The Golgotha Dancers
Date: 2010-05-29T00:00:00+00:00
Keywords: Short stories; Fantasy fiction; Horror tales; Art -- Fiction

The Project Gutenberg eBook of The Golgotha Dancers

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

Title: The Golgotha Dancers

Author: Manly Wade Wellman

Release date: May 29, 2010 [eBook #32580]
Most recently updated: January 6, 2021

Language: English

Credits: Produced by Greg Weeks, Mary Meehan and the Online
Distributed Proofreading Team at https://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK THE GOLGOTHA DANCERS ***

The Golgotha Dancers

By MANLY WADE WELLMAN

[Transcriber Note: This etext was produced from Weird Tales October 1937. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.]

A curious and terrifying story about an artist who sold his soul that he might paint a living picture

I had come to the Art Museum to see the special show of Goya prints, but that particular gallery was so crowded that I could hardly get in, much less see or savor anything; wherefore I walked out again. I wandered through the other wings with their rows and rows of oils, their Greek and Roman sculptures, their stern ranks of medieval armors, their Oriental porcelains, their Egyptian gods. At length, by chance and not by design, I came to the head of a certain rear stairway. Other habitués of the museum will know the one I mean when I remind them that Arnold Böcklin's The Isle of the Dead hangs on the wall of the landing.

I started down, relishing in advance the impression Böcklin's picture would make with its high brown rocks and black poplars, its midnight sky and gloomy film of sea, its single white figure erect in the bow of the beach-nosing skiff. But, as I descended, I saw that The Isle of the Dead was not in its accustomed position on the wall. In that space, arresting even in the bad light and from the up-angle of the stairs, hung a gilt-framed painting I had never seen or heard of in all my museum-haunting years.

I gazed at it, one will imagine, all the way down to the landing. Then I had a close, searching look, and a final appraising stare from the lip of the landing above the lower half of the flight. So far as I can learn—and I have been diligent in my research—the thing is unknown even to the best-informed of art experts. Perhaps it is as well that I describe it in detail.

It seemed to represent action upon a small plateau or table rock, drab and bare, with a twilight sky deepening into a starless evening. This setting, restrainedly worked up in blue-grays and blue-blacks, was not the first thing to catch the eye, however. The front of the picture was filled with lively dancing creatures, as pink, plump and naked as cherubs and as patently evil as the meditations of Satan in his rare idle moments.

I counted those dancers. There were twelve of them, ranged in a half-circle, and they were cavorting in evident glee around a central object—a prone cross, which appeared to be made of two stout logs with some of the bark still upon them. To this cross a pair of the pink things—that makes fourteen—kneeling and swinging blocky-looking hammers or mauls, spiked a human figure.

I say human when I speak of that figure, and I withhold the word in describing the dancers and their hammer-wielding fellows. There is a reason. The supine victim on the cross was a beautifully represented male body, as clear and anatomically correct as an illustration in a surgical textbook. The head was writhed around, as if in pain, and I could not see the face or its expression; but in the tortured tenseness of the muscles, in the slaty white sheen of the skin with jagged streaks of vivid gore upon it, agonized nature was plain and doubly plain. I could almost see the painted limbs writhe against the transfixing nails.

By the same token, the dancers and hammerers were so dynamically done as to seem half in motion before my eyes. So much for the sound skill of the painter. Yet, where the crucified prisoner was all clarity, these others were all fog. No lines, no angles, no muscles—their features could not be seen or sensed. I was not even sure if they had hair or not. It was as if each was picked out with a ray of light in that surrounding dusk, light that revealed and yet shimmered indistinctly; light, too, that had absolutely nothing of comfort or honesty in it.

"Hold on, there!" came a sharp challenge from the stairs behind and below me. "What are you doing? And what's that picture doing?"

I started so that I almost lost my footing and fell upon the speaker—one of the Museum guards. He was a slight old fellow and his thin hair was gray, but he advanced upon me with all the righteous, angry pluck of a beefy policeman. His attitude surprised and nettled me.

"I was going to ask somebody that same question," I told him as austerely as I could manage. "What about this picture? I thought there was a Böcklin hanging here."

The guard relaxed his forbidding attitude at first sound of my voice. "Oh, I beg your pardon, sir. I thought you were somebody else—the man who brought that thing." He nodded at the picture, and the hostile glare came back into his eyes. "It so happened that he talked to me first, then to the curator. Said it was art—great art—and the Museum must have it." He lifted his shoulders, in a shrug or a shudder. "Personally, I think it's plain beastly."

So it was, I grew aware as I looked at it again. "And the Museum has accepted it at last?" I prompted.

He shook his head. "Oh, no, sir. An hour ago he was at the back door, with that nasty daub there under his arm. I heard part of the argument. He got insulting, and he was told to clear out and take his picture with him. But he must have got in here somehow, and hung it himself." Walking close to the painting, as gingerly as though he expected the pink dancers to leap out at him, he pointed to the lower edge of the frame. "If it was a real Museum piece, we'd have a plate right there, with the name of the painter and the title."

I, too, came close. There was no plate, just as the guard had said. But in the lower left-hand corner of the canvas were sprawling capitals, pale paint on the dark, spelling out the word GOLGOTHA. Beneath these, in small, barely readable script:

I sold my soul that I might paint a living picture.

No signature or other clue to the artist's identity.

The guard had discovered a great framed rectangle against the wall to one side. "Here's the picture he took down," he informed me, highly relieved. "Help me put it back, will you, sir? And do you suppose," here he grew almost wistful, "that we could get rid of this other thing before someone finds I let the crazy fool slip past me?"

I took one edge of The Isle of the Dead and lifted it to help him hang it once more.

"Tell you what," I offered on sudden impulse; "I'll take this Golgotha piece home with me, if you like."

"Would you do that?" he almost yelled out in his joy at the suggestion. "Would you, to oblige me?"

"To oblige myself," I returned. "I need another picture at my place."

And the upshot of it was, he smuggled me and the unwanted painting out of the Museum. Never mind how. I have done quite enough as it is to jeopardize his job and my own welcome up there.

It was not until I had paid off my taxi and lugged the unwieldy parallelogram of canvas and wood upstairs to my bachelor apartment that I bothered to wonder if it might be valuable. I never did find out, but from the first I was deeply impressed.

Hung over my own fireplace, it looked as large and living as a scene glimpsed through a window or, perhaps, on a stage in a theater. The capering pink bodies caught new lights from my lamp, lights that glossed and intensified their shape and color but did not reveal any new details. I pored once more over the cryptic legend: I sold my soul that I might paint a living picture.

A living picture—was it that? I could not answer. For all my honest delight in such things, I cannot be called expert or even knowing as regards art. Did I even like the Golgotha painting? I could not be sure of that, either. And the rest of the inscription, about selling a soul; I was considerably intrigued by that, and let my thoughts ramble on the subject of Satanist complexes and the vagaries of half-crazy painters. As I read, that evening, I glanced up again and again at my new possession. Sometimes it seemed ridiculous, sometimes sinister. Shortly after midnight I rose, gazed once more, and then turned out the parlor lamp. For a moment, or so it seemed, I could see those dancers, so many dim-pink silhouettes in the sudden darkness. I went to the kitchen for a bit of whisky and water, and thence to my bedroom.

I had dreams. In them I was a boy again, and my mother and sister were leaving the house to go to a theater where—think of it!—Richard Mansfield would play Beau Brummell. I, the youngest, was told to stay at home and mind the troublesome furnace. I wept copiously in my disappointed loneliness, and then Mansfield himself stalked in, in full Brummell regalia. He laughed goldenly and stretched out his hand in warm greeting. I, the lad of my dreams, put out my own hand, then was frightened when he would not loosen his grasp. I tugged, and he laughed again. The gold of his laughter turned suddenly hard, cold. I tugged with all my strength, and woke.

Something held me tight by the wrist.

In my first half-moment of wakefulness I was aware that the room was filled with the pink dancers of the picture, in nimble, fierce-happy motion. They were man-size, too, or nearly so, visible in the dark with the dim radiance of fox-fire. On the small scale of the painting they had seemed no more than babyishly plump; now they were gross, like huge erect toads. And, as I awakened fully, they were closing in, a menacing ring of them, around my bed. One stood at my right side, and its grip, clumsy and rubbery-hard like that of a monkey, was closed upon my arm.

I saw and sensed all this, as I say, in a single moment. With the sensing came the realization of peril, so great that I did not stop to wonder at the uncanniness of my visitors. I tried frantically to jerk loose. For the moment I did not succeed and as I thrashed about, throwing my body nearly across the bed, a second dancer dashed in from the left. It seized and clamped my other arm. I felt, rather than heard, a wave of soft, wordless merriment from them all. My heart and sinews seemed to fail, and briefly I lay still in a daze of horror, pinned down crucifix-fashion between my two captors.

Was that a hammer raised above me as I sprawled?

There rushed and swelled into me the sudden startled strength that sometimes favors the desperate. I screamed like any wild thing caught in a trap, rolled somehow out of bed and to my feet. One of the beings I shook off and the other I dashed against the bureau. Freed, I made for the bedroom door and the front of the apartment, stumbling and staggering on fear-weakened legs.

One of the dim-shining pink things barred my way at the very threshold, and the others were closing in behind, as if for a sudden rush. I flung my right fist with all my strength and weight. The being bobbed back unresistingly before my smash, like a rubber toy floating through water. I plunged past, reached the entry and fumbled for the knob of the outer door.

They were all about me then, their rubbery palms fumbling at my shoulders, my elbows, my pajama jacket. They would have dragged me down before I could negotiate the lock. A racking shudder possessed me and seemed to flick them clear. Then I stumbled against a stand, and purely by good luck my hand fell upon a bamboo walking-stick. I yelled again, in truly hysterical fierceness, and laid about me as with a whip. My blows did little or no damage to those unearthly assailants, but they shrank back, teetering and dancing, to a safe distance. Again I had the sense that they were laughing, mocking. For the moment I had beaten them off, but they were sure of me in the end. Just then my groping free hand pressed a switch. The entry sprang into light.

On the instant they were not there.

Somebody was knocking outside, and with trembling fingers I turned the knob of the door. In came a tall, slender girl with a blue lounging-robe caught hurriedly around her. Her bright hair was disordered as though she had just sprung from her bed.

"Is someone sick?" she asked in a breathless voice. "I live down the hall—I heard cries." Her round blue eyes were studying my face, which must have been ghastly pale. "You see, I'm a trained nurse, and perhaps——"

"Thank God you did come!" I broke in, unceremoniously but honestly, and went before her to turn on every lamp in the parlor.

It was she who, without guidance, searched out my whisky and siphon and mixed for me a highball of grateful strength. My teeth rang nervously on the edge of the glass as I gulped it down. After that I got my own robe—a becoming one, with satin facings—and sat with her on the divan to tell of my adventure. When I had finished, she gazed long at the painting of the dancers, then back at me. Her eyes, like two chips of the April sky, were full of concern and she held her rosy lower lip between her teeth. I thought that she was wonderfully pretty.

"What a perfectly terrible nightmare!" she said.

"It was no nightmare," I protested.

She smiled and argued the point, telling me all manner of comforting things about mental associations and their reflections in vivid dreams.

To clinch her point she turned to the painting.

"This line about a 'living picture' is the peg on which your slumbering mind hung the whole fabric," she suggested, her slender fingertip touching the painted scribble. "Your very literal subconscious self didn't understand that the artist meant his picture would live only figuratively."

"Are you sure that's what the artist meant?" I asked, but finally I let her convince me. One can imagine how badly I wanted to be convinced.

She mixed me another highball, and a short one for herself. Over it she told me her name—Miss Dolby—and finally she left me with a last comforting assurance. But, nightmare or no, I did not sleep again that night. I sat in the parlor among the lamps, smoking and dipping into book after book. Countless times I felt my gaze drawn back to the painting over the fireplace, with the cross and the nail-pierced wretch and the shimmering pink dancers.

After the rising sun had filled the apartment with its honest light and cheer I felt considerably calmer. I slept all morning, and in the afternoon was disposed to agree with Miss Dolby that the whole business had been a bad dream, nothing more. Dressing, I went down the hall, knocked on her door and invited her to dinner with me.

It was a good dinner. Afterward we went to an amusing motion picture, with Charles Butterworth in it as I remember. After bidding her good-night, I went to my own place. Undressed and in bed, I lay awake. My late morning slumber made my eyes slow to close. Thus it was that I heard the faint shuffle of feet and, sitting up against my pillows, saw the glowing silhouettes of the Golgotha dancers. Alive and magnified, they were creeping into my bedroom.

I did not hesitate or shrink this time. I sprang up, tense and defiant.

"No, you don't!" I yelled at them. As they seemed to hesitate before the impact of my wild voice, I charged frantically. For a moment I scattered them and got through the bedroom door, as on the previous night. There was another shindy in the entry; this time they all got hold of me, like a pack of hounds, and wrestled me back against the wall. I writhe even now when I think of the unearthly hardness of their little gripping paws. Two on each arm were spread-eagling me upon the plaster. The cruciform position again!

I swore, yelled and kicked. One of them was in the way of my foot. He floated back, unhurt. That was their strength and horror—their ability to go flabby and non-resistant under smashing, flattening blows. Something tickled my palm, pricked it. The point of a spike....

"Miss Dolby!" I shrieked, as a child might call for its mother. "Help! Miss D——"

The door flew open; I must not have locked it. "Here I am," came her unafraid reply.

She was outlined against the rectangle of light from the hall. My assailants let go of me to dance toward her. She gasped but did not scream. I staggered along the wall, touched a light-switch, and the parlor just beyond us flared into visibility. Miss Dolby and I ran in to the lamp, rallying there as stone-age folk must have rallied at their fire to face the monsters of the night. I looked at her; she was still fully dressed, as I had left her, apparently had been sitting up. Her rouge made flat patches on her pale cheeks, but her eyes were level.

This time the dancers did not retreat or vanish; they lurked in the comparative gloom of the entry, jigging and trembling as if mustering their powers and resolutions for another rush at us.

"You see," I chattered out to her, "it wasn't a nightmare."

She spoke, not in reply, but as if to herself. "They have no faces," she whispered. "No faces!" In the half-light that was diffused upon them from our lamp they presented the featurelessness of so many huge gingerbread boys, covered with pink icing. One of them, some kind of leader, pressed forward within the circle of the light. It daunted him a bit. He hesitated, but did not retreat.

From my center table Miss Dolby had picked up a bright paper-cutter. She poised it with the assurance of one who knows how to handle cutting instruments.

"When they come," she said steadily, "let's stand close together. We'll be harder to drag down that way."

I wanted to shout my admiration of her fearless front toward the dreadful beings, my thankfulness for her quick run to my rescue. All I could mumble was, "You're mighty brave."

She turned for a moment to look at the picture above my dying fire. My eyes followed hers. I think I expected to see a blank canvas—find that the painted dancers had vanished from it and had grown into the living ones. But they were still in the picture, and the cross and the victim were there, too. Miss Dolby read aloud the inscription:

"A living picture ... The artist knew what he was talking about, after all."

"Couldn't a living picture be killed?" I wondered.

It sounded uncertain, and a childish quibble to boot, but Miss Dolby exclaimed triumphantly, as at an inspiration.

"Killed? Yes!" she shouted. She sprang at the picture, darting out with the paper-cutter. The point ripped into one of the central figures in the dancing semicircle.

All the crowd in the entry seemed to give a concerted throb, as of startled protest. I swung, heart racing, to front them again. What had happened? Something had changed, I saw. The intrepid leader had vanished. No, he had not drawn back into the group. He had vanished.

Miss Dolby, too, had seen. She struck again, gashed the painted representation of another dancer. And this time the vanishing happened before my eyes, a creature at the rear of the group went out of existence as suddenly and completely as though a light had blinked out.

The others, driven by their danger, rushed.

I met them, feet planted. I tried to embrace them all at once, went over backward under them. I struck, wrenched, tore. I think I even bit something grisly and bloodless, like fungoid tissue, but I refuse to remember for certain. One or two of the forms struggled past me and grappled Miss Dolby. I struggled to my feet and pulled them back from her. There were not so many swarming after me now. I fought hard before they got me down again. And Miss Dolby kept tearing and stabbing at the canvas—again, again. Clutches melted from my throat, my arms. There were only two dancers left. I flung them back and rose. Only one left. Then none.

They were gone, gone into nowhere.

"That did it," said Miss Dolby breathlessly.

She had pulled the picture down. It was only a frame now, with ragged ribbons of canvas dangling from it.

I snatched it out of her hands and threw it upon the coals of the fire.

"Look," I urged her joyfully. "It's burning! That's the end. Do you see?"

"Yes, I see," she answered slowly. "Some fiend-ridden artist—his evil genius brought it to life."

"The inscription is the literal truth, then?" I supplied.

"Truth no more." She bent to watch the burning. "As the painted figures were destroyed, their incarnations faded."

We said nothing further, but sat down together and gazed as the flames ate the last thread of fabric, the last splinter of wood. Finally we looked up again and smiled at each other.

All at once I knew that I loved her.

*** END OF THE PROJECT GUTENBERG EBOOK THE GOLGOTHA DANCERS ***

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.

Table of Contents

- The Golgotha Dancers

- THE FULL PROJECT GUTENBERG LICENSE