Audiobook: Chopin : The Story of the Boy Who Made Beautiful Melodies by Tapper, Thomas

The Project Gutenberg EBook of Chopin, by Thomas Tapper

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.org

Title: Chopin The Story of the Boy Who Made Beautiful Melodies

Author: Thomas Tapper

Release Date: January 20, 2011 [EBook #35013]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK CHOPIN ***

Produced by Juliet Sutherland, Ernest Schaal, and the Online Distributed Proofreading Team at http://www.pgdp.net

CHILD'S OWN BOOK of Great Musicians CHOPIN

[Illustration]

By THOMAS TAPPER

THEODORE PRESSER CO. 1712 CHESTNUT STREET �PHILADELPHIA�

Directions for Binding

Enclosed in this envelope is the cord and the needle with which to bind this book. Start in from the outside as shown on the diagram here. Pass the needle and thread through the center of the book, leaving an end extend outside, then through to the outside, about 2 inches from the center; then from the outside to inside 2 inches from the center at the other end of the book, bringing the thread finally again through the center, and tie the two ends in a knot, one each side of the cord on the outside.

=THEO. PRESSER CO., Pub's., Phila., Pa.=

HOW TO USE THIS BOOK

This book is one of a series known as the CHILD'S OWN BOOK OF GREAT MUSICIANS, written by Thomas Tapper, author of "Pictures from the Lives of the Great Composers for Children," "Music Talks with Children," "First Studies in Music Biography," and others.

The sheet of illustrations included herewith is to be cut apart by the child, and each illustration is to be inserted in its proper place throughout the book, pasted in the space containing the same number as will be found under each picture on the sheet. It is not necessary to cover the entire back of a picture with paste. Put it only on the corners and place neatly within the lines you will find printed around each space. Use photographic paste, if possible.

After this play-work is completed there will be found at the back of the book blank pages upon which the child is to write his own story of the great musician, based upon the facts and questions found on the previous pages.

The book is then to be sewed by the child through the center with the cord found in the enclosed envelope. The book thus becomes the child's own book.

This series will be found not only to furnish a pleasing and interesting task for the children, but will teach them the main facts with regard to the life of each of the great musicians--an educational feature worth while.

* * * * *

This series of the Child's Own Book of Great Musicians includes at present a book on each of the following:

Bach Grieg Mozart Beethoven Handel Nevin Brahms Haydn Schubert Chopin Liszt Schumann Dvor�k MacDowell Tschaikowsky Foster Mendelssohn Verdi Wagner

[Illustration: No. 4]

[Illustration: No. 11]

[Illustration: No. 2]

[Illustration: No. 15]

[Illustration: No. 16]

[Illustration: No. 17]

[Illustration: No. 18]

[Illustration: No. 19]

[Illustration: No. 1]

[Illustration: No. 3]

[Illustration: No. 10]

[Illustration: No. 13]

[Illustration: No. 14]

[Illustration: No. 9]

[Illustration: No. 12]

[Illustration: No. 5]

[Illustration: No. 6]

[Illustration: No. 7]

[Illustration: No. 8]

Frederic Fran�ois Chopin

The Story of the Boy Who Made Beautiful Melodies

This Book was made by

Philadelphia Theodore Presser Co. 1712 Chestnut Str.

COPYRIGHT, 1917, BY THEODORE PRESSER CO.

[Illustration: No. 1

Cut the picture of Chopin from the picture sheet. Paste in here. Write full name and dates. For dates see pages 12 and 13.]

BORN

..................................

DIED

The Story of the Boy who Made Beautiful Melodies

As long as we live and keep in touch with the works of the great composers we shall love more and more the music of Frederic Fran�ois Chopin.

It will be pleasant to learn from time to time something about him. We should like, for example, to know:

In what country he was born.

In what places he lived.

What kinds of music he composed.

Perhaps we may begin by learning that he was born in a little village in Poland not far from the City of Warsaw, beside which flows the famous river Vistula. Here is a picture of the house in which Chopin was born.

[Illustration 2: CHOPIN'S BIRTHPLACE]

Chopin's father, a Frenchman by birth, was a schoolmaster. (So was the father of Franz Schubert, you remember.) The boy's mother was a native of Poland. From the time when he was a little boy, the future great composer loved his mother's country and the people just as much as he loved the dear mother herself.

The father knew that his little son was musical, so he took the greatest care to have him taught by the best teachers. He watched over him quite as Leopold Mozart watched the progress of Wolferl; and as Mendelssohn's mother guided Felix and Fanny in their first music lessons.

Mendelssohn and Chopin were indeed very nearly the same age. Mendelssohn was born in February, 1809, and Chopin was born the first of March in the same year. Let us keep their names together in our memory for the future.

Mendelssohn died two years before the death of Chopin. Both of these great composers kept busily at their work until the last year of their lives although neither of them was very strong.

[Illustration 3: F. MENDELSSOHN]

Here is a picture of little Chopin playing for a group of boyhood friends.

[Illustration 4: LITTLE CHOPIN PLAYING FOR HIS FRIENDS]

Chopin was only nine years old when he first played in public. It is said that he created quite a sensation. But like all those who know that talent is something to be worked for, he did not stop studying just because his playing was pleasing to other people. In fact, it was just on that account that he began to work all the harder.

Then there came a great change. He left his home and went to Paris, where he lived for the rest of his life. Even though he was but a youth of twenty-one, he had already composed two concertos for the piano. These he had played in public to the great delight of all who heard him, but especially of his countrymen.

You see, Chopin's going to Paris was a strange journey. The boy was leaving his mother's country and going to the land of his father. Like Joseph Haydn, who went away at the age of six, Chopin never lived at home again.

But he did not reach Paris a stranger. The world of music had heard of him and some of its great ones welcomed his coming.

Let us always think of these men who knew each other well as a family.

[Illustration 5: LISZT]

[Illustration 6: BERLIOZ]

[Illustration 7: MEYERBEER]

[Illustration 8: HEINE]

[Illustration 9: CHOPIN]

Liszt was a great pianist.

Berlioz was a famous composer for the orchestra.

Meyerbeer was best known as an operatic composer.

Heine was a great poet whose verses were set to music by many song composers.

Berlioz was the only one of the group who was born in France.

During his boyhood Chopin played much in public, journeying to some of the great cities of Europe, among them Vienna, Berlin, and Munich.

Therefore, when he played in Paris it was as an artist. Here, as at home, he charmed everyone by the beauty of his music and the loveliness of his touch.

He possessed the true piano hand. It was somewhat narrow. The fingers were long and tapering. It seemed at once strong and vigorous, yet delicate and sensitive.

[Illustration 10: CHOPIN'S HAND]

Indeed, Chopin's music is of just these qualities. It is strong in its nobility, delicate in its sentiment.

One would think that to arrive in Paris and to be welcomed by the great ones would make everything easy.

But it was not so for Chopin. Only a few people were present at his first concert and for quite a while he had no pupils.

Indeed, it was all so discouraging that he made up his mind to return to his beloved Poland.

His friend, Franz Liszt, begged him not to go. Others, too, urged him to stay in Paris. One friend, who met him in the street as he was about to leave, advised him as did the others to stay in Paris.

But no, he was going home.

"But," said this friend, "first come with me to visit a true lover of music."

So Chopin went with him to the house of Baron Rothschild. Here he played, so charming the company with his music that ever so many of them begged him for the privilege of lessons.

And so, all in a moment, his troubles blew away, as troubles often do. Here is a picture of Chopin playing in the home of a prince.

[Illustration 11: CHOPIN PLAYING FOR THE PRINCE]

Do you wonder what kind of a man the little Polish boy became after he found success in Paris?

One person said about him:

"Chopin talks little, and rarely about music. But when he does speak of music one must listen to him."

Another said:

"He is reserved and quiet, especially among strangers, but among his friends he is witty and full of sly humor."

But his thoughts were not for words, they did not weave the pretty phrases of idle talk. They were busy making nocturnes, waltzes, mazurkas, impromptus and many other kinds of music that we shall learn to love as we hear them.

Music was Chopin's true speech. The world soon learned to love what he said in it. And it always will love it.

See how beautifully he wrote his music.

[Illustration 12: CHOPIN'S AUTOGRAPH]

There was neither telephone nor telegraph in those days. Yet it did not take long for another composer, Robert Schumann, who lived far away, in Germany, to learn that a genius by the name of Chopin lived in Paris.

The post carried to Schumann a copy of Chopin's first printed music. This was a theme taken from Mozart's Opera Don Juan, which Chopin arranged with variations for the piano.

When Schumann played it to his friends everyone exclaimed: "How beautiful it is!"

Then someone said:

"Chopin--I never heard the name. Who can he be?"

[Illustration 13: R. SCHUMANN]

So we see that his thoughts printed as music flew like winged messengers to carry news of him to others in distant places. And people not merely asked: "Who can he be?" but they found out who he was, and kept passing the news on and on until finally it has reached us!

Chopin was never a robust person, though he was well and busy most of his life. But in the last years he suffered much from illness. This led him to travel to many places from Paris for the good of his health.

Chopin was devoted to Poland, the beloved land of his birth. Here is a picture of the great composer who has fallen asleep at the keyboard and is dreaming of a glorious future for Poland.

[Illustration 14: CHOPIN DREAMING OF POLAND]

Once he went to England and to Scotland. He played in London and was highly praised for the beautiful way he performed his own music.

While it is true that Chopin was ill in the last years of his life, we must notice that he kept right on with his work. He played and composed just as he always had done. Chopin died in Paris, October 17, 1849, just two years after Mendelssohn, who died in 1847.

Many men, who would have given up everything had they not been brave, have worked right on through illness.

Milton was blind, but he dictated Paradise Lost to his daughter.

Beethoven was deaf, but he did not give up composing.

Robert Louis Stevenson, who wrote the lovely Child's Garden of Verses, was ill all his life, but he kept on writing. Grieg was probably never well all his life, but he never gave up.

[Illustration 15: MILTON]

[Illustration 16: BEETHOVEN]

[Illustration 17: STEVENSON]

[Illustration 18: GRIEG]

Have you ever thought that the beautiful ideas of great men sometimes outlive famous cities?

What a lot of cities and countries we must visit in our thoughts, to see the great composers at their work. For example--

1. Grieg belongs to Norway.

2. Chopin to Warsaw and Paris.

3. Schubert to Vienna in Austria.

4. Bach to Thuringia in Saxony, Germany.

5. Handel to Germany and England.

6. Haydn to Hungary.

7. Beethoven to Germany and Vienna. (He was born at Bonn on the Rhine.)

8. Schumann to Germany.

9. Mendelssohn to Hamburg and Berlin, Germany.

10. Mozart to Salzburg and Vienna in Austria.

It will be a pleasant thing for us to see if we can arrange these names in order, beginning with the oldest, Bach and Handel, and coming down to the latest. By doing such things, time and time again, they begin to stick in the memory.

SOME FACTS ABOUT CHOPIN

When you have read this page and the next make a story about Chopin's life. Write it in your own words. When you are quite sure you cannot improve it, copy it on pages 15 and 16.

1. Frederic Fran�ois Chopin was born in Poland.

2. His birthday was March 1, 1809.

3. He spent most of his life in the two cities of Warsaw and Paris.

4. His father was French; his mother Polish.

5. At the age of nine he made his first public appearance as a pianist.

6. Many distinguished people welcomed him to Paris.

7. Among them were Liszt, Berlioz, Meyerbeer, Heine.

8. His first weeks in Paris were discouraging; his first concert poorly attended.

9. This tempted him to return to Poland.

10. But his friends urged him to remain in Paris.

11. Finally success came.

12. Chopin was described as one who spoke little, especially among strangers.

13. Some of the music forms which he wrote are the nocturne, waltz, mazurka, impromptu, concerto, polonaise, etude.

14. Schumann was one of the first to declare Chopin a genius.

15. Chopin worked hard all his life.

16. But in his last years he suffered from ill-health.

17. Like Milton, Beethoven, Stevenson and Grieg, he kept on with his work, in spite of his illness.

18. Chopin once went to England and Scotland.

19. Chopin was very fond of Bach and urged his pupils to practice Bach pieces every day for the mental drill as well as the drill for the fingers.

SOME QUESTIONS ABOUT CHOPIN

1. In what country was Chopin born?

2. In what two great cities did he live?

3. In what year was Chopin born?

4. What other composer was born about the same time?

5. When did Chopin first appear in public?

6. What two works had he already composed when he set out for Paris?

7. Who were some of the people who welcomed Chopin to Paris?

8. Name some of the great cities in which he played.

9. What led Chopin to want to leave Paris?

10. Why did he change his mind and remain there?

11. What great German composer discovered Chopin to be a genius?

12. Name some great writers and composers who kept at work even though they were not in the best of health.

13. In what country was Grieg born?

14. In what city was Mozart born?

15. In what two countries did Handel live?

16. What famous river flows by the City of Warsaw?

17. Name some of the kinds of music that Chopin composed.

18. What music by Chopin have you heard?

THE STORY OF FREDERIC CHOPIN

Written by.............................

On (date).............................

Transcriber's Notes:

Passages in italics are indicated by underscores.

Passages in bold are indicated by =equal signs=.

Passages in small caps were replaced with ALL CAPS.

In the list of composers in the instructions on how to use the book, the "r with a caron" in the name Dvor�k was replaced with a regular "r".

On page 6, a new paragraph was begun at "Berlioz was the only".

On page 7, a quotation mark was added after "a true lover of music."

On page 12, in example seven, the period was moved within the closing parenthesis.

On page 14, the question mark at the end of question 17 ("Name some of the kinds of music that Chopin composed?) was changed to a period.

End of the Project Gutenberg EBook of Chopin, by Thomas Tapper

*** END OF THIS PROJECT GUTENBERG EBOOK CHOPIN ***

***** This file should be named 35013-8.txt or 35013-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/3/5/0/1/35013/

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.org/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:

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.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-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 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 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, are 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 [email protected]. 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 [email protected]

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 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.org

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.