The Project Gutenberg EBook of A Handbook for Latin Clubs, by Various

This eBook is for the use of anyone anywhere 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.net


Title: A Handbook for Latin Clubs

Author: Various

Release Date: October 23, 2005 [EBook #16923]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK A HANDBOOK FOR LATIN CLUBS ***




Produced by Louise Hope, David Starner and the Online
Distributed Proofreading Team at http://www.pgdp.net

A HANDBOOK FOR
LATIN CLUBS

BY

SUSAN PAXSON

TEACHER OF LATIN IN THE CENTRAL HIGH SCHOOL
OMAHA, NEB.

D. C. HEATH & COMPANY, PUBLISHERS

BOSTON   NEW YORK   CHICAGO

Copyright, 1916,
By D. C. Heath & Co.

PREFACE

The Latin Club in secondary schools is the result of the incessant demand that our Latin instruction must be vivified. Many teachers feel the need of supplementary work in their Latin teaching, but they have been handicapped because of a lack of material as well as a lack of time. This is especially true of the teacher in the small town. To help meet this demand is the purpose of this book.

The programs have purposely been made too long for one session in order that the teacher may have some choice in selection, and that, in case all references are not accessible, enough may be secured to insure a reasonably varied program.

I would suggest that the Club purchase as many Perry pictures and Berlin photographs of classical subjects as possible and that its members coöperate with the city library board for the purchase of such books as are essential, in case there is no school fund available for this purpose. Some high school alumnus in whose heart there is appreciation of Rome's gift to us might present a book to his Alma Mater. Another might offer some suitable magazines, properly bound.

Of a Latin Club, as of most school work, it may be said that usus est optimus magister, and especially applicable in this connection are the words of Horace: Dimidium facti, qui coepit.

Omaha, Nebraska,

CONTENTS

Programs

Selections that may be used for the Programs

PROGRAMS

THE VALUE OF LATIN

"Latin is the most logically constructed of all the languages, and will help more effectually than any other study to strengthen the brain centres that must be used when any reasoning is required."

POMPEII

"There is nothing on the earth, or under it, like Pompeii."

ANCIENT ROME

THE ROMAN FORUM

THE ROMAN HOUSE

"Here is my religion, here is my race, here are the traces of my forefathers. I cannot express the charm which I find here, and which penetrates my heart and my senses."

ROMAN SLAVES

"Is not a slave of the same stuff as you, his lord? Does he not enjoy the same sun, breathe the same air, die, even as you do? Then let your slave worship rather than dread you. Scorn not any man. The Universe is the common parent of us all."

ROMAN CHILDREN

"Pueri mei sunt mea ornamenta."

EDUCATION AMONG THE ROMANS

SOME COMMON PROFESSIONS AND TRADES AMONG THE ROMANS

"Rome had her great shopping district (mainly on streets leading into the Forum), and seemingly her 'department stores'; also her class of inveterate shoppers."

ROMAN DOCTORS

THE ROMAN SOLDIER

CAESAR

CICERO

"Caesar alone excepted, no ancient Roman has been so widely, so continuously, and so intensely alive since his death, as has been Marcus Tullius Cicero."

VERGIL

"The noble sage who knew everything."

HORACE

ROMAN LITERATURE

"Haec studia adulescentiam alunt, senectutem oblectant, secundas res ornant, adversis perfugium ac solacium praebent, delectant domi, non impediunt foris, pernoctant nobiscum, peregrinantur, rusticantur."

SOME FAMOUS WOMEN OF ANCIENT ROME

"A marked feature of the Roman character, a peculiarity which at once strikes the student of their history as compared with that of the Greeks was their great respect for the home and the mater familias."

ROMAN HOLIDAYS

FUNERAL CUSTOMS AND BURIAL PLACES

ROMAN GAMES

SOME FAMOUS BUILDINGS OF ANCIENT ROME

"The world has nothing else like the Pantheon."

SOME FAMOUS ROMAN LETTERS

"The authors who have lived and written under an Italian sky, are reticent and shy in the foreign schoolroom. But if we transfer ourselves with them to the market and enter their families, then they grow confiding and social."

SOME ANCIENT ROMANS OF FAME

"They were a great race, not unworthy of their fame,—those ancient Romans; and Alpine flowers of moral beauty bloomed amid the Alpine snow and ice of their austere pride."

A ROMAN BANQUET

"None of my friends shall in his cups talk treason."

ROMAN ROADS

"Could the entire history of the construction of Roman military roads and highways be written, it would include romantic tales of hazard and adventure, of sacrifice and suffering, which would lend to the subject a dignity and effectiveness somewhat in keeping with their value to Rome and to the world."

SOME ROMAN GODS

"There are in Rome more gods than citizens."

SOME FAMOUS TEMPLES OF ANCIENT AND MODERN ROME

"A vast wilderness of consecrated buildings of all shapes and fancies."

SOME RELIGIOUS CUSTOMS

"In the house of every Greek and Roman was an altar; on this altar there had always to be a small quantity of ashes, and a few lighted coals. The fire ceased to glow upon the altar only when the entire family had perished; an extinguished hearth, an extinguished family, were synonymous expressions among the ancients."

SOME FAMOUS PICTURES AND SCULPTURE

ROMAN BOOKS AND LIBRARIES

ANCIENT MYTHS AND LEGENDS

THE ANCIENT MYTH IN MODERN LITERATURE

"The debt of literature to the myth-makers of the Mediterranean has been an endless one starting at Mt. Olympus, and flowing down in fertilizing streams through all the literary ages."

WHAT ENGLISH OWES TO GREEK

MODERN ROME

"What shall I say of the modern city? Rome is yet the capital of the world."

ITALY OF TO-DAY

O TEMPORA! O MORES!

SELECTIONS THAT MAY BE USED FOR THE PROGRAMS

A PLEA FOR THE CLASSICS²

ON AN OLD LATIN TEXT BOOK

I remember the very day when the schoolmaster gave it to me.... And I remember that the rather stern and aquiline face of our teacher relaxed into mildness for a moment. Both we and our books must have looked very fresh and new to him, though we may all be a little battered now; at least, my New Latin Tutor is. It is a very precious book, and it should be robed in choice Turkey morocco, were not the very covers too much a part of the association to be changed. For between them I gathered the seed-grain of many harvests of delight; through this low archway I first looked upon the immeasurable beauty of words....

What liquid words were these: aqua, aura, unda! All English poetry that I had yet learned by heart—it is only children who learn by heart, grown people "commit to memory"—had not so awakened the vision of what literature might mean. Thenceforth all life became ideal....

Then human passion, tender, faithful, immortal, came also by and beckoned. "But let me die," she said. "Thus, thus it delights me to go under the shades." Or that infinite tenderness, the stronger even for its opening moderation of utterance, the last sigh of Aeneas after Dido,—

Or, with more definite and sublime grandeur, the vast forms of Roman statesmanship appear: "Today, Romans, you behold the commonwealth, the lives of you all, estates, fortunes, wives and children, and the seat of this most renowned empire, this most fortunate and beautiful city, preserved and restored to you by the distinguished love of the immortal gods, and by my toils, counsels, and dangers."

What great thoughts were found within these pages, what a Roman vigor was in these maxims! "It is Roman to do and suffer 67 bravely." "It is sweet and glorious to die for one's country." "He that gives himself up to pleasure, is not worthy the name of a man."...

There was nothing harsh or stern in this book, no cynicism, no indifference; but it was a flower-garden of lovely out-door allusions, a gallery of great deeds; and as I have said before, it formed the child's first real glimpse into the kingdom of words.

I was once asked by a doctor of divinity, who was also the overseer of a college, whether I ever knew any one to look back with pleasure upon his early studies in Latin and Greek. It was like being asked if one looked back with pleasure on summer mornings and evenings. No doubt those languages, like all others, have fared hard at the hands of pedants; and there are active boys who hate all study, and others who love the natural sciences alone. Indeed, it is a hasty assumption, that the majority of boys hate Latin and Greek. I find that most college graduates, at least, retain some relish for the memory of such studies, even if they have utterly lost the power to masticate or digest them. "Though they speak no Greek, they love the sound on't." Many a respectable citizen still loves to look at his Horace or Virgil on the shelf where it has stood undisturbed for a dozen years; he looks, and thinks that he too lived in Arcadia.... The books link him with culture, and universities, and the traditions of great scholars.

On some stormy Sunday, he thinks, he will take them down. At length he tries it; he handles the volume awkwardly, as he does his infant; but it is something to be able to say that neither book nor baby has been actually dropped. He likes to know that there is a tie between him and each of these possessions, though he is willing, it must be owned, to leave the daily care of each in more familiar hands....

I must honestly say that much of the modern outcry against classical studies seems to me to be (as in the case of good Dr. Jacob Bigelow) a frank hostility to literature itself, as the supposed rival of science; or a willingness (as in Professor Atkinson's 68 case) to tolerate modern literature, while discouraging the study of the ancient. Both seem to commit the error of drawing their examples of abuse from England, and applying their warnings to America.... Because the House of Commons was once said to care more for a false quantity in Latin verse than in English morals, shall we visit equal indignation on a House of Representatives that had to send for a classical dictionary to find out who Thersites was?...

Granted, that foreign systems of education may err by insisting on the arts of literary structure too much; think what we should lose by dwelling on them too little! The magic of mere words; the mission of language; the worth of form as well as of matter; the power to make a common thought immortal in a phrase, so that your fancy can no more detach the one from the other than it can separate the soul and body of a child; it was the veiled half revelation of these things that made that old text-book forever fragrant to me. There are in it the still visible traces of wild flowers which I used to press between the pages, on the way to school; but it was the pressed flowers of Latin poetry that were embalmed there first. These are blossoms that do not fade.

SAINT AUGUSTINE'S LOVE OF LATIN

Andrew Lang, in his Adventures Among Books, writes:

"Saint Augustine, like Sir Walter Scott at the University of Edinburgh, was 'The Greek Dunce.' Both of these great men, to their sorrow and loss, absolutely and totally declined to learn Greek. 'But what the reason was why I hated the Greek language, while I was taught it, being a child, I do not yet understand.' The Saint was far from being alone in that distaste, and he who writes loathed Greek like poison—till he came to Homer. Latin the Saint loved, except 'when reading, writing, and casting of accounts was taught in Latin, which I held not far less painful 69 or penal than the very Greek. I wept for Dido's death, who made herself away with the sword,' he declares, 'and even so, the saying that two and two makes four was an ungrateful song in mine ears, whereas the wooden horse full of armed men, the burning of Troy, and the very Ghost of Creusa, was a most delightful spectacle of vanity.'"

THE WATCH OF THE OLD GODS

OLD AND NEW ROME

THE FALL OF ROME

A CHRISTMAS HYMN

ROMAN GIRL'S SONG

CAPRI

PALLADIUM

AFTER CONSTRUING

A ROMAN MIRROR

THE DOOM OF THE SLOTHFUL

HECTOR AND ANDROMACHE

ENCELADUS

NIL ADMIRARI

PERDIDI DIEM

The Emperor Titus, at the close of a day in which he had neither gained any knowledge nor conferred benefit, was accustomed to exclaim, "Perdidi diem," "I have lost a day."

JUPITER AND HIS CHILDREN

A CLASSIC FABLE

THE PRAYER OF SOCRATES

BY THE ROMAN ROAD

"Poetry and paganism do not mix very well nowadays. The Hellenism of our versifiers is, as a rule, not Greek; it is derived partly from Swinburne and partly from Pater. But now and then there comes a poet who has real appreciation of the beauty of classic days; who can express sincerely and vividly the haunting charm of Greek or Roman culture. Such an one is the anonymous writer of these lines, which appeared in the London Punch."

A NYMPH'S LAMENT

HELEN OF TROY

AN ETRUSCAN RING

ORPHEUS WITH HIS LUTE

A HYMN IN PRAISE OF NEPTUNE

HORACE'S PHILOSOPHY OF LIFE

Book II, Ode 16

AN INVITATION TO DINE WRITTEN BY HORACE TO VIRGIL

Book IV, Ode 12

THE GOLDEN MEAN

Horace. Book II, Ode 10

TO THE READER

Martial

ON PORTIA

Martial. Book I, xlii

TO POTITUS

Martial. Book X, lxx

WHAT IS GIVEN TO FRIENDS IS NOT LOST

Martial

TO COTILUS

Martial

THE HAPPY LIFE

Martial

To Julius Martialis

TO A SCHOOLMASTER

Martial. Book X, lxii

EPITAPH ON EROTION

Martial. Book X, lxi

NON AMO TE

Martial. I, 32

GRATITUDE

A HYMN TO THE LARES

ELYSIUM

ORPHEUS

CERBERUS

THE HARPY

CUPID AND THE BEE

Anacreon⁶

THE ASSEMBLY OF THE GODS

A MODEL YOUNG LADY OF ANTIQUITY

(Pliny, the Younger, writes the following in a letter relative to the death of Minicia Marcella, the daughter of his friend, Fundanus.)

Tristissimus haec tibi scribo, Fundani nostri filia minore defuncta, qua puella nihil umquam festivius, amabilius, nec modo longiore vita sed prope immortalitate dignius vidi. Nondum annos quattuor decem impleverat, et iam illi anilis prudentia, matronalis gravitas erat, et tamen suavitas puellaris cum virginali 110 verecundia. Ut illa patris cervicibus inhaerebat! Ut nos amicos paternos et amanter et modeste complectabatur! ut nutrices, ut paedagogos, ut praeceptores, pro suo quemque officio diligebat! quam studiose, quam intellegenter lectitabat! ut parce custoditeque ludebat! Qua illa temperantia, qua patientia, qua etiam constantia novissimam valetudinem tulit! Medicis obsequebatur, sororem, patrem adhortabatur, ipsamque se destitutam corporis viribus vigore animi sustinebat. Duravit hic illi usque ad extremum nec aut spatio valetudinis aut metu mortis infractus est, quo plures gravioresque nobis causas relinqueret et desiderii et doloris. O triste plane acerbumque funus! O morte ipsa mortis tempus indignius! Iam destinata erat egregio iuveni, iam electus nuptiarum dies, iam nos vocati. Quod gaudium quo maerore mutatum est! Nec possum exprimere verbis quantum anima vulnus acceperim, cum audivi Fundanum ipsum, praecipientem, quod in vestes margarita gemmas fuerat erogaturus, hoc in tus et unguenta et odores impenderetur.

TRANSLATION

I have the saddest news to tell you. Our friend Fundanus has lost his youngest daughter. I never saw a girl more cheerful, more lovable, more worthy of long life—nay, of immortality. She had not yet completed her fourteenth year, and she had already the prudence of an old woman, the gravity of a matron, and still, with all maidenly modesty, the sweetness of a girl. How she would cling to her father's neck! how affectionately and discreetly she would greet us, her father's friends! how she loved her nurses, her attendants, her teachers,—everyone according to his service. How earnestly, how intelligently, she used to read! How modest was she and restrained in her sports! And with what self-restraint, what patience—nay, what courage—she bore her last illness! She obeyed the physicians, encouraged her father and sister, and, when all strength of body had left her, kept herself alive by the 111 vigor of her mind. This vigor lasted to the very end, and was not broken by the length of her illness or by the fear of death; so leaving, alas! to us yet more and weightier reasons for our grief and our regret. Oh the sadness, the bitterness of that death! Oh the cruelty of the time when we lost her, worse even than the loss itself! She had been betrothed to a noble youth; the marriage day had been fixed, and we had been invited. How great a joy changed into how great a sorrow! I cannot express in words how it went to my heart when I heard Fundanus himself (this is one of the grievous experiences of sorrow) giving orders that what he had meant to lay out on dresses, and pearls, and jewels, should be spent on incense, unguents, and spices.

TO LESBIA'S SPARROW

CICERO

The following tribute to Cicero was written by Catullus, the Roman lyric poet (87-54 b.c.)

DE PATIENTIA

THE FAVORITE PRAYER OF MARY, QUEEN OF SCOTS⁷

ULTIMA THULE

American pride has often gloried in Seneca's "Vision of the West" written more than 1800 years ago.

THE ROMAN OF OLD

ICH BIN DEIN

The Journal of Education commends this ingenious poem, written in seven languages— English, French, German, Greek, Latin, Spanish, and Italian— as one of the best specimens of Macaronic verse in existence, and worthy of preservation by all collectors.

MALUM OPUS

FELIS

AMANTIS RES ADVERSAE

PUER EX JERSEY

SONGS THAT MAY BE USED FOR THE PROGRAMS

FLEVIT LEPUS PARVULUS⁸

16th Century Student Song

CARMEN VITÆ.

GAUDEAMUS

LAURIGER HORATIUS.

AMERICA

This singable Latin translation of America was made by Professor George D. Kellogg of Union College and appeared in The Classical Weekly.

INTEGER VITÆ.

Horace. Book I, Ode xxii

ROCK OF AGES

DIES IRAE⁹

AD SANCTUM SPIRITUS¹⁰

ADESTE, FIDELES

A Christmas Hymn

DE NATIVITATE DOMINI¹¹

BIBLIOGRAPHY

ACKNOWLEDGMENT

I wish to express my sincere gratitude to Professor Benjamin L. D'Ooge, of the Michigan State Normal School, for his generous assistance and hearty encouragement in the preparation of this work.

Sincere thanks are due to the various authors and publishers of copyrighted books from which selections are taken for their courteous permission to copy.

Specific acknowledgment is due George Bell and Sons, London, for Martial's Epigrams; Smith, Elder, and Company, London, for The Doom of the Slothful; Houghton, Mifflin Co., for After Construing, A Roman Mirror, Enceladus, and the poems of John G. Saxe; The Chautauqua Press, for Capri and the Translations of Horace's Odes; Charles Scribner's Sons, for the Assembly of the Gods, Cerberus, the Harpy, A Plea for the Classics, and Malum Opus; The American Book Company, for Cupid and the Bee; Lothrop, Lee and Shepard Co., for A Christmas Hymn; New England Magazine, for the Fall of Rome; Little, Brown and Company, for the translation of Dies Irae; The Outlook Company, for the Prayer of Socrates; Allyn and Bacon, for the music for Flevit Lepus Parvulus.

I must beg forgiveness of any one whose rights I have overlooked and of a few whom, after repeated efforts, I have been unable to trace.

NOTES

HIGH SCHOOL ENGLISH

D. C. HEATH & CO., Boston, New York, Chicago

LATIN

D. C. HEATH & CO., Boston, New York, Chicago

End of the Project Gutenberg EBook of A Handbook for Latin Clubs, by Various

*** END OF THIS PROJECT GUTENBERG EBOOK A HANDBOOK FOR LATIN CLUBS ***

***** This file should be named 16923-h.htm or 16923-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/1/6/9/2/16923/

Produced by Louise Hope, David Starner and the Online
Distributed Proofreading Team at http://www.pgdp.net


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions 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-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  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-tm 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-tm License (available with this file or online at
http://gutenberg.net/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
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-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm 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-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain 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-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside 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-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm 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 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.net

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm 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-tm 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-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

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-tm 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-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.net),
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-tm
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-tm 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-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm 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-tm
     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-tm 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-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm 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
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project
Gutenberg-tm 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 F3.  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 MERCHANTIBILITY 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-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm 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-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at http://www.pglaf.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.  Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising.  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 principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org.  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org

Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread 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
($1 to $5,000) 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 http://pglaf.org

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 including checks, online payments and credit card
donations.  To donate, please visit: http://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility:

     http://www.gutenberg.net

This Web site includes information about Project Gutenberg-tm,
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.

*** END: FULL LICENSE ***