Simon called peter

The Project Gutenberg EBook of Simon Called Peter, by Robert Keable This eBook is for the use of anyone anywhere 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.net Title: Simon Called Peter Author: Robert Keable Release Date: January 3, 2005 [EBook #14579] Last updated: June 29, 2013 Last updated: August 25, 2013 Language: English *** START OF THIS PROJECT GUTENBERG EBOOK SIMON CALLED PETER *** Produced by Juliet Sutherland, Mary Meehan, and the Online Distributed Proofreading Team SIMON CALLED PETER BY ROBERT KEABLE AUTHOR OF "THE DRIFT OF PINIONS," "STANDING BY," ETC 1921 THIS BOOK IS DEDICATED TO JULIE She never lived, maybe, but it is truer to say that she never dies Nor shall she ever die One may believe in God, though He is hard to find, and in Women, though such as Julie are far to seek THE AUTHOR TO THE READER The glamour of no other evil thing is stronger than the glamour of war It would seem as if the cup of the world's sorrow as a result of war had been filled to the brim again and again, but still a new generation has always been found to forget A new generation has always been found to talk of the heroisms that the divine in us can manifest in the mouth of hell and to forget that so great a miracle does not justify our creation of the circumstance Yet if ever war came near to its final condemnation it was in 1914-1918 Our comrades died bravely, and we had been willing to die, to put an end to it once and for all Indeed war-weary men heard the noise of conflict die away on November 11, 1918, thinking that that end had been attained It is not yet three years ago; a little time, but long enough for betrayal Long enough, too, for the making of many books about it all, wherein has been recorded such heroisms as might make God proud and such horror as might make the Devil weep Yet has the truth been told, after all? Has the world realized that in a modern war a nation but moves in uniform to perform its ordinary tasks in a new intoxicating atmosphere? Now and again a small percentage of the whole is flung into the pit, and, for them, where one in ten was heavy slaughter, now one in ten is reasonable escape The rest, for the greater part of the time, live an unnatural life, death near enough to make them reckless and far enough to make them gay Commonly men and women more or less restrain themselves because of to-morrow; but what if there be no to-morrow? What if the dice are heavily weighted against it? And what of their already jeoparded restraint when the crisis has thrown the conventions to the winds and there is little to lighten the end of the day? Thus to lift the veil on life behind the lines in time of war is a thankless task The stay-at-homes will not believe, and particularly they whose smug respectability and conventional religion has been put to no such fiery trial Moreover they will do more than disbelieve; they will say that the story is not fit to be told Nor is it But then it should never have been lived That very respectability, that very conventionality, that very contented backboneless religion made it possible—all but made it necessary For it was those things which allowed the world to drift into the war, and what the war was nine days out of ten ought to be thrust under the eyes of those who will not believe It is a small thing that men die in battle, for a man has but one life to live and it is good to give it for one's friends; but it is such an evil that it has no like, this drifting of a world into a hell to which men's souls are driven like red maple leaves before the autumn wind The old-fashioned pious books made hell stink of brimstone and painted the Devil hideous But Satan is not such a fool Champagne and Martinis do not taste like Gregory powder, nor was St Anthony tempted by shrivelled hags Paganism can be gay, and passion look like love Moreover, still more truly, Christ could see the potentiality of virtue in Mary Magdalene and of strength in Simon called Peter The conventional religious world does not A curious feature, too, of that strange life was its lack of consecutiveness It was like the pages of La Vie Parisienne The friend of to-day was gone for ever tomorrow A man arrived, weary and dirty and craving for excitement, in some unknown town; in half an hour he had stepped into the gay glitter of wine and women's smiles; in half a dozen he had been whirled away The days lingered and yet flew; the pages were twirled ever more dazzlingly; only at the end men saw in a blinding flash whither they had been led These things, then, are set out in this book This is its atmosphere They are truly set out They are not white-washed; still less are they pictured as men might have seen them in more sober moments, as the Puritan world would see them now Nor does the book set forth the author's judgment, for that is not his idea of a novel It sets out what Peter and Julie saw and did, and what it appeared to them to be while they did it Very probably, then, the average reader had better read no further than this… But at any rate let him not read further than is written The last page has been left blank It has been left blank for a reason, because the curtain falls not on the conclusion of the lives of those who have stepped upon the boards, but at a psychological moment in their story The Lord has turned to look upon Peter, and Julie has seen that He has looked It is enough; they were happy who, going down into the Valley of the Shadow of Death, saw a vision of God's love even there For the Christ of Calvary moved to His Cross again but a few short years ago; and it is enough in one book to tell how Simon failed to follow, but how Jesus turned to look on Peter R.K PART I Ah! is Thy love indeed A weed, albeit an amaranthine weed, Suffering no flowers except its own to mount? Ah! must— Designer infinite!— Ah! must Thou char the wood ere Thou canst limn with it? FRANCIS THOMPSON CHAPTER I London lay as if washed with water-colour that Sunday morning, light blue sky and pale dancing sunlight wooing the begrimed stones of Westminster like a young girl with an old lover The empty streets, clean-swept, were bathed in the light, and appeared to be transformed from the streets of week-day life Yet the half of Londoners lay late abed, perhaps because six mornings a week of reality made them care little for one of magic Peter, nevertheless, saw little of this beauty He walked swiftly as always, and he looked about him, but he noticed none of these things True, a fluttering sheet of newspaper headlines impaled on the railings of St Margaret's held him for a second, but that was because its message was the one that rang continually in his head, and had nothing at all to do with the beauty of things that he passed by He was a perfectly dressed young man, in a frock coat and silk hat of the London clergyman, and he was on his way to preach at St John's at the morning service Walking always helped him to prepare his sermons, and this sermon would ordinarily have struck him as one well worth preparing The pulpit of St John's marked a rung up in the ladder for him That great fashionable church of midVictorian faith and manners held a congregation on Sunday mornings for which the Rector catered with care It said a good deal for Peter that he had been invited to preach He ought to have had his determined scheme plain before him, and a few sentences, carefully polished, at hand for the beginning and the end He could trust himself in the middle, and was perfectly conscious of that He frankly liked preaching, liked it not merely as an actor loves to sway his audience, but liked it because he always knew what to say, and was really keen that people should see his argument And yet this morning, when he should have been prepared for the best he could do, he was not prepared at all Strictly, that is not quite true, for he had a text, and the text absolutely focused his thought But it was too big for him Like some at least in England that day, he was conscious of staring down a lane of tragedy that appalled him Fragments and sentences came and went in his head He groped for words, mentally, as he walked Over and over again he repeated his text It amazed him by its simplicity; it horrified him by its depth Hilda was waiting at the pillar-box as she had said she would be, and little as she could guess it, she irritated him He did not want her just then He could hardly tell why, except that, somehow, she ran counter to his thoughts altogether that morning She seemed, even in her excellent brown costume that fitted her fine figure so well, out of place, and out of place for the first time They were not openly engaged, these two, but there was an understanding between them, and an understanding that her family was slowly recognising Mr Lessing, at first, would never have accepted an engagement, for he had other ideas for his daughter of the big house in Park Lane The rich city merchant, church-warden at St John's, important in his party, and a person of distinction when at his club, would have been seriously annoyed that his daughter should consider a marriage with a curate whose gifts had not yet made him an income But he recognised that the young man might go far "Young Graham?" he would say, "Yes, a clever young fellow, with quite remarkable gifts, sir Bishop thinks a lot of him, I believe Preaches extraordinarily well The Rector said he would ask him to St John's one morning…." Peter Graham's parish ran down to the river, and included slums in which some of the ladies of St John's (whose congregation had seen to it that in their immediate neighbourhood there were no such things) were interested So the two had met She had found him admirable and likeable; he found her highly respectable and seemingly unapproachable From which cold elements much more may come than one might suppose At any rate, now, Mrs Lessing said nothing when Hilda went to post a letter in London on Sunday morning before breakfast She would have mildly remonstrated if the girl had gone to meet the young man The which was England once, and may, despite the Kaiser, be England yet once more "I was nearly going," she declared "You're a bit late." "I know," he replied; "I couldn't help it The early service took longer than usual But I'm glad to see you before breakfast Tell me, what does your father think of "Then let's go together to-night," she said "Do you mean it, Julie?" "Of course I do I'm curious Besides, it's Sunday, and I want to go to church." "But you'll miss dinner," objected Peter "It begins at six-thirty." "Well, let's get some food out—Victoria Station, for instance Won't that do? We can have some supper sent up afterwards in the hotel." Peter agreed, but they did not go to the station In a little cafe outside Julie saw a South African private eating eggs and bacon, and nothing would do but that they must do the same So they went in They ate off thick plates, and Julie dropped the china pepper-pot on her eggs and generally behaved as if she were at a school-treat But it was a novelty, and it kept their thoughts off the fact that it was the last night And finally they went to church The service did not impress Peter, and every time he looked at Julie's face he wanted to laugh; but the atmosphere of the place did, though he could not catch the impression of the morning For the sermon, a stoutish, foreign-looking ecclesiastic mounted the pulpit, and they both prepared to be bored However, he gave out his text, and Peter sat bolt upright at once It would have delighted the ears of his Wesleyan corporal of the Forestry; and more than that it was the text he had quoted in the ears of the dying Jenks He prepared keenly to listen As for Julie, she was regarding the altar with a far-away look in her eyes, and she scarcely moved the whole time Outside, as soon as they were out of the crowd, Peter began at once "Julie," he said, "whatever did you think of that sermon?" "What did you?" she said "Tell me first." "I don't believe you listened at all, but I can't help talking of it It was amazing He began by speaking about Adam and Eve and original sin and the Garden of Eden as if he'd been there There might never have been a Higher Critic in existence Then he said what sin did, and that sin was only truly sin if it did do that That was to hide the face of God, to put Him and a human being absolutely out of communication, so to speak And then he came to Christ, to the Cross Did you hear him, Julie? Christ comes in between—He got in between God and man All the anger that darted out of God against sin hit Him; all the blows that man struck back against God hit Him Do you see that, Julie? That was wonderfully put, but the end was more wonderful Both, ultimately, cannot kill the Heart of Jesus There's no sin there to merit or to feel the anger, and we can hurt, but we can't destroy His love." Peter stopped, "That's what I saw a little this morning," he said after a minute "Well?" said Julie "Oh, it's all so plain! If there was a way to that Heart, one would be safe I mean, a way that is not an emotional idea, not a subjective experience, but something practical Some way that a Tommy could travel, as easily as anyone, and get to a real thing And he said there was a way, and just sketched it, the Sacraments— more than ours, of course, their seven, all of them more or less, I suppose He meant that the Sacraments were not signs of salvation, but salvation itself Julie, I never saw the idea before It's colossal It's a thing to which one might dedicate one's life It's a thing to live and die gladly for It fills one Don't you think so, Julie?" He spoke exultantly "Peter, to be honest," said Julie, "I think you're talking fanatical rubbish." "Do you really, Julie? You can't, surely you can't." "But I do, Peter," she said sadly; "it makes no appeal to me I can only see one great thing in life, and it's not that 'The rest is lies,' But, oh! surely that great thing might not be false too But why do you see one thing, and I another, my dear?" "I don't know," said Peter, "unless—well, perhaps it's a kind of gift, Julie, 'If thou knewest the gift of God…' Not that I know, only I can just see a great wonderful vision, and it fills my sight." "I, too," she said; "but it's not your vision." "What is it, then?" said he, carried away by his own ideas and hardly thinking of her Her voice brought him back "Oh, Peter, don't you know even yet?" He took her arm very tenderly at that "My darling," he said, "the two aren't incompatible Julie, don't be sad I love you; you know I love you I wish we'd never gone to the place if you think I don't, but I haven't changed towards you a bit, Julie I love you far, far more than anyone else I won't give you up, even to God!" It was dark where they were Julie lifted her face to him just there He thought he had never heard her speak as she spoke now, there, in a London street, under the night sky "Peter, my darling," she said, "my brave boy How I love you, Peter! I know you won't give me up, Peter, and I adore you for it Peter, hell will be heaven with the memory of that!" There, then, he sealed her with his kiss * * * * * Julie stirred in his arms, but the movement did not wake him any more than the knock of the door had done "All right," she called "Thank you," and, leaning over, she switched on the light It was 5.30, and necessary In its radiance she bent over him, and none of her friends had ever seen her look as she did then She kissed him, and he opened his eyes "Half-past five, Peter," she said, as gaily as she could "You've got to get a move on, my dear Two hours to dress and pack and breakfast—no, I suppose you can do that on the train But you've got to get there Oh, Lord, how it brings the war home, doesn't it? Jump up!" Peter sighed "Blast the war!" he said lazily "I shan't move Kiss me again, you darling, and let your hair fall over my face." She did so, and its glossy curtain hid them Beneath the veil she whispered; "Come, darling, for my sake The longer you stay here now, the harder it will be." He threw his arms round her, and then jumped out of bed yawning "That's it," she said "Now go and shave and bath while I pack for you Hurry up; then we'll get more time." While he splashed about she sought for his things, and packed for him as she never packed for herself As she gathered them she thought of the night before, when, overwhelmed in a tempest of love, it had all been left for the morning She filled the suit-case, but she could not fasten it "Come and help, Peter," she called He came out She was kneeling on it in her loose kimono, her hair all about her, her nightdress open at the throat He drank her beauty in, and then mastered himself for a minute and shut the case "That all?" she queried "Yes," he said "You get back into bed, my darling, or you'll catch cold I'll be ready in a second, and then we can have a few minutes together." At the glass he marshalled his arguments, and then he came over to her He dropped by the bedside and wound his arms about her "Julie," he whispered, "my darling, say you'll marry me—please, please!" She made no reply He kissed her, unresisting, again and again "Julie," he said, "you know how I love you You do know it You know I'm not begging you to marry me because I've got something out of you, perhaps when you were carried away, and now I feel I must make reparation My darling, it isn't that I love you so much that I can't live without you I'll give up everything for you I want to start a new life with you I can't go back to the old, anyhow; I don't want to: it's a sham to me now, and I hate shams—you know I do But you're not a sham; our love isn't a sham I'd die for you, Julie, my own Julie; I'd die for the least little bit of this hair of yours, I think! But I want to live for you I want to put you right in the centre of everything, and live for you, Julie Say 'Yes,' my love, my own You must say 'Yes,' Why don't you, Julie?" And still she made no reply A kind of despair seized him "Oh, Julie," he cried, "what can I say or what can I do? You're cruel, Julie; you're killing me! You must say 'Yes' before I go We'll meet in Havre, I know; but that will be so different I must have my answer now Oh, my darling, please, please, speak! You love me, Julie, don't you?" "Peter," said Julie slowly, "I love you so much that I hardly dare speak, lest my love should carry me away But listen, my dear, listen Peter, I've watched you these days; I've watched you in France I've watched you from the moment when I called you over to me because I was interested and felt my fate, I suppose I've watched you struggling along, Peter, and I understand why you've struggled You're built for great things, my dear—how great I can't see and I can't even understand No, Peter, I can't even understand—that's part of the tragedy of it Peter, I love you so that my love for you is my centre, it's my all in all, it's my hope of salvation, Peter Do you hear, my darling?—my love, it's my one hope! If I can't keep that pure and clean, Peter, I ruin both of us I love you so, Peter, that I won't marry you!" He gave a little cry, but swiftly she put a hand over his mouth She smiled at him as she did so, a daring little smile "Be quiet, you Solomon, you," she said; "I haven't finished There! Now listen again, Peter: you can't help it, but you can't love me as I love you I see it I—I hate it, I think; but I know it, and there's an end You, my dear, you would put me in the centre, but you can't I can't put you out of my centre, Peter You would give up God for me, Peter, but you can't, or if you did, you'd lose us both But I, Peter—oh, my darling, I have no god but you And that's why I'll worship you, Peter, and sacrifice to you, Peter, sacrifice to your only ultimate happiness, Peter, and sacrifice my all." He tried to speak, but he could not The past days lay before him in a clear light at last Her love shone on them, and shone too plainly for mistake He tried to deny, but he couldn't; contradict, but his heart cried the truth, and his eyes could not hide it But he could and did vent his passion "Damn God! Curse Him!" he cried "I hate Him! Why should He master me? I want you, Julie; I will have you; I will worship you, Julie!" She let him speak; and, being Julie, his words only brought a more tender light into her face "Peter," she said, "one minute Do you remember where you first kissed me, my darling?—the first real kiss, I mean," and her eyes sparkled with fun even then "You know—ah, I see you do! You will never forget that, will you? Perhaps you thought I didn't notice, but I did Neither you nor I chose it; it was Fate; perhaps it was your God, Peter But, anyway, look at me now as you looked then What do you see?" He stared at her, and he saw—how clearly he saw! Her sweet back-bent head, her shining eyes, the lamp-light falling on her hair out of the night He even heard the sea as it beat on the stones of the quay—or thought he did—and felt the whip of the wind And behind her, dominating, arms outspread, the harbour crucifix And she saw that he saw, and she whispered: "Do you hate Him, Peter?" And he sank his head into her hands and sobbed great dry sobs "Ah, don't, don't," he heard her say—"don't Peter! It's not so bad as that Your life is going to be full, my beloved, with a great and burning love; and you were right this morning, Peter, more right than you knew When that is there you will have place even for me—yes, even for me, the love of what you will call your sin And I, my dear, dear boy, I have something even now which no devil, Peter, and no god can take away." He looked up "Then there's a chance, Julie You won't say 'Yes,' but don't say 'No.' Let us see I shall take no vows, Julie I haven't an idea what I shall do, and maybe it won't be quite as you think, and there will be a little room for you one day Oh, say you'll wait a while, Julie, just to see!" It was the supreme moment She saw no crucifix to sustain her, but she did see the bastard Spanish dancing-girl And she did not hesitate "No, Peter," she said, "I would not take that, and you never could give it I did not mean such place as that It never can be, Peter; you are not made for me." And thus did Julie, who knew no God, but Julie of the brave, clean, steadfast heart, give Peter to Him * * * * * The maid came in answer to her ring "Will you light a fire, please?" said Julie "I suppose Captain Graham has gone?" "Yes, mam, he's gone, and he felt it terrible, I could see But don't you fear, mam, he'll be kept, I know he will You're that good, he'll come back to you, never fear But it's 'ard on those they leave, ain't it, mam?—their wives an' all." "Yes," said Julie, and she never spoke more bravely "But it's got to be, hasn't it? Would you pull the blind up? Ah, thanks; why, it's sunny! I'm so glad It will be good for the crossing." "It will be that, 'm We gets the sun first up here Shall I bring up the tea, madame?" "I'll ring," said Julie, "when I want it It won't be for a few minutes yet." The girl went out, and the door shut behind her Julie lay on still for a little, and then she got up She walked to the window and looked out, and she threw her arms wide with a gesture, and shut her eyes, and let the sun fall on her Then she walked to her little trunk, and rummaged in it From somewhere far down she drew out a leather case, and with it in her hand she went over and sat by the fire She held it without moving for a minute, and then she slowly opened it One by one she drew out a few worthless things—a withered bunch of primroses, a couple of little scribbled notes, a paper cap from a cracker, a menu card, a handkerchief of her own that she had lent to him, and that he (just like Peter) had given back She held them all in her hand a minute, and then she bent forward and dropped them in the open fire And the sun rose a little higher, and fell on the tumbled brown hair that Peter had kissed and that now hid her eyes End of the Project Gutenberg EBook of Simon Called Peter, by Robert Keable *** END OF THIS PROJECT GUTENBERG EBOOK SIMON CALLED PETER *** ***** This file should be named 14579-8.txt or 14579-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/4/5/7/14579/ Produced by Juliet Sutherland, Mary Meehan, and the Online Distributed Proofreading Team Updated editions will replace the previous one—the old editions will be renamed Creating the works from public domain print editions 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-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission If you do not charge anything for copies of this eBook, complying with the rules is very easy You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research They may be modified and printed and given away—you may do practically ANYTHING with public domain eBooks 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-tm 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-tm License (available with this file or online at http://gutenberg.net/license) Section 1 General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A By reading or using any part of this Project Gutenberg-tm 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-tm electronic works in your possession If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm 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 Gutenbergtm electronic works Nearly all the individual works in the collection are in the public domain in the United States If an individual work is in the public domain 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-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work The Foundation makes no representations concerning the copyright status of any work in any country outside 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-tm License must appear prominently whenever any copy of a Project Gutenberg-tm 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 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.net 1.E.2 If an individual Project Gutenberg-tm electronic work is derived from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9 1.E.3 If an individual Project Gutenberg-tm 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-tm 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-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm 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-tm 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-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.net), 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-tm 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-tm 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-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes The fee is owed to the owner of the Project Gutenberg-tm 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-tm 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-tm 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-tm works 1.E.9 If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm 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 public domain works in creating the Project Gutenberg-tm collection Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project Gutenberg-tm 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 F3 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 MERCHANTIBILITY 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-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm 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-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause Section 2 Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at http://www.pglaf.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 Its 501(c)(3) letter is posted at http://pglaf.org/fundraising 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 principal office is located at 4557 Melan Dr S Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email business@pglaf.org Email contact links and up to date contact information can be found at the Foundation's web site and official page at http://pglaf.org For additional contact information: Dr Gregory B Newby Chief Executive and Director gbnewby@pglaf.org Section 4 Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread 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 http://pglaf.org 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 including checks, online payments and credit card donations To donate, please visit: http://pglaf.org/donate Section 5 General Information About Project Gutenberg-tm electronic works Professor Michael S Hart is the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone For thirty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility: http://www.gutenberg.net This Web site includes information about Project Gutenberg-tm, 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 ... *** START OF THIS PROJECT GUTENBERG EBOOK SIMON CALLED PETER *** Produced by Juliet Sutherland, Mary Meehan, and the Online Distributed Proofreading Team SIMON CALLED PETER BY ROBERT KEABLE AUTHOR OF "THE DRIFT OF PINIONS," "STANDING BY," ETC... terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Simon Called Peter Author: Robert Keable Release Date: January 3, 2005 [EBook #14579] Last updated: June 29, 2013...The Project Gutenberg EBook of Simon Called Peter, by Robert Keable This eBook is for the use of anyone anywhere at no cost and with almost no