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.
It need scarcely be said that the man-of-war did not overtake the pirate's canoe!
She cruised about for some days in the hope of falling in with it.
Then her course was altered, and she was steered once more for Ratinga.
But the elements seemed to league with Ebony in this matter, for, ere she sighted the island, there burst upon her one of those tremendous hurricanes with which the southern seas are at times disturbed.
So fierce was the tempest that the good ship was obliged to present her stern to the howling blast, and scud before it under bare poles.
When the wind abated, Captain Fitzgerald found himself so far from the scene of his recent visit, and so pressed for time, as well as with the claims of other duties--possibly, according to Ebony, the capturing and hanging of other pirates--that he resolved to postpone his visit until a more convenient season.
The convenient season never came.
Captain Fitzgerald returned home to die, and with him died the memory of Rosco the pirate--at least as far as public interest in his capture and punishment was concerned--for some of the captain's papers were mislaid and lost and among them the personal description of the pirate, and the account of his various misdeeds.
But Rosco himself did not die.
He lived to prove the genuine nature of his conversion, and to assist Waroonga in his good work.
As it is just possible that some reader may doubt the probability--perhaps even the possibility--of such a change, we recommend him to meditate on the fact that Saul of Tarsus, the persecutor, became Paul, the loving Apostle of the Lord.
One morning, not long after the events just narrated, Zeppa came to Rosco's hut with a bundle under his arm.
He was followed by Marie, Betsy, Zariffa, and Lippy with her mother.
By that time Lippy had been provided with a bonnet similar to that of her friend Ziffa, and her mother had been induced to mount a flannel petticoat, which she wore tied round her neck or her waist, as her fancy or her forgetfulness inclined her.
The party had accompanied Zeppa to observe the effect of this bundle on Rosco.
That worthy was seated on a low couch constructed specially for him by Ebony.
He was busy reading.
"Welcome, friends all," he said, with a look of surprise at the deputation-like visit.
"We have come to present you with a little gift, Rosco," said Zeppa, unrolling the bundle and holding up to view a couple of curious machines.
"Wooden legs!"
exclaimed Rosco with something between a gasp and a laugh.
"That's what they are, Rosco.
We have been grieved to see you creeping about in such a helpless fashion, and dependent on Ebony, or some other strong-backed fellow, when you wanted to go any distance, so Orlando and I have put our heads together, and produced a pair of legs."
While he was speaking the on-lookers gazed in open-eyed-and-mouthed expectancy, for they did not feel quite sure how their footless friend would receive the gift.
"It is kind, _very_ kind of you," he said, on recovering from his surprise; "but how am I to fix them on?
there's no hole to shove the ends of my poor legs into."
"Oh!
you don't shove your legs into them at all," said Zeppa; "you've only got to go on your knees into them--see, this part will fit your knees pretty well--then you strap them on, make them fast, and away you go.
Let's try them."
To the delight of the women and children, Rosco was quite as eager to try on the legs as they were to see him do it.
The bare idea of being once more able to walk quite excited the poor man, and his hands trembled as he tried to assist his friend in fixing them.
"Keep your hands away altogether," said Zeppa; "you only delay me.
There now, they're as tight as two masts.
Hold on to me while I raise you up."
At that moment Tomeo, Buttchee, Ebony, Ongoloo, Wapoota, and Orlando came upon the scene.
"What a shame, father," cried the latter, "to begin without letting us know!"
"Ah!
Orley, I'm sorry you have found us at it.
Marie and I had planned giving you a surprise by making Rosco walk up to you."
"Never mind," cried Rosco impatiently; "just set me on my pins, and I'll soon walk into him.
Now then, hoist away!"
Orley and his father each seized an arm, and next moment Rosco stood up.
"Now den, don' hurry him--hurrah!"
cried Ebony, giving a cheer of encouragement.
"Have a care, friends; don't let me go," said Rosco anxiously, clutching his supporters' necks with a convulsive grasp.
"I'll never do it, Zeppa.
I feel that if you quit me for an instant, I shall go down like a shot."
"No fear.
Here, cut him a staff, Ebony," said Zeppa; "that'll be equal to three legs, you know, and even a stool can stand alone with three legs."
The staff was cut and handed to the learner, who, planting it firmly on the ground before him, leaned on it, and exclaimed, "Let go!"
in tones which instantly suggested "the anchor" to his friends.
The order was obeyed, and the ex-pirate stood swaying to and fro, and smiling with almost childlike delight.
Presently he became solemn, lifted one leg, and set it down again with marvellous rapidity.
Then he lifted the other leg with the same result.
Then he lifted the staff, but had to replace it smartly to prevent falling forward.
"I fear I can only do duty as a motionless tripod," he said rather anxiously.
"Nebber fear, massa--oh!
Look out!"
The latter exclamation was caused by Rosco falling backwards; to prevent which catastrophe he made a wild flourish with his arms, and a sweep with his staff, which just grazed the negro's cheek.
Zeppa, however, caught him in his arms, and set him up again.
"Now then, try once more," he said encouragingly.
Rosco tried, and in the course of half-an-hour managed, with many a stagger and upheaval of the arms and staff to advance about eight or ten yards.
At this point, however, he chanced to place the end of the right leg on a soft spot of ground.
Down it went instantly to the knee, and over went the learner on his side, snapping the leg short off in the fall!
It would be difficult to paint the general disappointment at this sudden collapse of the experiment.
A united groan burst from the party, including the patient, for it at once became apparent that a man with a wooden leg--to say nothing of two--could only walk on a hard beaten path, and as there were few such in the island, Rosco's chance of a long ramble seemed to vanish.
But Zeppa and his son were not men to be easily beaten.
They set to work to construct feet for the legs, which should be broad enough to support their friend on softish ground, and these were so arranged with a sort of ball-and-socket joint, that the feet could be moved up and down.
In theory this worked admirably; in practice it failed, for after a staggering step or two, the toes having been once raised refused to go down, and thus was produced the curious effect of a man stumping about on his heels!
To overcome this difficulty the heels of the feet were made to project almost as much behind as the toes did in front somewhat after the pattern of Ebony's pedal arrangements, as Rosco remarked when they were being fitted on for another trial.
At last, by dint of perseverance, the wooden legs were perfected, and Rosco re-acquired the art of walking to such perfection, that he was to be seen, almost at all times and in all weathers, stumping about the village, his chief difficulty being that when he chanced to fall, which he often did, he was obliged either to get some one to help him up, or to crawl home; for, being unable to get his knees to the ground when the legs were on, he was obliged to unstrap them if no one was within hail.
Now, during all this time, Betsy Waroonga remained quite inconsolable about her husband.
"But my dear, you know he is quite safe," her friend Marie Zeppa would say to her, "for he is doing the Master's work among Christian men."
"I knows that," Betsy would reply, "an' I'm comforted a leetle when I think so; but what for not Zeppa git a canoe ready an' take me to him?
A missionary not worth nothing without hees wife."
Marie sympathised heartily with this sentiment, but pointed out that it was too long and dangerous a voyage to be undertaken in a canoe, and that it was probable the mission ship would revisit Ratinga ere long, in which case the voyage could be undertaken in comfort and safety.
But Betsy did not believe in the danger of a canoe voyage, nor in the speedy arrival of the mission ship.
In fact she believed in nothing at that time, save in her own grief and the hardness of her case.
She shook her head, and the effect on the coal-scuttle, which had now become quite palsied with age and hard service, was something amazing, insomuch that Marie's sympathy merged irresistibly into mirth.
The good woman's want of faith, however, received a rebuke not many weeks later.
She was hastening, one afternoon, to an outlying field to gather vegetables in company with Zariffa, who had by that time grown into a goodly-sized girl.
The pace induced silence, also considerable agitation in both bonnets.
When they had cleared the village, and reached Rosco's hut near the entrance to the palm-grove, they went up to the open door and looked in, but no one was there.
"He's hoed out to walk," observed Zariffa with a light laugh; "awful fond o' walkin' since he got the 'ooden legs!"
"What was you want with him?"
asked Betsy, as they resumed their walk.
"Want to ask 'bout the Bibil lesson for to-morrow.
Some things me no can understan', an' Rosco great at the Bibil now."
"Yes," murmured Betsy with a nod, "there's many things in the Bibil not easy to understand.
Takes a deal o' study, Ziffa, to make him out.
Your father always say that.
But Rosco's fuss-rate at 'splainin' of 'em.
Fuss-rate--so your father say.
Him was born for a mis'nary."
At that moment a cry was heard in the distance.
They had been ascending a winding path leading to the field to which they were bound.
"Sounds like man in distress," said Betsy, breaking into a run with that eager alacrity which usually characterises the sympathetic.
Zariffa replied not, but followed her mother.
The cry was repeated, and at once recognised as being uttered by the man who was "born for a mis'nary," but had mistaken his profession when he became a pirate!
When they reached the spot whence it had apparently issued, the mis'nary, or ex-pirate, was nowhere to be seen.
"Hooroo!
whar' is you?"
shouted Betsy, looking round.
"Here!"
cried a half-smothered voice from somewhere in the earth.
"Oh!
look!"
exclaimed Zariffa in a sort of squeal as she ran towards a spot where two strange plants seemed to have sprung up.
"Rosco's legs!"
said Betsy, aghast.
And she was right.
The venturesome man had, with his accustomed hardihood, attempted that day to scale the mountain side, and had fallen into a hole by the side of the track, from which he could by no means extricate himself, because of its being a tightish fit, his head being down and his legs were in the air.
"Oh, Betsy, pull me out lass!
I'm half-choked already," gasped the unfortunate man.
But Betsy could not move him, much less pull him out, although heartily assisted by her daughter.
"Run, Ziffa, run an' fetch men!"
Ziffa ran like a hunted deer, so anxious was she for the deliverance of her Bible instructor.
On turning sharp round a bend in the track, she plunged into the bosom of Ebony.
"Ho!
hi!
busted I am; why, what's de matter, Ziffa?
you travel like a cannon-ball!"
As he spoke, Zeppa and his son, who had been walking behind Ebony, came up.
The panting child only replied, "Rosco--queek!"
and ran before them to the fatal spot.
Need we say that in a few moments the "born mis'nary" was drawn like a cork out of a bottle, and set down right end up?
Then they carried him to a clear space, whence the sea was visible, condoling with him as they went; but here all thought of the accident and of everything else was banished, for the moment by the sight of a ship on the horizon!
It turned out to be the mission-vessel with supplies, and with a young native missionary, or Bible-reader; and thus, in a few days, not only Betsy Waroonga, but Ongoloo and Wapoota, with Lippy and her mother and Orlando, were enabled to return to Sugar-loaf Island.
The joy of the Sugarlovians at the return of their chiefs and friends is not to be described, for, despite the assurances of Waroonga, they had begun to grow uneasy.
Neither is it possible to describe the condition of the coal-scuttle bonnet after it had been crushed in the reckless embrace of Betsy's spouse, nor the delight of the uncles, aunts, brothers, cousins, nieces, and nephews of Lippy, when they got her safe back again, though awfully disguised by the miniature coal-scuttle and flaming petticoat.
By that time the Mountain-men and the Raturans had rubbed noses, intermingled, intermarried, broken bows and spears, buried the war-hatchet and otherwise made up their minds, like sane creatures, to dwell in peace; for savages come to this condition sometimes--civilised nations never do!
Great, therefore, was their satisfaction when their mourning, at the prospect of losing Waroonga, was turned into joy by the decision of the young native teacher, who volunteered to take his place and remain with them as their permanent instructor in the way of Righteousness.
A dance was proposed by some of the chiefs as an appropriate way of expressing their joy and getting rid of superfluous energy; but as their only dance was a war-dance, it was thought better to celebrate the occasion by a grand feast which, being preceded by games--wrestling, jumping, and running, etcetera--served the purpose equally well--if not better.
Thus was an island won from heathenism in those far off southern seas!
And now, what shall we say in conclusion?
Time and space would fail us, were we to continue the history of Ratinga island down to the present time.
We can only add that Waroonga and Betsy returned home, that a stalwart son of Tomeo went in after years, to Sugar-loaf Island, and carried off Lippy as his bride, along with her mother; that a handsome son of Ongoloo took revenge by carrying Zariffa away from Ratinga, without her mother; that regular and frequent intercourse was set up between the two islands by means of a little schooner; that Ebony stuck to his master and mistress through thick and thin to a good old age;
that Orlando went to England, studied medicine, and returned again to Ratinga with a fair daughter of that favoured land; that Wapoota's morals improved by degrees; that Buttchee became more reconciled to European dress as he grew older; and that the inhabitants of the two islands generally became wiser and happier--though of course not perfect--through the benign influence of that Gospel which teaches man to do to others as he would have others do to him.
Time, as usual, continued to work his marvellous changes as the years flew by, but of all the transformations he wrought none was so striking as that produced in two men of Ratinga, who daily sat down, side by side, in front of their cottage by the sea, to watch a host of children of all ages, sizes, and complexions, which gambolled merrily on the sands.
These men were old and somewhat feeble, with hair like the driven snow, but their gentle expressions and ready smiles told of eternal youth within.
As the one sat with his colossal frame still erect though spare, talking softly to his comrade, and the other sat slightly bent, with eyes gazing sometimes at the children, and sometimes at his wooden toes, how difficult how almost impossible, to believe that, in former days, the one had been the madman, and the other the pirate!
End of Project Gutenberg's The Madman and the Pirate, by R. M.
Ballantyne *** END OF THE PROJECT GUTENBERG EBOOK THE MADMAN AND THE PIRATE *** 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: