The Project Gutenberg eBook of The Recruit

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: The Recruit

Author: Honoré de Balzac

Translator: Katharine Prescott Wormeley

Release date: July 13, 2005 [eBook #1426]
Most recently updated: October 29, 2024

Language: English

Credits: Produced by John Bickers, and Dagny, and David Widger

*** START OF THE PROJECT GUTENBERG EBOOK THE RECRUIT ***

THE RECRUIT

By Honore De Balzac

Translated by Katharine Prescott Wormeley

DEDICATION

To my dear Albert Marchand de la Ribellerie.

THE RECRUIT

  At times they saw him, by a phenomenon of vision or locomotion,
  abolish space in its two forms of Time and Distance; the former
  being intellectual space, the other physical space.

                           Intellectual History of Louis Lambert.

On an evening in the month of November, 1793, the principal persons of Carentan were assembled in the salon of Madame de Dey, where they met daily. Several circumstances which would never have attracted attention in a large town, though they greatly preoccupied the little one, gave to this habitual rendezvous an unusual interest. For the two preceding evenings Madame de Dey had closed her doors to the little company, on the ground that she was ill. Such an event would, in ordinary times, have produced as much effect as the closing of the theatres in Paris; life under those circumstances seems merely incomplete. But in 1793, Madame de Dey's action was likely to have fatal results. The slightest departure from a usual custom became, almost invariably for the nobles, a matter of life or death. To fully understand the eager curiosity and searching inquiry which animated on this occasion the Norman countenances of all these rejected visitors, but more especially to enter into Madame de Dey's secret anxieties, it is necessary to explain the role she played at Carentan. The critical position in which she stood at this moment being that of many others during the Revolution the sympathies and recollections of more than one reader will help to give color to this narrative.

Madame de Dey, widow of a lieutenant-general, chevalier of the Orders, had left the court at the time of the emigration. Possessing a good deal of property in the neighborhood of Carentan, she took refuge in that town, hoping that the influence of the Terror would be little felt there. This expectation, based on a knowledge of the region, was well-founded. The Revolution committed but few ravages in Lower Normandy. Though Madame de Dey had known none but the nobles of her own caste when she visited her property in former years, she now felt it advisable to open her house to the principle bourgeois of the town, and to the new governmental authorities; trying to make them pleased at obtaining her society, without arousing either hatred or jealousy. Gracious and kind, gifted by nature with that inexpressible charm which can please without having recourse to subserviency or to making overtures, she succeeded in winning general esteem by an exquisite tact; the sensitive warnings of which enabled her to follow the delicate line along which she might satisfy the exactions of this mixed society, without humiliating the touchy pride of the parvenus, or shocking that of her own friends.

Then about thirty-eight years of age, she still preserved, not the fresh plump beauty which distinguishes the daughters of Lower Normandy, but a fragile and, so to speak, aristocratic beauty. Her features were delicate and refined, her figure supple and easy. When she spoke, her pale face lighted and seemed to acquire fresh life. Her large dark eyes were full of affability and kindness, and yet their calm, religious expression seemed to say that the springs of her existence were no longer in her.

Married in the flower of her age to an old and jealous soldier, the falseness of her position in the midst of a court noted for its gallantry contributed much, no doubt, to draw a veil of melancholy over a face where the charms and the vivacity of love must have shone in earlier days. Obliged to repress the naive impulses and emotions of a woman when she simply feels them instead of reflecting about them, passion was still virgin in the depths of her heart. Her principal attraction came, in fact, from this innate youth, which sometimes, however, played her false, and gave to her ideas an innocent expression of desire. Her manner and appearance commanded respect, but there was always in her bearing, in her voice, a sort of looking forward to some unknown future, as in girlhood. The most insensible man would find himself in love with her, and yet be restrained by a sort of respectful fear, inspired by her courtly and polished manners. Her soul, naturally noble, but strengthened by cruel trials, was far indeed from the common run, and men did justice to it. Such a soul necessarily required a lofty passion; and the affections of Madame de Dey were concentrated on a single sentiment,—that of motherhood. The happiness and pleasure of which her married life was deprived, she found in the passionate love she bore her son. She loved him not only with the pure and deep devotion of a mother, but with the coquetry of a mistress, and the jealousy of a wife. She was miserable away from him, uneasy at his absence, could never see him enough, and loved only through him and for him. To make men understand the strength of this feeling, it suffices to add that the son was not only the sole child of Madame de Dey, but also her last relation, the only being in the world to whom the fears and hopes and joys of her life could be naturally attached.

The late Comte de Dey was the last surviving scion of his family, and she herself was the sole heiress of her own. Human interests and projects combined, therefore, with the noblest deeds of the soul to exalt in this mother's heart a sentiment that is always so strong in the hearts of women. She had brought up this son with the utmost difficulty, and with infinite pains, which rendered the youth still dearer to her; a score of times the doctors had predicted his death, but, confident in her own presentiments, her own unfailing hope, she had the happiness of seeing him come safely through the perils of childhood, with a constitution that was ever improving, in spite of the warnings of the Faculty.

Thanks to her constant care, this son had grown and developed so much, and so gracefully, that at twenty years of age, he was thought a most elegant cavalier at Versailles. Madame de Dey possessed a happiness which does not always crown the efforts and struggles of a mother. Her son adored her; their souls understood each other with fraternal sympathy. If they had not been bound by nature's ties, they would instinctively have felt for each other that friendship of man to man, which is so rarely to be met in this life. Appointed sub-lieutenant of dragoons, at the age of eighteen, the young Comte de Dey had obeyed the point of honor of the period by following the princes of the blood in their emigration.

Thus Madame de Dey, noble, rich, and the mother of an emigre, could not be unaware of the dangers of her cruel situation. Having no other desire than to preserve a fortune for her son, she renounced the happiness of emigrating with him; and when she read the vigorous laws by virtue of which the Republic daily confiscated the property of emigres, she congratulated herself on that act of courage; was she not guarding the property of her son at the peril of her life? And when she heard of the terrible executions ordered by the Convention, she slept in peace, knowing that her sole treasure was in safety, far from danger, far from scaffolds. She took pleasure in believing that they had each chosen the wisest course, a course which would save to him both life and fortune.

With this secret comfort in her mind, she was ready to make all the concessions required by those evil days, and without sacrificing either her dignity as a woman, or her aristocratic beliefs, she conciliated the good-will of those about her. Madame de Dey had fully understood the difficulties that awaited her on coming to Carentan. To seek to occupy a leading position would be daily defiance to the scaffold; yet she pursued her even way. Sustained by her motherly courage, she won the affections of the poor by comforting indiscriminately all miseries, and she made herself necessary to the rich by assisting their pleasures. She received the procureur of the commune, the mayor, the judge of the district court, the public prosecutor, and even the judges of the revolutionary tribunal.

The first four of these personages, being bachelors, courted her with the hope of marriage, furthering their cause by either letting her see the evils they could do her, or those from which they could protect her. The public prosecutor, previously an attorney at Caen, and the manager of the countess's affairs, tried to inspire her with love by an appearance of generosity and devotion; a dangerous attempt for her. He was the most to be feared among her suitors. He alone knew the exact condition of the property of his former client. His passion was increased by cupidity, and his cause was backed by enormous power, the power of life and death throughout the district. This man, still young, showed so much apparent nobleness and generosity in his proceedings that Madame de Dey had not yet been able to judge him. But, disregarding the danger that attends all attempts at subtilty with Normans, she employed the inventive wit and slyness which Nature grants to women in opposing the four rivals one against the other. By thus gaining time, she hoped to come safe and sound to the end of the national troubles. At this period, the royalists in the interior of France expected day by day that the Revolution would be ended on the morrow. This conviction was the ruin of very many of them.

In spite of these difficulties, the countess had maintained her independence very cleverly until the day when, by an inexplicable imprudence, she closed her doors to her usual evening visitors. Madame de Dey inspired so genuine and deep an interest, that the persons who called upon her that evening expressed extreme anxiety on being told that she was unable to receive them. Then, with that frank curiosity which appears in provincial manners, they inquired what misfortune, grief, or illness afflicted her. In reply to these questions, an old housekeeper named Brigitte informed them that her mistress had shut herself up in her room and would see no one, not even the servants of the house. The semi-cloistral existence of the inhabitants of a little town creates so invincible a habit of analyzing and explaining the actions of their neighbors, that after compassionating Madame de Dey (without knowing whether she were happy or unhappy), they proceeded to search for the reasons of this sudden retreat.

"If she were ill," said the first Inquisitive, "she would have sent for the doctor; but the doctor has been all day long playing chess with me. He told me, laughing, that in these days there was but one malady, and that was incurable."

This joke was cautiously uttered. Men, women, old men, and young girls, all set to work to explore the vast field of conjecture. The next day, conjectures became suspicions. As life is all aboveboard in a little town, the women were the first to learn that Brigitte had made larger purchases than usual in the market. This fact could not be disputed: Brigitte had been seen there, very early in the morning; and, extraordinary event! she had bought the only hare the market afforded. Now all the town knew that Madame de Dey did not like game. The hare became, therefore, the point of departure for a vast array of suspicions. The old men who were taking their walks abroad, remarked a sort of concentrated activity about Madame de Dey's premises, shown by the very precautions which the servants took to conceal it. The foot-man was beating a carpet in the garden. The day before, no one would have noticed that fact; but the carpet now became a corner-stone on which the whole town built up its theories. Each individual had his or her surmise.

The second day, on learning that Madame de Dey declared herself ill, the principal personages of Carentan, assembled in the evening at the house of the mayor's brother, an old married merchant, a man of strict integrity, greatly respected, and for whom Madame de Dey had shown much esteem. There all the aspirants for the hand of the rich widow had a tale to tell that was more or less probable; and each expected to turn to his own profit the secret event which he thus recounted. The public prosecutor imagined a whole drama to result in the return by night of Madame de Dey's son, the emigre. The mayor was convinced that a priest who refused the oath had arrived from La Vendee and asked for asylum; but the day being Friday, the purchase of a hare embarrassed the good mayor not a little. The judge of the district court held firmly to the theory of a Chouan leader or a body of Vendeans hotly pursued. Others were convinced that the person thus harbored was a noble escaped from the Paris prisons. In short, they all suspected the countess of being guilty of one of those generosities, which the laws of the day called crimes, and punished on the scaffold. The public prosecutor remarked in a low voice that it would be best to say no more, but to do their best to save the poor woman from the abyss toward which she was hurrying.

"If you talk about this affair," he said, "I shall be obliged to take notice of it, and search her house, and then—"

He said no more, but all present understood what he meant.

The sincere friends of Madame de Dey were so alarmed about her, that on the morning of the third day, the procureur-syndic of the commune made his wife write her a letter, urging her to receive her visitors as usual that evening. Bolder still, the old merchant went himself in the morning to Madame de Dey's house, and, strong in the service he wanted to render her, he insisted on seeing her, and was amazed to find her in the garden gathering flowers for her vases.

"She must be protecting a lover," thought the old man, filled with sudden pity for the charming woman.

The singular expression on the countess's face strengthened this conjecture. Much moved at the thought of such devotion, for all men are flattered by the sacrifices a woman makes for one of them, the old man told the countess of the rumors that were floating about the town, and the dangers to which she was exposing herself.

"For," he said in conclusion, "though some of the authorities will readily pardon a heroism which protects a priest, none of them will spare you if they discover that you are sacrificing yourself to the interests of your heart."

At these words Madame de Dey looked at the old man with a wild and bewildered air, that made him shudder.

"Come," she said, taking him by the hand and leading him into her bedroom. After assuring herself that they were quite alone, she drew from her bosom a soiled and crumpled letter.

"Read that," she said, making a violent effort to say the words.

She fell into a chair, seemingly exhausted. While the old man searched for his spectacles and rubbed their glasses, she raised her eyes to him, and seemed to study him with curiosity; then she said in an altered voice, and very softly,—

"I trust you."

"I am here to share your crime," replied the good man, simply.

She quivered. For the first time in that little town, her soul sympathized with that of another. The old man now understood both the hopes and the fears of the poor woman. The letter was from her son. He had returned to France to share in Granville's expedition, and was taken prisoner. The letter was written from his cell, but it told her to hope. He did not doubt his means of escape, and he named to her three days, on one of which he expected to be with her in disguise. But in case he did not reach Carentan by the third day, she might know some fatal difficulty had occurred, and the letter contained his last wishes and a sad farewell. The paper trembled in the old man's hand.

"This is the third day," cried the countess, rising and walking hurriedly up and down.

"You have been very imprudent," said the merchant. "Why send Brigitte to buy those provisions?"

"But he may arrive half-dead with hunger, exhausted, and—"

She could say no more.

"I am sure of my brother the mayor," said the old man. "I will see him at once, and put him in your interests."

After talking with the mayor, the shrewd old man made visits on various pretexts to the principal families of Carentan, to all of whom he mentioned that Madame de Dey, in spite of her illness, would receive her friends that evening. Matching his own craft against those wily Norman minds, he replied to the questions put to him on the nature of Madame de Dey's illness in a manner that hoodwinked the community. He related to a gouty old dame, that Madame de Dey had almost died of a sudden attack of gout in the stomach, but had been relieved by a remedy which the famous doctor, Tronchin, had once recommended to her,—namely, to apply the skin of a freshly-flayed hare on the pit of the stomach, and to remain in bed without making the slightest movement for two days. This tale had prodigious success, and the doctor of Carentan, a royalist "in petto," increased its effect by the manner in which he discussed the remedy.

Nevertheless, suspicions had taken too strong a root in the minds of some obstinate persons, and a few philosophers, to be thus dispelled; so that all Madame de Dey's usual visitors came eagerly and early that evening to watch her countenance: some out of true friendship, but most of them to detect the secret of her seclusion.

They found the countess seated as usual, at the corner of the great fireplace in her salon, a room almost as unpretentious as the other salons in Carentan; for, in order not to wound the narrow view of her guests, she denied herself the luxuries to which she was accustomed. The floor of her reception room was not even waxed, the walls were still hung with dingy tapestries; she used the country furniture, burned tallow candles, and followed the customs of the town,—adopting provincial life, and not shrinking from its pettiness or its many disagreeable privations. Knowing, however, that her guests would pardon luxuries if provided for their own comfort, she neglected nothing which conduced to their personal enjoyment, and gave them, more especially, excellent dinners.

Toward seven o'clock on this memorable evening, her guests were all assembled in a wide circle around the fireplace. The mistress of the house, sustained in her part by the sympathizing glances of the old merchant, submitted with wonderful courage to the minute questioning and stupid, or frivolous, comments of her visitors. At every rap upon her door, every footfall echoing in the street, she hid her emotions by starting topics relating to the interests of the town, and she raised such a lively discussion on the quality of ciders, which was ably seconded by the old merchant, that the company almost forgot to watch her, finding her countenance quite natural, and her composure imperturbable. The public prosecutor and one of the judges of the revolutionary tribunal was taciturn, observing attentively every change in her face; every now and then they addressed her some embarrassing question, to which, however, the countess answered with admirable presence of mind. Mothers have such courage!

After Madame de Dey had arranged the card parties, placing some guests at the boston, and some at the whist tables, she stood talking to a number of young people with extreme ease and liveliness of manner, playing her part like a consummate actress. Presently she suggested a game of loto, and offered to find the box, on the ground that she alone knew where it was, and then she disappeared.

"I am suffocating, my poor Brigitte," she cried, wiping the tears that gushed from her eyes, now brilliant with fever, anxiety, and impatience. "He does not come," she moaned, looking round the room prepared for her son. "Here alone I can breathe, I can live! A few minutes more and he must be here; for I know he is living. I am certain of it, my heart says so. Don't you hear something, Brigitte? I would give the rest of my life to know at this moment whether he were still in prison, or out in the free country. Oh! I wish I could stop thinking—"

She again examined the room to see if all were in order. A good fire burned on the hearth, the shutters were carefully closed, the furniture shone with rubbing; even the manner in which the bed was made showed that the countess had assisted Brigitte in every detail; her hopes were uttered in the delicate care given to that room where she expected to fold her son in her arms. A mother alone could have thought of all his wants; a choice repast, rare wine, fresh linen, slippers, in short, everything the tired man would need,—all were there that nothing might be lacking; the comforts of his home should reveal to him without words the tenderness of his mother!

"Brigitte!" said the countess, in a heart-rending tone, placing a chair before the table, as if to give a semblance of reality to her hopes, and so increase the strength of her illusions.

"Ah! madame, he will come. He is not far off. I haven't a doubt he is living, and on his way," replied Brigitte. "I put a key in the Bible, and I held it on my fingers while Cottin read a chapter in the gospel of Saint John; and, madame, the key never turned at all!"

"Is that a good sign?" asked the countess.

"Oh! madame, that's a well-known sign. I would wager my salvation, he still lives. God would not so deceive us."

"Ah! if he would only come—no matter for his danger here."

"Poor Monsieur Auguste!" cried Brigitte, "he must be toiling along the roads on foot."

"There's eight o'clock striking now," cried the countess, in terror.

She dared not stay away any longer from her guests; but before re-entering the salon, she paused a moment under the peristyle of the staircase, listening if any sound were breaking the silence of the street. She smiled at Brigitte's husband, who was standing sentinel at the door, and whose eyes seemed stupefied by the intensity of his attention to the murmurs of the street and night.

Madame de Dey re-entered her salon, affecting gaiety, and began to play loto with the young people; but after a while she complained of feeling ill, and returned to her chimney-corner.

Such was the situation of affairs, and of people's minds in the house of Madame de Dey, while along the road, between Paris and Cherbourg, a young man in a brown jacket, called a "carmagnole," worn de rigueur at that period, was making his way to Carentan. When drafts for the army were first instituted, there was little or no discipline. The requirements of the moment did not allow the Republic to equip its soldiers immediately, and it was not an unusual thing to see the roads covered with recruits, who were still wearing citizen's dress. These young men either preceded or lagged behind their respective battalions, according to their power of enduring the fatigues of a long march.

The young man of whom we are now speaking, was much in advance of a column of recruits, known to be on its way from Cherbourg, which the mayor of Carentan was awaiting hourly, in order to give them their billets for the night. The young man walked with a jades step, but firmly, and his gait seemed to show that he had long been familiar with military hardships. Though the moon was shining on the meadows about Carentan, he had noticed heavy clouds on the horizon, and the fear of being overtaken by a tempest may have hurried his steps, which were certainly more brisk than his evident lassitude could have desired. On his back was an almost empty bag, and he held in his hand a boxwood stick, cut from the tall broad hedges of that shrub, which is so frequent in Lower Normandy.

This solitary wayfarer entered Carentan, the steeples of which, touched by the moonlight, had only just appeared to him. His step woke the echoes of the silent streets, but he met no one until he came to the shop of a weaver, who was still at work. From him he inquired his way to the mayor's house, and the way-worn recruit soon found himself seated in the porch of that establishment, waiting for the billet he had asked for. Instead of receiving it at once, he was summoned to the mayor's presence, where he found himself the object of minute observation. The young man was good-looking, and belonged, evidently, to a distinguished family. His air and manner were those of the nobility. The intelligence of a good education was in his face.

"What is your name?" asked the mayor, giving him a shrewd and meaning look.

"Julien Jussieu."

"Where do you come from?" continued the magistrate, with a smile of incredulity.

"Paris."

"Your comrades are at some distance," resumed the Norman official, in a sarcastic tone.

"I am nine miles in advance of the battalion."

"Some strong feeling must be bringing you to Carentan, citizen recruit," said the mayor, slyly. "Very good, very good," he added hastily, silencing with a wave of his hand a reply the young man was about to make. "I know where to send you. Here," he added, giving him his billet, "take this and go to that house, 'Citizen Jussieu.'"

So saying, the mayor held out to the recruit a billet, on which the address of Madame de Dey's house was written. The young man read it with an air of curiosity.

"He knows he hasn't far to go," thought the mayor as the recruit left the house. "That's a bold fellow! God guide him! He seemed to have his answers ready. But he'd have been lost if any one but I had questioned him and demanded to see his papers."

At that instant, the clocks of Carentan struck half-past nine; the lanterns were lighted in Madame de Dey's antechamber; the servants were helping their masters and mistresses to put on their clogs, their cloaks, and their mantles; the card-players had paid their debts, and all the guests were preparing to leave together after the established customs of provincial towns.

"The prosecutor, it seems, has stayed behind," said a lady, perceiving that that important personage was missing, when the company parted in the large square to go to their several houses.

That terrible magistrate was, in fact, alone with the countess, who waited, trembling, till it should please him to depart.

"Citoyenne," he said, after a long silence in which there was something terrifying, "I am here to enforce the laws of the Republic."

Madame de Dey shuddered.

"Have you nothing to reveal to me?" he demanded.

"Nothing," she replied, astonished.

"Ah! madame," cried the prosecutor, changing his tone and seating himself beside her, "at this moment, for want of a word between us, you and I may be risking our heads on the scaffold. I have too long observed your character, your soul, your manners, to share the error into which you have persuaded your friends this evening. You are, I cannot doubt, expecting your son."

The countess made a gesture of denial; but she had turned pale, the muscles of her face contracted from the effort that she made to exhibit firmness, and the implacable eye of the public prosecutor lost none of her movements.

"Well, receive him," continued the functionary of the Revolution, "but do not keep him under your roof later than seven o'clock in the morning. To-morrow, at eight, I shall be at your door with a denunciation."

She looked at him with a stupid air that might have made a tiger pitiful.

"I will prove," he continued in a kindly voice, "the falsity of the denunciation, by making a careful search of the premises; and the nature of my report will protect you in future from all suspicions. I will speak of your patriotic gifts, your civic virtues, and that will save you."

Madame de Dey feared a trap, and she stood motionless; but her face was on fire, and her tongue stiff in her mouth. A rap sounded on the door.

"Oh!" cried the mother, falling on her knees, "save him! save him!"

"Yes, we will save him," said the official, giving her a look of passion; "if it costs us our life, we will save him."

"I am lost!" she murmured, as the prosecutor raised her courteously.

"Madame," he said, with an oratorical movement, "I will owe you only—to yourself."

"Madame, he has come," cried Brigitte, rushing in and thinking her mistress was alone.

At sight of the public prosecutor, the old woman, flushed and joyous as she was, became motionless and livid.

"Who has come?" asked the prosecutor.

"A recruit, whom the mayor has sent to lodge here," replied Brigitte, showing the billet.

"True," said the prosecutor, reading the paper. "We expect a detachment to-night."

And he went away.

The countess had too much need at this moment to believe in the sincerity of her former attorney, to distrust his promise. She mounted the stairs rapidly, though her strength seemed failing her; then she opened the door, saw her son, and fell into his arms half dead,—

"Oh! my child! my child!" she cried, sobbing, and covering him with kisses in a sort of frenzy.

"Madame!" said an unknown man.

"Ah! it is not he!" she cried, recoiling in terror, and standing erect before the recruit, at whom she gazed with a haggard eye.

"Holy Father! what a likeness!" said Brigitte.

There was silence for a moment. The recruit himself shuddered at the aspect of Madame de Dey.

"Ah! monsieur," she said, leaning on Brigitte's husband, who had entered the room, and feeling to its fullest extent an agony the fear of which had already nearly killed her. "Monsieur, I cannot stay with you longer. Allow my people to attend upon you."

She returned to her own room, half carried by Brigitte and her old servant.

"Oh! madame," said Brigitte, as she undressed her mistress, "must that man sleep in Monsieur Auguste's bed, and put on Monsieur Auguste's slippers, and eat the pate I made for Monsieur Auguste? They may guillotine me if I—"

"Brigitte!" cried Madame de Dey.

Brigitte was mute.

"Hush!" said her husband in her ear, "do you want to kill madame?"

At that moment the recruit made a noise in the room above by sitting down to his supper.

"I cannot stay here!" cried Madame de Dey. "I will go into the greenhouse; there I can hear what happens outside during the night."

She still floated between the fear of having lost her son and the hope of his suddenly appearing.

The night was horribly silent. There was one dreadful moment for the countess, when the battalion of recruits passed through the town, and went to their several billets. Every step, every sound, was a hope,—and a lost hope. After that the stillness continued. Towards morning the countess was obliged to return to her room. Brigitte, who watched her movements, was uneasy when she did not reappear, and entering the room she found her dead.

"She must have heard that recruit walking about Monsieur Auguste's room, and singing their damned Marseillaise, as if he were in a stable," cried Brigitte. "That was enough to kill her!"

The death of the countess had a far more solemn cause; it resulted, no doubt, from an awful vision. At the exact hour when Madame de Dey died at Carentan, her son was shot in the Morbihan. That tragic fact may be added to many recorded observations on sympathies that are known to ignore the laws of space: records which men of solitude are collecting with far-seeing curiosity, and which will some day serve as the basis of a new science for which, up to the present time, a man of genius has been lacking.

*** END OF THE PROJECT GUTENBERG EBOOK THE RECRUIT ***

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.