Eeldrop and Appleplex
Date: 2004-06-02T00:00:00+00:00
Keywords: Fiction; Short stories

The Project Gutenberg eBook of Eeldrop and Appleplex

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: Eeldrop and Appleplex

Author: T. S. Eliot

Release date: June 1, 2004 [eBook #5982]
Most recently updated: January 25, 2013

Language: English

Other information and formats: www.gutenberg.org/ebooks/5982

Credits: Produced by An Anonymous Volunteer, and David Widger

*** START OF THE PROJECT GUTENBERG EBOOK EELDROP AND APPLEPLEX ***

EELDROP AND APPLEPLEX

By T.S. Eliot

Contents

I

II

I

Eeldrop and Appleplex rented two small rooms in a disreputable part of town. Here they sometimes came at nightfall, here they sometimes slept, and after they had slept, they cooked oatmeal and departed in the morning for destinations unknown to each other. They sometimes slept, more often they talked, or looked out of the window.

They had chosen the rooms and the neighborhood with great care. There are evil neighborhoods of noise and evil neighborhoods of silence, and Eeldrop and Appleplex preferred the latter, as being the more evil. It was a shady street, its windows were heavily curtained; and over it hung the cloud of a respectability which has something to conceal. Yet it had the advantage of more riotous neighborhoods near by, and Eeldrop and Appleplex commanded from their windows the entrance of a police station across the way. This alone possessed an irresistible appeal in their eyes. From time to time the silence of the street was broken; whenever a malefactor was apprehended, a wave of excitement curled into the street and broke upon the doors of the police station. Then the inhabitants of the street would linger in dressing-gowns, upon their doorsteps: then alien visitors would linger in the street, in caps; long after the centre of misery had been engulphed in his cell. Then Eeldrop and Appleplex would break off their discourse, and rush out to mingle with the mob. Each pursued his own line of enquiry. Appleplex, who had the gift of an extraordinary address with the lower classes of both sexes, questioned the onlookers, and usually extracted full and inconsistent histories: Eeldrop preserved a more passive demeanor, listened to the conversation of the people among themselves, registered in his mind their oaths, their redundance of phrase, their various manners of spitting, and the cries of the victim from the hall of justice within. When the crowd dispersed, Eeldrop and Appleplex returned to their rooms: Appleplex entered the results of his inquiries into large notebooks, filed according to the nature of the case, from A (adultery) to Y (yeggmen). Eeldrop smoked reflectively. It may be added that Eeldrop was a sceptic, with a taste for mysticism, and Appleplex a materialist with a leaning toward scepticism; that Eeldrop was learned in theology, and that Appleplex studied the physical and biological sciences.

There was a common motive which led Eeldrop and Appleplex thus to separate themselves from time to time, from the fields of their daily employments and their ordinarily social activities. Both were endeavoring to escape not the commonplace, respectable or even the domestic, but the too well pigeonholed, too taken-for-granted, too highly systematized areas, and,—in the language of those whom they sought to avoid—they wished "to apprehend the human soul in its concrete individuality."

"Why," said Eeldrop, "was that fat Spaniard, who sat at the table with us this evening, and listened to our conversation with occasional curiosity, why was he himself for a moment an object of interest to us? He wore his napkin tucked into his chin, he made unpleasant noises while eating, and while not eating, his way of crumbling bread between fat fingers made me extremely nervous: he wore a waistcoat cafe au lait, and black boots with brown tops. He was oppressively gross and vulgar; he belonged to a type, he could easily be classified in any town of provincial Spain. Yet under the circumstances—when we had been discussing marriage, and he suddenly leaned forward and exclaimed: 'I was married once myself'—we were able to detach him from his classification and regard him for a moment as an unique being, a soul, however insignificant, with a history of its own, once for all. It is these moments which we prize, and which alone are revealing. For any vital truth is incapable of being applied to another case: the essential is unique. Perhaps that is why it is so neglected: because it is useless. What we learned about that Spaniard is incapable of being applied to any other Spaniard, or even recalled in words. With the decline of orthodox theology and its admirable theory of the soul, the unique importance of events has vanished. A man is only important as he is classed. Hence there is no tragedy, or no appreciation of tragedy, which is the same thing. We had been talking of young Bistwick, who three months ago married his mother's housemaid and now is aware of the fact. Who appreciates the truth of the matter? Not the relatives, for they are only moved by affection, by regard for Bistwick's interests, and chiefly by their collective feeling of family disgrace. Not the generous minded and thoughtful outsider, who regards it merely as evidence for the necessity of divorce law reform. Bistwick is classed among the unhappily married. But what Bistwick feels when he wakes up in the morning, which is the great important fact, no detached outsider conceives. The awful importance of the ruin of a life is overlooked. Men are only allowed to be happy or miserable in classes. In Gopsum Street a man murders his mistress. The important fact is that for the man the act is eternal, and that for the brief space he has to live, he is already dead. He is already in a different world from ours. He has crossed the frontier. The important fact is that something is done which can not be undone—a possibility which none of us realize until we face it ourselves. For the man's neighbors the important fact is what the man killed her with? And at precisely what time? And who found the body? For the 'enlightened public' the case is merely evidence for the Drink question, or Unemployment, or some other category of things to be reformed. But the mediaeval world, insisting on the eternity of punishment, expressed something nearer the truth."

"What you say," replied Appleplex, "commands my measured adherence. I should think, in the case of the Spaniard, and in the many other interesting cases which have come under our attention at the door of the police station, what we grasp in that moment of pure observation on which we pride ourselves, is not alien to the principle of classification, but deeper. We could, if we liked, make excellent comment upon the nature of provincial Spaniards, or of destitution (as misery is called by the philanthropists), or on homes for working girls. But such is not our intention. We aim at experience in the particular centres in which alone it is evil. We avoid classification. We do not deny it. But when a man is classified something is lost. The majority of mankind live on paper currency: they use terms which are merely good for so much reality, they never see actual coinage."

"I should go even further than that," said Eeldrop. "The majority not only have no language to express anything save generalized man; they are for the most part unaware of themselves as anything but generalized men. They are first of all government officials, or pillars of the church, or trade unionists, or poets, or unemployed; this cataloguing is not only satisfactory to other people for practical purposes, it is sufficient to themselves for their 'life of the spirit.' Many are not quite real at any moment. When Wolstrip married, I am sure he said to himself: 'Now I am consummating the union of two of the best families in Philadelphia.'"

"The question is," said Appleplex, "what is to be our philosophy. This must be settled at once. Mrs. Howexden recommends me to read Bergson. He writes very entertainingly on the structure of the eye of the frog."

"Not at all," interrupted his friend. "Our philosophy is quite irrelevant. The essential is, that our philosophy should spring from our point of view and not return upon itself to explain our point of view. A philosophy about intuition is somewhat less likely to be intuitive than any other. We must avoid having a platform."

"But at least," said Appleplex, "we are..."

"Individualists. No!! nor anti-intellectualists. These also are labels. The 'individualist' is a member of a mob as fully as any other man: and the mob of individualists is the most unpleasing, because it has the least character. Nietzsche was a mob-man, just as Bergson is an intellectualist. We cannot escape the label, but let it be one which carries no distinction, and arouses no self-consciousness. Sufficient that we should find simple labels, and not further exploit them. I am, I confess to you, in private life, a bank-clerk...."

"And should, according to your own view, have a wife, three children, and a vegetable garden in a suburb," said Appleplex.

"Such is precisely the case," returned Eeldrop, "but I had not thought it necessary to mention this biographical detail. As it is Saturday night, I shall return to my suburb. Tomorrow will be spent in that garden...."

"I shall pay my call on Mrs. Howexden," murmured Appleplex.

II

The suburban evening was grey and yellow on Sunday; the gardens of the small houses to left and right were rank with ivy and tall grass and lilac bushes; the tropical South London verdure was dusty above and mouldy below; the tepid air swarmed with flies. Eeldrop, at the window, welcomed the smoky smell of lilac, the gramaphones, the choir of the Baptist chapel, and the sight of three small girls playing cards on the steps of the police station.

"On such a night as this," said Eeldrop, "I often think of Scheherazade, and wonder what has become of her."

Appleplex rose without speaking and turned to the files which contained the documents for his "Survey of Contemporary Society." He removed the file marked London from between the files Barcelona and Boston where it had been misplaced, and turned over the papers rapidly. "The lady you mention," he rejoined at last, "whom I have listed not under S. but as Edith, alias Scheherazade, has left but few evidences in my possession. Here is an old laundry account which she left for you to pay, a cheque drawn by her and marked 'R/D,' a letter from her mother in Honolulu (on ruled paper), a poem written on a restaurant bill—'To Atthis'—and a letter by herself, on Lady Equistep's best notepaper, containing some damaging but entertaining information about Lady Equistep. Then there are my own few observations on two sheets of foolscap."

"Edith," murmured Eeldrop, who had not been attending to this catalogue, "I wonder what has become of her. 'Not pleasure, but fulness of life... to burn ever with a hard gem-like flame,' those were her words. What curiosity and passion for experience! Perhaps that flame has burnt itself out by now."

"You ought to inform yourself better," said Appleplex severely, "Edith dines sometimes with Mrs. Howexden, who tells me that her passion for experience has taken her to a Russian pianist in Bayswater. She is also said to be present often at the Anarchist Tea Rooms, and can usually be found in the evening at the Cafe de l'Orangerie."

"Well," replied Eeldrop, "I confess that I prefer to wonder what has become of her. I do not like to think of her future. Scheherazade grown old! I see her grown very plump, full-bosomed, with blond hair, living in a small flat with a maid, walking in the Park with a Pekinese, motoring with a Jewish stock-broker. With a fierce appetite for food and drink, when all other appetite is gone, all other appetite gone except the insatiable increasing appetite of vanity; rolling on two wide legs, rolling in motorcars, rolling toward a diabetic end in a seaside watering place."

"Just now you saw that bright flame burning itself out," said Appleplex, "now you see it guttering thickly, which proves that your vision was founded on imagination, not on feeling. And the passion for experience—have you remained so impregnably Pre-Raphaelite as to believe in that? What real person, with the genuine resources of instinct, has ever believed in the passion for experience? The passion for experience is a criticism of the sincere, a creed only of the histrionic. The passionate person is passionate about this or that, perhaps about the least significant things, but not about experience. But Marius, des Esseintes, Edith..."

"But consider," said Eeldrop, attentive only to the facts of Edith's history, and perhaps missing the point of Appleplex's remarks, "her unusual career. The daughter of a piano tuner in Honolulu, she secured a scholarship at the University of California, where she graduated with Honors in Social Ethics. She then married a celebrated billiard professional in San Francisco, after an acquaintance of twelve hours, lived with him for two days, joined a musical comedy chorus, and was divorced in Nevada. She turned up several years later in Paris and was known to all the Americans and English at the Cafe du Dome as Mrs. Short. She reappeared in London as Mrs. Griffiths, published a small volume of verse, and was accepted in several circles known to us. And now, as I still insist, she has disappeared from society altogether."

"The memory of Scheherazade," said Appleplex, "is to me that of Bird's custard and prunes in a Bloomsbury boarding house. It is not my intention to represent Edith as merely disreputable. Neither is she a tragic figure. I want to know why she misses. I cannot altogether analyse her 'into a combination of known elements' but I fail to touch anything definitely unanalysable.

"Is Edith, in spite of her romantic past, pursuing steadily some hidden purpose of her own? Are her migrations and eccentricities the sign of some unguessed consistency? I find in her a quantity of shrewd observation, an excellent fund of criticism, but I cannot connect them into any peculiar vision. Her sarcasm at the expense of her friends is delightful, but I doubt whether it is more than an attempt to mould herself from outside, by the impact of hostilities, to emphasise her isolation. Everyone says of her, 'How perfectly impenetrable!' I suspect that within there is only the confusion of a dusty garret."

"I test people," said Eeldrop, "by the way in which I imagine them as waking up in the morning. I am not drawing upon memory when I imagine Edith waking to a room strewn with clothes, papers, cosmetics, letters and a few books, the smell of Violettes de Parme and stale tobacco. The sunlight beating in through broken blinds, and broken blinds keeping out the sun until Edith can compel herself to attend to another day. Yet the vision does not give me much pain. I think of her as an artist without the slightest artistic power."

"The artistic temperament—" began Appleplex.

"No, not that." Eeldrop snatched away the opportunity. "I mean that what holds the artist together is the work which he does; separate him from his work and he either disintegrates or solidifies. There is no interest in the artist apart from his work. And there are, as you said, those people who provide material for the artist. Now Edith's poem 'To Atthis' proves beyond the shadow of a doubt that she is not an artist. On the other hand I have often thought of her, as I thought this evening, as presenting possibilities for poetic purposes. But the people who can be material for art must have in them something unconscious, something which they do not fully realise or understand. Edith, in spite of what is called her impenetrable mask, presents herself too well. I cannot use her; she uses herself too fully. Partly for the same reason I think, she fails to be an artist: she does not live at all upon instinct. The artist is part of him a drifter, at the mercy of impressions, and another part of him allows this to happen for the sake of making use of the unhappy creature. But in Edith the division is merely the rational, the cold and detached part of the artist, itself divided. Her material, her experience that is, is already a mental product, already digested by reason. Hence Edith (I only at this moment arrive at understanding) is really the most orderly person in existence, and the most rational. Nothing ever happens to her; everything that happens is her own doing."

"And hence also," continued Appleplex, catching up the thread, "Edith is the least detached of all persons, since to be detached is to be detached from one's self, to stand by and criticise coldly one's own passions and vicissitudes. But in Edith the critic is coaching the combatant."

"Edith is not unhappy."

"She is dissatisfied, perhaps."

"But again I say, she is not tragic: she is too rational. And in her career there is no progression, no decline or degeneration. Her condition is once and for always. There is and will be no catastrophe.

"But I am tired. I still wonder what Edith and Mrs. Howexden have in common. This invites the consideration (you may not perceive the connection) of Sets and Society, a subject which we can pursue tomorrow night."

Appleplex looked a little embarrassed. "I am dining with Mrs. Howexden," he said. "But I will reflect upon the topic before I see you again."

*** END OF THE PROJECT GUTENBERG EBOOK EELDROP AND APPLEPLEX ***

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

- EELDROP AND APPLEPLEX
- Contents
- I
- II
- THE FULL PROJECT GUTENBERG™ LICENSE