The Project Gutenberg eBook of Poems of evolution 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: Poems of evolution Author: Langdon Smith Editor: E. Haldeman-Julius Release date: December 19, 2024 [eBook #74934] Language: English Original publication: Girard: Haldeman-Julius Company Credits: Carol Brown, Tim Miller and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) *** START OF THE PROJECT GUTENBERG EBOOK POEMS OF EVOLUTION *** LITTLE BLUE BOOK NO. =71= Edited by E. Haldeman-Julius Poems of Evolution Langdon Smith and Others HALDEMAN-JULIUS COMPANY GIRARD, KANSAS Copyright, 1924 Haldeman-Julius Company PRINTED IN THE UNITED STATES OF AMERICA POEMS OF EVOLUTION A fire mist and a planet, A crystal and a cell, A jellyfish and a saurian, And caves where the cavemen dwell-- Then a sense of law and beauty, And a face turned from the clod; Some call it EVOLUTION, And some call it GOD. _William Herbert Carruth._ POEMS OF EVOLUTION EVOLUTION LANGDON SMITH I When you were a tadpole and I was a fish, In the Paleozoic time, And side by side on the ebbing tide We sprawled through the ooze and slime, Or skittered with many a caudal flip Through the depths of the Cambrian fen, My heart was rife with the joy of life For I loved you even then. II Mindless we lived and mindless we loved, And mindless at last we died; And deep in a rift of the Caradoc drift We slumbered side by side. The world turned on in the lathe of time, The hot lands heaved amain, Till we caught our breath from the womb of death, And crept into light again. III We were Amphibians, scaled and tailed And drab as a dead man’s hand; We coiled at ease ’neath the dripping trees, Or trailed through the mud and sand, Croaking and blind, with our three-clawed feet Writing a language dumb, With never a spark in the empty dark To hint at a life to come. IV Yet happy we lived, and happy we loved, And happy we died once more; Our forms were rolled in the clinging mold Of a Neocomian shore. The eons came, and the eons fled, And the sleep that wrapped us fast Was riven away in a newer day, And the night of death was past. V Then light and swift through the jungle trees We swung in our airy flights, Or breathed in the balms of the fronded palms, In the hush of the moonless nights. And oh! what beautiful years were these, When our hearts clung each to each; When life was filled, and our senses thrilled In the first faint dawn of speech. VI Thus life by life, and love by love, We passed through the cycles strange, And breath by breath, and death by death, We followed the chain of change. Till there came a time in the law of life When over the nursing sod The shadows broke, and the soul awoke In a strange, dim dream of God. VII I was thewed like an Auroch bull, And tusked like the great Cave Bear; And you, my sweet, from head to feet, Were gowned in your glorious hair. Deep in the gloom of a fireless cave, When the night fell o’er the plain, And the moon hung red o’er the river bed, We mumbled the bones of the slain. VIII I flaked a flint to a cutting edge, And shaped it with brutish craft; I broke a shank from the woodland dank, And fitted it, head and haft. Then I hid me close to the reedy tarn, Where the Mammoth came to drink;-- Through brawn and bone I drave the stone, And slew him upon the brink. IX Loud I howled through the moonlit wastes, Loud answered our kith and kin; From west and east to the crimson feast The clan came trooping in. O’er joint and gristle and padded hoof, We fought and clawed and tore, And cheek by jowl, with many a growl, We talked the marvel o’er. X I carved that fight on a reindeer bone, With rude and hairy hand, I pictured his fall on the cavern wall That men might understand. For we lived by blood, and the right of might, Ere human laws were drawn, And the Age of Sin did not begin Till our brutal tusks were gone. XI And that was a million years ago, In a time that no man knows; Yet here tonight in the mellow light, We sit at Delmonico’s; Your eyes are deep as the Devon springs, Your hair is as dark as jet, Your years are few, your life is new, Your soul untried, and yet-- XII Our trail is on the Kimmeridge clay, And the scarp of the Purbeck flags, We have left our bones in the Bagshot stones, And deep in the Coraline crags; Our love is old, our lives are old, And death shall come amain; Should it come today, what man may say We shall not live again? XIII God wrought our souls from the Tremadoc beds And furnished them wings to fly; He sowed our spawn in the world’s dim dawn, And I know that it shall not die; Though cities have sprung above the graves Where the crook-boned men made war, And the ox-wain creaks o’er the buried caves Where the mummied mammoths are. XIV Then as we linger at luncheon here, O’er many a dainty dish, Let us drink anew to the time when you Were a Tadpole and I was a Fish. A BALLADE OF EVOLUTION I In the mud of the Cambrian main Did our earliest ancestor dive; From a shapeless albuminous grain We mortals our being derive. He could split himself up into five, Or roll himself round like a ball; For the fittest will always survive, While the weakliest go to the wall. II As an active ascidian again Fresh forms he began to contrive, Till he grew to a fish with a brain, And brought forth a mammal alive. With his rivals he next had to strive To woo him a mate and a thrall; So the handsomest managed to wive, While the ugliest went to the wall. III At length as an ape he was fain The nuts of the forest to rive, Till he took to the low-lying plain, And proceeded his fellows to knive. Thus did cannibal men first arrive One another to swallow and maul; And the strongest continued to thrive While the weakliest went to the wall. _Envoy_ Prince, in our civilized hive, Now money’s the measure of all; And the wealthy in coaches can drive While the needier go to the wall. _Grant Allen._ EVOLUTION As from the old nest birds escape, As sheds its leaves the living tree, So if evolved from worm or ape What odds if we at last are free? If once but dust or ape or worm, A growing brain and then a soul, Sure these are but prophetic germ Of that which makes our circle whole. _John Albee._ From THE SONG OF MYSELF I am an acme of things accomplish’d, and I am an encloser of things to be. My feet strike an apex of the apices of the stairs: On every step bunches of ages, and larger bunches between the steps, All below duly travel’d, and still I mount and mount. Rise after rise bow the phantoms behind me: Afar down I see the huge first Nothing. I know I was even there, I waited unseen and always, and slept through the lethargic mist, And took my time and took no hurt from the fetid carbon. Long I was hugg’d close--long and long. Immense have been the preparations for me, Faithful and friendly the arms that have help’d me. Cycles ferried my cradle, rowing and rowing like cheerful boatmen; For room to me stars kept aside in their own rings-- They sent influences to look after what was to hold me. Before I was born out of my mother generations guided me, My embryo has never been torpid, nothing could overlay it. For it the nebula cohered to an orb, The long slow strata piled to rest it on, Vast vegetables gave it sustenance, Monstrous sauroids transported it in their mouths and deposited it with care. All forces have been steadily employ’d to complete and delight me, Now on this spot I stand with my robust soul. _Walt Whitman._ From THE DEATH SONG OF TALIESIN Stir in the dark of the stars unborn that desire Only the thrill of a wild dumb force set free, Yearn of the burning heart of the world on fire For life and birth and battle and wind and sea, Groping of life after love till the spirit aspire, Into Divinity ever transmuting the clod, Higher and higher and higher and higher and higher, Out of the Nothingness world without end unto God. _Richard Hovey._ From RAIN IN SUMMER Thus the seer, with vision clear, Sees forms appear and disappear In the perpetual round of strange Mysterious change From birth to death, from death to birth, From earth to heaven, from heaven to earth, Till glimpses more sublime Of things unseen before Unto his wondering eyes reveal The universe, as an immeasurable wheel Turning for evermore In the rapid, rushing river of time. _Henry Wadsworth Longfellow._ SIMILAR CASES There was once a little animal No bigger than a fox And on five toes he scampered Over Tertiary rocks. They called him Eohippus, And they called him very small, And they thought him of no value-- When they thought of him at all; For the lumpish old Dinoceras And Coryphodon so slow Were the heavy aristocracy In days of long ago. Said the little Eohippus, “I am going to be a horse! And on my middle finger-nails To run my earthly course! I’m going to have a flowing tail! I’m going to have a mane! I’m going to stand fourteen hands high On the psychozoic plain!” The Coryphodon was horrified, The Dinoceras was shocked, And they chased young Eohippus But he skipped away and mocked. Then they laughed enormous laughter And they groaned enormous groans, And they bade young Eohippus Go view his father’s bones. Said they, “You always were as small And mean as now we see, And that’s conclusive evidence That you’re always going to be.” “What! Be a great tall handsome beast With hoofs to gallop on? _Why! You’d have to change your nature!_” Said the Loxolophodon. They considered him disposed of, And retired with gait serene; That was the way they argued In “the early Eocene.” There was once an Anthropoidal Ape Far smarter than the rest, And everything that they could do He always did the best; So they naturally disliked him And they gave him shoulders cool, And when they had to mention him, They said he was a fool. Cried this pretentious Ape one day, “I’m going to be a Man! And stand upright, and hunt, and fight, And conquer all I can! I’m going to cut down forest trees To make my houses higher! I’m going to kill the Mastodon. I’m going to make a fire!” Loud screamed the Anthropoidal Apes With laughter wild and gay; They tried to catch that boastful one But he always got away. So they yelled at him in chorus, Which he minded not a whit; And they pelted him with cocoanuts, Which didn’t seem to hit. And then they gave him reasons, Which they thought of much avail, To prove how his preposterous Attempt was sure to fail. Said the sages, “In the first place, The thing cannot be done. And, second, if it _could_ be It would not be any fun! And, third, and most conclusive, And admitting no reply, _You would have to change your nature_! We should like to see you try!” They chuckled then triumphantly, These lean and hairy shapes, For these things passed as arguments With the Anthropoidal Apes. There was once a Neolithic Man, An enterprising wight, Who made his chopping implements Unusually bright. Unusually clever he, Unusually brave, And he drew delightful Mammoths On the borders of his cave. To his Neolithic neighbours, Who were startled and surprised, Said he, “My friends, in course of time We shall be civilized! We are going to live in cities! We are going to fight in wars! We are going to eat three times a day Without the natural cause! We are going to turn life upside down About a thing called gold! We are going to want the earth and take As much as we can hold! We are going to wear great piles of stuff Outside our proper skins! We are going to have diseases! And accomplishments!! and sins!!!” Then they all rose up in fury Against their boastful friend, For prehistoric patience Cometh quickly to an end. Said one, “This is chimerical, Utopian! absurd!” Said another, “What a stupid life! Too dull, upon my word!” Cried all, “Before such things can come, You idiotic child, _You must alter human nature_!” And they all sat back and smiled. Thought they, “An answer to that last It will be hard to find!” It was a clinching argument To the Neolithic Mind! _Charlotte Perkins Gilman._ THE FIRST IDEALIST A jellyfish swam in a tropical sea, And he said, “This world it consists of me: There’s nothing above and nothing below That a jellyfish ever can possibly know (Since we’ve got no sight, or hearing, or smell), Beyond what our single sense can tell. Now, all that I learn from the sense of touch Is the fact of my feelings, viewed as such. But to think they have any external cause Is an inference clean against logical laws. Again, to suppose, as I’ve hitherto done, There are other jellyfish under the sun, Is a pure assumption that can’t be backed By a jot of proof or a single fact. In short, like Hume, I very much doubt If there’s anything else at all without. So I come at last to the plain conclusion, When the subject is fairly set free from confusion, That the universe simply centres in me, And if I were not, then nothing would be.” That minute, a shark who was strolling by, Just gulped him down, in the twink of an eye; And he died, with a few convulsive twists. But, somehow, the universe still exists. _Grant Allen._ IMMORTALITY When I was grass, perhaps I may have wept As every year the grass blades paled and slept Or shrieked in anguish impotent beneath The smooth impartial cropping of great teeth-- I don’t remember much what came to pass When I was grass. When I was monkey, I’m afraid the trees Weren’t always havens of contented ease; Things killed us and we never could tell why; No doubt we blamed the earth or sea or sky-- I have forgotten my rebellion’s shape When I was ape. Now I have reached the comfortable skin This stage of living is enveloped in, And hold the spirit of my mighty race Self-conscious prisoner under one white face-- I’m awfully afraid I’m going to die, Now I am I. * * * * * When I was man, no doubt I used to care About the little things that happened there, And fret to see the years keep going by, And nations, families and persons die, I didn’t much appreciate life’s plan When I was man. _Charlotte Perkins Gilman._ MIDGES IN THE SUNSHINE If I could see with a midge’s eye Or think with a midge’s brain, I wonder what I’d say of the world With all its joy and pain. Would my seven brief hours of mortal life Seem as long as seventy years, As I danced in the flickering sunshine Amid my tiny peers? Should I feel the slightest hope or care For the midges yet to be; Or think I died before my time If I died at half-past three, Instead of living till set of sun On the breath of the summer wind; Or dream that the world was made for me And all my little kind? Perhaps if I did I’d know as much Of Nature’s mighty plan, And what it meant for good or ill, As that larger midge, a man! _Anonymous._ FROM A RECORD None sees the slow and upward sweep By which the soul from life-depths deep Ascends,--unless, mayhap, when free, With each new death we backward see The long perspective of our race, Our multitudinous past lives trace. _William Sharp._ SUDDEN LIGHT I have been here before, But when or how I cannot tell: I know the grass beyond the door, The sweet keen smell, The sighing sound, the lights around the shore. You have been mine before,-- How long ago I may not know: But just when at that swallow’s soar Your neck turned so, Some veil did fall,--I knew it all of yore. Has this been thus before? And shall not thus time’s eddying flight Still with our lives our loves restore In death’s despite, And day and night yield one delight once more? _Dante Gabriel Rossetti_ OR EVER THE KNIGHTLY YEARS WERE GONE Or ever the knightly years were gone With the old world to the grave, I was a king in Babylon And you were a Christian slave. I saw, I took, I cast you by, I bent and broke your pride. You loved me well, or I heard them lie, But your longing was denied. Vaguely I knew that by and by You cursed your gods and died. And a myriad suns have set and shone Since then upon the grave Decreed by the king in Babylon To her that had been his slave. The pride I trampled is now my scathe, For it tramples me again. The old resentment lasts like death, For you love, yet you refrain. I break my heart on your hard unfaith, Yet I break my heart in vain. Yet not for an hour do I wish undone That deed beyond the grave, When I was a king in Babylon And you were a virgin slave. _William Ernest Henley._ AVE POST SAECULA (_Greeting after the Ages_) I When I was a king of Egypt And Priest of the Sun God Ra, And you a Peruvian captive Were brought from your home afar, In a corner one day in my palace I caught but a glance from your eyes-- Lonely and alien and wistful-- That filled me with glad surprise. II The dusky daughters of Kemi Had mocked at your lily-like face; They were arrogant in their beauty Till I made them the slaves of your grace. Then together in stately barges We sailed on the Sacred Nile, And the joy and the peace of Aahlu Were mine through your loving smile. III Mummies together in spices, Fine linen, and cloth of gold, They laid us away in a rock-tomb, And in hieroglyphics told Our names and our years and achievements, And they worshipped us when dead Till their generations had faded And new races came in their stead. IV Our names and our deeds were forgotten, And our rock-tomb crumbled away, But the love that made us immortal Endured through the brighter day; And we sometimes looked to earthward For a glimpse of the river green, Where I had been king in Egypt While you were my loyal queen. V At the court of the Royal Harlot, We lived again by the Nile,-- The astrologer Abd-el-Ghizeh And the maid of honor Ajyl. And although I had all forgotten The days of my royal pride, By the light in your eyes I knew you And claimed again my bride. VI When the haughty Cleopatra Sailed to meet her Roman Mars, It was you who held her mirror; It was I that read their stars. Did we dream of those primitive barges That had carried us that same way?-- Who shall say!--but at least we remembered That our love had lived for aye. VII And again, that life completed, We vanished from mortal sight Only to join each other In the spirit world of light. Who can say in what other ages We met on earth again, Or by what celestial stages We purged ourselves from pain? VIII Gone all the royal regalia And the black magician’s wands; Now the royal priest turned peddler Earns his bread in strange new lands. Trading from city to city, He journeys wide and far Till he finds in a distant corner A damsel like a star. IX Years has she toiled in patience, Lonely and ill at ease, Feeding her heart with day dreams That solace but hardly please; At the touch of his lips she awakens And the glad light in her face Tells him once more he holds her Fast in his fond embrace. X For the deeper knowledge is wakened Far down ’neath the conscious brain, And he knows his bride of the ages Has come back to earth again; And the gate of death has no terror, Since it cannot separate The souls that watch for each other With a love inviolate. _Laurens Maynard._ OF A TOYOKUNI COLOR PRINT I Was I a Samurai renowned, Two-sworded, fierce, immense of bow? A histrion angular and profound? A priest? a porter?--Child, although I have forgotten clean, I know That in the shade of Fujisan, What time the cherry orchards blow, I loved you once in old Japan. II As here you loiter, flowing-gowned And hugely sashed, with pins a-row Your quaint head as with flamelets crowned. Demure, inviting--even so, When merry maids in Miyako To feel the sweet o’ the year began, And green gardens to overflow, I loved you once in old Japan. III Clear shines the hill; the rice-fields round Two cranes are circling; sleepy and slow, A blue canal, the lake’s blue bound, Breaks at the bamboo bridge; and lo! Touched with the sundown’s spirit and low, I see you turn, with flirted fan, Against the plum-tree’s bloomy snow-- I loved you once in old Japan! _Envoy_ Dear, ’twas a dozen lives ago; But that I was a lucky man The Toyokuni here will show, I loved you once in old Japan. _William Ernest Henley._ PRE-EXISTENCE While sauntering through the crowded street Some half-remembered face I meet, Albeit upon no mortal shore That face, methinks, hath smiled before. Lost in a gay and festal throng I tremble at some tender song Set to an air whose golden bars I must have heard in other stars. In sacred aisles I pause to share The blessings of a priestly prayer, When the whole scene which greets mine eyes In some strange mode I recognize, As one whose every mystic part Had been prefigured in my heart. At sunset as I calmly stand A stranger on an alien strand, Familiar as my childhood’s home Seems the long stretch of wave and foam. A ship sails toward me o’er the bay And what she comes to do and say I can foretell. A prescient lore Springs from some life outlived of yore. O swift, instructive, startling gleams Of deep soul-knowledge; not as dreams For aye ye vaguely dawn and die, But oft with lightning certainty Pierce through the dark, oblivious brain To make old thoughts and memories plain: Thoughts which perchance must travel back Across the wide bewildering track Of countless eons; memories far High reaching as yon palled star, Unknown, scarce seen, whose flickering grace Faints on the outmost rings of space. _Paul Hamilton Hayne._ STANZAS “_We are such stuff as dreams are made of._” I We have forgot what we have been, And what we are we little know; We fancy new events begin But all has happened long ago. II Before mine infant eyes had hailed The new-born glory of the day, When the first wondrous morn unveiled The breathing world that round me lay; The same strange darkness o’er my brain Folded its close, mysterious wings, The ignorance of joy or pain, That each recurring midnight brings. III Full oft my feelings make me start, Like foot prints on a desert shore, As if the chambers of my heart Had heard their shadowy step before. So looking into thy fond eyes, Strange memories come to me, as though Somewhere--perchance in Paradise-- I had adored thee long ago. _Thomas W. Parsons._ THE METEMPSYCHOSIS I know my own creation was divine. Strewn on the breezy continents I see The veined shells and burnished scales which once Enclosed my being,--husks that had their use; I brood on all the shapes I must attain Before I reach the Perfect, which is God, And dream my dreams and let the rabble go; For I am of the mountains and the sea The deserts, and the caverns in the earth The catacombs and fragments of old worlds. * * * * * I was ere Romulus and Remus were; I was ere Nineveh and Babylon; I was and am, and evermore shall be, Progressing, never reaching to the end. A hundred years I trembled in the grass; * * * * * Under the earth in fragrant glooms I dwelt, There in the veins and sinews of a pine On a lone isle, where ... ... to and fro I swayed, Drawing the sunlight from the stooping clouds. Suns came and went, and many a mystic moon; * * * * * Wild music, and strange shadows floated by Some moaning and some singing. So the years Clustered about me till the hand of God Let down the lightning from a sultry sky, Splintered the pine and split the iron rock; And from my odorous prison house a bird, I in its bosom, darted; so we flew, Turning the brittle edge of one high wave Island and tree and sea-gods left behind! * * * * * A century was a single day. What is a day to an immortal soul? A breath, no more. And yet I hold one hour Beyond all price--that hour when from the sky I circled near and nearer to the earth, Nearer and nearer, till I brushed my wings Against the pointed chestnut trees,... ... and there, Gathering wild flowers in a cool ravine, Wandered a woman more divinely shaped Than any of the creatures of the air, Or river-goddesses, or restless shades Of noble matrons marvellous in their time For beauty and great suffering; and I sung, I charmed her thought, I gave her dreams, and then Down from the dewy atmosphere I stole And nestled in her bosom. There I slept From moon to moon, while in her eyes a thought Grew sweet and sweeter, deepening like the dawn-- A mystical forewarning! When the stream, Breaking through leafless brambles and dead leaves, Piped shriller treble and from chestnut-boughs The fruit dropt noiseless through the autumn night, I gave a low, quick cry as infants do: We weep when we are born, not when we die! So was it destined; and thus came I here, To walk the earth and wear the form of Man, To suffer bravely as becomes my state, One step, one grade, one cycle nearer God. _Thomas Bailey Aldrich._ From THE FINAL THOUGHT Which way are my feet set? Through infinite changes yet Shall I go on, Nearer and nearer drawn To thee, God of Eternity. How shall the human grow, By changes fine and slow, To thy perfection from the life-dawn sought: What is the highest thought? * * * * * Love! Faith is born of it! Death is the scorn of it! It fills the earth and thrills the heavens above: And God is love, And life is love and though we heed it not, Love is the final thought. _Maurice Thompson._ NOTES TO “EVOLUTION” Stanza I. The Paleozoic period, the oldest division of the geological series, is separated into two great divisions, the later of which is distinguished by the number and variety of its fishes and amphibious animals. The Cambrian is the lowest of the primary strata exhibiting unmistakable organic remains. Darwin states that the progenitors of mankind must have been aquatic in their habit since morphology shows that our lungs consist of a modified swim-bladder which once served as a float. Stanza II. The Caradoc sandstone, which takes its name from a mountain in Shropshire, consists of shelly sandstone of great thickness containing trilobites and many other fossils. Stanza IV. Neocomian is the name given the lower division of the cretaceous system partly, at least, formed by the wearing down of the pre-existing oolitic rocks. The fresh-water formations of this period exhibit remains of terrestrial reptiles and the trunks and leaves of land plants. With this stanza the author ceases to trace the developments of life through the early geological formations and lays the scene of the next stanza in the comparatively recent Tertiary period. Stanza VI. Huxley expresses his belief that even the highest faculties of feeling and of intellect began to germinate in lower forms of life and it is now quite generally conceded that the human soul is just as much a product of evolution as is the body. Stanza VII. The Cave Dwellers of the stone age succeed in point of time an even earlier group of prehistoric man, both so ancient that no attempt can be made to fix the date of their existence except in geological terms. At the coming of the Glacial period prehistoric man was compelled to seek the shelter and warmth of caverns, holding to these abodes during the centuries which elapsed before the dawn of a warmer geological epoch. The Auroch is the European bison. The great Cave Bear was extinct at the dawn of historic time and is known only from fossils and a single engraving on stone in the prehistoric museum at Faux. Stanza VIII. The earliest manifestations of human art consisted of the chipping of flint implements. The mammoth, the last survivor of the three species of elephants inhabiting Europe, flourished before and during the Glacial period. Larger than the modern elephant, it had large, curved tusks and a thick coat of hair. Stanza IX. The gregarious instinct, while of the greatest social importance in its simplest form, implies none of the higher qualities of mind, neither sympathy nor capacity for mutual aid. It seems generally called in play in connection with some other instinct, rendering complete satisfaction of its impulse impossible until we are surrounded by others who share our emotions. Here the man of the stone age calls his kith and kin more from an instinct of self-assertion and elation than from any more developed social sympathy. Stanza X. The engravings of animals upon bone or ivory by prehistoric man mark the earliest human expression of the beautiful in art for art’s sake, and appear to be the first step in evolution from savagery. Stanza XII. Kimmeridge clay, the lowest series of the Upper Oolitic, is dark bluish gray, shaly clay which is sometimes bituminous and occasionally, as at Kimmeridge in the Isle of Purbeck, is so rich in bituminous matter as to be used as fuel. Beneath the cretaceous rocks in Southeast England a fresh-water formation called the Wealden is found interlaced between two marine formations. It is composed of three minor groups: Weald clay, Hastings sand and Purbeck beds, or flags of limestone and marl. The Wealden formation is rich in fossils, containing also what appear to be the oldest examples of bird fossils in Great Britain. The Bagshot sands, or stones, consist of a series of strata of the Eocene period, overlying the London clay, the name being derived from Bagshot Heath in Surrey where they were first examined. At some places, as near Oxford, England, the Coraline crag is exposed at the surface, running to a depth of more than fifty feet. It belongs to the older Pliocene period and indicates a temperate climate. Stanza XIII. The Tremadoc slate is the uppermost of the three strata comprised in the Cambrian period in Europe, covering the earliest portion of the Paleozoic or primary era. NOTES TO “SIMILAR CASES” Tertiary Rocks. It is in the rocks of this period that the fossils of the various extinct primitive quadrupeds are found. Eohippus. An Eocene perissodactyl with four anterior and three posterior digits apparently allied to the Hyracotherium ancestors of horse-like animals. Dinoceras. A gigantic mammal of elephantine form, having three pairs of protuberances on the upper surface of his head. Coryphodon. A fossil mammal somewhat resembling the hippopotamus. Loxolophodon. An extinct mammal with obliquely crested molars. Mastodon. An extinct elephant larger but similar in form to existing species. Neolithic. Belonging to the later stone age, when first indication of polished stone weapons and implements of agriculture began to appear. Mammoths. A very large extinct Pleistocene elephant with coarse outer hair and close woolly under hair and enormous tusks usually much curved. NOTES TO “AVE POST SAECULA” Stanza I. The idea of a Peruvian captive at the court of an early Egyptian king will not seem incongruous to those who are familiar with the apparent evidences of a common origin of the races of ancient Egypt and of South and Central America, or of the occult traditions of a land connection between the old world and the new world before the submerging of Atlantis. Stanza II. _Kemi_ (_Black_) was the ancient Egyptians’ name for their own country. _Aahlu_ was the paradise of the ancient Egyptian religion where the souls of those who were admitted by Osiris might dwell for three thousand years after which they must return to earth, for another incarnation. Stanza VI. Roman Mars is, of course, a poetic figure for Cleopatra’s warrior lover, Mark Antony. Stanza VII. Believers in reincarnation teach that in earth lives we gain experience and in the intervening lives on the higher planes we rest and transmute that experience into power for the next earth life. Transcriber’s Note: Words and phrases in italics are surrounded by underscores, _like this_. Words in bold are surrounded by equal signs, =like this=. Partially printed letters and punctuation were completed. Unprinted word “as” added to “Then as we linger ...” The following were changed: “slai” changed to “slain.” ... the bones of the slain.... Extended elipses changed to three dots preceding “... and there,” *** END OF THE PROJECT GUTENBERG EBOOK POEMS OF EVOLUTION *** 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.