The Project Gutenberg EBook of Poems of West & East, by Vita Sackville-West This eBook is for the use of anyone anywhere 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 Title: Poems of West & East Author: Vita Sackville-West Release Date: January 4, 2010 [EBook #30842] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK POEMS OF WEST & EAST *** Produced by Cindy Wolfe Boynton, www.cindywolfeboynton.com Poems of West and East By V. Sackville-West (The Hon. Mrs. Harold Nicolson) London: John Lane, The Bodley Head, Vigo St., W. New York: John Lane Company, MCMXVII Printed at The Complete Press, West Norwood To the unkindest of critics H.G.N. CONTENTS FOR *** SONG: LET US GO BACK SONG: MY SPIRIT LIKE A SHEPHERD BOY CONVALESCENCE TO KNOLE DISILLUSION THE BANQUET MCMXVIII A CREED TO A POET NOMADS THE GARDEN THE DANCING ELF CONSTANTINOPLE: DHJI-HAN-GHIR LEBLEBIDJI THE MUEZZIN THE GREEK HAN YANGHIN VAR MORNING IN CONSTANTINOPLE RETOUR EN SONGE CONSTANTINOPLE, MARCH MCMXV RESOLUTION POEMS FOR *** NO eyes shall see the poems that I write For you; not even yours; but after long Forgetful years have passed on our delight Some hand may chance upon a dusty song Of those fond days when every spoken word Was sweet, and all the fleeting things unspoken Yet sweeter, and the music half unheard Murmured through forests as a charm unbroken. It is the plain and ordinary page Of two who loved, sole-spirited and clear. Will you, O stranger of another age, Not grant a human and compassionate tear To us, who each the other held so dear? A single tear fraternal, sadly shed, Since that which was so living, is so dead. SONG: LET US GO BACK LET us go back together to the hills. Weary am I of palaces and courts, Weary of words disloyal to my thoughts,-- Come, my beloved, let us to the hills. Let us go back together to the land, And wander hand in hand upon the heights; Kings have we seen, and manifold delights,-- Oh, my beloved, let us to the land! Lone and unshackled, let us to the road Which holds enchantment round each hidden bend, Our course uncompassed and our whim its end, Our feet once more, beloved, to the road! SONG: MY SPIRIT LIKE A SHEPHERD BOY "Convalescente di squisiti mali" MY spirit like a shepherd boy Goes dancing down the lane. When all the world is young with joy Must I lie here in pain? With shepherd's pipe my spirit fled And cloven foot of Pan; The mortal bondage he has shed And shackling yoke of man. And though he leave me cold and mute, A traitor to his care, I smile to hear his honeyed flute Hang on the scented air. CONVALESCENCE WHEN I am in the Orient once again, And turn into the gay and squalid street, One side in the shadow, one in vivid heat, The thought of England, fresh beneath the rain, Will rise unbidden as a gently pain. The lonely hours of illness, as they beat Crawling through days with slow laborious feet, And I lay gazing through the leaded pane, Idle, and listened to the swallows' cry After the flitting insect swiftly caught, --Those all-too-leisured hours as they went by, Stamped as their heritage upon my thought The memory of a square of summer sky Jagged by the gables of a Gothic court. TO KNOLE October 1, 1913 I I LEFT thee in the crowds and in the light, And if I laughed or sorrowed none could tell. They could not know our true and deep farewell Was spoken in the long preceding night. Thy mighty shadow in the garden's dip! To others dormant, but to me awake; I saw a window in the moonlight shake, And traced the angle of the gable's lip, And knew thy soul, benign and grave and mild, Towards me, morsel of morality, And grieving at the parting soon to be, A patriarch about to lose a child. For many come and soon their tale is told, And thou remainest, dimly feeling pain, Aware the time draws near to don again The sober mourning of the very old. II Pictures and galleries and empty rooms! Small wonder that my games were played alone; Half of the rambling house to call my own, And wooded gardens with mysterious glooms. My fingers ran among the tassels faded; My playmates moved in arrases brocaded; I slept beside the canopied and shaded Beds of forgotten kings. I wandered shoeless in the galleries; I contemplated long the tapestries, And loved the ladies for their histories And hands with many rings. Beneath an oriel window facing south Through which the unniggard sun poured morning streams, I daily stood and laughing drank the beams, And, catching fistfuls, pressed them in my mouth. This I remember, and the carven oak, The long and polished floors, the many stairs, Th' heraldic windows, and the velvet chairs, And portraits that I knew so well, they almost spoke. III So I have loved thee, as a lonely child Might love the kind and venerable sire With whom he lived, and whom at youthful fire Had ever sagely, tolerantly smiled; In whose old weathered brain a boundless store Lay hid of riches never to be spent; Who often to the coaxing child unbent In hours' enchantment of delightful lore. So in the night we parted, friend of years, I rose a stranger to thee on the morrow; Thy stateliness knows neither joy nor sorrow,-- I will not wound such dignity by tears. DISILLUSION I WROTE the burning words to you That meant so much to me. I sent them speeding straight to you, To you across the sea; I waited with sure reckoning For your reply to me. I waited, and the counted day Fruitlessly came and went; I made excuse for the delay, Pitiable confident. I knew to-morrow's light must bring The words you must have sent. And still I stand on that dim verge And look across the sea; The waves have changed into a dirge Their volubility. And in my disillusioned heart Is a little grave for me. But still with shaded eyes I gaze As mournfully I sing, And one by one the trailing days, As they no message bring, Fall with their slow monotony As beads fall from a string. THE BANQUET WINE ran; rich yellow wine upon the marble floor Recklessly spilled; the Nubians ran to pour A fresh libation; and to scatter showers Of red rose petals; candles overturned Smouldered among the ruins of the flowers, And overhead swung heavy shadowy bowers Of blue and purple grapes, And strange fantastic shapes Of varied birds, where lanterns hung and dimly burned. The melon and the orange, turned to use As golden balls with laughter lightly tossed, Lay burst and drained of their sweet juice, Uselessly ripened and for ever lost; All glowing as they lay upon the ground, As envious of their fellows, Who, piled in luscious reds and yellows, Enriched the tables all around, The tables low, Sheltering the reclining grace; Here, through the curling smoke, a swarthy face, And jewelled turban bound about the head, And here the glow Of red carnation pressed to lips as warmly red. And as they lay in their luxurious ease, Playing with grapes and rose-leaves, slim And willowy slave-girls, in the hope to please, Twisted and danced before them, to the dim Uncertain music in the shadows played; Some came with supple limb, With Mystery's aid And snake-like creep, Others with riotous leap And made festivity to Bacchus wed; Others with stiff Egyptian tread, And straight black hair hanging in glossy braid, They danced, unnoted, and exhausted fled. * * * * * Still floated from beneath the acacia-tree The droning Eastern music's minor key. MCMXIII SO prodigal was I of youth, Forgetting I was young; I worshipped dead men for their strength, Forgetting I was strong. I cherished old, jejune advice; I thought I groped for truth; Those dead old languages I learned When I was prodigal of youth! Then in the sunlight stood a boy, Outstretching either hand, Palm upwards, cup-like, and between The fingers trickled sand. "Oh, why so grave" he cried to me, "Laugh, stern lips, laugh at last! Let wisdom come when wisdom may. The sand is running fast." I followed him into the sun, And laughed as he desired, And every day upon the grass We play till we are tired. A CREED THAT I should live and look with open eyes I count as half my claim to Paradise. I have not crept beneath cathedral arches, But bathed in streams beneath the silver larches; And have not grovelled to the Sunday priest, But found an unconfined and daily feast; Was called ungodly, and to those who blamed Laughed back defiance and was not ashamed. Some hold their duty to be mournful; why? I cannot love your weeping poets; I Am sad in winter, but in summer gay, And vary with each variable day. And though the pious cavilled at my mirth, At least I rendered thanks for God's fair earth, Grateful that I, among the murmuring rest, Was not an unappreciative guest. TO A POET WHOSE VERSES I HAD READ I WOULD not venture to dispraise or praise. Too well I know the indifference which bounds A poet in the narrow working-grounds Where he is blind and deaf in all his ways. He must work out alone his path to glory; A thousand breaths are fanning him along; A thousand tears end in one little song, A thousand conflicts in one little story; A thousand notes swell to a single chord. He cannot tell where his direction tends; He strives unguided towards indefinite ends; He is an ignorant though absolute lord. NOMADS FROM the shores of the Atlantic to the gardens of Japan, From the darkness of the Neva to the courts of Ispahan, There is nothing that can hold us, hold our wandering caravan. Leisurely is our encamping; nowhere pause in hasty flight. Long enough to learn the secret, and the value, and the might, Whether of the northern mountains or the southern lands of light. And the riches of the regions will be ours from land to land, Falling as a wiling booty under our marauding hand, Rugs from Persia, gods from China, emeralds from Samarcand! And the old forgotten empires, which have faded turn by turn, From the shades emerging slowly to their ancient sway return, And to their imperial manhood rise the ashes from the urn. We have known Bzyantium's glory when the eagled flag was flown, When the ruins were not ruins; eagled visions have I known Of a spectral Roman emperor seated on a spectral throne. We have tasted space and freedom, frontiers falling as we went, Now with narrow bonds and limits never could we be content, For we have abolished boundaries, straitened borders have we rent, And a house no more confines us than the roving nomad's tent. THE GARDEN We owned a garden on a hill, We planted rose and daffodil, Flowers that English poets sing, And hoped for glory in the Spring. We planted yellow hollyhocks, And humble sweetly-smelling stocks, And columbine for carnival, And dreamt of Summer's festival. And Autumn not to be outdone As heiress of the summer sun, Should doubly wreathe her tawny head With poppies and with creepers red. We waited then for all to grow, We planted wallflowers in a row. And lavendar and borage blue,-- Alas! we waited, I and you, But love was all that ever grew. Long Barn Summer, 1915 THE DANCING ELF* I WOKE to daylight, and to find A wreath of fading vine-leaves, rough entwined, Lying, as dropped in hasty flight, upon my floor. Dropped from thy head, sweet Spirit of the night, Who cam'st, with footstep light, Blown in by the soft breeze, as thistledown, In through my open door. Whence? From the woodland, from the fields of corn, From flirting airily with the bright moon, Playing throughout the hours that go too soon, Ready to fly at the approach of morn, Thou cam'st, Bent on the curious quest To see what mortal guest Dwelt in the one-roomed cottage built to face the dawn. Thou didst pause Shy, timid, on the threshold, though there laughed The mischief in thy roguish eyes, then soft, Thou crosst the room on tiptoe to my bed, One finger on thy lip, Cautious to make no slip, --I saw the wreath of vine-leaves on thy head. Then with a twirl Thinking I slept, And a joyous whirl, Into a dance leapt The careless spirit too long restrained; The purest dancing, Feet sometimes chancing To touch the ground; Then starting up with a fresh high bound, To hang for a moment poised in the air, And a glimpse of white teeth glancing And a laughing face beneath tossing hair; An orgy, a revel, a living joy, Embodied in one slim woodland boy, Dancing forward, backward, now here, now there, Swaying to every impulse unconstrained. Thou wert too pure for Bacchus, and too young for Pan. What wert thou? In the daytime dost thou sleep In a cave Like a grave, Till the moon calls thee, in the sleep of man, To thy light revels through the sombre deep Wood's shadows to a space among the trees, Where the breeze Makes music through the branches for thy dance, And the large-eyed and silent deer stand round Peeping through tree-trunks, and each forest sound --The trickling stream's Murmur in its dreams, The shepherd's pipe, far-echoing by chance,-- Melt all for thee To one soft harmony, While for the lighting of thy mossy slope The moon thy lover sheds an opal glow, Pale silver-green, the colour of the leaves Of olive-trees, The limelight on the stage for Youth and Joy and Hope? And at the first rose menace of the dawn Must thou go, Fly to thy cave, thou little pagan Faun? The fount of joy was bubbling in thine eyes, Dancing was in thy feet, And on thy lips a laugh that never dies, Unutterably sweet. Dance on! for ever young, for ever fair, Lightfooted as a frightened bounding deer, Thy wreath of vine-leaves twisted in thy hair, Through all the changing seasons of the year, And tread, to Autumn's gorgeous hymn of praise, And to the happy Spring's light lilt of pleasure, And to the dirgeful chant of Winter's days, And ever varying, ever suited measure; And in the Summer, when the reeking earth Swings a vast censer, as it is most meet, Praise thou for lavish gifts, new hopes, new birth, Praise with the dancing of thy tireless feet! I woke to daylight, and to find A wreath of fading vine-leaves, rough entwined, Lying, as dropped in hasty flight, upon my floor. * Reprinted by kind permission of the Editor of the "English Review," where it first appeared in August 1913 CONSTANTINOPLE DHJI-HAN-GHIR. For H.N. FOR years it had been neglected, This wilderness garden of ours, And its ruin had shone reflected In its pools through abandoned hours. For none had cared for its beauty Till we came, the strangers, the Giaours, And none had thought of a duty Towards its squandering flowers. Of broken wells and fountains There were half a dozen or more, And, beyond the sea, the mountains Of that far Bithynian shore Were blue in the purple distance And white was the cap they wore, And never in our existence Had life seemed brighter before! And the fruit-trees grew in profusion, Quince and pomegranate and wine, And the roses in rich confusion With the lilac intertwine, And the Banksia rose, the creeper, Which is golden like yellow wine, Is surely more gorgeous and deeper In this garden of mine and thine. And the little bright flowers in the grasses, Cyclamen, daffodil, Are crushed by the foot that passes, But seem to grow thicker still; In the cool grey fig-tree's shadows They grow at their own free will, In the grass as in English meadows, On the slope of an English hill. Is it best, when the lone flute-player Wanders by with his strange little tune And the muezzin sings out for prayer Thrice daily his Arabic rune: Once, when the sunset has faded, Once in the brilliant noon, Or once in the daybreak, rose-shaded. A farewell to the dying moon? LEBLEBIDJI* I KNOW so well the busy cries That echo through the quarter Till daylight into evening dies And stars shine in the water, So dear they have become to me, Leblebidji! leblebidji! On peaceful English country nights Their rapid gay succession And all the sea-reflected lights Will pass from my possession, But never from my memory, Leblebidji! leblebidji! Past English evening scents and sounds, Past English church-bells ringing, The Turkish watchman on his rounds, The Turkish pedlar singing Through narrow streets above the sea "Leblebidji! leblebidji," Will surely pierce a ghostly way, The music underlying, And in the shades of falling day As in the distance dying, A little call will come to me, "Leblebidji!" ... * Little white beans THE MUEZZIN ABOVE the city at his feet, Above the dome, above the sea, He rises unconfined and free To break upon the noonday heat. He turns around the parapet, Black-robed against the marble tower; His singing gains or loses power In pacing round the minaret. A brother to the singing birds He never knew restraining walls, But freely rises, freely falls The rhythm of the sacred words. I would that it to me were given To climb each day the muezzin's stair And in the warm and silent air To sing my heart out into Heaven. THE GREEK HAN A SUNNY court with wooden balconies, And wool hung out to dry in gaudy skeins, A fountain, and some pigeons murmuringly Picking up yellow grains. Pass through a little tumble-down green door Into the dark and crowded shop; the Turk Crouching above the brasier, smiles and nods; 'Tis all his daily work. Here marble heads and alabaster jars, Fragments of porphyry and Persian tiles, Lie heaped in ruin, and at our dismay The old Turk shrugs and smiles, And sips his coffee, reaching out a hand To throw upon the brasier at his feet A handful of dried herbs, whose sudden smoke Rises up incense-sweet. YANGHIN VAR* AS the baying of wolves from afar, Borne on the wind from the Golden Horn A cry in the distance, long-drawn, "Yanghin var! yanghin var!" Suddenly waking the silent night, Suddenly breaking the sleeping calm, The long, far, wailing alarm, And the watch-tower startles a warning light. As a torch passed from hand to hand, As a beacon springing from hill to hill, The cry draws nearer though distant still, And the watch throws it on from stand to stand, And the voices rise as a tempest far, As the swell of waves on a rocky shore, Each rumbles louder than before, "Yanghin var! yanghin var!" And as the angel's unpausing feet, The angel bearing the wrath of the Lord, The angel bearing the flaming sword, The voice passes onward below in the street. Faintly it travels again from afar, And as an echo of terror past The wind from the Bosphorus bears the last Yanghin var. ... * Fire! MORNING IN CONSTANTINOPLE SHE has an early morning of her own, A blending of the mist and sea and sun Into an undistinguishable one, And Saint Sophia, from her lordly throne Rises above the opalescent cloud, A shadowy dome and soaring minaret Visable though the base be hidden yet Beneath the veiling wreaths of milky shroud, As some dark Turkish beauty haughtily Glances above the yashmak's snowy fold. --Beyond Stamboul's long stretch, a bar of gold Falls from the sun across the distant sea. RETOUR EN SONGE AFTER a dream-dim voyage We came with sails all set Towards the city of the sea, And it was wonderful to me To find her reigning yet. Oh beauty that my eyes and heart Had feasted on before! The evening mosques were brushed with gold, The water lapped a lazy fold Upon that lovely shore; The gardens of her terraced hills Rose up above the port, And little houses half concealed The presence of a light revealed, And here my journey's end was sealed, And I reached the home I sought. Those windows I had opened wide To welcome in the sun! Those stairs that only happy feet Had measured with their running beat! That well-remembered winding street! Twelve months that were as one! Should others with their sordid cares And troubles enter here? Love hung about the rooms like smoke, And peace descended as a cloak, Should I allow the vulgar folk To desecrate that year? --I laid the fuse with steady hand; We sailed into the night, From deck I watched the flames arise Remorseless as my tearless eyes That, with the waves and reddened skies, Flung back the angry light. CONSTANTINOPLE, MARCH MCMXV I QUEEN of a double empire still she stands, And watches with superb indifferent eyes The eager wooing of Imperial hands Towards so fair and coveted a prize. Royal and imperial suitors has she known Pass one by one across her dreaming years, And some a while have climbed the golden throne, And some have passed away in blood and tears; For many emperors have sought her grace Since the first Constantine in sweeping cloak Her seven hills with broad unhurrying pace Measured, and rested not till Heaven spoke. A haughty fatalist Byzantium waits What chance the storing centuries bring forth: Another lover almost at the gates, Heralded by the cannon of the North, A Northern King to wed the Eastern Queen, An iron clasp to set the shining gem, Thrice-changed Constantinople to be seen The Jewel of a Russian diadem! II O Saint Sophia, where the footstep falls Softly beneath the roofs of burnished gold, Shields of the Caliphs hang upon thy walls, Brand of bereaved dishonour ages old. His charger raised on Christian corpses high, --O ravished bride of Christianity!-- Here struck Mahomet's hand as he rode by, And seared the lustre of the porphyry, And, interrupted in the sacred feast, Hearing the advent of the conqueror surge, Into the wall miraculous the priest Entered, and waits the summons to emerge. So on that high and ceremonial day When Russian Czar and prince, and Christian lord Throng Saint Sophia in their packed array To see the church's heritage restored, When from mosaics re-established saints Look down once more upon a Christian crowd, And Echo startles into life, and faints With rapture at Gregorian chanting loud, And Mass magnificently moving on Towards its climax, brings the moment near After the lapse of many centuries gone For Christ in priestly hands to reappear, When the exultant organ's chord has ceased And every head is bowed expectantly, --Then at the altar the Byzantine priest Shall hold aloft the Host triumphantly! RESOLUTION I SEE the work of others, and my heart Sinks as my own achievement I compare. --I will not be irresolute, nor despair, But battle strongly for my struggling art Convinced against conviction that my part Equally with my masters I can bear; Although their monuments are very fair, Enriched with statues, and I stand apart And gaze upon my little heap of stones Which I was given to build with, very few As yet laid into place, but I will lay --Blind to these marble monuments and thrones, Building as though I confidently knew My ultimate end,--a stone in place each day. END End of Project Gutenberg's Poems of West & East, by Vita Sackville-West *** END OF THIS PROJECT GUTENBERG EBOOK POEMS OF WEST & EAST *** ***** This file should be named 30842.txt or 30842.zip ***** This and all associated files of various formats will be found in: https://www.gutenberg.org/3/0/8/4/30842/ Produced by Cindy Wolfe Boynton, www.cindywolfeboynton.com Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions 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-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. 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-tm 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-tm License (available with this file or online at https://gutenberg.org/license). Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm 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-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm 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-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain 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-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside 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-tm License must appear prominently whenever any copy of a Project Gutenberg-tm 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 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 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm 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-tm 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-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 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-tm 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-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (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-tm 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-tm 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-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm 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-tm 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-tm 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-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm 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 public domain works in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project Gutenberg-tm 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 F3. 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 MERCHANTIBILITY 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-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm 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-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm 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-tm's goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at https://www.pglaf.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. Its 501(c)(3) letter is posted at https://pglaf.org/fundraising. 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 principal office is located at 4557 Melan Dr. S. Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email [email protected]. Email contact links and up to date contact information can be found at the Foundation's web site and official page at https://pglaf.org For additional contact information: Dr. Gregory B. Newby Chief Executive and Director [email protected] Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread 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 https://pglaf.org 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 including checks, online payments and credit card donations. To donate, please visit: https://pglaf.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart was the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For thirty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility: https://www.gutenberg.org This Web site includes information about Project Gutenberg-tm, 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.