The Project Gutenberg eBook of The Wooden Pegasus, by Edith Sitwell.

BY
EDITH SITWELL
Author of “Clowns’ Houses”; Editor of “Wheels”

OXFORD
BASIL BLACKWELL
1920
{4}
{5}

TO

Helen Rootham

Osbert Sitwell

Sacheverell Sitwell

AND

W. T. Walton

The Avenue	15
Mandoline	17
Comedy for Marionettes	20
Falsetto Song	23
Eventail	24
Fifteen Bucolic Poems:
I.	What the Goosegirl said about the Dean	26
II.	Noah	28
III.	The Girl with the Lint-white Locks	29
IV.	The Lady with the Sewing-Machine	31
V.	By Candlelight	33
VI.	Serenade	35
{10} VII.	Clowns’ Houses	36
VIII.	The Satyr in the Periwig	39
IX.	The Muslin Gown	41
X.	Miss Nettybun and the Satyr’s Child	42
XI.	Queen Venus and the Choirboy	43
XII.	The Ape sees the Fat Woman	45
XIII.	The Ape watches “Aunt Sally”	47
XIV.	Springing Jack	48
XV.	“Tournez, Tournez, Bons Chevaux de Bois”	50
Seven Nursery Songs:
I.	Old Lady Fly-Away	52
II.	Great Snoring and Norwich	53
III.	Fat William and the Trains	54
IV.	A Penny Fare to Babylon	55
V.	The Butcher’s Shop	56
VI.	The King of China’s Daughter	57
VII.	Old King Ptolemy	58
{11} Pedagogues and Flower Shows I	60
Pedagogues and Flower Shows II	62
Switchback	63
Trams	64
Bank Holiday I	65
Bank Holiday II	66
Small Talk I	67
Small Talk II	69
Dansons la Gigue	70
Messalina at Margate	72
Pedagogues	75
Song from “the Queen of Palmyra”	77
The Choir-Boy rides on the Switchback	78
Apricot Jam	80
Stopping Place	82
Portrait of a Barmaid	85
Materialism; or, Pastor —— takes the Restaurant Car for Heaven	87
Thaïs in Heaven	89
Four Nocturnes:
I.	Processions	91
II.	Gaiety	93
III.	Vacuum	96
IV.	{12} “Et l’on entend à Peine leurs Paroles”	98
Treats:
I.	Funerals	100
II.	The County Calls	102
III.	Solo for Ear-Trumpet	104
Antic Hay	106
Lullaby	108
Water Music	109
The Web of Eros	110
Drowned Suns	111
The Spider	112
The Drunkard	115
The Mother	117

SINGERIE

SUMMER afternoon in Hell!
Down the empty street it fell,
Pantaloon and Scaramouche—
Tongues like flames and shadows louche—
Flickered down the street together
In the spangled weather.
Flames, bright singing-birds that pass,
Whistled wares as shrill as grass
(Landscapes clear as glittering glass),
Whistled all together:
Papagei, oh Papagei,
Buy our greenest fruits, oh buy,
Melons misty from the bloom
Of mellow moons on some hot night,
Melting in the August light;
Apples like an emerald shower;
Nectarines that falling boom
On the grass in greenest gloom;
Peaches bright as parrot’s feather
Glistening from the moon’s bower;{14}
Chequered like fritillaries,
Fat and red are strawberries.
Parrot-voices shrill together—
Now they pelt each monkey-face
(Pantaloon with simian grace)
From the soft gloom till they smother
Both the plumed head-dresses
With the green fruit-gems that glitter
(Twinkling sharp sounds like a zither).
Sharp each bird-tongue shrills and hisses,
Parrot-voices shrieking bane;—
Down comes every spangled shutter
With a sudden noise like rain.
{15}

THE AVENUE

IN the huge and glassy room,
Pantaloon, with his tail-feather
Spangled like the weather,
Panached, too, with many a plume,
Watched the monkey Fanfreluche,
Shivering in his gilded ruche,
Fawn upon the piano keys—
Flatter till they answer back,
Through the scale of centuries,
Difference between white and black.
Winds like hurricanes of light
Change the blackest vacuums
To a light-barred avenue—
Semitones of might and right;
Then, from matter, life comes.
Down that lengthy avenue
Leading us we know not where,
Sudden views creep through the air;
Oh the keys we stumble through!
Jungles splashed with violent light,
Promenades all hard and bright,{16}
Long tails like the swish of seas,
Avenue of piano keys.
Meaning comes to bind the whole,
Fingers separate from thumbs,
Soon the shapeless tune comes:
Bestial efforts at man’s soul.
What though notes are false and shrill—
Black streets tumbling down a hill?
Fundamentally
I am you, and you are me—
Octaves fall as emptily.
{17}

MANDOLINE

DOWN in Hell’s gilded street,
Snow dances fleet and sweet,
Bright as a parokeet,

Or Punchinello,
All glistening yellow,
As fruit-jewels mellow,

Glittering white and black
As the swan’s glassy back
On the Styx’ soundless track,

Sharp as bird’s painted bill,
Pecking fruit, sweet and shrill,
On a dark window-sill.

See the glass house as smooth
As a wide puppet-booth ...
Snow strikes it like a sooth{18}

Melon-shaped mandoline
With the sharp tang and sheen
Of flames that cry, “Unclean!”

Dinah with scarlet ruche,
Gay-plumaged Fanfreluche,
Watch shrill as Scaramouche

In the huge house of glass
Old shadows bent, alas!
On ebon sticks now pass—

Lean on a nigger boy
Creep like a broken toy—
Wooden and painted joy.

Trains sweep the empty floors—
Pelongs and Pallampores,
Bulchauls and Sallampores,

Soundless as any breeze
(Amber and orangeries)
From isles in Indian seas.

Black spangled veils falling
(The cold is appalling),
They wave fans, hear calling{19}

Adder-flames shrieking slow,
Stinging bright fruit-like snow,
Down in the street below;

While an ape, with black spangled veil,
Plum’d head-dress, face dust-pale,
Scratch’d with a finger-nail

Sounds from a mandoline,
Tuneless and sharp as sin:—
Shutters whose tang and sheen,

Shrieking all down the scale,
Seem like the flames that fail
Under that onyx nail,

Light as snow dancing fleet,
Bright as a parokeet,
Down in Hell’s empty street.
{20}

“COMEDY FOR MARIONETTES”

(To I. C. P.)

TANG the sharp mandoline!
Hail, falling in the lean
Street of Hell, sweeps it clean.

Under the puppet booth,
Down in Hell, see the smooth
Snow bright as fruit and sooth.

Cherries and plums all freeze—
Rubies upon the trees,
Rubied hail falls through these,

Pelting each young Snow Queen—
(A swan’s breath, so whitely seen,)
Flirting her fan in lean

Streets, passing to and fro,
White as the flamelike snow,
Fruit of lips all aglow{21}

As isles of the cherry
Or ruby-sweet berry
All plump sweet and merry.

Mantillas hide the shame
Of each duenna dame,
(Fans made of plumes of flame,)

Pelted with coral bells
Out of the orchard hells,
(Hail with sweet fruitage smells).

Now on the platform seen,
Hoofs clatter with the clean
Sound of a mandoline....

Under the tinsel sun,
See shadow-spiders run!—
Fatter than any bun,

Beelzebub in a chair
Sits on the platform there;
Candles like cold eyes stare.

“Master has got the gout,”
Adder-flames flare and spout
{22}From his lips ... shadows rout.

Tiptoe the Barber crept,
On his furred black locks leapt.
Candles shrieked, flaring wept.

Barber takes up the shears....
“Fur for the shivering fears,
Cold in Hell these long years.”

Candles shriek up the scale,
Creaking down in a wail.
Hear how their protests fail!

Only cold, snakish flutes
Sound like the growing fruits
Out of slow hidden roots....

Strange eyes a moment stare,
Fruit-like and moon-like glare,
From the bright shutters where

Hail, falling in the lean
Street of Hell, sweeps it clean.
Tang the sharp mandoline!
{23}

FALSETTO SONG

EVENTAIL

LOVELY Semiramis
Closes her slanting eyes:
Dead is she long ago.
From her fan, sliding slow,
Parrot-bright fire’s feathers,
Gilded as June weathers,
Plumes bright and shrill as grass
Twinkle down; as they pass
Through the green glooms in Hell
Fruits with a tuneful smell,
Grapes like an emerald rain,
Where the full moon has lain,
Greengages bright as grass,
Melons as cold as glass,
Piled on each gilded booth,
Feel their cheeks growing smooth.
Apes in plumed head-dresses
Whence the bright heat hisses,—
Nubian faces, sly
Pursing mouth, slanting eye,{25}
Feel the Arabian
Winds floating from the fan:
Salesmen with gilded face
Paler grow, nod apace;
“Oh, the fan’s blowing
Cold winds ... It is snowing!”
{26}

FIFTEEN BUCOLIC POEMS

I

WHAT THE GOOSEGIRL SAID ABOUT THE DEAN

TURN again, turn again,
Goose Clothilda, Goosie Jane!

The wooden waves of people creak
From houses built with coloured straws
Of heat; Dean Pappus’ long nose snores—
Harsh as a hautbois, marshy-weak.

The wooden waves of people creak
Through the fields all water-sleek;

And in among the straws of light
Those bumpkin hautbois-sounds take flight,

Whence he lies snoring like the moon,
Clownish-white all afternoon,{27}

Beneath the trees’ arsenical
Harsh wood-wind tunes. Heretical—

(Blown like the wind’s mane
Creaking woodenly again)

His wandering thoughts escape like geese,
Till he, their gooseherd, sets up chase,
And clouds of wool join the bright race
For scattered old simplicities.
{28}

II

NOAH

Note.—Thanks due to Helen Rootham for her earnest collaboration in this poem.{29}

III

THE GIRL WITH THE LINT-WHITE LOCKS

THE bright-striped wooden fields are edged
With noisy cock’s crow trees, scarce fledged—

The trees that spin like tops, all weathers,
Like strange birds ruffling glassy feathers.

My hair is white as flocks of geese,
And water hisses out of this;

And when the late sun burns my cheek
Till it is pink as apples sleek,

I wander in the fields and know
Why kings do squander pennies so—

Lest they at last should weight their eyes!
But beggars’ ragged minds, more wise,{30}

Know without flesh we cannot see—
And so they hoard stupidity

(The dull ancestral memory
That is the only property).

They laugh to see the spring fields edged
With noisy cock’s crow trees scarce fledged,

And flowers that grunt to feel their eyes
Made clear with sight’s finalities.
{31}

IV

THE LADY WITH THE SEWING MACHINE

ACROSS the fields as green as spinach,
Cropped as close as Time to Greenwich,

Stands a high house; if at all,
Spring comes like a Paisley shawl—

Patternings meticulous
And youthfully ridiculous.

In each room the yellow sun
Shakes like a canary, run

On run, roulade, and watery trill—
Yellow, meaningless, and shrill.

Face as white as any clock’s,
Cased in parsley-dark curled locks,{32}

All day long you sit and sew,
Stitch life down for fear it grow,

Stitch life down for fear we guess
At the hidden ugliness.

Dusty voice that throbs with heat,
Hoping with its steel-thin beat

To put stitches in my mind,
Make it tidy, make it kind;

You shall not! I’ll keep it free
Though you turn earth sky and sea

To a patchwork quilt to keep
Your mind snug and warm in sleep.
{33}

V

BY CANDLELIGHT

HOUSES red as flower of bean,
Flickering leaves and shadows lean!
Pantalone, like a parrot,
Sat and grumbled in the garret,
Sat and growled and grumbled till
Moon upon the window-sill,
Like a red geranium,
Scented his bald cranium.
Said Brighella, meaning well—
“Pack your box and—go to Hell!
Heat will cure your rheumatism.”
Silence crowned this optimism.
Not a sound and not a wail—
But the fire (lush leafy vale)
Watched the angry feathers fly.
Pantalone ’gan to cry{34}—
Could not, would not, pack his box.
Shadows (curtseying hens and cocks)
Pecking in the attic gloom,
Tried to smother his tail-plume....
Till a cock’s comb candle-flame,
Crowing loudly, died: Dawn came.
{35}

VI

SERENADE

VII

CLOWNS’ HOUSES

BENEATH the flat and paper sky
The sun, a demon’s eye,
Glowed through the air, that mask of glass;
All wand’ring sounds that pass

Seemed out of tune, as if the light
Were fiddle-strings pulled tight.
The market square with spire and bell
Clanged out the hour in Hell.

The busy chatter of the heat
Shrilled like a parokeet;
And shuddering at the noonday light
The dust lay dead and white

As powder on a mummy’s face,
Or fawned with simian grace
Round booths with many a hard bright toy
And wooden brittle joy:{37}

The cap and bells of Time the Clown
That, jangling, whistled down
Young cherubs hidden in the guise
Of every bird that flies;

And star-bright masks for youth to wear,
Lest any dream that fare
—Bright pilgrim—past our ken, should see
Hints of Reality.

Upon the sharp-set grass, shrill-green,
Tall trees like rattles lean,
And jangle sharp and dizzily;
But when night falls they sigh

Till Pierrot moon steals slyly in,
His face more white than sin,
Black-masked, and with cool touch lays bare
Each cherry, plum, and pear.

Then underneath the veilèd eyes
Of houses, darkness lies,—
Tall houses; like a hopeless prayer
They cleave the sly dumb air.

Blind are those houses, paper-thin;
Old shadows hid therein,
With sly and crazy movements creep
Like marionettes, and weep.{38}

Tall windows show Infinity;
And, hard reality,
The candles weep and pry and dance
Like lives mocked at by Chance.

The rooms are vast as Sleep within:
When once I ventured in,
Chill Silence, like a surging sea,
Slowly enveloped me.
{39}

VIII

THE SATYR IN THE PERIWIG

THE Satyr Scarabombadon
Pulled periwig and breeches on:
“Grown old and stiff, this modern dress
Adds monstrously to my distress;
The gout within a hoofen heel
Is very hard to bear; I feel
When crushed into a buckled shoe
The twinge will be redoubled, too.
And when I walk in gardens green
And, weeping, think on what has been,
Then wipe one eye,—the other sees
The plums and cherries on the trees.
Small bird-quick women pass me by
With sleeves that flutter airily,
And baskets blazing like a fire
With laughing fruits of my desire;
Plums sunburnt as the King of Spain,
Gold-cheeked as any Nubian,{40}
With strawberries all goldy-freckled,
Pears fat as thrushes and as speckled ...
Pursue them?... Yes, and squeeze a tear:
‘Please spare poor Satyr one, my dear.’
‘Be off, sir; go and steal your own!’
—Alas, poor Scarabombadon,
They’d rend his ruffles, stretch a twig,
Tear off a satyr’s periwig!”
{41}

IX

THE MUSLIN GOWN

X

MISS NETTYBUN AND THE SATYR’S CHILD

XI

QUEEN VENUS AND THE CHOIR-BOY

(To Naomi Royde Smith)

XII

THE APE SEES THE FAT WOMAN

AMONG the dark and brilliant leaves,
Where flowers seem tinsel firework-sheaves,

Blond barley-sugar children stare
Through shining apple-trees, and there

A lady like a golden wind
Whose hair like apples tumbles kind,

And whose bright name, so I believe,
Is sometimes Venus, sometimes Eve,

Stands, her face furrowed like my own
With thoughts wherefrom strange seeds are sown,

Whence, long since, stars for bright flowers grew
Like periwinkles pink and blue,{46}—

(Queer impulses of bestial kind,
Flesh indivisible from mind.)

I, painted like the wooden sun,
Must hand-in-hand with angels run—

The tinsel angels of the booth
That lead poor yokels to the truth

Through raucous jokes, till we can see
That narrow long Eternity

Is but the whip’s lash o’er our eyes—
Spurring to new vitalities.
{47}

XIII

THE APE WATCHES “AUNT SALLY”

XIV

SPRINGING JACK

GREEN wooden leaves clap light away,
Severely practical, as they

Shelter the children, candy-pale.
The chestnut-candles flicker, fail....

The showman’s face is cubed clear as
The shapes reflected in a glass

Of water—(glog, glut, a ghost’s speech
Fumbling for space from each to each).

The fusty showman fumbles, must
Fit in a particle of dust

The universe, for fear it gain
Its freedom from my box of brain.

Yet dust bears seeds that grow to grace
Behind my crude-striped wooden face{49}

As I, a puppet tinsel-pink,
Leap on my springs, learn how to think,

Then like the trembling golden stalk
Of some long-petalled star, I walk

Through the dark heavens until dew
Falls on my eyes and sense thrills through.
{50}

XV

“TOURNEZ, TOURNEZ, BONS CHEVAUX DE BOIS”

TURN, turn again,
Ape’s blood in each vein.
The people that pass
Seem castles of glass,
The old and the good,
Giraffes of blue wood;
The soldier, the nurse,
Wooden face and a curse,
Are shadowed with plumage
Like birds by the gloomage.
Blond hair like a clown’s,
The music floats, drowns
The creaking of ropes
The breaking of hopes.
The wheezing, the old,
Like harmoniums scold:
Go to Babylon, Rome,
The brain-cells called home,{51}
The grave, New Jerusalem,
Wrinkled Methusalem:
From our floating hair
Derived the first fair
And queer inspiration
Of music (the nation
Of bright-plumed trees
And harpy-shrill breeze).
. . .
Turn, turn again,
Ape’s blood in each vein.
{52}

SEVEN NURSERY SONGS

I

OLD LADY FLY-AWAY

II

GREAT SNORING AND NORWICH

III

FAT WILLIAM AND THE TRAINS

IV

A PENNY FARE TO BABYLON

V

THE BUTCHER’S SHOP

VI

THE KING OF CHINA’S DAUGHTER

The King of China’s daughter, She never would love me Though I hung my cap and bells upon Her nutmeg tree. For oranges and lemons, The stars in bright blue air, (I stole them long ago, my dear) Were dangling there. The Moon did give me silver pence, The Sun did give me gold, And both together softly blew And made my porridge cold; But the King of China’s daughter Pretended not to see When I hung my cap and bells upon Her nutmeg tree.{58}

VII

OLD KING PTOLEMY

PEDAGOGUES AND FLOWER-SHOWS

TALL cranes with wooden bodices
Stuffed full of shadow odyssies.

They hiss like geese through schoolroom
bars
At the bright flower-show of the stars.

The houses (children’s bricks) float by
On swords of moonshine, cry and sigh.

The schoolmen spray with glittering laughter
This flower-show, budding strangely after.

“Our map-like cheeks are painted red
Where sawdust gods were pierced and bled

“By all this moonshine, and we feel
Blood should be dry,”—Erazureel{61}

Cried; “Blue, pink, yellow planets, bright
Flowers frilled as seas breathe in the night;

These frillèd pinks, so neat and nice,
We’ll teach to turn the world to ice.

Our science then can soon inure
The stars to blossom from manure;

The world will be all map-like, plain
As our lined cheeks, and once again

The soul (moot point) will scarce intrude
Its lack of depth and magnitude!”
{62}

PEDAGOGUES AND FLOWER-SHOWS

SWITCHBACK

TRAMS

BANK HOLIDAY

SMALL TALK

I

UPON the noon Cassandra died
The harpy preened itself outside.

Bank Holiday put forth its glamour,
And in the wayside station’s clamour

We found the café at the rear,
And sat and drank our Pilsener beer.

Words smeared upon our wooden faces
Now paint them into queer grimaces;

The crackling greeneries that spirt
Like fireworks, mock our souls inert,

And we seem feathered like a bird
Among those shadows scarcely heard.

Beneath her shade-ribbed switchback mane
The harpy, breasted like a train,{68}

Was haggling with a farmer’s wife:
“Fresh harpy’s eggs, no trace of life.”

Miss Sitwell, cross and white as chalk,
Was indisposed for the small talk.

Since, peering through a shadowed door,
She saw Cassandra on the floor.
{69}

SMALL TALK

II

DANSONS LA GIGUE

MESSALINA AT MARGATE

THE tents are coloured like a child’s balloons;
They swell upon the air like August moons
Anchored by waters paler than a pearl;
The airs like rain-wet shrinking petals curl

Beneath the rainbow lights of noon that fill
The open calyx with the faintest thrill,
Then break in airy bubbles on the sense
Like sounds upheld in exquisite suspense.

In grande toilette, and with a parasol
Bright-fringèd as the noonday sun, (that fool
Of beauty,) Messalina promenades.
A crinoline keeps off the other shades:

Her grape-black hair casts shadows deep as death;
All curled and high, yet stirring at Time’s breath.
The powder on her face is shuddering white
As dust of æons seen in heaven’s light.{73}

She leaves the sands, where in tents striped like fruits
The dancers whirl like winds to airy flutes,
And music, soother than the pulp of pearls
Whose sweetness decks the swan-white syren girls,

In air-pale waves like water, has the sheen
Of mirrors, floats like flower-wing’d stars.—O spleen!
Leave Regent’s Park and quit society
Only to find this immorality!

So now she goes to church, where bonnets steam
Like incense, and the painted windows seem
Naught but a coloured veil stupidity
Had wrought to clothe her dumb soliloquy:

“There’s comfort in old age: the steam of food
Ascending like the rich man’s soul to God;
And little words that crackle as they went,
How such and such a life was evil spent,

“Until they make a fire to warm our hands.
For Time has wrapp’d the heart in swaddling bands,
But yet they could not save it from the cold.—
The soul’s a pander grown; for she has sold{74}

“My body to the Church; does nicely now.
Oh! Soul has much to learn from flesh, I vow.”
Thus Messalina, grown both old and fat,—
The Church’s parrot now, and dull at that!
{75}

PEDAGOGUES

THE air is like a jarring bell
That jangles words it cannot spell,
And black as Fate, the iron trees
Stretch thirstily to catch the breeze.

The fat leaves pat the shrinking air;
The hot sun’s patronising stare
Rouses the stout flies from content
To some small show of sentiment.

Beneath the terrace shines the green
Metallic strip of sea, and sheen
Of sands, where folk flaunt parrot-bright
With rags and tags of noisy light.

The brass band’s snorting stabs the sky
And tears the yielding vacancy—
The imbecile and smiling blue
Until fresh meaning trickles through;{76}

And slowly we perambulate
With spectacles that concentrate,
In one short hour, Eternity,
In one small lens, Infinity.

With children, our primeval curse,
We overrun the universe—
Beneath the giddy lights of noon,
White as a tired August moon.

The air is like a jarring bell
That jangles words it cannot spell,
And black as Fate, the iron trees
Stretch thirstily to catch the breeze.
{77}

SONG FROM “THE QUEEN OF PALMYRA”

THE CHOIR-BOY RIDES ON THE SWITCHBACK

IN the fruit-ripe heat of afternoon
Each muslined school-child seems a moon;

And in the tents, those lazy waves
From out the echoing coral caves

Of light, like Venus from the sea
The clown seems, blond hair floating free.

The switchback, with its noisy run,
Is turning like the wooden sun

As he rides on his rocking-horse
All Struwwelpeter-haired; we course

On sands as moist as sugar-cane,
And the Fat Woman’s face and mane

Are sometimes dappled by the shade
Into the likeness of some maid{79}

Long dead ... those golden shadows fell
On Cressid or Alaciel.

The beggar-tunes on horseback ride,
With cheeks as pink as Angels’,—glide

Through Babylon, Chicago, Troy,
And Black Man’s Land. Each golden boy

Blows silver trumpets over these,
As clear as apples on the trees.

I will go home and pack my pride,
Then with these beggar-tunes I’ll ride—

For all the hymns I try to sing
Are but Love’s beggars shivering

In thorny thickets where one sees
Stars grow for wild wet raspberries.
{80}

APRICOT JAM

BENEATH the dancing, glancing green
The tea is spread amid the sheen
Of pince-nez (glints of thought); thus seen,
In sharp reflections only, brain
Perceives the world all flat and plain
In rounded segments, joy and pain.
The parasols dance like the sun,
Cast wavering nets of shade that run
Across the chattering table’s fun,
The laughing faces, and across
Half-shadowed faces looking cross,
And black hair with a bird-bright gloss.
The flashing children stayed and checked,
Smooth india-rubber leaves reflect
Their parrot-green on circumspect
Glazed china, where the negroid tea
Reflects the world’s obscurity
In high lights such as pince-nez see.{81}
And all the sheen of shadows feather
Muslin frocks like plumes; together,
In the hot and flashing weather,
Bird-high voices shrill and chatter
With the high and glinting clatter
Tea-cups make, and whispered patter—
(Listen, and you’ll get a slap!)
Worlds are small as any map,
And life will come our way—mayhap.
{82}

STOPPING PLACE

THE world grows furry, grunts with sleep ...
But I must on the surface keep.
The jolting of the train to me
Seems some primeval vertebræ
Attached by life-nerves to my brain—
Reactionary once again.
So that I see shapes crude and new
And ordered,—with some end in view,
No longer with the horny eyes
Of other people’s memories.
Through highly varnished yellow heat,
As through a lens that does not fit,
The faces jolt in cubes, and I
Perceive their odd solidity
And lack of meaning absolute:
For why should noses thus protrude,
And to what purpose can relate
Each hair so oddly separate?
Anchored against the puff of breeze,
As shallow as the crude blue seas,{83}
The coloured blocks and cubes of faces
Seem Noah’s arks that shelter races
Of far absurdities to breed
Their queer kind after we are dead.
Blue wooden foliage creaks with heat
And there are woollen buns to eat—
Bright-varnished buns to touch and see
And, black as an Inferno, tea.
Then (Recketts’ blue) a puff of wind....
Heredity regains my mind
And I am sitting in the train
While thought becomes like flesh,—the brain
Not independent, but derived
From hairy matter that half lived—
Identities not round or whole.
A questing beast who thirsts for soul,
The furry vegetation there—
Purring with heat, sucks in the air;
And dust that’s gathered in the train,
Protecting flesh, seems almost brain—
(That horny substance altering sight);
How strange, intangible is light
Whence all is born, and yet by touch
We live,—the rest is not worth much....
Once more the world grows furred with sleep,—
But I must on the surface keep{84}
While mammoths from the heat are born—
Great clumsy trains with tusk and horn
Whereon the world’s too sudden tossed
Through frondage of our mind, and lost.
{85}

PORTRAIT OF A BARMAID

METALLIC waves of people jar
Through crackling green toward the bar

Where on the tables, chattering-white,
The sharp drinks quarrel with the light.

Those coloured muslin blinds the smiles
Shroud wooden faces in their wiles—

Sometimes they splash like water (you
Yourself reflected in their hue).

The conversation, loud and bright,
Seems spinal bars of shunting light

In firework-spirting greenery,
O complicate machinery

For building Babel, iron crane
Beneath your hair, that blue-ribbed mane{86}

In noise and murder like the sea
Without its mutability

Outside the bar, where jangling heat
Seems out of tune and off the beat,

A concertina’s glycerine
Exudes and mirrors in the green

Your soul, pure glucose edged with hints
Of tentative and half-soiled tints.
{87}

MATERIALISM; OR, PASTOR —— TAKES THE RESTAURANT CAR FOR HEAVEN

UPON sharp floods of noise there glide
The red-brick houses, float, collide

With aspidestras, trains on steel
That lead us not to what we feel.

Hot glassy lights fill up the gloom
As water an aquarium,—

All mirror-bright; beneath these seen,
Our faces coloured by their sheen,

Seem objects under water, bent
By each bright-hued advertisement

Whose words are stamped upon our skin
As though the heat had burnt them in.{88}

The jolting of the train that made
All objects coloured bars of shade,

Projects them sideways till they split
Splinters from eyeballs as they flit.

Down endless tubes of throats we squeeze
Our words, lymphatic paint to please

Our sense of neatness, neutralize
The overtint and oversize.

I think it true that Heaven should be
A narrow train for you and me,

Where we perpetually must haunt
The moving oblique restaurant

And feed on foods of other minds
Behind the hot and dusty blinds.
{89}

THAÏS IN HEAVEN

WHEN you lay dying fast, you said—
And, weeping, were not comforted:
“Look through this paper world! I see

The lights of Heaven burn like gold
The other side; and Souls are sold
For these, yet only flesh, sold we!”

And then you died and went to bliss.—
I’m curious now to know if love
Is really Heaven—where you rove.—
Your kind of love ... or mine, Thaïs?

And is there still the clinging mud?
I think it drowned your soul like wine.
And do the stars like street-lamps shine,
Gilding the gutters where you stood,{90}

And lighting up your small face where
Thin powder, like a trail of dust,
Shows the mortality of lust ...
Still black as hissing rain, your hair?

Your body had become your soul....
Thaïs,—do spirits crumble whole?
{91}

FOUR NOCTURNES

I

PROCESSIONS

II

GAIETY

BLOW out the candles. Let the dance begin.
Already, pale as Sin,

The candles weep and pry like living things ...
They dance, who have no wings.

More vast and black than endless sleep, this room.
Time beats his empty drum

Whose hollow sound is echoed in our eyes—
Deep wells where no moon lies.

A crumpled paper mask hides every face—
Creased to a smile of grace,

With eyelids gilded, so the bitter tears
Make music for men’s ears.{94}

These masks, some coloured like an August moon,
Or white, as sands that swoon

Within Time’s hour-glass, some as grey as rain,—
Still mimic joy and pain.

Thin pointed rags and tags edge our attire ...
Bright plumes?... or tongues of fire,

Whose painted laughter cracks the gilded sky
Of this flat empery

That has no soil where any flower may root,
Nor rest for weary foot,

But endless leagues of mirror: such the ground
That no horizons bound,—

Carved topaz water;—sound a mirror seems!
O! nakedness of dreams

Beneath the blinding radiance of hot skies
Where no sun lives or dies.
. . .
{95} Now that the dusty, creaking curtain, Day,
Is folded, laid away,

Each masked dancer is both piercèd Heart
And Dream, its poiniard.

Small winds creep from Infinity.... A flame
Our blown hair, white as shame.

Those seeds of worlds, the stars, are nought but blown
Red tinsel from a Clown;

The candles, living things to dance and pry:
Out! hard Reality!
{96}

III

VACUUM

BLOWN through the leaden circles of our hell,
Each wisp of soul, tattered by winds of lust,
Clawed at the voices, like a beaten bell.
No movement ever raised the lifeless dust,

As, blown beneath the night’s enormous pall,
We call to you with goatish prance and paces:
Our lips are red as nights of festival
And hell has dyed its fires upon our faces.

These barren bodies may no children breed
To quench the sun with their corrupted breath
Save these our hearts, our breasts, our bodies feed—
The fruit of love like ours, the worms of death.{97}

Within our brain the darkness slowly fell:
Our eyes’ dark vacuum reflects no days—
No voice, no sight, no thought within our hell—
But only flesh our loneliness allays.
{98}

IV

“ET L’ON ENTEND À PEINE LEURS PAROLES”

MONOTONOUSLY fell the rain,
Like thoughts within an empty brain;

The lolling weeds that fattened there
Absorbed the broken lifeless air.

“Do those dim eyes still hold a flame
That leaps to Heaven at my name?”

“Mine eyes would hold God’s face in sight;
But your lips burned away the light.”

“Within your brain the blood runs high?”
“You came like thought; you licked it dry.”

“Oh, we have burnt our souls with lust
{99}Till they are whiter than the dust ...

Now are they white as purity?”
“You blind mine eyes ... I cannot see.”

“I am so tired—I fain would creep
To hide within your heart and weep.”

“My heart is dust ... no tears to shed.”
“But carrion lives—it lives”—I said.
{100}

TREATS

I

FUNERALS

II

THE COUNTY CALLS

THEY came upon us like a train—
A rush, a scream, then gone again!
With bodies like a continent
Encased in silken seas, they went

And came and called and took their tea
And patronised the Deity
Who copies their munificence
With creditable heart and sense.

Each face a plaster monument
For some belovèd aliment,
Whose everlasting sleep they deign
To cradle in the Great Inane;

Each tongue, a noisy clockwork bell
To toll the passing hour that fell;
Each hat, an architect’s device
For building churches, cheap and nice.{103}

I saw the County Families
Advance and sit and take their teas;
I saw the County gaze askance
At my thin insignificance:

Small thoughts like frightened fishes glide
Beneath their eyes’ pale glassy tide:
They said: “Poor thing! we must be nice!”
They said: “We know your father!”—twice.
{104}

III

SOLO FOR EAR-TRUMPET

THE carriage brushes through the bright
Leaves (violent jets from life to light).
Strong polished speed is plunging, heaves
Between the showers of bright hot leaves.
The window-glasses glaze our faces
And jarr them to the very basis,—
But they could never put a polish
Upon my manners, or abolish
My most distinct disinclination
For calling on a rich relation!
In her house, bulwark built between
The life man lives and visions seen,—
The sunlight hiccups white as chalk,
Grown drunk with emptiness of talk,
And silence hisses like a snake,
Invertebrate and rattling ache.
. . . .
Till suddenly, Eternity
Drowns all the houses like a sea,{105}
And down the street the Trump of Doom
Blares,—barely shakes this drawing-room
Where raw-edged shadows sting forlorn
As dank dark nettles. Down the horn
Of her ear-trumpet I convey
The news that: “It is Judgment Day!”
“Speak louder; I don’t catch, my dear.”
I roared: “It is the Trump we hear!”
“The What?”—“The TRUMP!” ... “I shall complain—
The boy-scouts practising again!”
{106}

ANTIC HAY

HOW like a lusty satyr, the hot sun
Doth in his orbit run
O’er rivers and the light blue hills of noon,
And where the white still moon
Sleeps in the lovely woodlands of the light.
Made drunken with his might,
Like flames the goat-foot satyrs leap and fling
The blossom’d beans of Spring.
The oreads leave their swan-like fountains, bells
Of foam, and dark wood-wells,
And grasses where the pale dew lovelorn lies
And like an echo dies.
The river-gods are tossing their blue manes
Still wet with brine; the reins
Lie loosely on their plunging horses; earth
Shakes with the storm of mirth;
And all the cloudy castles of the air
Are bathed with radiance. There,{107}
Beneath dark chestnut trees, King Pan doth sport
With all his hornèd court.
Their goat-feet clattering to the oaten tune
That cools the heat of noon
Like water gurgling; hoofs all wreath’d with flowers,
Wild as the dew-pale hours,
The clownish satyrs dance the antic hay;
They butt with horns and sway,
While laughing leaves, like smitten cymbals thrill
Their sunburnt dance; until
The light falls like a rain of panick’d leaves
Through the gold heart of eves.
O’er misty fields, mild Dian’s old faint horn
Bloweth a sound forlorn.
Then from their hives with palest flowers bedight,
The yellow bees take flight—
Whirling where old Silenus tries to sing
Unto his hornèd King
—Feeding upon gold-freckled strawberries—
And sting the poor fat fool until he cries.
{108}

LULLABY

WATER MUSIC

THE WEB OF EROS

DROWNED SUNS

THE SPIDER

THE fat light clings upon my skin,
Like grease that slowly forms a thin
And foul white film; so close it lies,
It feeds upon my lips and eyes.

The black fly hits the window-pane
That shuts its dirty body in;
So once, his spirit fought to quit
The body that imprisoned it.

He always seemed so fond of me,
Until one day he chanced to see
My head, a little on one side,
Loll softly as if I had died.

Since then, he rarely looked my way,
Though he could never know what lay
Within my brain; though iron his will,
I thought, he’s young and teachable.{113}

And often, as I took my drink,
I chuckled in my heart to think
Whose dark blood ran within his veins:
You see, it spared me half my pains.

The time was very long until
I had the chance to work my will;
Once seen, the way was clear as light,
A father’s patience infinite.

He always was so sensitive;
But soon I taught him how to live
With each day, just a patch of white,
A blinded patch of black, each night.

Each day he watched my gaiety.
It’s very difficult to die
When one is young.... I pitied him,
The glass I filled up to the brim,

His shaking fingers scarce could hold;
His limbs were trembling as with cold....
I waited till from night and day
All meaning I had wiped away,

And then I gave it him again;
The wine made heaven in his brain.
Then spider-like, the kindly wine
Thrust tentacles through every vein,{114}

And knotted him so very fast
I knew I had him safe at last.
And sometimes in the dawn, I’d creep
To watch him as he lay asleep,

And each time, see my son’s face grown
In some blurred line, more like my own.
A crumpled rag, he lies all night
Until the first white smear of light;

And sleep is but an empty hole ...
No place for him to hide his soul,
No outlet there to set him free:
He never can escape from me.

Yet still I never know what thought,
All fly-like, in his mind lies caught:
His face seems some half-spoken word
Forgot again as soon as heard,

Beneath the livid skin of light;
Oh, just an empty space of white,
Now all the meaning’s gone. I’ll sit
A little while, and stare at it.
{115}

THE DRUNKARD

THIS black tower drinks the blinding light.
Strange windows livid white,

Tremble beneath the curse of God.
Yet living weeds still nod

To the huge sun, a devil’s eye
That tracks the souls that die.

The clock beats like the heart of Doom
Within the narrow room;

And whispering with some ghastly air
The curtains float and stir.

But still she never speaks a word;
I think she hardly heard

When I with reeling footsteps came
And softly spoke her name.

But yet she does not sleep. Her eyes
Still watch in wide surprise{116}

The thirsty knife that pitied her;
But those lids never stir,

Though creeping Fear still gnaws like pain
The hollow of her brain.

She must have some sly plan, the cheat,
To lie so still. The beat

That once throbbed like a muffled drum
With fear to hear me come,

Now never sounds when I creep nigh.
Oh! she was always sly.

And if to spite her, I dared steal
Behind her bed, and feel

With fumbling fingers for her heart ...
Ere I could touch the smart,

Once more wild shriek on shriek would tear
The dumb and shuddering air....

And still she never speaks to me.
She only smiles to see

How in dark corners secret-sly
New-born Eternity,

All spider-like, doth spin and cast
Strange threads to hold Time fast.
{117}

THE MOTHER

OUR dreams create the babes we bear;
Our beauty goes to make them fair.
We give them all we have of good,
Our blood to drink, our hearts for food;

And in our souls they lie and rest
Until upon their mother’s breast,
So innocent and sweet they lie.
They live to curse us; then they die.

When he was born, it seemed the spring
Had come again with birds to sing
And blossoms dancing in the sun
Where streams released from winter run.

His sunlit hair was all my gold,
His loving eyes my wealth untold;
All heaven was hid within my breast
Whereon my child was laid to rest.{118}

He grew to manhood. Then one came
False-hearted as Hell’s blackest shame,
To steal my child from me, and thrust
The soul I loved down to the dust.

Her hungry, wicked lips were red
As that dark blood my son’s hand shed.
Her eyes were black as Hell’s own night,
Her ice-cold breast was winter-white.

I had put by a little gold
To bury me when I was cold.
Her fangèd, wanton kiss to buy
My son’s love willed that I should die.

The gold was hid beneath my bed;
So little, and my weary head
Was all the guard it had. They lie
So quiet and still who soon must die.

He stole to kill me while I slept—
The little son, who never wept
But that I kissed his tears away
So fast, his weeping seemed but play.

So light his footfall, yet I heard
Its echo in my heart, and stirred
From out my weary sleep to see
My child’s face bending over me.{119}

The wicked knife flashed serpent-wise.—
Yet I saw nothing but his eyes,
And heard one little word he said
Go echoing down among the Dead.

THEY say the Dead may never dream.
But yet I heard my pierced heart scream
His name within the dark. They lie
Who say the Dead can ever die.

For in the grave I may not sleep
For dreaming that I hear him weep.
And in the dark, my dead hands grope
In search of him. O barren hope!

I cannot draw his head to rest
Deep down upon my wounded breast ...
He gave the breast that fed him well
To suckle the small worms of Hell.

The little wicked thoughts that fed
Upon the weary helpless Dead ...
They whispered o’er my broken heart,
They stuck their fangs deep in the smart.{120}

“The child she bore with bloody sweat
And agony has paid his debt.
Through that bleak face the stark winds play;
The crows have chased his soul away.

“His body is a blackened rag
Upon the tree—a monstrous flag.”
Thus one worm to the other saith.
Those slow mean servitors of Death,

They chuckling said: “Your soul, grown blind
With anguish, is the shrieking Wind
That blows the flame that never dies
About his empty, lidless eyes.”

I tore them from my heart. I said:
“The life-blood that my son’s hand shed,
That from my broken heart outburst,
I’d give again, to quench his thirst.

“He did no sin. But cold blind earth
The body was that gave him birth.
All mine, all mine the sin; the love
I bore him was not deep enough.”

*** END OF THE PROJECT GUTENBERG EBOOK THE WOODEN PEGASUS ***

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.