The History of Don Quixote, Volume 2, Part 24
Date: 2004-07-22T00:00:00+00:00
Keywords: Spain -- Social life and customs -- 16th century -- Fiction; Knights and knighthood -- Spain -- Fiction; Picaresque literature; Romances

The Project Gutenberg eBook of The History of Don Quixote, Volume 2, Part 24

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 History of Don Quixote, Volume 2, Part 24

Author: Miguel de Cervantes Saavedra

Illustrator: Gustave Doré

Translator: John Ormsby

Release date: July 22, 2004 [eBook #5927]
Most recently updated: December 29, 2020

Language: English

Credits: Produced by David Widger

*** START OF THE PROJECT GUTENBERG EBOOK THE HISTORY OF DON QUIXOTE, VOLUME 2, PART 24 ***

DON QUIXOTE

by Miguel de Cervantes

Translated by John Ormsby

Volume II.,  Part 24.

Chapter 21

Ebook Editor's Note

The book cover and spine above and the images which follow were not part of the original Ormsby translation—they are taken from the 1880 edition of J. W. Clark, illustrated by Gustave Dore. Clark in his edition states that, "The English text of 'Don Quixote' adopted in this edition is that of Jarvis, with occasional corrections from Motteaux." See in the introduction below John Ormsby's critique of both the Jarvis and Motteaux translations. It has been elected in the present Project Gutenberg edition to attach the famous engravings of Gustave Dore to the Ormsby translation instead of the Jarvis/Motteaux. The detail of many of the Dore engravings can be fully appreciated only by utilizing the "Enlarge" button to expand them to their original dimensions. Ormsby in his Preface has criticized the fanciful nature of Dore's illustrations; others feel these woodcuts and steel engravings well match Quixote's dreams.            D.W.

CONTENTS

CHAPTER XXI
IN WHICH CAMACHO'S WEDDING IS CONTINUED, WITH OTHER
DELIGHTFUL INCIDENTS

DON QUIXOTE

Volume II.

CHAPTER XXI.

IN WHICH CAMACHO'S WEDDING IS CONTINUED, WITH OTHER DELIGHTFUL INCIDENTS

While Don Quixote and Sancho were engaged in the discussion set forth the last chapter, they heard loud shouts and a great noise, which were uttered and made by the men on the mares as they went at full gallop, shouting, to receive the bride and bridegroom, who were approaching with musical instruments and pageantry of all sorts around them, and accompanied by the priest and the relatives of both, and all the most distinguished people of the surrounding villages. When Sancho saw the bride, he exclaimed, "By my faith, she is not dressed like a country girl, but like some fine court lady; egad, as well as I can make out, the patena she wears rich coral, and her green Cuenca stuff is thirty-pile velvet; and then the white linen trimming—by my oath, but it's satin! Look at her hands—jet rings on them! May I never have luck if they're not gold rings, and real gold, and set with pearls as white as a curdled milk, and every one of them worth an eye of one's head! Whoreson baggage, what hair she has! if it's not a wig, I never saw longer or fairer all the days of my life. See how bravely she bears herself—and her shape! Wouldn't you say she was like a walking palm tree loaded with clusters of dates? for the trinkets she has hanging from her hair and neck look just like them. I swear in my heart she is a brave lass, and fit 'to pass over the banks of Flanders.'"

Don Quixote laughed at Sancho's boorish eulogies and thought that, saving his lady Dulcinea del Toboso, he had never seen a more beautiful woman. The fair Quiteria appeared somewhat pale, which was, no doubt, because of the bad night brides always pass dressing themselves out for their wedding on the morrow. They advanced towards a theatre that stood on one side of the meadow decked with carpets and boughs, where they were to plight their troth, and from which they were to behold the dances and plays; but at the moment of their arrival at the spot they heard a loud outcry behind them, and a voice exclaiming, "Wait a little, ye, as inconsiderate as ye are hasty!" At these words all turned round, and perceived that the speaker was a man clad in what seemed to be a loose black coat garnished with crimson patches like flames. He was crowned (as was presently seen) with a crown of gloomy cypress, and in his hand he held a long staff. As he approached he was recognised by everyone as the gay Basilio, and all waited anxiously to see what would come of his words, in dread of some catastrophe in consequence of his appearance at such a moment. He came up at last weary and breathless, and planting himself in front of the bridal pair, drove his staff, which had a steel spike at the end, into the ground, and, with a pale face and eyes fixed on Quiteria, he thus addressed her in a hoarse, trembling voice:

"Well dost thou know, ungrateful Quiteria, that according to the holy law we acknowledge, so long as live thou canst take no husband; nor art thou ignorant either that, in my hopes that time and my own exertions would improve my fortunes, I have never failed to observe the respect due to thy honour; but thou, casting behind thee all thou owest to my true love, wouldst surrender what is mine to another whose wealth serves to bring him not only good fortune but supreme happiness; and now to complete it (not that I think he deserves it, but inasmuch as heaven is pleased to bestow it upon him), I will, with my own hands, do away with the obstacle that may interfere with it, and remove myself from between you. Long live the rich Camacho! many a happy year may he live with the ungrateful Quiteria! and let the poor Basilio die, Basilio whose poverty clipped the wings of his happiness, and brought him to the grave!"

And so saying, he seized the staff he had driven into the ground, and leaving one half of it fixed there, showed it to be a sheath that concealed a tolerably long rapier; and, what may be called its hilt being planted in the ground, he swiftly, coolly, and deliberately threw himself upon it, and in an instant the bloody point and half the steel blade appeared at his back, the unhappy man falling to the earth bathed in his blood, and transfixed by his own weapon.

His friends at once ran to his aid, filled with grief at his misery and sad fate, and Don Quixote, dismounting from Rocinante, hastened to support him, and took him in his arms, and found he had not yet ceased to breathe. They were about to draw out the rapier, but the priest who was standing by objected to its being withdrawn before he had confessed him, as the instant of its withdrawal would be that of this death. Basilio, however, reviving slightly, said in a weak voice, as though in pain, "If thou wouldst consent, cruel Quiteria, to give me thy hand as my bride in this last fatal moment, I might still hope that my rashness would find pardon, as by its means I attained the bliss of being thine."

Hearing this the priest bade him think of the welfare of his soul rather than of the cravings of the body, and in all earnestness implore God's pardon for his sins and for his rash resolve; to which Basilio replied that he was determined not to confess unless Quiteria first gave him her hand in marriage, for that happiness would compose his mind and give him courage to make his confession.

Don Quixote hearing the wounded man's entreaty, exclaimed aloud that what Basilio asked was just and reasonable, and moreover a request that might be easily complied with; and that it would be as much to Senor Camacho's honour to receive the lady Quiteria as the widow of the brave Basilio as if he received her direct from her father.

"In this case," said he, "it will be only to say 'yes,' and no consequences can follow the utterance of the word, for the nuptial couch of this marriage must be the grave."

Camacho was listening to all this, perplexed and bewildered and not knowing what to say or do; but so urgent were the entreaties of Basilio's friends, imploring him to allow Quiteria to give him her hand, so that his soul, quitting this life in despair, should not be lost, that they moved, nay, forced him, to say that if Quiteria were willing to give it he was satisfied, as it was only putting off the fulfillment of his wishes for a moment. At once all assailed Quiteria and pressed her, some with prayers, and others with tears, and others with persuasive arguments, to give her hand to poor Basilio; but she, harder than marble and more unmoved than any statue, seemed unable or unwilling to utter a word, nor would she have given any reply had not the priest bade her decide quickly what she meant to do, as Basilio now had his soul at his teeth, and there was no time for hesitation.

On this the fair Quiteria, to all appearance distressed, grieved, and repentant, advanced without a word to where Basilio lay, his eyes already turned in his head, his breathing short and painful, murmuring the name of Quiteria between his teeth, and apparently about to die like a heathen and not like a Christian. Quiteria approached him, and kneeling, demanded his hand by signs without speaking. Basilio opened his eyes and gazing fixedly at her, said, "O Quiteria, why hast thou turned compassionate at a moment when thy compassion will serve as a dagger to rob me of life, for I have not now the strength left either to bear the happiness thou givest me in accepting me as thine, or to suppress the pain that is rapidly drawing the dread shadow of death over my eyes? What I entreat of thee, O thou fatal star to me, is that the hand thou demandest of me and wouldst give me, be not given out of complaisance or to deceive me afresh, but that thou confess and declare that without any constraint upon thy will thou givest it to me as to thy lawful husband; for it is not meet that thou shouldst trifle with me at such a moment as this, or have recourse to falsehoods with one who has dealt so truly by thee."

While uttering these words he showed such weakness that the bystanders expected each return of faintness would take his life with it. Then Quiteria, overcome with modesty and shame, holding in her right hand the hand of Basilio, said, "No force would bend my will; as freely, therefore, as it is possible for me to do so, I give thee the hand of a lawful wife, and take thine if thou givest it to me of thine own free will, untroubled and unaffected by the calamity thy hasty act has brought upon thee."

"Yes, I give it," said Basilio, "not agitated or distracted, but with unclouded reason that heaven is pleased to grant me, thus do I give myself to be thy husband."

"And I give myself to be thy wife," said Quiteria, "whether thou livest many years, or they carry thee from my arms to the grave."

"For one so badly wounded," observed Sancho at this point, "this young man has a great deal to say; they should make him leave off billing and cooing, and attend to his soul; for to my thinking he has it more on his tongue than at his teeth."

Basilio and Quiteria having thus joined hands, the priest, deeply moved and with tears in his eyes, pronounced the blessing upon them, and implored heaven to grant an easy passage to the soul of the newly wedded man, who, the instant he received the blessing, started nimbly to his feet and with unparalleled effrontery pulled out the rapier that had been sheathed in his body. All the bystanders were astounded, and some, more simple than inquiring, began shouting, "A miracle, a miracle!" But Basilio replied, "No miracle, no miracle; only a trick, a trick!" The priest, perplexed and amazed, made haste to examine the wound with both hands, and found that the blade had passed, not through Basilio's flesh and ribs, but through a hollow iron tube full of blood, which he had adroitly fixed at the place, the blood, as was afterwards ascertained, having been so prepared as not to congeal. In short, the priest and Camacho and most of those present saw they were tricked and made fools of. The bride showed no signs of displeasure at the deception; on the contrary, hearing them say that the marriage, being fraudulent, would not be valid, she said that she confirmed it afresh, whence they all concluded that the affair had been planned by agreement and understanding between the pair, whereat Camacho and his supporters were so mortified that they proceeded to revenge themselves by violence, and a great number of them drawing their swords attacked Basilio, in whose protection as many more swords were in an instant unsheathed, while Don Quixote taking the lead on horseback, with his lance over his arm and well covered with his shield, made all give way before him. Sancho, who never found any pleasure or enjoyment in such doings, retreated to the wine-jars from which he had taken his delectable skimmings, considering that, as a holy place, that spot would be respected.

"Hold, sirs, hold!" cried Don Quixote in a loud voice; "we have no right to take vengeance for wrongs that love may do to us: remember love and war are the same thing, and as in war it is allowable and common to make use of wiles and stratagems to overcome the enemy, so in the contests and rivalries of love the tricks and devices employed to attain the desired end are justifiable, provided they be not to the discredit or dishonour of the loved object. Quiteria belonged to Basilio and Basilio to Quiteria by the just and beneficent disposal of heaven. Camacho is rich, and can purchase his pleasure when, where, and as it pleases him. Basilio has but this ewe-lamb, and no one, however powerful he may be, shall take her from him; these two whom God hath joined man cannot separate; and he who attempts it must first pass the point of this lance;" and so saying he brandished it so stoutly and dexterously that he overawed all who did not know him.

But so deep an impression had the rejection of Quiteria made on Camacho's mind that it banished her at once from his thoughts; and so the counsels of the priest, who was a wise and kindly disposed man, prevailed with him, and by their means he and his partisans were pacified and tranquillised, and to prove it put up their swords again, inveighing against the pliancy of Quiteria rather than the craftiness of Basilio; Camacho maintaining that, if Quiteria as a maiden had such a love for Basilio, she would have loved him too as a married woman, and that he ought to thank heaven more for having taken her than for having given her.

Camacho and those of his following, therefore, being consoled and pacified, those on Basilio's side were appeased; and the rich Camacho, to show that he felt no resentment for the trick, and did not care about it, desired the festival to go on just as if he were married in reality. Neither Basilio, however, nor his bride, nor their followers would take any part in it, and they withdrew to Basilio's village; for the poor, if they are persons of virtue and good sense, have those who follow, honour, and uphold them, just as the rich have those who flatter and dance attendance on them. With them they carried Don Quixote, regarding him as a man of worth and a stout one. Sancho alone had a cloud on his soul, for he found himself debarred from waiting for Camacho's splendid feast and festival, which lasted until night; and thus dragged away, he moodily followed his master, who accompanied Basilio's party, and left behind him the flesh-pots of Egypt; though in his heart he took them with him, and their now nearly finished skimmings that he carried in the bucket conjured up visions before his eyes of the glory and abundance of the good cheer he was losing. And so, vexed and dejected though not hungry, without dismounting from Dapple he followed in the footsteps of Rocinante.

*** END OF THE PROJECT GUTENBERG EBOOK THE HISTORY OF DON QUIXOTE, VOLUME 2, PART 24 ***

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

Table of Contents

- DON QUIXOTE

- Translated by John Ormsby
- Volume II., Part 24. Chapter 21
- Ebook Editor's Note
- CONTENTS

- DON QUIXOTE

- Volume II.

- CHAPTER XXI.

- IN WHICH CAMACHO'S WEDDING IS CONTINUED, WITH OTHER DELIGHTFUL INCIDENTS

- THE FULL PROJECT GUTENBERG LICENSE