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.
XLII
Later on, in the afternoon, before the others arrived, the form of their reunion was at least remarkable: they might, in their great eastward drawing-room, have been comparing notes or nerves in apprehension of some stiff official visit.
Maggie’s mind, in its restlessness, even played a little with the prospect; the high cool room, with its afternoon shade, with its old tapestries uncovered, with the perfect polish of its wide floor reflecting the bowls of gathered flowers and the silver and linen of the prepared tea-table, drew from her a remark in which this whole effect was mirrored, as well as something else in the Prince’s movement while he slowly paced and turned.
“We’re distinctly bourgeois!
” she a trifle grimly threw off, as an echo of their old community; though to a spectator sufficiently detached they might have been quite the privileged pair they were reputed, granted only they were taken as awaiting the visit of Royalty.
They might have been ready, on the word passed up in advance, to repair together to the foot of the staircase—the Prince somewhat in front, advancing indeed to the open doors and even going down, for all his princedom, to meet, on the stopping of the chariot, the august emergence.
The time was stale, it was to be admitted, for incidents of magnitude; the September hush was in full possession, at the end of the dull day, and a couple of the long windows stood open to the balcony that overhung the desolation— the balcony from which Maggie, in the springtime, had seen Amerigo and Charlotte look down together at the hour of her return from the Regent’s Park, near by, with her father, the Principino and Miss Bogle.
Amerigo now again, in his punctual impatience, went out a couple of times and stood there; after which, as to report that nothing was in sight, he returned to the room with frankly nothing else to do.
The Princess pretended to read; he looked at her as he passed; there hovered in her own sense the thought of other occasions when she had cheated appearances of agitation with a book.
At last she felt him standing before her, and then she raised her eyes.
“Do you remember how, this morning, when you told me of this event, I asked you if there were anything particular you wished me to do?
You spoke of my being at home, but that was a matter of course.
You spoke of something else,” he went on, while she sat with her book on her knee and her raised eyes; “something that makes me almost wish it may happen.
You spoke,” he said, “of the possibility of my seeing her alone.
Do you know, if that comes,” he asked, “the use I shall make of it?
” And then as she waited: “The use is all before me.
” “Ah, it’s your own business now!
” said his wife.
But it had made her rise.
“I shall make it my own,” he answered.
“I shall tell her I lied to her.
” “Ah no!
” she returned.
“And I shall tell her you did.
” She shook her head again.
“Oh, still less!
” With which therefore they stood at difference, he with his head erect and his happy idea perched, in its eagerness, on his crest.
“And how then is she to know?
” “She isn’t to know.
” “She’s only still to think you don’t—?
” “And therefore that I’m always a fool?
She may think,” said Maggie, “what she likes.
” “Think it without my protest—?
” The Princess made a movement.
“What business is it of yours?
” “Isn’t it my right to correct her—?
” Maggie let his question ring—ring long enough for him to hear it himself; only then she took it up.
“‘Correct’ her?
”—and it was her own now that really rang.
“Aren’t you rather forgetting who she is?
” After which, while he quite stared for it, as it was the very first clear majesty he had known her to use, she flung down her book and raised a warning hand.
“The carriage.
Come!
” The “Come!
” had matched, for lucid firmness, the rest of her speech, and, when they were below, in the hall, there was a “Go!
” for him, through the open doors and between the ranged servants, that matched even that.
He received Royalty, bareheaded, therefore, in the persons of Mr. and Mrs. Verver, as it alighted on the pavement, and Maggie was at the threshold to welcome it to her house.
Later on, upstairs again, she even herself felt still more the force of the limit of which she had just reminded him; at tea, in Charlotte’s affirmed presence—as Charlotte affirmed it—she drew a long breath of richer relief.
It was the strangest, once more, of all impressions; but what she most felt, for the half-hour, was that Mr. and Mrs. Verver were making the occasion easy.
They were somehow conjoined in it, conjoined for a present effect as Maggie had absolutely never yet seen them; and there occurred, before long, a moment in which Amerigo’s look met her own in recognitions that he couldn’t suppress.
The question of the amount of correction to which Charlotte had laid herself open rose and hovered, for the instant, only to sink, conspicuously, by its own weight; so high a pitch she seemed to give to the unconsciousness of questions, so resplendent a show of serenity she succeeded in making.
The shade of the official, in her beauty and security, never for a moment dropped; it was a cool, high refuge, like the deep, arched recess of some coloured and gilded image, in which she sat and smiled and waited, drank her tea, referred to her husband and remembered her mission.
Her mission had quite taken form—it was but another name for the interest of her great opportunity—that of representing the arts and the graces to a people languishing, afar off, in ignorance.
Maggie had sufficiently intimated to the Prince, ten minutes before, that she needed no showing as to what their friend wouldn’t consent to be taken for; but the difficulty now indeed was to choose, for explicit tribute of admiration, between the varieties of her nobler aspects.
She carried it off, to put the matter coarsely, with a taste and a discretion that held our young woman’s attention, for the first quarter-of-an-hour, to the very point of diverting it from the attitude of her overshadowed, her almost superseded companion.
But Adam Verver profited indeed at this time, even with his daughter, by his so marked peculiarity of seeming on no occasion to have an attitude; and so long as they were in the room together she felt him still simply weave his web and play out his long fine cord, knew herself in presence of this tacit process very much as she had known herself at Fawns.
He had a way, the dear man, wherever he was, of moving about the room, noiselessly, to see what it might contain; and his manner of now resorting to this habit, acquainted as he already was with the objects in view, expressed with a certain sharpness the intention of leaving his wife to her devices.
It did even more than this; it signified, to the apprehension of the Princess, from the moment she more directly took thought of him, almost a special view of these devices, as actually exhibited in their rarity, together with an independent, a settled appreciation of their general handsome adequacy, which scarcely required the accompaniment of his faint contemplative hum.
Charlotte throned, as who should say, between her hostess and her host, the whole scene having crystallised, as soon as she took her place, to the right quiet lustre; the harmony was not less sustained for being superficial, and the only approach to a break in it was while Amerigo remained standing long enough for his father-in-law, vaguely wondering, to appeal to him, invite or address him, and then, in default of any such word, selected for presentation to the other visitor a plate of petits fours.
Maggie watched her husband—if it now could be called watching—offer this refreshment; she noted the consummate way—for “consummate” was the term she privately applied—in which Charlotte cleared her acceptance, cleared her impersonal smile, of any betrayal, any slightest value, of consciousness; and then felt the slow surge of a vision that, at the end of another minute or two, had floated her across the room to where her father stood looking at a picture, an early Florentine sacred subject, that he had given her on her marriage.
He might have been, in silence, taking his last leave of it; it was a work for which he entertained, she knew, an unqualified esteem.
The tenderness represented for her by his sacrifice of such a treasure had become, to her sense, a part of the whole infusion, of the immortal expression; the beauty of his sentiment looked out at her, always, from the beauty of the rest, as if the frame made positively a window for his spiritual face: she might have said to herself, at this moment, that in leaving the thing behind him, held as in her clasping arms, he was doing the most possible toward leaving her a part of his palpable self.
She put her hand over his shoulder, and their eyes were held again, together, by the abiding felicity; they smiled in emulation, vaguely, as if speech failed them through their having passed too far; she would have begun to wonder the next minute if it were reserved to them, for the last stage, to find their contact, like that of old friends reunited too much on the theory of the unchanged, subject to shy lapses.
“It’s all right, eh?
” “Oh, my dear—rather!
” He had applied the question to the great fact of the picture, as she had spoken for the picture in reply, but it was as if their words for an instant afterwards symbolised another truth, so that they looked about at everything else to give them this extension.
She had passed her arm into his, and the other objects in the room, the other pictures, the sofas, the chairs, the tables, the cabinets, the “important” pieces, supreme in their way, stood out, round them, consciously, for recognition and applause.
Their eyes moved together from piece to piece, taking in the whole nobleness—quite as if for him to measure the wisdom of old ideas.
The two noble persons seated, in conversation, at tea, fell thus into the splendid effect and the general harmony: Mrs. Verver and the Prince fairly “placed” themselves, however unwittingly, as high expressions of the kind of human furniture required, esthetically, by such a scene.
The fusion of their presence with the decorative elements, their contribution to the triumph of selection, was complete and admirable; though, to a lingering view, a view more penetrating than the occasion really demanded, they also might have figured as concrete attestations of a rare power of purchase.
There was much indeed in the tone in which Adam Verver spoke again, and who shall say where his thought stopped?
“Le compte y est. You’ve got some good things.
” Maggie met it afresh—“Ah, don’t they look well?
” Their companions, at the sound of this, gave them, in a spacious intermission of slow talk, an attention, all of gravity, that was like an ampler submission to the general duty of magnificence; sitting as still, to be thus appraised, as a pair of effigies of the contemporary great on one of the platforms of Madame Tussaud.
“I’m so glad—for your last look.
” With which, after Maggie—quite in the air—had said it, the note was struck indeed; the note of that strange accepted finality of relation, as from couple to couple, which almost escaped an awkwardness only by not attempting a gloss.
Yes, this was the wonder, that the occasion defied insistence precisely because of the vast quantities with which it dealt—so that separation was on a scale beyond any compass of parting.
To do such an hour justice would have been in some degree to question its grounds—which was why they remained, in fine, the four of them, in the upper air, united in the firmest abstention from pressure.
There was no point, visibly, at which, face to face, either Amerigo or Charlotte had pressed; and how little she herself was in danger of doing so Maggie scarce needed to remember.
That her father wouldn’t, by the tip of a toe—of that she was equally conscious: the only thing was that, since he didn’t, she could but hold her breath for what he would do instead.
When, at the end of three minutes more, he had said, with an effect of suddenness, “Well, Mag—and the Principino?
” it was quite as if that were, by contrast, the hard, the truer voice.
She glanced at the clock.
“I ‘ordered’ him for half-past five—which hasn’t yet struck.
Trust him, my dear, not to fail you!
” “Oh, I don’t want HIM to fail me!
” was Mr. Verver’s reply; yet uttered in so explicitly jocose a relation to the possibilities of failure that even when, just afterwards, he wandered in his impatience to one of the long windows and passed out to the balcony, she asked herself but for a few seconds if reality, should she follow him, would overtake or meet her there.
She followed him of necessity—it came, absolutely, so near to his inviting her, by stepping off into temporary detachment, to give the others something of the chance that she and her husband had so fantastically discussed.
Beside him then, while they hung over the great dull place, clear and almost coloured now, coloured with the odd, sad, pictured, “old-fashioned” look that empty London streets take on in waning afternoons of the summer’s end, she felt once more how impossible such a passage would have been to them, how it would have torn them to pieces, if they had so much as suffered its suppressed relations to peep out of their eyes.
This danger would doubtless indeed have been more to be reckoned with if the instinct of each—she could certainly at least answer for her own—had not so successfully acted to trump up other apparent connexions for it, connexions as to which they could pretend to be frank.
“You mustn’t stay on here, you know,” Adam Verver said as a result of his unobstructed outlook.
“Fawns is all there for you, of course—to the end of my tenure.
But Fawns so dismantled,” he added with mild ruefulness, “Fawns with half its contents, and half its best things, removed, won’t seem to you, I’m afraid, particularly lively.
” “No,” Maggie answered, “we should miss its best things.
Its best things, my dear, have certainly been removed.
To be back there,” she went on, “to be back there—!
” And she paused for the force of her idea.
“Oh, to be back there without anything good—!
” But she didn’t hesitate now; she brought her idea forth.
“To be back there without Charlotte is more than I think would do.
” And as she smiled at him with it, so she saw him the next instant take it—take it in a way that helped her smile to pass all for an allusion to what she didn’t and couldn’t say.
This quantity was too clear—that she couldn’t at such an hour be pretending to name to him what it was, as he would have said, “going to be,” at Fawns or anywhere else, to want for HIM.
That was now—and in a manner exaltedly, sublimely—out of their compass and their question;
so that what was she doing, while they waited for the Principino, while they left the others together and their tension just sensibly threatened, what was she doing but just offer a bold but substantial substitute?
Nothing was stranger moreover, under the action of Charlotte’s presence, than the fact of a felt sincerity in her words.
She felt her sincerity absolutely sound—she gave it for all it might mean.
“Because Charlotte, dear, you know,” she said, “is incomparable.
” It took thirty seconds, but she was to know when these were over that she had pronounced one of the happiest words of her life.
They had turned from the view of the street; they leaned together against the balcony rail, with the room largely in sight from where they stood, but with the Prince and Mrs. Verver out of range.
Nothing he could try, she immediately saw, was to keep his eyes from lighting; not even his taking out his cigarette-case and saying before he said anything else: “May I smoke?
” She met it, for encouragement, with her “My dear!
” again, and then, while he struck his match, she had just another minute to be nervous—a minute that she made use of, however, not in the least to falter, but to reiterate with a high ring, a ring that might, for all she cared, reach the pair inside: “Father, father—Charlotte’s great!
” It was not till after he had begun to smoke that he looked at her.
“Charlotte’s great.
” They could close upon it—such a basis as they might immediately feel it make; and so they stood together over it, quite gratefully, each recording to the other’s eyes that it was firm under their feet.
They had even thus a renewed wait, as for proof of it; much as if he were letting her see, while the minutes lapsed for their concealed companions, that this was finally just why—but just WHY!
“You see,” he presently added, “how right I was.
Right, I mean, to do it for you.
” “Ah, rather!
” she murmured with her smile.
And then, as to be herself ideally right: “I don’t see what you would have done without her.
” “The point was,” he returned quietly, “that I didn’t see what you were to do.
Yet it was a risk.
” “It was a risk,” said Maggie—“but I believed in it.
At least for myself!
” she smiled.
“Well NOW,” he smoked, “we see.
” “We see.
” “I know her better.
” “You know her best.
” “Oh, but naturally!
” On which, as the warranted truth of it hung in the air—the truth warranted, as who should say, exactly by the present opportunity to pronounce, this opportunity created and accepted—she found herself lost, though with a finer thrill than she had perhaps yet known, in the vision of all he might mean.
The sense of it in her rose higher, rose with each moment that he invited her thus to see him linger; and when, after a little more, he had said, smoking again and looking up, with head thrown back and hands spread on the balcony rail, at the grey, gaunt front of the house, “She’s beautiful, beautiful!
” her sensibility reported to her the shade of a new note.
It was all she might have wished, for it was, with a kind of speaking competence, the note of possession and control; and yet it conveyed to her as nothing till now had done the reality of their parting.
They were parting, in the light of it, absolutely on Charlotte’s VALUE—the value that was filling the room out of which they had stepped as if to give it play, and with which the Prince, on his side, was perhaps making larger acquaintance.
If Maggie had desired, at so late an hour, some last conclusive comfortable category to place him in for dismissal, she might have found it here in its all coming back to his ability to rest upon high values.
Somehow, when all was said, and with the memory of her gifts, her variety, her power, so much remained of Charlotte’s!
What else had she herself meant three minutes before by speaking of her as great?
Great for the world that was before her—that he proposed she should be: she was not to be wasted in the application of his plan.
Maggie held to this then—that she wasn’t to be wasted.
To let his daughter know it he had sought this brief privacy.
What a blessing, accordingly, that she could speak her joy in it!
His face, meanwhile, at all events, was turned to her, and as she met his eyes again her joy went straight.
“It’s success, father.
” “It’s success.
And even this,” he added as the Principino, appearing alone, deep within, piped across an instant greeting—“even this isn’t altogether failure!
” They went in to receive the boy, upon whose introduction to the room by Miss Bogle Charlotte and the Prince got up—seemingly with an impressiveness that had caused Miss Bogle not to give further effect to her own entrance.
She had retired, but the Principino’s presence, by itself, sufficiently broke the tension—the subsidence of which, in the great room, ten minutes later, gave to the air something of the quality produced by the cessation of a sustained rattle.
Stillness, when the Prince and Princess returned from attending the visitors to their carriage, might have been said to be not so much restored as created;
so that whatever next took place in it was foredoomed to remarkable salience.
That would have been the case even with so natural, though so futile, a movement as Maggie’s going out to the balcony again to follow with her eyes her father’s departure.
The carriage was out of sight—it had taken her too long solemnly to reascend, and she looked awhile only at the great grey space, on which, as on the room still more, the shadow of dusk had fallen.
Here, at first, her husband had not rejoined her; he had come up with the boy, who, clutching his hand, abounded, as usual, in remarks worthy of the family archives; but the two appeared then to have proceeded to report to Miss Bogle.
It meant something for the Princess that her husband had thus got their son out of the way, not bringing him back to his mother; but everything now, as she vaguely moved about, struck her as meaning so much that the unheard chorus swelled.
Yet THIS above all—her just being there as she was and waiting for him to come in, their freedom to be together there always—was the meaning most disengaged: she stood in the cool twilight and took in, all about her, where it lurked, her reason for what she had done.
She knew at last really why—and how she had been inspired and guided, how she had been persistently able, how, to her soul, all the while, it had been for the sake of this end.
Here it was, then, the moment, the golden fruit that had shone from afar; only, what were these things, in the fact, for the hand and for the lips, when tested, when tasted—what were they as a reward?
Closer than she had ever been to the measure of her course and the full face of her act, she had an instant of the terror that, when there has been suspense, always precedes, on the part of the creature to be paid, the certification of the amount.
Amerigo knew it, the amount; he still held it, and the delay in his return, making her heart beat too fast to go on, was like a sudden blinding light on a wild speculation.
She had thrown the dice, but his hand was over her cast.
He opened the door, however, at last—he hadn’t been away ten minutes;
and then, with her sight of him renewed to intensity, she seemed to have a view of the number.
His presence alone, as he paused to look at her, somehow made it the highest, and even before he had spoken she had begun to be paid in full.
With that consciousness, in fact, an extraordinary thing occurred; the assurance of her safety so making her terror drop that already, within the minute, it had been changed to concern for his own anxiety, for everything that was deep in his being and everything that was fair in his face.
So far as seeing that she was “paid” went, he might have been holding out the money-bag for her to come and take it.
But what instantly rose, for her, between the act and her acceptance was the sense that she must strike him as waiting for a confession.
This, in turn, charged her with a new horror: if that was her proper payment she would go without money.
His acknowledgment hung there, too monstrously, at the expense of Charlotte, before whose mastery of the greater style she had just been standing dazzled.
All she now knew, accordingly, was that she should be ashamed to listen to the uttered word; all, that is, but that she might dispose of it on the spot forever.
“Isn’t she too splendid?
” she simply said, offering it to explain and to finish.
“Oh, splendid!
” With which he came over to her.
“That’s our help, you see,” she added—to point further her moral.
It kept him before her therefore, taking in—or trying to—what she so wonderfully gave.
He tried, too clearly, to please her—to meet her in her own way; but with the result only that, close to her, her face kept before him, his hands holding her shoulders, his whole act enclosing her, he presently echoed: “‘See’?
I see nothing but you.
” And the truth of it had, with this force, after a moment, so strangely lighted his eyes that, as for pity and dread of them, she buried her own in his breast.
*** END OF THE PROJECT GUTENBERG EBOOK THE GOLDEN BOWL — COMPLETE *** 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.
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: