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.
5 Galen’s Treatise on the Small Ball Ball games, as we know from Homer, were from the earliest times popular among the Greeks, being especially esteemed for the grace of body which the act of throwing and catching gives.
The central incident of the _Odyssey_ is connected with such a game, for it was a lost ball that roused Odysseus from his sleep in the bush and led to his discovery by Nausicaa.
At Athens in the fifth century they were, for men, rather overshadowed by the gymnastic exercises already described, but youths found in them a favourite diversion, and the poet Sophocles in his tragedy of the _Nausicaa_ won particular praise in the title-rôle--a non-speaking part--because of his dexterous skill.
Those who played, as Athenæus tells us, always paid great attention to elegance of attitude, and he quotes from the comic poet Demoxenus: ‘A youth I saw was playing ball, Seventeen years of age and tall;
From Cos he came, and well I wot The gods look kindly on that spot.
For when he took the ball or threw it, So pleased were all of us to view it, We all cried out; so great his grace Such frank good humour in his face, That every time he spoke or moved, All felt as if that youth they loved.
Sure ne’er before had these eyes seen, Nor ever since, so fair a mien: Had I stayed long, most sad my plight Had been, to lose my wits outright, And even now the recollection Disturbs my senses’ calm reflection.
’ Of the actual details of these ball games we have very few accounts in literature or representations in art.
One of the most recent archæological discoveries has, however, thrown light on one point.
Up till lately we had no instance of implements being used; but in February, 1922, while the foundations of a shop were being constructed at Athens, sections of the Themistoclean circuit wall were brought to light.
Built into them were three quadrangular bases of Pentelic marble with sculptured reliefs on their sides and one of these reliefs shows clearly the details of a hockey match.
The ball is on the ground in the exact middle: two youths with sticks are engaged in a ‘bully’ for it precisely in the modern fashion: on either side of them stand two other pairs of youths, with sticks, representing, it may be presumed, the rest of the two competing teams.
Another of the six reliefs, equally interesting, shows probably the beginning of the most popular and the most energetic of all forms of ball games, the Phæninda, played with a small hard ball stuffed with hair, the Harpastum.
The game bore some resemblance to our Rugby, except that the ball was always thrown and never kicked.
The scene on the relief represents a throw-in from the touchline; one youth is preparing to throw, the rest are waiting either to seize the ball in the air or to tackle the next possessor.
A passage from the comedian Antiphanes, quoted by Athenæus (Bk.
I, ch. 26), gives a lively picture: ‘The player takes the ball elate, And gives it safely to his mate, Avoids the blows of the other side And shouts to see them hitting wide.
List to the cries, “Hit here,” “hit here,” “Too far,” “too high,” “that is not fair”-- See every man with ardour burns To make good strokes and quick returns.
’ Another sort of game, less rough in character and more akin to our lacrosse, was possibly played with a lighter feather stuffed ball, in Greek, _sphaira_, the Latin _follis_.
Here, tackling was not allowed, and the ball was thrown from hand to hand while the players were running at full speed.
In playing with the _harpastum_ or the _follis_ the main object was to drive your opponents to retreat behind their base line, and in both styles there [Illustration: THE THROW-IN AT THE SMALL BALL GAME (Athens)] was a good deal of running.
The third type of game, played with the _trigon_, required less exertion.
The players here were only three in number, and stood at the three-corners of a triangle, throwing balls quickly one at the other: both hands were used and caddies supplied the players with missiles.
All three games were Greek inventions; but they reached the height of their popularity under the Roman Empire.
Seneca, writing on the brevity of mortal life, complains that there are many people who have no other occupation but to play ball from morning till night.
Martial frequently mentions the dusty _harpastum_, the warming _trigon_, and the feathered _follis_, and in one of his epigrams praises a young student for taking his exercise in the form of a long run rather than waste his time on the ‘busy idleness’ of a ball game.
To this period also belongs the one serious account that we have in Greek of any game, Galen’s treatise on exercise with the small ball.
Claudius Galenus, born at Pergamum in the reign of Hadrian, 131 A. D.
, is one of the most notable figures of a notable age.
Courtier-physician, scholar-diplomat, the friend of princes and the trainer of gladiators, he recalls the versatility of the great sophists of the fifth century B.
C.
, and he equals them in the breadth and profundity of his knowledge.
His writings embrace four distinct fields: medicine in all its aspects, philosophy, rhetoric, and grammatical logic; and although he is best known as a physician his commentaries on Hippocrates may claim to be the beginning of truly scientific scholarship.
His long life was spent in acquiring and imparting knowledge.
A thorough education, conducted under his father’s eye, rendered him apt for every art.
His wealth enabled him to travel and study at his leisure, and in early manhood he made the ‘grand tour’ of the ancient world, living for a time at Smyrna, Alexandria, and Rome before he returned to his native town.
We have now 118 genuine extant works from his pen, which translated from the Greek into Arabic and thence again into Latin, were the chief text-books in all the mediæval universities.
Editions were innumerable, and even to-day the name of Galen occupies more than fifty pages in the British Museum Catalogue.
In a production so immense we must not expect consummate grace of language, but his own maxim, ‘the first merit of style is clearness’ is well exemplified in the ‘Small ball,’ which is short enough to be translated here in its entirety.
‘How great an advantage for health gymnastic exercises are and what an important part they play in questions of diet has been sufficiently explained by the best of our ancient philosophers and physicians.
But how superior to all other exercise is the use of the small ball has never been adequately set forth by any of my predecessors.
It is only right then for me to put forward my ideas for your criticism, Epigenes, since you have the very best practical experience of the athletic art, in the further hope that they may be useful also to all those to whom you communicate your knowledge.
‘The best forms of gymnastic, I think, are those which are able not only to work the body but also to delight the mind.
Those men were true philosophers who invented coursing and the other varieties of the chase, tempering the labour they involve with pleasure, exultation and rivalry, and they had an accurate knowledge of human nature.
So powerful an effect has mental emotion upon the stuff of which we are made that many people have been cured of ailments merely by the effect of joy, while many others have fallen ill from sorrow.
Indeed, of all the affections that are rooted in the body none is strong enough to master those others that have the mind for their sphere.
So it is wrong to neglect the character of our mental emotions; we ought for every reason to give more attention to them than to the condition of our body, especially as the mind is more important than the body can be.
This care is the common function of all gymnastic exercises that have an element of pleasure in them, but there are other special points in small ball play which I will now describe.
‘Firstly, it is easy.
If you consider what time and trouble all the business of hunting involves, especially coursing, you will clearly see that no one who is engaged in public service or who follows an art or trade can take part in these forms of exercise; they require abundant wealth and a person who enjoys considerable leisure.
But ball play is different.
It is so democratic that even the poorest can spare the necessary trouble.
It needs no nets, nor weapons, nor horses, nor hounds: all it requires is one small ball.
Moreover, it suits itself so well to a man’s other pursuits, that it does not compel him to neglect any of them for its sake.
What could be easier than a sport which allows any form of human occupation or condition?
As regards the exercise that hunting gives, it is out of our power to enjoy it easily: it requires money to provide an elaborate equipment and freedom from occupation to wait for a suitable opportunity.
But with ball play even the poorest have no difficulty in getting the implements; it will wait for us, and quite busy people find opportunity to enjoy it.
Its accessibility is a very great advantage.
‘If you consider the effect and nature of each of the other kinds of exercise, you will see clearly that ball play is the most satisfactory of them all.
You will find that the others are either over violent or not violent enough; that they give disproportionate exercise to the lower or to the upper part of the body or to one part at the expense of the others; the loins, the head, the arms, the chest.
Something which keeps all parts of the body moving alike and admits either of the most violent strain or the gentlest relaxation, this can be found in no exercise except the small ball.
The game can be sharp or slow, soft or violent just according to your own inclination, as your body seems to need it.
You can exercise all parts of the body at the same time, if that appears best, or if it should seem preferable, some parts rather than others.
When the players form sides and try to stop their opponents midway and rob them of the ball, the exercise is very severe and violent.
You often have to grip your man in wrestling fashion or else collar him; the latter method giving plenty of work for head and neck, the former exercising ribs, chest and stomach, as you fasten your own grip or escape from your opponent’s. Sometimes you make your mark, sometimes you use one of the holds that are taught in the wrestling schools; and this means a very considerable strain on the loins and the legs.
And so for this sport a man must be a strong runner: he will have to swerve and leap sideways as well as run straight forward and this is hard exercise for the legs.
Indeed, to speak the truth, it is the only sport that properly exercises the legs in all their parts.
When you run forward one set of sinews and muscles comes into play; when you jump backwards others have more work to do, and others again when you change direction sideways.
In track-running on the contrary, only one sort of movement is necessary and the exercise is unequal, not affecting all parts of the legs alike.
‘And as with the legs so also with the arms, the exercise is very fairly apportioned, for the players are accustomed to catch the ball in every kind of attitude.
This variety of attitude inevitably exercises different muscles at different times in different degrees of intensity.
Every muscle has its turn of work and an equal share of rest: they are now active, now quiescent; none remains altogether idle, none is overcome with weariness by working alone.
As for the training that the eye receives you may realize this by remembering that unless a man anticipates exactly the flight of the ball and its direction, he must inevitably fail to make his catch.
Moreover, the wits are sharpened by the game: you have to think carefully how best to stop your opponent, and not drop the ball yourself.
Thought by itself makes a man thin; but when it is combined with exercise and the pleasant rivalry of a sport it is of the very greatest benefit.
The body improves in health, the mind is turned to practical knowledge.
When exercise can render service both to body and mind, each in its own special form of excellence, it is a blessing indeed.
[Illustration: A HOCKEY MATCH (Statue base discovered at Athens, 1922)] ‘It is easy too to see that ball games can give men practice in two most important forms of training, those two which the royal ordinance of law bids our generals most sedulously to pursue.
The functions of a good general are these: to attack at the proper time and to seize quickly each opportunity for action: to secure the property of the enemy either by force or by an unexpected assault, and to keep safe any possessions already acquired.
In short, a general should be an expert guardian and an expert thief: that is the sum of his trade.
‘Now, can any exercise but ball games train a man so well how to keep what he has got, to recover what he has lost, and to anticipate his opponent’s plans?
I should be surprised, if you could tell me of one.
Most forms of exercise have the opposite effect: they make men lazy, slow-witted and fond of sleep.
The competitions of the wrestling school tend to make people corpulent rather than to train them in virtue.
Many wrestlers become so fat that they have difficulty in breathing, and such folk could never be good generals in time of war or good administrators either in a royal or a republican state: you might sooner trust pigs than them.
‘Perhaps you may think that I approve of running and any other form of exercise that reduces fat.
I do not.
I disapprove of excess in all matters, and I think that every art should aim at symmetry.
If a thing lacks measure, it is in so far bad.
So I cannot approve of track athletics, for they reduce a man’s physical condition and give him no training in manliness.
Victory does not come to those who run quickly but to those who are able to hold their own in a close fight, and the Spartans owed their greatness not to their speed of foot but to their stubborn courage.
Even if you considered it purely on grounds of health, a sport is not healthy in so far as it exercises the parts of the body unequally.
Inevitably, some parts are overstrained, some left quite idle.
Neither of these conditions are good: both foster the seeds of illness and produce a weak state of health.
‘The exercise I approve of most is one that can give health of body, symmetry of limbs and excellence of mind: and all these virtues are found in the small ball.
It can benefit the mind in all kinds of ways; it exercises every part of the body alike--and this is of the greatest importance for health--for it produces a regular state of constitution; and it does not lead either to undue corpulence or excessive thinness: it is competent to perform such acts as require strength, it is suitable also for those that need quickness.
‘Now if we consider ball games in their most violent form they are inferior in no respect to any sort of athletics.
But we must also look at them in their milder aspect, for sometimes we need gentle exercise.
We may be either too old or not old enough to stand a severe strain; we may wish to relax our efforts or be recovering from illness.
I think that in this respect also the small ball has a great advantage, for no game is quite so gentle, if you wish to take it gently.
Should you need moderate exercise and desire to avoid excess, you will sometimes step softly forward, sometimes stand quite still: you need not make any violent effort and you can add to the effect by a warm bath or a gentle rub down with oil.
Of all exercise this is the most gentle: it is most suitable for one who needs useful recreation, it can revive failing strength, it is most suitable for old and young alike.
There are, however, some stronger sorts of exercise which can be obtained by the use of the small ball, although they are milder than the most intense form of the game, and these must now be considered if we really wish to treat the subject completely.
If ever some unavoidable task, such as often falls to many a man’s lot, has caused an excessive strain to all the upper or all the lower parts of the body, or to the arms alone or to the feet, by the help of the small ball you can rest those parts that have been overstrained and give the same amount of exercise to those other parts that were then left quite idle.
To stand a fair distance apart and throw the ball vigorously, without using the legs hardly at all, rests the lower limbs and gives a somewhat violent exercise to the upper parts of the body.
On the other hand, if you run most of the way at a good speed keeping a wide distance and seldom throw the ball, the lower limbs have more work to do.
The quickness of action and the speed required, involve no great muscular strain but they exercise the lungs, while the vigorous effort, as you grasp the ball and catch and throw it, although it needs no speed of foot, yet braces and strengthens the body.
If the ball is thrown both vigorously and at full speed there will be a considerable strain on the body and on the lungs: it will be indeed the most violent form of exercise possible.
But how far this strain should be relaxed or intensified, as circumstances require, it is impossible to set down in writing--exact quantities should never be stated; in actual practice it is easy enough to discover the proper limit and to instruct others.
On actual experience all depends.
The quality of a thing is useless if it is spoilt by a wrong quantity, and this will be the business of your trainer, who will act as guide in all matters of exercise.
‘But I must bring my subject to an end.
In addition to all the other advantages, which, as I have said, the small ball possesses, there is one more which I should not like to omit.
It is free from all the risks to which most other athletic exercises are liable.
Before to-day many a man has died of a broken blood-vessel after a violent race: and so also the practice of loud and furious shouting, if pursued without intermission for some time, has often proved the cause of very serious mischief.
Continuous horse-riding ruptures the parts about the kidneys and often injures the chest, besides in some cases doing harm to the generative organs.
I say nothing of the mistakes that horses make, whereby frequently their riders have been unseated and killed on the spot.
Many men have also been hurt while jumping, or throwing the discus, or turning somersaults.
As for the frequenters of the wrestling school, what need I say of them?
They are all scarred more shamefully than the Curse-hags of whom Homer tells us.
The great poet describes them: “Lame and wrinkled and with eyes askance.
” And so with the wrestling master’s pupils, you will find them lame, distorted, battered, and maimed in some part at least of their body.
Since then, in addition to the other advantages, this freedom from danger is the particular attribute of small ball games, they must be regarded as the best of all inventions, so far as actual utility is concerned.
’ There are many striking points in the little essay; the importance that Galen assigns to athletics as part of military training; his insistence on the moral and intellectual virtue of games and their value in producing a cheerful frame of mind; his depreciation, on social and physical grounds, of track-running.
It is written obviously from the standpoint of a physician and not of an athlete or a sportsman.
The athlete might well wish for fuller details of the three different games of ‘harpastum,’ ‘trigon,’ and ‘follis,’ which are here mentioned rather than described.
The sportsman would probably object to the strictures on hunting and riding, and reply that a spice of danger gives an additional zest to exercise.
It is noticeable also that in discussing the moral virtue of games Galen makes no mention of that which we consider their most important feature, the ‘team-spirit,’ the working not for yourself but for your side.
Criticisms such as these, however, are ungracious.
The ‘small ball’ is a delightful example of the work of a great practical genius who devoted his whole life to the service of his fellow-men.
In spirit, moreover, and in method it follows the true Greek tradition, and regards athletics not as a mere diversion but as the best practical preparation for the strenuous business of life.
SELECT BIBLIOGRAPHY
_E.
N.
Gardiner_: Greek Athletic Sports and Festivals.
Macmillan, 1910. _K.
J.
Freeman_: Schools of Hellas.
Macmillan, 1907. _W.
W.
Hyde_: Olympic Victor Monuments.
Washington, U. S.
A.
, 1921. _Walter Pater_: Greek Studies.
Macmillan, 1895. _J.
B.
Bury_: The Nemean Odes of Pindar.
Macmillan, 1891. _E.
Bruecke_: The Human Figure.
Grevel, 1900. _D.
Watts_: The Renaissance of the Greek Ideal.
Heinemann, 1914. _E.
Jaques-Dalcroze_: Rhythm, Music and Education.
Chatto and Windus, 1921. FOOTNOTES:
[A] _The Arts in Greece.
_ By F. A.
Wright.
Longmans, 1923. [B] E.
Myers: _Odes of Pindar_.
*** END OF THE PROJECT GUTENBERG EBOOK GREEK ATHLETICS ***
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.
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: