Essay on the Short Story Write a 850-word literary analysis essay on Dracula’s Guest from the lesson learning activities.Research is NOT permitted. This essay should demonstrate your own literary an
Dracula’s Guest Page 1 of 21 The Project Gutenberg eBook, Dracula’s Guest, by Bram Stoker 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 inc luded with this eBook or online at www.gutenberg.org Title: Dracula’s Guest Author: Bram Stoker Release Date: November 20, 2003 [eBook #10150] This revision released November 7, 2006. Most recently updated: November 10, 2014 Language: English Character set encoding: ISO -8859 -1 ***START OF THE PROJECT GUTENBERG EBOOK DRACULA’S GUEST*** E-text prepared by Bill Keir, Susan Woodring, and the Project Gutenberg Online Distributed Proofreading Team and revised by Jeannie Howse Dracula’s Guest Page 2 of 21 DRACULA’S GUEST by Bram Stoker First published 1914 To MY SON CONTENTS Dracula’s Gues t 4 Dracula’s Guest Page 3 of 21 PREFACE A few months before the lamented death of my husband — I might say even as the shadow of death was over him — he planned three series of short stories for publication, and the present volume is one of them. To his original list of stories in this book, I have added an hitherto unpublished episode from Dracula . It was ori ginally excised owing to the length of the book, and may prove of interest to the many readers of what is considered my husband’s most remarkable work. The other stories have already been published in English and American periodicals. Had my husband lived longer, he might have seen fit to revise this work, which is mainly from the earlier years of his strenuous life. But, as fate has entrusted to me the issuing of it, I consider it fitting and proper to let it go forth practically as it was left by him. FLO RENCE BRAM STOKER Dracula’s Guest Page 4 of 21 Dracula’s Guest When we started for our drive the sun was shining brightly on Munich, and the air was full of the joyousness of early summer. Just as we were about to depart, Herr Delbrück (the maître d’hô tel of the Quatre Saisons, where I was staying) came down, bareheaded, to the carriage and, after wishing me a pleasant drive, said to the coachman, still holding his hand on the handle of the carriage door: ‘Remember you are back by nightfall. The sky loo ks bright but there is a shiver in the north wind that says there may be a sudden storm. But I am sure you will not be late.’ Here he smiled, and added, ‘for you know what night it is.’ Johann answered with an emphatic, ‘Ja, mein Herr,’ and, touching his h at, drove off quickly. When we had cleared the town, I said, after signalling to him to stop: ‘Tell me, Johann, what is tonight?’ He crossed himself, as he answered laconically: ‘Walpurgis nacht.’ Then he took out his watch, a great, old -fashioned German s ilver thing as big as a turnip, and looked at it, with his eyebrows gathered together and a little impatient shrug of his shoulders. I realised that this was his way of respectfully protesting against the unnecessary delay, and sank back in the carriage, m erely motioning him to proceed. He started off rapidly, as if to make up for lost time. Every now and then the horses seemed to throw up their heads and sniffed the air suspiciously. On such occasions I often looked round in alarm. The road was pretty blea k, for we were traversing a sort of high, wind -swept plateau. As we drove, I saw a road that looked but little used, and which seemed to dip through a little, winding valley. It looked so inviting that, even at the risk of offending him, I called Johann to stop — and when he had pulled up, I told him I would like to drive down that road. He made all sorts of excuses, and frequently crossed himself as he spoke. This somewhat piqued my curiosity, so I asked him various questions. He answered fencingly, and rep eatedly looked at his watch in protest. Finally I said: ‘Well, Johann, I want to go down this road. I shall not ask you to come unless you like; but tell me why you do not like to go, that is all I ask.’ For answer he seemed to throw himself off the box, s o quickly did he reach the ground. Then he stretched out his hands appealingly to me, and implored me not to go. There was just enough of English mixed with the German for me to understand the drift of his talk. He seemed always just about to tell me somet hing — the very idea of which Dracula’s Guest Page 5 of 21 evidently frightened him; but each time he pulled himself up, saying, as he crossed himself: ‘Walpurgis -Nacht!’ I tried to argue with him, but it was difficult to argue with a man when I did not know his languag e. The advantage certainly rested with him, for although he began to speak in English, of a very crude and broken kind, he always got excited and broke into his native tongue — and every time he did so, he looked at his watch. Then the horses became restless and sniffed the air. At this he grew very pale, and, looking around in a frightened way, he suddenly jumped forward, took them by the bridles and led them on some twenty feet. I followed, and asked why he had done this. For answer he crossed himself, poin ted to the spot we had left and drew his carriage in the direction of the other road, indicating a cross, and said, first in German, then in English: ‘Buried him — him what killed themselves.’ I remembered the old custom of burying suicides at cross -roads: ‘ Ah! I see, a suicide. How interesting!’ But for the life of me I could not make out why the horses were frightened. Whilst we were talking, we heard a sort of sound between a yelp and a bark. It was far away; but the horses got very restless, and it took J ohann all his time to quiet them. He was pale, and said, ‘It sounds like a wolf — but yet there are no wolves here now.’ ‘No?’ I said, questioning him; ‘isn’t it long since the wolves were so near the city?’ ‘Long, long,’ he answered, ‘in the spring and summ er; but with the snow the wolves have been here not so long.’ Whilst he was petting the horses and trying to quiet them, dark clouds drifted rapidly across the sky. The sunshine passed away, and a breath of cold wind seemed to drift past us. It was only a breath, however, and more in the nature of a warning than a fact, for the sun came out brightly again. Johann looked under his lifted hand at the horizon and said: ‘The storm of snow, he comes before long time.’ Then he looked at his watch again, and, stra ightway holding his reins firmly — for the horses were still pawing the ground restlessly and shaking their heads — he climbed to his box as though the time had come for proceeding on our journey. I felt a little obstinate and did not at once get into the carr iage. ‘Tell me,’ I said, ‘about this place where the road leads,’ and I pointed down. Dracula’s Guest Page 6 of 21 Again he crossed himself and mumbled a prayer, before he answered, ‘It is unholy.’ ‘What is unholy?’ I enquired. ‘The village.’ ‘Then there is a village?’ ‘No, no. No one lives there hundreds of years.’ My curiosity was piqued, ‘But you said there was a village.’ ‘There was.’ ‘Where is it now?’ Whereupon he burst out into a long story in German and English, so mixed up that I could not quite understand exactly what he said, but roughly I gathered that long ago, hundreds of years, men had died there and been buried in their graves; and sounds were heard under the clay, and when the graves were opened, men and women were found rosy wi th life, and their mouths red with blood. And so, in haste to save their lives (aye, and their souls! — and here he crossed himself) those who were left fled away to other places, where the living lived, and the dead were dead and not — not something. He was e vidently afraid to speak the last words. As he proceeded with his narration, he grew more and more excited. It seemed as if his imagination had got hold of him, and he ended in a perfect paroxysm of fear — white -faced, perspiring, trembling and looking round him, as if expecting that some dreadful presence would manifest itself there in the bright sunshine on the open plain. Finally, in an agony of desperation, he cried: ‘Walpurgis nacht!’ and pointed to the carriage for me to get in. All my English blood rose at this, and, standing back, I said: ‘You are afraid, Johann — you are afraid. Go home; I shall return alone; the walk will do me good.’ The carriage door was open. I took from the seat my oak walking -sti ck — which I always carry on my holiday excursions — and closed the door, pointing back to Munich, and said, ‘Go home, Johann — Walpurgis -nacht doesn’t concern Englishmen.’ The horses were now more restive than ever, and Johann was trying to hold them in, while excitedly imploring me not to do anything so foolish. I pitied the poor fellow, he was deeply in earnest; but all the same I could not help laughing. His English was quite gone now. In his anxiety he had forgotten that his only means of making me understan d was to talk my language, so he jabbered away in his native Dracula’s Guest Page 7 of 21 German. It began to be a little tedious. After giving the direction, ‘Home!’ I turned to go down the cross -road into the valley. With a despairing gesture, Johann turned his hors es towards Munich. I leaned on my stick and looked after him. He went slowly along the road for a while: then there came over the crest of the hill a man tall and thin. I could see so much in the distance. When he drew near the horses, they began to jump a nd kick about, then to scream with terror. Johann could not hold them in; they bolted down the road, running away madly. I watched them out of sight, then looked for the stranger, but I found that he, too, was gone. With a light heart I turned down the sid e road through the deepening valley to which Johann had objected. There was not the slightest reason, that I could see, for his objection; and I daresay I tramped for a couple of hours without thinking of time or distance, and certainly without seeing a pe rson or a house. So far as the place was concerned, it was desolation itself. But I did not notice this particularly till, on turning a bend in the road, I came upon a scattered fringe of wood; then I recognised that I had been impressed unconsciously by t he desolation of the region through which I had passed. I sat down to rest myself, and began to look around. It struck me that it was considerably colder than it had been at the commencement of my walk — a sort of sighing sound seemed to be around me, with, now and then, high overhead, a sort of muffled roar. Looking upwards I noticed that great thick clouds were drifting rapidly across the sky from North to South at a great height. There were signs of coming storm in some lofty stratum of the air. I was a little chilly, and, thinking that it was the sitting still after the exercise of walking, I resumed my journey. The ground I passed over was now much more picturesque. There were no striking objects that the eye might sin gle out; but in all there was a charm of beauty. I took little heed of time and it was only when the deepening twilight forced itself upon me that I began to think of how I should find my way home. The brightness of the day had gone. The air was cold, and the drifting of clouds high overhead was more marked. They were accompanied by a sort of far -away rushing sound, through which seemed to come at intervals that mysterious cry which the driver had said came from a wolf. For a while I hesitated. I had said I would see the deserted village, so on I went, and presently came on a wide stretch of open country, shut in by hills all around. Their sides were covered with trees which spread down to the plain, dotting, in clumps, the gentler slopes and hollows which showed here and there. I followed with my eye the winding of the road, and saw that it curved close to one of the densest of these clumps and was lost behind it. Dracula’s Guest Page 8 of 21 As I looked there came a cold shiver in the air, and the snow began to fall. I thought of the miles and miles of bleak country I had passed, and then hurried on to seek the shelter of the wood in front. Darker and darker grew the sky, and faster and heavier fell the snow, till the earth before and around me was a glistening white c arpet the further edge of which was lost in misty vagueness. The road was here but crude, and when on the level its boundaries were not so marked, as when it passed through the cuttings; and in a little while I found that I must have strayed from it, for I missed underfoot the hard surface, and my feet sank deeper in the grass and moss. Then the wind grew stronger and blew with ever increasing force, till I was fain to run before it. The air became icy -cold, and in spite of my exercise I began to suffer. Th e snow was now falling so thickly and whirling around me in such rapid eddies that I could hardly keep my eyes open. Every now and then the heavens were torn asunder by vivid lightning, and in the flashes I could see ahead of me a great mass of trees, chie fly yew and cypress all heavily coated with snow. I was soon amongst the shelter of the trees, and there, in comparative silence, I could hear the rush of the wind high overhead. Presently the blackness of the storm had become merged in the darkness of the night. By -and -by the storm seemed to be passing away: it now only came in fierce puffs or blasts. At such moments the weird sound of the wolf appeared to be echoed by many similar sounds around me. Now and again, through the black mass of drifting cloud, came a straggling ray of moonlight, which lit up the expanse, and showed me that I was at the edge of a dense mass of cypress and yew trees. As the snow had ceased to fall, I walked out from the shelter and began to investigate more closely. It appeared to me that, amongst so many old foundations as I had passed, there might be still standing a house in which, though in ruins, I could find some sort of shelter for a while. As I skirted the edge of the copse, I found that a low wall encircled it, and followi ng this I presently found an opening. Here the cypresses formed an alley leading up to a square mass of some kind of building. Just as I caught sight of this, however, the drifting clouds obscured the moon, and I passed up the path in darkness. The wind mu st have grown colder, for I felt myself shiver as I walked; but there was hope of shelter, and I groped my way blindly on. I stopped, for there was a sudden stillness. The storm had passed; and, perhaps in sympathy with nature’s silence, my heart seemed to cease to beat. But this was only momentarily; for suddenly the moonlight broke through the clouds, showing me that I was in a graveyard, and that the square object before me was a great massive tomb of marble, as white as the snow that lay on and all arou nd it. With the moonlight there came a fierce sigh of the storm, which appeared to resume its course with a long, low howl, as of many dogs or wolves. I was awed and shocked, Dracula’s Guest Page 9 of 21 and felt the cold perceptibly grow upon me till it seemed to gri p me by the heart. Then while the flood of moonlight still fell on the marble tomb, the storm gave further evidence of renewing, as though it was returning on its track. Impelled by some sort of fascination, I approached the sepulchre to see what it was, a nd why such a thing stood alone in such a place. I walked around it, and read, over the Doric door, in German: COUNTESS DOLINGEN OF GRATZ IN STYRIA SOUGHT AND FOUND DEATH 1801 On the top of the tomb, seemingly driven through the solid marble — for the structure was composed of a few vast blocks of stone — was a great iron spike or stake. On going to the back I saw, graven in great Russian letters: ‘The dead travel fast.’ There was something so weird and uncanny about the whole thing that it gave m e a turn and made me feel quite faint. I began to wish, for the first time, that I had taken Johann’s advice. Here a thought struck me, which came under almost mysterious circumstances and with a terrible shock. This was Walpurgis Night! Walpurgis Night, w hen, according to the belief of millions of people, the devil was abroad — when the graves were opened and the dead came forth and walked. When all evil things of earth and air and water held revel. This very place the driver had specially shunned. This was the depopulated village of centuries ago. This was where the suicide lay; and this was the place where I was alone — unmanned, shivering with cold in a shroud of snow with a wild storm gathering again upon me! It took all my philosophy, all the religion I h ad been taught, all my courage, not to collapse in a paroxysm of fright. And now a perfect tornado burst upon me. The ground shook as though thousands of horses thundered across it; and this time the storm bore on its icy wings, not snow, but great hailsto nes which drove with such violence that they might have come from the thongs of Balearic slingers — hailstones that beat down leaf and branch and made the shelter of the cypresses of no more avail than though their stems were standing -corn. At the first I ha d rushed to the nearest tree; but I was soon fain to leave it and seek the only spot that seemed to afford refuge, the deep Doric doorway of the marble tomb. There, crouching against the massive bronze door, I gained a certain amount of protection from the beating of the Dracula’s Guest Page 10 of 21 hailstones, for now they only drove against me as they ricocheted from the ground and the side of the marble. As I leaned against the door, it moved slightly and opened inwards. The shelter of even a tomb was welcome in tha t pitiless tempest, and I was about to enter it when there came a flash of forked -lightning that lit up the whole expanse of the heavens. In the instant, as I am a living man, I saw, as my eyes were turned into the darkness of the tomb, a beautiful woman, with rounded cheeks and red lips, seemingly sleeping on a bier. As the thunder broke overhead, I was grasped as by the hand of a giant and hurled out into the storm. The whole thing was so sudden that, before I could realise the shock, moral as well as phy sical, I found the hailstones beating me down. At the same time I had a strange, dominating feeling that I was not alone. I looked towards the tomb. Just then there came another blinding flash, which seemed to strike the iron stake that surmounted the tomb and to pour through to the earth, blasting and crumbling the marble, as in a burst of flame. The dead woman rose for a moment of agony, while she was lapped in the flame, and her bitter scream of pain was drowned in the thundercrash. The last thing I hear d was this mingling of dreadful sound, as again I was seized in the giant -grasp and dragged away, while the hailstones beat on me, and the air around seemed reverberant with the howling of wolves. The last sight that I remembered was a vague, white, moving mass, as if all the graves around me had sent out the phantoms of their sheeted -dead, and that they were closing in on me through the white cloudiness of the driving hail. Gradually there came a sort of vague beginning of consciousness; then a sense of weariness that was dreadful. For a time I remembered nothing; but slowly my senses returned. My feet seemed positively racked with pain, yet I could not move them. They seemed to be numbed. There was an icy feeling at the back of my neck and all down my s pine, and my ears, like my feet, were dead, yet in torment; but there was in my breast a sense of warmth which was, by comparison, delicious. It was as a nightmare — a physical nightmare, if one may use such an expression; for some heavy weight on my chest m ade it difficult for me to breathe. This period of semi -lethargy seemed to remain a long time, and as it faded away I must have slept or swooned. Then came a sort of loathing, like the first stage of sea -sickness, and a wild desire to be free from somethi ng — I knew not what. A vast stillness enveloped me, as though all the world were asleep or dead — only broken by the low panting as of some animal close to me. I felt a warm rasping at my throat, then came a consciousness of the awful truth, which chilled me to the heart and sent the blood surging up through my brain. Some great animal was lying Dracula’s Guest Page 11 of 21 on me and now licking my throat. I feared to stir, for some instinct of prudence bade me lie still; but the brute seemed to realise that there was no w some change in me, for it raised its head. Through my eyelashes I saw above me the two great flaming eyes of a gigantic wolf. Its sharp white teeth gleamed in the gaping red mouth, and I could feel its hot breath fierce and acrid upon me. For another spe ll of time I remembered no more. Then I became conscious of a low growl, followed by a yelp, renewed again and again. Then, seemingly very far away, I heard a ‘Holloa! holloa!’ as of many voices calling in unison. Cautiously I raised my head and looked in the direction whence the sound came; but the cemetery blocked my view. The wolf still continued to yelp in a strange way, and a red glare began to move round the grove of cypresses, as though following the sound. As the voices drew closer, the wolf yelped faster and louder. I feared to make either sound or motion. Nearer came the red glow, over the white pall which stretched into the darkness around me. Then all at once from beyond the trees there came at a trot a troop of horsemen bearing torches. The wolf rose from my breast and made for the cemetery. I saw one of the horsemen (soldiers by their caps and their long military cloaks) raise his carbine and take aim. A companion knocked up his arm, and I heard the ball whizz over my head. He had evidently take n my body for that of the wolf. Another sighted the animal as it slunk away, and a shot followed. Then, at a gallop, the troop rode forward — some towards me, others following the wolf as it disappeared amongst the snow -clad cypresses. As they drew nearer I tried to move, but was powerless, although I could see and hear all that went on around me. Two or three of the soldiers jumped from their horses and knelt beside me. One of them raised my head, and placed his hand over my heart. ‘Good news, comrades!’ he cried. ‘His heart still beats!’ Then some brandy was poured down my throat; it put vigour into me, and I was able to open my eyes fully and look around. Lights and shadows were moving among the trees, and I heard men call to one another. They drew together , uttering frightened exclamations; and the lights flashed as the others came pouring out of the cemetery pell -mell, like men possessed. When the further ones came close to us, those who were around me asked them eagerly: ‘Well, have you found him?’ The re ply rang out hurriedly: ‘No! no! Come away quick — quick! This is no place to stay, and on this of all nights!’ Dracula’s Guest Page 12 of 21 ‘What was it?’ was the question, asked in all manner of keys. The answer came variously and all indefinitely as though the men we re moved by some common impulse to speak, yet were restrained by some common fear from giving their thoughts. ‘It — it— indeed!’ gibbered one, whose wits had plainly given out for the moment. ‘A wolf — and yet not a wolf!’ another put in shudderingly. ‘No use trying for him without the sacred bullet,’ a third remarked in a more ordinary manner. ‘Serve us right for coming out on this night! Truly we have earned our thousand marks!’ were the ejaculations of a fourth. ‘There was blood on the broken marble, ‘ another said after a pause — ‘the lightning never brought that there. And for him — is he safe? Look at his throat! See, comrades, the wolf has been lying on him and keeping his blood warm.’ The officer looked at my throat and replied: ‘He is all right; the skin is not pierced. What does it all mean? We should never have found him but for the yelping of the wolf.’ ‘What became of it?’ asked the man who was holding up my head, and who seemed the least panic -stricken of the party, for his hands were steady and without tremor. On his sleeve was the chevron of a petty officer. ‘It went to its home,’ answered the man, whose long face was pallid, and who actually shook with terror as he glanced around him fearfully. ‘There are graves enough there in which it may lie . Come, comrades — come quickly! Let us leave this cursed spot.’ The officer raised me to a sitting posture, as he uttered a word of command; then several men placed me upon a horse. He sprang to the saddle behind me, took me in his arms, gave the word to advance; and, turning our faces away from the cypresses, we rode away in swift, military order. As yet my tongue refused its office, and I was perforce silent. I must have fallen asleep; for the next thing I remembered was fin ding myself standing up, supported by a soldier on each side of me. It was almost broad daylight, and to the north a red streak of sunlight was reflected, like a path of blood, over the waste of snow. The officer was telling the men to say nothing of what they had seen, except that they found an English stranger, guarded by a large dog. Dracula’s Guest Page 13 of 21 ‘Dog! that was no dog,’ cut in the man who had exhibited such fear. ‘I think I know a wolf when I see one.’ The young officer answered calmly: ‘I said a dog .’ ‘Dog!’ reiterated the other ironically. It was evident that his courage was rising with the sun; and, pointing to me, he said, ‘Look at his throat. Is that the work of a dog, master?’ Instinctively I raised my hand to my throat, and as I touched it I cried out in pain. The men crowded round to look, some stooping down from their saddles; and again there came the calm voice of the young officer: ‘A dog, as I said. If aught else were said we should only be laughed at.’ I was then mounted behind a trooper, and we rode on into the suburbs of Munich. Here we came across a stray carriage, into which I was lifted, and it was driven off to the Quatre Saisons — the young officer accompanying me, wh ilst a trooper followed with his horse, and the others rode off to their barracks. When we arrived, Herr Delbrück rushed so quickly down the steps to meet me, that it was apparent he had been watching within. Taking me by both hands he solicitously led me in. The officer saluted me and was turning to withdraw, when I recognised his purpose, and insisted that he should come to my rooms. Over a glass of wine I warmly thanked him and his brave comrades for saving me. He replied simply that he was more than gla d, and that Herr Delbrück had at the first taken steps to make all the searching party pleased; at which ambiguous utterance the maître d’hôtel smiled, while the officer pleaded duty and withdrew. ‘But Herr Delbrück,’ I enquired, ‘how and why was it that t he soldiers searched for me?’ He shrugged his shoulders, as if in depreciation of his own deed, as he replied: ‘I was so fortunate as to obtain leave from the commander of the regiment in which I served, to ask for volunteers.’ ‘But how did you know I was lost?’ I asked. ‘The driver came hither with the remains of his carriage, which had been upset when the horses ran away.’ ‘But surely you would not send a search -party of soldiers merely on this account?’ Dracula’s Guest Page 14 of 21 ‘Oh, no!’ he answered; ‘but even b efore the coachman arrived, I had this telegram from the Boyar whose guest you are,’ and he took from his pocket a telegram which he handed to me, and I read: Bistritz . Be careful of my guest — his safety is most precious to me. Should aught happen to him, or if he be missed, spare nothing to find him and ensure his safety. He is English and therefore adventurous. There are often dangers from snow and wolves and night. Lose not a moment if you suspect harm to him. I answer your zeal with my fortune. — Dracula . As I held the telegram in my hand, the room seemed to whirl around me; and, if the attentive maître d’hôtel had not caught me, I think I should have fallen. There was something so strange in all this, s omething so weird and impossible to imagine, that there grew on me a sense of my being in some way the sport of opposite forces — the mere vague idea of which seemed in a way to paralyse me. I was certainly under some form of mysterious protection. From a di stant country had come, in the very nick of time, a message that took me out of the danger of the snow -sleep and the jaws of the wolf. ***END OF THE PROJECT GUTENBERG EBOOK DRACULA’S GUEST*** ******* This file should be named 10150 -h.txt or 10150 -h.zip ******* This and all associated files of various formats will be found in: http://www.gutenberg.org/1/0/1/5/10150 Updated editions will replace the previou s 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 a nd 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 Gut enberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, Dracula’s Guest Page 15 of 21 complying with the rules is very easy. You may use this eBo ok for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away –you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark licen se, especially commercial redistribution. *** START: FULL LICENSE *** THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Projec t 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 Gute nberg -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 a nd 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 elec tronic 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 acce ss 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 copyin g, 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 Dracula’s Guest Page 16 of 21 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 referen ces 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 “Proj ect 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 Gutenbe rg -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 Pro ject 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 Dracula’s Guest Page 17 of 21 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 distr ibute 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 V anilla 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 ob taining 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, disp laying, 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 p rovided 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 per iodic 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 al l 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 co py, 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. Dracula’s Guest Page 18 of 21 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. Proj ect 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 wo rks, 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 Arc hive 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 oppor tunities 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. Dracula’s Guest Page 19 of 21 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 agreem ent 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 wi th this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg -tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg -tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg -tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg -tm Project Gutenberg -tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle -aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need, is critical to reaching Project Gutenberg -tm’s goals and ensur ing 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 generatio ns. 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 Gutenbe rg 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 [email protected]. Email contact links and up to date contact information can be found at the Foundation’s web site and official Dracula’s Guest Page 20 of 21 page at http://www.gutenberg.org/about/contact For additional contact information: Dr. Gregory B. Newby Ch ief Executive and Director [email protected] 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. Internati onal 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 donati on 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. Dracula’s Guest Page 21 of 21 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 r eplace 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 t he 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 ad dresses 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 e Books: http://www.gutenberg.org/dirs/GUTINDEX.ALL *** END: FULL LICENSE ***