This Is A Book About Noodles Brendan Pang

download

https://ebookbell.com/product/this-is-a-book-about-noodles-
brendan-pang-48711196

Explore and download more ebooks at ebookbell.com

Here are some recommended products that we believe you will be
interested in. You can click the link to download.

This Is A Book About Noodles Brendan Pang

https://ebookbell.com/product/this-is-a-book-about-noodles-brendan-
pang-47433224

This Is A Book About The Kids In The Hall John Semley

https://ebookbell.com/product/this-is-a-book-about-the-kids-in-the-
hall-john-semley-46332618

This Is A Book About Dumplings Brendan Pang

https://ebookbell.com/product/this-is-a-book-about-dumplings-brendan-
pang-48717478

This Is A Book About Street Food Brendan Pang

https://ebookbell.com/product/this-is-a-book-about-street-food-
brendan-pang-58755040
This Is A Book About Dumplings Everything You Need To Craft Delicious
Pot Stickers Bao Wontons And More Brendan Pang

https://ebookbell.com/product/this-is-a-book-about-dumplings-
everything-you-need-to-craft-delicious-pot-stickers-bao-wontons-and-
more-brendan-pang-48647940

This Is Not A Book About Benedict Cumberbatch Tabitha Carvan

https://ebookbell.com/product/this-is-not-a-book-about-benedict-
cumberbatch-tabitha-carvan-47706232

This Is Not A Book About Benedict Cumberbatch Tabitha Carvan

https://ebookbell.com/product/this-is-not-a-book-about-benedict-
cumberbatch-tabitha-carvan-46477650

This Is Not A Book About Benedict Cumberbatch Tabitha Carvan

https://ebookbell.com/product/this-is-not-a-book-about-benedict-
cumberbatch-tabitha-carvan-43444086

This Is Not A Book About Benedict Cumberbatch Tabitha Carvan

https://ebookbell.com/product/this-is-not-a-book-about-benedict-
cumberbatch-tabitha-carvan-48599494
Random documents with unrelated
content Scribd suggests to you:
 green earth; for while one trace of what is fair or lovely is left in
the earth under our feet, or the sky over our heads, or in the
mind of man that is within us, it will remain to mock your
impotence and deformity, and to reflect back lasting hatred and
contempt upon you. Why does not our Eton scholar, our classic
Statesman, suggest to the Allies an intelligible hint of the
propriety of inscribing the name of Italy once more on the map,
‘Like that ensanguined flower inscribed with woe’—

of taking off the prohibition on the Histories of Guicciardini

and Davila? Or why do not the English people—the English
House of Commons, suggest it to him? Is there such a thing as
the English people—as an English House of Commons? Their
influence is not felt at present in Europe, as erst it was, to its
short-lived hope, bought with flat despair. The reason is, the
cause of the people of Europe has no echo in the breasts of the
British public. The cause of Kings had an echo in the breast of a
British Monarch—that of Foreign Governments in the breasts
of British Ministers! There are at present no fewer than fifteen
hundred of the Italian nobility of the first families proscribed
from their country, or pining in dungeons. For what? For trying
to give to their country independence and a Constitutional
Government, like England! What says the English House of
Lords to that? What if the Russians were to come and apply to
us and to them the benefits and the principles of the Holy
Alliance—the bayonet and the thumbscrew? Lord Bathurst
says, ‘Let them come;’—and they will come when we have a
servile people, dead to liberty, and an arbitrary government,
hating and ready to betray it!

37. Why have they such quantities of looking-glasses in Italy, and

none in Scotland? The dirt in each country is equal; the finery
not. Neither in Scotland do they call in the aid of the Fine Arts,
of the upholsterer and tapissier, to multiply the images of the
former in squalid decorations, and thus shew that the
debasement is moral as well as physical. They write up on
certain parts of Rome ‘Immondizia.’ A Florentine asked why it
was not written on the gates of Rome? An Englishman might be
 tempted to ask, why it is not written on the gates of Calais, to
serve for the rest of the Continent? If the people and houses in
Italy are as dirty or dirtier than in France, the streets and towns
are kept in infinitely better order.

38. See Westminster Review.

39. They tell a story in Paris of a monkey at the Jardin des Plantes,
that was noted for its mischievous tricks and desire to fly at
every one. Dr. Gall observed the organ of philanthropy
particularly strong in the beast, and desired the keeper to let
him loose, when he sprung upon the Doctor, and hugged him
round the neck with the greatest bon-hommie and cordiality, to
the astonishment of the keeper and the triumph of craniology!
Some men are as troublesome as some animals with their
demonstrations of benevolence.

40. He was confined in the Inquisition about six weeks, where it is

supposed he was put to the torture; for he had strange pains in
his limbs, and bodily disabilities afterwards. In the Museum
here is at present preserved, in a glass-case, a finger of Galileo,
pointing to the skies! Such is the history of philosophy and
superstition.

41. The jewellers’ shops on the bridge, in one of which he was

brought up, still remain. The Rape of the Sabines, by John of
Bologna, near Benvenuto’s Perseus, is an admirable group:
nothing can exceed the fleshiness and softened contours of the
female figure, seen in every direction.

42. See his Memoirs of himself, lately re-translated by Thomas

Roscoe, Esq.

43. Excellent tea is to be had at Rome at an Italian shop at the

corner of the Via Condotti, in the Piazza di Spagna.

44. We have five names unrivalled in modern times and in their

different ways:—Newton, Locke, Bacon, Shakspeare, and
Milton—and if to these we were to add a sixth that could not be
 questioned in his line, perhaps it would be Hogarth. Our wit is
the effect not of gaiety, but spleen—the last result of a
pertinacious reductio ad absurdum. Our greatest wits have
been our gravest men. Fielding seems to have produced his
History of a Foundling with the same deliberation and
forethought that Arkwright did his spinning-jenny. The French
have no poetry; that is, no combination of internal feeling with
external imagery. Their dramatic dialogue is frothy verbiage or
a mucilage of sentiment without natural bones or substance:
ours constantly clings to the concrete, and has a purchase upon
matter. Outward objects interfere with and extinguish the
flame of their imagination: with us they are the fuel that kindle
it into a brighter and stronger blaze.

45. A Mr. Law lately came over from America to horsewhip the
writer of an article in the Quarterly, reflecting on his mother
(Mrs. Law) as a woman of bad character, for the Tory reason
that she was the wife of a Mr. Law, who differed with his
brother (Lord Ellenborough) in politics. He called on Mr.
Barrow, who knew nothing of the writer; he called on Mr.
Gifford, who knew nothing of the writer; he called on Mr.
Murray, who looked oddly, but he could get no redress except a
public disavowal of the falsehood; and they took that
opportunity to retract some other American calumny. Mr. L.
called on one Secretary of the Admiralty, but there are two
Secretaries of the Admiralty!

46. Chief Justice Holt used to say, ‘there were more robberies
committed in England than in Scotland, because we had better
hearts.’ The English are at all times disposed to interpret this
literally.

47. See even the Ananias, Elymas, and others, which might be
thought exceptions.

48. The girls who work in the vineyards, are paid three batz a day.

49. Since my return I have put myself on a regimen of brown

bread, beef, and tea, and have thus defeated the systematic
 conspiracy carried on against weak digestions. To those
accustomed to, and who can indulge in foreign luxuries, this
list will seem far from satisfactory.

50. I believe this rule will apply to all except grotesques, which are
evidently taken from opposite natures.

51. Some one finely applied to the repose of this figure the words:
‘——Sedet, in æternumque sedebit,
Infelix Theseus.’

52. By Mr. Coleridge.

53. The oil-pictures attributed to Michael Angelo are meagre and

pitiful; such as that of the Fates at Florence. Another of
Witches, at Cardinal Fesch’s at Rome, is like what the late Mr.
Barry would have admired and imitated—dingy, coarse, and
vacant.

54. See an admirable Essay on the genius of Hogarth, by Charles

Lamb, in a periodical work, called The Reflector.

55. This painter’s book of studies from nature, commonly called

Liber Veritatis, disproves the truth of the general opinion that
his landscapes are mere artificial compositions for the finished
pictures are nearly fac-similes of the original sketches.

56. The idea of the necessity of improving upon nature, and giving
what was called a flattering likeness, was universal in this
country fifty years ago; so that Gainsborough is not to be so
much blamed for tampering with his subjects.

57. Why does not the British Institution, instead of patronising

pictures of the battle of Waterloo, of red coats, foolish faces,
and labels of victory, offer a prize for a picture of the subject of
Ugolino that shall be equal to the group of the Laocoon? That
would be the way to do something, if there is anything to be
done by such patronage.
58. This subject of the Ideal will be resumed, and more particularly
enlarged upon, under that head.

59. If we were to make any qualification of this censure, it would be

in favour of some of Mr. Northcote’s compositions from early
English history.

60. See vol. VI., Mr. Northcote’s Conversations, note to p. 422.

61. The conspirator in Peveril of the Peak. See B. Dobell’s

Sidelights on Charles Lamb, pp. 203 et seq., for the story of
this ‘trouble,’ and also a later volume of the present edition.

62. Hamlet, Act II. Sc. 1.

63. Ibid., Act III. Sc. 2.

64. Cf. ante, note to p. 214.

65. Macbeth, Act IV. Sc. 1.

66. In fact, Mr. T.’s landscapes are nothing but stained water-
colour drawings, loaded with oil-colour. [W. H.]

67. Matvei Ivanovitch Count Platoff, the Cossack (1757–1818), who

harried the French in the retreat from Moscow and later. He
visited London with Blücher and was given a sword of honour.

68. Viscount Castlereagh was senior British plenipotentiary at the

Congress of Vienna, 1814–1815.

69. Canto II.

70. Thomas Tomkins (1743–1816), author of the Beauties of

Writing (1777). He wrote elaborate ornamental titles for books
and taught handwriting.

71. Mary Robinson (1758–1800), actress, and mistress of George,

Prince of Wales, later George IV.
72. Elizabeth Billington (1768–1818), one of the greatest of English
singers, of Saxon birth, English by marriage and training.

73. Mengs speaks feelingly of ‘the little varieties of form in the

details of the portraits of Vandyke.’ [W. H.]

74. Hamlet, Act I. Sc. 2.

75. ‘The large picture of the Pembroke family at Wilton, is a finer

commentary on the age of chivalry than Mr. Burke’s
Reflections.’ [W. H.]

76. Catherine Maria Fisher (d. 1767), the courtesan.

77. See Warton’s The History of English Poetry, 1781, vol. II., pp.
249–251.

78. The Speech on the Nabob of Arcot’s debts.

79. Macbeth, Act IV. Sc. 1.

80. ‘A young artist of the name of Day,[82] in company with Mr.

Northcote and another student, taking leave of some pictures of
Titian in a gallery at Naples said, with tears in his eyes,—“Ah!
he was a fine old mouser!” This contains more true feeling than
volumes of poetical criticism. Mr. Northcote has himself given
a striking description of Titian, in his elegant allegory called the
Painter’s Dream, at the end of his life of Sir Joshua.[83] It is
worth remarking, that notwithstanding the delicacy and
ingenuity with which he has contrived to vary the characters of
all the other painters, yet when he comes to his favourite
modern, he can only repeat the same images which he has
before applied to Correggio and others, of wanton Cupids and
attendant Graces.’ [W. H.]

81. Sir Robert Strange (1721–1792), who fought for the Stuarts at
Culloden and elsewhere, one of the greatest of line engravers.

82. Alexander Day (1773–1841). See vol. VI., Mr. Northcote’s

Conversations, p. 347 and note.
83. See ante, p. 66 and note.

84. Wordsworth’s Excursion, Book VII., 1014–16.

85. Pope: Eloisa to Abelard, l. 74.

86. Roger de Piles (1635–1709), painter and voluminous writer on

art.

87. Charles Alphonse Du Fresnoy (1611–1665), French painter and

writer of a poem on the art of painting.

88. Benjamin West (1738–1820) succeeded Sir Joshua Reynolds in

1792 as President.

89. Dryden, Absalom and Achitophel, I. 550.

90. Essay on Criticism, III. 66.

91. Goldsmith, The Traveller, 42.

92. See a letter in The Champion, September 25, 1814. [W. H.]

93. Occasional assistance may be derived from both, but, in

general, we must trust to our own strength. We cannot hope to
become rich by living upon alms. Constant assistance is the
worst incumbrance. The accumulation of models, and erection
of universal schools for art, improved the genius of the student
much in the same way that the encouragement of night-cellars
and gin-shops improves the health and morals of the people.
[W. H.]

94. Pope, Moral Essays, III. 338.

95. Congreve’s Comedy, 1695.

96. Edward Bysshe (fl. 1712), whose Art of English Poetry was
published in 1702.

97. Hamlet, III. 3.

98. Thomson, The Seasons, ‘Summer,’ 1347. Cf. ante, p. 107.

99. Wordsworth’s sonnet, ‘The World is too much with us.’

Printed by T. and A. Constable, Printers to His Majesty at the

Edinburgh University Press
 TRANSCRIBER’S NOTES
1. Changed “Poodles are the true desirés” to
“Poodles are the true désirs” on p. 125.
2. Changed “feeling in rare” to “feeling is rare” on
p. 277.
3. Silently corrected typographical errors.
4. Retained anachronistic and non-standard
spellings as printed.
*** END OF THE PROJECT GUTENBERG EBOOK THE COLLECTED
WORKS OF WILLIAM HAZLITT, VOL. 09 (OF 12) ***

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

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 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.

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.

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 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 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 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 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 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 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 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.
Welcome to our website – the perfect destination for book lovers and
knowledge seekers. We believe that every book holds a new world,
offering opportunities for learning, discovery, and personal growth.
That’s why we are dedicated to bringing you a diverse collection of
books, ranging from classic literature and specialized publications to
self-development guides and children's books.

More than just a book-buying platform, we strive to be a bridge

connecting you with timeless cultural and intellectual values. With an
elegant, user-friendly interface and a smart search system, you can
quickly find the books that best suit your interests. Additionally,
our special promotions and home delivery services help you save time
and fully enjoy the joy of reading.

Join us on a journey of knowledge exploration, passion nurturing, and

personal growth every day!

ebookbell.com