Summer Days in Shakespeare Land — Chapter XXVII

Coventry.

COVENTRY originated, according to tradition, in a convent established here as early as the sixth century.

Canute is said to have been the founder of another.

Whatever may be the truth of the matter, it is certain that the great Saxon Earl Leofric and his wife Godifu in 1043 founded that Benedictine Monastery whose Priory church afterwards became the Cathedral, whose scanty ruins alone remain.

These real and legendary religious houses, together with the Monastery of the Carmelites, or White Friars, and numerous others originated a curious notion that the name “Coventry” was really a corruption of “Conventry,” the place of convents.

It was an excusable mistake, when we consider that the somewhat similar name of “Covent Garden” in London does in point of fact derive from the old garden of the Abbots of Westminster, but it was a complete mistake, all the same.

The place-name comes from a little stream called by the British the Couen, not easily to be found in the city itself, but rising to the north and passing through the village of Coundon.

(There is a stream of similar name, the “Cound,” at Church Stretton, in Shropshire.

) It was thus the “place on the Couen.

” The Saxons, who called that stream by a name of their own, the “Scir-burn,” that is to say, the “clear stream”—which in course of time became the “Sherborne”—did not succeed in changing the name of the place, as they did at Sherborne in Dorset; and “Coventry” it remained.

The most famous incident in the ancient “history” of Coventry is entirely legendary; but although proved to be inherently improbable, if not impossible, the story of Godiva and her ride through the streets clad only in her own modesty, is one that will never be destroyed by criticism.

It is too ancient a myth for that.

About the year 1130 the monkish writer, Roger of Wendover, started it.

Whence he derived the story no one knows, but he probably heard it as a folk-legend unconnected with place or person, and took it upon himself to fix the tale on Leofric and his Countess Godifu.

He had courage in doing so, for it was only about a hundred years after the time of Leofric and his wife that he wrote.

“The Countess Godiva,” he says, “who was a great lover of God’s mother, longing to free the town of Coventry from the oppression of a heavy toll, often with urgent prayers besought her husband, that from regard to Jesus Christ and His mother, he would free the town from that service, and from all other heavy burdens; and when the Earl sharply rebuked her for foolishly asking what was so much to his damage, and always forbade her for evermore to speak to him on the subject; and while she, on the other hand, with a woman’s pertinacity, never ceased to exasperate her husband on that matter, he at last made her this answer: ‘Mount your horse, and ride naked before all the people, through the market of the town from one end to the other, and on your return you shall have your request,’ on which Godiva replied, ‘But will you give me permission, if I am willing to do it?

’ ‘I will,’ said he.

Whereupon, the Countess, beloved of God, loosed her hair, and let down her tresses, which covered the whole of her body, like a veil, and then mounting her horse and attended by two knights, she rode through the market-place without being seen, except her fair legs; and having completed the journey, she returned with gladness to her astonished husband and obtained of him what she had asked, for Earl Leofric freed the town of Coventry and its inhabitants from the aforesaid service, and confirmed what he had done by a charter.

” The incident of Peeping Tom was never thought of by Roger of Wendover, and does not become a part of the story until the seventeenth century.

Who was the genius who invented him is not known; but from that time onwards the peeping tailor who alone of all the people of Coventry spied upon Godiva as she rode through the empty streets becomes an essential part of the legend.

His fate takes so mediæval a turn that he seems really older than he is.

Tennyson adopts him, in his poem, as a “low churl, compact of thankless earth, The fatal byword of all years to come, Boring a little auger-hole in fear, Peep’d—but his eyes, before they had their will, Were shrivell’d into darkness in his head, And dropt before him.

So the powers who wait On noble deeds, cancell’d a sense misus’d. ” A half-length effigy purporting to be Peeping Tom occupies a niche in the wall of the “King’s Head” in Smithford Street.

He is really a portion of a figure of St. George from one of the old Coventry civic pageants; but he looks so peculiarly unsaintly and has so lecherous a grin that no one can for a moment dispute his entire suitability for the present part.

Coventry became so important a place in the early part of the fourteenth century that it was granted a charter of incorporation, and afterwards fortified with walls and gates.

Parliaments were held there, in the stately buildings of the Priory; Coventry Cross became one of the most famous City Crosses in the kingdom; and the trade guilds were among the richest and most powerful.

The mayors, too, were important and fearless magistrates, as we may judge from the example of John Horneby, who in 1411 caused the riotous Prince Hal, afterwards Henry the Fifth, to be arrested for creating a disturbance, and thus ranks with Judge Gascoyne, who on another occasion committed the Prince to prison.

Shakespeare rightly made Falstaff more ashamed to march through this rich and populous town with his ragged company of a hundred and fifty soldiers, and only a shirt and a half among the lot, than Godiva had been to ride through the primitive place of three hundred years before, with nothing— “If I be not ashamed of my soldiers, I am a soused gurnet .

.

.

you would think that I had a hundred and fifty tattered prodigals, lately come from swine-keeping, from eating draff and husks.

A mad fellow met me on the way and told me I had unloaded all the gibbets and pressed the dead bodies.

No eye hath seen such scarecrows.

I’ll not march through Coventry with them that’s flat; nay, and the villains march wide betwixt the legs, as if they had gyves on; for indeed I had the most of them out of prison.

There’s but a shirt and a half in all my company; and the half shirt is two napkins tied together, and thrown over the shoulders, like a herald’s coat without sleeves;

and the shirt, to say the truth, stolen from my host at Saint Albans, or the red-nosed innkeeper of Daintry.

” Coventry, in right of this importance, became a city in 1451, and went on from good to better, until the suppression of the religious houses.

At that time its population numbered 15,000, but within a few years it had declined to 3000. Yet in another thirty years the city is found receiving Queen Elizabeth not only with enthusiasm and splendid pageants, but with the present of a purse of £100; although the depression was still acute.

“It is a good gift, an hundred pounds in gold; I have but few such gifts,” said her Majesty, who was great but greedy.

“If it please your Grace,” answered that courtly Mayor, “there is a great deal more in it.

” “What is that?

” she asked.

“The hearts,” he rejoined, “of all your loving subjects.

” “We thank you, Mr. Mayor,” said the Queen, “it is a great deal more, indeed.

” But she did not confer the honour of knighthood upon him.

James the First, visiting Coventry in 1617, was given £100 and a silver cup; probably in the hope of getting a renewal of the charter; but in the next reign we find a very different spirit.

“Ye damnable puritans of Coventry,” says a letter-writer of the time, “have thrown up earthworkes and rampires against his Maiestie’s forces, and have put themselves in a posture of defence.

” It was at this time that the expression arose of “sending to Coventry” any objectionable person.

Those thus consigned to Coventry were prisoners of war, Royalists captured by the people of Birmingham, for whom no prison could be found except in this walled and fortified city.

Those walls were promptly destroyed at the Restoration, by order of Charles the Second, the citizens of Coventry offering no objection.

They had grown weary of the Commonwealth, and when the King came to his own again the city was given over to festivity.

The fountains spouted claret (not good claret, nor very much of it, we may suppose); bonfires blazed;

and a deputation waited upon the King in London and gave him £50 and a basin and ewer of gold.

Coventry Cross, already mentioned, was built between the years 1541–44, at the time of the city’s decay, after the suppression of the monasteries, and was the gift of Sir William Holles, Lord Mayor of London, who bequeathed £200 for the purpose.

It was described by Dugdale as “one of the chief things wherein this city most glories, which for workmanship and beauty is inferior to none in England.

” But soon after Dugdale wrote this the Cross wherein Coventry so gloried was destroyed, and the chief outstanding architectural feature is now formed by the spires of St. Michael’s, Holy Trinity, and Christ Church: Coventry indeed being known far and wide as the “City of the Three Spires.

” It is rather unfortunate that the fine grouping of these three spires, seen best from the approach to the city by the Kenilworth road, is spoiled by the most distressingly commonplace houses in the foreground; and that from no other point of view do they group at all.

St. Michael’s spire, incomparably the finer, rises with the tower to a height of 303 feet; that of Holy Trinity to 237 feet; and Christ Church to 201 feet.

St. Michael’s church has the reputation of being the largest parish church in England, a distinction claimed also by St. Nicholas, Great Yarmouth, and St. Mary Redcliffe, Bristol.

The honour appears to belong to St. Michael’s, which in other ways is a notable building.

It is generally said to have a nave and four aisles, the two additional “aisles” being really chapels of similar length and appearance: the work of the Smiths’ and Girdlers’ Companies and the Fellowship of Woollen Cardmakers; two among the great trading guilds of the city.

The Cappers, the Dyers, the Mercers, the Drapers and the Smiths had also their part in these outer aisles.

The greater part of the church is of the Perpendicular period and is due to the local family of Botoner, who expended their substance lavishly upon it— “William and Adam built the Tower, Anne and Mary built the Spire;

William and Adam built the Nave And Mary built the Quire.

” So ran the old rhyme.

The works were in progress between 1373 and 1436. A narrow road separates St. Michael’s from Holy Trinity, which, although in itself a fine Perpendicular building, suffers by comparison with its greater neighbour.

Here also the guilds—the Tanners, Marlers, Butchers and others—exhibited their wealth and piety in the building of chapels;

and here was a noble stained-glass fourteenth-century window containing the figures of Leofric and Godiva, with the inscription— [Picture: Stained-Glass Window Inscription] Christ Church retains only its ancient spire, the ruined body being replaced in 1829 by a work in the most lamentable style.

Besides its churches, Coventry is famed for its ancient “St. Mary’s Hall,” originally the hall of St. Mary’s Guild, but afterwards serving as that of the Holy Trinity, a religious society which amalgamated and swallowed up St. Mary’s and many others.

It became the headquarters of the old municipal life of Coventry, and so it still remains; a noble centre for the city’s business and hospitalities.

Coventry nowadays is remarkable for its modern manufactures.

In the thirteenth century it was soap that supported the city.

Later it was prosperous in the making of woollen fabrics, needles and pins, and famed for a dye known as “Coventry Blue.

” As time went on, silk-weaving and ribbon-making took prominence, and doubtless it was from Coventry that the promised “fairing” was to have come that is mentioned in the old ballad of that faithless Johnny who was so long at the fair— “He promised to buy me a fairing to please me, A bunch of blue ribbons he promised to buy me, To tie up my bonny brown hair.

” But by 1869, when the duty on foreign-made silks had been removed, the silk and ribbon trade began to decline, and the enterprising citizens turned to the manufacture of sewing-machines.

Then came the velocipede, the bicycle, and the motor-car.

In the making of those two last-named articles and in that of ordnance, Coventry has found its fortune.

They are not Shakespearean manifestations, and so need not be enlarged upon in this place.

In spite of its modern growth, Coventry remains a very picturesque city.

In Butcher Row, and in narrow old alleys little touched by modern developments, something of the mediæval place may yet be traced; and in those two charming old almshouses, Bablake’s Hospital, founded in 1506, and “Ford’s Hospital,” built in 1529, half-timbered work is seen very nearly at its best.

NOTES.

{21} He should have said _Much Ado About Nothing_.

{213} As these pages go to press a singularly full confirmation of these remarks appears in one of the September 1912 issues of the _Birmingham Post_: “Evesham District Council have decided to build sixty cottages at Broadway under the Housing of the Working Classes Act, and the Local Government Board have sanctioned the borrowing of £10,000. ” Thus, a number of brand-new dwellings are to be built, to rehouse those villagers whose ancient homes have been taken from them.

It is a curious sidelight upon the spread of culture.

{272a} Draw closer.

{272b} Took prisoners.

{272c} They took.

{272d} If it might be done.

{272e} They would not agree to the King’s terms.

{272f} They would not abide by their wishes.

{272g} Then excommunicated them.

{272i} More.

{272j} Counsel.

INDEX

ABBOT’S NORTON, 200

— Salford, 199 Alcester, 2, 231 Alderminster, 188 Andoversford, 216 Arden, Family of, 9, 232–235 —, Forest of, 2, 7, 129 —, Mary, 9, 232 —, Robert, 9 Ardens Grafton, 156 Aston Cantlow, 9, 235 Atherstone-upon-Stour, 187 Avon, river, 2, 3, 45–48, 78, 190, 210, 219, 240, 262, 205, 260 * * * * * Baddesley Clinton, 7 Balsall, Thomas, 77, 98 Banbury, 2, 18 Barton, 147, 199 Beauchamp Family, the, 247–253, 255, 267 Bicester, 18, 20 Bidford, 58, 137, 147–153, 195 Billesley, 12, 232 Binton, 47, 147, 195 Brailes, 191 Broadway, 212–215 Broom, 163 * * * * * Campden Wonder, the, 183–185 Charlecote, 17, 47, 114–126 Charles the Second, 143–146 Chipping Campden, 173–185 Cleeve Common, 218 — Priors, 199 Clifford Chambers, 10, 68, 166–109 Clopton, Family of, 28, 72, 81–83, 230 —, House, 83, 230 —, Lower, 173 —, Sir Hugh, 40, 63, 82 —, Upper, 173 Combe, John, 78, 98 —, William, 134 Compton Wynyates, 191–194 Cotswolds, the, 215 Coventry, 280–290 * * * * * Dancing Marston (or Long Marston), 141–146 Dingles, the, 133–135 Dorsington, 147 Dudley, Ambrose, Earl of Warwick, 253, 275 —, Robert, Earl of Leicester, 16, 241–243, 252, 273–275 * * * * * Ettington, 2, 186, 188–190 Evesham, 137, 200–210 Exhall, 158 * * * * * Feldon, the, 2, 164, 191 Frog Mill, 216 * * * * * Gastrell, Rev. Francis, 73 Gaveston, Piers, 256–259 Greet, 216, 217 Grendon Underwood, 18–21 Gretton, 216, 217 Grevel, William.

176–178, 180 —, or Greville, Family, the, 178, 245, 250, 254, 264 Guy of Warwick, 255, 266 Guy’s Cliff, 266 * * * * * Hall, Dr. John, 48, 72, 93, 97 Harrington, 200 Hartshorn, 216 Hathaway, Family of, 12–15 —, Anne, 7, 12–15, 101–113 Henley-in-Arden, 2, 8, 235, 237 Hicks, Sir Baptist, Viscount Campden, 178, 180 Hillborough, 147, 152–154 * * * * * John of Stratford, 75–77 * * * * * Kenilworth, 268–280 * * * * * Leek Wootton, 267 Long Marston, 141–146, 169 Lower Clopton, 173 Lucy Family, the, 47, 114–126 —, Sir Thomas (“Justice Shallow”), 17, 114–119, 124 Luddington, 12, 47, 68, 147, 195 * * * * * Marlcliff, 199 Marston Sicca (or Long Marston), 141–146 Mickleton, 173 * * * * * Newbold-on-Stour, 188, 190 * * * * * Oxford, 18 * * * * * Pebworth, 139–141 Preston Bagot, 237 Preston-upon-Stour, 187 * * * * * Quiney, Richard, 28–30, 33, 58 —, Thomas, 33, 39 Quinton, 169, 173, 234 * * * * * Ralph of Stratford, 75, 77 Robert of Stratford, 75 Rowington, 237 * * * * * Salford, Abbot’s, 199 —, Prior’s, 199 Shakespeare, Family of, 6–11 —, Edmund, 59 —, Gilbert, 10, 58, 59 —, Hamnet, 22, 26 —, Henry, 240 —, Isabel, 7 —, Joan, 10, 52, 59 —, John, 5, 8–11, 15–17, 22, 26, 51, 59, 166 —, Judith, 33, 39 —, Richard, 7, 10, 59 —, Susanna, 48, 52, 93, 97 —, Thomas, 7, 237 —, William, 5–7; birth, 9; marriage, 11–15; goes to London, 16–21;

success in London, as actor, dramatist and theatrical manager, 23–26; his return to Stratford-on-Avon, 27–30; purchases New Place, 38; he retires, 31–33; death, 33; scene of his school-days, 67–70; his residence, New Place, 70–74; the Bacon fanatics and Shakespeare, 85–91, 94;

Shakespeare’s grave and monument, 89–95; Shakespeare, poacher and deer-stealer, 114–119; Shakespeare the countryman, 127–135 — Farm, Grendon Underwood, 20 — Hall, Rowington, 7, 236, 237 Shipston-on-Stour, 180, 190 Shirley, Evelyn Philip, 188–190 Shottery, 12, 15, 101–113 Snitterfield, 7, 8, 9, 11, 49, 238–240 Southampton, Henry Wriothesley, Earl of, 17, 30 Stinchcombe Hill, 217 Stratford-on-Avon, 1–5, 8–11, 26–100 —, American Memorial Fountain, 43 —, Bridge Street, 39 —, Chapel, 63, 75 —, Clopton Bridge, 3, 40, 45, 164 —, Grammar School, 5, 15, 67–70 —, Guild, the, 4, 60–67 —, Harvard House, 37, 41–43 —, Holy Trinity Church, 13, 26, 75–100 —, Mason Croft, 60 —, Memorial Theatre, 44 —, Mop Fair, 37 —, Nash’s House, 39, 72, 73, 74 —, New Place, 28, 31–33, 70–74, 84, 101 —, Old Stratford, 3, 48, 72 —, Red Horse Hotel, 40, 43 —, Rother Street, 3, 43, 101 —, Shakespeare Hotel, 34, 43 —, Shakespeare’s Birth-place, 49–59, 110, 231 Sudeley, 216, 217 Sunrising Hill, 2, 18, 186 * * * * * Temple Grafton, 12, 13, 154–156 Tewkesbury, 216, 219–229 Tomes, John, 143–146 * * * * * Upper Clopton, 173 * * * * * Warwick, 240, 265 —, Beauchamp Chapel, 248, 253 —, Castle, 254–265 —, Earls of, 247, 249–265 —, Leicester’s Hospital, 241–245 —, St. Mary’s Church, 245–253 —, Westgate, 240 Welcombe, 98, 133–135, 235, 238 Welford, 147, 195–197 Weston-on-Avon, 147, 197 Whitchurch, 188 Whittington, 216 Wilmcote, 9, 232–235 Winchcombe, 215 Wincot, 169, 234 Wixford, 160 Woncot, 217 Woodmancote, 217 Wooland, the, 2 Wootton Wawen, 235 Wriothesley, Henry, Earl of Southampton, 17, 30 *** END OF THE PROJECT GUTENBERG EBOOK SUMMER DAYS IN SHAKESPEARE LAND *** 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.