Using WebPageTest 1st Edition Rick Viscomi pdf

download

https://ebookfinal.com/download/using-webpagetest-1st-edition-
rick-viscomi/

Explore and download more ebooks or textbooks

at ebookfinal.com
We have selected some products that you may be interested in
Click the link to download now or visit ebookfinal.com
for more options!.

Rick Steves Pocket Vienna 2nd Edition Rick Steves

https://ebookfinal.com/download/rick-steves-pocket-vienna-2nd-edition-
rick-steves/

Rick Steves 2005 Best Of Europe Rick Steves Best of Europe

Rick Steves

https://ebookfinal.com/download/rick-steves-2005-best-of-europe-rick-
steves-best-of-europe-rick-steves/

Rick Steves Amsterdam Bruges and Brussels Seventh Edition

Rick Steves

https://ebookfinal.com/download/rick-steves-amsterdam-bruges-and-
brussels-seventh-edition-rick-steves/

Rick Sammon s HDR Secrets for Digital Photographers Rick

Sammon

https://ebookfinal.com/download/rick-sammon-s-hdr-secrets-for-digital-
photographers-rick-sammon/
Rick Steves Prague and the Czech Republic 5th Edition Rick
Steves

https://ebookfinal.com/download/rick-steves-prague-and-the-czech-
republic-5th-edition-rick-steves/

Essential SQLAlchemy 1st Edition Rick Copeland

https://ebookfinal.com/download/essential-sqlalchemy-1st-edition-rick-
copeland/

Face to Face Rick Sammon s Complete Guide to Photographing

People 1st Edition Rick Sammon

https://ebookfinal.com/download/face-to-face-rick-sammon-s-complete-
guide-to-photographing-people-1st-edition-rick-sammon/

Professional Oracle Programming 1st Edition Rick Greenwald

https://ebookfinal.com/download/professional-oracle-programming-1st-
edition-rick-greenwald/

MySQL Crash Course Rick Silva

https://ebookfinal.com/download/mysql-crash-course-rick-silva/
Using WebPageTest 1st Edition Rick Viscomi Digital
Instant Download
Author(s): Rick Viscomi, Andy Davies, Marcel Duran
ISBN(s): 9781491902592, 1491902590
Edition: 1
File Details: PDF, 6.02 MB
Year: 2015
Language: english
 Using WebPagetest

Rick Viscomi, Andy Davies, and Marcel Duran

Boston
Using WebPagetest
by Rick Viscomi, Andy Davies, and Marcel Duran
Copyright © 2010 Rick Viscomi, Andy Davies and Marcel Duran. All rights reserved.
Printed in the United States of America.
Published by O’Reilly Media, Inc., 1005 Gravenstein Highway North, Sebastopol, CA 95472.
O’Reilly books may be purchased for educational, business, or sales promotional use. Online editions are
also available for most titles (http://my.safaribooksonline.com). For more information, contact our corporate/
institutional sales department: 800-998-9938 or corporate@oreilly.com.
Editors: Courtney Nash and Brian Anderson Indexer: FIX ME!
Production Editor: FIX ME! Cover Designer: Karen Montgomery
Copyeditor: FIX ME! Interior Designer: David Futato
Proofreader: FIX ME! Illustrator: Rebecca Demarest

December 2014: First Edition

Revision History for the First Edition:

2014-06-24: Early release revision 1

2014-07-29: Early release revision 2

2014-09-15: Early release revision 3

2014-10-17: Early release revision 4

2015-02-02: Early release revision 5

2015-04-07: Early release revision 6

2015-07-29: Early release revision 7

See http://oreilly.com/catalog/errata.csp?isbn=9781491902592 for release details.

Nutshell Handbook, the Nutshell Handbook logo, and the O’Reilly logo are registered trademarks of O’Reilly
Media, Inc. !!FILL THIS IN!! and related trade dress are trademarks of O’Reilly Media, Inc.
Many of the designations used by manufacturers and sellers to distinguish their products are claimed as
trademarks. Where those designations appear in this book, and O’Reilly Media, Inc. was aware of a trademark
claim, the designations have been printed in caps or initial caps.
While every precaution has been taken in the preparation of this book, the publisher and authors assume
no responsibility for errors or omissions, or for damages resulting from the use of the information contained
herein.

ISBN: 978-1-491-90259-2
[?]
 Table of Contents

Preface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii

Part I. Basic Use Cases

1. “How fast is my page?”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Measure What Matters 3
Synthetic vs RUM 4

2. “What is slowing down my page?”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Running a Simple Test 7
Reading a Waterfall 12
Waterfall Slope 18
Connection View 21
Common Antipatterns 22
WebPagetest Grades 27
First Byte Time 28
Keep-Alive Enabled 29
Compress Transfer 30
Compress Images 30
Progressive JPEGs 30
Cache Static Content 31
Effective Use of CDN 31

3. Cache Optimization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Enabling Repeat View 34
Analyzing Cachability 36
Heuristic Caching 37

iii
4. Comparing Tests. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Perceived Performance 41
Capture Video 42
Filmstrip and Video 43
Speed Index 48
Summary 52

Part II. Intermediate Use Cases

5. Simulating Real Users. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Identifying Demographics 58
Popular Pages 61
Device and Browser 62
Geographic Location 66
Connection Speed 69

6. Mobile Testing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Desktop Emulation 75
Traffic Shaping 79
Native Devices 80

7. Scripting Preconditions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Flow View 84
logData and navigate 85
Authentication 86
HTTP Basic Authentication 87
DOM Manipulation 88
Setting Cookies 89

8. SPOF Testing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Blackhole Rerouting 93
setDns 94
SPOF Tab 96
Blocking Requests 98

Part III. Advanced Use Cases

9. API. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Getting started 103
Requesting a key 103
Running tests 105

iv | Table of Contents
 Simple example test 105
Advanced example test 107
Reading results 108
Polling test results 110
Pingback test results 111
Reading beyond results 112

10. Continuous Integration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Node.js wrapper 113
Installing WebPagetest Node.js wrapper 114
Choosing your WebPagetest server 114
Specifying the API Key 115
Running tests and reading results 115
WebPagetest Node.js wrapper extra feature: RESTful Proxy (Listener) 119
Running proxy from Node.js module 120
Asserting metrics from test results 120
JSON test specs 120
Defining assertion comparison 121
Setting default operations and labels 122
Available output text template tags 123
Avaliable assertion operations 123
Overriding labels 123
Specifying test reporter 123
Test Specs examples 124
Jenkins integration 125
Configuring Jenkins 125
Travis-CI integration 126
Configuring Travis-CI 126

11. Tracking Performance over Time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Public vs Private Instance 129
Grunt-WPT 130
ShowSlow 131
Long term trending 131
Logging Results to a File 132
Splunk 132
HTTP Archive 133

12. Private Instances. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

How does WebPagetest work? 136
Using the Pre-Configured AWS AMI 137
Create an AWS User with Relevant Permissions 137

Table of Contents | v
 Configure and Launch AWS Instance 138
Creating your own local installation 140
Desktop Test Agents 142
Mobile Test Agents 146
Install NodeJS Agent 147
Add test devices 147
Bandwidth shaping 151
Remote Test Agents 152
Private Instance Only Features 153
Bulktest 153
Custom Metrics 155
Day-to-Day Management 155
Monitoring Queues and Test Agents 155
Archiving Old Tests 157
Updating an Instance 158
Troubleshooting 158
Contributing 160

A. Reference guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

vi | Table of Contents
 Preface

Who Should Read This Book

• independent site owners
• web developers
• performance engineers

Goals of This Book

This book will teach beginner users of WebPagetest how to run and analyze tests. It will
show intermediate users how to use scripting to create more sophisticated test scenarios,
how to integrate it into their everyday processes and finally how to install their own
instance of WebPagetest for a controlled testing environment

A Word on Web Performance Today

We all know bad web performance when we see it. When something takes too long to
load or become interactive we start to get bored, impatient, or even angry. The speed of
a web page has the ability to evoke negative feelings and actions from us. When we lose
interest, wait too long, or get mad, we may not behave as expected: to consume more
content, see more advertisements, or purchase more products.
The web as a whole is getting measurably slower. Rich media like photos and videos are
cheaper to download thanks to faster Internet connections, but they are more prevalent
than ever. Expectations of performance are high and the bar is being raised ever higher.
By reading this book, chances are you’re not only a user but most importantly someone
who can do something about this problem. There are many tools at your disposal that
specialize in web performance optimizations. However, none are more venerable than
WebPagetest.org. WebPagetest is a free, open source web application that audits the

vii
speed of web pages. In this book, we will walk you through using this tool to test the
performance of web pages so that you can diagnose the signs of slowness and get your
users back on track.

Navigating This Book

This book is organized into three primary sections: basic, intermediate, and advanced
use cases, each of which corresponds to a different level of familiarity with WebPagetest:

1. Basic use cases provide a foundation of testing experience by explaining how to run
and interpret simple tests.
2. Intermediate use cases have a deeper focus on more sophisticated test scenarios,
some of which may require scripted commands to configure how the tests are ex‐
ecuted.
3. Advanced use cases describe lower-level capabilities typically required by special
test environments including the API and private instances.

Conventions Used in This Book

The following typographical conventions are used in this book:
Italic
Indicates new terms, URLs, email addresses, filenames, and file extensions.
Constant width
Used for program listings, as well as within paragraphs to refer to program elements
such as variable or function names, databases, data types, environment variables,
statements, and keywords.
Constant width bold
Shows commands or other text that should be typed literally by the user.
Constant width italic
Shows text that should be replaced with user-supplied values or by values deter‐
mined by context.

This icon signifies a tip, suggestion, or general note.

viii | Preface
 This icon indicates a warning or caution.

Using Code Examples

Supplemental material (code examples, exercises, etc.) is available for download at
https://github.com/oreillymedia/title_title.
This book is here to help you get your job done. In general, if example code is offered
with this book, you may use it in your programs and documentation. You do not need
to contact us for permission unless you’re reproducing a significant portion of the code.
For example, writing a program that uses several chunks of code from this book does
not require permission. Selling or distributing a CD-ROM of examples from O’Reilly
books does require permission. Answering a question by citing this book and quoting
example code does not require permission. Incorporating a significant amount of ex‐
ample code from this book into your product’s documentation does require permission.
We appreciate, but do not require, attribution. An attribution usually includes the title,
author, publisher, and ISBN. For example: “Book Title by Some Author (O’Reilly).
Copyright 2012 Some Copyright Holder, 978-0-596-xxxx-x.”
If you feel your use of code examples falls outside fair use or the permission given above,
feel free to contact us at permissions@oreilly.com.

Safari® Books Online

Safari Books Online is an on-demand digital library that
delivers expert content in both book and video form from
the world’s leading authors in technology and business.
Technology professionals, software developers, web designers, and business and crea‐
tive professionals use Safari Books Online as their primary resource for research, prob‐
lem solving, learning, and certification training.
Safari Books Online offers a range of product mixes and pricing programs for organi‐
zations, government agencies, and individuals. Subscribers have access to thousands of
books, training videos, and prepublication manuscripts in one fully searchable database
from publishers like O’Reilly Media, Prentice Hall Professional, Addison-Wesley Pro‐
fessional, Microsoft Press, Sams, Que, Peachpit Press, Focal Press, Cisco Press, John
Wiley & Sons, Syngress, Morgan Kaufmann, IBM Redbooks, Packt, Adobe Press, FT
Press, Apress, Manning, New Riders, McGraw-Hill, Jones & Bartlett, Course Technol‐

Preface | ix
ogy, and dozens more. For more information about Safari Books Online, please visit us
online.

How to Contact Us
Please address comments and questions concerning this book to the publisher:

O’Reilly Media, Inc.

1005 Gravenstein Highway North
Sebastopol, CA 95472
800-998-9938 (in the United States or Canada)
707-829-0515 (international or local)
707-829-0104 (fax)

We have a web page for this book, where we list errata, examples, and any additional
information. You can access this page at http://www.oreilly.com/catalog/<catalog page>.
To comment or ask technical questions about this book, send email to bookques
tions@oreilly.com.
For more information about our books, courses, conferences, and news, see our website
at http://www.oreilly.com.
Find us on Facebook: http://facebook.com/oreilly
Follow us on Twitter: http://twitter.com/oreillymedia
Watch us on YouTube: http://www.youtube.com/oreillymedia

x | Preface
 PART I
Basic Use Cases

Imagine for a moment that you have been hired as the new assembly line foreman at
Gizmos & Doodads Incorporated, a company that manufactures highly desirable widg‐
ets. Your new boss tells you about how slow production has been; orders have been
taking twice as long to fulfill and the line has been unable to keep up with what is
otherwise a successful increase in business. Your job is to make sure that the line workers
can meet demand.
You outline a plan to not only meet demand but have the factory running at peak effi‐
ciency. The first step of your plan is to determine the current rate of production and set
goals to measure improvement. The second step will be to measure and fine tune the
efficiency of each phase of the operation. Step three, of course, is profit.
In order to find out the production speeds, you implement a widget counter system that
measures how quickly each unit is made. After a week of aggregating information, you
determine that the end-to-end time for manufacturing is half as fast as you need to be
to meet the quota. You’ve confirmed that there is indeed a problem in the performance
process, but you still don’t know why.
To understand what’s wrong, you move to the second step and analyze what each part
of the assembly line is doing. You inspect every station for inefficiencies and time how
long it takes until the task is completed. Contrary to the continuous collection of data
in the first step, this one is more like a snapshot of performance. With this new per‐
spective, you’re more easily able to see how the parts work together and take up time.
Armed with concrete performance data and a detailed breakdown of each stage of
widget production, you can see a path to reach the goal of doubling assembly speed. As
it turns out, the top and bottom pieces of the widget can be assembled independently
and combined at the end, halving the time it takes to build!
This plan is not so different from the way you would approach web performance opti‐
mization. After determining the actual speed of your web page, you get an idea of how
much faster it needs to be. Then you turn to a breakdown of what the page is actually
doing while it loads to figure out ways to achieve the necessary speedup required to
meet your goal. These two steps are distinct in methodology because they serve different
purposes: finding out how fast a page is and how to make it faster.
This section will approach the utility of WebPagetest from a beginner’s point of view,
starting by addressing a couple of ways in which it can be misused. The following chap‐
ters dive into the fundamental ways WebPagetest can be used to determine how to make
a page faster.
 CHAPTER 1
“How fast is my page?”

The first question to pop into the minds of most people tasked with optimizing the
performance of a web page is probably “How fast is it?”. Like the story about the factory,
understanding the current state of a system is an important first step on the road to
optimization. Determining the current speed of a page helps to dictate the severity of
the performance problem and sets a baseline from which to improve.
Before diving into WebPagetest for the purpose of getting the one golden number that
represents the true speed of your page, take a step back and consider two cautionary
points. First, the golden number you seek may not be the metric provided by the tool.
If you want to know the speed of a page, you should define exactly what you’re trying
to measure. Second, even if the tool did report on the metric you care about, it is not
necessarily representative of the page’s true speed. The true speed is that which the real
users of the page experience. Real users live all over the world, use different technologies
like device type or browser, and connect to the Internet differently. The true speed of
this amalgamation is extremely hard to reflect in a single test.

Measure What Matters

WebPagetest measures the speed of a web page based on the amount of time that has
elapsed from the initial page request until the browser fires the load event, sometimes
referred to as the document complete time. This is the time at which the Document
Object Model (DOM) has been created and all images have been downloaded and dis‐
played. For most traditional web pages, the load time is a suitable metric for representing
how long a user must wait until the page becomes usable.
One misconception about WebPagetest is that the default metric, load time, is always
applicable to the page being tested. Not all web pages are created equal, however, and
this metric may not accurately represent the true amount of time users wait.

3
For example, think about the last time you read a news article online. As the page loaded,
what were you waiting for? The most probable answer is that you were waiting for the
text content of the article itself. The DOMContentLoaded event, also reported by Web‐
Pagetest, is like the load event except that it doesn’t wait for images to be displayed. The
timing of this event may be a more appropriate metric to track because the time to load
the ancillary images should not necessarily be taken into account. The default metric is
not always the most relevant to the page in test.
For one final example, consider the YouTube video player page. This is not a traditional
web page and its content is more elaborate than just text and images. Sometimes, as in
this case, custom application-specific metrics are needed to represent the true load time.
Users of this page are waiting for the video to play, as opposed to the text appearing or
images loading. The page itself needs to tell the browser when the wait is actually over
because the built-in events aren’t designed for this particular use case of reporting when
the video starts playing.

Application-specific metrics
You can log custom application-specific metrics to WebPagetest with
the User Timing API. Using the YouTube example, when the video
starts to play, that moment in time can be marked with a line of
JavaScript:
performance.mark('playback-start');
WebPagetest will capture these marks and make them available in test
results.

Synthetic vs RUM
Web performance tools tend to be divided based on which big question they answer:
“How fast is it?” or “How to make it faster?”. The two classifications of tools are com‐
monly referred to as synthetic and real user monitoring (RUM). WebPagetest falls under
the synthetic category.
There’s a saying that when you have a hammer, all of your problems start to look like
nails. Similarly, no one type of web performance tool can answer all of your questions.
It’s important to distinguish what each type does and how it can be used so that you
know when to use the right tool for the job.
Synthetic
• laboratory-like testing
• low variability, controlled
• ad-hoc tests

4 | Chapter 1: “How fast is my page?”

RUM
• measures performance of real users
• high variability, unrestricted
• continuous data collection

Tools like WebPagetest are considered to be synthetic because of their artificial testing
environments. Akin to a clean room in a laboratory, WebPagetest gives its testers gran‐
ular control over many of the variables that contribute to performance changes, such
as geographic location and type of network connection. By making these variables con‐
stant, the root causes of poor front end performance can be more easily identified and
measured.
Unlike the control afforded by synthetic testing, RUM does what its name implies and
measures the actual performance real users are experiencing in the wild. The unbridled
variations in browsers and bandwidth are all accounted for in the tests so that each and
every user’s unique environment is represented. By looking at the raw data, definitive
statistical conclusions can be drawn. For instance, with access to the performance re‐
sults, you are able to determine the page load time for any given percentile. RUM is also
considered to be monitoring because data tend to be continuously recorded and
streamed to a dashboard. By monitoring performance, developers are able to get instant
notification when the page speed takes an unexpected turn; a decline in speed could
theoretically page an engineer immediately if necessary. This is especially useful for
mission critical applications in which performance is just as important as availability.
When attempting to determine the overall speed of a page, it’s clear that RUM is the
appropriate solution because it accurately represents the performance of actual users.
When starting out with WebPagetest, one pitfall is to assume that the synthetic results
are like real user metrics. The reality, however, is that synthetic tools are deliberately
designed to focus on the performance of a web page under strict conditions which are
otherwise highly volatile in real user performance.
To help illustrate this pitfall, imagine that you run a synthetic test of your home page
and come to find that the load time is ten seconds. “That’s crazy,” you think, because it
never feels that slow to you. Your real world experience does not coincide with the test
results. It’s not that the test is necessarily wrong. The test configuration is meant to
represent one particular use-case. If it isn’t set up to match your browser, in your city,
over your connection speed, you’re unlikely to get comparable results. The test is only
an artificial representation of what someone under similar conditions might experience.
It’s up to you to configure the test in a way that mimics the conditions that you want to
compare. Throughout the book, we’ll look at different use-cases that each have their
own unique conditions, which in turn have corresponding configurations.

Synthetic vs RUM | 5
 CHAPTER 2
“What is slowing down my page?”

It’s good to know how fast a page is. Knowing how to make it faster is even better. To
be fair, knowing the change in performance over time is extremely important to vali‐
dating that the optimizations to the page are actually working. Before any optimizations
can be made, however, you need to understand how the page is put together and what
opportunities exist for optimization. To get there, this chapter will walk you through
the steps of running a very simple test and analyzing the results to figure out what exactly
is going on under the hood.

Running a Simple Test

Almost everyone who starts out with WebPagetest goes through the home page, which
acts as the gateway to the rest of the tool. Putting ourselves in the shoes of someone who
has never used the tool before, let’s try to run our first test.

7
Figure 2-1. The default WebPagetest home page.

First, go to www.webpagetest.org. One of the most prominent parts of the page is the
great big text input field, with a prompt to “Enter a Website URL”. Let’s get started by
providing the web address of a page we want to test.

Figure 2-2. The URL field of the home page set to www.example.com.

8 | Chapter 2: “What is slowing down my page?”

At this point, you may either be feeling overwhelmed by all of the other configuration
options or eager to jump in and start customizing the test. Either way, don’t worry about
the rest of the options. Part II will look at some of the more advanced ways to configure
tests. But for our first test, let’s simply start with a URL and see what happens when we
leave everything else to its default value. To run the test, click on the big “Start Test”
button next to the URL input field. That’s it. That’s how to run the simplest test with
WebPagetest. Now the fun begins.
By now, you’ve been taken to a page that shows how the test is progressing. There are
three phases in the lifetime of a test: waiting, testing, and complete.

Figure 2-3. The test has progressed to the second phase and is currently in the process of
being run.

WebPagetest is a publicly accessible tool, which implies that many people may be trying
to use it at the same time. The browser and location at which you run tests are shared
commodities and there may sometimes be a queue of tests backed up. This is the waiting
phase, when the resource you need is already in use and there may be more tests ahead
of you waiting for the same. This can be the most unpredictable phase because of two
factors: the variable number of tests ahead in the queue and the variable complexity of
the tests. Tests that do more require more time to complete. Having many of these kinds
of tests in the queue can slow down this phase to minutes or even hours. Sometimes, a
test can get stuck and nothing in the queue can move until an administrator becomes
available to sort it out.

Running a Simple Test | 9

Discovering Diverse Content Through
Random Scribd Documents
 “It’s all so sudden.”
“I’m a sudden sort of fellow, as you ought to know,” he laughed.
“But you always said you hated the place—would rather die than
go back.”
“In these days you’ve got to do things you hate—for the good of
your country.”
She sat down, feeling stupefied by his news. She asked:
“How long will you be away?”
He shrugged his shoulders. “Possibly years. Who knows?”
“And when do you start?”
“As soon as I can wind up here. Say in a fortnight’s time.” She
shook her head and looked at the floor, making little hopeless
gestures with her fingers. “You see, my dear,” said he, “except my
own personal ambitions, which I have scrapped for the time, there’s
nothing very much to keep me here. I’ve done my duty by Quong
Ho. He’s on the road to fame at Cambridge. Godfrey’s settled in
France till the end of the war. And you—well, my dear,” he smiled,
“we won’t lose touch with each other for another twenty years.”
“No, of course not,” she said in a queer voice. “We’ll—we’ll write
to each other.” She raised her eyes to his timidly. “Won’t you be
rather lonely out there, without us?”
He turned swiftly aside so that she should not see his face.
“Naturally I’ll miss you. Miss the three of you. I’m human. But, on
the other hand, I’m used to being alone. I’m a solitary by
temperament.” Then he flashed round on her. “Don’t you worry
about me. I’ll have my hands too full to be lonely. I’ll have a real
man’s job to get through.”
In his vehement way he sketched the kind of work that lay
before him, went off into picturesque reminiscence, unfolded some
of the plans he had already made for the conquest of those in power
in disaffected districts. Anyone but Marcelle he would have
convinced of the whole-hearted and enthusiastic anticipation of his
mission. But a woman whom a man loves is apt to know him even
better than the woman who loves him. A suspicion, vague but
insistent, began to haunt her. Presently she gave words to it.
“Have Godfrey’s affairs anything to do with this sudden decision
of yours?”
He assumed a puzzled look. “Godfrey’s affairs?”
“Yes. The Donnithorpe business.”
He laughed. “My dear, we’re dealing in high international politics.
What on earth can a boy’s calf love have to do with it?”
“You’ve never told me what happened at Waterloo. Nor did
Godfrey.”
“I simply pulled them apart. Sent Lady Edna home, and
despatched Godfrey to France a day before his time. That’s all over.”
“But you met Mr. Donnithorpe. Quong Ho——”
“Oh yes, I met Donnithorpe. That’s what saved the situation. He
expected to find Godfrey. Found me instead.” He grinned in the most
disarming manner. “A comedy situation. And off he went defeated.”
He took her hand, apparently in the gayest of moods. “It’s only a
woman,” said he, “that could throw a bridge between Waterloo
station and the interior of China.”
She let the question drop; but the suspicion remained, and every
minute that passed, until the ormolu clock on the drawing-room
mantelpiece gave her the signal for conventional retirement,
converted it into certainty.
He walked with her as usual to the door of her block of flats. On
parting she found tremulous utterance for the sense of utter
forlornness which she had been trying all the evening to formulate:
“What’s to become of me when you’re gone?”
She fled upstairs, not waiting for the lift, and went straight to her
room, with the words echoing in her ears. No. They did not at all
convey her heart’s meaning. They sounded heartless, selfish. Yet
they were true. What would become of her? For a year she had
been enwrapped soul and mind and thought in the dynamic man.
Dynamic, yet so tender, so chivalrous, so childlike. Without him
existence was a blank full of shuddering fears. And then a coldness
as of death fell upon her. Never once, on this night of the parting of
the ways, had he hinted at his love for her. Had she, by her selfish
folly, her now incomprehensible sex shrinkings, killed at last the love
that once was hers for the taking? Slowly she undressed and crept
into bed; but sleep mocked her. Agonizingly awake, she stared at her
life. . . . And she stared too, almost in rhythmic alternation, at the
life of John Baltazar. Nothing but some supreme emotional crisis
could have caused this characteristic revolution, this sudden
surrender of the prize of his ambition, this gorgeous acceptance of
exile. For all his contemptuous dismissal of the suggestion, she
knew, with a woman’s unerring logic, that Baltazar had bought
Godfrey’s release from entanglement at the price of his own career.
And never a hint of regret, never a murmur against fate. Never the
faintest appeal to pity. . . . And she arraigned her own narrow
nurse’s self, and condemned it mercilessly. And the lower she sank in
her own esteem, the higher rose Baltazar until he loomed gigantic as
a god above her puny mortality.
Her throat was dry. She got out of bed and drank a glass of
water. On her way back across the room her glance fell on the little
brass Yale latchkey, lying on her dressing-table, which he, in his big,
careless way, had insisted on her having, so that she could gain
entrance, as of right, to the house, whenever she chose. She took it
up, gazing at it stupidly. The key to his home, the key to his heart,
the key to his soul—all in her keeping. And she had despised it. Now
she had lost it. The home would pass into alien hands. His heart was
barred. For the first time, for a whole year, they had met without his
uttering one little word, playful or wistful or tyrannic, to prove that
his nature was open hungrily for her. To-night she had been but his
dear friend. He had accepted her gift of friendship. She remembered
the old French adage: L’amitié, c’est le tombeau de l’amour. She sat
on the edge of the bed and mourned hopelessly the death of his
love.
And the brass Yale latchkey lay mockingly within her range of
vision.
 Baltazar walked home, her last words echoing in his ears. His
absence in China would naturally make a difference to her. She had
become part of his household. Godfrey, to whom she had given a
mother’s heart, was indefinitely in France and alienated from her by
his resentment of her breach of confidence. She had identified
herself so unreservedly with the fortunes of the House of Baltazar
that now, cut adrift, she would be on the high seas, derelict. What
could he do to mitigate her loneliness? If he died, she would be well
provided for. He had made his will some months ago. But he had
every hope of living for many robust years. What indeed would
become of the beloved woman now that their new attachments to
life were broken? The nurse’s career, in which she had spent the
splendid energies of her young womanhood? If Godfrey were in
London, he could commend her, with authority, to his care. But
Godfrey’s vanishing to France was the essence of the whole
business. There remained only Quong Ho. His appreciation of the
comic put Quong Ho out of court.
He entered his house in Sussex Gardens remorseful for lack of
consideration for Marcelle. But, hang it all, one couldn’t think of
everything at once. If she had cared enough for him to marry him,
well—there would have been the Light that never was on Sea or
Land. He would have snapped his fingers at the doings of the little
planet Earth. He would have been Master of the Universe. But that
was not to be. Either all in all as a wife or not at all. An irrevocable
decision. It was not Marcelle’s fault that she did not love him in that
way. . . . No use thinking of it. It was all over. They had drifted,
however, into an exquisite companionship, as exquisite to her—he
had no false modesty about it—as to him. And now that was over.
What was to become of Marcelle?
He was filling his pipe when Quong Ho entered the library with
his little deferential bow.
“Sir,” said he, “may I be allowed to commit an indiscretion?”
“You’ll do it so discreetly,” said Baltazar, “that it won’t matter. Fire
ahead.”
 “In the event of your leaving this country on a mission to the Far
East——”
“What the devil do you know about it?” asked Baltazar.
“In high Chinese circles in London it is common knowledge,”
replied Quong Ho.
“Together with lots of other things concerning me, I suppose.”
“You have many times observed,” said Quong Ho, “that my
countrymen are afflicted with an abnormal thirst for unessential
information.”
In spite of his heavy-heartedness, Baltazar smiled grimly.
“Well, suppose I am going to China. What of it?”
“May I postpone Cambridge degree and Fellowship for several
years and accompany you?”
Baltazar’s brow grew black. “Isn’t England good enough for you?”
Quong Ho broke into florid Chinese, the only vehicle for his
emotion. England was the land of his dreams. But why should he lie
beneath the passion-flower of luxury while his master ate the bread
of exile? Surely his degraded unworthiness might be useful to his
illustrious Excellency as confidential secretary not unversed, thanks
to his honoured master and patron, in the language and scholarship
of the Mandarins. Or, if that was deemed too honourable a position,
his filial piety ordained that he should offer himself as slave or any
debased instrument for which use could be found.
“Oh, for God’s sake talk English!” cried Baltazar, his nerves on
edge, foreseeing such endless verbiage in similar perfect phrasing
that awaited him in China.
Quong Ho spread out his hands and his face grew impassive. “I
have spoken,” he replied simply.
“I don’t want any more careers upset,” said Baltazar, irritably.
“You’re fixed. You’ve to get your Fellowship. You’ll stay in England.
Besides, I need you here to look after Miss Baring’s interests.”
“I confess,” said Quong Ho, gravely, “to being oblivious of that
side of the question.”
 Baltazar, lying deep in his arm-chair, pipe in mouth, gazed
intently into the oblique steadfast eyes of the son of his quaint
adoption. The idea of leaving Marcelle under his protection did not
seem in the least comic. He passed an impatient hand over his brow.
Was he losing his sense of values?
Apart from his intellectual gifts, Quong Ho was a man of shrewd
common sense and of infinite trustworthiness. Marcelle knew this.
Unlike so many untravelled Englishwomen, she did not regard a
Chinaman as a sort of dangerous toy dog. She shared his faith in
Quong Ho.
“I thank you for your offer, my dear fellow,” he said at last,
repenting his ungraciousness. “I know you made it out of affection
for me. I deeply appreciate it. If it weren’t for Miss Baring, I wouldn’t
hesitate. As it is, I leave you here as my agent.”
Quong Ho bowed. “So long as I can be of service to you, sir, your
word is law,” said he, and retired.
Baltazar, left alone, resumed his uninspired reflections. He felt
physically and morally weary, a beaten man. He shrank from his
Chinese exile with pathetic dread; shrank from the toilsome
journeys, the eternal compliments of convention that delayed serious
discussion, the perpetual ceremonial, the futile tea-drinking, the
mass of tradition and prejudice and ignorance, the smiling craft that
used it as a buffer against enlightenment. He looked with dismay on
his exclusion from the keen intellectual talk in which he had revelled
for the past year, from the brain-thrilling battle of Western Thought.
It was a man’s work, his mission; a picked man’s work. Hundreds
would have regarded it as a climax of their diplomatic ambition. But
to him, who had thrown himself into vast schemes for the
reconstruction of the war-torn world, it was exile, defeat. It was not
in his nature to regret his sacrifice. What was done was done. The
stars in their courses had fought against him individually, even
though, in their inscrutable wisdom they fought, as he believed, for
his House. No man who has saturated himself for years with Chinese
thought can escape the spiritual influence of fatalism. He was a
fatalist. It was written that he should fail in every one of his great
adventures. Yet the fact of it being written made his lot none the
less damnable for the very human and vivid man, once more
involved in predestined shipwreck.
He smoked many pipes thinking disconnectedly, without method,
and feeling old and lonely and broken, and very, very tired. At last
his pipe dropped to the floor and he fell asleep.
Suddenly the subconsciousness of a presence in the room caused
him to awake with a start. He looked up and, bewildered, saw
Marcelle standing by his chair. She was crying. He sprang to his feet,
passing his hands over his eyes.
“You here?” His glance instinctively sought the clock on the
mantelpiece. “Why, it’s half-past two in the morning!”
She said: “I couldn’t sleep. I couldn’t rest. I had to come.”
He did not understand.
“What is the matter, my dearest? What can I do for you?”
“Only go on loving me, and forgive me,” she said desperately.
“But I do,” he cried, puzzled. “It’s just hell for me to leave you.
But I can’t help it, my dear. My hand has been forced. It’s even
harder to leave you than it was twenty years ago. I love you and
want you more than ever I did in my life.”
“So do I,” she said, in a shaking voice. “That’s why I’m here, at
half-past two in the morning.”
Baltazar uttered a great triumphant cry and clasped her in his
arms.
“My God,” said he, “I’ve won after all!”
He held her at arm’s length and looked at her exultantly. Thank
Heaven she had no suspicion of his sense of downfall. Not Pity, but
Love at last awakened, had brought her to him.
“Yes,” he repeated. “I’ve won after all.”
After a while, when he had almost forgotten his words, she asked
him:
“What did you think you had lost?”
 “My faith in my destiny. The star of Baltazar. Once upon a time
the original bearer of my name, with the others, had faith in a star,
and he followed it and found God.”
She smiled. “Dear, aren’t you talking a bit wildly?”
“What’s the good of speech if one can’t use it wildly in wild
moments?” He laughed. “Oh, you belovedest woman,” said he, and
kissed her.
Presently: “You’ll come out to China with me? You’ll progress like
a queen. I’ll see to that.”
“It doesn’t matter how I progress,” she said, “so long as I’m with
you. I’m yours body and soul to the end of time.”
“To the end of Eternity,” he cried. “I prefer that. It’s bigger. The
biggest there is is good enough for me.”
His dancing eyes burned like flames of pride and happiness.
Twenty years seemed to have fallen from him, and she saw before
her the young man whom as a girl she had loved.
“You and I are going over to the greatest work ever attempted
by man. The regeneration of half the continent of Asia. I couldn’t
have done it alone. The prospect frightened me. Yes, it did. I hadn’t
the heart. But with you—I stake my faith in the Star—it’ll be one of
the great accomplishments of the war. Quong Ho will come with us.
He’ll have his chance. I’ll make him one of the great men of the New
China.”
He went on, expounding his vision of the new order of Oriental
things. She marvelled at him, for it seemed as if he had but lived for
that moment.
And divining his Great Sacrifice, she forgot the selfless years that
had all but moulded her into a mere machine of tender service to
maimed and diseased humanity, and felt a thing of small account
before this man whose unconquerable faith and indomitable courage
transformed his colossal vanities into virtues, and who, for all his
egotism, was endowed with the supreme gift of love.
“Godfrey will be astonished at all this,” she hazarded.
 “Astonishment,” said he, “is an emotion salutary for the very
young. It stimulates thought.”

THE END

TRANSCRIBER NOTES

Misspelled words and printer errors have been corrected.

Where multiple spellings occur, majority use has been employed.
Punctuation has been maintained except where obvious printer
errors occur.
*** END OF THE PROJECT GUTENBERG EBOOK THE HOUSE OF
BALTAZAR ***

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.
Welcome to our website – the ideal destination for book lovers and
knowledge seekers. With a mission to inspire endlessly, we offer a
vast collection of books, ranging from classic literary works to
specialized publications, self-development books, and children's
literature. Each book is a new journey of discovery, expanding
knowledge and enriching the soul of the reade

Our website is not just a platform for buying books, but a bridge
connecting readers to the timeless values of culture and wisdom. With
an elegant, user-friendly interface and an intelligent search system,
we are committed to providing a quick and convenient shopping
experience. Additionally, our special promotions and home delivery
services ensure that you save time and fully enjoy the joy of reading.

Let us accompany you on the journey of exploring knowledge and

personal growth!

ebookfinal.com