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 XXVIII.
Down the middle of the big T-shaped wool-shed, in two rows of six pens each, with an aisle between them, the bleating sheep were massed.
They had been driven into that aisle and thus distributed, as a crowd of soldiers might be packed into their pews at church, and twelve little gates had then been shut upon them.
Each gate had a corresponding one at the opposite end of the pen, opening upon a broad lane of floor, and facing a doorway into outside pens and the sunny paddocks of the background.
Between gate and door, on his own section of the boarded lane, a sweating, bare-armed man with shears performed prodigies of strength and skill.
Every few minutes he snatched a heavy sheep from the pen beside him, flung it with a round turn into a sitting posture between his knees, and with the calm indifference to its violent objections of the spider to those of the fly that he makes into a parcel, sliced off its coat like a cook peeling a potato.
The fleece gently fell upon the floor, as you may see an unnoticed shawl slip from an old lady's shoulders, and before it could realise what had happened, the poor naked animal found itself shot through the doorway, to stagger headlong down the sloping stage that was its returning path to freedom.
Twelve of these stalwart and strenuous operators, lining the long walls at regular intervals, six a side, were at it with might and main (payment by results being the rule in this department of industry), and attendant boys strolled up and down, picking the fleeces from the floor and carrying them to the sorter's table.
One was the tar-boy, whose business it was to dab a brushful of tar upon any scarlet patch appearing upon a white under-coat where the shears had clipped too close.
The sorter or classer stood behind his long table, above and at right angles to the lines of sheep-pens and shearers.
Near him on either hand were racks like narrow loose-boxes, built against the walls; behind him the hydraulic press cranked and creaked as its attendants fed and manipulated it, and the great bales, that others were sewing up, weighing, and branding, were mounting high in the transepts of the building--the two arms of the capital T. The air was thick with woolly particles and the smell of sheep; the floor was dark and slippery, and everything one touched humid with the impalpable grease of the silky fleeces circulating all about the shed.
Strict, downright, dirty business was the order of the day.
The manager--Jim Urquhart, grey-bearded, in a battered felt hat and a slouchy old tweed suit--stood by the sorter's table, his wide-ranging, vigilant eye suddenly fixed upon it.
As each fleece was brought up, shaken out, trimmed, tested with thumb and finger, rolled into a light bundle, inside out, and flung into one or another of the adjacent racks, he followed the process as if it were something new to him.
The shade of difference in the texture of the staple of one fleece as compared with another appeared of more concern to him than the absolute difference, which seemed to shout for notice, between Deborah Dalzell and the other features of the scene.
A snowy, lacy petticoat all but swept the greasy floor.
An equally spotless skirt, fresh from the laundry, gathered up in one strong pendant hand, gleamed like light against its background of greasy woodwork and greasy wool.
The majestic figure of the lady of Redford advanced towards him.
Her lord strolled behind her.
Often--but not for many a long day--had the vision of her beautiful face come to Jim in this fashion, a radiance upon prosaic business that it was not allowed to interfere with; now, for the first time, his eye avoided, his heart shrank from recognising it.
Then he lifted his gaze at last, for she was close beside him.
And what a ray of loving old-comradeship shone on him from those star-bright orbs of hers, undulled by the years that had lightly frosted her dark hair.
She put out her hand, and held it out until he had apologised for his greasy paw, and given it to her warm grasp.
"Why haven't you been to see me--to see us?"
she asked him, smiling.
"Didn't you know we came home last night?"
"I thought you might be tired--or unpacking," Jim lamely excused himself.
"But whenever it is convenient to you, Deb--Mrs Dalzell--I am always close by; I can come at any time."
He looked at her husband.
"Claud, you remember Jim?"
It was so many years since the men had met that the question was not uncalled for.
They nodded to each other, across the enormous gulf that separated them, while Deb explained to her husband what an invaluable manager she had.
Jim had grown homelier and shabbier with his advancing years; Claud more and more exquisitely finished, until he now stood, in his carefully-careless costume--his short, pointed beard the same tone of silver-grey as his flannel suit, his finely-chiselled features the hue of old ivory--a perfect model of patrician 'form'.
Only there was plenty of vigour still manifest in the bushman's bony frame, while the man of the world wore a valetudinarian air, leaning on the arm of his regal, upright wife.
"Eh, isn't it like old times!"
she mused aloud, as her eyes roamed about the shed, where every sweating worker was finding time to gaze at her.
"I see some of the old faces--there's Harry Fox--and old David--and isn't that Keziah's grandson?
I must go and speak to them."
She left her husband at the sorter's table, that he and Jim might get reacquainted--men never learned to know each other while women were in the way--and it seemed to them both a long time before she came back.
Claud asked questions about the clip, and other matters of business;
and he criticised the manager's management.
"Rather behind the times--isn't it?
--for a place like Redford.
I
thought all the big stations sheared by machinery now."
"I've only been waiting for Miss--Mrs Dalzell's return to advise her to have the machines," said Jim, scrupulous to give Deb's husband all possible information.
"We must have them, of course.
I believe in scientific methods."
Mr Dalzell did not ask Jim how his sisters were, and how his brothers were getting on--did not remember that he had any.
And when Deb came back, to be gently but firmly ordered out of that dirty place by her new lord and master, the latter failed to take, although he did not fail to perceive, the hint of her eyes that Jim should be asked to dinner.
"No," said he, linking his arm in hers as they left the shed, "no outsiders, Debbie.
I want you all to myself now."
And the words and tone were so sweet to her that she could not be sorry for the possible hurt to Jim's feelings.
She was young again today, with her world-weary husband making love to her like this.
That theory of their having come together merely to keep each other warm on the cold road to the grave was laughingly flung to the winds.
She laid her strong right hand on his, limp upon her arm, and expanded her deep chest to the sunny morning air.
"Oh, Claud!
Oh, isn't it wonderful, after all these years!
You remember that night--that night in the garden?
The seat is there still--we will go and sit on it tonight--" "My dear, I dare not sit out after sunset, so subject as I am to bronchitis."
"No, no, of course not--I forgot your bronchitis.
This is the time for you to be out--and this air will soon make another man of you, dear.
Isn't it a heavenly climate?
Isn't it divine, this sun?
Look here, Claud, we've got some capital horses--or we had; I'll ask Jim.
What do you say to a ride--a long, lovely bush ride, like the old rides we used to have together?"
Words cannot describe the pang that went through her when he shook his head indifferently, and said he was too old for such violent exercise now.
"Stuff!"
she cried angrily.
-- "Besides, I haven't been on a horse for so long that I shouldn't know how to sit him," he teased her lazily.
"You wouldn't like to see me tumble off at your hall door, before the servants, would you?"
"Oh, Claud!
And to think how you used to ride!"
But of course she knew this was a joke, and laughed it off.
"It's nothing but sheer indolence," said she, patting the hand on her arm--that shapely ivory hand, with its polished filbert nails--"and I see that my mission in life is to cure you of it.
Come, we will make a start with a real country walk."
She began to drag him away from the bowered homestead, but he planted his feet, and took his hand from her arm.
"Not now, Debbie," he objected gently, but with that subtle note of mastership that had struck so sharply into Jim's sensitiveness; "it is mail-day, and the letters will be at the house by this time."
"What do letters matter to us?"
"That we can't tell until we see them."
They went in out of the sunshine to their arm-chairs in the shade.
The English mail had arrived, and it was very interesting.
Letters from lords and ladies, piles of papers of fashionable intelligence, voices from that world which one of the pair had already begun to hanker to be back in, although not yet distinctly conscious of it.
The bride fetched her work-basket, and busied herself with a piece of useless embroidery, while the bridegroom read aloud to her passages from the epistles of his titled correspondents, and from the printed chronicles of their doings here and there.
She had dreamed of his reading again the sort of things that he used to read, while she sewed and listened; but in the life that he had lived and grown to there had been no room for learning and the arts.
He had dropped them, with his health and his horsemanship, long ago.
The coroneted letters and the MORNING POST occupied them until luncheon.
At luncheon, as at every other meal--despite the new husband's expressed desire to have his wife to himself--his valet was present as butler, watching over the dyspeptic's diet, and seeing that the wine was right.
Neither master nor man trusted anybody else to do this.
It was a large crumple in Deb's rose-leaf, Manton's limpet-like attachment to Claud, who seemed unable to do anything without his servant's help, and the latter's cool relegation of herself to the second place in the MENAGE.
It was all very well for HER to give her husband the premier place--she did it gladly--but for Manton to take possession of Redford as a mere appendage of his lord's was quite another matter.
It was still the honeymoon, and he might do as he liked--or rather, as Claud liked; but it was not difficult to foresee the day when the valet who dictated to her cook would become too much for the proud spirit of the lady of the house, with whom it had ever been dangerous to make too free--or to foretell what would happen then.
Claud dozed through the afternoon--like most idle and luxurious men, he drank a great deal of wine, which made him sleepy--and Deb took the opportunity to go all through her house and put everything in order.
They met again at tea, and had a stroll about the garden, arm-in-arm and happy.
Dinner was a rather silent function.
Deb wished for Jim, and regretted her easy abandonment of him; Claud never talked when he was eating--the business was too serious, and Manton was there.
But while her husband smoked over his coffee, serene and charming, she sat alone with him, revelling in his wit and gaiety, telling herself that he was indeed the splendid fellow she had always thought him.
Then they went up to the big drawing-room--he was used to big rooms--and he flung himself at full length upon one of the downy couches, and she put silk pillows under his head.
While she was doing it, he pulled her down to him and kissed her.
"It's nice, isn't it?"
he murmured in her ear.
For answer, she pressed her lips to his ivory brows and his dropped eyelids.
Her big heart was too full for speech.
"Now I am going to play to you," she whispered, and went off to the old piano, that the tuner had prepared for this sacred purpose.
What years it was since she had cared to touch piano keys!
And never since the love-time of her youth had she played as she did now--all the old things that he had ever cared for, with the old passion in them....
And while she played--he slumbered peacefully.
* * * * * Jim, when his day of hard work was over, went back to his manager's house--all the home he knew--had a bath, put on clean clothes, ate perfunctorily of roast mutton, and bread and jam, and sat down with his pipe on the top step of his verandah, where he hugged his knees and watched the stars come out.
He was a confirmed old bachelor now, "set", his sisters said, in his bachelor ways.
None of them lived with him, to keep his house and cheer him up.
It was too dull for them (with the mistress of Redford never there), and besides, he did not want cheering; for himself, he preferred dullness.
An old working housekeeper "did" for him, cooking his simple meals--eggs and bacon alternating with chops for breakfast, and mutton and bread and jam for his tea-dinner, with a fowl for Sundays--keeping his few plain rooms clean and his socks mended.
A hundred or two a year must have covered his household expenses; the hundreds remaining of his handsome income went to shore up the weak-kneed of his kindred, who had the habit of falling back on him when their funds ran out, or anything else went wrong with them.
He was a great reader.
Books lined the walls of his otherwise meagrely furnished rooms--they represented the one personal extravagance that he indulged in--and newspapers and magazines came by every mail.
In these and in his thoughts he lived, when not intent upon the affairs of the estate, which in the eyes of some appeared wholly to absorb him.
Tonight his thoughts sufficed.
The latest parcel from Mullens' lay untied, the new American periodicals with wrappers intact.
Deb was home again--that was enough food for the mind at present.
But, oh, what a home-coming!
His own and only "boss" no longer, as heretofore, but subject to a husband who clearly meant to be his master, and as clearly meant him to have no mistress any more.
Neither in the way of business nor in the way of sentiment could she be again to him what she had been throughout his life--the altar of his sacrifice, the goddess of his simple worship, his guide, his goal.
He must not hope, nor try, nor even long for her now.
That one last comfort was taken from him.
Well!...
He walked about, while the fiercest paroxysm racked him.
As some of us in our pain-torments rush to lotion or anodyne, he sought the soothing of the starry night, the cool darkness that had so often brought him peace.
To get away from the faintly audible tinkling of the shearers' banjo and their songs, he strolled in the opposite direction, and that was towards the dark mass of the trees encircling her house--her home, in which he had no part.
Mechanically he noted a garden gate open--she had left it so--open to the rabbits against which its section of the miles of wire-netting fencing the grounds had been so carefully provided, and he went forward to shut it.
Being there, he had a distant view of the big drawing-room windows, thrown up and letting out wide streams of light across the lawn.
And while he stood to gaze at them, picturing what within he could not see, he heard the piano--Debbie playing.
And so she had an appreciative audience, although she did not know it.
Below her windows, out of the light, Jim--poor old Jim!
--sat like a statue, his head thrown back, his eyes uplifted, tears running down his hairy, weather-beaten face.
It was the most exquisitely miserable hour of his life--or so he thought.
He did not know what a highly favoured mortal he really was, in that his beautiful love-story was never to be spoiled by a happy ending.
*** END OF THE PROJECT GUTENBERG EBOOK SISTERS ***
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: