The Project Gutenberg eBook of War-Chess, or the Game of Battle 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: War-Chess, or the Game of Battle Author: of New York Charles Richardson Release date: December 17, 2020 [eBook #64061] Language: English Credits: Produced by deaurider, David E. Brown, 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 WAR-CHESS, OR THE GAME OF BATTLE *** Produced by deaurider, David E. Brown, and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) WAR-CHESS, OR THE GAME OF BATTLE. INVENTED BY COLONEL CHARLES RICHARDSON, NEW YORK: C. B. RICHARDSON, PUBLISHER, 540 BROADWAY. 1866. Entered according to Act of Congress, in the year 1866, BY CHARLES B. RICHARDSON, In the Clerk’s Office of the District Court of the United States for the Southern District of New York. COMPOSITION OF THE GAME OF BATTLE. The Game of Battle represents two antagonistic armies, one of which, the Attacking (or Invading) Army, is composed of four figures, each representing a regiment of Light Infantry; five figures, each representing a regiment of Infantry of the Line; two figures, each representing a regiment of Cavalry; two figures, each representing a battery of Artillery; and one figure (a wagon), representing the “Supply Train,” in which it is to be supposed is carried all of the subsistence, ordnance stores, etc., necessary for the maintenance and effectiveness of the army. The object of the Attacking Army will be to capture the Citadel. The other army, called the Defending Army, is composed of four figures, each representing a regiment of Light Infantry; five figures, each representing a regiment of Infantry of the Line; two figures, each representing a regiment of Cavalry; two figures, each representing a battery of Artillery; and one figure, the Citadel, representing a city in which are arms, ammunition, foundries, subsistence supplies, and all kinds of government property, which it is of vital importance to hold. The object, therefore, of the Defending Army will be to secure the Citadel against capture. RULES OF THE GAME OF BATTLE. Light Infantry moves one, two, or three squares, at the discretion of the player, directly forward, right or left obliquely, and one or two squares in any other direction, and can[A] take Light Infantry, Infantry of the Line, Cavalry, and Artillery. Infantry of the Line moves one or two squares in any direction, at the discretion of the player, and takes Light Infantry, Infantry of the Line, Cavalry, and Artillery. Cavalry moves one, two, or three squares, at the discretion of the player, in any direction, and takes Light Infantry, Infantry of the Line, Cavalry, and Artillery. Artillery moves one, two, or three squares, at the discretion of the player, diagonally, and can[B] take Artillery, but cannot take Light Infantry, Infantry of the Line, or Cavalry, though it can check them; that is, neither of those figures can come within the range of the Artillery, except when protected by Artillery of its side; in which case Light Infantry, Infantry of the Line, Cavalry, or Artillery, can move on the first square next to the Artillery of their side; but Light Infantry, Infantry of the Line, or Cavalry, cannot occupy the second or third square; nor can either of the last-named figures occupy the first square next to the Artillery of their side, if it is also the first square next to the Artillery of the other side. Artillery can be placed there, but of course could be taken by the Artillery of the other side. See Plate 2, Figure 1. Artillery does not cover (or command) the second or third square from it when a figure intervenes. See Plate 2, Figure 2. When a piece of artillery bears on a figure of the other side that is not on the first square next to the Artillery of its side, if Cavalry, Light Infantry, or Infantry of the Line, it must move out of range of Artillery. See Plate 2, Figure 3. Artillery cannot be moved leaving a figure of Cavalry, Light Infantry, or Infantry of the Line, of its side, in range of Artillery of the opposite side. See Plate 2, Figure 4. Artillery cannot take the Citadel; but when placed so as to command it, the defending party must bring some figure to the defence, and take or drive off the Artillery of the attacking party before moving otherwise. Artillery cannot take the Wagon; but when a piece of Artillery of the defending side is placed so as to bring the Wagon within its range, if the attacking party cannot take that piece of Artillery, then the Wagon must be moved out of its range. The Wagon cannot occupy the second or third square from its Artillery, if that square is in range of the Artillery of the defending side; nor can it occupy the first square next to the Artillery of its side, if it is also the first square next to the Artillery of the defending side. Should all of the figures of a side be taken except the Artillery, that side loses the game, as Artillery cannot take the Citadel or Wagon. Light Infantry, Infantry of the Line, or Cavalry, can take the Citadel or Wagon. The capture of the Citadel or Wagon will decide the game. REMARKS ILLUSTRATING THE POWER OF THE FIGURES IN THE GAME, AS COMPARED WITH THAT OF TROOPS IN THE FIELD. The inventor has endeavored to give to the figures of his game a relative power which would, as nearly as practicable, accord with that of the arms represented. It will be observed that the Infantry of the Line moves one or two squares in any direction, and can take either Infantry, Cavalry, or Artillery; while the Cavalry can move one, two, or three squares, in any direction, and can take either Cavalry, Infantry, or Artillery. We know that in a country comparatively level, such as the board represents, and presenting no obstacle except the river, Infantry or Cavalry can move in any direction, and under some circumstances either of those arms is good against the other. It is, of course, necessary that there should be some distinction in the moves of the different figures; and as Cavalry can move more rapidly than Infantry, it has power to move three squares, while the Infantry of the Line moves but two. Perhaps it will be said by some that the Cavalry has the advantage of the Infantry; but on placing a piece of Cavalry and a piece of Infantry on the board, by cautious playing, it will be found almost impossible to capture the Infantry with the single piece of Cavalry. In the field, a regiment of Infantry, attacked by a regiment of Cavalry, might easily escape altogether, or may repulse and capture the regiment of Cavalry. The reverse may happen, and the Cavalry, well handled, may defeat and capture the regiment of Infantry. The Light Infantry moves one, two, or three squares, directly forward, right or left obliquely, and one or two squares in any other direction. The object of this is, chiefly, that there shall be a distinguishing power between it and the Infantry of the Line. Light Infantry in the field does, or should, have the advantage in moving more rapidly; besides, it often has arms of a longer range, and can be used more successfully when a sudden and rapid movement is necessary. The Artillery moves diagonally, and has a range of three squares on the diagonals. It cannot move perpendicularly or laterally, therefore has no power in those directions. The Artillery can attain any position on the board, but cannot always reach it directly, as does the Infantry and Cavalry, but, in many instances, must make a detour to the right or left. This distinguishing move is proper, inasmuch as a carriage cannot always follow the course of a man or horse, yet it may reach any point that they can in a country such as is represented by the board. “Infantry or Cavalry cannot move in range of Artillery of the opposing side, except when protected by Artillery of their side,” etc. Artillery in the field may occupy a position, several approaches to which it may so thoroughly command that it would be impracticable for Infantry or Cavalry to take it, unassisted by Artillery, by either of those approaches. Artillery would have to be brought up in order to operate on the first-named Artillery, or some other line of attack must be sought. In the game, when one piece of Artillery _is not_ protected by another, there are four other points at which it may be assailed, namely, the angles of the square. But when one piece of Artillery is supported by another, neither can be taken by Cavalry or Infantry without the aid of their Artillery.[C] If a battery in the field occupied a position commanding thoroughly all of the approaches to it, and another battery of the same side was placed a short distance behind it, say in easy range, and commanded the first battery, it would be very difficult for Cavalry or Infantry to take the first-mentioned battery; and if they succeeded in taking it, they could not easily, if at all, hold it while under the fire of the supporting battery. It may appear that the Artillery in the game has too much power; but it must be remembered that a piece of Artillery of one side can always take a piece of Artillery of the other side that is placed in its range. It often occurs in the field that one battery is brought up close under the fire of another, to dislodge it; and if both are well served, one must soon give way. See Plate 4, Figure 1. The Wagon,[D] representing the Supply Train, moves diagonally, like the Artillery, but only one or two squares at a time; for it should not move so rapidly, therefore it does not move so far. The player should be careful to guard the Wagon, for if it is captured he loses the game. An invading army entering a country where supplies cannot be procured, must necessarily carry them with him; and should his train be captured, with a good army in his front, he would be in great danger of destruction. SUGGESTIONS TO PLAYERS. The attacking party should first determine upon a plan of attack. Then proceed to arrange his figures in proper order for the accomplishment of his plan. He should guard his lines, by throwing forward Light Infantry and Cavalry; but will endeavor to avoid an engagement until his order of attack is formed. Unless to secure a very decided advantage, when once put in operation his first plan should not be abandoned. The time lost in arranging a new plan may be taken advantage of by the defending party, who might assume the offensive and win the game. The defending party, at the opening of the game, should throw forward Light Infantry and Cavalry, to guard against any rapid movement to take the Citadel, that may be attempted by the attacking party with Cavalry and Light Infantry. This will also give him time and space for moving up and arranging his figures in proper order for defence. In advancing the Cavalry and Light Infantry, great caution should be observed in placing the figures on the squares most desirable for checking the advance of the attacking party, while at the same time they are not endangered. No figure should be lost, if it can be avoided, at this stage of the game; and no figure of the attacking party, except Artillery, should be taken at the risk of the loss of one of the defending party. Indeed, the defending side should continue to remain strictly on the defence till a good opportunity is offered for an attack; as, for instance, when the figures of the attacking party are scattered, and not in supporting distance of each other. It is, however, best not to cross the river until the attacking side is weakened by a considerable loss. Early in the game, an opportunity is seldom offered by a good player, where it is safe for the defending party to cross the river with a single figure; and it is only when the attacking party has been weakened by the loss of three or four figures, that two or three figures can be spared from the defence. When such advance is determined upon, be always careful to leave the Citadel as securely guarded as possible. If the attacking party be an expert player, he will avoid an engagement until he has arranged his figures in order for a grand attack. If it is discovered that he is thus engaged, every good opportunity to annoy him, and prevent the formation of his plan, should be taken advantage of by manœuvres, feints, and sometimes real attacks, particularly at his Artillery: and his Artillery should be taken, if possible, even if it involve the loss of one or two figures of the defending party; for by the loss of one piece of his Artillery he will be more crippled than by the loss of almost any two other figures. The game requires the constant attention of the players. Often the slightest mistake leads to defeat; therefore be careful that every move is for a purpose.[E] [Illustration: PLATE 1. _figure 1._ _figure 2._] Explanation to Plate 1. The board has one hundred and thirty-nine (139) squares that can be occupied. It represents a comparatively level field, traversed by a river impassable except at the fords and bridge. In crossing the fords and bridge the figures move one, two, or three squares, according to their power, as elsewhere on the board. The short black lines indicate the entrances to the fords and bridge. A figure cannot take, or check, another across the river, except at the fords and bridge. For example, a figure on square 39 cannot take, or check, a figure on square 54; nor can a figure on square 55 take, or check, a figure on square 40 or 48. (Squares are numbered in Plate 4.) ARRANGEMENT OF THE FIGURES ON COMMENCING THE GAME. On the defending side, Cavalry occupies the first square on the right of the line of nine squares. Artillery, the second. Infantry of the Line, third, fourth, and fifth. Cavalry, sixth. Artillery, seventh. Infantry of the Line, eighth and ninth. The Citadel, fifth square from the right of the first line of eight squares. Light Infantry, first, third, fifth, and seventh squares of the second row of seven squares. The figures of the attacking side are arranged like those of the defence, except that the Wagon is placed on the fifth square of the line of nine squares, and a piece of Infantry of the Line on the first square immediately in front of it. Explanation to Plate 2. FIGURE 1.--When two pieces of Artillery, of opposite sides, are thus placed, no figure, except Artillery, can occupy the squares one or two. If Artillery is placed on either square, it can be taken by the Artillery of the other side. FIGURE 2.--The figure on square nine cannot now move on square seven, because “a figure cannot occupy the second or third square from its Artillery, if that square is in range of the Artillery of the other side.” But if the figure on square eight moves to square six, then the figure on square nine could occupy square seven, for that square will not then be covered by the Artillery on square five. Should the figure on square eight be placed on square four, then the Artillery on squares three and five do not protect each other; and in that case the Cavalry on square ten could take either of them: or the figure on square nine could take the Artillery on square five, and if it were taken by the figure that was on square eight, now on square four, then the Artillery on square three could be taken by the Cavalry on square ten. FIGURE 3.--In this case, if the Artillery on square fourteen is moved to square fifteen, then the figures on squares sixteen and seventeen would be in range of that piece, and must move (one at a time, of course); or after one is moved, the Artillery on square eighteen may be brought up on the next square to the remaining figure. For example, if the figure on square sixteen be moved out of range, then the Artillery on square eighteen could be moved to square nineteen, to the support of the figure on square seventeen. If either of the squares sixteen or seventeen should be occupied by Artillery, of course that figure could take the Artillery moved to square fifteen. FIGURE 4.--White figures representing the attacking party, and the black figures the defending party. The attacking party having the move, suppose the figure of Cavalry on square twenty is moved to square twenty-one or twenty-two, then the Artillery on square twenty-five is in danger of capture when the attacking party has another move. Now the Artillery on square twenty-five cannot move, leaving the figure on square twenty-four in range of the Artillery on square twenty-three. If the player desires to save his Artillery on square twenty-five, he might move the figure or square twenty-four to square twenty-six, in order to protect his Artillery from capture by the Cavalry moved to twenty-one or twenty-two; and if that piece were taken by the Cavalry, he would then have an opportunity to move his Artillery away. [Illustration: PLATE 2. _figure 1._ _figure 2._ _figure 3._ _figure 4._] [Illustration: PLATE 3. _figure 1._ _figure 2._] Explanation to Plate 3. FIGURE 1.--Shows how the Wagon may be taken. Suppose the attacking party, having been repulsed with considerable loss, is driven back from the river, pursued by the defending party, and the figures of the two sides occupy the squares indicated in this plate--the white figures representing the invading army, and the black figures the defending army. The defending party having the move, suppose the Artillery on square fourteen is moved to square thirteen. Then the Cavalry on square eight must move, as “no figure, except Artillery, can occupy the first square next to the Artillery of its side, if it is also the first square next to the Artillery of the other side.” If the Cavalry on square eight is moved to square four, then the Artillery now on square thirteen can take the Artillery on square five, and could be taken by the Cavalry moved to square four, or the Infantry on square six, or the Artillery on square two. Suppose it (the Artillery of defending side having taken the Artillery on square five) is taken by the Cavalry now occupying square four; then the Cavalry on square eleven could take the Artillery on square two, and if it (the Cavalry of defending side, moved to square two) is taken by the Cavalry of attacking party now on square five, or the Infantry on square six, then the Infantry of defending party, on square seven, could take the Wagon on square one. There are many other combinations for the capture of the Wagon. FIGURE 2.--Shows how the Citadel may be taken. Light Infantry, Infantry of the Line, or Cavalry of the attacking side, can take the Citadel when it is within their range, if no figure intervenes. For example, if the Artillery of the defending side is placed as indicated in this figure (on squares eight and ten), a figure of Cavalry or Light Infantry of the attacking party, on square one, or a figure of Cavalry, Infantry of the Line, or Light Infantry, being on square two, three, four, six, or seven, or a figure of Cavalry on square five, could take the Citadel, if the attacking side had the move. But suppose the defending party had the move, and a figure of Cavalry or Infantry occupied square one or two, and either piece of Artillery was placed on square nine; then the figure on square one or two could not take the Citadel, but must move out of range of the Artillery. If the Artillery on square ten is moved to square nine, then the figure of the attacking side on square two could occupy square three, and the next move could take the Citadel; or if the Artillery on square eight were moved to square nine, then the figure on square two could move to square seven, and on its next move could take the Citadel; for though the Citadel would be in range of the Artillery on square nine, that would not prevent its capture. A city may be very well defended on one side, and yet might be easily taken at another point. Of course, the Cavalry and Infantry should co-operate with the Artillery in defending the Citadel; and the player should endeavor to prevent the attacking party from occupying any square from which it could be taken. Explanation to Plate 4. FIGURE 1.--If the Artillery on square 21 is moved to square 22, the Artillery on square 26 can take it, or move out of range. If the Artillery on square 26 takes the Artillery moved to square 22, then it could be taken by the Cavalry on square 20, or the Artillery on square 23. If it, on the other hand, moves to square 27, it could be taken by the Artillery on square 23; and if it is moved to square 24, 25, or 31, it could be taken by the figure on square 30. But if it is not moved at all, then the Artillery moved to square 22 could take it its next move. FIGURE 2.--Shows how the figures of the game can be moved. “Cavalry can be moved one, two, or three squares, in any direction, at the discretion of the player,” provided the way is not obstructed by another figure. For instance, the Cavalry on square 15 could not be moved to square 12, because the figure on square 13 intervenes. Nor, if the cavalry is moved to square 37, could it afterwards be moved to square 35 or 34, while a figure occupied square 36. If the Cavalry on square 15 is moved to square 37, it could afterwards be moved to square 29, 21, or 12, or to 22 or 6, or to 30, 23, or 15, or to 38, or to 45 or 53, or to 52, 65, or 76, or to 44, 51, or 57, etc. “Light Infantry moves one, two, or three squares, directly forward, right or left obliquely, and one or two squares in any other direction, at the discretion of the player.” Now, if a piece of Light Infantry occupies square 36, it could be moved directly forward to square 51, 64, or 75; left obliquely to square 43, 50, or 56; right obliquely, to square 44, 52, or 59; to the left, to square 35 or 34; obliquely to the left and rear, to square 28 or 20; to the rear, to square 21 or 5; obliquely to the right and rear, to square 29 or 22; and to the right, to square 37 or 38. “Infantry of the Line moves one or two squares, at the discretion of the player, in any direction.” If a piece of Infantry of the Line were on square 13, it could be moved either to square 29, 44, 21, 28, 12, 5, 6, 14, 22, or 30, etc. “Artillery moves diagonally, one, two, or three squares at a time, at the discretion of the player.” A figure of Artillery being on square 9, could be moved to square 1, 2, 17, 24, 31, 18, 26, or 34. If it were moved to square 31, it could then be moved to square 39, 47, or 55, or back to 24, 17, or 9, etc. If a piece of Artillery occupied square 51, no figure of the opposite party, except Artillery, could be placed on square 58, 65, 73, 57, 63, 70, 43, 35, 27, 44, 37, or 30, unless that square were next to the Artillery of the other side. See rules of the game relative to Artillery, page 6. “The Wagon can be moved one or two squares at a time, at the discretion of the player.” The Wagon being on square 11, could be moved to square 3, 4, 20, 28, 19, or 26, etc. [Illustration: PLATE 4. _figure 1._ _figure 2._] FOOTNOTES: [A] When a piece is taken it is removed from the board, and the piece by which it is taken is placed on the square which was occupied by the captured piece. [B] Whenever a piece of Artillery of one side is placed in range of a piece of Artillery of the other side, the first piece can be taken by the second. See Plate 4, Figure 1. [C] The necessity of the co-operation of two or all of the different arms represented, and in many instances their dependence on the support of each other, is demonstrated in many real battles. [D] The Wagon is captured in the same manner as other figures are; it cannot be taken while under cover of a piece of Artillery of its side. [E] Success sometimes rewards a bold operator, in this game as well as in war, who, _ignoring all accepted theorems_, ventures upon a hazardous enterprise. TRANSCRIBER’S NOTES: Italicized text is surrounded by underscores: _italics_. Obvious typographical errors have been corrected. *** END OF THE PROJECT GUTENBERG EBOOK WAR-CHESS, OR THE GAME OF BATTLE *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.