Project Gutenberg's Counter-Attack and Other Poems, by Siegfried Sassoon
Copyright laws are changing all over the world. Be sure to check the
copyright laws for your country before downloading or redistributing
this or any other Project Gutenberg eBook.
This header should be the first thing seen when viewing this Project
Gutenberg file. Please do not remove it. Do not change or edit the
header without written permission.
Please read the "legal small print," and other information about the
eBook and Project Gutenberg at the bottom of this file. Included is
important information about your specific rights and restrictions in
how the file may be used. You can also find out about how to make a
donation to Project Gutenberg, and how to get involved.
**Welcome To The World of Free Plain Vanilla Electronic Texts**
**eBooks Readable By Both Humans and By Computers, Since 1971**
*****These eBooks Were Prepared By Thousands of Volunteers!*****
Title: Counter-Attack and Other Poems
Author: Siegfried Sassoon
Release Date: September, 2005 [EBook #8930]
[Yes, we are more than one year ahead of schedule]
[This file was first posted on August 26, 2003]
Edition: 10
Language: English
*** START OF THE PROJECT GUTENBERG EBOOK COUNTER-ATTACK AND OTHER POEMS ***
Produced by John M. Wyrwas
COUNTER-ATTACK
AND OTHER POEMS
BY SIEGFRIED SASSOON
With An Introduction By
Robert Nichols
TO ROBERT ROSS
Dans la trêve desolée de cette matinée, ces hommes
qui avaient été tenaillés par la fatigue, fouettés par
la pluie, bouleversés par toute une nuit de tonnerre,
ces rescapés des volcans et de l'inondation entrevoyaient
à quel point la guerre, aussi hideuse au moral
qu'au physique, non seulement viole le bon sens, avilit
les grandes idées, commande tous les crimes--mais ils
se rappelaient combien elle avait développé en eux et
autour d'eux tous les mauvais instincts sans en excepter
un seul; la méchanceté jusqu'au sadisme,
l'égoisme jusqu'à la férocité, le besoin de jouir jusqu'à
la folie. HENRI BARBUSSE. (Le Feu.)
CONTENTS
INTRODUCTION BY ROBERT NICHOLS
PRELUDE: THE TROOPS
COUNTER-ATTACK
THE REAR-GUARD
WIRERS
ATTACK
DREAMERS
HOW TO DIE
THE EFFECT
TWELVE MONTHS AFTER
THE FATHERS
BASE DETAILS
THE GENERAL
LAMENTATIONS
DOES IT MATTER?
FIGHT TO A FINISH
EDITORIAL IMPRESSIONS
SUICIDE IN THE TRENCHES
GLORY OF WOMEN
THEIR FRAILTY
THE HAWTHORN TREE
THE INVESTITURE
TRENCH DUTY
BREAK OF DAY
TO ANY DEAD OFFICER
SICK LEAVE
BANISHMENT
SONG-BOOKS OF THE WAR
THRUSHES
AUTUMN
INVOCATION
REPRESSION OF WAR EXPERIENCE
THE TRIUMPH
SURVIVORS
JOY-BELLS
REMORSE
DEAD MUSICIANS
THE DREAM
IN BARRACKS
TOGETHER
INTRODUCTION
Sassoon the Man
In appearance he is tall, big-boned, loosely built. He
is clean-shaven, pale or with a flush; has a heavy jaw,
wide mouth with the upper lip slightly protruding and
the curve of it very pronounced like that of a shrivelled
leaf (as I have noticed is common in many poets).
His nose is aquiline, the nostrils being wide and heavily
arched. This characteristic and the fullness, depth and
heat of his dark eyes give him the air of a sullen
falcon. He speaks slowly, enunciating the words as if
they pained him, in a voice that has something of the
troubled thickness apparent in the voices of those who
emerge from a deep grief. As he speaks, his large
hands, roughened by trench toil and by riding, wander
aimlessly until some emotion grips him when the
knuckles harden and he clutches at his knees or at the
edge of the table. And all the while he will be breathing
hard like a man who has swum a distance. When
he reads his poems he chants and one would think
that he communed with himself save that, at the
pauses, he shoots a powerful glance at the listener.
Between the poems he is still but moves his lips...
He likes best to speak of hunting (he will shout of it!),
of open air mornings when the gorse alone flames
brighter than the sky, of country quiet, of his mother,
[Footnote: His father was a well-to-do country gentleman of
Anglo-Jewish stock, his mother an English woman, a Miss
Thornycroft, sister of the sculptor of that name.]
of poetry--usually Shelley, Masefield and Thomas
Hardy--and last and chiefly--but always with a rapid,
tumbling enunciation and a much-irked desperate air
filled with pain--of soldiers. For the incubus of war
is on him so that his days are shot with anguish and
his nights with horror.
He is twenty-eight years old; was educated at
Marlborough and Christchurch, Oxford; was a master of
fox-hounds and is a captain in the Royal Welsh
Fusiliers. Thrice he has fought in France and once in
Palestine. Behind his name are set the letters M.C.
since he has won the Military Cross for an act of
valour which went near to securing him a higher
honour.
Sassoon the Poet
The poetry of Siegfried Sassoon divides itself into
two rough classes--the idyllic and the satiric. War
has defiled one to produce the other. At heart
Siegfried Sassoon is an idealist.
Before the war he had hardly published a line. He
spent his summers in the company of books, at the
piano, on expeditions, and in playing tennis. During
winter he hunted. Hunting was a greater passion with
him than poetry. Much of his poetry celebrated the
loveliness of the field as seen by the huntsman in the
early morning light. But few probably guessed that
the youth known to excel in field sports excelled also
in poetry. For, in its way, this early poetry does excel.
It was characteristic of him that nearly every little
book he then wrote was privately printed. Poetry was
for him just something for private and particular
enjoyment--like a ride alone before breakfast. Among
these privately printed books are Twelve Sonnets
(1911), Melodies, An Ode for Music, Hyacinth
(all 1912). The names are significant. He was occupied
with natural beauty and with music. In 1913 he
publishes in a limited and obscure edition Apollo in
Doelyrium, wherein it seems that he is beginning to
find a certain want of body and basis in his poems
made of beautiful words about beautiful objects.
Later in the same year, with Masefield's Everlasting
Mercy (1911), Widow in the Bye Sheet (1912) and
Daffodil Fields (1913) before him, he starts to write a
parody of these uncouth intrusions of the sorrows of
obscure persons into his paradise but half way through
the poem adopts the Masefield manner in earnest
[Footnote: I had this from his own mouth.]
and finishes by unsuccessfully endeavouring to rival his
master. In 1914 the War breaks out. Home on leave
in 1915 he privately prints Discoveries, a little book
which contains some of the loveliest of his 'paradise'
poems. In 1916 the change has come. He can hardly
believe it himself. 'Morning Glory' (privately printed)
includes four war poems. He has not definitely
turned to his later style but he hovers on the brink.
The war is beginning to pain him. The poems 'To
Victory' and 'The Dragon and the Undying' show him
turning toward his paradise to see if its beauty can save
him ... The year 1917 witnesses the publication of
The Old Huntsman.
[Footnote: 'The Old Huntsman,' Dutton & Co., 1918.]
This book secured instantaneous success.
Siegfried Sassoon, on its publication,
became one of the leading young poets of England.
The book begins with the long monologue of a retired
huntsman, a piece of remarkable characterisation.
It continues with all the best of the 'paradise'
poems, including the loveliest in 'Discoveries' and
'Morning Glory.' There are also the 'bridge' poems
between his old manner and his new such as the 'To
Victory' mentioned above. But interspersed among
the paradise poems are the first poems in his final war
style. He tells the story of the change in a characteristic
manner--Conscripts (page 51, 'The Old Huntsman').
For like nearly every one of the young English poets,
he is to some extent a humourist. His humour is not,
however, even through 'The Old Huntsman' all
of such a wise and gentle tenor. He breaks out into
lively bitterness in such poems as 'They,'
'The Tombstone Maker' and 'Blighters.'
CONSCRIPTS
"Fall in, that awkward squad, and strike no more
"Attractive attitudes! Dress by the right!
"The luminous rich colours that you wore
"Have changed to hueless khaki in the night.
"Magic? What's magic got to do with you?
"There's no such thing! Blood's red and skies are blue."
They gasped and sweated, marching up and down.
I drilled them till they cursed my raucous shout.
Love chucked his lute away and dropped his crown.
Rhyme got sore heels and wanted to fall out.
"Left, right! Press on your butts!" They looked at me
Reproachful; how I longed to set them free!
I gave them lectures on Defence, Attack;
They fidgeted and shuffled, yawned and sighed,
And boggled at my questions. Joy was slack,
And Wisdom gnawed his fingers, gloomy-eyed.
Young Fancy--how I loved him all the while--
Stared at his note-book with a rueful smile.
Their training done, I shipped them all to France.
Where most of those I'd loved too well got killed.
Rapture and pale Enchantment and Romance,
And many a sickly, slender lord who'd filled
My soul long since with litanies of sin.
Went home, because they couldn't stand the din.
But the kind, common ones that I despised,
(Hardly a man of them I'd count as friend),
What stubborn-hearted virtues they disguised!
They stood and played the hero to the end,
Won gold and silver medals bright with bars,
And marched resplendent home with crowns and stars.
This book (in consequence almost wholly of these
bitter poems) enjoyed a remarkable success with the
soldiers fighting in France. One met it everywhere.
"Hello, you know Siegfried Sassoon then, do you?
Well, tell him from me that the more he lays it on thick
to those who don't realize the war the better. That's
the stuff we want. We're fed up with the old men's
death-or-glory stunt." In 1918 appeared 'Countermans'
Attack': here there is hardly a trace of the 'paradise'
feeling. You can't even think of paradise when you're
in hell. For Sassoon was now well along the way of
thorns. How many lives had he not seen spilled apparently
to no purpose? Did not the fact of war arch
him in like a dirty blood-red sky? He breaks out,
almost like a mad man, into imprecations, into
vehement tirades, into sarcasms, ironies, the hellish
laughters that arise from a heart that is not broken
once for all but that is newly broken every day while
the Monster that devours the lives of the young
continues its ravages. Take, for instance, the magnificent
'To Any Dead Officer', written just before America
entered the war. Many reading this poem would think
Great Britain was going to cease fighting. But nothing
of the sort. One must always remember that bitter
as these imprecations are against those who mismanaged
certain episodes in the war, the ultimate foe
is not they but the German Junkers who planned this
war for forty years, who have given the lovely earth
over to hideous defilement and the youths of all nations
to carnage...
Sometimes in this book Sassoon fails to express himself
properly. This fact is, I think, a tribute to his
sincerity. For his earlier work very clearly displays
his technical proficiency. But here what can he do?
Indignation chokes and strangles him. He claws often
enough at unsatisfactory words, dislocates his
sentences, tumbles out his images as if he would pulp the
makers of war beneath them. Very rarely does he
attain to the poignant simplicity of 'The Hawthorn
Tree' or the detached irony of 'Does it Matter?'
Can he then see nothing else in war? I remember
him once turning to me and saying suddenly apropos
of certain exalté poems in my 'Ardours and
Endurances': 'Yes, I see all that and I agree with
you, Robert. War has made me. I think I am a man now
as well as a poet. You have said the things well
enough. Now let us nevermore say another word of
whatever little may be good in war for the individual
who has a heart to be steeled.'
I remember I nodded, for further acquaintance with
war inclines me to his opinion.
'Let no one ever,' he continued, 'from henceforth
say a word in any way countenancing war. It is dangerous
even to speak of how here and there the individual
may gain some hardship of soul by it. For war
is hell and those who institute it are criminals. Were
there anything to say for it, it should not be said for
its spiritual disasters far outweigh any of its advantages.'
For myself this is the truth. War doesn't ennoble:
it degrades. The words of Barbusse placed at the beginning
of this book should be engraved over the doors
of every war office of every State in the world.
While war is a possibility man is little better than
a savage and civilisation the mere moments of rest
between a succession of nightmares. It is to help to
end this horror that Siegfried Sassoon and the many
others who feel like him have continued to fight as
after the publication of this book he fought in Palestine
and in France.
You civilized persons who read this book not only as
a poet but as a soldier I beg of you not to turn from it.
Read it again and again till its words become part of
your consciousness. It was written by a man for mankind's
sake, that 'that which is humane' might no more be an
empty phrase, that the words of Blake might blossom
to a new meaning--
Thou art a man, God is no more,
Thine own humanity learn to adore.
New York City,
Nov. 20th-23rd.
ROBERT NICHOLS.
PRELUDE: THE TROOPS
Dim, gradual thinning of the shapeless gloom
Shudders to drizzling daybreak that reveals
Disconsolate men who stamp their sodden boots
And turn dulled, sunken faces to the sky
Haggard and hopeless. They, who have beaten down
The stale despair of night, must now renew
Their desolation in the truce of dawn,
Murdering the livid hours that grope for peace.
Yet these, who cling to life with stubborn hands,
Can grin through storms of death and find a gap
In the clawed, cruel tangles of his defence.
They march from safety, and the bird-sung joy
Of grass-green thickets, to the land where all
Is ruin, and nothing blossoms but the sky
That hastens over them where they endure
Sad, smoking, flat horizons, reeking woods,
And foundered trench-lines volleying doom for doom.
O my brave brown companions, when your souls
Flock silently away, and the eyeless dead
Shame the wild beast of battle on the ridge,
Death will stand grieving in that field of war
Since your unvanquished hardihood is spent.
And through some mooned Valhalla there will pass
Battalions and battalions, scarred from hell;
The unreturning army that was youth;
The legions who have suffered and are dust.
COUNTER-ATTACK
We'd gained our first objective hours before
While dawn broke like a face with blinking eyes,
Pallid, unshaved and thirsty, blind with smoke.
Things seemed all right at first. We held their line,
With bombers posted, Lewis guns well placed,
And clink of shovels deepening the shallow trench.
The place was rotten with dead; green clumsy legs
High-booted, sprawled and grovelled along the saps;
And trunks, face downward, in the sucking mud,
Wallowed like trodden sand-bags loosely filled;
And naked sodden buttocks, mats of hair,
Bulged, clotted heads slept in the plastering slime.
And then the rain began,--the jolly old rain!
A yawning soldier knelt against the bank,
Staring across the morning blear with fog;
He wondered when the Allemands would get busy;
And then, of course, they started with five-nines
Traversing, sure as fate, and never a dud.
Mute in the clamour of shells he watched them burst
Spouting dark earth and wire with gusts from hell,
While posturing giants dissolved in drifts of smoke.
He crouched and flinched, dizzy with galloping fear,
Sick for escape,--loathing the strangled horror
And butchered, frantic gestures of the dead.
An officer came blundering down the trench:
"Stand-to and man the fire-step!" On he went ...
Gasping and bawling, "Fire-step ... counter-attack!"
Then the haze lifted. Bombing on the right
Down the old sap: machine-guns on the left;
And stumbling figures looming out in front.
"O Christ, they're coming at us!" Bullets spat,
And he remembered his rifle ... rapid fire ...
And started blazing wildly ... then a bang
Crumpled and spun him sideways, knocked him out
To grunt and wriggle: none heeded him; he choked
And fought the flapping veils of smothering gloom,
Lost in a blurred confusion of yells and groans ...
Down, and down, and down, he sank and drowned,
Bleeding to death. The counter-attack had failed.
THE REAR-GUARD
(Hindenburg Line, April 1917.)
Groping along the tunnel, step by step,
He winked his prying torch with patching glare
From side to side, and sniffed the unwholesome air.
Tins, boxes, bottles, shapes too vague to know,
A mirror smashed, the mattress from a bed;
And he, exploring fifty feet below
The rosy gloom of battle overhead.
Tripping, he grabbed the wall; saw some one lie
Humped at his feet, half-hidden by a rug,
And stooped to give the sleeper's arm a tug.
"I'm looking for headquarters." No reply.
"God blast your neck!" (For days he'd had no sleep.)
"Get up and guide me through this stinking place."
Savage, he kicked a soft, unanswering heap,
And flashed his beam across the livid face
Terribly glaring up, whose eyes yet wore
Agony dying hard ten days before;
And fists of fingers clutched a blackening wound.
Alone he staggered on until he found
Dawn's ghost that filtered down a shafted stair
To the dazed, muttering creatures underground
Who hear the boom of shells in muffled sound.
At last, with sweat of horror in his hair,
He climbed through darkness to the twilight air,
Unloading hell behind him step by step.
WIRERS
"Pass it along, the wiring party's going out"--
And yawning sentries mumble, "Wirers going out,"
Unravelling; twisting; hammering stakes with muffled thud,
They toil with stealthy haste and anger in their blood.
The Boche sends up a flare. Black forms stand rigid there,
Stock-still like posts; then darkness, and the clumsy ghosts
Stride hither and thither, whispering, tripped by clutching snare
Of snags and tangles.
Ghastly dawn with vaporous coasts
Gleams desolate along the sky, night's misery ended.
Young Hughes was badly hit; I heard him carried away,
Moaning at every lurch; no doubt he'll die to-day.
But _we_ can say the front-line wire's been safely mended.
ATTACK
At dawn the ridge emerges massed and dun
In the wild purple of the glowering sun,
Smouldering through spouts of drifting smoke that shroud
The menacing scarred slope; and, one by one,
Tanks creep and topple forward to the wire.
The barrage roars and lifts. Then, clumsily bowed
With bombs and guns and shovels and battle-gear,
Men jostle and climb to meet the bristling fire.
Lines of grey, muttering faces, masked with fear,
They leave their trenches, going over the top,
While time ticks blank and busy on their wrists,
And hope, with furtive eyes and grappling fists,
Flounders in mud. O Jesu, make it stop!
DREAMERS
Soldiers are citizens of death's grey land,
Drawing no dividend from time's to-morrows.
In the great hour of destiny they stand,
Each with his feuds, and jealousies, and sorrows.
Soldiers are sworn to action; they must win
Some flaming, fatal climax with their lives.
Soldiers are dreamers; when the guns begin
They think of firelit homes, clean beds, and wives.
I see them in foul dug-outs, gnawed by rats,
And in the ruined trenches, lashed with rain,
Dreaming of things they did with balls and bats,
And mocked by hopeless longing to regain
Bank-holidays, and picture shows, and spats,
And going to the office in the train.
HOW TO DIE
Dark clouds are smouldering into red
While down the craters morning burns.
The dying soldier shifts his head
To watch the glory that returns:
He lifts his fingers toward the skies
Where holy brightness breaks in flame;
Radiance reflected in his eyes,
And on his lips a whispered name.
You'd think, to hear some people talk,
That lads go West with sobs and curses,
And sullen faces white as chalk,
Hankering for wreaths and tombs and hearses.
But they've been taught the way to do it
Like Christian soldiers; not with haste
And shuddering groans; but passing through it
With due regard for decent taste.
THE EFFECT
"The effect of our bombardment was terrific. One man
told me he had never seen so many dead before."--_War Correspondent_.
_"He'd never seen so many dead before."_
They sprawled in yellow daylight while he swore
And gasped and lugged his everlasting load
Of bombs along what once had been a road.
_"How peaceful are the dead."_
Who put that silly gag in some one's head?
_"He'd never seen so many dead before."_
The lilting words danced up and down his brain,
While corpses jumped and capered in the rain.
No, no; he wouldn't count them any more ...
The dead have done with pain:
They've choked; they can't come back to life again.
When Dick was killed last week he looked like that,
Flapping along the fire-step like a fish,
After the blazing crump had knocked him flat ...
_"How many dead? As many as ever you wish.
Don't count 'em; they're too many.
Who'll buy my nice fresh corpses, two a penny?"_
TWELVE MONTHS AFTER
Hullo! here's my platoon, the lot I had last year.
"The war'll be over soon."
"What 'opes?"
"No bloody fear!"
Then, "Number Seven, 'shun! All present and correct."
They're standing in the sun, impassive and erect.
Young Gibson with his grin; and Morgan, tired and white;
Jordan, who's out to win a D.C.M. some night;
And Hughes that's keen on wiring; and Davies ('79),
Who always must be firing at the Boche front line.
* * * * *
"Old soldiers never die; they simply fide a-why!"
That's what they used to sing along the roads last spring;
That's what they used to say before the push began;
That's where they are to-day, knocked over to a man.
THE FATHERS
Snug at the club two fathers sat,
Gross, goggle-eyed, and full of chat.
One of them said: "My eldest lad
Writes cheery letters from Bagdad.
But Arthur's getting all the fun
At Arras with his nine-inch gun."
"Yes," wheezed the other, "that's the luck!
My boy's quite broken-hearted, stuck
In England training all this year.
Still, if there's truth in what we hear,
The Huns intend to ask for more
Before they bolt across the Rhine."
I watched them toddle through the door--
These impotent old friends of mine.
BASE DETAILS
If I were fierce, and bald, and short of breath,
I'd live with scarlet Majors at the Base,
And speed glum heroes up the line to death.
You'd see me with my puffy petulant face,
Guzzling and gulping in the best hotel,
Reading the Roll of Honour. "Poor young chap,"
I'd say--"I used to know his father well;
Yes, we've lost heavily in this last scrap."
And when the war is done and youth stone dead,
I'd toddle safely home and die--in bed.
THE GENERAL
"Good-morning; good-morning!" the General said
When we met him last week on our way to the line.
Now the soldiers he smiled at are most of 'em dead,
And we're cursing his staff for incompetent swine.
"He's a cheery old card," grunted Harry to Jack
As they slogged up to Arras with rifle and pack.
* * * * *
But he did for them both by his plan of attack.
LAMENTATIONS
I found him in the guard-room at the Base.
From the blind darkness I had heard his crying
And blundered in. With puzzled, patient face
A sergeant watched him; it was no good trying
To stop it; for he howled and beat his chest.
And, all because his brother had gone West,
Raved at the bleeding war; his rampant grief
Moaned, shouted, sobbed, and choked, while he was kneeling
Half-naked on the floor. In my belief
Such men have lost all patriotic feeling.
DOES IT MATTER?
Does it matter?--losing your leg? ...
For people will always be kind,
And you need not show that you mind
When the others come in after hunting
To gobble their muffins and eggs.
Does it matter?--losing your sight? ...
There's such splendid work for the blind;
And people will always be kind,
As you sit on the terrace remembering
And turning your face to the light.
Do they matter?--those dreams from the pit? ...
You can drink and forget and be glad,
And people won't say that you're mad;
For they'll know that you've fought for your country,
And no one will worry a bit.
FIGHT TO A FINISH
The boys came back. Bands played and flags were flying,
And Yellow-Pressmen thronged the sunlit street
To cheer the soldiers who'd refrained from dying,
And hear the music of returning feet.
"Of all the thrills and ardours War has brought,
This moment is the finest." (So they thought.)
Snapping their bayonets on to charge the mob,
Grim Fusiliers broke ranks with glint of steel.
At last the boys had found a cushy job.
* * * * *
I heard the Yellow-Pressmen grunt and squeal;
And with my trusty bombers turned and went
To clear those Junkers out of Parliament.
EDITORIAL IMPRESSIONS
He seemed so certain "all was going well,"
As he discussed the glorious time he'd had
While visiting the trenches.
"One can tell
You've gathered big impressions!" grinned the lad
Who'd been severely wounded in the back
In some wiped-out impossible Attack.
"Impressions? Yes, most vivid! I am writing
A little book called _Europe on the Rack_,
Based on notes made while witnessing the fighting.
I hope I've caught the feeling of 'the Line'
And the amazing spirit of the troops.
By Jove, those flying-chaps of ours are fine!
I watched one daring beggar looping loops,
Soaring and diving like some bird of prey.
And through it all I felt that splendour shine
Which makes us win."
The soldier sipped his wine.
"Ah, yes, but it's the Press that leads the way!"
SUICIDE IN THE TRENCHES
I knew a simple soldier boy
Who grinned at life in empty joy,
Slept soundly through the lonesome dark,
And whistled early with the lark.
In winter trenches, cowed and glum,
With crumps and lice and lack of rum,
He put a bullet through his brain.
No one spoke of him again.
* * * * *
You snug-faced crowds with kindling eye
Who cheer when soldier lads march by,
Sneak home and pray you'll never know
The hell where youth and laughter go.
GLORY OF WOMEN
You love us when we're heroes, home on leave,
Or wounded in a mentionable place.
You worship decorations; you believe
That chivalry redeems the war's disgrace.
You make us shells. You listen with delight,
By tales of dirt and danger fondly thrilled.
You crown our distant ardours while we fight,
And mourn our laurelled memories when we're killed.
You can't believe that British troops "retire"
When hell's last horror breaks them, and they run,
Trampling the terrible corpses--blind with blood.
O German mother dreaming by the fire,
While you are knitting socks to send your son
His face is trodden deeper in the mud.
THEIR FRAILTY
He's got a Blighty wound. He's safe; and then
War's fine and bold and bright.
She can forget the doomed and prisoned men
Who agonize and fight.
He's back in France. She loathes the listless strain
And peril of his plight.
Beseeching Heaven to send him home again,
She prays for peace each night.
Husbands and sons and lovers; everywhere
They die; War bleeds us white.
Mothers and wives and sweethearts,--they don't care
So long as He's all right.
THE HAWTHORN TREE
Not much to me is yonder lane
Where I go every day;
But when there's been a shower of rain
And hedge-birds whistle gay,
I know my lad that's out in France
With fearsome things to see
Would give his eyes for just one glance
At our white hawthorn tree.
* * * * *
Not much to me is yonder lane
Where _he_ so longs to tread;
But when there's been a shower of rain
I think I'll never weep again
Until I've heard he's dead.
THE INVESTITURE
God with a Roll of Honour in His hand
Sits welcoming the heroes who have died,
While sorrowless angels ranked on either side
Stand easy in Elysium's meadow-land.
Then _you_ come shyly through the garden gate,
Wearing a blood-soaked bandage on your head;
And God says something kind because you're dead,
And homesick, discontented with your fate.
If I were there we'd snowball Death with skulls;
Or ride away to hunt in Devil's Wood
With ghosts of puppies that we walked of old.
But you're alone; and solitude annuls
Our earthly jokes; and strangely wise and good
You roam forlorn along the streets of gold.
TRENCH DUTY
Shaken from sleep, and numbed and scarce awake,
Out in the trench with three hours' watch to take,
I blunder through the splashing mirk; and then
Hear the gruff muttering voices of the men
Crouching in cabins candle-chinked with light.
Hark! There's the big bombardment on our right
Rumbling and bumping; and the dark's a glare
Of flickering horror in the sectors where
We raid the Boche; men waiting, stiff and chilled,
Or crawling on their bellies through the wire.
"What? Stretcher-bearers wanted? Some one killed?"
Five minutes ago I heard a sniper fire:
Why did he do it? ... Starlight overhead--
Blank stars. I'm wide-awake; and some chap's dead.
BREAK OF DAY
There seemed a smell of autumn in the air
At the bleak end of night; he shivered there
In a dank, musty dug-out where he lay,
Legs wrapped in sand-bags,--lumps of chalk and clay
Spattering his face. Dry-mouthed, he thought, "To-day
We start the damned attack; and, Lord knows why,
Zero's at nine; how bloody if I'm done in
Under the freedom of that morning sky!"
And then he coughed and dozed, cursing the din.
Was it the ghost of autumn in that smell
Of underground, or God's blank heart grown kind,
That sent a happy dream to him in hell?--
Where men are crushed like clods, and crawl to find
Some crater for their wretchedness; who lie
In outcast immolation, doomed to die
Far from clean things or any hope of cheer,
Cowed anger in their eyes, till darkness brims
And roars into their heads, and they can hear
Old childish talk, and tags of foolish hymns.
He sniffs the chilly air; (his dreaming starts).
He's riding in a dusty Sussex lane
In quiet September; slowly night departs;
And he's a living soul, absolved from pain.
Beyond the brambled fences where he goes
Are glimmering fields with harvest piled in sheaves,
And tree-tops dark against the stars grown pale;
Then, clear and shrill, a distant farm-cock crows;
And there's a wall of mist along the vale
Where willows shake their watery-sounding leaves.
He gazes on it all, and scarce believes
That earth is telling its old peaceful tale;
He thanks the blessed world that he was born ...
Then, far away, a lonely note of the horn.
They're drawing the Big Wood! Unlatch the gate,
And set Golumpus going on the grass:
_He_ knows the corner where it's best to wait
And hear the crashing woodland chorus pass;
The corner where old foxes make their track
To the Long Spinney; that's the place to be.
The bracken shakes below an ivied tree,
And then a cub looks out; and "Tally-o-back!"
He bawls, and swings his thong with volleying crack,--
All the clean thrill of autumn in his blood,
And hunting surging through him like a flood
In joyous welcome from the untroubled past;
While the war drifts away, forgotten at last.
Now a red, sleepy sun above the rim
Of twilight stares along the quiet weald,
And the kind, simple country shines revealed
In solitudes of peace, no longer dim.
The old horse lifts his face and thanks the light,
Then stretches down his head to crop the green.
All things that he has loved are in his sight;
The places where his happiness has been
Are in his eyes, his heart, and they are good.
* * * * *
Hark! there's the horn: they're drawing the Big Wood.
TO ANY DEAD OFFICER
Well, how are things in Heaven? I wish you'd say,
Because I'd like to know that you're all right.
Tell me, have you found everlasting day,
Or been sucked in by everlasting night?
For when I shut my eyes your face shows pain;
I hear you make some cheery old remark--
I can rebuild you in my brain,
Though you've gone out patrolling in the dark.
You hated tours of trenches; you were proud
Of nothing more than having good years to spend;
Longed to get home and join the careless crowd
Of chaps who work in peace with Time for friend.
That's all washed out now. You're beyond the wire:
No earthly chance can send you crawling back;
You've finished with machine-gun fire--
Knocked over in a hopeless dud-attack.
Somehow I always thought you'd get done in,
Because you were so desperate keen to live:
You were all out to try and save your skin,
Well knowing how much the world had got to give.
You joked at shells and talked the usual "shop,"
Stuck to your dirty job and did it fine:
With "Jesus Christ! when _will_ it stop?
Three years... It's hell unless we break their line."
So when they told me you'd been left for dead
I wouldn't believe them, feeling it _must_ be true.
Next week the bloody Roll of Honour said
"Wounded and missing"--(That's the thing to do
When lads are left in shell-holes dying slow,
With nothing but blank sky and wounds that ache,
Moaning for water till they know
It's night, and then it's not worth while to wake!)
* * * * *
Good-bye, old lad! Remember me to God,
And tell Him that our Politicians swear
They won't give in till Prussian Rule's been trod
Under the Heel of England... Are you there? ...
Yes ... and the War won't end for at least two years;
But we've got stacks of men... I'm blind with tears,
Staring into the dark. Cheero!
I wish they'd killed you in a decent show.
SICK LEAVE
When I'm asleep, dreaming and lulled and warm,--
They come, the homeless ones, the noiseless dead.
While the dim charging breakers of the storm
Bellow and drone and rumble overhead,
Out of the gloom they gather about my bed.
They whisper to my heart; their thoughts are mine.
"Why are you here with all your watches ended?
From Ypres to Frise we sought you in the Line."
In bitter safety I awake, unfriended;
And while the dawn begins with slashing rain
I think of the Battalion in the mud.
"When are you going out to them again?
Are they not still your brothers through our blood?"
BANISHMENT
I am banished from the patient men who fight.
They smote my heart to pity, built my pride.
Shoulder to aching shoulder, side by side,
They trudged away from life's broad wealds of light.
Their wrongs were mine; and ever in my sight
They went arrayed in honour. But they died,--
Not one by one: and mutinous I cried
To those who sent them out into the night.
The darkness tells how vainly I have striven
To free them from the pit where they must dwell
In outcast gloom convulsed and jagged and riven
By grappling guns. Love drove me to rebel.
Love drives me back to grope with them through hell;
And in their tortured eyes I stand forgiven.
SONG-BOOKS OF THE WAR
In fifty years, when peace outshines
Remembrance of the battle lines,
Adventurous lads will sigh and cast
Proud looks upon the plundered past.
On summer morn or winter's night,
Their hearts will kindle for the fight,
Reading a snatch of soldier-song,
Savage and jaunty, fierce and strong;
And through the angry marching rhymes
Of blind regret and haggard mirth,
They'll envy us the dazzling times
When sacrifice absolved our earth.
Some ancient man with silver locks
Will lift his weary face to say:
"War was a fiend who stopped our clocks
Although we met him grim and gay."
And then he'll speak of Haig's last drive,
Marvelling that any came alive
Out of the shambles that men built
And smashed, to cleanse the world of guilt.
But the boys, with grin and sidelong glance,
Will think, "Poor grandad's day is done."
And dream of those who fought in France
And lived in time to share the fun.
THRUSHES
Tossed on the glittering air they soar and skim,
Whose voices make the emptiness of light
A windy palace. Quavering from the brim
Of dawn, and bold with song at edge of night,
They clutch their leafy pinnacles and sing
Scornful of man, and from his toils aloof
Whose heart's a haunted woodland whispering;
Whose thoughts return on tempest-baffled wing;
Who hears the cry of God in everything,
And storms the gate of nothingness for proof.
AUTUMN
October's bellowing anger breaks and cleaves
The bronzed battalions of the stricken wood
In whose lament I hear a voice that grieves
For battle's fruitless harvest, and the feud
Of outraged men. Their lives are like the leaves
Scattered in flocks of ruin, tossed and blown
Along the westering furnace flaring red.
O martyred youth and manhood overthrown,
The burden of your wrongs is on my head.
INVOCATION
Come down from heaven to meet me when my breath
Chokes, and through drumming shafts of stifling death
I stumble toward escape, to find the door
Opening on morn where I may breathe once more
Clear cock-crow airs across some valley dim
With whispering trees. While dawn along the rim
Of night's horizon flows in lakes of fire,
Come down from heaven's bright hill, my song's desire.
Belov'd and faithful, teach my soul to wake
In glades deep-ranked with flowers that gleam and shake
And flock your paths with wonder. In your gaze
Show me the vanquished vigil of my days.
Mute in that golden silence hung with green,
Come down from heaven and bring me in your eyes
Remembrance of all beauty that has been,
And stillness from the pools of Paradise.
REPRESSION OF WAR EXPERIENCE
Now light the candles; one; two; there's a moth;
What silly beggars they are to blunder in
And scorch their wings with glory, liquid flame--
No, no, not that,--it's bad to think of war,
When thoughts you've gagged all day come back to scare you;
And it's been proved that soldiers don't go mad
Unless they lose control of ugly thoughts
That drive them out to jabber among the trees.
Now light your pipe; look, what a steady hand,
Draw a deep breath; stop thinking, count fifteen,
And you're as right as rain...
Why won't it rain? ...
I wish there'd be a thunder-storm to-night,
With bucketsful of water to sluice the dark,
And make the roses hang their dripping heads.
Books; what a jolly company they are,
Standing so quiet and patient on their shelves,
Dressed in dim brown, and black, and white, and green,
And every kind of colour. Which will you read?
Come on; O _do_ read something; they're so wise.
I tell you all the wisdom of the world
Is waiting for you on those shelves; and yet
You sit and gnaw your nails, and let your pipe out,
And listen to the silence: on the ceiling
There's one big, dizzy moth that bumps and flutters;
And in the breathless air outside the house
The garden waits for something that delays.
There must be crowds of ghosts among the trees,--
Not people killed in battle,--they're in France,--
But horrible shapes in shrouds--old men who died
Slow, natural deaths,--old men with ugly souls,
Who wore their bodies out with nasty sins.
* * * * *
You're quiet and peaceful, summering safe at home;
You'd never think there was a bloody war on! ...
O yes, you would ... why, you can hear the guns.
Hark! Thud, thud, thud,--quite soft ... they never cease--
Those whispering guns--O Christ, I want to go out
And screech at them to stop--I'm going crazy;
I'm going stark, staring mad because of the guns.
THE TRIUMPH
When life was a cobweb of stars for Beauty who came
In the whisper of leaves or a bird's lone cry in the glen,
On dawn-lit hills and horizons girdled with flame
I sought for the triumph that troubles the faces of men.
With death in the terrible flickering gloom of the fight
I was cruel and fierce with despair; I was naked and bound;
was stricken: and Beauty returned through the shambles of night;
In the faces of men she returned; and their triumph I found.
SURVIVORS
No doubt they'll soon get well; the shock and strain
Have caused their stammering, disconnected talk.
Of course they're "longing to go out again,"--
These boys with old, scared faces, learning to walk,
They'll soon forget their haunted nights; their cowed
Subjection to the ghosts of friends who died,--
Their dreams that drip with murder; and they'll be proud
Of glorious war that shatter'd all their pride ...
Men who went out to battle, grim and glad;
Children, with eyes that hate you, broken and mad.
CRAIGLOCKART,
Oct. 1917.
JOY-BELLS
Ring your sweet bells; but let them be farewells
To the green-vista'd gladness of the past
That changed us into soldiers; swing your bells
To a joyful chime; but let it be the last.
What means this metal in windy belfries hung
When guns are all our need? Dissolve these bells
Whose tones are tuned for peace: with martial tongue
Let them cry doom and storm the sun with shells.
Bells are like fierce-browed prelates who proclaim
That "if our Lord returned He'd fight for _us_."
So let our bells and bishops do the same,
Shoulder to shoulder with the motor bus.
REMORSE
Lost in the swamp and welter of the pit,
He flounders off the duck-boards; only he knows
Each flash, and spouting crash,--each instant lit
When gloom reveals the streaming rain. He goes
Heavily, blindly on. And, while he blunders,
"Could anything be worse than this!"--he wonders,
Remembering how he saw those Germans run,
Screaming for mercy among the stumps of trees:
Green-faced, they dodged and darted: there was one
Livid with terror, clutching at his knees...
Our chaps were sticking 'em like pigs... "O hell!"
He thought--"there's things in war one dare not tell
Poor father sitting safe at home, who reads
Of dying heroes and their deathless deeds."
DEAD MUSICIANS
I
From you, Beethoven, Bach, Mozart,
The substance of my dreams took fire.
You built cathedrals in my heart,
And lit my pinnacled desire.
You were the ardour and the bright
Procession of my thoughts toward prayer.
You were the wrath of storm, the light
On distant citadels aflare.
II
Great names, I cannot find you now
In these loud years of youth that strives
Through doom toward peace: upon my brow
I wear a wreath of banished lives.
You have no part with lads who fought
And laughed and suffered at my side.
Your fugues and symphonies have brought
No memory of my friends who died.
III
For when my brain is on their track,
In slangy speech I call them back.
With fox-trot tunes their ghosts I charm.
_"Another little drink won't do us any harm."
I think of rag-time; a bit of rag-time;
And see their faces crowding round
To the sound of the syncopated beat.
They've got such jolly things to tell,
Home from hell with a Blighty wound so neat..._
* * * * *
And so the song breaks off; and I'm alone.
They're dead... For God's sake stop that gramophone.
THE DREAM
I
Moonlight and dew-drenched blossom, and the scent
Of summer gardens; these can bring you all
Those dreams that in the starlit silence fall:
Sweet songs are full of odours.
While I went
Last night in drizzling dusk along a lane,
I passed a squalid farm; from byre and midden
Came the rank smell that brought me once again
A dream of war that in the past was hidden.
II
Up a disconsolate straggling village street
I saw the tired troops trudge: I heard their feet.
The cheery Q.M.S. was there to meet
And guide our Company in ...
I watched them stumble
Into some crazy hovel, too beat to grumble;
Saw them file inward, slipping from their backs
Rifles, equipment, packs.
On filthy straw they sit in the gloom, each face
Bowed to patched, sodden boots they must unlace,
While the wind chills their sweat through chinks and cracks.
III
I'm looking at their blistered feet; young Jones
Stares up at me, mud-splashed and white and jaded;
Out of his eyes the morning light has faded.
Old soldiers with three winters in their bones
Puff their damp Woodbines, whistle, stretch their toes:
_They_ can still grin at me, for each of 'em knows
That I'm as tired as they are ...
Can they guess
The secret burden that is always mine?--
Pride in their courage; pity for their distress;
And burning bitterness
That I must take them to the accursèd Line.
IV
I cannot hear their voices, but I see
Dim candles in the barn: they gulp their tea,
And soon they'll sleep like logs. Ten miles away
The battle winks and thuds in blundering strife.
And I must lead them nearer, day by day,
To the foul beast of war that bludgeons life.
IN BARRACKS
The barrack-square, washed clean with rain,
Shines wet and wintry-grey and cold.
Young Fusiliers, strong-legged and bold,
March and wheel and march again.
The sun looks over the barrack gate,
Warm and white with glaring shine,
To watch the soldiers of the Line
That life has hired to fight with fate.
Fall out: the long parades are done.
Up comes the dark; down goes the sun.
The square is walled with windowed light.
Sleep well, you lusty Fusiliers;
Shut your brave eyes on sense and sight,
And banish from your dreamless ears
The bugle's lying notes that say,
"Another night; another day."
TOGETHER
Splashing along the boggy woods all day,
And over brambled hedge and holding clay,
I shall not think of him:
But when the watery fields grow brown and dim,
And hounds have lost their fox, and horses tire,
I know that he'll be with me on my way
Home through the darkness to the evening fire.
He's jumped each stile along the glistening lanes;
His hand will be upon the mud-soaked reins;
Hearing the saddle creak,
He'll wonder if the frost will come next week.
I shall forget him in the morning light;
And while we gallop on he will not speak:
But at the stable-door he'll say good-night.
End of the Project Gutenberg EBook of Counter-Attack and Other Poems
by Siegfried Sassoon
*** END OF THE PROJECT GUTENBERG EBOOK COUNTER-ATTACK AND OTHER POEMS ***
This file should be named 8930-8.txt or 8930-8.zip
Produced by John M. Wyrwas
Project Gutenberg eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the US
unless a copyright notice is included. Thus, we usually do not
keep eBooks in compliance with any particular paper edition.
We are now trying to release all our eBooks one year in advance
of the official release dates, leaving time for better editing.
Please be encouraged to tell us about any error or corrections,
even years after the official publication date.
Please note neither this listing nor its contents are final til
midnight of the last day of the month of any such announcement.
The official release date of all Project Gutenberg eBooks is at
Midnight, Central Time, of the last day of the stated month. A
preliminary version may often be posted for suggestion, comment
and editing by those who wish to do so.
Most people start at our Web sites at:
https://gutenberg.org or
http://promo.net/pg
These Web sites include award-winning information about Project
Gutenberg, including how to donate, how to help produce our new
eBooks, and how to subscribe to our email newsletter (free!).
Those of you who want to download any eBook before announcement
can get to them as follows, and just download by date. This is
also a good way to get them instantly upon announcement, as the
indexes our cataloguers produce obviously take a while after an
announcement goes out in the Project Gutenberg Newsletter.
http://www.ibiblio.org/gutenberg/etext03 or
ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03
Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90
Just search by the first five letters of the filename you want,
as it appears in our Newsletters.
Information about Project Gutenberg (one page)
We produce about two million dollars for each hour we work. The
time it takes us, a rather conservative estimate, is fifty hours
to get any eBook selected, entered, proofread, edited, copyright
searched and analyzed, the copyright letters written, etc. Our
projected audience is one hundred million readers. If the value
per text is nominally estimated at one dollar then we produce $2
million dollars per hour in 2002 as we release over 100 new text
files per month: 1240 more eBooks in 2001 for a total of 4000+
We are already on our way to trying for 2000 more eBooks in 2002
If they reach just 1-2% of the world's population then the total
will reach over half a trillion eBooks given away by year's end.
The Goal of Project Gutenberg is to Give Away 1 Trillion eBooks!
This is ten thousand titles each to one hundred million readers,
which is only about 4% of the present number of computer users.
Here is the briefest record of our progress (* means estimated):
eBooks Year Month
1 1971 July
10 1991 January
100 1994 January
1000 1997 August
1500 1998 October
2000 1999 December
2500 2000 December
3000 2001 November
4000 2001 October/November
6000 2002 December*
9000 2003 November*
10000 2004 January*
The Project Gutenberg Literary Archive Foundation has been created
to secure a future for Project Gutenberg into the next millennium.
We need your donations more than ever!
As of February, 2002, contributions are being solicited from people
and organizations in: Alabama, Alaska, Arkansas, Connecticut,
Delaware, District of Columbia, Florida, Georgia, Hawaii, Illinois,
Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts,
Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New
Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio,
Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South
Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West
Virginia, Wisconsin, and Wyoming.
We have filed in all 50 states now, but these are the only ones
that have responded.
As the requirements for other states are met, additions to this list
will be made and fund raising will begin in the additional states.
Please feel free to ask to check the status of your state.
In answer to various questions we have received on this:
We are constantly working on finishing the paperwork to legally
request donations in all 50 states. If your state is not listed and
you would like to know if we have added it since the list you have,
just ask.
While we cannot solicit donations from people in states where we are
not yet registered, we know of no prohibition against accepting
donations from donors in these states who approach us with an offer to
donate.
International donations are accepted, but we don't know ANYTHING about
how to make them tax-deductible, or even if they CAN be made
deductible, and don't have the staff to handle it even if there are
ways.
Donations by check or money order may be sent to:
Project Gutenberg Literary Archive Foundation
PMB 113
1739 University Ave.
Oxford, MS 38655-4109
Contact us if you want to arrange for a wire transfer or payment
method other than by check or money order.
The Project Gutenberg Literary Archive Foundation has been approved by
the US Internal Revenue Service as a 501(c)(3) organization with EIN
[Employee Identification Number] 64-622154. Donations are
tax-deductible to the maximum extent permitted by law. As fund-raising
requirements for other states are met, additions to this list will be
made and fund-raising will begin in the additional states.
We need your donations more than ever!
You can get up to date donation information online at:
https://www.gutenberg.org/donation.html
***
If you can't reach Project Gutenberg,
you can always email directly to:
Michael S. Hart
Prof. Hart will answer or forward your message.
We would prefer to send you information by email.
**The Legal Small Print**
(Three Pages)
***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN EBOOKS**START***
Why is this "Small Print!" statement here? You know: lawyers.
They tell us you might sue us if there is something wrong with
your copy of this eBook, even if you got it for free from
someone other than us, and even if what's wrong is not our
fault. So, among other things, this "Small Print!" statement
disclaims most of our liability to you. It also tells you how
you may distribute copies of this eBook if you want to.
*BEFORE!* YOU USE OR READ THIS EBOOK
By using or reading any part of this PROJECT GUTENBERG-tm
eBook, you indicate that you understand, agree to and accept
this "Small Print!" statement. If you do not, you can receive
a refund of the money (if any) you paid for this eBook by
sending a request within 30 days of receiving it to the person
you got it from. If you received this eBook on a physical
medium (such as a disk), you must return it with your request.
ABOUT PROJECT GUTENBERG-TM EBOOKS
This PROJECT GUTENBERG-tm eBook, like most PROJECT GUTENBERG-tm eBooks,
is a "public domain" work distributed by Professor Michael S. Hart
through the Project Gutenberg Association (the "Project").
Among other things, this means that no one owns a United States copyright
on or for this work, so the Project (and you!) can copy and
distribute it in the United States without permission and
without paying copyright royalties. Special rules, set forth
below, apply if you wish to copy and distribute this eBook
under the "PROJECT GUTENBERG" trademark.
Please do not use the "PROJECT GUTENBERG" trademark to market
any commercial products without permission.
To create these eBooks, the Project expends considerable
efforts to identify, transcribe and proofread public domain
works. Despite these efforts, the Project's eBooks and any
medium they may be on may contain "Defects". Among other
things, Defects may take the form of incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged
disk or other eBook medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.
LIMITED WARRANTY; DISCLAIMER OF DAMAGES
But for the "Right of Replacement or Refund" described below,
[1] Michael Hart and the Foundation (and any other party you may
receive this eBook from as a PROJECT GUTENBERG-tm eBook) disclaims
all liability to you for damages, costs and expenses, including
legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR
UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT,
INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE
OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE
POSSIBILITY OF SUCH DAMAGES.
If you discover a Defect in this eBook within 90 days of
receiving it, you can receive a refund of the money (if any)
you paid for it by sending an explanatory note within that
time to the person you received it from. If you received it
on a physical medium, you must return it with your note, and
such person may choose to alternatively give you a replacement
copy. If you received it electronically, such person may
choose to alternatively give you a second opportunity to
receive it electronically.
THIS EBOOK IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS
TO THE EBOOK OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A
PARTICULAR PURPOSE.
Some states do not allow disclaimers of implied warranties or
the exclusion or limitation of consequential damages, so the
above disclaimers and exclusions may not apply to you, and you
may have other legal rights.
INDEMNITY
You will indemnify and hold Michael Hart, the Foundation,
and its trustees and agents, and any volunteers associated
with the production and distribution of Project Gutenberg-tm
texts harmless, from all liability, cost and expense, including
legal fees, that arise directly or indirectly from any of the
following that you do or cause: [1] distribution of this eBook,
[2] alteration, modification, or addition to the eBook,
or [3] any Defect.
DISTRIBUTION UNDER "PROJECT GUTENBERG-tm"
You may distribute copies of this eBook electronically, or by
disk, book or any other medium if you either delete this
"Small Print!" and all other references to Project Gutenberg,
or:
[1] Only give exact copies of it. Among other things, this
requires that you do not remove, alter or modify the
eBook or this "small print!" statement. You may however,
if you wish, distribute this eBook in machine readable
binary, compressed, mark-up, or proprietary form,
including any form resulting from conversion by word
processing or hypertext software, but only so long as
*EITHER*:
[*] The eBook, when displayed, is clearly readable, and
does *not* contain characters other than those
intended by the author of the work, although tilde
(~), asterisk (*) and underline (_) characters may
be used to convey punctuation intended by the
author, and additional characters may be used to
indicate hypertext links; OR
[*] The eBook may be readily converted by the reader at
no expense into plain ASCII, EBCDIC or equivalent
form by the program that displays the eBook (as is
the case, for instance, with most word processors);
OR
[*] You provide, or agree to also provide on request at
no additional cost, fee or expense, a copy of the
eBook in its original plain ASCII form (or in EBCDIC
or other equivalent proprietary form).
[2] Honor the eBook refund and replacement provisions of this
"Small Print!" statement.
[3] Pay a trademark license fee to the Foundation of 20% of the
gross profits you derive calculated using the method you
already use to calculate your applicable taxes. If you
don't derive profits, no royalty is due. Royalties are
payable to "Project Gutenberg Literary Archive Foundation"
the 60 days following each date you prepare (or were
legally required to prepare) your annual (or equivalent
periodic) tax return. Please contact us beforehand to
let us know your plans and to work out the details.
WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO?
Project Gutenberg is dedicated to increasing the number of
public domain and licensed works that can be freely distributed
in machine readable form.
The Project gratefully accepts contributions of money, time,
public domain materials, or royalty free copyright licenses.
Money should be paid to the:
"Project Gutenberg Literary Archive Foundation."
If you are interested in contributing scanning equipment or
software or other items, please contact Michael Hart at:
[email protected]
[Portions of this eBook's header and trailer may be reprinted only
when distributed free of all fees. Copyright (C) 2001, 2002 by
Michael S. Hart. Project Gutenberg is a TradeMark and may not be
used in any sales of Project Gutenberg eBooks or other materials be
they hardware or software or any other related product without
express permission.]
*END THE SMALL PRINT! FOR PUBLIC DOMAIN EBOOKS*Ver.02/11/02*END*
