Download as pdf or txt
Download as pdf or txt
You are on page 1of 44

Cultural and Civilisational Links

between India and Southeast Asia 1st


ed. Edition Shyam Saran
Visit to download the full and correct content document:
https://ebookmass.com/product/cultural-and-civilisational-links-between-india-and-sou
theast-asia-1st-ed-edition-shyam-saran/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

Asymmetrical Neighbors: Borderland State Building


Between China and Southeast Asia Enze Han

https://ebookmass.com/product/asymmetrical-neighbors-borderland-
state-building-between-china-and-southeast-asia-enze-han/

Wellbeing from Woodland: A Critical Exploration of


Links Between Trees and Human Health 1st ed. 2020
Edition Alice Goodenough

https://ebookmass.com/product/wellbeing-from-woodland-a-critical-
exploration-of-links-between-trees-and-human-health-1st-
ed-2020-edition-alice-goodenough/

Regionalizing Global Human Rights Norms in Southeast


Asia 1st ed. Edition Dwi Ardhanariswari Sundrijo

https://ebookmass.com/product/regionalizing-global-human-rights-
norms-in-southeast-asia-1st-ed-edition-dwi-ardhanariswari-
sundrijo/

Cultural Diplomacy in Europe: Between the Domestic and


the International 1st ed. Edition Caterina Carta

https://ebookmass.com/product/cultural-diplomacy-in-europe-
between-the-domestic-and-the-international-1st-ed-edition-
caterina-carta/
Naval Modernisation in Southeast Asia : Problems and
Prospects for Small and Medium Navies 1st Edition
Geoffrey Till

https://ebookmass.com/product/naval-modernisation-in-southeast-
asia-problems-and-prospects-for-small-and-medium-navies-1st-
edition-geoffrey-till/

Suharto's Cold War: Indonesia, Southeast Asia, and the


World Mattias Fibiger

https://ebookmass.com/product/suhartos-cold-war-indonesia-
southeast-asia-and-the-world-mattias-fibiger/

Where Great Powers Meet: America and China in Southeast


Asia David Shambaugh

https://ebookmass.com/product/where-great-powers-meet-america-
and-china-in-southeast-asia-david-shambaugh/

Fire and Rain. Nixon, Kissinger, and the Wars in


Southeast Asia Carolyn Woods Eisenberg

https://ebookmass.com/product/fire-and-rain-nixon-kissinger-and-
the-wars-in-southeast-asia-carolyn-woods-eisenberg/

Knowledge Creation in Public Administrations:


Innovative Government in Southeast Asia and Japan 1st
Edition Ayano Hirose Nishihara

https://ebookmass.com/product/knowledge-creation-in-public-
administrations-innovative-government-in-southeast-asia-and-
japan-1st-edition-ayano-hirose-nishihara/
Edited by Shyam Saran

C U LT U R A L A N D
C I V I L I S AT I O N A L L I N K S
BETWEEN INDIA AND
SOUTHEAST ASIA
Historical and
Contemporary Dimensions
Cultural and Civilisational Links between India
and Southeast Asia
Shyam Saran
Editor

Cultural and
Civilisational Links
between India and
Southeast Asia
Historical and Contemporary Dimensions
Editor
Shyam Saran
Centre for Policy Research
New Delhi, India
Research and Information System
for Developing Countries (RIS)
New Delhi, India

ISBN 978-981-10-7316-8    ISBN 978-981-10-7317-5 (eBook)


https://doi.org/10.1007/978-981-10-7317-5

Library of Congress Control Number: 2018937672

© ASEAN-India Centre at Research and Information System for Developing Countries


(RIS) 2018
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights of
translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
microfilms or in any other physical way, and transmission or information storage and retrieval,
electronic adaptation, computer software, or by similar or dissimilar methodology now
known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors, and the editors are safe to assume that the advice and information
in this book are believed to be true and accurate at the date of publication. Neither the
publisher nor the authors or the editors give a warranty, express or implied, with respect
to the material contained herein or for any errors or omissions that may have been made.
The publisher remains neutral with regard to jurisdictional claims in published maps and
institutional affiliations.

Cover credit: Kreangagirl/Getty Images

Printed on acid-free paper

This Palgrave Macmillan imprint is published by the registered company Springer Nature
Singapore Pte Ltd.
The registered company address is: 152 Beach Road, #21-01/04 Gateway East, Singapore
189721, Singapore
Foreword

India and Southeast Asia inhabit a shared geographical and cultural space.
India’s cultural and civilizational linkages with Southeast Asia date back
thousands of years. In fact, no other country has such strong links with
Southeast Asia as India does, by way of religion, language, culture and
civilization.
India’s relations with ASEAN have gained momentum, embedded
firmly in “culture, commerce and connectivity”. Starting as a sectoral part-
ner of ASEAN in 1992, India became a dialogue partner of ASEAN in
1996, a summit-level partner in 2002 and a strategic partner in 2012. On
January 25, 2018, India and ASEAN celebrated 25 years of their partner-
ship, at a commemorative summit in New Delhi, with the participation of
Heads of State/Government from all the ten countries of ASEAN and
India. For the first time, all the ten ASEAN leaders also attended India’s
Republic Day celebrations on January 26, 2018, in New Delhi, as Guests
of Honour.
Our shared cultural linkages help us to understand and confront con-
temporary challenges. Our leaders recognize that there is a need to deepen
ASEAN-India ties, based on our rich cultural affinities. It is also recog-
nized that there is a need to create greater awareness of the linkages
between India and ASEAN.
The ASEAN-India Centre (AIC), Research and Information System for
Developing Countries (RIS) in collaboration with the Indian Council for
Cultural Research (ICCR) and the Ministry of External Affairs (MEA),
Government of India, organized an International Conference on “ASEAN-
India Cultural Links: Historical and Contemporary Dimensions”, which

v
vi Foreword

was held at the India Habitat Centre, New Delhi, on July 23–24, 2015.
Twenty-four eminent scholars from several parts of the world presented
their research papers at this Conference. This book titled Cultural and
Civilisational Links between India and Southeast Asia: Historical and
Contemporary Dimensions, edited by Ambassador Shyam Saran, presents
several dimensions of cultural linkages between India and Southeast Asia.
It contains research papers, written by eminent scholars on various aspects
of historical and cultural relations between India and Southeast Asia,
which were presented at the Conference.
As India’s engagement with the ASEAN countries moves forward, the
socio-cultural linkages between the two regions can be utilized effectively
to expand collaboration, beyond the economic and political domains into
areas of education, tourism and people-to-people contact. Several new
ideas for strengthening our cultural relations emerge in this book.
I congratulate Ambassador Shyam Saran and the AIC in publishing this
book for the use of a larger audience. I am confident this book will serve
as a valuable reference for researchers and policymakers.

Preeti Saran
Preface

India–Association of Southeast Asian Nations (ASEAN) relations have


witnessed remarkable growth in recent years. At the ASEAN–India
Commemorative Summit 2012 in New Delhi, the two sides elevated rela-
tions to a strategic partnership. The summit welcomed the report of the
ASEAN–India Eminent Persons’ Group and its vision statement on the
future of these relations. In this context, the summit encouraged ‘the
study, documentation and dissemination of knowledge about civilization
along links between ASEAN and India’. India’s Act East Policy has
imparted fresh momentum to these relations in all their multifarious
dimensions, including in the field of arts and culture. ASEAN and India
are celebrating twenty-five years of partnership.
The ASEAN–India Centre (AIC) at the Research and Information
System for Developing Countries (RIS) in collaboration with the Indian
Council for Cultural Relations (ICCR) and the Ministry of External
Affairs (MEA), Government of India, organised an international confer-
ence ‘ASEAN–India Cultural Links: Historical and Contemporary
Dimensions’ at the India Habitat Centre, New Delhi on 23–24 July 2015.
Twenty-four eminent scholars from ASEAN countries, India and several
other countries presented original research papers at this conference. They
discussed a number of key issues that are relevant to the objective of deep-
ening ASEAN–India cultural relations. These are now presented in a sin-
gle volume, which will become a valuable reference for scholars and
researchers, but will be of interest to the general reader as well.
I would like to record my appreciation of the efforts made by Dr Prabir
De and his team at AIC in putting together this volume. I wish to thank

vii
viii PREFACE

the Director General, Dr Sachin Chaturvedi, and other colleagues at RIS


for their constant support and cooperation. I wish to thank the President
of ICCR, Professor Lokesh Chandra, and its former Director General, Dr
Satish C. Mehta, who lent their valuable support to the conference and
contributed to its success.
I am also grateful to Ambassador Anil Wadhwa, former Secretary (East),
MEA, Government of India; Ambassador Preeti Saran, Present Secretary
(East), MEA, Government of India; Ms Pooja Kapur, former Joint
Secretary (ASEAN Multilateral), MEA, Government of India; and Mr
Anurag Bhushan, the current Joint Secretary (ASEAN Multilateral),
MEA, Government of India for their support and cooperation.
This book provides new ideas and suggestions related to deepening
ASEAN–India cultural relations. It will be welcomed by all those who
have an interest in the rich and remarkable history and contemporary
dimensions of India’s cultural engagement with its Southeast Asian
neighbours.

New Delhi, India Shyam Saran


Acknowledgements

Cultural and Civilisational Links between India and Southeast Asia:


Historical and Contemporary Dimensions has been edited by Ambassador
Shyam Saran, former chairman, RIS, with the support of Prof. Prabir De,
Coordinator, AIC at RIS, who has also coordinated the ASEAN–India
Cultural Links Project under the overall guidance of Ambassador Shyam
Saran.
We are grateful to Prof. Sachin Chaturvedi, Director General, RIS for
his guidance and encouragement. The publication has immensely bene-
fited from discussions with Ms Malini Saran and Dr Sudha Gopalakrishnan.
In particular, we are thankful to Dr Kapila Vatsyayan and Prof. Lokesh
Chandra for their contribution, guidance and cooperation. Editorial assis-
tance has been received from Ms Sarah Hasan, Mr Sunando Basu and Ms
Sreya Pan.
Every chapter in this volume went through a peer review process. We
are thankful to the authors who have extended their fullest support and
adhered to deadlines while revising these chapters, despite their busy
schedules.
We are grateful to Ambassador Anil Wadhwa, former Secretary (East),
MEA, Government of India; Ambassador Preeti Saran, Present Secretary
(East), MEA, Government of India; Ms. Pooja Kapur, former Joint
Secretary (ASEAN Multilateral), MEA, Government of India; Mr Anurag
Bhushan, the current Joint Secretary (ASEAN Multilateral), MEA,
Government of India; Col. Sandeep Puri, Director (ASEAN Multilateral),
MEA, Government of India; and Mr Abhijit Chakraborty, Deputy

ix
x ACKNOWLEDGEMENTS

Secretary (ASEAN Multilateral), MEA, Government of India, for their


support and cooperation.
In particular, we are thankful to Ambassador Suresh Reddy, Indian
Ambassador to ASEAN, for his cooperation. Ms Niharika Gupta and Ms
Kiran Wagh extended very useful administrative assistance throughout the
project. At Palgrave Macmillan, we are thankful to Dr Sagarika Ghosh and
Ms Sandeep Kaur for fast-tracking the project and for extending their
cooperation at every stage of publication.
Views expressed in this book are those of the contributors and not
those of the Government of India or those of ASEAN countries, RIS,
AIC, ASEAN Secretariat, or the Indian Council for Cultural Relations
(ICCR). Usual disclaimers apply.
Contents

1 Introduction   1
Shyam Saran

Part I Trade and Maritime Links Between South and


Southeast Asia  17

2 Early Contacts Between Bali and India  19


I Wayan Ardika

3 Trans-locality and Mobility across the Bay of Bengal:


Nagapattinam in Context  31
Himanshu Prabha Ray

4 Indian Patterned Cotton Textiles and Trade with the East


and Southeast  51
Lotika Varadarajan

Part II Continuities and Change  65

5 Indigenous Thought on Indian Traditions in Thailand  67


Amara Srisuchat

xi
xii Contents

6 Panyupayana: The Emergence of Hindu Polities in the


Pre-Islamic Philippines  93
Joefe B. Santarita

7 Indian–Southeast Asian Contacts and Cultural


Exchanges: Evidence from Vietnam 107
Le Thi Lien

Part III Representations of Religions and Rituals 129

8 From Śivaśāsana to Agama Hindu Bali: Tracing the


Indic Roots of Modern Balinese Hinduism 131
Andrea Acri

9 Power, Prestige and Possession: Interwoven Legacies of


Ida Pedanda Istris ‘Priestesses’ in Balinese Hinduism 151
Madhu Khanna

Part IV Textual Traditions and Transmissions 179

10 Transmission of Textual Traditions in South and


Southeast Asia: A View from India 181
Sudha Gopalakrishnan

11 The Bhagavad-Gı̄tā Sections of the Old Javanese


Bhı̄ṣmaparwa, Text-Building and the Formation of the
State in Pre-modern Indonesia 193
Thomas M. Hunter

12 The Reworking of Indian Epics in the Hands of


Javanese and Malay Authors 209
Ding Choo Ming

13 Camille Bulcke’s Ramakatha-Utpatti aur Vikas:


An Important Reference Work for Scholars in the Field
of Ramayana Studies 225
Malini Saran and Vinod C. Khanna
Contents 
   xiii

Part V Sacred Geographies and Localisations of Beliefs 239

14 Archaeology as Soft Power in ASEAN–India Cultural


Contexts 241
Sachchidanand Sahai

15 Shiva’s Land: Understanding the Religious Landscape


of Early Southeast Asia 253
John Guy

16 Ancient Architectural Influence Between Bali and


Majapahit: Drawing Upon the Affinities with Ancient
Indian Architecture and the Way It Is Developed in Bali 275
Ir Nyoman Popo Priyatna Danes

Part VI Evolving Artistic Expressions: From Tradition to


Modernity 291

17 Natyasastraic Links in Cambodia, Thailand and Indonesia  293


Padma Subramanyam

Part VII Writing Our Own Histories: Changing


Methodologies 299

18 An Imperial Divorce: The Division of South and


Southeast Asia in the Colonial Discourse of the
Nineteenth Century 301
Farish A. Noor

19 Monuments, Motifs, Myths: Architecture and its


Transformations in Early India and Southeast Asia 325
Parul Pandya Dhar

Appendix A: Programme of the ASEAN–India Civilizational


Links Conference, 23–24 July 2015 347
xiv Contents

Appendix B: Keynote Address by Ambassador Anil Wadhwa,


Secretary (East), Ministry of External Affairs at the
International Conference on ‘ASEAN–India Cultural
Links: Historical and Contemporary Dimensions’
Held at New Delhi on 23 July 2015 351

Appendix C: Inaugural Address by Prof. Lokesh Chandra,


President, ICCR at the International Conference on
‘ASEAN–India Cultural Links: Historical and
Contemporary Dimensions’, Held at New Delhi on 23
July 2015 357

Appendix D: Special Address by Prof. Lokesh Chandra,


President, ICCR at the International Conference on
‘ASEAN–India Cultural Links: Historical and
Contemporary Dimensions’, Held at New Delhi on 24
July 2015 363

Appendix E: Valedictory Address by Dr Kapila Vatsyayan,


Chairperson, IIC-Asia Project at the International
Conference on ‘ASEAN–India Cultural Links: Historical
and Contemporary Dimensions’, Held at New Delhi on
24 July 2015 367
Notes on Contributors

Andrea Acri EPHE, PSL, Paris, France


I Wayan Ardika Faculty of Letters, Udayana University, Bali, Indonesia
Ir Nyoman Popo Priyatna Danes Scholar and Architect, Bali, Indonesia
Parul Pandya Dhar Department of History, University of Delhi, New
Delhi, India
Ding Choo Ming Former Principal Research Fellow, Institute of Malay
World & Civilization, National University of Malaysia, Selangor, Malaysia
Sudha Gopalakrishnan Sahapedia, New Delhi, India
John Guy Florence and Herbert Irving Curator of South and Southeast
Asian Art, The Metropolitan Museum of Art, New York, NY, USA
Thomas M. Hunter Department of Asian Studies, University of British
Columbia, Vancouver, BC, Canada
Madhu Khanna National Museum, New Delhi, India; Centre for the
Study of Comparative Religion & Civilisations, Jamia Millia Islamia, New
Delhi, India
Vinod C. Khanna Former Ambassador of India to Indonesia, New
Delhi, India
Le Thi Lien Institute of Archaeology, Vietnamese Academy of Social
Sciences, Hanoi, Vietnam

xv
xvi NOTES ON CONTRIBUTORS

Farish A. Noor S. Rajaratnam School of International Studies (RSIS),


Nanyang Technological University (NTU), Singapore
Himanshu Prabha Ray Distant Worlds Programme, Ludwig Maximilian
University, Munich, Germany
Sachchidanand Sahai Preah Vihear National Autimhority, Royal
Government of Cambodia, Preah Vihear, Cambodia; UNESCO Expert
for the Archaeological Complex of Sambor Prei Kuk, Phnom Penh,
Cambodia
Joefe B. Santarita Asian Center, University of the Philippines Diliman,
Quezon City, Philippines
Malini Saran Independent Researcher, New Delhi, India
Shyam Saran Centre for Policy Research, New Delhi, India; Research
and Information System for Developing Countries (RIS), New Delhi,
India
Amara Srisuchat Fine Arts Department, Ministry of Culture, Bangkok,
Thailand
Padma Subramanyam Bharata-Ilanimgo Foundation for Asian Culture
(BIFAC), Chennai, India
Lotika Varadarajan National Museum, New Delhi, India
List of Figures

Fig. 2.1 Rouletted sherds, Arikamedu sherd of type 10, and a complete
rouletted ware bowl from Kobak Kendal, West Java. Source:
Author’s own 20
Fig. 2.2 A sherd of Arikamedu type 18, an inscribed sherd of Kharosthi
or Brahmi script and gold beads from Sembiran. Source:
Author’s own 22
Fig. 2.3 Stupa Pagulingan and Gunung Kawi rock arts. Source:
Author’s own 23
Fig. 3.1 Archaeological sites along the east coast of India. Source:
Author’s own (map drawn by Uma Bhattacharya) 37
Fig. 3.2 Bronze Buddha from Nagapattinam now in the Government
Museum, Chennai. Source: Author’s own 41
Fig. 3.3 Bronze Jambhala and consort from Nagapattinam now in the
Government Museum, Chennai. Source: Author’s own 42
Fig. 3.4 Sixteenth-century Lokesvara image from Vellipalayam
Nagapattinam district now in the Government Museum,
Chennai. Source: Author’s own 44
Fig. 4.1 Batik. Hair of Bima, Symbolic of Strength. Source: Textil
Museum, Jakarta 52
Fig. 4.2 Ramayana panel. Kalamkari. Probably South Coromandel.
Listed as ceremonial cloth and sacred heirloom (mawa or
ma’a), eighteenth century. Traded to Toraja people, Sulawesi,
Indonesia. Source: National Gallery of Australia, Canberra.
Gift of Michael and Mary Abbott, 1991 52
Fig. 4.3 Sarassa, fragment used in Japanese tea ceremony. Mayeda
Collection. Source: Kyoto National Museum, Kyoto, Japan 53

xvii
xviii List of Figures

Fig. 4.4 Poleng, as depicted on wayside shrine. Bali, Indonesia. Source:


Author’s own 54
Fig. 4.5 Ma’a cloth, Sulawesi. Source: Spertus-Holmgren Collection,
New York57
Fig. 5.1 Bronze drum from Ko Samui, Surat Thani Province, fifth–first
century bce. Source: Author’s own 69
Fig. 5.2 Tympanum of the bronze drum from Ko Samui depicting a
stylized boat carrying either spirits of the dead or men with
bird-like headdresses. Source: Author’s own 70
Fig. 5.3 Sanskrit inscription written in Pallava script, sixth century, from
Wat Maheyong in Nakhon Si Thammarat Province. Source:
Author’s own 74
Fig. 5.4 Stone dharmacakra from Nakhon Pathom Province, seventh–
eighth century, depicting on its lower segment the
personification of god Surya holding a lotus bud in each hand.
Source: Author’s own 76
Fig. 6.1 Courtesy of K.M. Panikkar. Source: Author’s own 94
Fig. 7.1 Google map of Vietnamese and Indian early cultural centers:
(a) center of the Jiao Chi realm; (b) center of the Liny–early
Champa realm; (c) port-city of the Óc Eo–Funan realm.
Source: Google 110
Fig. 7.2 Beads from Lang Vac site, Nghe An province (Photo: Le Thi
Lien). Source: Author 113
Fig. 7.3 Beads from Nam Tho Son (Quang Nam province). Source:
Author114
Fig. 7.4 Dau Lady Buddha, Bac Ninh Province. Source: Author 115
Fig. 7.5 Mukhalinga, Óc Eo site, An Giang province. Source: Nguyen
Huu Thiet 119
Fig. 9.1 Pedanda Istri Mayun with her husband, Denpasar. Source:
Author155
Fig. 9.2 Ida Pedanda Istri Kania Mas Kajeng in her shrine, Badung.
Source: Author 156
Fig. 9.3 Senator, Ida Ayu Agung Mas, Sua Bali. Source: Author 157
Fig. 9.4 Ida Ayu Agung Mas in the ceremonial attire of Pedanda Istri.
Source: Author 158
Fig. 9.5 Pedanda Istri Ida Ayu Agung Mas honouring a young priest
with a crown. Source: Author 158
Fig. 9.6 Ida Pedanda Istri Kania Mas Kajeng adorned with a crown.
Source: Author 165
Fig. 9.7 Balian Metwun, Denpasar. Source: Author 169
Fig. 9.8 Author with two Ida Pedanda Istri, Denpasar, 2009. Source:
Author173
List of Figures 
   xix

Fig. 14.1 Temple N 17, Smiling Face in the Kudu, Ishanapura,


Cambodia. One of the salient features of the temple is the
kudu or semi-circular arches in which divine and semi-
divine figures are placed. This feature also known as chaitya
window, is popular both in South and North Indian
temples. In this Cambodian example from Ishanapura, one
of the several faces smiles in the kudu placed around temple
N 17. Source: Author 247
Fig. 14.2 Title: The N 7 Temple in Ishanapura (Cambodia). There are ten
octagonal temples in Ishanapura. In the north group of temples
only N 7 is octagonal. These temples are octagonal from the base
to pinnacle. Top to bottom octagonal brick temples in India are
not known. These temples are called flying palaces since on the
outer side walls of the temple, palaces are shown being carried by
sculpted winged animals. Source: Author 249
Fig. 14.3 Winged animals, horse, garuda and lion shown carrying the
octagonal temple as flying palace, Ishanapura, Cambodia.
The octagonal temples have been documented from different
parts of India, but the motif of winged animals carrying the
temple/palace is absent in Indian examples. Source: Author 250
Fig. 15.1 Comb decorated with auspicious emblems (astamangala)
and hamsa. Ivory, Deccan or Andhra Pradesh, c, second
century ce, excavated Chansen, central Thailand. Source:
National Museum, Bangkok 255
Fig. 15.2 Seal impression from an Indian matrix, probably Bihar; clay
impression found U Thong, central Thailand, early to
mid-sixth century. Source: U Thong National Museum,
Suphanburi256
Fig. 15.3 Rock-cut inscription of Purnavarman, ruler of the kingdom
of Tarumanagara, Sunda, west Java, Indonesia, early sixth
century (photographed in situ, Ciaruteun River, Ciampea,
c. 1920). Source: Author 259
Fig. 15.4 Envoy from Langkasuka; detail of Liang zhgong tu (Illustrated
History of the Liang). Handscroll. Eleventh-century copy of
sixth-century original. Source: National Museum of China, Beijing 262
Fig. 15.5 Detail of lintel depicting the Lingodbhavamurti myth and a
king’s consecration, mid-seventh century. Found at Wat Eng
Khna, Kampong Thom province, Cambodia. Sandstone.
Source: National Museum of Cambodia, Phnom Penh 264
Fig. 15.6 Shiva as an Ascetic, seventh century. Found in Stung Treng
province, northeastern Cambodia. Sandstone, h. 164 cm.
Source: National Museum of Cambodia, Phnom Penh 266
xx List of Figures

Fig. 15.7 Shiva installed on a lustration pedestal, eighth century.


Recovered from temple A4, My Son, Quang Nam province,
central Vietnam. Photographed in situ in 1903. Source: Author 267
Fig. 15.8 Ganesha, late seventh–eighth century. Recovered from
temple E5, My Son, Quang Nam province, central Vietnam,
Sandstone, h. 96 cm. The Museum of Cham Sculpture, Da
Nang, Vietnam. Source: Author 268
Fig. 15.9 Tympanum depicting Shiva dancing before his assembled
family and royal devotee. My Son, Champa, central Vietnam.
Sandstone, h. 143 cm, w. 170 cm. Source: My Son Site
Museum, Quang Nam 268
Fig. 15.10 Shiva Natesha, rock cut, Badami, Karanataka, India.
Chalukya dynasty, early seventh century. Source: Author 269
Fig. 15.11 Shiva’s footprints (Shivapada), second half of seventh–eighth
century. Found in Stung Treng province, northeastern
Cambodia, in 1911. Sandstone, 17 × 32 × 32 cm. Source:
National Museum of Cambodia, Phnom Penh 270
Fig. 15.12 Stele with Shaiva Trident, Axe and Vase of Plenty, second half
seventh century. Found at Vihar Thom, Kampong Cham
province, southeastern Cambodia. Sandstone, h. 102 cm.
Source: National Museum of Cambodia, Phnom Penh 271
Fig. 16.1 Expansion of Hinduism in Southeast Asia. Source: www.
wikipedia.org277
Fig. 16.2 Majapahit Empire. Source: www.wikipedia.com281
Fig. 16.3 Extent of Majapahit Empire in fifteenth centuries. Note:
Majapahit was a thalassocracy, extending its territory through
maritime trade and dominance. At its height the realm and
its diplomatic relations extended as far as Japan and South
India. Source: Wijaya (2014) 281
Fig. 16.4 Maospahit temple in Denpasar. Source: Author 285
Fig. 19.1 A view of the brick temples of Campā at Mỹ Sơ n, Vietnam.
Source: Author 328
Fig. 19.2 Flat-roofed structure, N 17, Sambor Prei Kuk, Cambodia.
Source: Author 329
Fig. 19.3 Temple-mountain of Angkor Wat, Cambodia. Source:
Author329
Fig. 19.4 Caṇḍi Arjuna, Dieng Plateau, Central Java, Indonesia.
Source: Author 331
Fig. 19.5 Arjuna Ratha, Mamallapuram, Tamil Nadu, India. Source:
Author333
Fig. 19.6 ‘Flying Palace’ on the exterior wall of an octagonal brick
temple in the Southern group at Sambor Prei Kuk,
Cambodia. Source: Author 335
Another random document with
no related content on Scribd:
as likely to bring about what's wanted as all the anger and
bitterness of a strike?"

"Well—that's for another time. You've got to decide now


for the present. An offer has come, meeting you half-way.
Seems to me, we ought to go the other half to meet 'em. As
friend Stuckey says, that's a tolerable fair ending to a
struggle, each side yielding half."

"Any way, I'm meaning to be at work again next week.


I'd have been sooner, if it wasn't for a lame arm. I hope to
see all of you at work too."

CHAPTER XIV.
HOW IT ALL ENDED.

WHILE the men's meeting went on, Martha and the


children still sat in the dim firelight. Millie and Bobbie were
asleep, leaning against their mother's knee; and Martha, in
a kind of half-dream, had forgotten the passing of time. It
was beyond the little ones' hour for bed, and she had not
noted the fact.

Somebody came in with a light step, and Sarah


Holdfast's pleasant voice asked, "Why, Mrs. Stevens, is this
the way you spend your evening?"

Martha sat slowly more upright, wearing a dazed look.

"O dear, I'm tired," she said. "I didn't know it was so
late."

"And the children up still?"

"They were so cold, I made a bit more fire, and they


didn't seem to want to leave it. I must have been near
asleep too," Martha gasped listlessly. "Well, I've got to wake
'em now."

"Wait a minute. I'll light your candle. I've got a loaf of


bread here, and some butter and a jug of milk. Poor thing!"
as a faint cry escaped Martha. "You're so hungry, aren't
you? There's a basket of food come from Mr. Hughes, and I
knew John would want you to have a share. Don't you stir
yet."

Martha did not move. She sat motionless, staring down


at the little head on her arm.

Mrs. Holdfast had already lighted the candle, and pulled


down the blind.

"Why, you're as white as a sheet, you poor thing!" she


said, stirring quickly about. "There! Give the children
something to eat before they go to bed. And it's plain you
want it too. Well, my husband's in hopes the strike will soon
be over; and I'm sure I hope the same. It's been a hard
time for you all. I'll tell you what—a cup of tea will do you
more good than anything. Haven't got any? Never mind, I'll
put the kettle on to boil, and get a pinch in from next door."

Martha had not answered save by silence.

She looked strangely pale, and the dazed expression in


her eyes had increased. The little child on her knee lay
motionless, and when Mrs. Holdfast came near, Martha
shielded the tiny face from observation.

"He's off—sound!" she said hoarsely.

"Well, let him be a few minutes," said Sarah cheerfully.


"Don't you get up yet. I'm sure you're not fit. Now, Millie,
Bobbie—wake up, wake up."

She aroused the two drowsy children; and Bobbie at


once broke into fretting sobs. "I'm so hungry! I'm so
hungry!" he wailed.

Martha made no response at all, but Sarah took him to


the table, and Bobbie's pitiful face changed into smiles at
the sight of bread and butter. When he and Millie were
supplied, Sarah hastened away for the "pinch of tea."

On her return, she found Martha still in the same


position, passive and white as an image, only with a
bewildered wildness in her eyes. There was again the
shielding motion of both hands to hide baby Harry's face.
Mrs. Holdfast noticed it now, and wondered, but said
nothing till the tea was ready. Then she poured out a cup,
hot and strong, and brought it with a goodly slice of bread
and butter to Martha's side.
"That'll do you good," she said. "And you'll let me see to
Harry, won't you? It's time he should have something."

"No, he's sound—sound;" repeated Martha in a hollow


voice.

"Baby Harry hasn't eaten nothing all day," said Millie.

"Then he oughtn't to wait, I'm sure. Give him to me."

Martha did not resist when Sarah lifted the child from
her lap, only her eyes followed him with a strange gaze, and
Mrs. Holdfast's own face changed; for the little fair head fell
helplessly, and the long lashes lay upon cheeks of waxen
whiteness.

Sarah checked the cry which rose to her lips. She


turned to the fire, away from Martha.

"He don't wake up, not even for your taking him," said
Millie. "He must be dreadful sleepy."

"He is—very sound," Mrs. Holdfast answered in


trembling tones, as she pressed the tiny cold form more
closely in her arms.

"Give him back to me!" demanded Martha hoarsely.

"No, my dear—take your tea first," said Mrs. Holdfast.


"I'll lay him in his cot—just for—"

"No, no—give him to me! I won't have him laid—laid out


—nowhere!" cried Martha, in a voice of sharp anguish. "Give
my baby back to me!"

"I'll hold him for you. Just a minute or two. You take
your tea and bread and butter. You must eat, you know."
Martha obeyed silently, rapidly. It was almost more than
Sarah had ventured to hope. Tea and bread and butter alike
vanished, and a faint tinge of colour came to Martha's lips.
She was able now to stand up, with outstretched hands.

"Not yet," insisted Mrs. Holdfast. "You just put Millie and
Bobbie to bed, and I'll see to him. Yes, do, my dear—it's
best for you. Take them," pleaded the good woman.

Martha yielded again. She hurried the two children


away, and saw them both in bed. Undressing did not take
long, but Sarah was busy also during her short absence.

Harry's little cot had been much in the kitchen of late.


He had slept away most of the day, often, in his growing
weakness. When Martha returned, still with half-wild, half-
dreamy eyes, she found Mrs. Holdfast standing beside the
cot, and within lay Harry, prepared as if for the night. He
had his little night-dress on, and the calm white baby-face
rested peacefully on the pillow. The lips, just parted, were
rigid in repose, and one wee waxen hand was crossed over
the other.

"You've put him to bed," said Martha's hollow voice.

"Yes, my dear; I've put him to bed," said Sarah


pityingly.

Martha came nearer, and gasped for breath, gazing


upon the fair little image. Then her eyes went with
passionate appeal to Sarah's.

"Poor thing!" murmured Sarah.


She hung over the cot, sobbing wildly.

"You think I don't know! But I do!" said Martha bitterly.


"I do! I do! He's murdered! If ever anybody was murdered,
it's my—" and then she broke into a bitter wail—"O my
baby! My baby Harry!"

She hung over the cot, sobbing wildly, and Sarah's arm
came round her in support.

"He'll never be hungry again," she whispered. "Think of


that, my dear; and don't you want him back. There 'll be no
strikes up there. He's got to the end of all the trouble. Don't
you go and say that to your husband when he comes.
Stevens 'll have enough to bear!"

Enough indeed! There was not one of his children whom


Stevens loved as he loved baby Harry.

An hour later he returned, light-footed and eager with


the news which, he felt sure, would gladden Martha's heart.
The door was flung open, and he entered briskly.

"I say, Martha, it's all right! We've settled to accept the
masters' proposals, and I'll be off to work to-morrow
morning. It's all right. Just as you wanted."

A gesture from Mrs. Holdfast checked Roger. She was


present still, having persuaded a neighbour to stay with her
own little ones for a time.

Martha sat beside the cot, dropping hot quiet tears at


intervals, and the desolate look of the mother's eyes, lifted
to his, Stevens would not soon forget.

"Too late now!" she whispered.

Roger's glance went from her to the small face on the


pillow—the face of his own little Harry, the child who till
lately had never failed to greet him with a joyous spring,
and cry of "Dadda." Harry had always been the father's
especial pet. Even of late, when the child was too weak to
spring or cry out, the tiny face had always brightened at the
sound of Roger's voice.

It did not brighten now; yet that was no look of


common sleep. Roger knew the difference.
"You don't say—What's the matter? Why don't you give
him something, eh? Letting him lie there! And the room as
cold—! What d'you want for him, Martha? Tell me, sharp,
and I'll get it. I can now; we're going to work again, and it'll
be all right."

Martha's tears fell faster, and a sound like a sob crept


into Roger's rough voice.

"No use," Martha said brokenly; "the strike's done it at


last. It's killed him—our baby Harry!"

"He's better off. He'll never know trouble again," said


Mrs. Holdfast. "Don't you go and want him back again too
much—both of you. He's out of it all now!"

"If I'd known! Why didn't somebody tell me?"


demanded Stevens, hoarsely. "I'd have done—anything—if
I'd known!"

Sobs came hard and thick from the father's heart. But
no sounds of grief could bring back the household darling;
no wailing could reach him on that distant shore which he
had reached. He was "out of it all now," indeed! The better
for little Harry!

So the strike was at an end; and Peter Pope, finding his


services no longer required, betook himself elsewhere.

There were some who counted that the working-men of


the place owed him much, seeing that by dint of the strike
he had won for them an increase of seven and a half per
cent. on their wages.
There were others who held that the same increase
would have come, probably as soon, without the pressure
exerted by the strike.

There were very many who found that the said increase
of wages would by no means suffice to repay them for the
heavy losses they had suffered through the strike.

There were not a few who maintained that the trade of


the town, and its consequent prosperity, had received
lasting injury from the strike.

On the whole it may be safely said, that if the strike had


done some possible good, it had also done a considerable
amount of positive harm. It may be hoped that the working-
men of the town, having learnt wisdom from a success
which involved more of loss than of solid gain, would be
long before they embarked in another such enterprise.

THE END.
*** END OF THE PROJECT GUTENBERG EBOOK TOO DEARLY
BOUGHT ***

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.

You might also like