On the Future of our Educational Institutions — Fifth Lecture, Part 2

"It has thus come to pass that, in place of a profound interpretation of the eternally recurring problems, a historical--yea, even philological--balancing and questioning has entered into the educational arena: what this or that philosopher has or has not thought; whether this or that essay or dialogue is to be ascribed to him or not; or even whether this particular reading of a classical text is to be preferred to that.

It is to neutral preoccupations with philosophy like these that our students in philosophical seminaries are stimulated; whence I have long accustomed myself to regard such science as a mere ramification of philology, and to value its representatives in proportion as they are good or bad philologists.

So it has come about that _philosophy itself_ is banished from the universities: wherewith our first question as to the value of our universities from the standpoint of culture is answered.

"In what relationship these universities stand to _art_ cannot be acknowledged without shame: in none at all.

Of artistic thinking, learning, striving, and comparison, we do not find in them a single trace; and no one would seriously think that the voice of the universities would ever be raised to help the advancement of the higher national schemes of art.

Whether an individual teacher feels himself to be personally qualified for art, or whether a professorial chair has been established for the training of æstheticising literary historians, does not enter into the question at all: the fact remains that the university is not in a position to control the young academician by severe artistic discipline, and that it must let happen what happens, willy-nilly--and this is the cutting answer to the immodest pretensions of the universities to represent themselves as the highest educational institutions.

"We find our academical 'independents' growing up without philosophy and without art; and how can they then have any need to 'go in for' the Greeks and Romans?

--for we need now no longer pretend, like our forefathers, to have any great regard for Greece and Rome, which, besides, sit enthroned in almost inaccessible loneliness and majestic alienation.

The universities of the present time consequently give no heed to almost extinct educational predilections like these, and found their philological chairs for the training of new and exclusive generations of philologists, who on their part give similar philological preparation in the public schools--a vicious circle which is useful neither to philologists nor to public schools, but which above all accuses the university for the third time of not being what it so pompously proclaims itself to be--a training ground for culture.

Take away the Greeks, together with philosophy and art, and what ladder have you still remaining by which to ascend to culture?

For, if you attempt to clamber up the ladder without these helps, you must permit me to inform you that all your learning will lie like a heavy burden on your shoulders rather than furnishing you with wings and bearing you aloft.

"If you honest thinkers have honourably remained in these three stages of intelligence, and have perceived that, in comparison with the Greeks, the modern student is unsuited to and unprepared for philosophy, that he has no truly artistic instincts, and is merely a barbarian believing himself to be free, you will not on this account turn away from him in disgust, although you will, of course, avoid coming into too close proximity with him.

For, as he now is, _he is not to blame_: as you have perceived him he is the dumb but terrible accuser of those who are to blame.

"You should understand the secret language spoken by this guilty innocent, and then you, too, would learn to understand the inward state of that independence which is paraded outwardly with so much ostentation.

Not one of these noble, well-qualified youths has remained a stranger to that restless, tiring, perplexing, and debilitating need of culture: during his university term, when he is apparently the only free man in a crowd of servants and officials, he atones for this huge illusion of freedom by ever-growing inner doubts and convictions.

He feels that he can neither lead nor help himself;

and then he plunges hopelessly into the workaday world and endeavours to ward off such feelings by study.

The most trivial bustle fastens itself upon him; he sinks under his heavy burden.

Then he suddenly pulls himself together; he still feels some of that power within him which would have enabled him to keep his head above water.

Pride and noble resolutions assert themselves and grow in him.

He is afraid of sinking at this early stage into the limits of a narrow profession;

and now he grasps at pillars and railings alongside the stream that he may not be swept away by the current.

In vain!

for these supports give way, and he finds he has clutched at broken reeds.

In low and despondent spirits he sees his plans vanish away in smoke.

His condition is undignified, even dreadful: he keeps between the two extremes of work at high pressure and a state of melancholy enervation.

Then he becomes tired, lazy, afraid of work, fearful of everything great; and hating himself.

He looks into his own breast, analyses his faculties, and finds he is only peering into hollow and chaotic vacuity.

And then he once more falls from the heights of his eagerly-desired self-knowledge into an ironical scepticism.

He divests his struggles of their real importance, and feels himself ready to undertake any class of useful work, however degrading.

He now seeks consolation in hasty and incessant action so as to hide himself from himself.

And thus his helplessness and the want of a leader towards culture drive him from one form of life into another: but doubt, elevation, worry, hope, despair--everything flings him hither and thither as a proof that all the stars above him by which he could have guided his ship have set.

"There you have the picture of this glorious independence of yours, of that academical freedom, reflected in the highest minds--those which are truly in need of culture, compared with whom that other crowd of indifferent natures does not count at all, natures that delight in their freedom in a purely barbaric sense.

For these latter show by their base smugness and their narrow professional limitations that this is the right element for them: against which there is nothing to be said.

Their comfort, however, does not counter-balance the suffering of one single young man who has an inclination for culture and feels the need of a guiding hand, and who at last, in a moment of discontent, throws down the reins and begins to despise himself.

This is the guiltless innocent; for who has saddled him with the unbearable burden of standing alone?

Who has urged him on to independence at an age when one of the most natural and peremptory needs of youth is, so to speak, a self-surrendering to great leaders and an enthusiastic following in the footsteps of the masters?

"It is repulsive to consider the effects to which the violent suppression of such noble natures may lead.

He who surveys the greatest supporters and friends of that pseudo-culture of the present time, which I so greatly detest, will only too frequently find among them such degenerate and shipwrecked men of culture, driven by inward despair to violent enmity against culture, when, in a moment of desperation, there was no one at hand to show them how to attain it.

It is not the worst and most insignificant people whom we afterwards find acting as journalists and writers for the press in the metamorphosis of despair: the spirit of some well-known men of letters might even be described, and justly, as degenerate studentdom.

How else, for example, can we reconcile that once well-known 'young Germany' with its present degenerate successors?

Here we discover a need of culture which, so to speak, has grown mutinous, and which finally breaks out into the passionate cry: I am culture!

There, before the gates of the public schools and universities, we can see the culture which has been driven like a fugitive away from these institutions.

True, this culture is without the erudition of those establishments, but assumes nevertheless the mien of a sovereign; so that, for example, Gutzkow the novelist might be pointed to as the best example of a modern public school boy turned æsthete.

Such a degenerate man of culture is a serious matter, and it is a horrifying spectacle for us to see that all our scholarly and journalistic publicity bears the stigma of this degeneracy upon it.

How else can we do justice to our learned men, who pay untiring attention to, and even co-operate in the journalistic corruption of the people, how else than by the acknowledgment that their learning must fill a want of their own similar to that filled by novel-writing in the case of others: _i.

e. _ a flight from one's self, an ascetic extirpation of their cultural impulses, a desperate attempt to annihilate their own individuality.

From our degenerate literary art, as also from that itch for scribbling of our learned men which has now reached such alarming proportions, wells forth the same sigh: Oh that we could forget ourselves!

The attempt fails: memory, not yet suffocated by the mountains of printed paper under which it is buried, keeps on repeating from time to time: 'A degenerate man of culture!

Born for culture and brought up to non-culture!

Helpless barbarian, slave of the day, chained to the present moment, and thirsting for something--ever thirsting!'

"Oh, the miserable guilty innocents!

For they lack something, a need that every one of them must have felt: a real educational institution, which could give them goals, masters, methods, companions; and from the midst of which the invigorating and uplifting breath of the true German spirit would inspire them.

Thus they perish in the wilderness;

thus they degenerate into enemies of that spirit which is at bottom closely allied to their own; thus they pile fault upon fault higher than any former generation ever did, soiling the clean, desecrating the holy, canonising the false and spurious.

It is by them that you can judge the educational strength of our universities, asking yourselves, in all seriousness, the question: What cause did you promote through them?

The German power of invention, the noble German desire for knowledge, the qualifying of the German for diligence and self-sacrifice--splendid and beautiful things, which other nations envy you; yea, the finest and most magnificent things in the world, if only that true German spirit overspread them like a dark thundercloud, pregnant with the blessing of forthcoming rain.

But you are afraid of this spirit, and it has therefore come to pass that a cloud of another sort has thrown a heavy and oppressive atmosphere around your universities, in which your noble-minded scholars breathe wearily and with difficulty.

"A tragic, earnest, and instructive attempt was made in the present century to destroy the cloud I have last referred to, and also to turn the people's looks in the direction of the high welkin of the German spirit.

In all the annals of our universities we cannot find any trace of a second attempt, and he who would impressively demonstrate what is now necessary for us will never find a better example.

I refer to the old, primitive _Burschenschaft_.

[11] "When the war of liberation was over, the young student brought back home the unlooked-for and worthiest trophy of battle--the freedom of his fatherland.

Crowned with this laurel he thought of something still nobler.

On returning to the university, and finding that he was breathing heavily, he became conscious of that oppressive and contaminated air which overhung the culture of the university.

He suddenly saw, with horror-struck, wide-open eyes, the non-German barbarism, hiding itself in the guise of all kinds of scholasticism;

he suddenly discovered that his own leaderless comrades were abandoned to a repulsive kind of youthful intoxication.

And he was exasperated.

He rose with the same aspect of proud indignation as Schiller may have had when reciting the _Robbers_ to his companions: and if he had prefaced his drama with the picture of a lion, and the motto, 'in tyrannos,' his follower himself was that very lion preparing to spring; and every 'tyrant' began to tremble.

Yes, if these indignant youths were looked at superficially and timorously, they would seem to be little else than Schiller's robbers: their talk sounded so wild to the anxious listener that Rome and Sparta seemed mere nunneries compared with these new spirits.

The consternation raised by these young men was indeed far more general than had ever been caused by those other 'robbers' in court circles, of which a German prince, according to Goethe, is said to have expressed the opinion: 'If he had been God, and had foreseen the appearance of the _Robbers_, he would not have created the world.'

"Whence came the incomprehensible intensity of this alarm?

For those young men were the bravest, purest, and most talented of the band both in dress and habits: they were distinguished by a magnanimous recklessness and a noble simplicity.

A divine command bound them together to seek harder and more pious superiority: what could be feared from them?

To what extent this fear was merely deceptive or simulated or really true is something that will probably never be exactly known; but a strong instinct spoke out of this fear and out of its disgraceful and senseless persecution.

This instinct hated the Burschenschaft with an intense hatred for two reasons: first of all on account of its organisation, as being the first attempt to construct a true educational institution, and, secondly, on account of the spirit of this institution, that earnest, manly, stern, and daring German spirit; that spirit of the miner's son, Luther, which has come down to us unbroken from the time of the Reformation.

"Think of the _fate_ of the Burschenschaft when I ask you, Did the German university then understand that spirit, as even the German princes in their hatred appear to have understood it?

Did the alma mater boldly and resolutely throw her protecting arms round her noble sons and say: 'You must kill me first, before you touch my children?'

I hear your answer--by it you may judge whether the German university is an educational institution or not.

"The student knew at that time at what depth a true educational institution must take root, namely, in an inward renovation and inspiration of the purest moral faculties.

And this must always be repeated to the student's credit.

He may have learnt on the field of battle what he could learn least of all in the sphere of 'academical freedom': that great leaders are necessary, and that all culture begins with obedience.

And in the midst of victory, with his thoughts turned to his liberated fatherland, he made the vow that he would remain German.

German!

Now he learnt to understand his Tacitus; now he grasped the signification of Kant's categorical imperative; now he was enraptured by Weber's "Lyre and Sword" songs.

[12] The gates of philosophy, of art, yea, even of antiquity, opened unto him; and in one of the most memorable of bloody acts, the murder of Kotzebue, he revenged--with penetrating insight and enthusiastic short-sightedness--his one and only Schiller, prematurely consumed by the opposition of the stupid world: Schiller, who could have been his leader, master, and organiser, and whose loss he now bewailed with such heartfelt resentment.

"For that was the doom of those promising students: they did not find the leaders they wanted.

They gradually became uncertain, discontented, and at variance among themselves; unlucky indiscretions showed only too soon that the one indispensability of powerful minds was lacking in the midst of them: and, while that mysterious murder gave evidence of astonishing strength, it gave no less evidence of the grave danger arising from the want of a leader.

They were leaderless--therefore they perished.

"For I repeat it, my friends!

All culture begins with the very opposite of that which is now so highly esteemed as 'academical freedom': with obedience, with subordination, with discipline, with subjection.

And as leaders must have followers so also must the followers have a leader--here a certain reciprocal predisposition prevails in the hierarchy of spirits: yea, a kind of pre-established harmony.

This eternal hierarchy, towards which all things naturally tend, is always threatened by that pseudo-culture which now sits on the throne of the present.

It endeavours either to bring the leaders down to the level of its own servitude or else to cast them out altogether.

It seduces the followers when they are seeking their predestined leader, and overcomes them by the fumes of its narcotics.

When, however, in spite of all this, leader and followers have at last met, wounded and sore, there is an impassioned feeling of rapture, like the echo of an ever-sounding lyre, a feeling which I can let you divine only by means of a simile.

"Have you ever, at a musical rehearsal, looked at the strange, shrivelled-up, good-natured species of men who usually form the German orchestra?

What changes and fluctuations we see in that capricious goddess 'form'!

What noses and ears, what clumsy, _danse macabre_ movements!

Just imagine for a moment that you were deaf, and had never dreamed of the existence of sound or music, and that you were looking upon the orchestra as a company of actors, and trying to enjoy their performance as a drama and nothing more.

Undisturbed by the idealising effect of the sound, you could never see enough of the stern, medieval, wood-cutting movement of this comical spectacle, this harmonious parody on the _homo sapiens_.

"Now, on the other hand, assume that your musical sense has returned, and that your ears are opened.

Look at the honest conductor at the head of the orchestra performing his duties in a dull, spiritless fashion: you no longer think of the comical aspect of the whole scene, you listen--but it seems to you that the spirit of tediousness spreads out from the honest conductor over all his companions.

Now you see only torpidity and flabbiness, you hear only the trivial, the rhythmically inaccurate, and the melodiously trite.

You see the orchestra only as an indifferent, ill-humoured, and even wearisome crowd of players.

"But set a genius--a real genius--in the midst of this crowd; and you instantly perceive something almost incredible.

It is as if this genius, in his lightning transmigration, had entered into these mechanical, lifeless bodies, and as if only one demoniacal eye gleamed forth out of them all.

Now look and listen--you can never listen enough!

When you again observe the orchestra, now loftily storming, now fervently wailing, when you notice the quick tightening of every muscle and the rhythmical necessity of every gesture, then you too will feel what a pre-established harmony there is between leader and followers, and how in the hierarchy of spirits everything impels us towards the establishment of a like organisation.

You can divine from my simile what I would understand by a true educational institution, and why I am very far from recognising one in the present type of university."

[From a few MS. notes written down by Nietzsche in the spring and autumn of 1872, and still preserved in the Nietzsche Archives at Weimar, it is evident that he at one time intended to add a sixth and seventh lecture to the five just given.

These notes, although included in the latest edition of Nietzsche's works, are utterly lacking in interest and continuity, being merely headings and sub-headings of sections in the proposed lectures.

They do not, indeed, occupy more than two printed pages, and were deemed too fragmentary for translation in this edition.

] FOOTNOTES:

[9] The reader may be reminded that a German university student is subject to very few restrictions, and that much greater liberty is allowed him than is permitted to English students.

Nietzsche did not approve of this extraordinary freedom, which, in his opinion, led to intellectual lawlessness.

--TR.

[10] Hegel's. --TR.

[11] A German students' association, of liberal principles, founded for patriotic purposes at Jena in 1813. [12] Weber set one or two of Körner's "Lyre and Sword" songs to music.

The reader will remember that these lectures were delivered when Nietzsche was only in his twenty-eighth year.

Like Goethe, he afterwards freed himself from all patriotic trammels and prejudices, and aimed at a general European culture.

Luther, Schiller, Kant, Körner, and Weber did not continue to be the objects of his veneration for long, indeed, they were afterwards violently attacked by him, and the superficial student who speaks of inconsistency may be reminded of Nietzsche's phrase in stanza 12 of the epilogue to _Beyond Good and Evil_: "Nur wer sich wandelt, bleibt mit mir verwandt"; _i.

e. _ only the changing ones have anything in common with me.

--TR.

* * * * * +-----------------------------------------------------------+ | Typographical errors corrected in text: | | | | Page 124: neigbourhood replaced with neighbourhood | | Page 130: universites replaced by universities | | | +-----------------------------------------------------------+ * * * * * *** END OF THE PROJECT GUTENBERG EBOOK ON THE FUTURE OF OUR EDUCATIONAL INSTITUTIONS *** 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.