race, almost equally Celtic and Teutonic by descent; we speak a purely Teutonic language, with a large admixture of Latin roots in its vocabulary; we live under Teutonic institutions; we enjoy the fruits of a Græco-Roman civilisation; and we possess a Christian Church, handed down to us directly through Roman sources from a Hebrew original. To the extent so indicated, and to that extent only, we may still be justly styled an Anglo-Saxon people.


INDEX.

 

THE END.


WYMAN AND SONS, PRINTERS, GREAT QUEEN STREET, LONDON, W.C.


Transcriber's note:

Unicode characters transcribed.

In the following, characters with macrons have been transcribed as [=x], and those with breve accents as [)x].
Click
here to return to the text.

The simple vowels, as a rule, have their continental pronunciation, approximately thus: [=a] as in father, [)a] as in ask; [=e] as in there, [)e] as in men; [=i] as in marine, [)i] as fit; [=o] as in note, [)o] as in not; [=u] as in brute, [)u] as in full; [=y] as in grün (German), [)y] as in hübsch (German).

 










End of the Project Gutenberg EBook of Early Britain, by Grant Allen

*** END OF THIS PROJECT GUTENBERG EBOOK EARLY BRITAIN ***

***** This file should be named 16790-h.htm or 16790-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/1/6/7/9/16790/

Produced by Clare Boothby, Annika Feilbach and the Online
Distributed Proofreading Team at http://www.pgdp.net


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.net/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.net

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.net),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

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

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

- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.

- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.

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

1.F.

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

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

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

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

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

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


Section 2. Information about the Mission of Project Gutenberg-tm

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

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


Section 3. Information about the Project Gutenberg Literary Archive
Foundation

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

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf.org


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

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

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

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

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

Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including 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.net

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.