## THE HISTORY OF DON QUIXOTE, By Cervantes, I-v16

    The Project Gutenberg EBook Don Quixote, I-v16, by Cervantes, Illustrated
    #18 in our series by Miguel de Cervantes
    [Illustrated by Gustave Dore; Translation of Ormsby][Part I.,Chapters 47-49]

    Copyright laws are changing all over the world. Be sure to check the
    copyright laws for your country before downloading or redistributing
    this or any other Project Gutenberg eBook.

    This header should be the first thing seen when viewing this Project
    Gutenberg file.  Please do not remove it.  Do not change or edit the
    header without written permission.

    Please read the "legal small print," and other information about the
    eBook and Project Gutenberg at the bottom of this file.  Included is
    important information about your specific rights and restrictions in
    how the file may be used.  You can also find out about how to make a
    donation to Project Gutenberg, and how to get involved.

    **Welcome To The World of Free Plain Vanilla Electronic Texts**

    **EBooks Readable By Both Humans and By Computers, Since 1971**

    *****These EBooks Were Prepared By Thousands of Volunteers*****

    Title: The History of Don Quixote, with Illustrations by Dore, v16

    Author: Miguel de Cervantes

    Release Date: Aug, 2004  [EBook #5918]
    [Yes, we are more than one year ahead of schedule]
    [This file was first posted on September 29, 2002]

    Edition: 10

    Language: English

    Character set encoding: ASCII

    *** START OF THE PROJECT GUTENBERG EBOOK DON QUIXOTE, I-16, CERVANTES ***

    This eBook was produced by David Widger [widger@cecomet.net]

# DON QUIXOTE

## by Miguel de Cervantes

### Translated by John Ormsby

### Part I, Volume 16
Chapters 47-49

> > ### Ebook Editor's Note

> > The book cover and spine above and the images which follow were not part of the original Ormsby translation--they are taken from the 1880 edition of J. W. Clark, illustrated by Gustave Dore. Clark in his edition states that, "The English text of 'Don Quixote' adopted in this edition is that of Jarvis, with occasional corrections from Motteaux." See in the introduction below John Ormsby's critique of both the Jarvis and Motteaux translations. It has been elected in the present Project Gutenberg edition to attach the famous engravings of Gustave Dore to the Ormsby translation instead of the Jarvis/Motteaux. The detail of many of the Dore engravings can be fully appreciated only by utilizing the "Full Size" button to expand them to their original dimensions. Ormsby in his Preface has criticized the fanciful nature of Dore's illustrations; others feel that these woodcuts and steel engravings well match the dreams of the man from La Mancha. D.W.

## CONTENTS

### Part I.

>     CHAPTER XLVII
>     OF THE STRANGE MANNER IN WHICH DON QUIXOTE OF LA MANCHA WAS
>     CARRIED AWAY ENCHANTED, TOGETHER WITH OTHER REMARKABLE INCIDENTS

>     CHAPTER XLVIII
>     IN WHICH THE CANON PURSUES THE SUBJECT OF THE BOOKS OF CHIVALRY,
>     WITH OTHER MATTERS WORTHY OF HIS WIT

>     CHAPTER XLIX
>     WHICH TREATS OF THE SHREWD CONVERSATION WHICH SANCHO PANZA HELD
>     WITH HIS MASTER DON QUIXOTE

## CHAPTER XLVII.

### OF THE STRANGE MANNER IN WHICH DON QUIXOTE OF LA MANCHA WAS CARRIED AWAY ENCHANTED, TOGETHER WITH OTHER REMARKABLE INCIDENTS

When Don Quixote saw himself caged and hoisted on the cart in this way, he said, "Many grave histories of knights-errant have I read; but never yet have I read, seen, or heard of their carrying off enchanted knights-errant in this fashion, or at the slow pace that these lazy, sluggish animals promise; for they always take them away through the air with marvellous swiftness, enveloped in a dark thick cloud, or on a chariot of fire, or it may be on some hippogriff or other beast of the kind; but to carry me off like this on an ox-cart! By God, it puzzles me! But perhaps the chivalry and enchantments of our day take a different course from that of those in days gone by; and it may be, too, that as I am a new knight in the world, and the first to revive the already forgotten calling of knight-adventurers, they may have newly invented other kinds of enchantments and other modes of carrying off the enchanted. What thinkest thou of the matter, Sancho my son?"

"I don't know what to think," answered Sancho, "not being as well read as your worship in errant writings; but for all that I venture to say and swear that these apparitions that are about us are not quite catholic."

"Catholic!" said Don Quixote. "Father of me! how can they be Catholic when they are all devils that have taken fantastic shapes to come and do this, and bring me to this condition? And if thou wouldst prove it, touch them, and feel them, and thou wilt find they have only bodies of air, and no consistency except in appearance."

"By God, master," returned Sancho, "I have touched them already; and that devil, that goes about there so busily, has firm flesh, and another property very different from what I have heard say devils have, for by all accounts they all smell of brimstone and other bad smells; but this one smells of amber half a league off." Sancho was here speaking of Don Fernando, who, like a gentleman of his rank, was very likely perfumed as Sancho said.

"Marvel not at that, Sancho my friend," said Don Quixote; "for let me tell thee devils are crafty; and even if they do carry odours about with them, they themselves have no smell, because they are spirits; or, if they have any smell, they cannot smell of anything sweet, but of something foul and fetid; and the reason is that as they carry hell with them wherever they go, and can get no ease whatever from their torments, and as a sweet smell is a thing that gives pleasure and enjoyment, it is impossible that they can smell sweet; if, then, this devil thou speakest of seems to thee to smell of amber, either thou art deceiving thyself, or he wants to deceive thee by making thee fancy he is not a devil."

Such was the conversation that passed between master and man; and Don Fernando and Cardenio, apprehensive of Sancho's making a complete discovery of their scheme, towards which he had already gone some way, resolved to hasten their departure, and calling the landlord aside, they directed him to saddle Rocinante and put the pack-saddle on Sancho's ass, which he did with great alacrity. In the meantime the curate had made an arrangement with the officers that they should bear them company as far as his village, he paying them so much a day. Cardenio hung the buckler on one side of the bow of Rocinante's saddle and the basin on the other, and by signs commanded Sancho to mount his ass and take Rocinante's bridle, and at each side of the cart he placed two officers with their muskets; but before the cart was put in motion, out came the landlady and her daughter and Maritornes to bid Don Quixote farewell, pretending to weep with grief at his misfortune; and to them Don Quixote said:

"Weep not, good ladies, for all these mishaps are the lot of those who follow the profession I profess; and if these reverses did not befall me I should not esteem myself a famous knight-errant; for such things never happen to knights of little renown and fame, because nobody in the world thinks about them; to valiant knights they do, for these are envied for their virtue and valour by many princes and other knights who compass the destruction of the worthy by base means. Nevertheless, virtue is of herself so mighty, that, in spite of all the magic that Zoroaster its first inventor knew, she will come victorious out of every trial, and shed her light upon the earth as the sun does upon the heavens. Forgive me, fair ladies, if, through inadvertence, I have in aught offended you; for intentionally and wittingly I have never done so to any; and pray to God that he deliver me from this captivity to which some malevolent enchanter has consigned me; and should I find myself released therefrom, the favours that ye have bestowed upon me in this castle shall be held in memory by me, that I may acknowledge, recognise, and requite them as they deserve."

While this was passing between the ladies of the castle and Don Quixote, the curate and the barber bade farewell to Don Fernando and his companions, to the captain, his brother, and the ladies, now all made happy, and in particular to Dorothea and Luscinda. They all embraced one another, and promised to let each other know how things went with them, and Don Fernando directed the curate where to write to him, to tell him what became of Don Quixote, assuring him that there was nothing that could give him more pleasure than to hear of it, and that he too, on his part, would send him word of everything he thought he would like to know, about his marriage, Zoraida's baptism, Don Luis's affair, and Luscinda's return to her home. The curate promised to comply with his request carefully, and they embraced once more, and renewed their promises.

The landlord approached the curate and handed him some papers, saying he had discovered them in the lining of the valise in which the novel of "The Ill-advised Curiosity" had been found, and that he might take them all away with him as their owner had not since returned; for, as he could not read, he did not want them himself. The curate thanked him, and opening them he saw at the beginning of the manuscript the words, "Novel of Rinconete and Cortadillo," by which he perceived that it was a novel, and as that of "The Ill-advised Curiosity" had been good he concluded this would be so too, as they were both probably by the same author; so he kept it, intending to read it when he had an opportunity. He then mounted and his friend the barber did the same, both masked, so as not to be recognised by Don Quixote, and set out following in the rear of the cart. The order of march was this: first went the cart with the owner leading it; at each side of it marched the officers of the Brotherhood, as has been said, with their muskets; then followed Sancho Panza on his ass, leading Rocinante by the bridle; and behind all came the curate and the barber on their mighty mules, with faces covered, as aforesaid, and a grave and serious air, measuring their pace to suit the slow steps of the oxen. Don Quixote was seated in the cage, with his hands tied and his feet stretched out, leaning against the bars as silent and as patient as if he were a stone statue and not a man of flesh. Thus slowly and silently they made, it might be, two leagues, until they reached a valley which the carter thought a convenient place for resting and feeding his oxen, and he said so to the curate, but the barber was of opinion that they ought to push on a little farther, as at the other side of a hill which appeared close by he knew there was a valley that had more grass and much better than the one where they proposed to halt; and his advice was taken and they continued their journey.

Just at that moment the curate, looking back, saw coming on behind them six or seven mounted men, well found and equipped, who soon overtook them, for they were travelling, not at the sluggish, deliberate pace of oxen, but like men who rode canons' mules, and in haste to take their noontide rest as soon as possible at the inn which was in sight not a league off. The quick travellers came up with the slow, and courteous salutations were exchanged; and one of the new comers, who was, in fact, a canon of Toledo and master of the others who accompanied him, observing the regular order of the procession, the cart, the officers, Sancho, Rocinante, the curate and the barber, and above all Don Quixote caged and confined, could not help asking what was the meaning of carrying the man in that fashion; though, from the badges of the officers, he already concluded that he must be some desperate highwayman or other malefactor whose punishment fell within the jurisdiction of the Holy Brotherhood. One of the officers to whom he had put the question, replied, "Let the gentleman himself tell you the meaning of his going this way, senor, for we do not know."

Don Quixote overheard the conversation and said, "Haply, gentlemen, you are versed and learned in matters of errant chivalry? Because if you are I will tell you my misfortunes; if not, there is no good in my giving myself the trouble of relating them;" but here the curate and the barber, seeing that the travellers were engaged in conversation with Don Quixote, came forward, in order to answer in such a way as to save their stratagem from being discovered.

The canon, replying to Don Quixote, said, "In truth, brother, I know more about books of chivalry than I do about Villalpando's elements of logic; so if that be all, you may safely tell me what you please."

"In God's name, then, senor," replied Don Quixote; "if that be so, I would have you know that I am held enchanted in this cage by the envy and fraud of wicked enchanters; for virtue is more persecuted by the wicked than loved by the good. I am a knight-errant, and not one of those whose names Fame has never thought of immortalising in her record, but of those who, in defiance and in spite of envy itself, and all the magicians that Persia, or Brahmans that India, or Gymnosophists that Ethiopia ever produced, will place their names in the temple of immortality, to serve as examples and patterns for ages to come, whereby knights-errant may see the footsteps in which they must tread if they would attain the summit and crowning point of honour in arms."

"What Senor Don Quixote of La Mancha says," observed the curate, "is the truth; for he goes enchanted in this cart, not from any fault or sins of his, but because of the malevolence of those to whom virtue is odious and valour hateful. This, senor, is the Knight of the Rueful Countenance, if you have ever heard him named, whose valiant achievements and mighty deeds shall be written on lasting brass and imperishable marble, notwithstanding all the efforts of envy to obscure them and malice to hide them."

When the canon heard both the prisoner and the man who was at liberty talk in such a strain he was ready to cross himself in his astonishment, and could not make out what had befallen him; and all his attendants were in the same state of amazement.

At this point Sancho Panza, who had drawn near to hear the conversation, said, in order to make everything plain, "Well, sirs, you may like or dislike what I am going to say, but the fact of the matter is, my master, Don Quixote, is just as much enchanted as my mother. He is in his full senses, he eats and he drinks, and he has his calls like other men and as he had yesterday, before they caged him. And if that's the case, what do they mean by wanting me to believe that he is enchanted? For I have heard many a one say that enchanted people neither eat, nor sleep, nor talk; and my master, if you don't stop him, will talk more than thirty lawyers." Then turning to the curate he exclaimed, "Ah, senor curate, senor curate! do you think I don't know you? Do you think I don't guess and see the drift of these new enchantments? Well then, I can tell you I know you, for all your face is covered, and I can tell you I am up to you, however you may hide your tricks. After all, where envy reigns virtue cannot live, and where there is niggardliness there can be no liberality. Ill betide the devil! if it had not been for your worship my master would be married to the Princess Micomicona this minute, and I should be a count at least; for no less was to be expected, as well from the goodness of my master, him of the Rueful Countenance, as from the greatness of my services. But I see now how true it is what they say in these parts, that the wheel of fortune turns faster than a mill-wheel, and that those who were up yesterday are down to-day. I am sorry for my wife and children, for when they might fairly and reasonably expect to see their father return to them a governor or viceroy of some island or kingdom, they will see him come back a horse-boy. I have said all this, senor curate, only to urge your paternity to lay to your conscience your ill-treatment of my master; and have a care that God does not call you to account in another life for making a prisoner of him in this way, and charge against you all the succours and good deeds that my lord Don Quixote leaves undone while he is shut up.

"Trim those lamps there!" exclaimed the barber at this; "so you are of the same fraternity as your master, too, Sancho? By God, I begin to see that you will have to keep him company in the cage, and be enchanted like him for having caught some of his humour and chivalry. It was an evil hour when you let yourself be got with child by his promises, and that island you long so much for found its way into your head."

"I am not with child by anyone," returned Sancho, "nor am I a man to let myself be got with child, if it was by the King himself. Though I am poor I am an old Christian, and I owe nothing to nobody, and if I long for an island, other people long for worse. Each of us is the son of his own works; and being a man I may come to be pope, not to say governor of an island, especially as my master may win so many that he will not know whom to give them to. Mind how you talk, master barber; for shaving is not everything, and there is some difference between Peter and Peter. I say this because we all know one another, and it will not do to throw false dice with me; and as to the enchantment of my master, God knows the truth; leave it as it is; it only makes it worse to stir it."

The barber did not care to answer Sancho lest by his plain speaking he should disclose what the curate and he himself were trying so hard to conceal; and under the same apprehension the curate had asked the canon to ride on a little in advance, so that he might tell him the mystery of this man in the cage, and other things that would amuse him. The canon agreed, and going on ahead with his servants, listened with attention to the account of the character, life, madness, and ways of Don Quixote, given him by the curate, who described to him briefly the beginning and origin of his craze, and told him the whole story of his adventures up to his being confined in the cage, together with the plan they had of taking him home to try if by any means they could discover a cure for his madness. The canon and his servants were surprised anew when they heard Don Quixote's strange story, and when it was finished he said, "To tell the truth, senor curate, I for my part consider what they call books of chivalry to be mischievous to the State; and though, led by idle and false taste, I have read the beginnings of almost all that have been printed, I never could manage to read any one of them from beginning to end; for it seems to me they are all more or less the same thing; and one has nothing more in it than another; this no more than that. And in my opinion this sort of writing and composition is of the same species as the fables they call the Milesian, nonsensical tales that aim solely at giving amusement and not instruction, exactly the opposite of the apologue fables which amuse and instruct at the same time. And though it may be the chief object of such books to amuse, I do not know how they can succeed, when they are so full of such monstrous nonsense. For the enjoyment the mind feels must come from the beauty and harmony which it perceives or contemplates in the things that the eye or the imagination brings before it; and nothing that has any ugliness or disproportion about it can give any pleasure. What beauty, then, or what proportion of the parts to the whole, or of the whole to the parts, can there be in a book or fable where a lad of sixteen cuts down a giant as tall as a tower and makes two halves of him as if he was an almond cake? And when they want to give us a picture of a battle, after having told us that there are a million of combatants on the side of the enemy, let the hero of the book be opposed to them, and we have perforce to believe, whether we like it or not, that the said knight wins the victory by the single might of his strong arm. And then, what shall we say of the facility with which a born queen or empress will give herself over into the arms of some unknown wandering knight? What mind, that is not wholly barbarous and uncultured, can find pleasure in reading of how a great tower full of knights sails away across the sea like a ship with a fair wind, and will be to-night in Lombardy and to-morrow morning in the land of Prester John of the Indies, or some other that Ptolemy never described nor Marco Polo saw? And if, in answer to this, I am told that the authors of books of the kind write them as fiction, and therefore are not bound to regard niceties of truth, I would reply that fiction is all the better the more it looks like truth, and gives the more pleasure the more probability and possibility there is about it. Plots in fiction should be wedded to the understanding of the reader, and be constructed in such a way that, reconciling impossibilities, smoothing over difficulties, keeping the mind on the alert, they may surprise, interest, divert, and entertain, so that wonder and delight joined may keep pace one with the other; all which he will fail to effect who shuns verisimilitude and truth to nature, wherein lies the perfection of writing. I have never yet seen any book of chivalry that puts together a connected plot complete in all its numbers, so that the middle agrees with the beginning, and the end with the beginning and middle; on the contrary, they construct them with such a multitude of members that it seems as though they meant to produce a chimera or monster rather than a well-proportioned figure. And besides all this they are harsh in their style, incredible in their achievements, licentious in their amours, uncouth in their courtly speeches, prolix in their battles, silly in their arguments, absurd in their travels, and, in short, wanting in everything like intelligent art; for which reason they deserve to be banished from the Christian commonwealth as a worthless breed."

The curate listened to him attentively and felt that he was a man of sound understanding, and that there was good reason in what he said; so he told him that, being of the same opinion himself, and bearing a grudge to books of chivalry, he had burned all Don Quixote's, which were many; and gave him an account of the scrutiny he had made of them, and of those he had condemned to the flames and those he had spared, with which the canon was not a little amused, adding that though he had said so much in condemnation of these books, still he found one good thing in them, and that was the opportunity they afforded to a gifted intellect for displaying itself; for they presented a wide and spacious field over which the pen might range freely, describing shipwrecks, tempests, combats, battles, portraying a valiant captain with all the qualifications requisite to make one, showing him sagacious in foreseeing the wiles of the enemy, eloquent in speech to encourage or restrain his soldiers, ripe in counsel, rapid in resolve, as bold in biding his time as in pressing the attack; now picturing some sad tragic incident, now some joyful and unexpected event; here a beauteous lady, virtuous, wise, and modest; there a Christian knight, brave and gentle; here a lawless, barbarous braggart; there a courteous prince, gallant and gracious; setting forth the devotion and loyalty of vassals, the greatness and generosity of nobles. "Or again," said he, "the author may show himself to be an astronomer, or a skilled cosmographer, or musician, or one versed in affairs of state, and sometimes he will have a chance of coming forward as a magician if he likes. He can set forth the craftiness of Ulysses, the piety of AEneas, the valour of Achilles, the misfortunes of Hector, the treachery of Sinon, the friendship of Euryalus, the generosity of Alexander, the boldness of Caesar, the clemency and truth of Trajan, the fidelity of Zopyrus, the wisdom of Cato, and in short all the faculties that serve to make an illustrious man perfect, now uniting them in one individual, again distributing them among many; and if this be done with charm of style and ingenious invention, aiming at the truth as much as possible, he will assuredly weave a web of bright and varied threads that, when finished, will display such perfection and beauty that it will attain the worthiest object any writing can seek, which, as I said before, is to give instruction and pleasure combined; for the unrestricted range of these books enables the author to show his powers, epic, lyric, tragic, or comic, and all the moods the sweet and winning arts of poesy and oratory are capable of; for the epic may be written in prose just as well as in verse."

## CHAPTER XLVIII.

### IN WHICH THE CANON PURSUES THE SUBJECT OF THE BOOKS OF CHIVALRY, WITH OTHER MATTERS WORTHY OF HIS WIT

"It is as you say, senor canon," said the curate; "and for that reason those who have hitherto written books of the sort deserve all the more censure for writing without paying any attention to good taste or the rules of art, by which they might guide themselves and become as famous in prose as the two princes of Greek and Latin poetry are in verse."

"I myself, at any rate," said the canon, "was once tempted to write a book of chivalry in which all the points I have mentioned were to be observed; and if I must own the truth I have more than a hundred sheets written; and to try if it came up to my own opinion of it, I showed them to persons who were fond of this kind of reading, to learned and intelligent men as well as to ignorant people who cared for nothing but the pleasure of listening to nonsense, and from all I obtained flattering approval; nevertheless I proceeded no farther with it, as well because it seemed to me an occupation inconsistent with my profession, as because I perceived that the fools are more numerous than the wise; and, though it is better to be praised by the wise few than applauded by the foolish many, I have no mind to submit myself to the stupid judgment of the silly public, to whom the reading of such books falls for the most part.

"But what most of all made me hold my hand and even abandon all idea of finishing it was an argument I put to myself taken from the plays that are acted now-a-days, which was in this wise: if those that are now in vogue, as well those that are pure invention as those founded on history, are, all or most of them, downright nonsense and things that have neither head nor tail, and yet the public listens to them with delight, and regards and cries them up as perfection when they are so far from it; and if the authors who write them, and the players who act them, say that this is what they must be, for the public wants this and will have nothing else; and that those that go by rule and work out a plot according to the laws of art will only find some half-dozen intelligent people to understand them, while all the rest remain blind to the merit of their composition; and that for themselves it is better to get bread from the many than praise from the few; then my book will fare the same way, after I have burnt off my eyebrows in trying to observe the principles I have spoken of, and I shall be 'the tailor of the corner.' And though I have sometimes endeavoured to convince actors that they are mistaken in this notion they have adopted, and that they would attract more people, and get more credit, by producing plays in accordance with the rules of art, than by absurd ones, they are so thoroughly wedded to their own opinion that no argument or evidence can wean them from it.

"I remember saying one day to one of these obstinate fellows, 'Tell me, do you not recollect that a few years ago, there were three tragedies acted in Spain, written by a famous poet of these kingdoms, which were such that they filled all who heard them with admiration, delight, and interest, the ignorant as well as the wise, the masses as well as the higher orders, and brought in more money to the performers, these three alone, than thirty of the best that have been since produced?'

"'No doubt,' replied the actor in question, 'you mean the "Isabella," the "Phyllis," and the "Alexandra."'

"'Those are the ones I mean,' said I; 'and see if they did not observe the principles of art, and if, by observing them, they failed to show their superiority and please all the world; so that the fault does not lie with the public that insists upon nonsense, but with those who don't know how to produce something else. "The Ingratitude Revenged" was not nonsense, nor was there any in "The Numantia," nor any to be found in "The Merchant Lover," nor yet in "The Friendly Fair Foe," nor in some others that have been written by certain gifted poets, to their own fame and renown, and to the profit of those that brought them out;' some further remarks I added to these, with which, I think, I left him rather dumbfoundered, but not so satisfied or convinced that I could disabuse him of his error."

"You have touched upon a subject, senor canon," observed the curate here, "that has awakened an old enmity I have against the plays in vogue at the present day, quite as strong as that which I bear to the books of chivalry; for while the drama, according to Tully, should be the mirror of human life, the model of manners, and the image of the truth, those which are presented now-a-days are mirrors of nonsense, models of folly, and images of lewdness. For what greater nonsense can there be in connection with what we are now discussing than for an infant to appear in swaddling clothes in the first scene of the first act, and in the second a grown-up bearded man? Or what greater absurdity can there be than putting before us an old man as a swashbuckler, a young man as a poltroon, a lackey using fine language, a page giving sage advice, a king plying as a porter, a princess who is a kitchen-maid? And then what shall I say of their attention to the time in which the action they represent may or can take place, save that I have seen a play where the first act began in Europe, the second in Asia, the third finished in Africa, and no doubt, had it been in four acts, the fourth would have ended in America, and so it would have been laid in all four quarters of the globe? And if truth to life is the main thing the drama should keep in view, how is it possible for any average understanding to be satisfied when the action is supposed to pass in the time of King Pepin or Charlemagne, and the principal personage in it they represent to be the Emperor Heraclius who entered Jerusalem with the cross and won the Holy Sepulchre, like Godfrey of Bouillon, there being years innumerable between the one and the other? or, if the play is based on fiction and historical facts are introduced, or bits of what occurred to different people and at different times mixed up with it, all, not only without any semblance of probability, but with obvious errors that from every point of view are inexcusable? And the worst of it is, there are ignorant people who say that this is perfection, and that anything beyond this is affected refinement. And then if we turn to sacred dramas--what miracles they invent in them! What apocryphal, ill-devised incidents, attributing to one saint the miracles of another! And even in secular plays they venture to introduce miracles without any reason or object except that they think some such miracle, or transformation as they call it, will come in well to astonish stupid people and draw them to the play. All this tends to the prejudice of the truth and the corruption of history, nay more, to the reproach of the wits of Spain; for foreigners who scrupulously observe the laws of the drama look upon us as barbarous and ignorant, when they see the absurdity and nonsense of the plays we produce. Nor will it be a sufficient excuse to say that the chief object well-ordered governments have in view when they permit plays to be performed in public is to entertain the people with some harmless amusement occasionally, and keep it from those evil humours which idleness is apt to engender; and that, as this may be attained by any sort of play, good or bad, there is no need to lay down laws, or bind those who write or act them to make them as they ought to be made, since, as I say, the object sought for may be secured by any sort. To this I would reply that the same end would be, beyond all comparison, better attained by means of good plays than by those that are not so; for after listening to an artistic and properly constructed play, the hearer will come away enlivened by the jests, instructed by the serious parts, full of admiration at the incidents, his wits sharpened by the arguments, warned by the tricks, all the wiser for the examples, inflamed against vice, and in love with virtue; for in all these ways a good play will stimulate the mind of the hearer be he ever so boorish or dull; and of all impossibilities the greatest is that a play endowed with all these qualities will not entertain, satisfy, and please much more than one wanting in them, like the greater number of those which are commonly acted now-a-days. Nor are the poets who write them to be blamed for this; for some there are among them who are perfectly well aware of their faults, and know what they ought to do; but as plays have become a salable commodity, they say, and with truth, that the actors will not buy them unless they are after this fashion; and so the poet tries to adapt himself to the requirements of the actor who is to pay him for his work. And that this is the truth may be seen by the countless plays that a most fertile wit of these kingdoms has written, with so much brilliancy, so much grace and gaiety, such polished versification, such choice language, such profound reflections, and in a word, so rich in eloquence and elevation of style, that he has filled the world with his fame; and yet, in consequence of his desire to suit the taste of the actors, they have not all, as some of them have, come as near perfection as they ought. Others write plays with such heedlessness that, after they have been acted, the actors have to fly and abscond, afraid of being punished, as they often have been, for having acted something offensive to some king or other, or insulting to some noble family. All which evils, and many more that I say nothing of, would be removed if there were some intelligent and sensible person at the capital to examine all plays before they were acted, not only those produced in the capital itself, but all that were intended to be acted in Spain; without whose approval, seal, and signature, no local magistracy should allow any play to be acted. In that case actors would take care to send their plays to the capital, and could act them in safety, and those who write them would be more careful and take more pains with their work, standing in awe of having to submit it to the strict examination of one who understood the matter; and so good plays would be produced and the objects they aim at happily attained; as well the amusement of the people, as the credit of the wits of Spain, the interest and safety of the actors, and the saving of trouble in inflicting punishment on them. And if the same or some other person were authorised to examine the newly written books of chivalry, no doubt some would appear with all the perfections you have described, enriching our language with the gracious and precious treasure of eloquence, and driving the old books into obscurity before the light of the new ones that would come out for the harmless entertainment, not merely of the idle but of the very busiest; for the bow cannot be always bent, nor can weak human nature exist without some lawful amusement."

The canon and the curate had proceeded thus far with their conversation, when the barber, coming forward, joined them, and said to the curate, "This is the spot, senor licentiate, that I said was a good one for fresh and plentiful pasture for the oxen, while we take our noontide rest."

"And so it seems," returned the curate, and he told the canon what he proposed to do, on which he too made up his mind to halt with them, attracted by the aspect of the fair valley that lay before their eyes; and to enjoy it as well as the conversation of the curate, to whom he had begun to take a fancy, and also to learn more particulars about the doings of Don Quixote, he desired some of his servants to go on to the inn, which was not far distant, and fetch from it what eatables there might be for the whole party, as he meant to rest for the afternoon where he was; to which one of his servants replied that the sumpter mule, which by this time ought to have reached the inn, carried provisions enough to make it unnecessary to get anything from the inn except barley.

"In that case," said the canon, "take all the beasts there, and bring the sumpter mule back."

While this was going on, Sancho, perceiving that he could speak to his master without having the curate and the barber, of whom he had his suspicions, present all the time, approached the cage in which Don Quixote was placed, and said, "Senor, to ease my conscience I want to tell you the state of the case as to your enchantment, and that is that these two here, with their faces covered, are the curate of our village and the barber; and I suspect they have hit upon this plan of carrying you off in this fashion, out of pure envy because your worship surpasses them in doing famous deeds; and if this be the truth it follows that you are not enchanted, but hoodwinked and made a fool of. And to prove this I want to ask you one thing; and if you answer me as I believe you will answer, you will be able to lay your finger on the trick, and you will see that you are not enchanted but gone wrong in your wits."

"Ask what thou wilt, Sancho my son," returned Don Quixote, "for I will satisfy thee and answer all thou requirest. As to what thou sayest, that these who accompany us yonder are the curate and the barber, our neighbours and acquaintances, it is very possible that they may seem to he those same persons; but that they are so in reality and in fact, believe it not on any account; what thou art to believe and think is that, if they look like them, as thou sayest, it must be that those who have enchanted me have taken this shape and likeness; for it is easy for enchanters to take any form they please, and they may have taken those of our friends in order to make thee think as thou dost, and lead thee into a labyrinth of fancies from which thou wilt find no escape though thou hadst the cord of Theseus; and they may also have done it to make me uncertain in my mind, and unable to conjecture whence this evil comes to me; for if on the one hand thou dost tell me that the barber and curate of our village are here in company with us, and on the other I find myself shut up in a cage, and know in my heart that no power on earth that was not supernatural would have been able to shut me in, what wouldst thou have me say or think, but that my enchantment is of a sort that transcends all I have ever read of in all the histories that deal with knights-errant that have been enchanted? So thou mayest set thy mind at rest as to the idea that they are what thou sayest, for they are as much so as I am a Turk. But touching thy desire to ask me something, say on, and I will answer thee, though thou shouldst ask questions from this till to-morrow morning."

"May Our Lady be good to me!" said Sancho, lifting up his voice; "and is it possible that your worship is so thick of skull and so short of brains that you cannot see that what I say is the simple truth, and that malice has more to do with your imprisonment and misfortune than enchantment? But as it is so, I will prove plainly to you that you are not enchanted. Now tell me, so may God deliver you from this affliction, and so may you find yourself when you least expect it in the arms of my lady Dulcinea-"

"Leave off conjuring me," said Don Quixote, "and ask what thou wouldst know; I have already told thee I will answer with all possible precision."

"That is what I want," said Sancho; "and what I would know, and have you tell me, without adding or leaving out anything, but telling the whole truth as one expects it to be told, and as it is told, by all who profess arms, as your worship professes them, under the title of knights-errant-"

"I tell thee I will not lie in any particular," said Don Quixote; "finish thy question; for in truth thou weariest me with all these asseverations, requirements, and precautions, Sancho."

"Well, I rely on the goodness and truth of my master," said Sancho; "and so, because it bears upon what we are talking about, I would ask, speaking with all reverence, whether since your worship has been shut up and, as you think, enchanted in this cage, you have felt any desire or inclination to go anywhere, as the saying is?"

"I do not understand 'going anywhere,'" said Don Quixote; "explain thyself more clearly, Sancho, if thou wouldst have me give an answer to the point."

"Is it possible," said Sancho, "that your worship does not understand 'going anywhere'? Why, the schoolboys know that from the time they were babes. Well then, you must know I mean have you had any desire to do what cannot be avoided?"

"Ah! now I understand thee, Sancho," said Don Quixote; "yes, often, and even this minute; get me out of this strait, or all will not go right."

## CHAPTER XLIX.

### WHICH TREATS OF THE SHREWD CONVERSATION WHICH SANCHO PANZA HELD WITH HIS MASTER DON QUIXOTE

"Aha, I have caught you," said Sancho; "this is what in my heart and soul I was longing to know. Come now, senor, can you deny what is commonly said around us, when a person is out of humour, 'I don't know what ails so-and-so, that he neither eats, nor drinks, nor sleeps, nor gives a proper answer to any question; one would think he was enchanted'? From which it is to be gathered that those who do not eat, or drink, or sleep, or do any of the natural acts I am speaking of- that such persons are enchanted; but not those that have the desire your worship has, and drink when drink is given them, and eat when there is anything to eat, and answer every question that is asked them."

"What thou sayest is true, Sancho," replied Don Quixote; "but I have already told thee there are many sorts of enchantments, and it may be that in the course of time they have been changed one for another, and that now it may be the way with enchanted people to do all that I do, though they did not do so before; so it is vain to argue or draw inferences against the usage of the time. I know and feel that I am enchanted, and that is enough to ease my conscience; for it would weigh heavily on it if I thought that I was not enchanted, and that in a aint-hearted and cowardly way I allowed myself to lie in this cage, defrauding multitudes of the succour I might afford to those in need and distress, who at this very moment may be in sore want of my aid and protection."

"Still for all that," replied Sancho, "I say that, for your greater and fuller satisfaction, it would be well if your worship were to try to get out of this prison (and I promise to do all in my power to help, and even to take you out of it), and see if you could once more mount your good Rocinante, who seems to be enchanted too, he is so melancholy and dejected; and then we might try our chance in looking for adventures again; and if we have no luck there will be time enough to go back to the cage; in which, on the faith of a good and loyal squire, I promise to shut myself up along with your worship, if so be you are so unfortunate, or I so stupid, as not to be able to carry out my plan."

"I am content to do as thou sayest, brother Sancho," said Don Quixote, "and when thou seest an opportunity for effecting my release I will obey thee absolutely; but thou wilt see, Sancho, how mistaken thou art in thy conception of my misfortune."

The knight-errant and the ill-errant squire kept up their conversation till they reached the place where the curate, the canon, and the barber, who had already dismounted, were waiting for them. The carter at once unyoked the oxen and left them to roam at large about the pleasant green spot, the freshness of which seemed to invite, not enchanted people like Don Quixote, but wide-awake, sensible folk like his squire, who begged the curate to allow his master to leave the cage for a little; for if they did not let him out, the prison might not be as clean as the propriety of such a gentleman as his master required. The curate understood him, and said he would very gladly comply with his request, only that he feared his master, finding himself at liberty, would take to his old courses and make off where nobody could ever find him again.

"I will answer for his not running away," said Sancho.

"And I also," said the canon, "especially if he gives me his word as a knight not to leave us without our consent."

Don Quixote, who was listening to all this, said, "I give it;- moreover one who is enchanted as I am cannot do as he likes with himself; for he who had enchanted him could prevent his moving from one place for three ages, and if he attempted to escape would bring him back flying."--And that being so, they might as well release him, particularly as it would be to the advantage of all; for, if they did not let him out, he protested he would be unable to avoid offending their nostrils unless they kept their distance.

The canon took his hand, tied together as they both were, and on his word and promise they unbound him, and rejoiced beyond measure he was to find himself out of the cage. The first thing he did was to stretch himself all over, and then he went to where Rocinante was standing and giving him a couple of slaps on the haunches said, "I still trust in God and in his blessed mother, O flower and mirror of steeds, that we shall soon see ourselves, both of us, as we wish to be, thou with thy master on thy back, and I mounted upon thee, following the calling for which God sent me into the world." And so saying, accompanied by Sancho, he withdrew to a retired spot, from which he came back much relieved and more eager than ever to put his squire's scheme into execution.

The canon gazed at him, wondering at the extraordinary nature of his madness, and that in all his remarks and replies he should show such excellent sense, and only lose his stirrups, as has been already said, when the subject of chivalry was broached. And so, moved by compassion, he said to him, as they all sat on the green grass awaiting the arrival of the provisions:

"Is it possible, gentle sir, that the nauseous and idle reading of books of chivalry can have had such an effect on your worship as to upset your reason so that you fancy yourself enchanted, and the like, all as far from the truth as falsehood itself is? How can there be any human understanding that can persuade itself there ever was all that infinity of Amadises in the world, or all that multitude of famous knights, all those emperors of Trebizond, all those Felixmartes of Hircania, all those palfreys, and damsels-errant, and serpents, and monsters, and giants, and marvellous adventures, and enchantments of every kind, and battles, and prodigious encounters, splendid costumes, love-sick princesses, squires made counts, droll dwarfs, love letters, billings and cooings, swashbuckler women, and, in a word, all that nonsense the books of chivalry contain? For myself, I can only say that when I read them, so long as I do not stop to think that they are all lies and frivolity, they give me a certain amount of pleasure; but when I come to consider what they are, I fling the very best of them at the wall, and would fling it into the fire if there were one at hand, as richly deserving such punishment as cheats and impostors out of the range of ordinary toleration, and as founders of new sects and modes of life, and teachers that lead the ignorant public to believe and accept as truth all the folly they contain. And such is their audacity, they even dare to unsettle the wits of gentlemen of birth and intelligence, as is shown plainly by the way they have served your worship, when they have brought you to such a pass that you have to be shut up in a cage and carried on an ox-cart as one would carry a lion or a tiger from place to place to make money by showing it. Come, Senor Don Quixote, have some compassion for yourself, return to the bosom of common sense, and make use of the liberal share of it that heaven has been pleased to bestow upon you, employing your abundant gifts of mind in some other reading that may serve to benefit your conscience and add to your honour. And if, still led away by your natural bent, you desire to read books of achievements and of chivalry, read the Book of Judges in the Holy Scriptures, for there you will find grand reality, and deeds as true as they are heroic. Lusitania had a Viriatus, Rome a Caesar, Carthage a Hannibal, Greece an Alexander, Castile a Count Fernan Gonzalez, Valencia a Cid, Andalusia a Gonzalo Fernandez, Estremadura a Diego Garcia de Paredes, Jerez a Garci Perez de Vargas, Toledo a Garcilaso, Seville a Don Manuel de Leon, to read of whose valiant deeds will entertain and instruct the loftiest minds and fill them with delight and wonder. Here, Senor Don Quixote, will be reading worthy of your sound understanding; from which you will rise learned in history, in love with virtue, strengthened in goodness, improved in manners, brave without rashness, prudent without cowardice; and all to the honour of God, your own advantage and the glory of La Mancha, whence, I am informed, your worship derives your birth."

Don Quixote listened with the greatest attention to the canon's words, and when he found he had finished, after regarding him for some time, he replied to him:

"It appears to me, gentle sir, that your worship's discourse is intended to persuade me that there never were any knights-errant in the world, and that all the books of chivalry are false, lying, mischievous and useless to the State, and that I have done wrong in reading them, and worse in believing them, and still worse in imitating them, when I undertook to follow the arduous calling of knight-errantry which they set forth; for you deny that there ever were Amadises of Gaul or of Greece, or any other of the knights of whom the books are full."

"It is all exactly as you state it," said the canon; to which Don Quixote returned, "You also went on to say that books of this kind had done me much harm, inasmuch as they had upset my senses, and shut me up in a cage, and that it would be better for me to reform and change my studies, and read other truer books which would afford more pleasure and instruction."

"Just so," said the canon.

"Well then," returned Don Quixote, "to my mind it is you who are the one that is out of his wits and enchanted, as you have ventured to utter such blasphemies against a thing so universally acknowledged and accepted as true that whoever denies it, as you do, deserves the same punishment which you say you inflict on the books that irritate you when you read them. For to try to persuade anybody that Amadis, and all the other knights-adventurers with whom the books are filled, never existed, would be like trying to persuade him that the sun does not yield light, or ice cold, or earth nourishment. What wit in the world can persuade another that the story of the Princess Floripes and Guy of Burgundy is not true, or that of Fierabras and the bridge of Mantible, which happened in the time of Charlemagne? For by all that is good it is as true as that it is daylight now; and if it be a lie, it must be a lie too that there was a Hector, or Achilles, or Trojan war, or Twelve Peers of France, or Arthur of England, who still lives changed into a raven, and is unceasingly looked for in his kingdom. One might just as well try to make out that the history of Guarino Mezquino, or of the quest of the Holy Grail, is false, or that the loves of Tristram and the Queen Yseult are apocryphal, as well as those of Guinevere and Lancelot, when there are persons who can almost remember having seen the Dame Quintanona, who was the best cupbearer in Great Britain. And so true is this, that I recollect a grandmother of mine on the father's side, whenever she saw any dame in a venerable hood, used to say to me, 'Grandson, that one is like Dame Quintanona,' from which I conclude that she must have known her, or at least had managed to see some portrait of her. Then who can deny that the story of Pierres and the fair Magalona is true, when even to this day may be seen in the king's armoury the pin with which the valiant Pierres guided the wooden horse he rode through the air, and it is a trifle bigger than the pole of a cart? And alongside of the pin is Babieca's saddle, and at Roncesvalles there is Roland's horn, as large as a large beam; whence we may infer that there were Twelve Peers, and a Pierres, and a Cid, and other knights like them, of the sort people commonly call adventurers. Or perhaps I shall be told, too, that there was no such knight-errant as the valiant Lusitanian Juan de Merlo, who went to Burgundy and in the city of Arras fought with the famous lord of Charny, Mosen Pierres by name, and afterwards in the city of Basle with Mosen Enrique de Remesten, coming out of both encounters covered with fame and honour; or adventures and challenges achieved and delivered, also in Burgundy, by the valiant Spaniards Pedro Barba and Gutierre Quixada (of whose family I come in the direct male line), when they vanquished the sons of the Count of San Polo. I shall be told, too, that Don Fernando de Guevara did not go in quest of adventures to Germany, where he engaged in combat with Micer George, a knight of the house of the Duke of Austria. I shall be told that the jousts of Suero de Quinones, him of the 'Paso,' and the emprise of Mosen Luis de Falces against the Castilian knight, Don Gonzalo de Guzman, were mere mockeries; as well as many other achievements of Christian knights of these and foreign realms, which are so authentic and true, that, I repeat, he who denies them must be totally wanting in reason and good sense."

The canon was amazed to hear the medley of truth and fiction Don Quixote uttered, and to see how well acquainted he was with everything relating or belonging to the achievements of his knight-errantry; so he said in reply:

"I cannot deny, Senor Don Quixote, that there is some truth in what you say, especially as regards the Spanish knights-errant; and I am willing to grant too that the Twelve Peers of France existed, but I am not disposed to believe that they did all the things that the Archbishop Turpin relates of them. For the truth of the matter is they were knights chosen by the kings of France, and called 'Peers' because they were all equal in worth, rank and prowess (at least if they were not they ought to have been), and it was a kind of religious order like those of Santiago and Calatrava in the present day, in which it is assumed that those who take it are valiant knights of distinction and good birth; and just as we say now a Knight of St. John, or of Alcantara, they used to say then a Knight of the Twelve Peers, because twelve equals were chosen for that military order. That there was a Cid, as well as a Bernardo del Carpio, there can be no doubt; but that they did the deeds people say they did, I hold to be very doubtful. In that other matter of the pin of Count Pierres that you speak of, and say is near Babieca's saddle in the Armoury, I confess my sin; for I am either so stupid or so short-sighted, that, though I have seen the saddle, I have never been able to see the pin, in spite of it being as big as your worship says it is."

"For all that it is there, without any manner of doubt," said Don Quixote; "and more by token they say it is inclosed in a sheath of cowhide to keep it from rusting."

"All that may be," replied the canon; "but, by the orders I have received, I do not remember seeing it. However, granting it is there, that is no reason why I am bound to believe the stories of all those Amadises and of all that multitude of knights they tell us about, nor is it reasonable that a man like your worship, so worthy, and with so many good qualities, and endowed with such a good understanding, should allow himself to be persuaded that such wild crazy things as are written in those absurd books of chivalry are really true."

    *** END OF THE PROJECT GUTENBERG EBOOK DON QUIXOTE, I-16, BY CERVANTES ***

    ******** This file should be named qx16w10h.html or qx16w10h.zip *********

    Corrected EDITIONS of our eBooks get a new NUMBER, qx16w11h.html
    VERSIONS based on separate sources get new LETTER, qx16w10ha.html

    This eBook was produced by David Widger [widger@cecomet.net]

    Project Gutenberg eBooks are often created from several printed
    editions, all of which are confirmed as Public Domain in the US
    unless a copyright notice is included.  Thus, we usually do not
    keep eBooks in compliance with any particular paper edition.

    We are now trying to release all our eBooks one year in advance
    of the official release dates, leaving time for better editing.
    Please be encouraged to tell us about any error or corrections,
    even years after the official publication date.

    Please note neither this listing nor its contents are final til
    midnight of the last day of the month of any such announcement.
    The official release date of all Project Gutenberg eBooks is at
    Midnight, Central Time, of the last day of the stated month.  A
    preliminary version may often be posted for suggestion, comment
    and editing by those who wish to do so.

    Most people start at our Web sites at:
    http://gutenberg.net or
    http://promo.net/pg

    These Web sites include award-winning information about Project
    Gutenberg, including how to donate, how to help produce our new
    eBooks, and how to subscribe to our email newsletter (free!).

    Those of you who want to download any eBook before announcement
    can get to them as follows, and just download by date.  This is
    also a good way to get them instantly upon announcement, as the
    indexes our cataloguers produce obviously take a while after an
    announcement goes out in the Project Gutenberg Newsletter.

    http://www.ibiblio.org/gutenberg/etext03 or
    ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03

    Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90

    Just search by the first five letters of the filename you want,
    as it appears in our Newsletters.

    Information about Project Gutenberg (one page)

    We produce about two million dollars for each hour we work.  The
    time it takes us, a rather conservative estimate, is fifty hours
    to get any eBook selected, entered, proofread, edited, copyright
    searched and analyzed, the copyright letters written, etc.   Our
    projected audience is one hundred million readers.  If the value
    per text is nominally estimated at one dollar then we produce $2
    million dollars per hour in 2002 as we release over 100 new text
    files per month:  1240 more eBooks in 2001 for a total of 4000+
    We are already on our way to trying for 2000 more eBooks in 2002
    If they reach just 1-2% of the world's population then the total
    will reach over half a trillion eBooks given away by year's end.

    The Goal of Project Gutenberg is to Give Away 1 Trillion eBooks!
    This is ten thousand titles each to one hundred million readers,
    which is only about 4% of the present number of computer users.

    Here is the briefest record of our progress (* means estimated):

    eBooks Year Month

        1  1971 July
       10  1991 January
      100  1994 January
     1000  1997 August
     1500  1998 October
     2000  1999 December
     2500  2000 December
     3000  2001 November
     4000  2001 October/November
     6000  2002 December*
     9000  2003 November*
    10000  2004 January*

    The Project Gutenberg Literary Archive Foundation has been created
    to secure a future for Project Gutenberg into the next millennium.

    We need your donations more than ever!

    As of February, 2002, contributions are being solicited from people
    and organizations in: Alabama, Alaska, Arkansas, Connecticut,
    Delaware, District of Columbia, Florida, Georgia, Hawaii, Illinois,
    Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts,
    Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New
    Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio,
    Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South
    Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West
    Virginia, Wisconsin, and Wyoming.

    We have filed in all 50 states now, but these are the only ones
    that have responded.

    As the requirements for other states are met, additions to this list
    will be made and fund raising will begin in the additional states.
    Please feel free to ask to check the status of your state.

    In answer to various questions we have received on this:

    We are constantly working on finishing the paperwork to legally
    request donations in all 50 states.  If your state is not listed and
    you would like to know if we have added it since the list you have,
    just ask.

    While we cannot solicit donations from people in states where we are
    not yet registered, we know of no prohibition against accepting
    donations from donors in these states who approach us with an offer to
    donate.

    International donations are accepted, but we don't know ANYTHING about
    how to make them tax-deductible, or even if they CAN be made
    deductible, and don't have the staff to handle it even if there are
    ways.

    Donations by check or money order may be sent to:

    Project Gutenberg Literary Archive Foundation
    PMB 113
    1739 University Ave.
    Oxford, MS 38655-4109

    Contact us if you want to arrange for a wire transfer or payment
    method other than by check or money order.

    The Project Gutenberg Literary Archive Foundation has been approved by
    the US Internal Revenue Service as a 501(c)(3) organization with EIN
    [Employee Identification Number] 64-622154.  Donations are
    tax-deductible to the maximum extent permitted by law.  As fund-raising
    requirements for other states are met, additions to this list will be
    made and fund-raising will begin in the additional states.

    We need your donations more than ever!

    You can get up to date donation information online at:

    http://www.gutenberg.net/donation.html

    ***

    If you can't reach Project Gutenberg,
    you can always email directly to:

    Michael S. Hart [hart@pobox.com]

    Prof. Hart will answer or forward your message.

    We would prefer to send you information by email.

    **The Legal Small Print**

    (Three Pages)

    ***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN EBOOKS**START***
    Why is this "Small Print!" statement here? You know: lawyers.
    They tell us you might sue us if there is something wrong with
    your copy of this eBook, even if you got it for free from
    someone other than us, and even if what's wrong is not our
    fault. So, among other things, this "Small Print!" statement
    disclaims most of our liability to you. It also tells you how
    you may distribute copies of this eBook if you want to.

    *BEFORE!* YOU USE OR READ THIS EBOOK
    By using or reading any part of this PROJECT GUTENBERG-tm
    eBook, you indicate that you understand, agree to and accept
    this "Small Print!" statement. If you do not, you can receive
    a refund of the money (if any) you paid for this eBook by
    sending a request within 30 days of receiving it to the person
    you got it from. If you received this eBook on a physical
    medium (such as a disk), you must return it with your request.

    ABOUT PROJECT GUTENBERG-TM EBOOKS
    This PROJECT GUTENBERG-tm eBook, like most PROJECT GUTENBERG-tm eBooks,
    is a "public domain" work distributed by Professor Michael S. Hart
    through the Project Gutenberg Association (the "Project").
    Among other things, this means that no one owns a United States copyright
    on or for this work, so the Project (and you!) can copy and
    distribute it in the United States without permission and
    without paying copyright royalties. Special rules, set forth
    below, apply if you wish to copy and distribute this eBook
    under the "PROJECT GUTENBERG" trademark.

    Please do not use the "PROJECT GUTENBERG" trademark to market
    any commercial products without permission.

    To create these eBooks, the Project expends considerable
    efforts to identify, transcribe and proofread public domain
    works. Despite these efforts, the Project's eBooks and any
    medium they may be on may contain "Defects". Among other
    things, Defects may take the form of incomplete, inaccurate or
    corrupt data, transcription errors, a copyright or other
    intellectual property infringement, a defective or damaged
    disk or other eBook medium, a computer virus, or computer
    codes that damage or cannot be read by your equipment.

    LIMITED WARRANTY; DISCLAIMER OF DAMAGES
    But for the "Right of Replacement or Refund" described below,
    [1] Michael Hart and the Foundation (and any other party you may
    receive this eBook from as a PROJECT GUTENBERG-tm eBook) disclaims
    all liability to you for damages, costs and expenses, including
    legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR
    UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT,
    INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE
    OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE
    POSSIBILITY OF SUCH DAMAGES.

    If you discover a Defect in this eBook within 90 days of
    receiving it, you can receive a refund of the money (if any)
    you paid for it by sending an explanatory note within that
    time to the person you received it from. If you received it
    on a physical medium, you must return it with your note, and
    such person may choose to alternatively give you a replacement
    copy. If you received it electronically, such person may
    choose to alternatively give you a second opportunity to
    receive it electronically.

    THIS EBOOK IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER
    WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS
    TO THE EBOOK OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT
    LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A
    PARTICULAR PURPOSE.

    Some states do not allow disclaimers of implied warranties or
    the exclusion or limitation of consequential damages, so the
    above disclaimers and exclusions may not apply to you, and you
    may have other legal rights.

    INDEMNITY
    You will indemnify and hold Michael Hart, the Foundation,
    and its trustees and agents, and any volunteers associated
    with the production and distribution of Project Gutenberg-tm
    texts harmless, from all liability, cost and expense, including
    legal fees, that arise directly or indirectly from any of the
    following that you do or cause:  [1] distribution of this eBook,
    [2] alteration, modification, or addition to the eBook,
    or [3] any Defect.

    DISTRIBUTION UNDER "PROJECT GUTENBERG-tm"
    You may distribute copies of this eBook electronically, or by
    disk, book or any other medium if you either delete this
    "Small Print!" and all other references to Project Gutenberg,
    or:

    [1]  Only give exact copies of it.  Among other things, this
         requires that you do not remove, alter or modify the
         eBook or this "small print!" statement.  You may however,
         if you wish, distribute this eBook in machine readable
         binary, compressed, mark-up, or proprietary form,
         including any form resulting from conversion by word
         processing or hypertext software, but only so long as
         *EITHER*:

         [*]  The eBook, when displayed, is clearly readable, and
              does *not* contain characters other than those
              intended by the author of the work, although tilde
              (~), asterisk (*) and underline (_) characters may
              be used to convey punctuation intended by the
              author, and additional characters may be used to
              indicate hypertext links; OR

         [*]  The eBook may be readily converted by the reader at
              no expense into plain ASCII, EBCDIC or equivalent
              form by the program that displays the eBook (as is
              the case, for instance, with most word processors);
              OR

         [*]  You provide, or agree to also provide on request at
              no additional cost, fee or expense, a copy of the
              eBook in its original plain ASCII form (or in EBCDIC
              or other equivalent proprietary form).

    [2]  Honor the eBook refund and replacement provisions of this
         "Small Print!" statement.

    [3]  Pay a trademark license fee to the Foundation of 20% of the
         gross profits you derive calculated using the method you
         already use to calculate your applicable taxes.  If you
         don't derive profits, no royalty is due.  Royalties are
         payable to "Project Gutenberg Literary Archive Foundation"
         the 60 days following each date you prepare (or were
         legally required to prepare) your annual (or equivalent
         periodic) tax return.  Please contact us beforehand to
         let us know your plans and to work out the details.

    WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO?
    Project Gutenberg is dedicated to increasing the number of
    public domain and licensed works that can be freely distributed
    in machine readable form.

    The Project gratefully accepts contributions of money, time,
    public domain materials, or royalty free copyright licenses.
    Money should be paid to the:
    "Project Gutenberg Literary Archive Foundation."

    If you are interested in contributing scanning equipment or
    software or other items, please contact Michael Hart at:
    hart@pobox.com

    [Portions of this eBook's header and trailer may be reprinted only
    when distributed free of all fees.  Copyright (C) 2001, 2002 by
    Michael S. Hart.  Project Gutenberg is a TradeMark and may not be
    used in any sales of Project Gutenberg eBooks or other materials be
    they hardware or software or any other related product without
    express permission.]

    *END THE SMALL PRINT! FOR PUBLIC DOMAIN EBOOKS*Ver.02/11/02*END*