The Project Gutenberg eBook of A London plane-tree, by Amy Levy.

and other Verse
by
AMY LEVY

CAMEO
SERIES

T. FISHER UNWIN PATERNOSTER SQ.
LONDON, E.C. MDCCCLXXXIX

The proofs of this volume were corrected by the Author about a week before her death.

To Clementina Black.

Contents.

Illustrations.

A London Plane-Tree.

London in July.

A March Day in London.

THE east wind blows in the street to-day;
The sky is blue, yet the town looks grey.
’Tis the wind of ice, the wind of fire,
Of cold despair and of hot desire,
Which chills the flesh to aches and pains,
And sends a fever through all the veins.

From end to end, with aimless feet,
All day long have I paced the street.
My limbs are weary, but in my breast
Stirs the goad of a mad unrest.
I would give anything to stay
The little wheel that turns in my brain;
The little wheel that turns all day,
That turns all night with might and main.

What is the thing I fear, and why?
Nay, but the world is all awry—
The wind’s in the east, the sun’s in the sky{20}
The gas-lamps gleam in a golden line;
The ruby lights of the hansoms shine,
Glance, and flicker like fire-flies bright;
The wind has fallen with the night,
And once again the town seems fair
Thwart the mist that hangs i’ the air.

And o’er, at last, my spirit steals
A weary peace; peace that conceals
Within its inner depths the grain
Of hopes that yet shall flower again.
{21}

Ballade of an Omnibus.

SOME men to carriages aspire;
On some the costly hansoms wait;
Some seek a fly, on job or hire;
Some mount the trotting steed, elate.
I envy not the rich and great,
A wandering minstrel, poor and free,
I am contented with my fate—
An omnibus suffices me.

In winter days of rain and mire
I find within a corner strait;
The ’busmen know me and my lyre
From Brompton to the Bull-and-Gate.
When summer comes, I mount in state
The topmost summit, whence I see
Crœsus look up, compassionate—
An omnibus suffices me.{22}

I mark, untroubled by desire,
Lucullus’ phaeton and its freight.
The scene whereof I cannot tire,
The human tale of love and hate,
The city pageant, early and late
Unfolds itself, rolls by, to be
A pleasure deep and delicate.
An omnibus suffices me.

Princess, your splendour you require,
I, my simplicity; agree
Neither to rate lower nor higher.
An omnibus suffices me.
{23}

Ballade of a Special Edition.

HE comes; I hear him up the street—
Bird of ill omen, flapping wide
The pinion of a printed sheet,
His hoarse note scares the eventide.
Of slaughter, theft, and suicide
He is the herald and the friend;
Now he vociferates with pride—
A double murder in Mile End!

A hanging to his soul is sweet;
His gloating fancy’s fain to bide
Where human-freighted vessels meet,
And misdirected trains collide.
With Shocking Accidents supplied,
He tramps the town from end to end.
How often have we heard it cried—
A double murder in Mile End.{24}

War loves he; victory or defeat,
So there be loss on either side.
His tale of horrors incomplete,
Imagination’s aid is tried.
Since no distinguished man has died,
And since the Fates, relenting, send
No great catastrophe, he’s spied
This double murder in Mile End.

Fiend, get thee gone! no more repeat
Those sounds which do mine ears offend.
It is apocryphal, you cheat,
Your double murder in Mile End.
{25}

Straw in the Street.

Between the Showers.

Out of Town.

The Piano-Organ.

London Poets.

The Village Garden.

HERE, where your garden fenced about and still is,
Here, where the unmoved summer air is sweet
With mixed delight of lavender and lilies,
Dreaming I linger in the noontide heat.

Of many summers are the trees recorders,
The turf a carpet many summers wove;
Old-fashioned blossoms cluster in the borders,
Love-in-a-mist and crimson-hearted clove.

All breathes of peace and sunshine in the present,
All tells of bygone peace and bygone sun,
Of fruitful years accomplished, budding, crescent,
Of gentle seasons passing one by one.{31}

Fain would I bide, but ever in the distance
A ceaseless voice is sounding clear and low;—
The city calls me with her old persistence,
The city calls me—I arise and go.

Of gentler souls this fragrant peace is guerdon;
For me, the roar and hurry of the town,
Wherein more lightly seems to press the burden
Of individual life that weighs me down.

I leave your garden to the happier comers
For whom its silent sweets are anodyne.
Shall I return? Who knows, in other summers
The peace my spirit longs for may be mine?
{33}{32}

Love, Dreams, & Death.

New Love, New Life.

II.

Impotens.

Youth and Love.

The Dream.

A FAIR dream to my chamber flew:
Such a crowd of folk that stirred,
Jested, fluttered; only you,
You alone of all that band,
Calm and silent, spake no word.
Only once you neared my place,
And your hand one moment’s space
Sought the fingers of my hand;
Your eyes flashed to mine; I knew
All was well between us two.
* * * * *
On from dream to dream I past,
But the first sweet vision cast
Mystic radiance o’er the last.
* * * * *
When I woke the pale night lay
Still, expectant of the day;
All about the chamber hung
Tender shade of twilight gloom;
The fair dream hovered round me, clung
To my thought like faint perfume:—
Like sweet odours, such as cling
To the void flask, which erst encloses
Attar of rose; or the pale string
Of amber which has lain with roses.
{39}

On the Threshold.

The Birch-Tree at Loschwitz.

In the Night.

Borderland.

At Dawn.

Last Words.

June.

A Reminiscence.

The Sequel to “A Reminiscence.”

NOT in the street and not in the square,
The street and square where you went and came;
With shuttered casement your house stands bare,
Men hush their voice when they speak your name.

I, too, can play at the vain pretence,
Can feign you dead; while a voice sounds clear
In the inmost depths of my heart: Go hence,
Go, find your friend who is far from here.

Not here, but somewhere where I can reach!
Can a man with motion, hearing and sight,
And a thought that answered my thought and speech,
Be utterly lost and vanished quite?{49}

Whose hand was warm in my hand last week?...
My heart beat fast as I neared the gate—
Was it this I had come to seek,
“A stone that stared with your name and date;”

A hideous, turfless, fresh-made mound;
A silence more cold than the wind that blew?
What had I lost, and what had I found?
My flowers that mocked me fell to the ground—
Then, and then only, my spirit knew.
{50}

In the Mile End Road.

Contradictions.

Twilight.

In September.

Moods and Thoughts.

The Old House.

IN through the porch and up the silent stair;
Little is changed, I know so well the ways;—
Here, the dead came to meet me; it was there
The dream was dreamed in unforgotten days.

But who is this that hurries on before,
A flitting shade the brooding shades among?—
She turned,—I saw her face,—O God, it wore
The face I used to wear when I was young!

I thought my spirit and my heart were tamed
To deadness; dead the pangs that agonise.
The old grief springs to choke me,—I am shamed
Before that little ghost with eager eyes.

O turn away, let her not see, not know!
How should she bear it, how should understand?
O hasten down the stairway, haste and go,
And leave her dreaming in the silent land.
{58}

Lohengrin.

Alma Mater.

TO-DAY in Florence all the air
Is soft with spring, with sunlight fair;
In the tall street gay folks are met;
Duomo and Tower gleam overhead,
Like jewels in the city set,
Fair-hued and many-faceted.
Against the old grey stones are piled
February violets, pale and sweet,
Whose scent of earth in woodland wild
Is wafted up and down the street.
The city’s heart is glad; my own
Sits lightly on its bosom’s throne.
* * * * * *
Why is it that I see to-day,
Imaged as clear as in a dream,
A little city far away,
A churlish sky, a sluggish stream,{60}
Tall clust’ring trees and gardens fair,
Dark birds that circle in the air,
Grey towers and fanes; on either hand,
Stretches of wind-swept meadow-land?
* * * * * *
Oh, who can sound the human breast?
And this strange truth must be confessed;
That city do I love the best
Wherein my heart was heaviest!
{61}

In the Black Forest.

Captivity.

THE lion remembers the forest,
The lion in chains;
To the bird that is captive a vision
Of woodland remains.

One strains with his strength at the fetter,
In impotent rage;
One flutters in flights of a moment,
And beats at the cage.

If the lion were loosed from the fetter,
To wander again;
He would seek the wide silence and shadow
Of his jungle in vain.

He would rage in his fury, destroying;
Let him rage, let him roam!
Shall he traverse the pitiless mountain,
Or swim through the foam?

If they opened the cage and the casement,
And the bird flew away;
He would come back at evening, heartbroken,
A captive for aye.{63}

Would come if his kindred had spared him,
Free birds from afar—
There was wrought what is stronger than iron
In fetter and bar.

I cannot remember my country,
The land whence I came;
Whence they brought me and chained me and made me
Nor wild thing nor tame.

This only I know of my country,
This only repeat:—
It was free as the forest, and sweeter
Than woodland retreat.

When the chain shall at last be broken,
The window set wide;
And I step in the largeness and freedom
Of sunlight outside;

Shall I wander in vain for my country?
Shall I seek and not find?
Shall I cry for the bars that encage me,
The fetters that bind?
{64}

The Two Terrors.

The Promise of Sleep.

The Last Judgment.

WITH beating heart and lagging feet,
Lord, I approach the Judgment-seat.
All bring hither the fruits of toil,
Measures of wheat and measures of oil;

Gold and jewels and precious wine;
No hands bare like these hands of mine.
The treasure I have nor weighs nor gleams:
Lord, I can bring you only dreams.

In days of spring, when my blood ran high,
I lay in the grass and looked at the sky,
And dreamed that my love lay by my side—
My love was false, and then she died.

All the heat of the summer through,
I dreamed she lived, that her heart was true.
Throughout the hours of the day I slept,
But woke in the night, at times, and wept.{67}

The nights and days, they went and came,
I lay in shadow and dreamed of fame;
And heard men passing the lonely place,
Who marked me not and my hidden face.

My strength waxed faint, my hair grew grey;
Nothing but dreams by night and day.
Some men sicken, with wine and food;
I starved on dreams, and found them good.
* * * * * *
This is the tale I have to tell—
Show the fellow the way to hell.
{68}

Felo de Se.

FOR repose I have sighed and have struggled; have sigh’d and have struggled in vain;
I am held in the Circle of Being and caught in the Circle of Pain.
I was wan and weary with life; my sick soul yearned for death;
I was weary of women and war and the sea and the wind’s wild breath;
I cull’d sweet poppies and crush’d them, the blood ran rich and red:—
And I cast it in crystal chalice and drank of it till I was dead.
And the mould of the man was mute, pulseless in ev’ry part,
The long limbs lay on the sand with an eagle eating the heart.{69}
Repose for the rotting head and peace for the putrid breast,
But for that which is “I” indeed the gods have decreed no rest;
No rest but an endless aching, a sorrow which grows amain:—
I am caught in the Circle of Being and held in the Circle of Pain.
Bitter indeed is Life, and bitter of Life the breath,
But give me life and its ways and its men, if this be Death.
Wearied I once of the Sun and the voices which clamour’d around:
Give them me back—in the sightless depths there is neither light nor sound.
Sick is my soul, and sad and feeble and faint as it felt
When (far, dim day) in the fair flesh-fane of the body it dwelt.
But then I could run to the shore, weeping and weary and weak;
See the waves’ blue sheen and feel the breath of the breeze on my cheek:
Could wail with the wailing wind; strike sharply the hands in despair;{70}
Could shriek with the shrieking blast, grow frenzied and tear the hair;
Could fight fierce fights with the foe or clutch at a human hand;
And weary could lie at length on the soft, sweet, saffron sand....
I have neither a voice nor hands, nor any friend nor a foe;
I am I—just a Pulse of Pain—I am I, that is all I know.
For Life, and the sickness of Life, and Death and desire to die;—
They have passed away like the smoke, here is nothing but Pain and I.
{71}

The Lost Friend.

Cambridge in the Long.

WHERE drowsy sound of college-chimes
Across the air is blown,
And drowsy fragrance of the limes,
I lie and dream alone.

A dazzling radiance reigns o’er all—
O’er gardens densely green,
O’er old grey bridges and the small,
Slow flood which slides between.

This is the place; it is not strange,
But known of old and dear.—
What went I forth to seek? The change
Is mine; why am I here?

Alas, in vain I turned away,
I fled the town in vain;
The strenuous life of yesterday
Calleth me back again.{73}

And was it peace I came to seek?
Yet here, where memories throng,
Ev’n here, I know the past is weak,
I know the present strong.

This drowsy fragrance, silent heat,
Suit not my present mind,
Whose eager thought goes out to meet
The life it left behind.

Spirit with sky to change; such hope,
An idle one we know;
Unship the oars, make loose the rope,
Push off the boat and go....

Ah, would what binds me could have been
Thus loosened at a touch!
This pain of living is too keen,
Of loving, is too much.
{74}

To Vernon Lee.

The Old Poet.

I WILL be glad because it is the Spring;
I will forget the winter in my heart—
Dead hopes and withered promise; and will wring
A little joy from life ere life depart.

For spendthrift youth with passion-blinded eyes,
Stays not to see how woods and fields are bright;
He hears the phantom voices call, he flies
Upon the track of some unknown delight.

To him the tender glory of the May,
White wonder of the blossom, and the clear,
Soft green of leaves that opened yesterday,
This only say: Forward, my friend, not here!

They breathe no other messages than this,
They have no other meaning for his heart;
Unto his troubled sense they tell of bliss,
Which make, themselves, of bliss the better part.{76}

Yea, joy is near him, tho’ he does not know;
Her unregarded shape is at his side,
Her unheard voice is whispering clear and low,
Whom, resting never, seeks he far and wide.

So once it was with us, my heart! To-day
We will be glad because the leaves are green,
Because the fields are fair and soft with May,
Nor think on squandered springtimes that have been.
{77}

On the Wye in May.

Oh, is it Love?

In the Nower.

The End of the Day.

DEAD-tired, dog-tired, as the vivid day
Fails and slackens and fades away.—
The sky that was so blue before
With sudden clouds is shrouded o’er.
Swiftly, stilly the mists uprise,
Till blurred and grey the landscape lies.
* * * * * *
All day we have plied the oar; all day
Eager and keen have said our say
On life and death, on love and art,
On good or ill at Nature’s heart.
Now, grown so tired, we scarce can lift
The lazy oars, but onward drift.
And the silence is only stirred
Here and there by a broken word.
* * * * * *
O, sweeter far than strain and stress
Is the slow, creeping weariness.{81}
And better far than thought I find
The drowsy blankness of the mind.
More than all joys of soul or sense
Is this divine indifference;
Where grief a shadow grows to be,
And peace a possibility.
{82}

Odds and Ends.

A Wall Flower.

The First Extra.

At a Dinner Party.

Philosophy.

ERE all the world had grown so drear,
When I was young and you were here,
’Mid summer roses in summer weather,
What pleasant times we’ve had together!

We were not Phyllis, simple-sweet,
And Corydon; we did not meet
By brook or meadow, but among
A Philistine and flippant throng

Which much we scorned; (less rigorous
It had no scorn at all for us!)
How many an eve of sweet July,
Heedless of Mrs. Grundy’s eye,

We’ve scaled the stairway’s topmost height,
And sat there talking half the night;
And, gazing on the crowd below,
Thanked Fate and Heaven that made us so;{89}—

To hold the pure delights of brain
Above light loves and sweet champagne.
For, you and I, we did eschew
The egoistic “I” and “you;”

And all our observations ran
On Art and Letters, Life and Man.
Proudly we sat, we two, on high,
Throned in our Objectivity;

Scarce friends, not lovers (each avers),
But sexless, safe Philosophers.
* * * * * *
Dear Friend, you must not deem me light
If, as I lie and muse to-night,
I give a smile and not a sigh
To thoughts of our Philosophy.
{90}

A Game of Lawn Tennis.

WHAT wonder that I should be dreaming
Out here in the garden to-day?
The light through the leaves is streaming,—
Paulina cries, “Play!”

The birds to each other are calling,
The freshly-cut grasses smell sweet;
To Teddy’s dismay, comes falling
The ball at my feet.

“Your stroke should be over, not under!”
“But that’s such a difficult way!”
The place is a springtide wonder
Of lilac and may;

Of lilac, and may, and laburnum,
Of blossom,—We’er losing the set!
“Those volleys of Jenny’s,—return them;
“Stand close to the net!”
* * * * * *
{91} You are so fond of the Maytime,
My friend, far away;
Small wonder that I should be dreaming
Of you in the garden to-day.
{92}

To E.

THE mountains in fantastic lines
Sweep, blue-white, to the sky, which shines
Blue as blue gems; athwart the pines
The lake gleams blue.

We three were here, three years gone by;
Our Poet, with fine-frenzied eye,
You, steeped in learned lore, and I,
A poet too.

Our Poet brought us books and flowers,
He read us Faust; he talked for hours
Philosophy (sad Schopenhauer’s),
Beneath the trees:

And do you mind that sunny day,
When he, as on the sward he lay,
Told of Lassalle who bore away
The false Louise?{93}

Thrice-favoured bard! to him alone
That green and snug retreat was shown,
Where to the vulgar herd unknown,
Our pens we plied.

(For, in those distant days, it seems,
We cherished sundry idle dreams,
And with our flowing foolscap reams
The Fates defied.)

And after, when the day was gone,
And the hushed, silver night came on,
He showed us where the glow-worm shone;—
We stooped to see.

There, too, by yonder moon we swore
Platonic friendship o’er and o’er;
No folk, we deemed, had been before
So wise and free.
* * * * * * *
And do I sigh or smile to-day?
Dead love or dead ambition, say,
Which mourn we most? Not much we weigh
Platonic friends.{94}

On you the sun is shining free;
Our Poet sleeps in Italy,
Beneath an alien sod; on me
The cloud descends.
{95}

*** END OF THE PROJECT GUTENBERG EBOOK A LONDON PLANE-TREE, AND OTHER VERSE ***

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

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.

A London Plane-Tree.
	PAGE
A London Plane-Tree	17
London in July	18
A March Day in London	19
Ballade of an Omnibus	21
Ballade of a Special Edition	23
Ballade of a Special Edition	23
Straw in the Street	—Roundels 25-27
Between the Showers
Out of Town
The Piano-Organ	28
London Poets	29
The Village Garden	30

Love, Dreams, and Death.
New Love, New Life	35
Impotens	36
Youth and Love	37
The Dream	38
On the Threshold	39
The Birch-Tree at Loschwitz	40
Borderland	42
At Dawn	43
Last Words	44
June	46
A Reminiscence	47
The Sequel to “A Reminiscence”	48
In the Mile End Road	50
Contradictions	51
Twilight	52
In September	53

Moods and Thoughts.
The Old House	57
Lohengrin	58
Alma Mater	59
In the Black Forest	61
Captivity	62
The Two Terrors	64
The Promise of Sleep	65
The Last Judgment	66
Felo de Se	68
The Lost Friend	71
Cambridge in the Long	72
To Vernon Lee	74
The Old Poet	75
On the Wye in May	77
Oh, is it Love?	78
The End of the Day	80

Odds and Ends.
Songs From The New Phaon (unpublished)
1. A Wall-flower	85
2. The First Extra	86
3. At a Dinner Party	87
Philosophy	88
A Game of Lawn Tennis	90
To E.	91

A London Plane-Tree: The Temple Church. By J. Bernard Partridge.	Frontispiece.
Odds and Ends. By J. Bernard Partridge.	Facing p. 83.

The Project Gutenberg eBook of A London Plane-Tree, and Other Verse

A London Plane-Tree

To Clementina Black.

Contents.

Illustrations.

A London Plane-Tree.

A London Plane-Tree.

London in July.

A March Day in London.

Ballade of an Omnibus.

Ballade of a Special Edition.

Straw in the Street.

Between the Showers.

Out of Town.

The Piano-Organ.

London Poets.

The Village Garden.

Love, Dreams, & Death.

New Love, New Life.

I.

II.

Impotens.

Youth and Love.

The Dream.

On the Threshold.

The Birch-Tree at Loschwitz.

In the Night.

Borderland.

At Dawn.

Last Words.

June.

A Reminiscence.

The Sequel to “A Reminiscence.”

In the Mile End Road.

Contradictions.

Twilight.

In September.

Moods and Thoughts.

The Old House.

Lohengrin.

Alma Mater.

In the Black Forest.

Captivity.

The Two Terrors.

The Promise of Sleep.

The Last Judgment.

Felo de Se.

The Lost Friend.

Cambridge in the Long.

To Vernon Lee.

The Old Poet.

On the Wye in May.

Oh, is it Love?

In the Nower.

The End of the Day.

Odds and Ends.

A Wall Flower.

The First Extra.

At a Dinner Party.

Philosophy.

A Game of Lawn Tennis.

To E.

THE FULL PROJECT GUTENBERG LICENSE