Joseph Conrad — Romance And Realism 1, 2, 3

I

The terms, Romance and Realism, have been used of late years very largely as a means of escape from this business of the creation of character.

The purely romantic novel may now be said to be, in England at any rate, absolutely dead.

Mr Frank Swinnerton, in his study of _Robert Louis Stevenson_, said: "Stevenson, reviving the never-very-prosperous romance of England, created a school which has brought romance to be the sweepings of an old costume-chest;...

if romance is to be conventional in a double sense, if it spring not from a personal vision of life, but is only a tedious virtuosity, a pretence, a conscious toy, romance as an art is dead.

The art was jaded when Reade finished his vociferous carpet-beating; but it was not dead.

And if it is dead, Stevenson killed it!"

We may differ very considerably from Mr Swinnerton with regard to his estimate of Stevenson's present and future literary value without denying that the date of the publication of _St Ives_ was also the date of the death of the purely romantic novel.

But, surely, here, as Mr Swinnerton himself infers, the term "Romantic" is used in the limited and truncated idea that has formed, lately the popular idea of Romance.

In exactly the same way the term "Realism" has, recently, been most foolishly and uncritically handicapped.

Romance, in its modern use, covers everything that is removed from reality: "I like romances," we hear the modern reader say, "because they take me away from real life, which I desire to forget."

In the same way Realism is defined by its enemies as a photographic enumeration of unimportant facts by an observant pessimist.

"I like realism," admirers of a certain order of novel exclaim, "because it is so like life.

It tells me just what I myself see every day--I know where I am."

Nevertheless, impatient though we may be of these utterly false ideas of Romance and Realism, a definition of those terms that will satisfy everyone is almost impossible.

I cannot hope to achieve so exclusive an ambition--I can only say that to myself Realism is the study of life with all the rational faculties of observation, reason and reminiscence--Romance is the study of life with the faculties of imagination.

I do not mean that Realism may not be emotional, poetic, even lyrical, but it is based always upon truth perceived and recorded--it is the essence of observation.

In the same way Romance may be, indeed must be, accurate and defined in its own world, but its spirit is the spirit of imagination, working often upon observation and sometimes simply upon inspiration.

It is, at any rate, understood here that the word Romance does not, for a moment, imply a necessary divorce from reality, nor does Realism imply a detailed and dusty preference for morbid and unagreeable subjects.

It is possible for Romance to be as honestly and clearly perceptive as Realism, but it is not so easy for it to be so because imagination is more difficult of discipline than observation.

It is possible for Realism to be as eloquent and potential as Romance, although it cannot so easily achieve eloquence because of its fear of deserting truth.

Moreover, with regard to the influence of foreign literature upon the English novel, it may be suggested that the influence of the French novel, which was at its strongest between the years of 1885 and 1895, was towards Realism, and that the influence of the Russian novel, which has certainly been very strongly marked in England during the last years, is all towards Romantic-Realism.

If we wished to know exactly what is meant by Romantic-Realism, such a novel as _The Brothers Karamazov_, such a play as _The Cherry Orchard_ are there before us, as the best possible examples.

We might say, in a word, that _Karamazov_ has, in the England of 1915, taken the place that was occupied, in 1890, by _Madame Bovary_....

II

It is Joseph Conrad whose influence is chiefly responsible for this development in the English novel.

Just as, in the early nineties, Mr Henry James and Mr Rudyard Kipling, the one potential, the other kinetic, influenced, beyond all contemporary novelists, the minds of their younger generation, so to-day, twenty-five years later, do Mr Joseph Conrad and Mr H. G.

Wells, the one potential, the other kinetic, hold that same position.

Joseph Conrad, from the very first, influenced though he was by the French novel, showed that Realism alone was not enough for him.

That is to say that, in presenting the case of Almayer, it was not enough for him merely to state as truthfully as possible the facts.

Those facts, sordid as they are, make the story of Almayer's degradation sufficiently realistic, when it is merely recorded and perceived by any observer.

But upon these recorded facts Conrad's imagination, without for a moment deserting the truth, worked, beautifying, ennobling it, giving it pity and terror, above all putting it into relation with the whole universe, the whole history of the cycle of life and death.

As I have said, the Romantic novel, in its simplest form, was used, very often, by writers who wished to escape from the business of the creation of character.

It had not been used for that purpose by Sir Walter Scott, who was, indeed, the first English Romantic-Realist, but it was so used by his successors, who found a little optimism, a little adventure, a little colour and a little tradition go a long way towards covering the required ground.

Conrad had, from the first, a poet's--that is to say, a romantic--mind, and his determination to use that romance realistically was simply his determination to justify the full play of his romantic mind in the eyes of all honest men.

In that intention he has absolutely succeeded; he has not abated one jot of his romance--_Nostromo, Lord Jim, Heart of Darkness_ are amongst the most romantic things in all our literature--but the last charge that any critic can make against him is falsification, whether of facts, of inference or of consequences.

The whole history of his development has for its key-stone this determination to save his romance by his reality, to extend his reality by his romance.

He found in English fiction little that could assist him in this development; the Russian novelists were to supply him with his clue.

This whole question of Russian influence is difficult to define, but that Conrad has been influenced by Turgéniev a little and by Dostoievsky very considerably, cannot be denied.

_Crime and Punishment, The Idiot, The Possessed, The Brothers Karamazov_ are romantic realism at the most astonishing heights that this development of the novel is ever likely to attain.

We will never see again heroes of the Prince Myshkin, Dmitri Karamazov, Nicolas Stavrogin build, men so real to us that no change of time or place, age or sickness can take them from us, men so beautifully lit with the romantic passion of Dostoievsky's love of humanity that they seem to warm the whole world, as we know it, with the fire of their charity.

That power of creating figures typical as well as individual has been denied to Conrad.

Captain Anthony, Nostromo, Jim do not belong to the whole world, nor do they escape the limitations and confinements that their presentation as "cases" involves on them.

Moreover, Conrad does not love humanity.

He feels pity, tenderness, admiration, but love, except for certain of his sea heroes, never, and even with his sea heroes it is love built on his scorn of the land.

Dostoievsky scorned no one and nothing;

as relentless in his pursuit of the truth as Stendhal or Flaubert, he found humanity, as he investigated it, beautiful because of its humanity--Conrad finds humanity pitiable because of its humanity.

Nevertheless he has been influenced by the Russian writer continuously and sometimes obviously.

In at least one novel, _Under Western Eyes_, the influence has led to imitation.

For that reason, perhaps, that novel is the least vital of all his books, and we feel as though Dostoievsky had given him Razumov to see what he could make of him, and had remained too overwhelmingly curious an onlooker to allow independent creation.

What, however, Conrad has in common with the creator of Raskolnikov is his thrilling pursuit of the lives, the hearts, the minutest details of his characters.

Conrad alone of all English novelists shares this zest with the great Russian.

Dostoievsky found his romance in his love of his fellow-beings, Conrad finds his in his love of beauty, his poet's cry for colour, but their realism they find together in the hearts of men--and they find it not as Flaubert, that they make of it a perfect work of art, not as Turgéniev, that they may extract from it a flower of poignant beauty, not as Tolstoi, that they may, from it, found a gospel--simply they pursue their quest because the breathless interest of the pursuit is stronger than they.

They have, both of them, created characters simply because characters demanded to be created.

We feel that Emma Bovary was dragged, painfully, arduously, against all the strength of her determination, out of the shades where she was lurking.

Myshkin, the Karamazovs, and, in their own degree, Nostromo, Almayer, McWhirr, demanded that they should be flung upon the page.

Instead of seizing upon Romance as a means of avoiding character, he has triumphantly forced it to aid him in the creation of the lives that, through him, demand existence.

This may be said to be the great thing that Conrad has done for the English novel--he has brought the zest of creation back into it; the French novelists used life to perfect their art--the Russian novelists used art to liberate their passion for life.

That at this moment in Russia the novel has lost that zest, that the work of Kouprin, Artzybashev, Sologub, Merejkovsky, Andreiev, shows exhaustion and sterility means nothing; the stream will soon run full again.

Meanwhile we, in England, know once more what it is to feel, in the novel, the power behind the novelist, to be ourselves in the grip of a force that is not afraid of romance nor ashamed of realism, that cares for life as life and not as a means of proving the necessity for form, the danger of too many adjectives, the virtues of the divorce laws or the paradise of free love.

III

Finally, what will be the effect of the work of Joseph Conrad upon the English novel of the future?

Does this Romantic-Realism that he has provided for us show any signs of influencing that future?

I think that it does.

In the work of all of the more interesting younger English novelists--in the work of Mr E. M.

Forster, Mr D. H.

Lawrence, Mr J. D.

Beresford, Mr W. L.

George, Mr Frank Swinnerton, Mr Gilbert Cannan, Miss Viola Meynell, Mr Brett Young--this influence is to be detected.

Even with such avowed realists as Mr Beresford, Mr George and Mr Swinnerton the realism is of a nature very different from the realism of even ten years ago, as can be seen at once by comparing so recent a novel as Mr Swinnerton's _On the Staircase_ with Mr Arnold Bennett's _Sacred and Profane Love_, or Mr Galsworthy's _Man of Property_--and Mr E.

M.

Forster is a romantic-realist of most curious originality, whose _Longest Journey_ and _Howard's End_ may possibly provide the historian of English literature with dates as important as the publication of _Almayer's Folly_ in 1895. The answer to this question does not properly belong to this essay.

It is, at any rate, certain that neither the old romance nor the old realism can return.

We have been shown in _Nostromo_ something that has the colour of _Treasure Island_ and the reality of _New Grub Street_.

If, on the one hand, the pessimists lament that the English novel is dead, that everything that can be done has been done, there is, surely, on the other hand, some justification for the optimists who believe that at few periods in English literature has the novel shown more signs of a thrilling and original future.

For signs of the possible development of Conrad himself one may glance for a moment at his last novel, _Victory_.

The conclusion of _Chance_ and the last volume of short stories had shown that there was some danger lest romance should divorce him, ultimately, from reality.

_Victory_, splendid tale though it is, does not entirely reassure us.

The theme of the book is the pursuit of almost helpless uprightness and innocence by almost helpless evil and malignancy; that is to say that the strength and virtue of Heyst and Lena are as elemental and independent of human will and effort as the villainy and slime of Mr Jones and Ricardo.

Conrad has here then returned to his old early demonstration that nature is too strong for man and I feel as though, in this book, he had intended the whole affair to be blown, finally, sky-high by some natural volcanic eruption.

He prepares for that eruption and when, for some reason or another, that elemental catastrophe is prevented he consoles himself by strewing the beach of his island with the battered corpses of his characters.

It is in such a wanton conclusion, following as it does immediately upon the finest, strongest and most beautiful thing in the whole of Conrad--the last conversation between Heyst and Lena--that we see this above-mentioned divorce from reality.

We see it again in the more fantastic characteristics of Mr Jones and Ricardo, in the presence of the Orang-Outang, and in other smaller and less important effects.

At the same time his realism, when he pleases, as in the arrival of the boat of the thirst-maddened trio on the island beach, is as magnificent in its austerity and truth as ever it was.

Will he allow his imagination to carry him wildly into fantasy and incredibility?

He has not, during these last years, exerted the discipline and restraint that were once his law.

Nevertheless, at the last, when one looks back over twenty years, from the _Almayer's Folly_ of 1895 to the _Victory_ of 1915, one realises that it was, for the English novel, no mean nor insignificant fortune that brought the author of those books to our shores to give a fresh impetus to the progress of our literature and to enrich our lives with a new world of character and high adventure.

A SHORT BIBLIOGRAPHY OF JOSEPH CONRAD'S PRINCIPAL WRITINGS

[The date is given of the first edition of each book.

New edition signifies a change of format or transference to a different publisher.

] Almayer's Folly: A Story of an Eastern River _(Unwin)_.

1895. New editions: _(Nash)_.

1904; _(Unwin)_.

1909, 1914, 1915. An Outcast of the Islands _(Unwin)_.

1896. New edition, 1914. The Nigger of the "Narcissus": A Tale of the Sea _(Heinemann)_.

1897. New edition, 1910. Tales of Unrest _(Unwin)_.

1898. New edition, 1909. Lord Jim: A Tale _(Blackwood)_.

1900. New edition, 1914. The Inheritors: An Extravagant Story.

By Joseph Conrad and Ford M. Hueffer _(Heinemann)_.

1901. Youth: a Narrative, and Two Other Stories _(Blackwood)_.

1902. Typhoon and Other Stories _(Heinemann)_.

1903. New edition, 1912. Romance: A Novel.

By Joseph Conrad and Ford Madox Hueffer _(Smith, Elder)_.

1903. New edition _(Nelson)_.

1909. Nostromo: A Tale of the Seaboard _(Harper)_.

1904. The Mirror of the Sea: Memories and Impressions _(Methuen)_.

1906. New editions, 1913, 1915. The Secret Agent: A Simple Tale _(Methuen)_.

1907. New edition, 1914. A Set of Six: Tales _(Methuen)_.

1908. Under Western Eyes _(Methuen)_.

1911. New edition, 1915. Some Reminiscences _(Nash)_.

1912. 'Twixt Land and Sea: Tales _(Dent)_.

1912. New edition, 1914. Chance: A Tale in Two Parts _(Methuen)_.

1914. Within the Tides: Tales _(Dent)_.

1915. Victory: An Island Tale _(Methuen)_.

1915. AMERICAN BIBLIOGRAPHY

Almayer's Folly: A Story of an Eastern River _(Macmillan)_.

1895. New editions, 1912; _(Doubleday)_.

1914. An Outcast of the Islands _(Appleton)_.

1896. New edition _(Doubleday)_.

1914. Children of the Sea: A Tale of the Forecastle _(Dodd, Mead)_.

1897. New edition, 1912. New edition under English title: "The Nigger of the 'Narcissus'" _(Doubleday)_.

1914. Tales of Unrest _(Scribner)_.

1898. Lord Jim _(Doubleday)_ 1900. New edition, 1914. The Inheritors.

By Joseph Conrad and Ford M. Hueffer _(McClure Co. )_.

1901. Typhoon _(Putman)_.

1902. New edition _(Doubleday)_.

1914. Youth, and two Other Stories _(McClure Co_.

Afterwards transferred to _Doubleday)_.

1903. Falk: Amy Foster: To-morrow [Three Stories] _(McClure Co. )_.

1903. New edition _(Doubleday)_.

1914. Romance.

By Joseph Conrad and Ford Madox Hueffer _(McClure Co_.

Afterwards transferred to _Doubleday)_.

1904. Nostromo: A Tale of the Seaboard _(Harper)_.

1904. The Mirror of the Sea: Memories and Impressions _(Harper)_.

1906. The Secret Agent: A Simple Tale _(Harper)_.

1907. A Point of Honour: A Military Tale _(McClure Co_.

Afterwards transferred to _Doubleday)_.

1908. Under Western Eyes: A Novel _(Harper)_.

1911. A Personal Record _(Harper)_.

1912. 'Twixt Land and Sea: Tales _(Doran)_.

1912. New edition _(Doubleday)_.

1914. Chance: A Tale in Two Parts _(Doubleday)_.

1914. A Set of Six [Tales: one, "The Duel," previously issued as "A Point of Honour"] _(Doubleday)_.

1915. Victory: An Island Tale _(Doubleday)_.

1915. Within the Tides: Tales _(Doubleday)_.

1916. INDEX

_Almayer's Folly_ Bennett, Arnold Beresford, J. D.

_Brothers Karamazov, The_ Browning _Chance_ _Cherry Orchard, The_ Chesterton, G. K.

Conrad, J. , birth; naturalised Curle, R. Dickens Dostoievsky Eliot, George _End of the Tether, The_ _Evan Harrington_ _Eve of St Agnes, The_ Flaubert Form Forster, E. M.

_Freya of the Seven Islands_ Galsworthy, J. George, W. L.

Hardy _Heart of Darkness_ Hueffer, F. M.

Irony James, Henry Keats Kipling, R. _Lord Jim_ Lyrical impulse _Madame Bovary_ Meredith Method in fiction Mid-Victorian English novel _Mirror of the Sea, The_ Nature _Nigger of the Narcissus, The_ _Nostromo_ _Outcast of the Islands, An_ Philosophy Poland Realism _Return, The_ _Richard Feverel_ _Romance_ Romance.

Russian Influence Sea _Secret Agent, The_ _Secret Sharer, The_ _Set of Six, A_ Shaw, Bernard Ships _Smile of Fortune, A_ _Some Reminiscences_ _Sordello_ _Spectator, The_ Stevenson, Robert Louis Style Swinnerton, Frank _Tales of Unrest_ Tchekov Themes Tolstoi _T.

P.'

s Weekly_ _Tremolino_ Trollope, Anthony Turgéniev _'Twixt Land and Sea_ _Typhoon_ _Under Western Eyes_ _Une Vie_ _Victory_ Wells, H. G.

Wharton, Mrs Whitman _Yellow Book, The_ _Youth_ *** END OF THE PROJECT GUTENBERG EBOOK JOSEPH CONRAD ***

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 ( to ,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.