Produced by David Widger
By W.W. Jacobs
THE THIRD STRING
Love? said the night-watchman, as he watched in an abstracted fashion
the efforts of a skipper to reach a brother skipper on a passing barge
with a boathook. Don't talk to me about love, because I've suffered
enough through it. There ought to be teetotalers for love the same as
wot there is for drink, and they ought to wear a piece o' ribbon to show
it, the same as the teetotalers do; but not an attractive piece o'
ribbon, mind you. I've seen as much mischief caused by love as by drink,
and the funny thing is, one often leads to the other. Love, arter it is
over, often leads to drink, and drink often leads to love and to a man
committing himself for life afore it is over.
[Illustration: "Don't talk to me about love, because I've suffered enough
Sailormen give way to it most; they see so little o' wimmen that
they naturally 'ave a high opinion of 'em. Wait till they become
night-watchmen and, having to be at 'ome all day, see the other side of
'em. If people on'y started life as night-watchmen there wouldn't be one
'arf the falling in love that there is now.
I remember one chap, as nice a fellow as you could wish to meet, too.
He always carried his sweet-heart's photograph about with 'im, and it was
the on'y thing that cheered 'im up during the fourteen years he was cast
away on a deserted island. He was picked up at last and taken 'ome, and
there she was still single and waiting for 'im; and arter spending
fourteen years on a deserted island he got another ten in quod for
shooting 'er because she 'ad altered so much in 'er looks.
Then there was Ginger Dick, a red-'aired man I've spoken about before.
He went and fell in love one time when he was lodging in Wapping 'ere
with old Sam Small and Peter Russet, and a nice mess 'e made of it.
They was just back from a v'y'ge, and they 'adn't been ashore a week
afore both of 'em noticed a change for the worse in Ginger. He turned
quiet and peaceful and lost 'is taste for beer. He used to play with 'is
food instead of eating it, and in place of going out of an evening with
Sam and Peter took to going off by 'imself.
"It's love," ses Peter Russet, shaking his 'ead, "and he'll be worse
afore he's better."
"Who's the gal?" ses old Sam.
Peter didn't know, but when they came 'ome that night 'e asked. Ginger,
who was sitting up in bed with a far-off look in 'is eyes, cuddling 'is
knees, went on staring but didn't answer.
"Who is it making a fool of you this time, Ginger?" ses old Sam.
"You mind your bisness and I'll mind mine," ses Ginger, suddenly waking
up and looking very fierce.
"No offence, mate," ses Sam, winking at Peter. "I on'y asked in case I
might be able to do you a good turn."
"Well, you can do that by not letting her know you're a pal o' mine," ses
Ginger, very nasty.
Old Sam didn't understand at fust, and when Peter explained to 'im he
wanted to hit 'im for trying to twist Ginger's words about.
"She don't like fat old men," ses Ginger.
"Ho!" ses old Sam, who couldn't think of anything else to say. "Ho!
don't she? Ho! Ho! indeed!"
He undressed 'imself and got into the bed he shared with Peter, and kept
'im awake for hours by telling 'im in a loud voice about all the gals
he'd made love to in his life, and partikler about one gal that always
fainted dead away whenever she saw either a red-'aired man or a monkey.
Peter Russet found out all about it next day, and told Sam that it was a
barmaid with black 'air and eyes at the Jolly Pilots, and that she
wouldn't 'ave anything to say to Ginger.
He spoke to Ginger about it agin when they were going to bed that night,
and to 'is surprise found that he was quite civil. When 'e said that he
would do anything he could for 'im, Ginger was quite affected.
"I can't eat or drink," he ses, in a miserable voice; "I lay awake all
last night thinking of her. She's so diff'rent to other gals; she's
got--If I start on you, Sam Small, you'll know it. You go and make that
choking noise to them as likes it."
"It's a bit o' egg-shell I got in my throat at break-fast this morning,
Ginger," ses Sam. "I wonder whether she lays awake all night thinking of
"I dare say she does," ses Peter Russet, giving 'im a little push.
"Keep your 'art up, Ginger," ses Sam; "I've known gals to 'ave the most
ext'ordinary likings afore now."
"Don't take no notice of 'im," ses Peter, holding Ginger back. "'Ow are
you getting on with her?"
Ginger groaned and sat down on 'is bed and looked at the floor, and Sam
went and sat on his till it shook so that Ginger offered to step over and
break 'is neck for 'im.
"I can't 'elp the bed shaking," ses Sam; "it ain't my fault. I didn't
make it. If being in love is going to make you so disagreeable to your
best friends, Ginger, you'd better go and live by yourself."
"I 'eard something about her to-day, Ginger," ses Peter Russet. "I met a
chap I used to know at Bull's Wharf, and he told me that she used to keep
company with a chap named Bill Lumm, a bit of a prize-fighter, and since
she gave 'im up she won't look at anybody else."
"Was she very fond of 'im, then?" asks Ginger.
"I don't know," ses Peter; "but this chap told me that she won't walk out
with anybody agin, unless it's another prize-fighter. Her pride won't
let her, I s'pose."
"Well, that's all right, Ginger," ses Sam; "all you've got to do is to go
and be a prize-fighter."
"If I 'ave any more o' your nonsense--" ses Ginger, starting up.
"That's right," ses Sam; "jump down anybody's throat when they're trying
to do you a kindness. That's you all over, Ginger, that is. Wot's to
prevent you telling 'er that you're a prize-fighter from Australia or
somewhere? She won't know no better."
He got up off the bed and put his 'ands up as Ginger walked across the
room to 'im, but Ginger on'y wanted to shake 'ands, and arter he 'ad done
that 'e patted 'im on the back and smiled at 'im.
"I'll try it," he ses. "I'd tell any lies for 'er sake. Ah! you don't
know wot love is, Sam."
"I used to," ses Sam, and then he sat down agin and began to tell 'em all
the love-affairs he could remember, until at last Peter Russet got tired
and said it was 'ard to believe, looking at 'im now, wot a perfick terror
he'd been with gals, and said that the face he'd got now was a judgment
on 'im. Sam shut up arter that, and got into trouble with Peter in the
middle o' the night by waking 'im up to tell 'im something that he 'ad
just thought of about his face.
The more Ginger thought o' Sam's idea the more he liked it, and the very
next evening 'e took Peter Russet into the private bar o' the Jolly
Pilots. He ordered port wine, which he thought seemed more 'igh-class
than beer, and then Peter Russet started talking to Miss Tucker and told
her that Ginger was a prize-fighter from Sydney, where he'd beat
everybody that stood up to 'im.
The gal seemed to change toward Ginger all in a flash, and 'er beautiful
black eyes looked at 'im so admiring that he felt quite faint. She
started talking to 'im about his fights at once, and when at last 'e
plucked up courage to ask 'er to go for a walk with 'im on Sunday
arternoon she seemed quite delighted.
"It'll be a nice change for me," she ses, smiling. "I used to walk out
with a prize-fighter once before, and since I gave 'im up I began to
think I was never going to 'ave a young man agin. You can't think 'ow
dull it's been."
"Must ha' been," ses Ginger.
"I s'pose you've got a taste for prize-fighters, miss," ses Peter Russet.
"No," ses Miss Tucker; "I don't think that it's that exactly, but, you
see, I couldn't 'ave anybody else. Not for their own sakes."
[Illustration: "Miss Tucker."]
"Why not?" ses Ginger, looking puzzled.
"Why not?" ses Miss Tucker. "Why, because o' Bill. He's such a 'orrid
jealous disposition. After I gave 'im up I walked out with a young
fellow named Smith; fine, big, strapping chap 'e was, too, and I never
saw such a change in any man as there was in 'im after Bill 'ad done with
'im. I couldn't believe it was 'im. I told Bill he ought to be ashamed
"Wot did 'e say?" asks Ginger.
"Don't ask me wot 'e said," ses Miss Tucker, tossing her 'ead. "Not
liking to be beat, I 'ad one more try with a young fellow named Charlie
"Wot 'appened to 'im?" ses Peter Russet, arter waiting a bit for 'er to
"I can't bear to talk of it," ses Miss Tucker, holding up Ginger's glass
and giving the counter a wipe down. "He met Bill, and I saw 'im six
weeks afterward just as 'e was being sent away from the 'ospital to a
seaside home. Bill disappeared after that."
"Has he gone far away?" ses Ginger, trying to speak in a off-'and way.
"Oh, he's back now," ses Miss Tucker. "You'll see 'im fast enough, and,
wotever you do, don't let 'im know you're a prize-fighter."
"Why not?" ses pore Ginger.
"Because o' the surprise it'll be to 'im," ses Miss Tucker. "Let 'im
rush on to 'is doom. He'll get a lesson 'e don't expect, the bully.
Don't be afraid of 'urting 'im. Think o' pore Smith and Charlie Webb."
"I am thinkin' of 'em," ses Ginger, slow-like. "Is--is Bill--very quick
--with his 'ands?"
"Rather," ses Miss Tucker; "but o' course he ain't up to your mark; he's
on'y known in these parts."
She went off to serve a customer, and Ginger Dick tried to catch Peter's
eye, but couldn't, and when Miss Tucker came back he said 'e must be
"Sunday afternoon at a quarter past three sharp, outside 'ere," she ses.
"Never mind about putting on your best clothes, because Bill is sure to
be hanging about. I'll take care o' that."
She reached over the bar and shook 'ands with 'im, and Ginger felt a
thrill go up 'is arm which lasted 'im all the way 'ome.
He didn't know whether to turn up on Sunday or not, and if it 'adn't ha'
been for Sam and Peter Russet he'd ha' most likely stayed at home. Not
that 'e was a coward, being always ready for a scrap and gin'rally
speaking doing well at it, but he made a few inquiries about Bill Lumm
and 'e saw that 'e had about as much chance with 'im as a kitten would
'ave with a bulldog.
Sam and Peter was delighted, and they talked about it as if it was a
pantermime, and old Sam said that when he was a young man he'd ha' fought
six Bill Lumms afore he'd ha' given a gal up. He brushed Ginger's
clothes for 'im with 'is own hands on Sunday afternoon, and, when Ginger
started, 'im and Peter follered some distance behind to see fair play.
The on'y person outside the Jolly Pilots when Ginger got there was a man;
a strong-built chap with a thick neck, very large 'ands, and a nose which
'ad seen its best days some time afore. He looked 'ard at Ginger as 'e
came up, and then stuck his 'ands in 'is trouser pockets and spat on the
pavement. Ginger walked a little way past and then back agin, and just
as he was thinking that 'e might venture to go off, as Miss Tucker 'adn't
come, the door opened and out she came.
"I couldn't find my 'at-pins," she ses, taking Ginger's arm and smiling
up into 'is face.
Before Ginger could say anything the man he 'ad noticed took his 'ands
out of 'is pockets and stepped up to 'im.
"Let go o' that young lady's arm," he ses. "Sha'n't," ses Ginger,
holding it so tight that Miss Tucker nearly screamed.
"Let go 'er arm and put your 'ands up," ses the chap agin.
[Illustration: "'Let go o' that young lady's arm,' he ses."]
"Not 'ere," ses Ginger, who 'ad laid awake the night afore thinking wot
to do if he met Bill Lumm. "If you wish to 'ave a spar with me, my lad,
you must 'ave it where we can't be interrupted. When I start on a man I
like to make a good job of it."
"Good job of it!" ses the other, starting. "Do you know who I am?"
"No, I don't," ses Ginger, "and, wot's more, I don't care."
"My name," ses the chap, speaking in a slow, careful voice, "is Bill
"Wot a 'orrid name!" ses Ginger.
"Otherwise known as the Wapping Basher," ses Bill, shoving 'is face into
Ginger's and glaring at 'im.
"Ho!" ses Ginger, sniffing, "a amatoor."
"_Amatoor?_" ses Bill, shouting.
"That's wot we should call you over in Australia," ses Ginger; "my name
is Dick Duster, likewise known as the Sydney Puncher. I've killed three
men in the ring and 'ave never 'ad a defeat."
"Well, put 'em up," ses Bill, doubling up 'is fists and shaping at 'im.
"Not in the street, I tell you," ses Ginger, still clinging tight to Miss
Tucker's arm. "I was fined five pounds the other day for punching a man
in the street, and the magistrate said it would be 'ard labour for me
next time. You find a nice, quiet spot for some arternoon, and I'll
knock your 'ead off with pleasure."
"I'd sooner 'ave it knocked off now," ses Bill; "I don't like waiting for
"Thursday arternoon," ses Ginger, very firm; "there's one or two
gentlemen want to see a bit o' my work afore backing me, and we can
combine bisness with pleasure."
He walked off with Miss Tucker, leaving Bill Lumm standing on the
pavement scratching his 'ead and staring arter 'im as though 'e didn't
quite know wot to make of it. Bill stood there for pretty near five
minutes, and then arter asking Sam and Peter, who 'ad been standing by
listening, whether they wanted anything for themselves, walked off to ask
'is pals wot they knew about the Sydney Puncher.
Ginger Dick was so quiet and satisfied about the fight that old Sam and
Peter couldn't make 'im out at all. He wouldn't even practise punching
at a bolster that Peter rigged up for 'im, and when 'e got a message from
Bill Lumm naming a quiet place on the Lea Marshes he agreed to it as
comfortable as possible.
"Well, I must say, Ginger, that I like your pluck," ses Peter Russet.
"I always 'ave said that for Ginger; 'e's got pluck," ses Sam.
Ginger coughed and tried to smile at 'em in a superior sort o' way. "I
thought you'd got more sense," he ses, at last. "You don't think I'm
going, do you?"
"Wot?" ses old Sam, in a shocked voice.
"You're never going to back out of it, Ginger?" ses Peter.
"I am," ses Ginger. "If you think I'm going to be smashed up by a
prize-fighter just to show my pluck you're mistook."
"You must go, Ginger," ses old Sam, very severe. "It's too late to back
out of it now. Think of the gal. Think of 'er feelings."
"For the sake of your good name," ses Peter.
"I should never speak to you agin, Ginger," ses old Sam, pursing up 'is
"Nor me neither," ses Peter Russet.
"To think of our Ginger being called a coward," ses old Sam, with a
shudder, "and afore a gal, too."
"The loveliest gal in Wapping," ses Peter.
"Look 'ere," ses Ginger, "you can shut up, both of you. I'm not going,
and that's the long and short of it. I don't mind an ordinary man, but I
draw the line at prize-fighters."
Old Sam sat down on the edge of 'is bed and looked the picture of
despair. "You must go, Ginger," he ses, "for my sake."
"Your sake?" ses Ginger, staring.
"I've got money on it," ses Sam, "so's Peter. If you don't turn up all
bets'll be off."
"Good job for you, too," ses Ginger. "If I did turn up you'd lose it, to
a dead certainty."
Old Sam coughed and looked at Peter, and Peter 'e coughed and looked at
"You don't understand, Ginger," said Sam, in a soft voice; "it ain't
often a chap gets the chance o' making a bit o' money these 'ard times."
"So we've put all our money on Bill Lumm," ses Peter. "It's the safest
and easiest way o' making money I ever 'eard of. You see, we know you're
not a prize-fighter and the others don't."
Pore Ginger looked at 'em, and then 'e called 'em all the names he could
lay 'is tongue to, but, with the idea o' the money they was going make,
they didn't mind a bit. They let him 'ave 'is say, and that night they
brought 'ome two other sailormen wot 'ad bet agin Ginger to share their
room, and, though they 'ad bet agin 'im, they was so fond of 'im that it
was evident that they wasn't going to leave 'im till the fight was over.
Ginger gave up then, and at twelve o'clock next day they started off to
find the place. Mr. Webson, the landlord of the Jolly Pilots, a short,
fat man o' fifty, wot 'ad spoke to Ginger once or twice, went with 'em,
and all the way to the station he kept saying wot a jolly spot it was for
that sort o' thing. Perfickly private; nice soft green grass to be
knocked down on, and larks up in the air singing away as if they'd never
They took the train to Homerton, and, being a slack time o' the day, the
porters was surprised to see wot a lot o' people was travelling by it.
So was Ginger. There was the landlords of 'arf the public-'ouses in
Wapping, all smoking big cigars; two dock policemen in plain clothes, wot
'ad got the arternoon off--one with a raging toothache and the other with
a baby wot wasn't expected to last the day out. They was as full o' fun
as kittens, and the landlord o' the Jolly Pilots pointed out to Ginger
wot reasonable 'uman beings policemen was at 'art. Besides them there
was quite a lot o' sailormen, even skippers and mates, nearly all of 'em
smoking big cigars, too, and looking at Ginger out of the corner of one
eye and at the Wapping Basher out of the corner of the other.
"Hit 'ard and hit straight," ses the landlord to Ginger in a low voice,
as they got out of the train and walked up the road. "'Ow are you
"I've got a cold coming on," ses pore Ginger, looking at the Basher, who
was on in front, "and a splitting 'eadache, and a sharp pain all down my
left leg. I don't think----"
"Well, it's a good job it's no worse," ses the land-lord; "all you've got
to do is to hit 'ard. If you win it's a 'undered pounds in my pocket,
and I'll stand you a fiver of it. D'ye understand?"
They turned down some little streets, several of 'em going diff'rent
ways, and arter crossing the River Lea got on to the marshes, and, as the
landlord said, the place might ha' been made for it.
A little chap from Mile End was the referee, and Bill Lumm, 'aving
peeled, stood looking on while Ginger took 'is things off and slowly and
carefully folded 'em up. Then they stepped toward each other, Bill
taking longer steps than Ginger, and shook 'ands; immediately arter which
Bill knocked Ginger head over 'eels.
[Illustration: "Bill Lumm, 'aving peeled, stood looking on while Ginger
took 'is things off."]
"Time!" was called, and the landlord o' the Jolly Pilots, who was nursing
Ginger on 'is knee, said that it was nothing at all, and that bleeding at
the nose was a sign of 'ealth. But as it happened Ginger was that mad 'e
didn't want any encouragement, he on'y wanted to kill Bill Lumm.
He got two or three taps in the next round which made his 'ead ring, and
then he got 'ome on the mark and follered it up by a left-'anded punch on
Bill's jaw that surprised 'em both--Bill because he didn't think Ginger
could hit so 'ard, and Ginger because 'e didn't think that prize-fighters
'ad any feelings.
They clinched and fell that round, and the land-lord patted Ginger on the
back and said that if he ever 'ad a son he 'oped he'd grow up like 'im.
Ginger was surprised at the way 'e was getting on, and so was old Sam and
Peter Russet, and when Ginger knocked Bill down in the sixth round Sam
went as pale as death. Ginger was getting marked all over, but he stuck,
to 'is man, and the two dock policemen, wot 'ad put their money on Bill
Lumm, began to talk of their dooty, and say as 'ow the fight ought to be
At the tenth round Bill couldn't see out of 'is eyes, and kept wasting
'is strength on the empty air, and once on the referee. Ginger watched
'is opportunity, and at last, with a terrific smash on the point o'
Bill's jaw, knocked 'im down and then looked round for the landlord's
Bill made a game try to get up when "Time!" was called, but couldn't;
and the referee, who was 'olding a 'andkerchief to 'is nose, gave the
fight to Ginger.
It was the proudest moment o' Ginger Dick's life. He sat there like a
king, smiling 'orribly, and Sam's voice as he paid 'is losings sounded to
'im like music, in spite o' the words the old man see fit to use. It was
so 'ard to get Peter Russet's money that it a'most looked as though there
was going to be another prize-fight, but 'e paid up at last and went off,
arter fust telling Ginger part of wot he thought of 'im.
There was a lot o' quarrelling, but the bets was all settled at last, and
the landlord o' the Jolly Pilots, who was in 'igh feather with the money
he'd won, gave Ginger the five pounds he'd promised and took him 'ome in
"You done well, my lad," he ses. "No, don't smile. It looks as though
your 'ead's coming off."
"I 'ope you'll tell Miss Tucker 'ow I fought," ses Ginger.
"I will, my lad," ses the landlord; "but you'd better not see 'er for
some time, for both your sakes."
"I was thinking of 'aving a day or two in bed," ses Ginger.
"Best thing you can do," ses the landlord; "and mind, don't you ever
fight Bill Lumm agin. Keep out of 'is way."
"Why? I beat 'im once, an' I can beat 'im agin," ses Ginger, offended.
"Beat 'im?" ses the landlord. He took 'is cigar out of 'is mouth as
though 'e was going to speak, and then put it back agin and looked out
of the window.
"Yes, beat 'im," ses Ginger'. "You was there and saw it."
"He lost the fight a-purpose," ses the landlord, whispering. "Miss
Tucker found out that you wasn't a prize-fighter--leastways, I did for
'er--and she told Bill that, if 'e loved 'er so much that he'd 'ave 'is
sinful pride took down by letting you beat 'im, she'd think diff'rent of
'im. Why, 'e could 'ave settled you in a minute if he'd liked. He was
on'y playing with you."
Ginger stared at 'im as if 'e couldn't believe 'is eyes. "Playing?" he
ses, feeling 'is face very gently with the tips of his fingers.
"Yes," ses the landlord; "and if he ever hits you agin you'll know I'm
speaking the truth."
Ginger sat back all of a heap and tried to think. "Is Miss Tucker going
to keep company with 'im agin, then?" he ses, in a faint voice.
"No," ses the landlord; "you can make your mind easy on that point."
"Well, then, if I walk out with 'er I shall 'ave to fight Bill all over
agin," ses Ginger.
The landlord turned to 'im and patted 'im on the shoulder. "Don't you
take up your troubles afore they come, my lad," he ses, kindly; "and mind
and keep wot I've told you dark, for all our sakes."
He put 'im down at the door of 'is lodgings and, arter shaking 'ands with
'im, gave the landlady a shilling and told 'er to get some beefsteak and
put on 'is face, and went home. Ginger went straight off to bed, and the
way he carried on when the landlady fried the steak afore bringing it up
showed 'ow upset he was.
[Illustration: "The way he carried on when the landlady fried the steak
showed 'ow upset he was."]
It was over a week afore he felt 'e could risk letting Miss Tucker see
'im, and then at seven o'clock one evening he felt 'e couldn't wait any
longer, and arter spending an hour cleaning 'imself he started out for
the Jolly Pilots.
He felt so 'appy at the idea o' seeing her agin that 'e forgot all about
Bill Lumm, and it gave 'im quite a shock when 'e saw 'im standing outside
the Pilots. Bill took his 'ands out of 'is pockets when he saw 'im and
came toward 'im.
"It's no good to-night, mate," he ses; and to Ginger's great surprise
shook 'ands with 'im.
"No good?" ses Ginger, staring.
"No," ses Bill; "he's in the little back-parlour, like a whelk in 'is
shell; but we'll 'ave 'im sooner or later."
"Him? Who?" ses Ginger, more puzzled than ever.
"Who?" ses Bill; "why, Webson, the landlord. You don't mean to tell me
you ain't heard about it?"
"Heard wot?" ses Ginger. "I haven't 'card any-thing. I've been indoors
with a bad cold all the week."
"Webson and Julia Tucker was married at eleven o'clock yesterday
morning," ses Bill Lumm, in a hoarse voice. "When I think of the way
I've been done, and wot I've suffered, I feel 'arf crazy. He won a
'undered pounds through me, and then got the gal I let myself be
disgraced for. I 'ad an idea some time ago that he'd got 'is eye on
Ginger Dick didn't answer 'im a word. He staggered back and braced
'imself up agin the wall for a bit, and arter staring at Bill Lumm in a
wild way for pretty near three minutes he crawled back to 'is lodgings
and went straight to bed agin.
*** END OF THIS PROJECT GUTENBERG EBOOK THE THIRD STRING ***
***** This file should be named 12212.txt or 12212.zip *****
This and all associated files of various formats will be found in:
Produced by David Widger
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,
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
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE 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
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
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.
agree to be bound by the terms of this agreement. There are a few
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
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
Gutenberg-tm mission of promoting free access to electronic works by
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
1.E.1. The following sentence, with active links to, or other immediate
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
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
through 1.E.7 or obtain permission for the use of the work and the
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
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
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
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
1.E.7. Do not charge a fee for access to, viewing, displaying,
1.E.8. You may charge a reasonable fee for copies of or providing
- You pay a royalty fee of 20% of the gross profits you derive from
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
- 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
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
- 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
forth in this agreement, you must obtain permission in writing from
Foundation as set forth in Section 3 below.
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
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
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
that arise directly or indirectly from any of the following which you do
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
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.
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
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@example.com. 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
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.
ways including including checks, online payments and credit card
donations. To donate, please visit: http://pglaf.org/donate
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Each eBook is in a subdirectory of the same number as the eBook's
eBook number, often in several formats including plain vanilla ASCII,
compressed (zipped), HTML and others.
Corrected EDITIONS of our eBooks replace the old file and take over
the old filename and etext number. The replaced older file is renamed.
VERSIONS based on separate sources are treated as new eBooks receiving
new filenames and etext numbers.
Most people start at our Web site which has the main PG search facility:
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
are filed in directories based on their release date. If you want to
download any of these eBooks directly, rather than using the regular
search system you may utilize the following addresses and just
download by the etext year.
(Or /etext 05, 04, 03, 02, 01, 00, 99,
98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
EBooks posted since November 2003, with etext numbers OVER #10000, are
filed in a different way. The year of a release date is no longer part
of the directory path. The path is based on the etext number (which is
identical to the filename). The path to the file is made up of single
digits corresponding to all but the last digit in the filename. For
example an eBook of filename 10234 would be found at:
or filename 24689 would be found at:
An alternative method of locating eBooks: