Tài liệu hạn chế xem trước, để xem đầy đủ mời bạn chọn Tải xuống
1
/ 538 trang
THÔNG TIN TÀI LIỆU
Thông tin cơ bản
Định dạng
Số trang
538
Dung lượng
1,94 MB
Nội dung
The Project Gutenberg eBook, Castle Richmond, by Anthony Trollope 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.org Title: Castle Richmond Author: Anthony Trollope Release Date: September 18, 2002 [eBook #5897] Most recently updated: June 19, 2010 Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK CASTLE RICHMOND*** E-text prepared by Charles Aldarondo, Charles Franks, and the Project Gutenberg Online Distributed Proofreading Team (http://www.pgdp.net) and revised by Rita Bailey and Joseph E Loewenstein, M.D HTML version prepared by Joseph E Loewenstein, M.D CASTLE RICHMOND BY ANTHONY TROLLOPE With an Introduction by Algar Thorold London & New York: MCMVI INTRODUCTION "Castle Richmond" was written in 1861, long after Trollope had left Ireland The characterization is weak, and the plot, although the author himself thought well of it, mechanical The value of the story is rather documentary than literary It contains several graphic scenes descriptive of the great Irish famine Trollope observed carefully, and on the whole impartially, though his powers of discrimination were not quite fine enough to make him an ideal annalist Still, such as they were, he has used them here with no inconsiderable effect His desire to be fair has led him to lay stress in an inverse ratio to his prepossessions, and his Priest is a better man than his parson The best, indeed the only piece of real characterization in the book is the delineation of Abe Mollett This unscrupulous blackmailer is put before us with real art, with something of the loving preoccupation of the hunter for his quarry Trollope loved a rogue, and in his long portrait gallery there are several really charming ones He did not, indeed, perceive the aesthetic value of sin—he did not perceive the esthetic value of anything,—and his analysis of human nature was not profound enough to reach the conception of sin, crime being to him the nadir of downward possibility—but he had a professional, a sort of half Scotland Yard, half master of hounds interest in a criminal "See," he would muse, "how cunningly the creature works, now back to his earth, anon stealing an unsuspected run across country, the clever rascal;" and his ethical disapproval ever, as usual, with English critics of life, in the foreground, clearly enhanced a primitive predatory instinct not obscurely akin, a cynic might say, to those dark impulses he holds up to our reprobation This self-realization in his fiction is one of Trollope's principal charms Never was there a more subjective writer Unlike Flaubert, who laid down the canon that the author should exist in his work as God in creation, to be, here or there, dimly divined but never recognized, though everywhere latent, Trollope was never weary of writing himself large in every man, woman, or child he described The illusion of objectivity which he so successfully achieves is due to the fact that his mind was so perfectly contented with its hereditary and circumstantial conditions, was itself so perfectly the mental equivalent of those conditions Thus the perfection of his egotism, tight as a drum, saved him Had it been a little less complete, he would have faltered and bungled; as it was, he had the naive certainty of a child, to whose innocent apprehension the world and self are one, and who therefore cannot err ALGAR THOROLD CONTENTS I THE BARONY OF DESMOND II OWEN FITZGERALD III CLARA DESMOND IV THE COUNTESS V THE FITZGERALDS OF CASTLE RICHMOND VI THE KANTURK HOTEL, SOUTH MAIN STREET, CORK VII THE FAMINE YEAR VIII GORTNACLOUGH AND BERRYHILL IX FAMILY COUNCILS X THE RECTOR OF DRUMBARROW AND HIS WIFE XI SECOND LOVE XII DOUBTS XIII MR MOLLETT RETURNS TO SOUTH MAIN STREET XIV THE REJECTED SUITOR XV DIPLOMACY XVI THE PATH BENEATH THE ELMS XVII FATHER BARNEY XVIII THE RELIEF COMMITTEE XIX THE FRIEND OF THE FAMILY XX TWO WITNESSES XXI FAIR ARGUMENTS XXII THE TELLING OF THE TALE XXIII BEFORE BREAKFAST AT HAP HOUSE XXIV AFTER BREAKFAST AT HAP HOUSE XXV A MUDDY WALK ON A WET MORNING XXVI COMFORTLESS XXVII COMFORTED XXVIII FOR A' THAT AND A' THAT XXIX ILL NEWS FLIES FAST XXX PALLIDA MORS XXXI THE FIRST MONTH XXXII PREPARATIONS FOR GOING XXXIII THE LAST STAGE XXXIV FAREWELL XXXV HERBERT FITZGERALD IN LONDON XXXVI HOW THE EARL WAS WON XXXVII A TALE OF A TURBOT XXXVIII CONDEMNED XXXIX FOX-HUNTING IN SPINNY LANE XL THE FOX IN HIS EARTH XLI THE LOBBY OF THE HOUSE OF COMMONS XLII ANOTHER JOURNEY XLIII PLAYING ROUNDERS XLIV CONCLUSION CHAPTER I THE BARONY OF DESMOND I wonder whether the novel-reading world—that part of it, at least, which may honour my pages—will be offended if I lay the plot of this story in Ireland! That there is a strong feeling against things Irish it is impossible to deny Irish servants need not apply; Irish acquaintances are treated with limited confidence; Irish cousins are regarded as being decidedly dangerous; and Irish stories are not popular with the booksellers For myself, I may say that if I ought to know anything about any place, I ought to know something about Ireland; and I strongly protest against the injustice of the above conclusions Irish cousins I have none Irish acquaintances I have by dozens; and Irish friends, also, by twos and threes, whom I can love and cherish—almost as well, perhaps, as though they had been born in Middlesex Irish servants I have had some in my house for years, and never had one that was faithless, dishonest, or intemperate I have travelled all over Ireland, closely as few other men can have done, and have never had my portmanteau robbed or my pocket picked At hotels I have seldom locked up my belongings, and my carelessness has never been punished I doubt whether as much can be said for English inns Irish novels were once popular enough But there is a fashion in novels, as there is in colours and petticoats; and now I fear they are drugs in the market It is hard to say why a good story should not have a fair chance of success whatever may be its bent; why it should not be reckoned to be good by its own intrinsic merits alone; but such is by no means the case I was waiting once, when I was young at the work, in the back parlour of an eminent publisher, hoping to see his eminence on a small matter of business touching a threevolumed manuscript which I held in my hand The eminent publisher, having probably larger fish to fry, could not see me, but sent his clerk or foreman to arrange the business "A novel, is it, sir?" said the foreman "Yes," I answered; "a novel." "It depends very much on the subject," said the foreman, with a thoughtful and judicious frown—"upon the name, sir, and the subject;—daily life, sir; that's what suits us; daily English life Now your historical novel, sir, is not worth the paper it's written on." I fear that Irish character is in these days considered almost as unattractive as historical incident; but, nevertheless, I will make the attempt I am now leaving the Green Isle and my old friends, and would fain say a word of them as I do so If I do not say that word now it will never be said The readability of a story should depend, one would say, on its intrinsic merit rather than on the site of its adventures No one will think that Hampshire is better for such a purpose than Cumberland, or Essex than Leicestershire What abstract objection can there then be to the county Cork? Perhaps the most interesting, and certainly the most beautiful part of Ireland is that which lies down in the extreme south-west, with fingers stretching far out into the Atlantic Ocean This consists of the counties Cork and Kerry, or a portion, rather, of those counties It contains Killarney, Glengarriffe, Bantry, and Inchigeela; and is watered by the Lee, the Blackwater, and the Flesk I know not where is to be found a land more rich in all that constitutes the loveliness of scenery Within this district, but hardly within that portion of it which is most attractive to tourists, is situated the house and domain of Castle Richmond The river Blackwater rises in the county Kerry, and running from west to east through the northern part of the county Cork, enters the county Waterford beyond Fermoy In its course it passes near the little town of Kanturk, and through the town of Mallow: Castle Richmond stands close upon its banks, within the barony of Desmond, and in that Kanturk region through which the Mallow and Killarney railway now passes, but which some thirteen years since knew nothing of the navvy's spade, or even of the engineer's theodolite Castle Richmond was at this period the abode of Sir Thomas Fitzgerald, who resided there, ever and always, with his wife, Lady Fitzgerald, his two daughters, Mary and Emmeline Fitzgerald, and, as often as purposes of education and pleasure suited, with his son Herbert Fitzgerald Neither Sir Thomas nor Sir Thomas's house had about them any of those interesting picturesque faults which are so generally attributed to Irish landlords and Irish castles He was not out of elbows, nor was he an absentee Castle Richmond had no appearance of having been thrown out of its own windows It was a good, substantial, modern family residence, built not more than thirty years since by the late baronet, with a lawn sloping down to the river, with kitchen gardens and walls for fruit, with ample stables, and a clock over the entrance to the stable yard It stood in a welltimbered park duly stocked with deer,—and with foxes also, which are agricultural animals much more valuable in an Irish county than deer So that as regards its appearance Castle Richmond might have been in Hampshire or Essex; and as regards his property, Sir Thomas Fitzgerald might have been a Leicestershire baronet Here, at Castle Richmond, lived Sir Thomas with his wife and daughters; and here, taking the period of our story as being exactly thirteen years since, his son Herbert was staying also in those hard winter months; his Oxford degree having been taken, and his English pursuits admitting of a temporary sojourn in Ireland But Sir Thomas Fitzgerald was not the great man of that part of the country— at least, not the greatest man; nor was Lady Fitzgerald by any means the greatest lady As this greatest lady, and the greatest man also, will, with their belongings, be among the most prominent of our dramatis personæ, it may be well that I should not even say a word of them All the world must have heard of Desmond Court It is the largest inhabited residence known in that part of the world, where rumours are afloat of how it covers ten acres of ground; how in hewing the stones for it a whole mountain was cut away; how it should have cost hundreds of thousands of pounds, only that the money was never paid by the rapacious, wicked, bloodthirsty old earl who caused it to be erected;—and how the cement was thickened with human blood So goes rumour with the more romantic of the Celtic tale-bearers It is a huge place—huge, ungainly, and uselessly extensive; built at a time when, at any rate in Ireland, men considered neither beauty, aptitude, nor economy It is three stories high, and stands round a quadrangle, in which there are two entrances opposite to each other Nothing can be well uglier than that great paved court, in which there is not a spot of anything green, except where the damp has produced an unwholesome growth upon the stones; nothing can well be more desolate And on the outside of the building matters are not much better There are no gardens close up to the house, no flower-beds in the nooks and corners, no sweet shrubs peeping in at the square windows Gardens there are, but they are away, half a mile off; and the great hall door opens out upon a flat, bleak park, with hardly a scrap around it which courtesy can call a lawn Here, at this period of ours, lived Clara, Countess of Desmond, widow of Patrick, once Earl of Desmond, and father of Patrick, now Earl of Desmond These Desmonds had once been mighty men in their country, ruling the people around them as serfs, and ruling them with hot iron rods But those days were now long gone, and tradition told little of them that was true How it had truly fared either with the earl, or with their serfs, men did not well know; but stories were ever being told of walls built with human blood, and of the devil bearing off upon his shoulder a certain earl who was in any other way quite unbearable, and depositing some small unburnt portion of his remains fathoms deep below the soil in an old burying-ground near Kanturk And there had been a good earl, as is always the case with such families; but even his virtues, according to tradition, had been of a useless namby-pamby sort He had walked to the shrine of St Finbar, up in the little island of the Gougane Barra, with unboiled peas in his shoes; had forgiven his tenants five years' rent all round, and never drank wine or washed himself after the death of his lady wife At the present moment the Desmonds were not so potent either for good or ill The late earl had chosen to live in London all his life, and had sunk down to be the toadying friend, or perhaps I should more properly say the bullied flunky, of a sensual, wine-bibbing, gluttonous—king Late in life, when he was broken in means and character, he had married The lady of his choice had been chosen as an heiress; but there had been some slip between that cup of fortune and his lip; and she, proud and beautiful, for such she had been—had neither relieved nor softened the poverty of her profligate old lord She was left at his death with two children, of whom the eldest, Lady Clara Desmond, will be the heroine of this story The youngest, Patrick, now Earl of Desmond, was two years younger than his sister, and will make our acquaintance as a lad fresh from Eton In these days money was not plentiful with the Desmonds Not but that their estates were as wide almost as their renown, and that the Desmonds were still great people in the country's estimation Desmond Court stood in a bleak, unadorned region, almost among the mountains, half way between Kanturk and Maccoom, and the family had some claim to possession of the land for miles go to you I strove as mothers strive for their children I taught myself,—I strove to teach myself to forget that I had loved you I swore on my knees that I would love you only as my son,—as my dear, dear son Nay, Owen, I did; on my knees before my God." He turned away from her to rub the tears from his eyes, and in doing so he dragged his hand away from her But she followed him, and again took it "You will hear me to the end now," she said; "will you not? you will not begrudge me that? And then came these other tidings, and all that scheme was dashed to the ground It was better so, Owen; you would not have been happy with the property—" "I should never have taken it." "And she, she would have clung closer to him as a poor man than ever she had done when he was rich She is her mother's daughter there And then—then — But I need not tell you more You will know it all now If you had become rich, I would have ceased to love you; but I shall never cease now that you are again poor,—now that you are Owen of Hap House again, as you sent us word yourself that day." And then she ceased, and bending down her head bathed his hand with her tears Had any one asked him that morning, he would have said that it was impossible that the Countess of Desmond should weep And now the tears were streaming from her eyes as though she were a broken-hearted girl And so she was Her girlhood had been postponed and marred,—not destroyed and made away with, by the wrinkled earl with the gloating eyes She had said all now, and she stood there, still holding his hand in hers, but with her head turned from him It was his turn to speak now, and how was he to answer her I know how most men would have answered;—by the pressure of an arm, by a warm kiss, by a promise of love, and by a feeling that such love was possible And then most men would have gone home, leaving the woman triumphant, and have repented bitterly as they sat moody over their own fires, with their wine-bottles before them But it was not so with Owen Fitzgerald His heart was to him a reality He had loved with all his power and strength, with all the vigour of his soul,—having chosen to love But he would not now be enticed by pity into a bastard feeling, which would die away when the tenderness of the moment was no longer present to his eye and touch His love for Clara had been such that he could not even say that he loved another "Dear Lady Desmond," he began "Ah, Owen; we are to part now, part for ever," she said; "speak to me once in your life as though we were equal friends Cannot you forget for one minute that I am Countess of Desmond?" Mary, Countess of Desmond; such was her name and title But so little familiar had he been with the name by which he had never heard her called, that in his confusion he could not remember it And had he done so, he could not have brought himself to use it "Yes," he said; "we must part It is impossible for me to remain here." "Doubly impossible now," she replied, half reproaching him "Yes; doubly impossible now Is it not better that the truth should be spoken?" "Oh, yes I have spoken it—too plainly." "And so will I speak it plainly We cannot control our own hearts, Lady Desmond It is, as you say, doubly impossible now All the love I have had to give she has had,—and has Such being so, why should I stay here? or could you wish that I should do so?" "I not wish it." That was true enough The wish would have been to wander away with him "I must go, and shall start at once My very things are packed for my going I will not be here to have the sound of their marriage bells jangling in my ears I will not be pointed at as the man who has been duped on every side." "Ah me, that I was a man too,—that I could go away and make for myself a life!" "You have Desmond with you." "No, no He will go too; of course he will go He will go, and I shall be utterly alone What a fool I am,—what an ass, that by this time I have not learned to bear it!" "They will always be near you at Castle Richmond." "Ah, Owen, how little you understand! Have we been friends while we lived under the same roof? And now that she is there, do you think that she will heed me? I tell you that you do not know her She is excellent, good, devoted; but cold as ice She will live among the poor, and grace his table; and he will have all that he wants In twelve months, Owen, she would have turned your heart to a stone." "It is that already I think," said he "At any rate, it will be so to all others Good-bye, Lady Desmond." "Good-bye, Owen; and God bless you My secret will be safe with you." "Safe! yes, it will be safe." And then, as she put her cheek up to him, he kissed it and left her He had been very stern She had laid bare to him her whole heart, and he had answered her love by never a word He had made no reply in any shape,—given her no thanks for her heart's treasure He had responded to her affection by no tenderness He had not even said that this might have been so, had that other not have come to pass By no word had he alluded to her confession,—but had regarded her delusion as monstrous, a thing of which no word was to be spoken So at least said the countess to herself, sitting there all alone where he had left her "He regards me as old and worn In his eyes I am wrinkled and ugly." 'Twas thus that her thoughts expressed themselves; and then she walked across the room towards the mirror, but when there she could not look in it: she turned her back upon it without a glance, and returned to her seat by the window What mattered it now? It was her doom to live there alone for the term of life with which it might still please God to afflict her And then looking out from the window her eyes fell upon Owen as he rode slowly down across the park His horse was walking very slowly, and it seemed as though he himself were unconscious of the pace As long as he remained in sight she did not take her eyes from his figure, gazing at him painfully as he grew dimmer and more dim in the distance Then at last he turned behind the bushes near the lodge, and she felt that she was all alone It was the last that she ever saw of Owen Fitzgerald Unfortunate girl, marred in thy childhood by that wrinkled earl with the gloating eyes; or marred rather by thine own vanity! Those flesh-pots of Egypt! Are they not always thus bitter in the eating? CHAPTER XLIV CONCLUSION And now my story is told; and were it not for the fashion of the thing, this last short chapter might be spared It shall at any rate be very short Were it not that I eschew the fashion of double names for a book, thinking that no amount of ingenuity in this respect will make a bad book pass muster, whereas a good book will turn out as such though no such ingenuity be displayed, I might have called this "A Tale of the Famine Year in Ireland." At the period of the year to which the story has brought us—and at which it will leave us—the famine was at its very worst People were beginning to believe that there would never be a bit more to eat in the land, and that the time for hope and energy was gone Land was becoming of no value, and the only thing regarded was a sufficiency of food to keep body and soul together Under such circumstances it was difficult to hope But energy without hope is impossible, and therefore was there such an apathy and deadness through the country It was not that they did not work who were most concerned to work The amount of conscientious work then done was most praiseworthy But it was done almost without hope of success, and done chiefly as a matter of conscience There was a feeling, which was not often expressed but which seemed to prevail everywhere, that ginger would not again be hot in the mouth, and that in very truth the time for cakes and ale in this world was all over It was this feeling that made a residence in Ireland at that period so very sad Ah me! how little do we know what is coming to us! Irish cakes and ale were done and over for this world, we all thought But in truth the Irish cakes were only then a-baking, and the Irish ale was being brewed I am not sure that these good things are yet quite fit for the palates of the guest;—not as fit as a little more time will make them The cake is still too new,—cakes often are; and the ale is not sufficiently mellowed But of this I am sure, that the cakes and ale are there;—and the ginger, too, very hot in the mouth Let a committee of Irish landlords say how the rents are paid now, and what amount of arrears was due through the country when the famine came among them Rents paid to the day: that is the ginger hot in the mouth which best pleases the palate of a country gentleman But if one did in truth write a tale of the famine, after that it would behove the author to write a tale of the pestilence; and then another, a tale of the exodus These three wonderful events, following each other, were the blessings coming from Omniscience and Omnipotence by which the black clouds were driven from the Irish firmament If one, through it all, could have dared to hope, and have had from the first that wisdom which has learned to acknowledge that His mercy endureth for ever! And then the same author going on with his series would give in his last set,—Ireland in her prosperity Of all those who did true good conscientious work at this time, none exceeded in energy our friend Herbert Fitzgerald after his return to Castle Richmond It seemed to him as though some thank-offering were due from him for all the good things that Providence had showered upon him, and the best thank-offering that he could give was a devoted attention to the interest of the poor around him Mr Somers soon resigned to him the chair at those committee meetings at Berryhill and Gortnaclough, and it was acknowledged that the Castle Richmond arrangements for soup-kitchens, out-door relief, and labour-gangs, might be taken as a model for the south of Ireland Few other men were able to go to the work with means so ample and with hands so perfectly free Mr Carter even, who by this time had become cemented in a warm trilateral friendship with Father Barney and the Rev Ỉneas Townsend, was obliged to own that many a young English country gentleman might take a lesson from Sir Herbert Fitzgerald in the duties peculiar to his position His marriage did not take place till full six months after the period to which our story has brought us Baronets with twelve thousand a year cannot be married off the hooks, as may be done with ordinary mortals Settlements of a grandiose nature were required, and were duly concocted Perhaps Mr Die had something to say to them, so that the great maxim of the law was brought into play Perhaps also, though of this Herbert heard no word, it was thought inexpedient to hurry matters while any further inquiry was possible in that affair of the Mollett connection Mr Die and Mr Prendergast were certainly going about, still drawing all coverts far and near, lest their fox might not have been fairly run to his last earth But, as I have said, no tidings as to this reached Castle Richmond There, in Ireland, no man troubled himself further with any doubt upon the subject; and Sir Herbert took his title and received his rents, by the hands of Mr Somers, exactly as though the Molletts, father and son, had never appeared in those parts It was six months before the marriage was celebrated, but during a considerable part of that time Clara remained a visitor at Castle Richmond To Lady Fitzgerald she was now the same as a daughter, and to Aunt Letty the same as a niece By the girls she had for months been regarded as a sister So she remained in the house of which she was to be the mistress, learning to know their ways, and ingratiating herself with those who were to be dependent on her "But I had rather stay with you, mamma, if you will allow me," Clara had said to her mother when the countess was making some arrangement with her that she should return to Castle Richmond "I shall be leaving you altogether so soon now!" And she got up close to her mother's side caressingly, and would fain have pressed into her arms and kissed her, and have talked to her of what was coming, as a daughter loves to talk to a loving mother But Lady Desmond's heart was sore and sad and harsh, and she preferred to be alone "You will be better at Castle Richmond, my dear: you will be much happier there, of course There can be no reason why you should come again into the gloom of this prison." "But I should be with you, dearest mamma." "It is better that you should be with the Fitzgeralds now; and as for me—I must learn to live alone Indeed I have learned it, so you need not mind for me." Clara was rebuffed by the tone rather than the words, but she still looked up into her mother's face wistfully "Go, my dear," said the countess—"I would sooner be alone at present." And so Clara went It was hard upon her that even now her mother would not accept her love But Lady Desmond could not be cordial with her daughter She made more than one struggle to do so, but always failed She could,—she thought that she could, have watched her child's happiness with contentment had Clara married Owen Fitzgerald—Sir Owen, as he would then have been But now she could only remember that Owen was lost to them both, lost through her child's fault She did not hate Clara: nay, she would have made any sacrifice for her daughter's welfare; but she could not take her lovingly to her bosom So she shut herself up alone, in her prison as she called it, and then looked back upon the errors of her life It was as well for her to look back as to look forward, for what joy was there for which she could dare to hope? In the days that were coming, however, she did relax something of her sternness Clara was of course married from Desmond Court, and the very necessity of making some preparations for this festivity was in itself salutary But indeed it could hardly be called a festivity,—it was so quiet and sombre Clara had but two bridesmaids, and they were Mary and Emmeline Fitzgerald The young earl gave away his sister, and Aunt Letty was there, and Mr Prendergast, who had come over about the settlements; Mr Somers also attended, and the ceremony was performed by our old friend Mr Townsend Beyond these there were no guests at the wedding of Sir Herbert Fitzgerald The young earl was there, and at the last the wedding had been postponed a week for his coming He had left Eton at Midsummer in order that he might travel for a couple of years with Owen Fitzgerald before he went to Oxford It had been the lad's own request, and had been for a while refused by Owen But Fitzgerald had at last given way to the earl's love, and they had started together for Norway "They want me to be home," he had said one morning to his friend "Ah, yes; I suppose so." "Do you know why?" They had never spoken a word about Clara since they had left England together, and the earl now dreaded to mention her name "Know why!" replied Owen; "of course I do It is to give away your sister Go home, Desmond, my boy; when you have returned we will talk about her I shall bear it better when I know that she is his wife." And so it was with them For two years Lord Desmond travelled with him, and after that Owen Fitzgerald went on upon his wanderings alone Many a long year has run by since that, and yet he has never come back to Hap House Men of the county Cork now talk of him as one whom they knew long since He who took his house as a stranger is a stranger no longer in the country, and the place that Owen left vacant has been filled The hounds of Duhallow would not recognize his voice, nor would the steed in the stable follow gently at his heels But there is yet one left who thinks of him, hoping that she may yet see him before she dies ***END OF THE PROJECT GUTENBERG EBOOK CASTLE RICHMOND*** ******* This file should be named 5897-h.txt or 5897-h.zip ******* This and all associated files of various formats will be found in: http://www.gutenberg.org/5/8/9/5897 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 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 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://www.gutenberg.org/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 Gutenberg-tm 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.org 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.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-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 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 are 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.gutenberg.org/fundraising/pglaf 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 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://www.gutenberg.org/about/contact 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://www.gutenberg.org/fundraising/pglaf 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: http://www.gutenberg.org/fundraising/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 Each eBook is in a subdirectory of the same number as the eBook's eBook number, often in several formats including plain vanilla ASCII, compressed (zipped), HTML and others Corrected EDITIONS of our eBooks replace the old file and take over the old filename and etext number The replaced older file is renamed VERSIONS based on separate sources are treated as new eBooks receiving new filenames and etext numbers Most people start at our Web site which has the main PG search facility: http://www.gutenberg.org 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 EBooks posted prior to November 2003, with eBook numbers BELOW #10000, are filed in directories based on their release date If you want to download any of these eBooks directly, rather than using the regular search system you may utilize the following addresses and just download by the etext year http://www.gutenberg.org/dirs/etext06/ (Or /etext 05, 04, 03, 02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) EBooks posted since November 2003, with etext numbers OVER #10000, are filed in a different way The year of a release date is no longer part of the directory path The path is based on the etext number (which is identical to the filename) The path to the file is made up of single digits corresponding to all but the last digit in the filename For example an eBook of filename 10234 would be found at: http://www.gutenberg.org/dirs/1/0/2/3/10234 or filename 24689 would be found at: http://www.gutenberg.org/dirs/2/4/6/8/24689 An alternative method of locating eBooks: http://www.gutenberg.org/dirs/GUTINDEX.ALL *** END: FULL LICENSE *** ... CASTLE RICHMOND BY ANTHONY TROLLOPE With an Introduction by Algar Thorold London & New York: MCMVI INTRODUCTION "Castle Richmond" was written in 1861, long after Trollope had left Ireland... its appearance Castle Richmond might have been in Hampshire or Essex; and as regards his property, Sir Thomas Fitzgerald might have been a Leicestershire baronet Here, at Castle Richmond, lived Sir Thomas with his wife and daughters; and... At Christmas-time during that winter a ball was given at Castle Richmond, to celebrate the coming of age of the young heir It was not a very gay affair, for the Castle Richmond folk, even in those days, were