Shakespeare's daughters
Date: 2026-03-08T00:00:00+00:00
Keywords: Shakespeare; William; 1564-1616 -- Adaptations; Women -- Drama

The Project Gutenberg eBook of Shakespeare's daughters

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: Shakespeare's daughters

A fantasy in one scene

Author: George Henry Trader

Release date: March 8, 2026 [eBook #78148]

Language: English

Original publication: New York: Samuel French, 1910

Other information and formats: www.gutenberg.org/ebooks/78148

Credits: Charlene Taylor, Eleni Christofaki and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK SHAKESPEARE'S DAUGHTERS ***

Transcriber’s note

Variable spelling and hyphenation have been retained. Minor punctuation inconsistencies have been silently repaired.

SHAKESPEARE’S DAUGHTERS

A Fantasy in One Scene

BY
GEORGE HENRY TRADER

Copyright, 1910, by Samuel French

New York | London
SAMUEL FRENCH | SAMUEL FRENCH, Ltd.
PUBLISHER | 26 Southampton Street

25 WEST 45TH STREET

STRAND

SHAKESPEARE’S DAUGHTERS.

Being a fantasy, in one scene (a glade in which appear as many of Shakespeare’s female characters as practicable. It may be noted with regret, that they have been associating with the ordinary, their tongues no longer distributing the grace and wisdom they uttered when at home).

Ophelia

Is found seated, unhappy, with a packet of letters tied with a ribbon. She may be well to the front of the picture to the players’ left hand.

Cordelia

May be found to the right hand of the players, but much in the background. She is disconsolate beyond measure and does not appear to be aware that there are other characters present.

Rosalind, Portia, Viola, Imogen

Are generally seen near the centre of the picture; they are at present discussing a weighty matter with avidity, as follows:—

Imogen. For me? I would endure such shame twice told for one I love.

Rosalind. Ay, it would take more than wearing of doublet and hose to give my cheek the blush.

Portia. In tender questions, pride will ofttimes drown kind modesty with satisfaction in one’s seeming.

Looked we in truth’s mirror our blush would be no flush but one continued fever, so frequent do we err in our deportment. For myself, if occasion should demand that I inhabit my person as a man, I would assume the guise of one who wears a gown or cowl or ample cloak: thus may our sex while feigning man, retain their modesty.

Viola. Dear Portia, were you a man in truth, you’d soon turn judge.

Imogen. No cowl nor ample cloak for her but gown I’ll warrant. For, secret, hark, it was, but yesterday I spied a weighty tome of Venice law bear down her lap.

Rosalind. What color gown? That’s first determined is it not?

Portia. So? Indeed! ’Twere worthier fondling books upon my lap than the senseless men I’ve seen upon the knees of Rosalinda here.

Imogen. Men!

Viola. Upon her knees!

Rosalind. It is not true.

Portia. Their voices more tuneful, than in some men I have heard, in—that they were silent; their manners more gentler, in—that they were still; their dress of highest design, for they were modes of fashion, with that added virtue, that they could be put easily aside, being but on paper.

Imogen. Only pictures, penned and painted?

Portia. Ay, but of men, mark you, not girls, nor flowers, nor sheep; but men, whose outlines she scanned with eye of starveling.

Viola. She determined then from fashion’s whim, that long hose and jacket were wisest wear for women bent on playing man?

Portia. Our Rosie scorned the fashions. She did not so decide.

Rosalind. Did not? What was my measure then?

Portia. You give me leave to speak?

Rosalind. Judge on, oh lady-judge, we hunger for thy wisdom.

Portia. If I am too bold, Viola and Imogen silence me. But listen thirstily to my reasons. Our Rosalind here hath no present need to mask in man’s attire; why then should she desire to don it? Because, odds paticakes, she hath discovered it doth become her. One morning early risen, she observed herself upon the sunlit wall and her shadow did beguile her. Thence, I see, she is determined that the occasion shall appear. For “why” sighs she, “should a proper ankle waste, for always, its outline in the darkness of a skirt.”

Viola. Well? well? well? If this indeed be true of Rosalind, is her reasoning then immodest?

Imogen. If of the garb one is not conscious, that itself is answer.

Portia. Ho, ho! You sing in tune! Are well poised ankles so plenty that they crowd forth to be basked on?

Rosalind. Not too plenteous, Portia, for we do know a maid, who, if occasion opportuned her to play in man’s attire, would choose to hide her in “gown or cowl or ample cloak.” No, no, a comedy face is no guarantor for a dainty limb, they stand not on every corner.

Portia. Alone, they are a weak possession, a pointed ankle often bears a dull wit.

Rosalind. They bear enough to trip the wit of many men.

Rosalind. A truce about men, say I, whose giddy sight is hindrance to their reason.

Imogen. So say we all of us.

Viola. Here comes one whose youthful skirt our question puts to flight.

Enter Juliet from their right

Imogen. Why so breathless, Julietta?

Juliet. I am come to tell you, I am no longer a child. I have bade farewell to all my dolls. Soon there’ll be for me, one whom I, like you, may name “my own dear lord.” No longer will your secrets be too grown for me to share.

Portia. Why then confide to us the charm, that brings to blossom thus suddenly the youngest of our buds.

Juliet. In twenty days, my mother gives a wondrous ball, to which will come all the gallants of our house of Capulet.

Rosalind. And know you who are named?

Juliet. None but one I know already, the County Paris. I would you all were bidden.

Viola. So, alas, do we!

Rosalind. Our habitations are so distant.

Imogen. Did ever father’s favorite daughters meet so little as we?

Juliet. Are you his favorite daughter too?

Viola. I know I am. Such love as he bears me, if held for all, would lift him off the earth.

Portia. He hath bequeathed us each a special virtue, which we must emphasize as the flowers theirs.

Juliet. Why does Ophelia sit alone and heed us not? I’ll share my news with her.

Viola. Do not; she hath been curtly dealt with by Prince Hamlet or perchance her father. Contrast not thy happiness with her sorrow. Comparisons are steps to pain.

Portia. Thoughts unmoved, like dead water, disease their confines. Therefore stir thou her sad thought, lest, becoming clogged, it o’erslough her like to Cordelia here.

Imogen. What words of ours can heal her heart?

Rosalind. I will hazard, one from Hamlet could send more sunshine to her dark life than a thousand moonbeams of our cold comfort.

Juliet. In twenty days, I sure shall see the dear, kind lord, who is to give me comfort all my days.

Portia. Ay, those whom we know not to-day may give us joy to-morrow. But, infant-woman, do not forget the touch of thy nurse’s apron string before thou canst walk.

Rosalind. Peace, torrential adviser, here comes the newly wedded Beatrice who will o’erwash thee with advice as utterly as the Amazon a desert spring.

Juliet. Oh, my ears are unstrung with her re-echoed wisdom. Come, I have a store of sugared rose leaves, enough for all. I would rather see them pass in through your lips, than proverbs pass out.

Imogen. Is Desdemona shallow or deep that she proves so good a listener?

Portia. Neither, but like a plate of gold, shines broad again the brightness she receives.

Rosalind. Then I will stand where she can shine on me, some of her news concerning man’s attire.

Portia. Oh! Another day. For this instant, let Juliet’s rose leaves silence us awhile.

They exeunt together towards their right

Enter Beatrice and Desdemona another way

Beatrice. I tell thee ’Mona, to keep thy lord after thou hast won him, do not show him too oft thy back, lest some other woman standing face to face, he find her smile a better picture than the nape bone of thy neck. No, when thou hast let the man thou hast chosen, catch thee, stand thenceforth, where, if he run, he will fall into thy arms; and not where, he slipping by, thou wilt have to run, ignominiously, after him.

Desdemona. But, I am still a maid.

Beatrice. Then life to thee remains a maze.

Enter Lady Macbeth, who stands apart

Beatrice. Your unmarried woman is without a ship whereon to trim the sails of her ambition.

Lady Macbeth. And if her ship sail a restless tide, like to my Macbeth, what the advantage of wedlock? Notwithstanding, find some ground to plant thy faith where it may thrive. Choose thee a husband who may lift thee, or thou canst lead to thy level; then raise thyself and him again till death find thee higher, more exalted than thy birth. Thus action giving thee life, thou wilt ’scape stagnation, which proves to be the food of death.

Desdemona. Tell me, Beatrice, doth the outer man have ought to do with wedded peace; as if, he be fair or dark? and if being dark, how dark for proprieties’ satisfaction?

Beatrice. Young love is color blind. Within the month I swore my Ben as perfect as Apollo, but now my love, being saner placed, mine eyes can note the tawney of his skin and peering deeper to the better man, my love doth tighten.

Desdemona. But were he more than common brown, past Spanish tan?

Beatrice. Were he burnt as to a Moor and know him as I now do, my love could know no change.

Desdemona. Yet if his blood were dark from birth, an Indie or a Moor?

Beatrice. Not all the sultry blood of Africa could stain the true strong heart of Benedict.

Desdemona. Couldst thou then marry a Moor?

Beatrice. Had he the soul of Benedict and I the eyes of Beatrice, subtlest lies of Satan could not part us. Father,—mother,—duty,—time,—space,—all, methinks, could find no chink for needle point to scratch an entrance ’twixt our loves.

Desdemona. As I listen to thy feeling, my heart doth preen for flight. How is’t, since wedded, thou dost talk more sober?

Beatrice. The yoke of marriage, curbing speed, combines the power and so gives ballast to the mind. Does my assurance make you happy?

Desdemona. More than I dare think. O I could tell thee battle stories I have lately heard, but so well told, that I fear recounting would spoil their memory. And yet what is to fear, come tell me again.

Exeunt Beatrice and Desdemona

Lady Macbeth. “Ballast to thy mind”? Conceited plaything! thy ballast is but pride. These lambkin loves are sweetened honey to my taste.

She peruses a letter

Ophelia

Clasping her package of letters and weeping

Alone, alone, alone! My father’s present harshness gives more loneliness to my heart than leagues of distance from my gentle brother. And Hamlet, motive of my thoughts and acts, art thou worlds away or nearer than an hour ago? I cannot tell. Love and cruelty so much commingled in his words. I know not where I rest. I do not rest,—I am at sea. O who can give me peace?

Lady Macbeth moves away

He says I am not true, yet bade me hide my purity in solitude. His words spake hate, his voice told love. I cannot think. I cannot move. Each drop in me is chaos.

Cordelia

For the first time is seen to move. She looks stonily and for a long time at Ophelia

If she can pity me ’twill ease her heart.

Arises and comes quietly to Ophelia, then covering her face with her hands, she kneels and rests her head in Ophelia’s lap

Ophelia. It is Cordelia. Look up. Why, thou art wretched too and yet thine eye is dry. Come you to me for comfort? If so, I can but hold thee close and if thou seest tears, translate them as for thee, for sympathy in words I know not how to give.

Cordelia. Place thine ear to mine, so,—and we will listen for each other’s thoughts.

Ophelia. I would not have thee hear my miseries, for then thou too must weep.

Cordelia. To weep is best of all. Could I do so, ingratitude would melt away, would have no power, I’d feel my father’s presence. O teach me how to weep.

Ophelia. Cordelia, why hast thou long been silent, is’t for thy father?

Cordelia. O precious silence! Ophelia, in a world where little truth is spoken, silence less evil there obtains. These maidens are all kind, but should I unstop my pain to them, a scatter of advice unsuited, would fall like winter’s leaves about mine ears. Each day they chatter up a house of words and when the day is spent, it leaves no trace behind. For pastime, they do weave a happy future round some ne’erborn man of their conceiving. Thy Hamlet is the dearest, sanest man of all, yet him they do consider to be mad.

Ophelia. I had a mind to ask their thoughts concerned with Hamlet, but now thy words dissuade.

Cordelia. I’ll tell their answer e’er thou ask them. This day their remedy for troubled love lies these ways. Thou shouldst mask thee in the habiliments of a man and so engage as Hamlet’s servant, then learning all his moods, thou mayest wisely soothe him. One will ’vise thee how to dress, another how demean thyself, a third shall give thee points at law and preach to thee of modesty. Coaxing, pleading, baiting, all shall be proposed to bring him out and when their talk is run, why, a riddle hath been asked thee.

Ophelia. Cordelia, Prince Hamlet is so vast a man the world can scarce comprise him, and yet his dear simplicity did link his tastes to mine. Now, now he is estranged, oh am I so to lose him?

Cordelia. If I had held thy place and live as near to such a thought as Hamlet, and then there came a void between our loves, wouldst know my course?

Ophelia. O tell it me.

Cordelia. I’d fill my silence full with love and sitting quiet watch and wait, not tiring with sad looks, but simply and with hope await my place, then as some ground for tiny seed and deed of love appear, it should be sown, until some day he’d turn and find my garden grown, a place wherein to rest.

They hold each other close. Ophelia weeps

Cordelia. I giv’st thee my best counsel, dear, Hast ought to solve my hardened ache?

Portia enters, looks on Ophelia, then to her enter Rosalind, Imogen, Beatrice, Desdemona,—they stand together

Portia. Poor child, see how she clings unto Cordelia.

Rosalind. Of sorrow she’s too much now, we dare not give her more.

Desdemona. How did her father die!

Beatrice. ’Tis not yet given out.

Lady Macbeth and Regan enter

Lady Macbeth. See, Regan, there she sits and broods upon Cordelia.

Regan. I’ll tell her straight.

Lady Macbeth. ’Twere better not, too much of anguish may undo her.

Regan. An overflow of bitterness will sure, then, taint Cordelia, and I be some avenged. In any wise she soon must hear, and to later tear raw the half healed wound were worse. I’ll tell her now.

She approaches Ophelia

Daughter of Polonius, turn thee from my father’s stain and heed my news, thy tears do prove her comfort worthless. I do bring thee further cause for grief, yet am I kind, in that I make thy present tears do double duty. Thy father hath been murdered;—and by the mad lord Hamlet.

Portia and her friends draw a sudden breath and hold to one another

Cordelia draws Ophelia close to her while looking with pity upon Regan

Rosalind. Said she by Hamlet?

Portia. The gentlest of all gentlemen?

Beatrice. Can nature be upset?

Imogen. A rose give poison?

Viola. Or the sun freeze?

Lady Macbeth. All humankind seem not what they are. In truth his deed is deeper still. He sought and thought not her arras-hidden father to destroy, it was, so runs the hint, the husband of his mother.

Beatrice. The king!

Portia. God save him then.

Viola. Look to Ophelia, she scarce can stand, yet wills to stand alone.

Imogen. Shall we humor her?

Desdemona. Peace to her. Our master, now, alone can make her new.

Rosalind. O, Regan, why wast ever born?

Lady Macbeth. They all condemn thee.

Regan. For doing what thou durst not. Where I am unloved, I leave. I’ll have more news and better liking there.

Regan exits

Ophelia moves uncertain, distraught

Imogen. Her words have beat her to a living death.

Ophelia

Has ceased to weep, has released herself from the embrace of Cordelia. We see her put her finger to her lips as she walks across to the other side, then passing through the others, who make way for her. She is about to go—they are about to follow—she returns and with gesture indicates that she does not wish them to. She then speaks

I must gather flowers by the river—they are best.—Do not come. I will bring enough for all.

She listens

The little river is very quiet, but I can hear it. It has a message for me. I am going to put my ear so close that I shall lose not a whisper.

She bows

Be kind. Always be kind.

She smiles and leaves them

Rosalind. Shall we not follow?

Lady Macbeth. ’Twould but distress her.

Viola. Is she feigning that she suffers less than we?

Portia. She died at Regan’s word.

Beatrice. Let us to the cloister and there think on immortality, not death.

Desdemona. Dear Cordelia, will you come?

Cordelia

With head thrown back and eyes closed, spreads, like wings, her arms with palms turned backward,—the others perceiving that she wishes them to go, they accede to her wish. When alone she covers her face with her hands, there is a tumult within her and at last, she weeps

Unwelcome, welcome tears. I weep for her, that could not for myself. Thus not feeding on another’s woes, by pity we do lose our own.

She follows the way Ophelia went

The Actress

Who has performed Cordelia now returns, bows a little, then speaks, as follows:—

My eyes are washed and now I do perceive that all the world’s a stage, from whence, at end of day, we look inquiringly at those who looked on us.

If we have read our author’s plot aright, our reward should be, to spy, with ours, some brighter, fonder eyes, who flash us thanks, and who in turn do work and watch and play; while we in turn do dream new action for the morrow.

Music is heard

O all’s not done. We’ve another here to thank and love and I must have my share.

The Actress hurries away

Then after brief interlude, is seen,—William Shakespeare.

It may be that he appears personified, or in the form of a statue, bust or painting. Then come to him (or he along with them) all the characters in this fantasy; or even as many of the female characters in all his plays as may be.

Now is to be performed a pantomime, to music, which indicates “love and thanks” to Shakespeare.

So let the artist who directs this scheme, use all the arts he may command and with a generous and active eye, paint his action tunefully.

THE END

When the time is scant, in which to arrange a pantomime especially suited to the material at hand, let the following be performed to Mendelssohn’s music from “A Midsummer Night’s Dream,” the fairy theme especially. This music should commence pianissimo when the actress who plays Cordelia, says: “action for the morrow,” and becomes mezzo-forte as she hurries away.

After a slight pause, Titania trips on with her fairy wand, and listens right and left, then apparently hears something and tripping up to some bushes in the background in the centre, she peers through and dances with delight at her discovery, she comes forward and beckons right and left;—then dance on the four little fairies Peas-Blossom—Cobweb—Moth—and Mustard Seed, two from each side, they turn about in little circles until they come together in the centre, forming a little picture with their backs to the audience, stooping with their hands on their knees and their heads together. Now Titania, who has been up in the centre, trips down and points up to the bushes and putting her head close to theirs whispers to them, at which they all dance up and down on their toes and clap their hands with glee. Titania beckons that she wishes to whisper to them again, thereupon they form the little picture again, this time with faces towards the audience and Titania with her back to it. She whispers to them, at which they all trip off right and left to the music, Titania meanwhile waving her wand over them and when they are gone she goes to the bushes at the back and waves a salutation over it. Now the little fairies, two from each side, come dancing on backwards, beckoning on from near and far as many of the female characters of Shakespeare’s plays as may be obtained.

They come on singly, excitedly, shrugging their shoulders in interrogation, asking in pantomime, what it is all about. Titania trips among them forming them into a half circle, the open side to the audience, she bades, with her wand, look up at the bushes,—they turn half away from the audience and await in saucy attitude, with their hands on their hips, the surprise they have in store for them. Titania directs the little fairies, who trip up to the bushes, carefully draws them away and discovers Shakespeare asleep on a green bank, an old-fashioned book lying loosely in his hand.

At sight of him all the characters express joy, kneel with their hands outstretched in reverence, then they rush to him on their toes, extending their hands to him. Titania placing her wand horizontally, keeps them away, the little fairies also stand on guard. They try to peep at him but back away, while he still sleeps. Titania comes forward to the centre with the four little fairies, she encircles them with her wand, at this they all proceed to trip an elaborate “grand right and left,” taking bouquets from their belts they strike them as they pass one another,—they do not take one another’s hand but simply tip the fingers as they dance past, with their hands held high. They all keep glancing at Shakespeare, who finally awakens, at which they, each in turn, dance up and lay the bouquets at his feet, tripping up from one side and returning the opposite side and forming the original half circle right and left. Shakespeare rises much pleased and kisses his hands to them, when they have all arrived in the half circle he raises his hands as if in benediction, at which they all kneel on one knee, their hands stretched toward him in appeal.

The Music at this point descends to a pianissimo,—then Shakespeare speaks as follows:

Children of my dreams, how I love thee!—

Yet more than dream-children; for, down the ages shall ye live as jewels to adorn those artist souls, painters, players, writers, who love thee.

Then as they pass to other spheres and other poets, some per chance, to meet with me again, thou shalt remain to entrance and cheer and give ambition to the ages soon to come.—

Play on sweet children, thy joy is mine, mine is thine.

Would my arms were great enough to crush thee all, like to a bouquet of sweetest flowers.

My heart is thine, thine is mine.

Play on. Play on.

They now all sing “Good-night” (words from Romeo and Juliet, music by Howard Glover). And as Shakespeare retreats amongst the foliage (or disappears by special light effects), descends the

CURTAIN

*** END OF THE PROJECT GUTENBERG EBOOK SHAKESPEARE'S DAUGHTERS ***

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

- Transcriber’s note
- SHAKESPEARE’S DAUGHTERS
- SHAKESPEARE’S DAUGHTERS.
- THE FULL PROJECT GUTENBERG™ LICENSE