How It Feels to Be Fifty Ellis Parker Butler 567 downloads.pdf

23 pages · Make another flipbook

Page 1

Page 2

Page 3

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

Title: How It Feels to Be Fifty

Author: Ellis Parker Butler

Release date: November 10, 2013 [eBook #44155]
Most recently updated: October 23, 2024

Language: English

Other information and formats: www.gutenberg.org/ebooks/44155

Credits: Produced by David Widger

*** START OF THE PROJECT GUTENBERG EBOOK HOW IT FEELS
TO BE FIFTY ***

Page 4

HOW IT FEELS TO BE FIFTY

Page 5

By Ellis Parker Butler
COPYRIGHT, 1919,

BY THE CROWELL PUBLISHING COMPANY

To tell you the honest truth,
I am obliged to say that, if I had not been asked to write these few lines
on "How it Feels to be Fifty," being fifty would n't have meant anything in
my young life.
Of course this will be a terrible disappointment to the thousands of
people who, for twenty-five years, have been counting off the months and
days and hours and minutes, saying:
"In twenty-one years more he will be fifty; in ten months more he will be
fifty; in eight minutes more he will be fifty! And then he will tell us how it
feels, and we can absorb the knowledge from his wise old lips and get ready
to feel as we ought to feel when we, too, are fifty."
It is a shame to disappoint such a large and intelligent audience, but I am
compelled to state that I do not feel like a doddering old wreck teetering on
the edge of the grave.
I remember a lovely underwear advertisement that depicted a sort of
"cradle to grave" scene, with a toddling youngster at one end of the bridge
of life and an aged man at the other end, and men of various progressive
underwear ages scattered between. They were all arrayed in nice comfy
underwear, and the bridge over which they were ambling was highest in the
middle. It suggested that a man climbs up the bridge of life half his years
and then goes down grade until he does n't need any more underwear,
because of circumstances over which he has no control.

Page 6

This bridge-of-life or hill-of-life idea, with its forty years up-hill and then
forty years down-hill, is pure fake. If life were like that I would now be
writing a sadly introspective farewell ode, telling how I had reached the
apex of life's hill and now saw before me the long slope down into the
valley, toward the river all must cross.
I would ring in something about the setting sun and the cooing of the
turtle doves in the neat little cemetery at the foot of the hill, and then say I
was shouldering my heavy pack with hope and resignation for the final
weary down-hill hike. I would add something about being footsore, about
spent talents and honorable gray hairs, and everybody would weep and
begin to save up money for a floral funeral wreath for me.
The fact is that, except for the almanac, I don't know whether I am fifty
or twenty. Judged by the way I feel to-day, I shall keep right on going up-
hill, until—it may be a thousand years from now—I come to a jumping-off
place.
At fifty I have no feeling of starting down-hill, or of having reached the
top of any hill. If you want to call my life a hill, I 'll say I see the road rising
just as steadily and regularly and pleasantly ahead of me now as when I was
twenty. And the top of it is so far from where I am now, and so much
higher, that I can't even see it. Life is just beginning to be interesting.
At fifty I feel like a young teamster who has just got his skittish colts
broken in and is now ready to start out on the real job. Until now I have
been a raw hand, stopping to adjust the harness, talking about what I meant
to do, studying the guide books, getting the stiff wagon greased, laying in
provisions, fussing around one way and another trying to find out where I
wanted to go, and why I wanted to go there, and how to get there when I
started.
At fifty a man should feel younger and stronger and more fit than he ever
felt before. I do. Most men do, I believe. Younger fellows do not even play
properly. They make a sort of work of it. It is not until a man is fifty that he
knows that golf and fishing and poker and pinochle are play, and that work
is play, and that life itself is kind of an interesting big game, too.
I took out an old photograph of mine the other day—one I had taken
away back in 1887, when I was eighteen—and I remembered how full of
cares and worries I was at that time. I used to stay awake night after night

Page 7

and worry over getting married, for instance. I used to wonder how I could
ever get up enough courage to go up to a girl and ask her to marry me.
That awful necessity loomed up before me and filled me with woe and
agony, gave me cold chills and hot flushes, and made me absolutely
miserable for years.
I remember that when I was about twenty I saw an item in a newspaper,
away inside somewheres and tucked in a corner. It said statistics showed
that bashful men were usually the first to marry. That item was a wonderful
source of relief to me. I cut it out and carried it in my pocket, and whenever
I felt the cold chill of fear come over me and I began to sweat at the thought
that some day I must ask a girl to marry me, I got out that clipping and read
it, and tried to brace up and be brave. To-day I have a wife and four children
and that worry is gone.
My hair was another great worry in those days. My father is quite bald,
and he had become bald when he was a very young man; when he was
twenty-one or twenty-two, I believe.
I don't know why a young man should think a heavy head of hair is such
an imperative necessity, when hats are so cheap, but I was haunted by a dire
fear that I might grow bald while still young. I was in continual distress lest
the Butler baldness might be hereditary. I had just one great hope—that at
least some of my hair might stay on my head until I was married, anyway.
When I became engaged, this hair-fear took the place of the afraid-to-
propose fear. It was with me night and day. It was a keen, personal agony.
The thought that I might have to walk up the church aisle to the music of
the wedding march, with my bald head shining like a white watermelon,
almost made me collapse with shame. And the worst of it was that my hair
did begin to come out by handfuls. I shed hair like a cat in the springtime.
Those were awful days! I saw myself doomed to a life of hairless disgrace
and degradation.
At fifty I have more hair than a man of that age is expected to have; and I
don't care a continental whether it stays or goes. It has worn well. If it goes
to-morrow I can say, "No matter; it was a good crop while it lasted, and it
lasted well." If I become absolutely bald it will be a good publicity feature,
like the late Bill Nye's baldness. I should worry!
At fifty the few pains and aches I have are, so to speak, standardized.
They are old friends; if they went away I should miss them. I should not be

Page 8

myself without them.
There is one I am especially fond of, because I have had it so long. It
resides in my tummy. I have had that pain so many years that I have, so to
speak, built my character around it, as an oyster builds the beautiful,
lustrous pearl around the intruding grain of sand.
Forty years ago I used to howl when that pain came. I used to lie across a
chair, or a log, or a hummock of ground, and howl when it made remarks.
Twenty years ago, when that pain gripped me I used to imagine death was
about to end my promising career. To-day I treat it like an old friend when it
makes itself felt. It can't fool me. I know its tricks and its manners. I say
"'Ullo! 'Ullo! 'Ere you are again, are you? Welcome 'ome, old top! Sorry I
can't give you more attention, but I 've got such a lot to do; just 'ang around
until you get ready to go, old sport, and make yourself comfortable."
At fifty my general health is better than it ever was. I have shaken off a
bilious headache that was the curse of my youthful days. Proper eyeglasses
have corrected an astigmatism that gave me other headaches twenty years
ago. With the same glasses I can see as well now as I ever did. My appetite
is as good as it ever was. I enjoy everything in life more than I ever did. I
am more sure of myself. I know what I can do, and I am not afraid to do it.
At fifty a young man should have just about completed his preparations
to begin to live his real life. There are some precocious young fellows who
"get their growth" by the time they are forty-five, but I am not one of them.
There are some few prodigies who do worthwhile living before forty, but
there are not many of them.
At fifty a man begins to live the worth-while life of a man, as
distinguished from his life as a mere animal. At fifty he should have his
family pretty well built up and complete, his experimental crops sown, and
be ready to do his work and to enjoy his life in a hearty, unafraid, efficient
manner.
Without checking up the items carefully, and without claiming that some
things done by the youngsters are not worth keeping, I venture to say the
world would be surprised to find how much of its best in literature, art, the
drama, mechanical inventions and so on would remain if everything done
by men and women under fifty were eliminated.
At fifty a man is just about mature, in this climate. And he is not a
tomato; he does not decay as soon as he is ripe. He stays ripe and sound for

Page 9

many years, and each of his years beyond fifty should be worth five or ten
of his earlier unripe years.
To the young fellow of twenty-five it may seem that the man of fifty is an
aged and doddering wreck who must have the thought of death constantly
in mind. I'll venture to say, judging by myself, that—except when the life-
insurance man comes around with his propaganda—the man of fifty never
thinks of death at all. Why should he?
Personally, I worried a great deal more about life insurance and what
style of coffin I'd like when I was twenty-one than I do now. Now I carry all
the life insurance I can afford, as a plain business proposition, and let it go
at that. When I was twenty-one I worried about dying at some untimely age
and leaving someone or other to starve to death, as per the prospectus. Well,
I have become skeptical about people starving to death. I've never yet seen
any one do it.
I mention this death business because I am trying to imagine what a
young fellow believes a man of fifty thinks of. I know some of them think
we fifty-year-olders are decrepit old ruins, dwelling in the past and looking
fearfully forward to an early dissolution.
Take my word for it, sonny, no man of fifty, unless he be suffering from
some dire disease, thinks of death at all, as applicable to himself. As for
myself, seeing how things are going nowadays, I don't give death a thought.
For all I know, and all you know, before I am ten years older the Great
Manager of Things may decide it is time to go back to the old régime, and
make men live five hundred or six hundred or nine hundred and sixty-nine
years, as they did in the days of Methuselah and Noah. So why should I
worry?
At eighty or ninety, I imagine, some men do get a little weary of life and
begin to be indifferent to its continuance; but at fifty many things are just
beginning to be interesting. Until lately I have been so busy raising a
family, and getting a home, and one thing and another, that I have not had
time to give proper attention to my golf. I am planning to put in thirty or
forty good years improving my game. I have discovered that you cannot
avoid faults in your golf unless you know what they are, and you cannot
thoroughly know a golf fault until you acquire it. I think I have now
acquired all the golf faults there are, and from now on I mean to have a lot
of fun getting rid of them.

Page 10

Another thing I need a lot of time for now is my postage stamp
collection. For forty years or so I have sort of fooled along with it, getting
acquainted with the general methods and outlines of the sport, and deciding
just what to specialize in.
I have now a pretty fair working knowledge, and know what I want to do
in that line. I need a lot of time for that; I don't expect to do any very great
things at it until I really get some leisure—say when I am eighty or ninety
years old—but in the meanwhile I want to pick up a few rarities now and
then. To do that I'll have to make a little more money than I have been
making, because I have reached a point where the stamps I need run into
money rapidly.
And I expect, in the next twenty or thirty years, to spend quite a little on
my fishing. After forty years of it I am just beginning to learn how to fish
properly. And I want to grow some real flowers. I want to have a tulip bed
that will draw people from a hundred miles and make them beg for bulbs.
But I have n't been able to get at the tulip affair this year because I have
been out touring the country as a platform humorist. There are a half-dozen
other things I am planning to do; but all these are subsidiary to my writing,
of course.
At fifty I feel that I am about ready to begin my life work as a writer. For
the past few years, thirty or forty of them, I have been experimenting
around and trying to get my bearings and learn what life really is. I have
done some pretty raw, inexperienced stuff, but it has been worth while
because a young fellow has to go through the experimental stage. It takes
time to decide what one really wants to do, and how he wants to do it. But
when a man is fifty, with a long life ahead of him and a fair notion of what
he wants to do, he begins to be hopeful.
At fifty, I feel that I am about ready to begin writing the eight or ten
novels I have been wanting to write. Amelia E. Barr was about fifty years
old when she began writing novels, and she wrote about seventy of them
after that. Richardson wrote "Pamela"—some call it the first modern novel
—when he was fifty. Daniel De Foe turned to fiction only when he was
fifty-five.
There are hundreds of writers who did all their work, or most of their best
work, after fifty. Oliver Wendell Holmes was forty-eight when he wrote the
"Autocrat of the Breakfast Table," his first great work. Longfellow wrote

Page 11

"Hiawatha" when he was forty-eight, and much of his best work followed.
Whittier wrote "Snow-Bound" and "Maud Muller" at fifty-nine, and
continued writing until he was seventy-nine. Tennyson was still writing at
eighty-three. "Trilby" was written when Du Maurier was sixty; "Les
Miserables" when Victor Hugo was sixty; "Kenilworth" when Scott was
sixty, with sixteen novels following it. Reckoning a man's life by years is
the biggest sort of flapdoodle. All of a man's worth-while living may come
after he is fifty. Between fifty and fifty-one I may catch my biggest trout,
and I expect to do it. After fifty I may write my best stories, and I mean to
do it.
In my back yard is a huge white-oak tree. Some tree experts say it is
three hundred and fifty years old, some say six hundred, and one has
estimated it at eight hundred. It does not make a bit of difference to the tree.
It is as young and enthusiastic when spring comes as it was when it was two
years old. It puts forth leaves, grows new and tender twigs, bears sound
acorns, shelters its colony of bird families, and holds one end of the
clothesline just as well as it ever did.
It is a healthier, happier tree at six hundred years of age than thousands of
pert young ten-year-olds, and is producing more and better oak leaves. If
you went and asked it how it feels to be six hundred years old, it would say,
"What do you mean, six hundred years old? What has that got to do with
it?" A few hundred years one way or the other mean nothing to a sound,
healthy white-oak tree. A few tens of years one way or the other mean
nothing to a sound, healthy man.
We know that Homer and Socrates were aged men because certain
famous portrait busts have advertised it. But how many know whether
Cicero, Plato, Marcus Aurelius, or Pythagoras did their best work before or
after fifty? We don't know and we don't care.
Take Noah, for example. At fifty Noah was a comparatively unknown
citizen, with a neighborhood reputation for homely virtues, and a nice
growing family; but he had cut no very great figure in the world. Some of
the younger fellows thought of him now and then as a sort of aged
gentleman who was about ready to drop into the grave. Probably they
thought it was quite a feather in Noah's cap when one of them stopped him
and asked him to write a short paper on the subject, "How it Feels to be
Fifty."

Page 12

"There is a chance for you to produce a wonder," the young fellow said to
Noah. "Make the essay just as personal and real and funny as you possibly
can. Age is one of the most interesting subjects in the world. Everybody
either looks forward to being fifty or back to having been fifty. There is no
subject about which human beings think more."
"All right," Noah said. "I 'll do it; but you must expect to be disappointed,
because I don't feel old, or aged, or anything of that sort. I feel young and
lively, as if I were just beginning to live—"
"Slush!" said the young fellow. "You 're old. At fifty you have one foot in
the grave. That stands to reason. Now be a nice old fellow and write
something that will please the Neighborhood Society. Something about
standing on the apex of the hill of life, looking down the farther side, and
that sort of thing." So Noah did. He aimed to please. He wrote the essay and
said he was now fifty and had but a few years to live, and that he did hate to
think of so soon having to part from one and all. The paper made a great hit.
It was loudly applauded.
And fifty years after that, Noah was still alive.
And fifty years after that, Noah was still alive.
And then another fifty years passed, and Noah was still alive.
And then a hundred years passed, and Noah was still alive.
And two hundred years after that, Noah was still alive and going strong.
And it was n't until one hundred years after that, that Noah made the big
hit of his life by gathering his folks and his live stock into the ark. He was
six hundred years two months and seventeen days old when the big rain
began that was to make him famous. You can read that in Genesis, 7th
chapter, 11th verse. That was just five hundred and fifty years two months
and seventeen days after the young fellow asked Noah to write how it felt to
be an old man of fifty starting on the downward path.
I think we should all take Noah as a model, and keep a young heart and
an eager, forward-looking spirit until we are at least six hundred years two
months and seventeen days old. Our forty days of glory and greatness and
good service may come long after we are fifty—five hundred and fifty
years after, for all we know.
I like Noah. He had no surrender in him. Old at fifty? He considered
himself a mere baby at fifty! At six hundred he was just getting into his

Page 13

proper stride. He was just ripe to tackle a big job like the flood.
Chapter 9, verse 28: And Noah lived after the flood three hundred and
fifty years.
Verse 29: And all the days of Noah were nine hundred and fifty years;
and he died.
It was about time he died. Nine hundred and fifty years ought to satisfy
any man. In my family, barring accidents and diseases, we live to be ninety
or ninety-six, and I ask you, frankly, how you can expect me to fret and
worry and be agedly philosophical when I am still only a young tart of fifty.
It is too much to ask of me.
At fifty, I feel myself just reaching my full powers, mentally and
physically; capable of more work and better work, more play and better
play, and with so many years of work and play ahead of me that I never so
much as think of my age or of being any age. I am keen and eager to get
right at the next job I have on hand, and to make it a better piece of work
than any I have ever done.
The great expectations are not all on the younger side of fifty. But the
great satisfactions are nearly all on the onward side of it. Life is not an up-
one-side, down-the-other-side hill. It is a long, winding road, good all the
way, and the freshest, brightest flowers and the sweetest, solidest fruit
usually grow beyond the fifty-year mile-post.
At twenty my life was a feverish adventure, at thirty it was a problem, at
forty it was a labor, at fifty it is a joyful journey well begun.
THE END

Page 14

*** END OF THE PROJECT GUTENBERG EBOOK HOW IT FEELS TO
BE FIFTY ***

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

Creating the works from print editions not protected by U.S. copyright law
means that no one owns a United States copyright in these works, so the
Foundation (and you!) can copy and distribute it in the United States
without permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to copying
and distributing Project Gutenberg™ electronic works to protect the
PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a
registered trademark, and may not be used if you charge for an eBook,
except by following the terms of the trademark license, including paying
royalties for use of the Project Gutenberg trademark. If you do not charge
anything for copies of this eBook, complying with the trademark license is
very easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project Gutenberg
eBooks may be modified and printed and given away—you may do
practically ANYTHING in the United States with eBooks not protected by
U.S. copyright law. Redistribution is subject to the trademark license,
especially commercial redistribution.

START: FULL LICENSE

Page 15

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

To protect the Project Gutenberg™ mission of promoting the free
distribution of electronic works, by using or distributing this work (or any
other work associated in any way with the phrase “Project Gutenberg”), you
agree to comply with all the terms of the Full Project Gutenberg License
available with this file or online at www.gutenberg.org/license.

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

1.A. By reading or using any part of this Project Gutenberg electronic work,
you indicate that you have read, understand, agree to and accept all the
terms of this license and intellectual property (trademark/copyright)
agreement. If you do not agree to abide by all the terms of this agreement,
you must cease using and return or destroy all copies of Project Gutenberg
electronic works in your possession. If you paid a fee for obtaining a copy
of or access to a Project Gutenberg electronic work and you do not agree to
be bound by the terms of this agreement, you may obtain a refund from the
person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on
or associated in any way with an electronic work by people who agree to be
bound by the terms of this agreement. There are a few things that you can
do with most Project Gutenberg electronic works even without complying
with the full terms of this agreement. See paragraph 1.C below. There are a
lot of things you can do with Project Gutenberg electronic works if you
follow the terms of this agreement and help preserve free future access to
Project Gutenberg electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation”
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an individual
work is unprotected by copyright law in the United States and you are

Page 16

located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative works
based on the work as long as all references to Project Gutenberg are
removed. Of course, we hope that you will support the Project Gutenberg
mission of promoting free access to electronic works by freely sharing
Project Gutenberg works in compliance with the terms of this agreement for
keeping the Project Gutenberg name associated with the work. You can
easily comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg License when you
share it without charge with others.

1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in a
constant state of change. If you are outside the United States, check the
laws of your country in addition to the terms of this agreement before
downloading, copying, displaying, performing, distributing or creating
derivative works based on this work or any other Project Gutenberg work.
The Foundation makes no representations concerning the copyright status
of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg License must appear prominently
whenever any copy of a Project Gutenberg work (any work on which the
phrase “Project Gutenberg” appears, or with which the phrase “Project
Gutenberg” is associated) is accessed, displayed, performed, viewed, copied
or distributed:

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

Page 17

1.E.2. If an individual Project Gutenberg electronic work is derived from
texts not protected by U.S. copyright law (does not contain a notice
indicating that it is posted with permission of the copyright holder), the
work can be copied and distributed to anyone in the United States without
paying any fees or charges. If you are redistributing or providing access to a
work with the phrase “Project Gutenberg” associated with or appearing on
the work, you must comply either with the requirements of paragraphs
1.E.1 through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg electronic work is posted with the
permission of the copyright holder, your use and distribution must comply
with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed
by the copyright holder. Additional terms will be linked to the Project
Gutenberg License for all works posted with the permission of the
copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg License
terms from this work, or any files containing a part of this work or any
other work associated with Project Gutenberg.

1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without prominently
displaying the sentence set forth in paragraph 1.E.1 with active links or
immediate access to the full terms of the Project Gutenberg License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg work in a format other than “Plain
Vanilla ASCII” or other format used in the official version posted on the
official Project Gutenberg website (www.gutenberg.org), you must, at no
additional cost, fee or expense to the user, provide a copy, a means of
exporting a copy, or a means of obtaining a copy upon request, of the work
in its original “Plain Vanilla ASCII” or other form. Any alternate format
must include the full Project Gutenberg License as specified in paragraph
1.E.1.

Page 18

1.E.7. Do not charge a fee for access to, viewing, displaying, performing,
copying or distributing any Project Gutenberg works unless you comply
with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to
or distributing Project Gutenberg electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the
use of Project Gutenberg works calculated using the method you
already use to calculate your applicable taxes. The fee is owed to the
owner of the Project Gutenberg trademark, but he has agreed to donate
royalties under this paragraph to the Project Gutenberg Literary
Archive Foundation. Royalty payments must be paid within 60 days
following each date on which you prepare (or are legally required to
prepare) your periodic tax returns. Royalty payments should be clearly
marked as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information about
donations to the Project Gutenberg Literary Archive Foundation.”

• You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he does
not agree to the terms of the full Project Gutenberg™ License. You
must require such a user to return or destroy all copies of the works
possessed in a physical medium and discontinue all use of and all
access to other copies of Project Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days of
receipt of the work.

• You comply with all other terms of this agreement for free distribution
of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™
electronic work or group of works on different terms than are set forth in
this agreement, you must obtain permission in writing from the Project
Gutenberg Literary Archive Foundation, the manager of the Project

Page 19

Gutenberg™ trademark. Contact the Foundation as set forth in Section 3
below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread works
not protected by U.S. copyright law in creating the Project Gutenberg™
collection. Despite these efforts, Project Gutenberg™ electronic works, and
the medium on which they may be stored, may contain “Defects,” such as,
but not limited to, incomplete, inaccurate or corrupt data, transcription
errors, a copyright or other intellectual property infringement, a defective or
damaged disk or other medium, a computer virus, or computer codes that
damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except
for the “Right of Replacement or Refund” described in paragraph 1.F.3, the
Project Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg™ trademark, and any other party distributing a Project
Gutenberg™ electronic work under this agreement, disclaim all liability to
you for damages, costs and expenses, including legal fees. YOU AGREE
THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT
EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE
THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY
DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE
TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE
NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you
discover a defect in this electronic work within 90 days of receiving it, you
can receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with the
defective work may elect to provide a replacement copy in lieu of a refund.
If you received the work electronically, the person or entity providing it to

Page 20

you may choose to give you a second opportunity to receive the work
electronically in lieu of a refund. If the second copy is also defective, you
may demand a refund in writing without further opportunities to fix the
problem.

1.F.4. Except for the limited right of replacement or refund set forth in
paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING
BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR
FITNESS FOR ANY PURPOSE.

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

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg™ electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg™ electronic works,
harmless from all liability, costs and expenses, including legal fees, that
arise directly or indirectly from any of the following which you do or cause
to occur: (a) distribution of this or any Project Gutenberg work, (b)
alteration, modification, or additions or deletions to any Project Gutenberg
work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project
Gutenberg

Project Gutenberg is synonymous with the free distribution of electronic
works in formats readable by the widest variety of computers including
obsolete, old, middle-aged and new computers. It exists because of the

Page 21

efforts of hundreds of volunteers and donations from people in all walks of
life.

Volunteers and financial support to provide volunteers with the assistance
they need are critical to reaching Project Gutenberg’s goals and ensuring
that the Project Gutenberg collection will remain freely available for
generations to come. In 2001, the Project Gutenberg Literary Archive
Foundation was created to provide a secure and permanent future for
Project Gutenberg and future generations. To learn more about the Project
Gutenberg Literary Archive Foundation and how your efforts and donations
can help, see Sections 3 and 4 and the Foundation information page at
www.gutenberg.org.

Section 3. Information about the Project Gutenberg
Literary Archive Foundation

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

The Foundation’s business office is located at 41 Watchung Plaza #516,
Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up
to date contact information can be found at the Foundation’s website and
official page at www.gutenberg.org/contact

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

Project Gutenberg™ depends upon and cannot survive without widespread
public support and donations to carry out its mission of increasing the
number of public domain and licensed works that can be freely distributed
in machine-readable form accessible by the widest array of equipment

Page 22

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
electronic works

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

Project Gutenberg eBooks are often created from several printed editions,
all of which are confirmed as not protected by copyright in the U.S. unless a

Page 23

copyright notice is included. Thus, we do not necessarily keep eBooks in
compliance with any particular paper edition.

Most people start at our website which has the main PG search facility:
www.gutenberg.org.

This website includes information about Project Gutenberg, including how
to make donations to the Project Gutenberg Literary Archive Foundation,
how to help produce our new eBooks, and how to subscribe to our email
newsletter to hear about new eBooks.

Page 24

PDF language

简体中文 https://pdftoflip.com/view.php?t=93ab66228f6ea13c9fc410ce608e405d&bl=zh Translating…
Español https://pdftoflip.com/view.php?t=93ab66228f6ea13c9fc410ce608e405d&bl=es Translating…
Français https://pdftoflip.com/view.php?t=93ab66228f6ea13c9fc410ce608e405d&bl=fr Translating…
Deutsch https://pdftoflip.com/view.php?t=93ab66228f6ea13c9fc410ce608e405d&bl=de Translating…
日本語 https://pdftoflip.com/view.php?t=93ab66228f6ea13c9fc410ce608e405d&bl=ja Translating…
한국어 https://pdftoflip.com/view.php?t=93ab66228f6ea13c9fc410ce608e405d&bl=ko Translating…
Português https://pdftoflip.com/view.php?t=93ab66228f6ea13c9fc410ce608e405d&bl=pt Translating…
Русский https://pdftoflip.com/view.php?t=93ab66228f6ea13c9fc410ce608e405d&bl=ru Translating…
العربية https://pdftoflip.com/view.php?t=93ab66228f6ea13c9fc410ce608e405d&bl=ar Translating…