    The Project Gutenberg EBook of Drawn at a Venture, by Fougasse

    This eBook is for the use of anyone anywhere in the United States and most
    other parts of the world at no cost and with almost no restrictions
    whatsoever.  You may copy it, give it away or re-use it under the terms of
    the Project Gutenberg License included with this eBook or online at
    www.gutenberg.org.  If you are not located in the United States, you'll have
    to check the laws of the country where you are located before using this ebook.

    Title: Drawn at a Venture
           A Collection of Drawings

    Author: Fougasse

    Release Date: October 23, 2014 [EBook #47176]

    Language: English

    Character set encoding: UTF-8

    *** START OF THIS PROJECT GUTENBERG EBOOK DRAWN AT A VENTURE ***

    Produced by Chris Curnow, Emmy and the Online Distributed
    Proofreading Team at http://www.pgdp.net (This file was
    produced from images generously made available by The
    Internet Archive)

DRAWN AT A VENTURE
Transcriber's Note:

Images that have text may be hard to read due to monitor size restraints, these images are linked to larger images that may be seen by clicking on the image.

# DRAWN AT
A VENTURE

A COLLECTION OF DRAWINGS
BY
FOUGASSE
WITH AN INTRODUCTION
BY
A. A. MILNE
METHUEN & CO. LTD.
36 ESSEX STREET W.C.
LONDON

First Published in 1922

## INTRODUCTION

THERE are various methods of introducing an artist to his public. One of the best is to describe how you saved his life in the Bush in ’82; or he saved yours; and then you go on: “Little did either of us anticipate in those far-off days that Fougasse was destined to become . . .” Another way is to leave Fougasse out altogether, and concentrate, how happily, on your own theories of black-and-white drawing, or politics, or the decline of the churches; after all, an introduction doesn’t last long, and he has the rest of the book to himself. Perhaps, however, it is kinder to keep the last paragraph for him: “Take these little sketches by Fougasse, for instance . . .” and the reader, if he cares to any longer, can then turn over and take them. Left to ourselves, that is the method we should adopt. But the publisher is at our elbow. “This is an introduction,” he says. “For Heaven’s sake introduce the fellow.”

Let us begin, then, by explaining Fougasse’s nationality. I never discuss his drawings with another, but we tell each other how remarkable it is that a Frenchman should have such an understanding of English sport. “Of course,” we say, “in the actual drawing the nationality reveals itself; the Gallic style stands forth unmistakeably; only a Frenchman has just that line. But how amazingly British is the outlook! Was there ever a Frenchman before who understood and loved cricket as this one?” We ask ourselves how the phenomenon is to be explained. The explanation is simple. A fougasse—I quote the dictionary—is a small mine from six to twelve feet underground charged either with powder or loaded shells; and if a British sapper subaltern, severely wounded at Gallipoli, beguiles the weary years of hospital by drawing little pictures and sending them up to Punch, he may as well call himself Fougasse as anything else. Particularly if his real name is Bird, and if a Bird, whose real name is Yeats, is already drawing for Punch. Of course it would have been simpler if they had all stuck to their own names like gentlemen, but it is too late now to do anything about it, and when a genuine M. Fougasse of Paris comes along, he will have to call himself Tomkins. Once the downward path of deceit is trodden, there is seemingly no end to it.

We have our artist, then, Kenneth Bird of Morar, Inverness. When I first met him at the beginning of 1919, he was just out of hospital, swinging slowly along with the aid of a pair of rocking-horse crutches. This was on his annual journey south, for they have the trains in Morar now. Once a year Fougasse makes the great expedition to London, to see what the latest fashions may be, and is often back in Morar again before they have changed to something later. I have seen him each year; in 1920 with two ordinary crutches; in 1921 with two sticks; in 1922 with one stick; perhaps by 1923 he will be playing again the games of which he makes such excellent fun. But, selfishly, we cannot regret the Turkish bullet, which turned what I suspect of being quite an ordinary engineer into such an individual black-and-white draughtsman.

I am really the last person who should be writing this introduction, for all drawing is to me a mystery. When I put two dots, a horizontal line and a vertical line into a circle, the result is undoubtedly a face, but whose, or what expressing, I cannot tell you until afterwards, nor always then. But these mystery men can definitely promise you beforehand that their dot-and-line juggling will represent Contempt or Surprise or Mr. Asquith, just as you want it. It is very strange; and, sometimes I think, not quite fair. However, this is not the place wherein to dwell upon the injustice of it. What I wanted to say was that with Fougasse I feel a little more at ease than usual; we have something in common. Accepting the convention that writers write exclusively with the pen, and that black-and-white artists draw exclusively with the pencil, I should describe Fougasse as more nearly a Brother of the Pen than any of the others. Were I in the Punch office now, I should never begin my weekly contribution until his drawing had turned up, lest it should prove that he had already written it for me; and he, I like to tell myself, would be equally fearful lest that very week I might have got his drawing into type. “The Tragedy of a Trouser,” for instance—it is a whole article. Any wide-awake Trade Union would forbid it.

But it is Fougasse’s golf and cricket articles of which, as a rival practitioner, I should have complained most; in which, Plancus no longer consul, I delight most. Turn to page 31 and you will see all that is to be said on the subject of village cricket. How lucky these draughtsmen are! What a laborious business we others should have made of it! Would any of you have laughed at our wordy description of the fielder in a cloth cap to whom one can run a single? “But one gets in two for trousers tucked into socks”—“stretching it to three for a straw hat”—“and four for a black waistcoat.” Each fielder as drawn here is a joy. Yet there is something more than that; we are not just laughing at them, for they are our friends. We look from one to the other of them, and gradually the smile becomes a little wistful. It was how many years ago? Now the printed page has vanished, and we see again the village green. Straw Hat was the postman. Not quite like that, however, for he wore the official trousers with it, but he moved slowly, being the postman and tired of it, and one ran three to him. Black Waistcoat was the dairy farmer; his the cows which had to be driven off the pitch on a Saturday morning; a mighty underhand bowler, bouncing terribly. Fougasse is wrong here, for his hands could stop anything, and one would never run four to him. I doubt if you would ever run four to a black waistcoat, their hands are so big. Slow in the return of course, but safe, safe.

You may think that you have had enough of War Sketches, but you will be glad to see the historic “Gadgets” again, and perhaps even now “1914-1918” will give you a lump in the throat with your smile, and make you somehow a little more proud. It is so very much England. But, taking the drawings as a whole, I should say that the charm of their humour lies in the fact that they make the very jokes which we should have made for ourselves, if only we had realized that they were jokes. When Mr. Bateman gives us his brilliant life-study of the man who breathed on the glass in the British Museum, we realize that this is an inspiration far outside our range. “However did he think of it?” we say to ourselves in awe. When Mr. Morrow draws us “a little supper-party at the Borgias,” we have to admit sadly that the comedy of a supper-party at the Borgias would never have occurred to us. But when Fougasse describes to us his feelings in the presence of the Wedding Detective, or the conversation of the Club Bore in the library, then we beam upon him delightedly. Why, it’s absolutely true! We’ve noticed it ourselves a hundred times! As we were saying to Jones only yesterday—Alas we flatter ourselves. We saw the pebbles lying there, day after day, and there, for us, they would still be lying. But a humorist picks them up and holds them this way and that. The light shines upon them. See! They are precious stones.

A. A. MILNE

## CONTENTS

| PAGE
“Crashed in a Shell-hole” | 8
The Song of the Shirt | 9
“So Beastly Infectious” | 10
The Fumbler | 11
“Don’t Trouble” | 12
After Dinner Jokes | 13
The Car for the Owner-Driver | 14
Tact | 15
“Or to Take Arms Against a Sea of Troubles” | 16
The Hearty Fellow | 17
Danse des Vents | 18
The First Joke | 19
Golfing Note | 20
“How’s That?” | 21
The Fancy Dress | 22
The Advent of the Champion | 23
Only in the Comic Papers | 24
The Professional Humorist Pays a Visit | 25
“Only Doing it for the Pictures” | 26
The Tragedy of a Trouser | 27
Golfing Note | 28
The Telegram at Rugger | 29
The Lost Ticket | 30
The Charm of Village Cricket | 31
Unrest Through the Ages | 32-33
The Right Road for London | 34
The Enthusiast | 35
“Have You Any Hats?” | 36
System | 37
The Practical Application | 38
The Man Who Sneezed | 39
Scotland for Ever | 40
“Gadgets” | 41
Nature’s Tactless Mimicry | 42
“Is there an Order Come Round?” | 42
The Visit to the Front | 43
Unpleasant Nightmare of Hans | 44
A German-like Name | 44
The Bashful V.C.’s Welcome Home | 43
“Wot Flies?” | 46
“Why Don’t You Salute an Officer?” | 46
Ceremonial | 47
The Bribe | 48
The Latest Rumour from the Back | 48
The Making of History | 49
1914-1918 | 50-51
“I Thought You Was an Enemy” | 52
The Hero | 53
“Keep Your Hands Up” | 54
Camouflage | 55
Strawberries for Jam | 56
“Come Out and Fraternise” | 56
The War Masterpiece | 57
“No Trouble at Home, I Hope?” | 58
“On Parade Without Your Spurs” | 58
His Native Soil | 59
“D’you Remember Halting Here?” | 60
Jock the Sheep-dog | 61
The Right Spirit | 62
The House that Jack Wants Built | 63
Golfing Note | 64
Our Treacherous Climate | 65
A British Warm | 66
Safari-Smith’s Trophies | 67
Golfing Note | 68
The Golfer and the Naturalist | 69
The Young Firebrands’ Art Club | 70
A Biography | 71
Pathos | 72
The Wedding Detective | 73
“What Time Will it be?” | 74
To Promote a Graceful Figure | 75
Duration of the Peace | 76
The Lure of the Land | 77
“Someone’s Forgotten to Pack” | 78
Tall Hats on the Cricket-field | 79
“Bed, Sir?” | 80
“I’ve Read It” | 81
“How Small the World is!” | 82
The Dog Fight | 83
“Two Teas, Please” | 84
Some New Revue Features | 85
“’E Called Me a ’Un” | 86
The Journey | 87
The Right Entrance | 88
The Brotherhood of Music | 89
“NOT the Thaw” | 90
The Price of Efficiency | 91
“Will I Take My Hat Off?” | 92
The Spread of Education | 93
Midges | 94
Saltsea | 95
Golfing Note | 96
Quite Cricket | 97
Brown’s Story | 98
Consolation | 99
“Which Mr. Jones are You?” | 100
A Use for Modern Art | 101
Golfing Note | 102
The Man Who Could do It Himself | 103
“Would You Not Prefer to Have Them Sent?” | 104
The Bargain | 105
The Practitioner’s Oversight | 106
Check | 107

For permission to reproduce the great majority of the Drawings included in this Volume, the Artist is indebted to the courtesy of the Proprietors of Punch. He has also to acknowledge similar kindnesses from the Editors of London Opinion, The Sketch, The Tatler, The Bystander, and The Evening News.

[8]

“Mamma!”
“Yes, My Child.”
“Wilfred has Crashed in a Shell-hole.”

[9]

THE SONG OF THE SHIRT

[10]

Host (a Mighty Hunter, breaking off in the middle of his longest story): “But I seem to be boring you?”
Guest: “Oh, no. Fact is—all these animals yawning—so beastly infectious.”

[11]

THE FUMBLER

[12]

“Waiter, bring me a whisky-and-soda, please.”
“I’m not a waiter, confound you!”
“Oh, right-o—then don’t trouble.”

[13]

[14]

Prospective Purchaser: “And why do your advertisements say that yours is essentially the car for the owner-driver?”
Salesman (under notice to leave): “Because no self-respecting chauffeur will condescend to be seen in one.”

[15]

TACT
“Excuse me, driver, but could you tell me where I’d be most likely to find a taxi?”

[16]

“. . . Or to take arms against a sea of troubles . . .”
Hamlet, Act III, Sc. 1.

[17]

THE HEARTY FELLOW

[18]

Danse des Vents

[19]

The First Joke

[20]

[21]

[22]

Portrait of a Gentleman in process of deciding that the hire of a car to take him to his fancy-dress revel would have been well worth the expense.

[23]

[24]

“Dear, dear, dear! what a curious accident! I thought that only happened in the comic papers.”

[25]

THE PROFESSIONAL HUMOURIST PAYS A VISIT

[26]

Voice from the gods: “It’s all right, Miss. Don’t you take on so. They’re only doing it for the pictures.”

[27]

The Tragedy of a Trouser

[28]

[29]

[30]

[31]

THE CHARM OF VILLAGE CRICKET

[32]

UNREST THROUGH THE AGES.

[33]

UNREST THROUGH THE AGES

[34]

“Can you tell me if this is the right road for London, please?”
“Why, bless my soul, ain’t none of you ever been there before?”

[35]

THE ENTHUSIAST.

[36]

“Have you any—er—hats?”

[37]

SYSTEM!

[38]

“Please, Mr. Grafto, the gentleman on the next floor presents his compliments and says, seeing as how you can foretell the future, would you be so good as to let him know how long it will be before your bath stops overflowing through his ceiling?”

[39]

THE MAN WHO SNEEZED

[40]

Scotland for Ever.

[41]

“Gadgets”

[42]

NATURE’S TACTLESS MIMICRY.
Curious attitude assumed by Trees in a district occupied by the Germans.
“Here, stick your head down, Charlie.”
“What—is there an order come round about it?”

[43]

THE VISIT TO THE FRONT

[44]

Unpleasant nightmare of Hans, the ex-cinema attendant, after learning of the American Declaration of War.
“We’ll no gang in there, Jock.”
“For why, Donal’?”
“Man, it’s got an awfu’ Gerrman-like name, yon.”

[45]

The Bashful V.C.’s Welcome Home

[46]

New Hand: “Flies seem pretty awful out here, Corporal.”
Hardened Campaigner: “Wot flies?”
Both together: “Now, my man, why don’t you salute when you Pass an Officer?”

[47]

CEREMONIAL
Reference—Infantry Training, 1914, Sect. 18, § viii.

[48]

THE BRIBE.
“Who goes there?”
“K-Kamerad—mit souvenirs.”
“Hear the latest rumour up from the back, George? War’s going to be over next week.”
“Ho. Well, I hope it don’t upset my going on leave next Tuesday.”

[49]

THE MAKING OF HISTORY

[50]

1914-1918—I.

[51]

1914-1918—II.

[52]

Boche (suddenly appearing over the top): “Kamerad! Kamerad!”
Briton: “Lor’, my son, you DID give me a turn. I thought you was an enemy.”

[53]

THE HERO

[54]

[55]

CAMOUFLAGE

[56]

“Here, listen to this. It says the Gov’ment have bought up all the strawberries to make jam for the troops.”
“Go on, George! How can they make plum-and-apple out o’ strawberries?”
Tommy (“Mopping-up” captured trench): “Is there anyone down there?”
Voice from dug-out: “Ja! Ja! Kamerad!”
Tommy: “Then come out here and fraternise.”

[57]

[58]

Sociable Escort (to Boche prisoner, after several ineffectual attempts to start a conversation): “Ahem!—er—no trouble at home, I hope?”
The Wit: “Ah, now you’re for it, Albert.”
Tractor-Driver: “Wot’s the matter?”
The Wit: “Why, you’ve been and gone and come on parade without your spurs.”

[59]

[60]

First Contemptible: “D’you remember halting here on the retreat, George?”
Second ditto: “Can’t call it to mind, somehow. Was it that little village in the wood down by the river, or was it that place with the Cathedral and all them factories?”

[61]

JOCK THE SHEEP-DOG

[62]

THE RIGHT SPIRIT.
Corporal in charge (on arrival at bridge): “De—tachment, break—step!”
[“When crossing a military bridge Infantry will break step.”—Extract from “Regulations.”]

[63]

THE HOUSE THAT JACK WANTS BUILT.

[64]

[65]

OUR TREACHEROUS CLIMATE

[66]

“Well, anyhow, no one could tell that this was once a British warm.”

[67]

[68]

[69]

[70]

The young firebrands’ art club holds its fiftieth annual dinner.

[71]

A BIOGRAPHY

[72]

PATHOS
“I want to choose a Christmas present—one suitable for a short, dark, middle-aged bachelor with retiring disposition and no near relatives—to give to himself.”

[73]

THE WEDDING DETECTIVE: A STUDY IN SUGGESTION

[74]

Wee Donald Angus: “Please, Sirr, what time will it be?”
Literal Gentleman: “When?”

[75]

Exercise 3.—To promote a graceful figure.

[76]

“Hullo, George—not demobbed yet?”
“No—signed on again.”
“How long for?”
“Just for duration of the Peace.”

[77]

THE LURE OF THE LAND

[78]

Husband (on visit to Country House): “I say, someone’s forgotten to pack my evening clothes.”
Wife: “Well, it wasn’t me, dear. If anyone didn’t, you must have yourself.”

[79]

TALL HATS ON THE CRICKET-FIELD.

[80]

“Bed, Sir? Here is a genuine Jacobean, for which we are asking only two hundred and fifty guineas.”
“Well, to tell you the truth I wasn’t wanting to BUY one. But I can’t get a bed anywhere in London, and I was just wondering if you could let me sleep in it to-night.”

[81]

[82]

“Hullo, Brown! Fancy running up against you. How small the world is, to be sure!”
“Y-Yes. Terribly small, isn’t it?”

[83]

THE DOG FIGHT

[84]

“Could we have two teas, please?”
“Why, didn’t I bring you two just now?”
“Oh, yes. But we’ve let a gentleman in the stalls have those.”

[85]

[86]

The Pugnacious Gentleman: “But ’e bin an’ called me a ’Un.’”
The Peacemaker: “Well, he may have meant it quite kindly-like, Bill. It ain’t as if we was still at war with the dirty ’ounds.”

[87]

THE JOURNEY: A DIALOGUE IN ENGLISH.

[88]

“I trust you’ll excuse me mentioning it, my good fellow, but that is the right entrance—on the opposite side of the road.”

[89]

THE BROTHERHOOD OF MUSIC

[90]

Professor’s Wife: “Septimus, the thaw has burst the pipes.”
Professor: “No, no, Marie. As I’ve Had occasion to explain to you every year since I Can remember, it’s the frost that bursts the pipes—NOT the thaw.”

[91]

THE PRICE OF EFFICIENCY.

[92]

[93]

THE SPREAD OF EDUCATION

[94]

“My dear fellow, you’ll never catch anything like that.”
“No—dare say not—get away from most of the midges, though.”

[95]

[96]

[97]

QUITE CRICKET

[98]

“Have you heard Brown’s story of how he scored off a taxi-driver this morning?”
“Yes. I told him it last night.”

[99]

CONSOLATION

[100]

Fair Partner: “One always meets so many interesting people here that I get quite confused. Now tell me, which Mr. Jones are you?”
Jones: “Me? Oh, I’m only the Jones who’s invited to brighten up a dull party.”

[101]

A USE FOR MODERN ART

[102]

[103]

THE MAN WHO COULD DO IT HIMSELF

[104]

Tactful Shopwalker (to lady who seems to have got into the rough with her umbrella): “Excuse me, Madam, but would you not prefer to have them sent for you?”

[105]

THE BARGAIN

[106]

Unfortunate oversight on the part of a practitioner called away from his children’s party to attend a patient in his consulting-room.

[107]

CHECK!

[108]

Printed in Great Britain by Jarrold & Sons, Ltd., Norwich, England.

    End of the Project Gutenberg EBook of Drawn at a Venture, by Fougasse

    *** END OF THIS PROJECT GUTENBERG EBOOK DRAWN AT A VENTURE ***

    ***** This file should be named 47176-h.htm or 47176-h.zip *****
    This and all associated files of various formats will be found in:
            http://www.gutenberg.org/4/7/1/7/47176/

    Produced by Chris Curnow, Emmy and the Online Distributed
    Proofreading Team at http://www.pgdp.net (This file was
    produced from images generously made available by The
    Internet Archive)

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

    Creating the works from print editions not protected by U.S. copyright
    law means that no one owns a United States copyright in these works,
    so the Foundation (and you!) can copy and distribute it in the United
    States without permission and without paying copyright
    royalties. Special rules, set forth in the General Terms of Use part
    of this license, apply to copying and distributing Project
    Gutenberg-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 in the United States with eBooks
    not protected by U.S. copyright law. Redistribution is subject to the
    trademark license, especially commercial redistribution.

    START: FULL LICENSE

    THE FULL PROJECT GUTENBERG LICENSE
    PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

    To protect the Project Gutenberg-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
    www.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 unprotected by copyright law in the
    United States and you are located in the United States, we do not
    claim a right to prevent you from copying, distributing, performing,
    displaying or creating derivative works based on the work as long as
    all references to Project Gutenberg are removed. Of course, we hope
    that you will support the Project Gutenberg-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 in the United States and
      most other parts of the world at no cost and with almost no
      restrictions whatsoever. You may copy it, give it away or re-use it
      under the terms of the Project Gutenberg License included with this
      eBook or online at www.gutenberg.org. If you are not located in the
      United States, you'll have to check the laws of the country where you
      are located before using this ebook.

    1.E.2. If an individual Project Gutenberg-tm electronic work is
    derived from texts not protected by U.S. copyright law (does not
    contain a notice indicating that it is posted with permission of the
    copyright holder), the work can be copied and distributed to anyone in
    the United States without paying any fees or charges. If you are
    redistributing or providing access to a work with the phrase "Project
    Gutenberg" associated with or appearing on the work, you must comply
    either with the requirements of paragraphs 1.E.1 through 1.E.7 or
    obtain permission for the use of the work and the Project Gutenberg-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 The
    Project Gutenberg Trademark LLC, 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
    works not protected by U.S. copyright law 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 MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

    1.F.5. Some states do not allow disclaimers of certain implied
    warranties or the exclusion or limitation of certain types of
    damages. If any disclaimer or limitation set forth in this agreement
    violates the law of the state applicable to this agreement, the
    agreement shall be interpreted to make the maximum disclaimer or
    limitation permitted by the applicable state law. The invalidity or
    unenforceability of any provision of this agreement shall not void the
    remaining provisions.

    1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
    trademark owner, any agent or employee of the Foundation, anyone
    providing copies of Project Gutenberg-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 information page at
    www.gutenberg.org

    Section 3. Information about the Project Gutenberg Literary Archive Foundation

    The Project Gutenberg Literary Archive Foundation is a non profit
    501(c)(3) educational corporation organized under the laws of the
    state of Mississippi and granted tax exempt status by the Internal
    Revenue Service. The Foundation's EIN or federal tax identification
    number is 64-6221541. Contributions to the Project Gutenberg Literary
    Archive Foundation are tax deductible to the full extent permitted by
    U.S. federal laws and your state's laws.

    The Foundation's principal office is in Fairbanks, Alaska, with the
    mailing address: PO Box 750175, Fairbanks, AK 99775, 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 contact links and up to
    date contact information can be found at the Foundation's web site and
    official page at www.gutenberg.org/contact

    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 www.gutenberg.org/donate

    While we cannot and do not solicit contributions from states where we
    have not met the solicitation requirements, we know of no prohibition
    against accepting unsolicited donations from donors in such states who
    approach us with offers to donate.

    International donations are gratefully accepted, but we cannot make
    any statements concerning tax treatment of donations received from
    outside the United States. U.S. laws alone swamp our small staff.

    Please check the Project Gutenberg Web pages for current donation
    methods and addresses. Donations are accepted in a number of other
    ways including checks, online payments and credit card donations. To
    donate, please visit: www.gutenberg.org/donate

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

    Professor Michael S. Hart was the originator of the Project
    Gutenberg-tm concept of a library of electronic works that could be
    freely shared with anyone. For forty 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 not protected by copyright in
    the U.S. unless a copyright notice is included. Thus, we do not
    necessarily keep eBooks in compliance with any particular paper
    edition.

    Most people start at our Web site which has the main PG search
    facility: 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.