The Project Gutenberg eBook of Nets to Catch the Wind This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: Nets to Catch the Wind Author: Elinor Wylie Release date: October 1, 2004 [eBook #6682] Most recently updated: March 11, 2014 Language: English Credits: Produced by Suzanne L. Shell, Tom Allen, Charles Franks and the Online Distributed Proofreading Team. *** START OF THE PROJECT GUTENBERG EBOOK NETS TO CATCH THE WIND *** Produced by Suzanne L. Shell, Tom Allen, Charles Franks and the Online Distributed Proofreading Team. NETS TO CATCH THE WIND By ELINOR WYLIE CONTENTS BEAUTY THE EAGLE AND THE MOLE MADMAN'S SONG THE PRINKIN' LEDDIE AUGUST THE CROOKED STICK ATAVISM WILD PEACHES SANCTUARY THE LION AND THE LAMB THE CHURCH-BELL A CROWDED TROLLEY CAR BELLS IN THE RAIN WINTER SLEEP VILLAGE MYSTERY SUNSET ON THE SPIRE ESCAPE THE FAIRY GOLDSMITH "FIRE AND SLEET AND CANDLELIGHT" BLOOD FEUD SEA LULLABY NANCY A PROUD LADY THE TORTOISE IN ETERNITY INCANTATION SILVER FILIGREE THE FALCON BRONZE TRUMPETS AND SEA WATER--ON TURNING LATIN INTO ENGLISH SPRING PASTORAL VELVET SHOES VALENTINE BEAUTY Say not of Beauty she is good, Or aught but beautiful, Or sleek to doves' wings of the wood Her wild wings of a gull. Call her not wicked; that word's touch Consumes her like a curse; But love her not too much, too much, For that is even worse. O, she is neither good nor bad, But innocent and wild! Enshrine her and she dies, who had The hard heart of a child. THE EAGLE AND THE MOLE Avoid the reeking herd, Shun the polluted flock, Live like that stoic bird, The eagle of the rock. The huddled warmth of crowds Begets and fosters hate; He keeps, above the clouds, His cliff inviolate. When flocks are folded warm, And herds to shelter run, He sails above the storm, He stares into the sun. If in the eagle's track Your sinews cannot leap, Avoid the lathered pack, Turn from the steaming sheep. If you would keep your soul From spotted sight or sound, Live like the velvet mole; Go burrow underground. And there hold intercourse With roots of trees and stones, With rivers at their source, And disembodied bones. MADMAN'S SONG Better to see your cheek grown hollow, Better to see your temple worn, Than to forget to follow, follow, After the sound of a silver horn. Better to bind your brow with willow And follow, follow until you die, Than to sleep with your head on a golden pillow, Nor lift it up when the hunt goes by. Better to see your cheek grown sallow And your hair grown gray, so soon, so soon, Than to forget to hallo, hallo, After the milk-white hounds of the moon. THE PRINKIN' LEDDIE _"The Hielan' lassies are a' for spinnin' The Lowlan' lassies for prinkin' and pinnin'; My daddie w'u'd chide me, an' so w'u'd my minnie If I s'u'd bring hame sic a prinkin' leddie."_ Now haud your tongue, ye haverin' coward, For whilst I'm young I'll go flounced an' flowered, In lutestring striped like the strings o' a fiddle, Wi' gowden girdles aboot my middle. In your Hielan' glen, where the rain pours steady, Ye'll be gay an' glad for a prinkin' leddie; Where the rocks are all bare an' the turf is all sodden, An' lassies gae sad in their homespun an' hodden. My silks are stiff wi' patterns o' siller, I've an ermine hood like the hat o' a miller, I've chains o' coral like rowan berries, An' a cramoisie mantle that cam' frae Paris. Ye'll be glad for the glint o' its scarlet linin' When the larks are up an' the sun is shinin'; When the winds are up an' ower the heather Your heart'll be gay wi' my gowden feather. When the skies are low an' the earth is frozen, Ye'll be gay an' glad for the leddie ye've chosen, When ower the snow I go prinkin' an' prancin' In my wee red slippers were made for dancin'. It's better a leddie like Solomon's lily Than one that'll run like a Hielan' gillie A-linkin' it ower the leas, my laddie, In a raggedy kilt an' a belted plaidie! AUGUST Why should this Negro insolently stride Down the red noonday on such noiseless feet? Piled in his barrow, tawnier than wheat, Lie heaps of smoldering daisies, somber-eyed, Their copper petals shriveled up with pride, Hot with a superfluity of heat, Like a great brazier borne along the street By captive leopards, black and burning pied. Are there no water-lilies, smooth as cream, With long stems dripping crystal? Are there none Like those white lilies, luminous and cool, Plucked from some hemlock-darkened northern stream By fair-haired swimmers, diving where the sun Scarce warms the surface of the deepest pool? THE CROOKED STICK First Traveler: What's that lying in the dust? Second Traveler: A crooked stick. First Traveler: What's it worth, if you can trust To arithmetic? Second Traveler: Isn't this a riddle? First Traveler: No, a trick. Second Traveler: It's worthless. Leave it where it lies. First Traveler: Wait; count ten; Rub a little dust upon your eyes; Now, look again. Second Traveler: Well, and what the devil is it, then? First Traveler: It's the sort of crooked stick that shepherds know. Second Traveler: Some one's loss! First Traveler: Bend it, and you make of it a bow. Break it, a cross. Second Traveler: But it's all grown over with moss! ATAVISM I always was afraid of Somes's Pond: Not the little pond, by which the willow stands, Where laughing boys catch alewives in their hands In brown, bright shallows; but the one beyond. There, when the frost makes all the birches burn Yellow as cow-lilies, and the pale sky shines Like a polished shell between black spruce and pines, Some strange thing tracks us, turning where we turn. You'll say I dream it, being the true daughter Of those who in old times endured this dread. Look! Where the lily-stems are showing red A silent paddle moves below the water, A sliding shape has stirred them like a breath; Tall plumes surmount a painted mask of death. WILD PEACHES 1 When the world turns completely upside down You say we'll emigrate to the Eastern Shore Aboard a river-boat from Baltimore; We'll live among wild peach trees, miles from town. You'll wear a coonskin cap, and I a gown Homespun, dyed butternut's dark gold color. Lost, like your lotus-eating ancestor, We'll swim in milk and honey till we drown. The winter will be short, the summer long, The autumn amber-hued, sunny and hot, Tasting of cider and of scuppernong; All seasons sweet, but autumn best of all. The squirrels in their silver fur will fall Like falling leaves, like fruit, before your shot. 2 The autumn frosts will lie upon the grass Like bloom on grapes of purple-brown and gold. The misted early mornings will be cold; The little puddles will be roofed with glass. The sun, which burns from copper into brass, Melts these at noon, and makes the boys unfold Their knitted mufflers; full as they can hold, Fat pockets dribble chestnuts as they pass. Peaches grow wild, and pigs can live in clover; A barrel of salted herrings lasts a year; The spring begins before the winter's over. By February you may find the skins Of garter snakes and water moccasins Dwindled and harsh, dead-white and cloudy-clear. 3 When April pours the colors of a shell Upon the hills, when every little creek Is shot with silver from the Chesapeake In shoals new-minted by the ocean swell, When strawberries go begging, and the sleek Blue plums lie open to the blackbird's beak, We shall live well--we shall live very well. The months between the cherries and the peaches Are brimming cornucopias which spill Fruits red and purple, somber-bloomed and black; Then, down rich fields and frosty river beaches We'll trample bright persimmons, while we kill Bronze partridge, speckled quail, and canvas-back. 4 Down to the Puritan marrow of my bones There's something in this richness that I hate. I love the look, austere, immaculate, Of landscapes drawn in pearly monotones. There's something in my very blood that owns Bare hills, cold silver on a sky of slate, A thread of water, churned to milky spate Streaming through slanted pastures fenced with stones. I love those skies, thin blue or snowy gray, Those fields sparse-planted, rendering meager sheaves; That spring, briefer than apple-blossom's breath, Summer, so much too beautiful to stay, Swift autumn, like a bonfire of leaves, And sleepy winter, like the sleep of death. SANCTUARY This is the bricklayer; hear the thud Of his heavy load dumped down on stone. His lustrous bricks are brighter than blood, His smoking mortar whiter than bone. Set each sharp-edged, fire-bitten brick Straight by the plumb-line's shivering length; Make my marvelous wall so thick Dead nor living may shake its strength. Full as a crystal cup with drink Is my cell with dreams, and quiet, and cool.... Stop, old man! You must leave a chink; How can I breathe? _You can't, you fool!_ THE LION AND THE LAMB I saw a Tiger's golden flank, I saw what food he ate, By a desert spring he drank; The Tiger's name was Hate. Then I saw a placid Lamb Lying fast asleep; Like a river from its dam Flashed the Tiger's leap. I saw a Lion tawny-red, Terrible and brave; The Tiger's leap overhead Broke like a wave. In sand below or sun above He faded like a flame. The Lamb said, "I am Love"; "Lion, tell your name." The Lion's voice thundering Shook his vaulted breast, "I am Love. By this spring, Brother, let us rest." THE CHURCH-BELL As I was lying in my bed I heard the church-bell ring; Before one solemn word was said A bird began to sing. I heard a dog begin to bark And a bold crowing cock; The bell, between the cold and dark, Tolled. It was five o'clock. The church-bell tolled, and the bird sang, A clear true voice he had; The cock crew, and the church-bell rang, I knew it had gone mad. A hand reached down from the dark skies, It took the bell-rope thong, The bell cried "Look! Lift up your eyes!" The clapper shook to song. The iron clapper laughed aloud, Like clashing wind and wave; The bell cried out "Be strong and proud!" Then, with a shout, "Be brave!" The rumbling of the market-carts, The pounding of men's feet Were drowned in song; "Lift up your hearts!" The sound was loud and sweet. Slow and slow the great bell swung, It hung in the steeple mute; And people tore its living tongue Out by the very root. A CROWDED TROLLEY CAR The rain's cold grains are silver-gray Sharp as golden sands, A bell is clanging, people sway Hanging by their hands. Supple hands, or gnarled and stiff, Snatch and catch and grope; That face is yellow-pale, as if The fellow swung from rope. Dull like pebbles, sharp like knives, Glances strike and glare, Fingers tangle, Bluebeard's wives Dangle by the hair. Orchard of the strangest fruits Hanging from the skies; Brothers, yet insensate brutes Who fear each others' eyes. One man stands as free men stand, As if his soul might be Brave, unbroken; see his hand Nailed to an oaken tree. BELLS IN THE RAIN Sleep falls, with limpid drops of rain, Upon the steep cliffs of the town. Sleep falls; men are at peace again Awhile the small drops fall softly down. The bright drops ring like bells of glass Thinned by the wind, and lightly blown; Sleep cannot fall on peaceful grass So softly as it falls on stone. Peace falls unheeded on the dead Asleep; they have had deep peace to drink; Upon a live man's bloody head It falls most tenderly, I think. WINTER SLEEP When against earth a wooden heel Clicks as loud as stone and steel, When snow turns flour instead of flakes, And frost bakes clay as fire bakes, When the hard-bitten fields at last Crack like iron flawed in the cast, When the world is wicked and cross and old, I long to be quit of the cruel cold. Little birds like bubbles of glass Fly to other Americas, Birds as bright as sparkles of wine Fly in the night to the Argentine, Birds of azure and flame-birds go To the tropical Gulf of Mexico: They chase the sun, they follow the heat, It is sweet in their bones, O sweet, sweet, sweet! It's not with them that I'd love to be, But under the roots of the balsam tree. Just as the spiniest chestnut-burr Is lined within with the finest fur, So the stony-walled, snow-roofed house Of every squirrel and mole and mouse Is lined with thistledown, sea-gull's feather, Velvet mullein-leaf, heaped together With balsam and juniper, dry and curled, Sweeter than anything else in the world. O what a warm and darksome nest Where the wildest things are hidden to rest! It's there that I'd love to lie and sleep, Soft, soft, soft, and deep, deep, deep! VILLAGE MYSTERY The woman in the pointed hood And cloak blue-gray like a pigeon's wing, Whose orchard climbs to the balsam-wood, Has done a cruel thing. To her back door-step came a ghost, A girl who had been ten years dead, She stood by the granite hitching-post And begged for a piece of bread. Now why should I, who walk alone, Who am ironical and proud, Turn, when a woman casts a stone At a beggar in a shroud? I saw the dead girl cringe and whine, And cower in the weeping air-- But, oh, she was no kin of mine, And so I did not care! SUNSET ON THE SPIRE All that I dream By day or night Lives in that stream Of lovely light. Here is the earth, And there is the spire; This is my hearth, And that is my fire. From the sun's dome I am shouted proof That this is my home, And that is my roof. Here is my food, And here is my drink, And I am wooed From the moon's brink. And the days go over, And the nights end; Here is my lover, Here is my friend. All that I Could ever ask Wears that sky Like a thin gold mask. ESCAPE When foxes eat the last gold grape, And the last white antelope is killed, I shall stop fighting and escape Into a little house I'll build. But first I'll shrink to fairy size, With a whisper no one understands, Making blind moons of all your eyes, And muddy roads of all your hands. And you may grope for me in vain In hollows under the mangrove root, Or where, in apple-scented rain, The silver wasp-nests hang like fruit. THE FAIRY GOLDSMITH Here's a wonderful thing, A humming-bird's wing In hammered gold, And store well chosen Of snowflakes frozen In crystal cold. Black onyx cherries And mistletoe berries Of chrysoprase, Jade buds, tight shut, All carven and cut In intricate ways. Here, if you please Are little gilt bees In amber drops Which look like honey, Translucent and sunny, From clover-tops. Here's an elfin girl Of mother-of-pearl And moonshine made, With tortoise-shell hair Both dusky and fair In its light and shade. Here's lacquer laid thin, Like a scarlet skin On an ivory fruit; And a filigree frost Of frail notes lost From a fairy lute. Here's a turquoise chain Of sun-shower rain To wear if you wish; And glimmering green With aquamarine, A silvery fish. Here are pearls all strung On a thread among Pretty pink shells; And bubbles blown From the opal stone Which ring like bells. Touch them and take them, But do not break them! Beneath your hand They will wither like foam If you carry them home Out of fairy-land. O, they never can last Though you hide them fast From moth and from rust; In your monstrous day They will crumble away Into quicksilver dust. "FIRE AND SLEET AND CANDLELIGHT" For this you've striven Daring, to fail: Your sky is riven Like a tearing veil. For this, you've wasted Wings of your youth; Divined, and tasted Bitter springs of truth. From sand unslaked Twisted strong cords, And wandered naked Among trysted swords. There's a word unspoken, A knot untied. Whatever is broken The earth may hide. The road was jagged Over sharp stones: Your body's too ragged To cover your bones. The wind scatters Tears upon dust; Your soul's in tatters Where the spears thrust. Your race is ended-- See, it is run: Nothing is mended Under the sun. Straight as an arrow You fall to a sleep Not too narrow And not too deep. BLOOD FEUD Once, when my husband was a child, there came To his father's table, one who called him kin, In sunbleached corduroys paler than his skin. His look was grave and kind; he bore the name Of the dead singer of Senlac, and his smile. Shyly and courteously he smiled and spoke; "I've been in the laurel since the winter broke; Four months, I reckon; yes, sir, quite a while." He'd killed a score of foemen in the past, In some blood-feud, a dark and monstrous thing; To him it seemed his duty. At the last His enemies found him by a forest spring, Which, as he died, lay bright beneath his head, A silver shield that slowly turned to red. SEA LULLABY The old moon is tarnished With smoke of the flood, The dead leaves are varnished With color like blood, A treacherous smiler With teeth white as milk, A savage beguiler In sheathings of silk, The sea creeps to pillage, She leaps on her prey; A child of the village Was murdered to-day. She came up to meet him In a smooth golden cloak, She choked him and beat him To death, for a joke. Her bright locks were tangled, She shouted for joy, With one hand she strangled A strong little boy. Now in silence she lingers Beside him all night To wash her long fingers In silvery light. NANCY You are a rose, but set with sharpest spine; You are a pretty bird that pecks at me; You are a little squirrel on a tree, Pelting me with the prickly fruit of the pine; A diamond, torn from a crystal mine, Not like that milky treasure of the sea A smooth, translucent pearl, but skilfully Carven to cut, and faceted to shine. If you are flame, it dances and burns blue; If you are light, it pierces like a star Intenser than a needlepoint of ice. The dexterous touch that shaped the soul of you, Mingled, to mix, and make you what you are, Magic between the sugar and the spice. A PROUD LADY Hate in the world's hand Can carve and set its seal Like the strong blast of sand Which cuts into steel. I have seen how the finger of hate Can mar and mold Faces burned passionate And frozen cold. Sorrowful faces worn As stone with rain, Faces writhing with scorn And sullen with pain. But you have a proud face Which the world cannot harm, You have turned the pain to a grace And the scorn to a charm. You have taken the arrows and slings Which prick and bruise And fashioned them into wings For the heels of your shoes. From the world's hand which tries To tear you apart You have stolen the falcon's eyes And the lion's heart. What has it done, this world, With hard finger tips, But sweetly chiseled and curled Your inscrutable lips? THE TORTOISE IN ETERNITY Within my house of patterned horn I sleep in such a bed As men may keep before they're born And after they are dead. Sticks and stones may break their bones, And words may make them bleed; There is not one of them who owns An armor to his need. Tougher than hide or lozenged bark, Snow-storm and thunder proof, And quick with sun, and thick with dark, Is this my darling roof. Men's troubled dreams of death and birth Pulse mother-o'-pearl to black; I bear the rainbow bubble Earth Square on my scornful back. INCANTATION A white well In a black cave; A bright shell In a dark wave. A white rose Black brambles hood; Smooth bright snows In a dark wood. A flung white glove In a dark fight; A white dove On a wild black night. A white door In a dark lane; A bright core To bitter black pain. A white hand Waved from dark walls; In a burnt black land Bright waterfalls. A bright spark Where black ashes are; In the smothering dark One white star. SILVER FILIGREE The icicles wreathing On trees in festoon Swing, swayed to our breathing: They're made of the moon. She's a pale, waxen taper; And these seem to drip Transparent as paper From the flame of her tip. Molten, smoking a little, Into crystal they pass; Falling, freezing, to brittle And delicate glass. Each a sharp-pointed flower, Each a brief stalactite Which hangs for an hour In the blue cave of night. THE FALCON Why should my sleepy heart be taught To whistle mocking-bird replies? This is another bird you've caught, Soft-feathered, with a falcon's eyes. The bird Imagination, That flies so far, that dies so soon; Her wings are colored like the sun, Her breast is colored like the moon. Weave her a chain of silver twist, And a little hood of scarlet wool, And let her perch upon your wrist, And tell her she is beautiful. BRONZE TRUMPETS AND SEA WATER-- ON TURNING LATIN INTO ENGLISH Alembics turn to stranger things Strange things, but never while we live Shall magic turn this bronze that sings To singing water in a sieve. The trumpeters of Caesar's guard Salute his rigorous bastions With ordered bruit; the bronze is hard Though there is silver in the bronze. Our mutable tongue is like the sea, Curled wave and shattering thunder-fit; Dangle in strings of sand shall be Who smooths the ripples out of it. SPRING PASTORAL Liza, go steep your long white hands In the cool waters of that spring Which bubbles up through shiny sands The color of a wild-dove's wing. Dabble your hands, and steep them well Until those nails are pearly white Now rosier than a laurel bell; Then come to me at candle-light. Lay your cold hands across my brows, And I shall sleep, and I shall dream Of silver-pointed willow boughs Dipping their fingers in a stream. VELVET SHOES Let us walk in the white snow In a soundless space; With footsteps quiet and slow, At a tranquil pace, Under veils of white lace. I shall go shod in silk, And you in wool, White as a white cow's milk, More beautiful Than the breast of a gull. We shall walk through the still town In a windless peace; We shall step upon white down, Upon silver fleece, Upon softer than these. We shall walk in velvet shoes: Wherever we go Silence will fall like dews On white silence below. We shall walk in the snow. VALENTINE Too high, too high to pluck My heart shall swing. A fruit no bee shall suck, No wasp shall sting. If on some night of cold It falls to ground In apple-leaves of gold I'll wrap it round. And I shall seal it up With spice and salt, In a carven silver cup, In a deep vault. Before my eyes are blind And my lips mute, I must eat core and rind Of that same fruit. Before my heart is dust At the end of all, Eat it I must, I must Were it bitter gall. But I shall keep it sweet By some strange art; Wild honey I shall eat When I eat my heart. O honey cool and chaste As clover's breath! Sweet Heaven I shall taste Before my death. *** END OF THE PROJECT GUTENBERG EBOOK NETS TO CATCH THE WIND *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.