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.
CHAPTER VI
He stayed away, after this, for a year; he visited the depths of Asia, spending himself on scenes of romantic interest, of superlative sanctity;
but what was present to him everywhere was that for a man who had known what _he_ had known the world was vulgar and vain.
The state of mind in which he had lived for so many years shone out to him, in reflexion, as a light that coloured and refined, a light beside which the glow of the East was garish cheap and thin.
The terrible truth was that he had lost--with everything else--a distinction as well; the things he saw couldn't help being common when he had become common to look at them.
He was simply now one of them himself--he was in the dust, without a peg for the sense of difference; and there were hours when, before the temples of gods and the sepulchres of kings, his spirit turned for nobleness of association to the barely discriminated slab in the London suburb.
That had become for him, and more intensely with time and distance, his one witness of a past glory.
It was all that was left to him for proof or pride, yet the past glories of Pharaohs were nothing to him as he thought of it.
Small wonder then that he came back to it on the morrow of his return.
He was drawn there this time as irresistibly as the other, yet with a confidence, almost, that was doubtless the effect of the many months that had elapsed.
He had lived, in spite of himself, into his change of feeling, and in wandering over the earth had wandered, as might be said, from the circumference to the centre of his desert.
He had settled to his safety and accepted perforce his extinction; figuring to himself, with some colour, in the likeness of certain little old men he remembered to have seen, of whom, all meagre and wizened as they might look, it was related that they had in their time fought twenty duels or been loved by ten princesses.
They indeed had been wondrous for others while he was but wondrous for himself; which, however, was exactly the cause of his haste to renew the wonder by getting back, as he might put it, into his own presence.
That had quickened his steps and checked his delay.
If his visit was prompt it was because he had been separated so long from the part of himself that alone he now valued.
It's accordingly not false to say that he reached his goal with a certain elation and stood there again with a certain assurance.
The creature beneath the sod knew of his rare experience, so that, strangely now, the place had lost for him its mere blankness of expression.
It met him in mildness--not, as before, in mockery; it wore for him the air of conscious greeting that we find, after absence, in things that have closely belonged to us and which seem to confess of themselves to the connexion.
The plot of ground, the graven tablet, the tended flowers affected him so as belonging to him that he resembled for the hour a contented landlord reviewing a piece of property.
Whatever had happened--well, had happened.
He had not come back this time with the vanity of that question, his former worrying "What, _what_?"
now practically so spent.
Yet he would none the less never again so cut himself off from the spot; he would come back to it every month, for if he did nothing else by its aid he at least held up his head.
It thus grew for him, in the oddest way, a positive resource; he carried out his idea of periodical returns, which took their place at last among the most inveterate of his habits.
What it all amounted to, oddly enough, was that in his finally so simplified world this garden of death gave him the few square feet of earth on which he could still most live.
It was as if, being nothing anywhere else for any one, nothing even for himself, he were just everything here, and if not for a crowd of witnesses or indeed for any witness but John Marcher, then by clear right of the register that he could scan like an open page.
The open page was the tomb of his friend, and there were the facts of the past, there the truth of his life, there the backward reaches in which he could lose himself.
He did this from time to time with such effect that he seemed to wander through the old years with his hand in the arm of a companion who was, in the most extraordinary manner, his other, his younger self; and to wander, which was more extraordinary yet, round and round a third presence--not wandering she, but stationary, still, whose eyes, turning with his revolution, never ceased to follow him, and whose seat was his point, so to speak, of orientation.
Thus in short he settled to live--feeding all on the sense that he once _had_ lived, and dependent on it not alone for a support but for an identity.
It sufficed him in its way for months and the year elapsed; it would doubtless even have carried him further but for an accident, superficially slight, which moved him, quite in another direction, with a force beyond any of his impressions of Egypt or of India.
It was a thing of the merest chance--the turn, as he afterwards felt, of a hair, though he was indeed to live to believe that if light hadn't come to him in this particular fashion it would still have come in another.
He was to live to believe this, I say, though he was not to live, I may not less definitely mention, to do much else.
We allow him at any rate the benefit of the conviction, struggling up for him at the end, that, whatever might have happened or not happened, he would have come round of himself to the light.
The incident of an autumn day had put the match to the train laid from of old by his misery.
With the light before him he knew that even of late his ache had only been smothered.
It was strangely drugged, but it throbbed; at the touch it began to bleed.
And the touch, in the event, was the face of a fellow-mortal.
This face, one grey afternoon when the leaves were thick in the alleys, looked into Marcher's own, at the cemetery, with an expression like the cut of a blade.
He felt it, that is, so deep down that he winced at the steady thrust.
The person who so mutely assaulted him was a figure he had noticed, on reaching his own goal, absorbed by a grave a short distance away, a grave apparently fresh, so that the emotion of the visitor would probably match it for frankness.
This fact alone forbade further attention, though during the time he stayed he remained vaguely conscious of his neighbour, a middle-aged man apparently, in mourning, whose bowed back, among the clustered monuments and mortuary yews, was constantly presented.
Marcher's theory that these were elements in contact with which he himself revived, had suffered, on this occasion, it may be granted, a marked, an excessive check.
The autumn day was dire for him as none had recently been, and he rested with a heaviness he had not yet known on the low stone table that bore May Bartram's name.
He rested without power to move, as if some spring in him, some spell vouchsafed, had suddenly been broken for ever.
If he could have done that moment as he wanted he would simply have stretched himself on the slab that was ready to take him, treating it as a place prepared to receive his last sleep.
What in all the wide world had he now to keep awake for?
He stared before him with the question, and it was then that, as one of the cemetery walks passed near him, he caught the shock of the face.
His neighbour at the other grave had withdrawn, as he himself, with force enough in him, would have done by now, and was advancing along the path on his way to one of the gates.
This brought him close, and his pace, was slow, so that--and all the more as there was a kind of hunger in his look--the two men were for a minute directly confronted.
Marcher knew him at once for one of the deeply stricken--a perception so sharp that nothing else in the picture comparatively lived, neither his dress, his age, nor his presumable character and class; nothing lived but the deep ravage of the features that he showed.
He _showed_ them--that was the point; he was moved, as he passed, by some impulse that was either a signal for sympathy or, more possibly, a challenge to an opposed sorrow.
He might already have been aware of our friend, might at some previous hour have noticed in him the smooth habit of the scene, with which the state of his own senses so scantly consorted, and might thereby have been stirred as by an overt discord.
What Marcher was at all events conscious of was in the first place that the image of scarred passion presented to him was conscious too--of something that profaned the air; and in the second that, roused, startled, shocked, he was yet the next moment looking after it, as it went, with envy.
The most extraordinary thing that had happened to him--though he had given that name to other matters as well--took place, after his immediate vague stare, as a consequence of this impression.
The stranger passed, but the raw glare of his grief remained, making our friend wonder in pity what wrong, what wound it expressed, what injury not to be healed.
What had the man _had_, to make him by the loss of it so bleed and yet live?
Something--and this reached him with a pang--that _he_, John Marcher, hadn't; the proof of which was precisely John Marcher's arid end.
No passion had ever touched him, for this was what passion meant; he had survived and maundered and pined, but where had been _his_ deep ravage?
The extraordinary thing we speak of was the sudden rush of the result of this question.
The sight that had just met his eyes named to him, as in letters of quick flame, something he had utterly, insanely missed, and what he had missed made these things a train of fire, made them mark themselves in an anguish of inward throbs.
He had seen _outside_ of his life, not learned it within, the way a woman was mourned when she had been loved for herself: such was the force of his conviction of the meaning of the stranger's face, which still flared for him as a smoky torch.
It hadn't come to him, the knowledge, on the wings of experience;
it had brushed him, jostled him, upset him, with the disrespect of chance, the insolence of accident.
Now that the illumination had begun, however, it blazed to the zenith, and what he presently stood there gazing at was the sounded void of his life.
He gazed, he drew breath, in pain; he turned in his dismay, and, turning, he had before him in sharper incision than ever the open page of his story.
The name on the table smote him as the passage of his neighbour had done, and what it said to him, full in the face, was that she was what he had missed.
This was the awful thought, the answer to all the past, the vision at the dread clearness of which he turned as cold as the stone beneath him.
Everything fell together, confessed, explained, overwhelmed; leaving him most of all stupefied at the blindness he had cherished.
The fate he had been marked for he had met with a vengeance--he had emptied the cup to the lees; he had been the man of his time, _the_ man, to whom nothing on earth was to have happened.
That was the rare stroke--that was his visitation.
So he saw it, as we say, in pale horror, while the pieces fitted and fitted.
So _she_ had seen it while he didn't, and so she served at this hour to drive the truth home.
It was the truth, vivid and monstrous, that all the while he had waited the wait was itself his portion.
This the companion of his vigil had at a given moment made out, and she had then offered him the chance to baffle his doom.
One's doom, however, was never baffled, and on the day she told him his own had come down she had seen him but stupidly stare at the escape she offered him.
The escape would have been to love her; then, _then_ he would have lived.
_She_ had lived--who could say now with what passion?
--since she had loved him for himself; whereas he had never thought of her (ah how it hugely glared at him!
) but in the chill of his egotism and the light of her use.
Her spoken words came back to him--the chain stretched and stretched.
The Beast had lurked indeed, and the Beast, at its hour, had sprung; it had sprung in that twilight of the cold April when, pale, ill, wasted, but all beautiful, and perhaps even then recoverable, she had risen from her chair to stand before him and let him imaginably guess.
It had sprung as he didn't guess; it had sprung as she hopelessly turned from him, and the mark, by the time he left her, had fallen where it _was_ to fall.
He had justified his fear and achieved his fate; he had failed, with the last exactitude, of all he was to fail of; and a moan now rose to his lips as he remembered she had prayed he mightn't know.
This horror of waking--_this_ was knowledge, knowledge under the breath of which the very tears in his eyes seemed to freeze.
Through them, none the less, he tried to fix it and hold it; he kept it there before him so that he might feel the pain.
That at least, belated and bitter, had something of the taste of life.
But the bitterness suddenly sickened him, and it was as if, horribly, he saw, in the truth, in the cruelty of his image, what had been appointed and done.
He saw the Jungle of his life and saw the lurking Beast; then, while he looked, perceived it, as by a stir of the air, rise, huge and hideous, for the leap that was to settle him.
His eyes darkened--it was close; and, instinctively turning, in his hallucination, to avoid it, he flung himself, face down, on the tomb.
*** END OF THE PROJECT GUTENBERG EBOOK THE BEAST IN THE JUNGLE *** 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: