Immerse in Classic Audiobooks, then Master English
Thousands of timeless Project Gutenberg masterpieces — 100% free and completely ad-free! Experience LibriVox audio with word-by-word synchronized text, bilingual lookup, and an SRS vocabulary trainer.
XXV
The moon hung directly over the tower of Comares.
In the arcade beside the Room of the Two Sisters was a mass of bright cushions and an Oriental carpet.
Here Mrs. Rothe enthroned herself, and the melancholy and disgusted prince kept her company.
The musicians fiddled and strummed in the pavilion at the top of the court.
Wind was rising in the trees on the steep hill-side above the Darro, and the nightingales sang.
The great rooms around the court, the low chambers above, were black with shadow, but the open spaces about the lions were lively with whirling figures and the chatter of women.
The original party, which was too rich in men, had been reinforced by several American girls from another pension, and all had entered into the gay spirit of the night except Catalina, who stood alone in the pavilion opposite the musicians, frankly miserable, and furious with herself for daring to suffer.
Over had danced no less than six times with Miss Holmes, whose dancing would throw a Hebe out of court.
She was the triumphant belle of the evening—no sultana in her little hour had ever held prouder sway in these halls of the Moors; and where they, indeed, had been glad of one doubtfully devoted heart she was lightly spurning half a dozen.
The men importuned her between dances, the foreigners extravagant in their admiration, Over consoling himself with manifest discontent when she gave her hand to another.
He had just completed his sixth waltz with her when Catalina had her inspiration.
He had not looked at her since the dancing began.
There was only one way in which she could compel his attention, and although her shyness rose to arms, her knees shook, and her breath came short, she set her teeth and glided down the arcade to the pavilion of the musicians.
It had been understood that after the first hour and a half there was to be an interval for lemonade and sweets and rest, during which they would sit on the cushions and admire the opposite arcade and the airy grace of the pavilions under the light of the moon.
“It must have been here that Muley Aben Hassan and Boabdil used to sit with their courts while the minstrels—or whatever they were in those days—tried to amuse them, and the nautch-girls danced, and the captives above envied the captives below,” Miss Holmes was beginning as they arranged the cushions, when several of the party gave a low cry, and the hostess paused with her mouth open.
A figure had risen before them in the moonlight, slim, young, veiled, the very eidola of those forgotten women the number of whose heart-beats had depended upon the nod of a tyrannical voluptuary.
Only her eyes, long, dark, expressionless, were revealed above the gold tissue of her veil, and Over alone recognized her instantly.
He had missed her as they assembled, and was about to go in search of her when she appeared.
He held his breath, and the others, one or two of the girls giggling hysterically, hardly knew whether to be frightened or not.
Then the low, soft, dreaming strains of music crept over to them and she began to dance.
She had known the old Spanish dances all her life and loved them with all the wild blood in her, despising the more the conventional whirl of the drawing-room.
She danced none of these to-night, however, but an improvisation, born of her knowledge of Moorish traditions, the place, and the hour.
As Over realized what she purposed he stepped forward with the intention of stopping the performance, enraged that other men should be in the audience, but arrested by his distaste of a scene.
In a moment he sank down on his cushions, wondering that he had doubted her, for it was apparent even in the first few moments that in spite of the graceful abandon of her dancing there was to be nothing to suggest the coarseness of the women that had danced on that spot before her.
But if the swinging and swaying and bending and whirling of her body were without suggestiveness they were the very poetry of beauty.
The scarf was bound about her head and over her face below the eyes, but she held a point in either hand, her arms sometimes extended, at others describing curves that made the delicate tissue flutter like the many wings of tiny birds.
The spangles on her dress, the diamond buckles on her slippers were 1000 points of light, for the moon was poised directly overhead and flooding the court.
The perfume of the scarf stole into the senses of the staring company and completed the illusion, delicately brushing with sensuousness what was otherwise an expression of the rhythm of life, the dreaming of an ardent but virginal soul.
So a nautch-girl may have danced for the first time before a king, ignorant then of what was expected of her, dissolving in the joy of rhythmical motion, of innocent pride in her own young beauty.
The arches between the company and the dancer, the fountain above the lions rising in a silver veil behind her, and beyond it the white, shining arches with their moving shadows, the distant warbling of the nightingales rising above the swooning music, the Oriental mystery in the eyes above the veil—not one of her audience but surrendered himself, although, in superficial fashion, all had recognized her.
And then, while their senses were locked, while they were hardly conscious whether they slept or waked, a strange and terrible thing happened.
From the Room of the Two Sisters beside them the figure of a man leaped like a sword from its scabbard, caught the dancer in his arms, and disappeared whence it had come.
There was a fatal moment of incredulity; then Over leaped to his feet and ran into the dark room.
But he had no idea which way to turn, and had lost himself in the Sala de los Ajimeces beyond when he heard Miss Holmes cry, sharply: “He mustn’t go alone, and at least I know every foot of the palace.
The man will make for the underground rooms or climb out of one of the windows and down the hill to the Albaicin.
” The word completed Over’s horror, but as he hastily rejoined the party, now voluble in the Room of the Two Sisters, he despatched Rothe and the Spanish artist for the police, and then with little ceremony ordered Miss Holmes to lead the way.
Catalina, in that leap from the dark room to her swaying form, dreamy with its own motion, had recognized Jesus Maria; but in the swift flight that followed her face was pressed so hard against his shoulder that she could neither see nor cry out.
Her feet struck against narrow walls, but her arms were pinioned in that strong, deft embrace, and rage inwardly as she might, he controlled her as easily as if she were bound with cords.
It was only when she felt him lift her slightly as he vaulted over a window-ledge that she found her opportunity.
With a swift writhe of her body she freed her hands and beat upon his face with all her strength, which was not inconsiderable.
He was stumbling down the steep declivity below the Comares Tower, and he paused a moment to take breath.
“What do you want?
” she cried, furiously.
“Money?
” He pressed his left hand over her mouth and dexterously caught both her hands in his right.
“Yes,” he said, grimly.
“The señor your uncle can bring that with the golden señorita.
It is you or she and the money, too.
Keep quiet!
” he said, violently.
“If you cry out I will run a nail through your tongue.
” Catalina knew there was no time for any such ceremony at the moment, and the moment was all she had.
With another sharp wrench she freed her head and hands, struggled to press her knee against his chest, and clawed his face with her sharp nails.
The cliff was but little off the perpendicular, irregular of surface, and a wilderness of high shrubs, rocks, and trees.
For a man to make the descent in daylight and unencumbered was no mean feat; but to endeavor to accomplish this at night, the moon hidden more often than not by the trees and Comares, with a struggling woman in his arms, tried even the superb strength and skill of the Catalan.
He set her down and attempted to wind the long scarf more tightly about her mouth and throat and to bind her hands.
But she was too quick for him.
She made no attempt to run away, knowing the futility, but she braced herself against a rock and fought him.
She felt not a spasm of fear, but she thrilled with the consciousness that she fought for more than her liberty undefiled; she fought for freedom to fly back to Over and have an end of subterfuge and delusion.
In those moments, as she fought and kicked and scratched like a wild-cat, she had a vivid and serene vision of herself as Over’s wife.
She knew it to be writ as clearly as if the hand of destiny traced it on the silver disk above, and while her body obeyed its primal instincts her soul sang.
The Catalan was desperate.
He cursed his folly in not stationing his confederate on the Darro instead of in the hovel in the Albaicin; but he had feared confusion and felt contemptuously sure of his ability to manage a mere girl.
But he had had no experience of girls whom ranch life had made vigorous and fearless, and whose fathers had taught them the principles of boxing.
Catalina parried his attempts to give her a stunning blow as deftly as she filled her nails with his skin and hair, and she was so well braced he could not trip her.
Once he made a sudden dive for her feet with his hands, but she leaped aside and his nose came in contact with the rock.
Suddenly he turned his head.
Far above, in the windows of the Hall of the Ambassadors, from which he had made his escape, he heard the sound of voices.
That moment was his undoing.
With the leap of a panther Catalina was on his back.
She pressed her knees into his sides, dragged his head back with one arm, while with the other she pounded his unprotected face.
He gave a mighty shake, but he might as well have attempted to throw off a wild-cat of her own forests.
He might exhaust her in time, but so long as she had strength she would hang on, and with a low roar, that portended hideous vengeance, he started once more down the bluff.
As Edith Holmes led the race through the many corridors and apartments that lay between the court and the Hall of the Ambassadors she knew that the game was hers if she chose to play it.
There was but one place in Granada where an outlaw would be secure, and that was in the Albaicin, and she knew the Alhambra too well not to be sure of the route Catalina’s abductor would take.
But it was simple enough to persuade Over that the man would be more likely to take an underground route, escaping at the favorable moment by some opening known only to his kind.
The descent to the baths was on the way to the Hall of the Ambassadors, and as she ran down the long corridor her brain whirled with the obsession of the place, and she fancied herself for a moment one of the favorites who had reigned here in the days of Moorish splendor until a fairer captive threatened her own youth and beauty and love of life with a silken cord and a brief struggle in one of the chambers above.
Over’s apparent devotion during the first part of the night had roused in her all the passion of which she was capable, and she could feel his hot, short breath on her neck as they ran.
She had watched his surrender to Catalina’s beautiful dancing and his wild, instinctive leap to her rescue with bitter jealousy and fear.
In a flash she had seen Catalina for what she was—a girl to rouse all the romantic passion in a man; and in all her loveliness, her ideal womanhood, and her changing moods, she had been his constant companion for three weeks in Spain!
But thrust out of sight—the creature of a gypsy—internationally besmirched—Her feet turned to the threshold leading down to the old Moorish bath, where ten minutes could be wasted.
But the American girl in her suddenly revolted.
Another American girl was in hideous peril, and she shuddered with disgust even more than with pity.
She whirled about.
“Prince,” she whispered, “you and Helmholtz go down there and search, but I feel sure he has gone out one of the windows.
” And she ran on to the Hall of the Ambassadors.
They searched it at last and hung out of the windows.
Far below a faint sound came to their ears, but they could not determine its nature.
An instant later they heard a short but infuriated roar, followed by the sharp call of a woman.
Over was already on the other side of the window when Miss Holmes caught his arm.
“Don’t!
” she cried, hysterically.
“It is almost certain death.
He is sure to have confederates!
” Over gave her a look of haughty surprise and shook her off.
The Frenchman thrust a pistol into his hand.
“I never go without one here.
Don’t hesitate to shoot.
” Over groped and stumbled down the hill, but with far more agility than the encumbered Catalan.
There was no path, the thick brush and rocks were everywhere, and the moon made the shadows under the trees the heavier.
But when a thin Englishman has spent the greater part of his life on his feet and out-of-doors he is little likely to lose his balance or skill even on a steep wilderness designed by the cunning Moor as a pitfall for the enemy.
He was half-way down when the way cleared and he saw, several yards beneath him, a curious, stumbling figure, half black, half white.
In an instant he suspected its meaning, and although he was obliged to laugh he paused and gave a sharp halloo.
Catalina answered him with what breath was left in her, and he heard the glad note in her broken cry.
He ran on, but in a moment the man stopped abruptly and endeavored once more to shake off his burden.
Catalina leaped from his back and ran to one side, bracing herself once more.
Over aimed his pistol and fired.
The man gave a wild scream of pain, tumbled to his knees, regained his feet, and fled.
Catalina ran up the hill a few steps, then, suddenly exhausted, leaned against a tree.
But Over bore down upon her, and when she saw his eyes she opened her arms.
THE END
Transcriber’s Note There were a small number of issues with the text which can be attributed to printer’s errors.
The following table summarizes any corrections.
p. 171 permitted Catalin[a/e] to commit him Corrected.
p. 195 marr[l/i]ed Corrected.
End of Project Gutenberg's The Travelling Thirds, by Gertrude Atherton *** END OF THE PROJECT GUTENBERG EBOOK THE TRAVELLING THIRDS *** 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.
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.
們使瀏覽 (Local Storage) 來住您主題好、體大小、以後播目進度字本
We use browser Local Storage to remember your theme preferences, font sizes, and last played track progress, as well as vocabulary lists.
請用QR Code,即無縫接軌目入聽進度
自動分析當前章節英文文本,依據考試與難度標籤篩選重點生字,可一鍵批次匯入生字本。
請確認或修改檔案儲存名稱: