Ernesto Garcia Cabral: A Mexican Cartoonist
Date: 2019-09-02T00:00:00+00:00
Keywords: García Cabral; Ernesto; 1890-1968; Cartoonists -- Mexico

The Project Gutenberg eBook of Ernesto Garcia Cabral: A Mexican Cartoonist

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Ernesto Garcia Cabral: A Mexican Cartoonist

Author: G. R. G. Conway

Illustrator: Ernesto García Cabral

Release date: September 1, 2019 [eBook #60214]
Most recently updated: October 17, 2024

Language: English

Credits: Produced by Chuck Greif, ellinora and the Online Distributed
Proofreading Team at http://www.pgdp.net (This file was
produced from images generously made available by The
Internet Archive/Canadian Libraries)

*** START OF THE PROJECT GUTENBERG EBOOK ERNESTO GARCIA CABRAL: A MEXICAN CARTOONIST ***

Contents.

List of Illustrations
(In certain versions of this etext [in certain browsers] clicking on the image will bring up a larger version.)

Ernesto Garcia Cabral

-A-

MEXICAN CARTOONIST

BY

G. R. G. CONWAY

Issued for private circulation from

Calle de Marsella No. 47, City of Mexico.

MCMXXIII

OF this little book, one hundred and fifty copies
have been printed for the amusement of friends,
who will admire the genius of the famous Mexican
cartoonist and at the same time forgive the shortcomings
of the compiler.

This copy, which is No. ____ is dedicated
with friendly greetings

to ____

By ____

Xmas. 1923.

CONTENTS

| PAGE
Biographical Foreword | | 7 to 13.

ILLUSTRATIONS
I. | Ernesto García Cabral.
II. | Sr. Ing. Don Alberto Pani.
III. | Lic. Miguel Alessio Robles.
IV. | Sr. Ing. Antonio Madrazo.
V. | Lic. Benito Javier Pérez Verdía.
VI. | Lic. Luis Manuel Rojas.
VII. | Sr. Lic. Antonio Pérez Verdía F.
VIII. | Sr. Don Carlos B. Zetina.
IX. | Don José de la Macorra.
X. | The late Don Genaro García.
XI. | Sr. Don Carlos Meneses.
XII. | Señora Eugenia de Meléndez.
XIII. | Dr. Atl.
XIV. | Hon. William Howard Taft.
XV. | Ambassador Fletcher.
XVI. | Mr. George T. Summerlin.
XVII. | Mr. Matthew Elting Hanna.
XVIII. | Mr. Oscar Maxon.
XIX. | Mr. William Randolph Hearst.
XX. | Mr. Henry Ford.
XXI. | Ramón del Valle Inclán.
XXII. | Josef Lhévinne.
XXIII. | Anna Pavlowa.
XXIV. | Mr. E. R. Peacock.
XXV. | G. R. G. Conway.
XXVI. | Mr. Claude Marsh Butlin.
XXVII. | Georges Carpentier.
XXVIII. | Jack Dempsey.
XXIX. | Rodolfo Gaona.
XXX. | Ignacio Sánchez Mejías.
XXXI. | Juan Belmonte.
XXXII.-LVIII. | Political, Social and Topical Cartoons.

Ernesto García Cabral

Once, on a glittering ice-field, ages and ages ago,
Ung, a maker of pictures, fashioned an image of snow,
Fashioned the form of a tribesman—gaily he whistled and sung,
Working the snow with his fingers. Read ye the Story of Ung!

Pleased was his tribe with that image—came in their hundreds to scan—
Handled it, smelt it, and grunted: “Verily, this is a man!
“Thus do we carry our lances—thus is a war belt slung,
“Lo! it is even as we are. Glory and honor to Ung!”
.............................
Straight on the glittering ice-field, by the caves of the lost Dordogne,
Ung, a maker of pictures, fell to his scriving on bone—
Even to mammoth editions....
(KIPLING)

THE art of the cartoonist was flourishing in the palaeolithic age, about fifty thousand years ago. In the caves of Dordogne, in Southern France, the early artist scraped and scratched his figures of reindeers and mammoths, and colored them in red, white and black. He was a magic worker, using his remarkable art to impress his less skilled brother. The caricaturist belongs to a much later period; but he, too, was in evidence in Greece during the days of Aristophanes, a century or two before the artistic genius of the Maya race carved and modelled their quaint, grotesque figures of men and animals. That the art of caricature is an ancient one in Mexico we have abundant evidence. The artist usually worked in clay, but he also made drawings with pointed obsidian knives or charcoal on stone. Representations of his art craft can be seen in many of the ancient codices. In Padre Sahagun’s illustrations (the Florentine Codex) we find many whimsical and fantastic sketches, grim with sardonic humor. Except here and there, on rare occasions, the art of caricature which flourished in Europe during the Spanish Colonial period, was dormant in Mexico. In the Codex of San Juan Teotihuacan, which dates from the middle of the sixteenth century, we see the Indian artist caricaturing the portly Augustinian friars, and revealing with tragic earnestness the suffering of the poor natives whom the monks compelled to build their beautiful churches to the “Glory of God.”

But the art of satirical expression can only be developed when some degree of freedom obtains. Under Spanish rule and the rigid jurisdiction of the Inquisition no freedom of thought was possible. With the changed conditions brought about by the separation of New Spain from the mother country there was liberty enough—and even license—for the caricaturist, which he used with biting satire against the ever-changing political heroes. To-day, the political cartoonist in Mexico is a powerful factor in moulding public opinion against influential persons. Since the fall of Porfirio Diaz the daily and weekly journals have been enlivened by the cartoons of a brilliant group of young men—foremost and leader of them all is Ernesto Garcia Cabral, the fertile genius who has daily depicted and delineated every phase of Mexican life and politics.

Cabral, who is quite young, was born in the year 1891, in Huatusco, a picturesque village in the State of Veracruz. As a child of three or four years he amused himself by tracing figures on the ground and before the age of fourteen he delineated figures of animals and saints on the walls of the village church. At that time he also discovered his future artistic bent in making profile caricatures of his younger brothers and school-fellows. His school teacher, early recognizing the ability of the boy in draughtsmanship, persuaded the “Jefe Politico” of the district to solicit a scholarship from Señor Don Teodoro Dehesa, the enlightened Governor of the State. Señor Dehesa, a patron of art, who frequently acted as a Maecenas to struggling artists, granted the young Ernesto the coveted bursary which entitled him to enter the San Carlos Academy in the Capital of the Republic. There he was able to improve his technique, but the scholarship did not make him independent. To live and continue his studies it was necessary for him to earn money. He therefore commenced to draw for the public, collaborating in the publication of a lithographed political paper called “La Tarantula.” In this paper, directed by Fortunato Herrerías, he dedicated himself exclusively to the art of caricature. At the end of six months he joined the staff of the short-lived comic weekly “Frivolidades” which soon had to stop publication for want of funds. The next important step in Cabral’s career was his collaboration with Mario Vitoria, in the well-known political weekly “Multicolor” and through the medium of this paper his drawings became known to a wider and more influential circle. “Multicolor” had great political influence during the three years it was published (1911-1914), and helped very powerfully towards the making and unmaking of the political idols of the hour.

It was during this period that the brilliant young artist came to the notice of President Madero, who decided to send him to Paris to continue his studies at the expense of the Mexican Government. Cabral settled in Paris in 1912 and pursued his studies at the free academies of Colorossi and the Grande Chaumiére. Cabral’s native land was soon afterwards passing through the agonies of revolution and the tragic death of Madero left the artist penniless, as the new Government stopped all the bursaries of Mexican students then studying under official patronage in Europe. Deprived of all means of subsistence, Cabral, as he once told the present writer, was, for a time, actually starving. Some amelioration came to him as the result of winning a competition inaugurated by an official Academy of Painting at No. 80 Boulevard Montparnasse, the prize being free admission to the upper class of drawing from the nude. The competitors, who were fifteen in number, were required to make in five hours—one hour a night—a crayon drawing of a Greek statue. The starving artist’s success, ironically enough, was communicated by the Mexican Consul in Paris, to the Minister of Public Instruction and Fine Arts in Mexico, and the local press made Cabral the subject of flattering comment. Cabral was then able to continue his studies without expense, but was compelled at the same time to struggle gallantly for a pittance, by selling the productions of his pencil through the “Marchand de Tableaux”—and shortly afterwards he was taken on the staffs of “Le Rire” and “Bayonette.”

When the Great War broke out, Cabral was again in difficulties. Paris cared only for her own cartoonists, and it was then that he lived the bohemian life of the Latin Quarter—that centre of cardiac energy—described so graphically by Du Maurier and Murger, with the usual companionship of a sweet, pious and self-sacrificing blonde “Midinette” who shared the dark days of his misery. At that time, he has told us, he was in the habit of casting lots with his bohemian companions, to see who would procure sufficient funds for the satisfying of their ravenous stomachs—a motley lot of comrades in adversity, including would-be painters, musicians, poets and journalists. Garcia Cabral had, on more than one occasion, the experience of resorting to extraordinary stratagems to obtain sufficient food for their wants.

During 1918, when the Constitutional Government of Mexico was presided over by Don Venustiano Carranza, there was residing in Paris as the special envoy of the President, Lic. Isidoro Fabela, and under Sr. Fabela’s generous protection Cabral was appointed an Attaché in the Mexican Legation, his duties being the pleasant task of illustrating a book of narratives which Señor Fabela was intending to publish. Shortly afterwards, he accompanied Señor Fabela on his official missions to Madrid and Buenos Ayres and in the Argentine capital they stayed fifteen months. There, in the interest of a Mexican national propaganda, Cabral contributed his cartoons to the principal newspapers and reviews, achieving a very considerable reputation in the Argentine. In the beginning of 1919, after an exile of seven years, Cabral returned to his native land and his work immediately began to appear in the weekly “Revista de Revistas” and in the influential daily newspaper “Excelsior.” Since that time his career has been one of unbroken success and of extraordinary popularity.

Cabral’s amazing drawings are worthy of taking rank with those of the most distinguished foreign cartoonists. He can, with equal facility, produce the most humorous of cartoons or the most satirical of caricatures. In his cartoons of representative people, he seems to extract by critical penetration—sympathetically—the quintessential expression of his subject. He is always an artist, a consummate designer and a psychological observer who analytically peers into the minds of men and lays bare their personalities. His art is versatile. In line, he excels as no other Mexican artist; but he is also a master of chiaroscuro, and as an illustrator his understanding of the massing of color is extraordinary.

During the past three or four years, Cabral must have produced several thousand cartoons and caricatures. His cartoons of representative people in Mexico have been drawn mostly from life, each sketched rapidly and surely in a little over half an hour. His political, social and topical cartoons form a kaleidoscopic history of contemporary Mexico. A great political question, such as the official American recognition of President Obregon’s Government, finds Cabral sympathetically interpreting the international aspirations of the Mexican people. The danger of Bolshevism in the State of Veracruz becomes a subject for many convincing cartoons, of more influence than dozens of leading articles. Mexico City, due to an exceptional drought, is called upon to economize in its use of electric energy and daylight-saving is officially established for a time. Cabral, during the crisis, daily illustrates the necessity. He wages war upon incompetent medical men, portrays the risk the pedestrian takes on the crowded streets of the Capital, the evil effects of unlawful strikes, and so on;—every phase in the everchanging life of the Capital is eloquently depicted. In some of his cartoons of persons he subordinates caricature in favor of true portraiture, and in others, the kindly sympathetic personality of the artist changes rapidly into the satirist and cynical student of life with an ineradicable memory of its shams and miseries.

For the selection of the cartoons reproduced in this book the writer is responsible; it does not profess to represent Cabral’s best work, and he himself would probably have chosen quite differently from the thousands he has done. The cartoons have suffered by reduction and reproduction, as the majority of them have been copied direct from the “Excelsior.” Nos. I., XVII-XXIV and XXV, were reproduced from the original drawings.

The writer’s apology for a selection that may not represent the best of the artist’s work is due to the cartoonist, as those reproduced have been selected on account of their personal appeal to the friends for whom this limited edition is intended. Cabral hopes, at an early date, to publish a representative collection of his work—which all lovers of his art will joyfully welcome.

A critical study of the Mexican cartoonist’s genius will some day be attempted. This little book does not pretend to be anything more than an appreciation by an admirer, who lacks the critical and artistic knowledge to determine Cabral’s true place among cartoonists in Mexico and abroad.

G. R. G. CONWAY.

I.

ERNESTO GARCIA CABRAL.

As he sees himself.

II.

SR. ING. DON ALBERTO PANI.

Has held the Portfolios of Foreign Affairs, and of Commerce and Industry. Was formerly Mexican Minister accredited to France and is now Minister of Hacienda. He is the “handy man” of the Mexican Government: a cultivated engineer, a technical and political writer, and a lover of art. A genial spirit, perpetually smiling and smoking.

III.

LIC. MIGUEL ALESSIO ROBLES.

Recently Minister of Commerce and Industry. Formerly Mexican Ambassador to the Court of Madrid.

IV.

SR. ING. ANTONIO MADRAZO.

During President Carranza’s administration acted as Sub-secretary of the Department of Finance; and under President Obregon has been Governor of the State of Guanajuato.

V.

BENITO JAVIER PEREZ VERDIA.

Lawyer, journalist and man of letters. One of the founders of the Fascisti movement in Mexico.

VI.

LIC. LUIS MANUEL ROJAS.

One of the originators of the Mexican Constitution of 1917; the founder of the “Revista de Revistas” and a prominent mason.

VII.

SR. LIC. ANTONIO PEREZ VERDIA F.

An eminent lawyer and Chairman of the Mexican Bar.

VIII.

SR. DON CARLOS B. ZETINA.

A progressive and democratic captain of industry who realizes that the old order passeth giving place to the new. Many of his friends would like to see him a future President of the Republic; but he prefers a more tranquil pathway along life’s pilgrimage.

IX.

DON JOSE DE LA MACORRA.

A representative Spanish merchant and manufacturer of paper.

X.

THE LATE DON GENARO GARCIA.

A scholarly historian of Mexico, who gave to the world for the first time an exact transcript of the Guatemala manuscript of “The True History of the Conquest of New Spain” by that lovable and garrulous old conquistador, Bernal Diaz. Genaro Garcia’s fine library is now a treasured possession of the University of Texas.

XI.

SR. DON CARLOS MENESES.

A notable Mexican musician. Founder of the School of Pianists and organizer of the first symphonic concerts in Mexico; one who has done much for the advancement of music in his native land.

XII.

SEÑORA EUGENIA DE MELENDEZ.

A well-known Mexican woman writer.

XIII.

DR. ATL.

Originator of the Casa Mundial (I. W. W.) of Mexico. As a writer and teacher has done a great deal to popularize the minor arts of Mexico. Is a painter with ultra-impressionistic tendencies, and well-known as an intrepid climber of Popocatepetl.

XIV.

HON. WILLIAM HOWARD TAFT.

Twenty-seventh President of the United States; now Chief Justice of the Supreme Court.

XV.

AMBASSADOR FLETCHER.

Formerly Ambassador of the United States in Mexico; an authority on Latin America; now Ambassador in Belgium. Has had long diplomatic experience, his whole career having been spent in the service in many lands.

XVI.

MR. GEORGE T. SUMMERLIN.

Counsellor of the American Embassy with Ambassador Fletcher when he took office in 1917, and since January 1919 has been Chargé d’Affaires. “Summie,” as his intimate friends affectionately call him, has served his country well and has gained the respect and confidence of the Mexican people. His friends hope that his expected promotion will take him to the Court of St. James.

XVII.

MR. MATTHEW ELTING HANNA.

Has charge of Mexican affairs in the State Department of Washington. “Joe,” as he is known to all his friends in Mexico City, was formerly First Secretary of the American Embassy. He is a hard worker, a genial host and a welcome guest and is greatly missed in the Capital.

XVIII.

MR. OSCAR MAXON.

Maxy is the wittiest American in Mexico City. Probably he would be called in his own home town “a wealthy and prominent realtor.” He collects many beautiful things and is always willing to open his packing cases to show them to genuine lovers of antiques.

XIX.

MR. WILLIAM RANDOLPH HEARST.

XX.

MR. HENRY FORD.

XXI.

RAMON DEL VALLE INCLAN.

The most skilful musician among modern Spanish poets. As a visitor to Mexico he received an indifferent welcome from his “paisanos” owing to his outspoken remarks on the reigning Spanish monarchy.

XXII.

JOSEF LHEVINNE.

The eminent pianist who always finds a popular welcome in Mexico City.

XXIII.

ANNA PAVLOWA.

The Queen of dancers.

XXIV.

MR. E. R. PEACOCK.

A Canadian by birth and a graduate in arts of Queen’s University. About 20 years ago was a senior master in Upper Canada College, Toronto. From there he entered the world of finance in London and now has the distinction of being the first Director of the Bank of England appointed outside of the esoteric circle of “the City”—a tribute not only to himself but a compliment to Canada. Is actively interested in many British enterprises in Mexico, Spain and South America.

XXV.

G. R. G. CONWAY.

“Cuando había agua.” (Excelsior, 11th February, 1921.)

XXVI.

MR. CLAUDE MARSH BUTLIN.

The best all-round sportsman in Mexico. As becomes an Englishman he excels in cricket; has been for many years tennis champion; a scratch golfer and withal a fine player of the difficult game of pelota.

XXVII

The famous French puglist.

XXVIII.

JACK DEMPSEY.

XXIX.

RODOLFO GAONA.

A Mexican “Torero” and the idol of the bull-fighting public. He is reputed to be the bravest that ever appeared in the rings of New Spain.

XXX.

IGNACIO SANCHEZ MEJIAS.

A very brave and ambitious bull-fighter from Seville. Formerly a student of medicine, he abandoned his profession for the plaudits of the middle and upper-class frequenters of the bull-ring, who adore him.

XXXI.

JUAN BELMONTE.

The “Phenomenon” from Seville, who thrills his excitable audiences with his daring work near the horns of the bull.

XXXII.

FINAL CONSULTATION.

HE WHO IS POINTING (President Obregon): “Energy within the law!” ...

PUBLIC OPINION: “I have confidence in you, Doctor.”

XXXIII.

INTERNATIONAL TAILORING.

President Obregon: When will you let me have the suit, boss?

Uncle Sam: We require many fittings (pruebas) yet, General.

(“Pruebas” in Spanish means both fittings and proofs.)

XXXIV.

THE RECOGNITION QUESTION.

General Obregon, as Ford driver: Ready sir?

Uncle Sam: Does the car go well?

Ford Driver: Just examine (reconozca) it and you’ll see.

(“Reconocer” in Spanish means both examine and recognize.)

XXXV.

WILL HE GIVE HER THE DEATH BLOW?

Cabral here depicts the strangling of Industry in the State of Veracruz by Bolshevism.

XXXVI.

TAKE YOUR MUSIC ELSEWHERE.

The Average Man: “What a goat’s whiskers he’s got.”

XXXVII.

WHAT A KNOCK IN THE EYE!

This cartoon refers to an insulting and threatening telegram sent by the Strike Committee to General Obregon during a Tramways strike in Mexico City, and the President’s vigorous reply.

XXXVIII.

Employer: I won’t give you work because you get drunk so often.

Workman: Not very often, boss; only when I celebrate my name day.

Employer: What’s your name?

Workman: Domingo. (Sunday).

XXXIX.

INFALLIBLE FOR HEADACHES.

“Comment unnecessary.”

In Mexico City the jitney is a terror to the pedestrian. Upon this one is an advertisement of a patent medicine “Infallible for headaches.”

XL.

He: I am reading a sensational piece of news.

She: What is it?

He: An automobile knocked a man down and killed him.

She: That’s nothing; many people are knocked down every day.

He: Yes, but in this case they arrested the chauffeur.

XLI.

“Excuse me, sir, has the Colonia-Roma tram gone by?”

“Do you take me for a tram despatcher?”

“No, sir, I mistook you for a gentleman, that’s all.”

XLII.

IS LIGHT NECESSARY?

“Shall we get accustomed to being without light, friend?”

“That is a matter of indifference to me as my wife gives a tremendous lot of light.”

(In Spanish, the verb “To give light” means also “To give birth.”)

XLIII.

EL CONFLICTO DE LUZ Y FUERZA

(The Light and Power Conflict)

Who gave you that, brother?

Luz, (Light) my wife.

What energy she used!

Naturally, seeing she has lots of motive power. (fuerza motriz.)

XLIV.

THE OFFICIAL TIME.

Widow: He died at four in the morning, official time, without making a will; he didn’t have time to do so....

... God’s will be done; but if he had died at four o’clock astronomical time, everything would have been all right!

XLV.

OFFICIAL TIME.

“I’m awfully sorry to tell you, old man, but on Saturday, at 11 o’clock at night, I saw your wife with another man.”

“You lie, you idiot!”

“Man!—You insult me!”

“It was twelve o’clock. Don’t you know that we are an hour in advance?”

“You’re quite right—pardon me.”

XLVI.

THE WATER CRISIS.

“Have you noticed that black shirts are fashionable?”

“Certaintly—it is the triumph of Fascismo.”

“Rubbish!—it’s on account of excess of dirt and want of water.”

XLVII.

OUR RESTAURANTS.

Diner: Imbecile!—the fish you gave me a week ago was better.

Waiter: You are the imbecile—because I can prove to you it’s the same!

XLVIII.

1st kiddie: My parents bought me new shoes and a little brother in Paris.

2nd kiddie: Oh well, mine didn’t bring me shoes because they bought me twins.

XLIX.

SAFETY AT NIGHT.

The Young Fellow: My wife has just given birth to twins—at four o’clock in the morning.

The Old Boy: Well, that’s very commendable caution. Few people care to arrive alone in Mexico at that hour.

L.

THE HENPECKED ONE.

Lunch time, and my wife so jealous! What the deuce am I to do to justify my late arrival?

LI.

BETWEEN MILK VENDORS.

“How many liters of milk does your cow give, Don Pancho?”

“About eight liters, Doña Julia.”

“And how many do you sell?”

“Oh, not more than twenty.”

LII.

“So you’ve finished crying at last!”

The Kid: “No!” (sniffling)—“I’m only resting a little.”

LIII.

IRONY.

He: After you Madame!

LIV.

FAMILY DISPUTES.

He: And so you are capable of saying I am two-faced!

She: Heavens, no! The one you have is enough!

LV.

The Padre:—(Teaching his pupil the ten commandments) The fifth—‘Thou shalt not kill.’

The Pupil: Not even when I have “fuero,” father?

(“Fuero” is a privilege granted to Congressmen and others which exempts them from arrest for crimes committed when holding office.)

LVI.

FATHERS OF THE COUNTRY.

“To think I have so many and am so neglected!”

(Congressmen in Mexico are called “Fathers of the Country.”)

LVII.

THE FAUX PAS.

“What do you think of my wife’s voice?”

“Excuse me, that woman’s making such a noise I can’t hear a word!—What were you saying?”

LVIII.

“Why don’t you marry Rose?”

“Nothing doing, old man. She’s bitterly opposed to divorce.”

*** END OF THE PROJECT GUTENBERG EBOOK ERNESTO GARCIA CABRAL: A MEXICAN CARTOONIST ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

Table of Contents

- Ernesto Garcia Cabral
- CONTENTS
- THE FULL PROJECT GUTENBERG LICENSE