The Project Gutenberg eBook of Frictional Electricity

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: Frictional Electricity

Author: Charles Heber Clark

Release date: October 24, 2007 [eBook #23179]

Most recently updated: January 30, 2013

Language: English

Other information and formats: www.gutenberg.org/ebooks/23179

Credits: Produced by David Widger

*** START OF THE PROJECT GUTENBERG EBOOK FRICTIONAL ELECTRICITY ***

FRICTIONAL ELECTRICITY

By Max Adeler

Reprinted by permission of the author, Charles Heber Clark

From "The Saturday Evening Post."

I happened to visit the accident ward of St. Paracelsus' Hospital because a friend of mine who is interested in the Flower Mission asked me to stop there during my afternoon walk and give a few flowers to the sufferers.

When I had arranged the last half-dozen of the roses in a vase upon the little stand by the bedside of one bruised and battered patient, he looked at me gratefully, and said:

"Oh, thank you, sir! And would you mind, sir, stopping for a bit of talk? I'm so lonely and miserable."

I sat upon the chair by the bed and with my hand smoothed the counterpane, while the patient asked me:

"Do I really look like a burglar, sir, do you think?"

I hesitated to reply as I examined his face. It was really covered with bandages, but his nose seemed swollen and there were bruises about both eyes.

"I don't wonder you don't like to speak your mind when you see me here a broken wreck, smashed all up and not looking a bit like myself, sir. But if you would see me well and strong and all fixed up for going to church you'd say right off that I don't favor no burglar in looks."

I asked the unfortunate man his name.

"Mordecai Barnes, sir, and I'm a journeyman plumber, sir, with a good character, and don't take no second place in that business with no man. How did I get here? What banged me all up into a shame and a disgrace like this? Well, I'll tell you, sir, if you have the patience to listen, for it does me good to talk who has been used so hard, and can get no attention from the nurses or nobody in this here asylum. Do you understand about frictional electricity, sir? No? I thought not; and well had it been for me, for this shattered hulk that you see a-lying here, if I had never heard of it neither! I'll tell you how it was, sir. My mate, George Watkins, and there ain't no better man nowheres if you go clear round the globe—George Watkins is one of these men with inquiring minds, always a-hungering for knowledge, and so George off he goes week after week to the lectures up at the Huxley Institute. You know it; in that yallow building over by Nonpareil Square. And George often he told me about the wonderful things he learned there, and among others he was fond of explaining to me about frictional electricity.

"It seems, sir, for you may not know it any" more'n I knowed it until George explained it to me, that there's three different kinds of electricity. There's the kind you make with a steam engine, and the kind you make with acid, and the kind you make with friction. Well, sir, would you believe—or, let me say first, have you ever rubbed a black cat on the back in a dark room and seen the sparks fly? Of course, and, sir, I know it's almost beyond belief, but, positive, they told George Watkins, my mate, up at the Huxley Institute, that them sparks and the aurora borealis that you see sometimes a-lighting up the heavens is one and the same thing! Wonderful, isn't it, sir, that Science should discover that a black cat is some kind of kin to the aurora borealis? But George says that's what they said, for the aurora borealis is caused by the earth a-rolling around and rubbing the air just as the sparks is caused by stroking the cat's back.

"And George he says that this here frictional electricity is the only kind that'll cure pain. The steam-engine kind won't do it, and the acid kind won't do it, but the frictional kind'll do it every time if you only know how to apply it.

"Well, sir, now I pass to the sorrerful part of my story. There is a girl named Bella Dougherty that does housework for a man named Muffitt, and a mighty nice girl she is; or, I used to think her nice. Maybe you know where Mr. Muffitt lives, on 149th Street, just above Parvin Street, the third house on the left with white shutters.

"Anyhow, I got to be fond of Bella and often used to set and talk with her in the evenings in Mr. Muffitt's kitchen, and maybe have two or three other girls come in sometimes, with a few men; though I never cared, sir, for much flocking together at such times, for Bella Dougherty she was good enough company for me, just her and I by ourselves.

"Howsomdever, there was another man that had a kind of fancy for Bella Dougherty, although in my opinion he isn't fit to wipe her feet on, and his name is William Jones.

"This yer William Jones used to come intruding around there in Mr. Muffitt's kitchen when he wasn't wanted and when he seen that me and Bella would rather be a-setting there by ourselves. And so, sir, one night, just to kill the time till he'd quit and go, I begun to tell them what George Watkins said to me about the Huxley Institute and frictional electricity being a sure cure for pain.

"And William Jones, a-winking at Bella Dougherty, as much as to say, sir, that he'd be having the laugh on me, said he had a pain that minute in his head from neuralgia and he'd bet me a quarter no frictional electricity would drive it out. I know now what was the matter with the head of William Jones. Not neuralgia, nor nothing of the sort, sir. It was vacuum. My mate, George Watkins, tells me that at the Institute they say that vacuum always produces pain, and that was the only thing the matter with this William Jones I'm a-telling you about.

"I never take no dare, not from no man of that kind, anyways, sir, so I bet him a quarter I'd cure him, and cure him with frictional electricity, too. So he set down on the chair a-laughing and a-winking at Bella Dougherty, who set over by the range holding the quarters; and I begun to rub William Jones's eye-brows with my two thumbs; just gently, but right along just like stroking a cat; keeping it up, a-rubbing and a-rubbing, until at last I asked him how he felt now; and, you can imagine my supprise, sir, when I seen that William Jones was fast asleep! I was skeered at first; but in a minute I seen that I had hypnertized him unbeknown to myself, and there set William Jones 's if he was froze stiff.

"I wa'n't so very sorry, sir, when I found out how things was a-going, although if I could have seen what was the consequences of this strange occurrence I'd 'a' seized my hat and bid Bella Dougherty good-by and started straight for home.

"But, sir, of course I acted like a fool, for I'd read in the papers how a man who hypnertizes another man can make him believe anything and do anything, and so I thought I'd have some fun with William Jones and enjoy a lovely, quiet evening with Bella Dougherty.

"So I says to William Jones:

"'Now, William, you're a little school-scholar oncet again and you've missed your lesson, and so you just go over there in that corner by the china closet and stand with your face to the wall and say over and over your multiplication table till you know it right.'

"And so, to the supprise of Bella Dougherty, William Jones went right over in the corner, like I told him, and there he stood, saying: 'Six sixes is thirty-six, six sevens is forty-two,' and so on, whilst I set over with Bella Dougherty peacefully enjoying ourselves just exactly 's if William Jones wasn't anywheres about.

"And so, sir, it went on until Mrs. Muffitt she come down and said to Bella Dougherty it was time to shut the house up, and then I bid her good-night and told William to go home and go straight to bed, which he did, and a-saying the multiplication table all the way down the street. He would have said it all night, sir, I do believe, if I hadn't ordered him to stop and to begin saying his prayers when I passed him in at his front door.

"You may believe me, sir, that I had William Jones on my mind all night and was a-worrying a little about him too, for fear maybe he'd never come to. So around I goes the first thing in the morning to his boarding-house, and his landlady tells me he had been a-saying his prayers all mixed up like with the multiplication table ever since he come home the night before. She was a bit troubled about it, sir, as you may imagine, for William Jones was a good boarder and it 'd 'a' been money out of her pocket if he had lost his mind.

"So, then, I seen William Jones and knowed at oncet that the hypnertizing still had hold of him. Very well; I had no idea how to get him out of it and it didn't hurt him nohow, so I just commanded William Jones to drop the multiplication table and his prayers and to fix all his intellect in the regular way on plumbing; and William Jones at oncet calmed down and seemed his old self again.

"Then a wicked thought flashed into my mind. You know how it is yourself, sir; you are tempted and you are weak and you fall, and then the first thing you know, to be sure your sin'll find you out and there you are! Here I am, a shattered hulk. It suddenly occurred to me, sir, that if I could control William Jones, why not turn his affections away from Bella Dougherty, who might take a fancy to him? who knows? women are so queer! and direct his thoughts toward my own Aunt Maggie, who is a middle-aged widder and not so bad-looking, and far too good for such a man as William Jones, although to speak the plain truth I had no objections to having him for an uncle by marriage.

"Therefore I did so, sir, and before the week was out I heard that William Jones was plumbing in the most supprising manner, plumbing here and plumbing there, and paying attentions vigorously, so to speak, to Aunt Maggie every evening.

"In the meantime, sir, believe me, I did not lose time in my suit with Bella Dougherty, who seemed real mad at William Jones when people began to talk about his courting Aunt Maggie, so that in less than two weeks, when Bella Dougherty heard that William Jones and Aunt Maggie had agreed to marry, I got Bella Dougherty about as good as to say, although she never quite said it square, that she would have me.

"I never knowed how it happened, sir, whether somebody waked William Jones up or he just come to by himself, but, sir, anyhow, William Jones about that time dropped hypner-tism and was himself again. Imagine, sir, how things stood! There never was a man as mad as William Jones; mad with me, and mad with Aunt Maggie, to whom he sent a cruel message that he wa'n't marrying no grandmas, and that made Aunt Maggie mad; and then William Jones sat down and wrote me a letter to the general effect that whenever he met me my course in this life would be short.

"Naturally, sir, as you may believe, I kept out of William Jones's way, for I am not fond of quarreling, and besides, William Jones is forty pounds heavier, sir, than I am.

"But one night while I was setting in the kitchen at Muffitt's, having some uplifting conversation with Bella Dougherty, there was a sudden knock on the side door, and up she jumps, pale and skeered, and says: 'I do believe that is William Jones. He said he might call, maybe, this evening!' So, of course, as I never hunt trouble, I raised the window sash over by the kitchen table at the back and went out just as William Jones come in the side door. He kept the door open a-watching for me, and so as I couldn't get to the gate I climbed over the high fence into the next yard.

"I ought to have gone right home, sir, without stopping, but I hated to leave William Jones there with Bella Dougherty, and me just driven out; so, as it was raining hard and I had on my Sunday suit, what does I do but try the latch on the kitchen door of the house next to Mr. Muffitt's, and finding the door opened, in I walked and set down in a chair to await what was going to happen. That was a bad job for me, sir! It isn't safe to take one false step.

"For the next minute the inside door from the dining-room springs open and a man jumps out and grabs me and says: 'I've got thee at last, have I!' He was a Quaker, sir; a big man and with a grip like iron. I never knowed a man with a grip like that. Did you ever, sir, have your fingers in the crack of a door and somebody a-leaning hard on the door? That was the way this Quaker held me. Then he calls out 'Amelia! Amelia!' and in a minute a sweet old Quaker lady comes out with a candle, and he says to her: I've caught that burglar, Amelia; thee get the clothes line.'"

"So the lady she gets the clothes line and that man he ties my hands and my arms behind my back, good and tight, and then he made me set down and he ties me to the chair, and at last he gives the rope two or three turns around the leg of the kitchen table and says to me: 'Friend, thee can just set there while I go to get an officer!' Gave me no chance to explain. Took it all for granted; whereas if he would have listened to me I could have cleared up the whole mystery in two minutes.

"So then, sir, out he goes for a policeman, and the old lady sets down in a chair not far from me and said she was sorry I was so wicked and asked me about my mother, and if I ever went to First-Day school, and a whole lot of things. Then a thought seemed to strike her and she went into the next room and came back with a book in her hand, and she said she would read a good book to me while we waited for justice to take its course.

"She was lovely to look at, sir, with her tidy brown frock and the crape handkerchief folded acrost her bosom and her cap and the smile on her face; a sweet face, sir; an angel face; yes, sir, but sweet faces often has cruel dispositions behind them. For then she told me that the book was called Barclay's Apology for the People called Quakers, or something like that, and she begun to read it to me.

"Have you ever read that book, sir? It is dedicated, I think, to Charles the Second, and it begins with Fifteen Propositions, and she read every one of them Propositions from first to last. Then she turned to the section, sir, about Salutations and Recreations, and she read and read and read until, sir, actually it made my head swim.

"Do you know, sir, is Barclay still alive—the man who wrote that book? Is there no way of getting even with him?

"I couldn't get away. I might have walked out somehow with the chair fastened to me; but I couldn't go, could I, sir, with the table tied to my leg, and particularly if I had to climb the fence? So I had to set there and be regarded as a burglar.

"But at last I would be heard, and I told her I was no burglar but an innercent man; and then she looked in the index to find if Barclay had anything interesting to say about the wickedness of telling falsehoods. And then I said I was a member of the Baptist Society, and she said at once she would read Barclay on the errors of that sect; but I insisted on being heard, and I explained to her that I got into this trouble by trying to cure William Jones by frictional electricity, and she said: 'Thee has an ingenious and fruitful mind to invent such a story. Oh, that it had been turned to better devices than following a life of evil!'

"'And it seems hard, too,' I said, 'that a perfectly respectable Baptist plumber should be arrested as a burglar simply because he tried to relieve the pain of William Jones by a scientific method invented by the Huxley Institute.'

"Where is thy friend William Jones?' she asked.

"Do you know, sir, at that very moment you could hear through the partition William Jones and Bella Dougherty laughing next door! It seemed like mockery to me, a-setting there in chains, so to speak.

"'He is next door, ma'am,' I said, 'a-courting the hired girl.'

"'I will prove if thee is telling the truth,' she said, and she got up and moved toward the door.

"'No, ma'am, no!' I said; 'please don't do that! William mustn't know that I am here'; and so she comes back and sets down again, and picks up Barclay, and looks sorrerful at me, and says:

"'It is wicked for thee to have such vain imaginations. Why does thee persist in pretending that there is a William Jones?' And then she started to look through Barclay to find if he had anything that would fit the William Jones part of the case.

"What could I do? I daresn't call in William Jones to prove my innercence; he was mad all over at me and a bigger man, too, and here I was tied; and I couldn't call Bella Dougherty without William Jones knowing it. It was hard, sir, for a man as innercent as a little babe to set there with that sweet and smooth old lady considering him a shameless story-teller and firing Barclay at him, now wasn't it, sir? Would you have called William Jones, sir, under them there circumstances, and his laughter and Bella Dougherty's still a-resounding through the partition?

"Well, sir, that policeman was a long time a-coming with the old Quaker. I never knowed why; but Friend Amelia she set down again and turned over the leaves of Barclay and begun oncet more to read about Salutations and Recreations while, strange as it may seem to you, sir, I felt that I'd rather see the policeman and be locked up in a dungeon than to hear more of it.

"But, howsomdever, after a while in comes the Quaker and the officer with him, and the very first minute the officer seen me he says:

"'I reckernize him as an old offender.'

"'No you don't!' says I; 'I'm no old offender nor a young offender. I'm a perfeckly honest Baptist plumber, and I kin prove it, too.'

"'How kin you prove it?' says the officer.

"'By William Jones,' says I, 'who is a-setting in that kitchen right next door, a-wooing the hired girl.'

"I was bold about it, sir, because I knowed William Jones daresn't strike at me while the officer was there.

"'We'll see about that,' says the officer, and in he goes to Mr. Muffitt's yard next door and comes back with William Jones. I have no use for a man like William Jones. What do you think he does, sir? Why, he looks me over, from head to foot, in a blank sort of a way, and then, turning to the policeman, he says: 'I don't know the man, officer; never seen him before'; then that low-down plumber walks out and leaves me there and goes back, and in a minute I hear him and Bella Dougherty a-laughing worse than ever.

"'I thought not,' says the officer, slipping the handcuffs on me, 'and so now you come right along.' And Friend Amelia looked mournful at me and says to me she would come around regular and read Barclay to me in my cell after I was convicted.

"And so, sir, to make a long story short, I was took up before the magistrate and held for burglary, and my mate, George Watkins, went my bail and so I was let go.

"I might stop here, sir, but I must tell you that the following Thursday I met William Jones up a kind of a blind alley where I was working, while he was working in a house on the opposite side. He had me in a corner where there was no chance to run, so I put on a bold face and went right up to him and says:

"'William, there's been some differences betwixt us, but I'm not the man to bear grudges and I forgive you."

"'What's that?' says he, savage.

"'Why,' says I, 'the whole thing is just one of them unpleasant misunderstandings'; and then I started to explain to him about the Huxley Institute theory of frictional electricity and the aurora borealis.

"I can't tell what he said, sir, in reply, with reference to the aurora borealis, because I'm a decent man and never use no low language; but suddenly he jumped on me, and the first thing I knowed I was being lifted in the ambulance and fetched to this yer hospital. Was it right, sir, do you think, for William Jones to strike me foul, like that, while I was trying to state my case to him? No, sir. But that's not the worst of it. Last Tuesday word came to me that Bella Dougherty had throwed me over and is going to marry William Jones on Decoration Day! Think of that, sir!" and Mordecai Barnes turned his head upon his pillow and moaned.

Turning again toward me, he was about to resume his statement, when suddenly he exclaimed: "Why, there's Aunt Maggie."

A woman of fifty years, nicely clad, came to the bedside and said to him coldly:

"Is that you, Mordecai Barnes?"

"Yes, Aunt Maggie."

"I'm ashamed of you, Mordecai Barnes," said she; "ashamed of you. It served you right. You got just what was comin' to you. I wish William had banged you worse."

Mordecai Barnes groaned.

"And more than that," continued Aunt Maggie, glaring at him through her spectacles, "I've torn up my old will which named you my sole heir and made a new one and left all my property to this yer very hospital."

With these words Aunt Maggie walked away and left the room.

Mordecai Barnes could not speak for a few minutes. He looked as if death would be welcome. Then, pulling the bedclothes up under his chin and closing his eyes wearily, he said:

"Curse the day, say I, when George Watkins first went to the Huxley Institute and heard about frictional electricity."

*** END OF THE PROJECT GUTENBERG EBOOK FRICTIONAL ELECTRICITY ***

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 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 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.

Table of Contents

FRICTIONAL ELECTRICITY

THE FULL PROJECT GUTENBERG™ LICENSE