No More Learning

I am like a cowslip turning
Toward the sky,
Where a planet's golden burning
Breaks the cowslip's heart with yearning,
What am I that he should love me,
What am I?


V

O dreams that flock about my sleep,
I pray you bring my love to me,
And let me think I hear his voice
Again ring free.

And if you care to please me well,
And live to-morrow in my mind,
Let him who was so cold before,
To-night seem kind.


VI

I plucked a daisy in the fields,
And there beneath the sun
I let its silver petals fall
One after one.

I said, "He loves me, loves me not,"
And oh, my heart beat fast,
The flower was kind, it let me say
"He loves me," last.

I kissed the little leafless stem,
But oh, my poor heart knew
The words the flower had said to me,
They were not true.


VII

I sent my love a letter,
And if he loves me not,
He shall not find my love for him
In any line or dot.

But if he loves me truly,
He'll find it hidden deep,
As dawn gleams red thro' chilly clouds
To eyes awaked from sleep.


VIII

The world is cold and gray and wet,
And I am heavy-hearted, yet
When I am home and look to see
The place my letters wait for me,
If I should find ONE letter there,
I think I should not greatly care
If it were rainy or were fair,
For all the world would suddenly
Seem like a festival to me.


IX

I hid three words within my heart,
That longed to fly to him,
At dawn they woke me with a start,
They sang till day was dim.

And now at last I let them fly,
As little birds should do,
And he will know the first is "I",
The others "Love" and "You".


X

Across the twilight's violet
His curtained window glimmers gold;
Oh happy light that round my love
Can fold.

Oh happy book within his hand,
Oh happy page he glorifies,
Oh happy little word beneath
His eyes.

But oh, thrice happy, happy I
Who love him more than songs can tell,
For in the heaven of his heart
I dwell.




Sonnets and Lyrics




Primavera Mia


As kings who see their little life-day pass,
Take off the heavy ermine and the crown,
So had the trees that autumn-time laid down
Their golden garments on the faded grass,
When I, who watched the seasons in the glass
Of mine own thoughts, saw all the autumn's brown
Leap into life and don a sunny gown
Of leafage such as happy April has.
Great spring came singing upward from the south;
For in my heart, far carried on the wind,
Your words like winged seeds took root and grew,
And all the world caught music from your mouth;
I saw the light as one who had been blind,
And knew my sun and song and spring were you.




Soul's Birth


When you were born, beloved, was your soul
New made by God to match your body's flower,
And were they both at one same precious hour
Sent forth from heaven as a perfect whole?
Or had your soul since dim creation burned,
A star in some still region of the sky,
That leaping earthward, left its place on high
And to your little new-born body yearned?
No words can tell in what celestial hour
God made your soul and gave it mortal birth,
Nor in the disarray of all the stars
Is any place so sweet that such a flower
Might linger there until thro' heaven's bars,
It heard God's voice that bade it down to earth.




Love and Death


Shall we, too, rise forgetful from our sleep,
And shall my soul that lies within your hand
Remember nothing, as the blowing sand
Forgets the palm where long blue shadows creep
When winds along the darkened desert sweep?
Or would it still remember, tho' it spanned
A thousand heavens, while the planets fanned
The vacant ether with their voices deep?
Soul of my soul, no word shall be forgot,
Nor yet alone, beloved, shall we see
The desolation of extinguished suns,
Nor fear the void wherethro' our planet runs,
For still together shall we go and not
Fare forth alone to front eternity.




For the Anniversary of John Keats' Death

(February 23, 1821)


At midnight when the moonlit cypress trees
Have woven round his grave a magic shade,
Still weeping the unfinished hymn he made,
There moves fresh Maia like a morning breeze
Blown over jonquil beds when warm rains cease.
And stooping where her poet's head is laid,
Selene weeps while all the tides are stayed
And swaying seas are darkened into peace.
But they who wake the meadows and the tides
Have hearts too kind to bid him wake from sleep
Who murmurs sometimes when his dreams are deep,
Startling the Quiet Land where he abides,
And charming still, sad-eyed Persephone
With visions of the sunny earth and sea.




Silence

(To Eleonora Duse)


We are anhungered after solitude,
Deep stillness pure of any speech or sound,
Soft quiet hovering over pools profound,
The silences that on the desert brood,
Above a windless hush of empty seas,
The broad unfurling banners of the dawn,
A faery forest where there sleeps a Faun;
Our souls are fain of solitudes like these.
O woman who divined our weariness,
And set the crown of silence on your art,
From what undreamed-of depth within your heart
Have you sent forth the hush that makes us free
To hear an instant, high above earth's stress,
The silent music of infinity?




The Return


I turned the key and opened wide the door
To enter my deserted room again,
Where thro' the long hot months the dust had lain.
Was it not lonely when across the floor
No step was heard, no sudden song that bore
My whole heart upward with a joyous pain?
Were not the pictures and the volumes fain
To have me with them always as before?
But Giorgione's Venus did not deign
To lift her lids, nor did the subtle smile
Of Mona Lisa deepen. Madeleine
Still wept against the glory of her hair,
Nor did the lovers part their lips the while,
But kissed unheeding that I watched them there.




Fear


I am afraid, oh I am so afraid!
The cold black fear is clutching me to-night
As long ago when they would take the light
And leave the little child who would have prayed,
Frozen and sleepless at the thought of death.
My heart that beats too fast will rest too soon;
I shall not know if it be night or noon,--
Yet shall I struggle in the dark for breath?
Will no one fight the Terror for my sake,
The heavy darkness that no dawn will break?
How can they leave me in that dark alone,
Who loved the joy of light and warmth so much,
And thrilled so with the sense of sound and touch,--
How can they shut me underneath a stone?




Anadyomene


The wide, bright temple of the world I found,
And entered from the dizzy infinite
That I might kneel and worship thee in it;
Leaving the singing stars their ceaseless round
Of silver music sound on orbed sound,
For measured spaces where the shrines are lit,
And men with wisdom or with little wit
Implore the gods that mercy may abound.
Ah, Aphrodite, was it not from thee
My summons came across the endless spaces?
Mother of Love, turn not thy face from me
Now that I seek for thee in human faces;
Answer my prayer or set my spirit free
Again to drift along the starry places.




Galahad in the Castle of the Maidens

(To the maiden with the hidden face in Abbey's painting)


The other maidens raised their eyes to him
Who stumbled in before them when the fight
Had left him victor, with a victor's right.
I think his eyes with quick hot tears grew dim;
He scarcely saw her swaying white and slim,
And trembling slightly, dreaming of his might,
Nor knew he touched her hand, as strangely light
As a wan wraith's beside a river's rim.
The other maidens raised their eyes to see
And only she has hid her face away,
And yet I ween she loved him more than they,
And very fairly fashioned was her face.
Yet for Love's shame and sweet humility,
She dared not meet him with their queenlike grace.




To an Aeolian Harp


The winds have grown articulate in thee,
And voiced again the wail of ancient woe
That smote upon the winds of long ago:
The cries of Trojan women as they flee,
The quivering moan of pale Andromache,
Now lifted loud with pain and now brought low.
It is the soul of sorrow that we know,
As in a shell the soul of all the sea.
So sometimes in the compass of a song,
Unknown to him who sings, thro' lips that live,
The voiceless dead of long-forgotten lands
Proclaim to us their heaviness and wrong
In sweeping sadness of the winds that give
Thy strings no rest from weariless wild hands.




To Erinna


Was Time not harsh to you, or was he kind,
O pale Erinna of the perfect lyre,
That he has left no word of singing fire
Whereby you waked the dreaming Lesbian wind,
And kindled night along the lyric shore?
O girl whose lips Erato stooped to kiss,
Do you go sorrowing because of this
In fields where poets sing forevermore?
Or are you glad and is it best to be
A silent music men have never heard,
A dream in all our souls that we may say:
"Her voice had all the rapture of the sea,
And all the clear cool quiver of a bird
Deep in a forest at the break of day"?




To Cleis

"I have a fair daughter with a form like a golden flower,
Cleis, the beloved. "
Sapphic fragment.


When the dusk was wet with dew,
Cleis, did the muses nine
Listen in a silent line
While your mother sang to you?

Did they weep or did they smile
When she crooned to still your cries,
She, a muse in human guise,
Who forsook her lyre awhile?

Did you feel her wild heart beat?
Did the warmth of all the sun
Thro' your little body run
When she kissed your hands and feet?

Did your fingers, babywise,
Touch her face and touch her hair,
Did you think your mother fair,
Could you bear her burning eyes?

Are the songs that soothed your fears
Vanished like a vanished flame,
Save the line where shines your name
Starlike down the graying years?

Cleis speaks no word to me,
For the land where she has gone
Lieth mute at dusk and dawn
Like a windless tideless sea.




Paris in Spring


The city's all a-shining
Beneath a fickle sun,
A gay young wind's a-blowing,
The little shower is done.
But the rain-drops still are clinging
And falling one by one--
Oh it's Paris, it's Paris,
And spring-time has begun.

I know the Bois is twinkling
In a sort of hazy sheen,
And down the Champs the gray old arch
Stands cold and still between.
But the walk is flecked with sunlight
Where the great acacias lean,
Oh it's Paris, it's Paris,
And the leaves are growing green.

The sun's gone in, the sparkle's dead,
There falls a dash of rain,
But who would care when such an air
Comes blowing up the Seine?
And still Ninette sits sewing
Beside her window-pane,
When it's Paris, it's Paris,
And spring-time's come again.




Madeira from the Sea


Out of the delicate dream of the distance an emerald emerges
Veiled in the violet folds of the air of the sea;
Softly the dream grows awakening--shimmering white of a city,
Splashes of crimson, the gay bougainvillea, the palms.
High in the infinite blue of its heaven a quiet cloud lingers,
Lost and forgotten of winds that have fallen asleep,
Fallen asleep to the tune of a Portuguese song in a garden.




City Vignettes


I
Dawn

The greenish sky glows up in misty reds,
The purple shadows turn to brick and stone,
The dreams wear thin, men turn upon their beds,
And hear the milk-cart jangle by alone.


II
Dusk

The city's street, a roaring blackened stream
Walled in by granite, thro' whose thousand eyes
A thousand yellow lights begin to gleam,
And over all the pale untroubled skies.


III
Rain at Night

The street-lamps shine in a yellow line
Down the splashy, gleaming street,
And the rain is heard now loud now blurred
By the tread of homing feet.




By the Sea


Beside an ebbing northern sea
While stars awaken one by one,
We walk together, I and he.

He woos me with an easy grace
That proves him only half sincere;
A light smile flickers on his face.

To him love-making is an art,
And as a flutist plays a flute,
So does he play upon his heart

A music varied to his whim.
He has no use for love of mine,
He would not have me answer him.

To hide my eyes within the night
I watch the changeful lighthouse gleam
Alternately with red and white.

My laughter smites upon my ears,
So one who cries and wakes from sleep
Knows not it is himself he hears.

What if my voice should let him know
The mocking words were all a sham,
And lips that laugh could tremble so?

What if I lost the power to lie,
And he should only hear his name
In one low, broken cry?




On the Death of Swinburne


He trod the earth but yesterday,
And now he treads the stars.
He left us in the April time
He praised so often in his rhyme,
He left the singing and the lyre and went his way.

He drew new music from our tongue,
A music subtly wrought,
And moulded words to his desire,
As wind doth mould a wave of fire;
From strangely fashioned harps slow golden tones he wrung.

I think the singing understands
That he who sang is still,
And Iseult cries that he is dead,--
Does not Dolores bow her head
And Fragoletta weep and wring her little hands?

New singing now the singer hears
To lyre and lute and harp;
Catullus waits to welcome him,
And thro' the twilight sweet and dim,
Sappho's forgotten songs are falling on his ears.




Triolets


I

Love looked back as he took his flight,
And lo, his eyes were filled with tears.
Was it for love of lost delight
Love looked back as he took his flight?
Only I know while day grew night,
Turning still to the vanished years,
Love looked back as he took his flight,
And lo, his eyes were filled with tears.


II
(Written in a copy of "La Vita Nuova". For M. C. S. )

If you were Lady Beatrice
And I the Florentine,
I'd never waste my time like this--
If you were Lady Beatrice
I'd woo and then demand a kiss,
Nor weep like Dante here, I ween,
If you were Lady Beatrice
And I the Florentine.


III
(Written in a copy of "The Poems of Sappho". )

Beyond the dim Hesperides,
The girl who sang them long ago
Could never dream that over seas,
Beyond the dim Hesperides,
The wind would blow such songs as these--
I wonder now if she can know,
Beyond the dim Hesperides,
The girl who sang them long ago?


IV

Dead leaves upon the stream
And dead leaves on the air--
All of my lost hopes seem
Dead leaves upon the stream;
I watch them in a dream,
Going I know not where,
Dead leaves upon the stream
And dead leaves on the air.




Vox Corporis


The beast to the beast is calling,
And the soul bends down to wait;
Like the stealthy lord of the jungle,
The white man calls his mate.

The beast to the beast is calling,
They rush through the twilight sweet,
But the soul is a wary hunter,
He will not let them meet.




A Ballad of Two Knights


Two knights rode forth at early dawn
A-seeking maids to wed,
Said one, "My lady must be fair,
With gold hair on her head. "

Then spake the other knight-at-arms:
"I care not for her face,
But she I love must be a dove
For purity and grace. "

And each knight blew upon his horn
And went his separate way,
And each knight found a lady-love
Before the fall of day.

But she was brown who should have had
The shining yellow hair--
I ween the knights forgot their words
Or else they ceased to care.

For he who wanted purity
Brought home a wanton wild,
And when each saw the other knight
I ween that each knight smiled.




Christmas Carol


The kings they came from out the south,
All dressed in ermine fine,
They bore Him gold and chrysoprase,
And gifts of precious wine.

The shepherds came from out the north,
Their coats were brown and old,
They brought Him little new-born lambs--
They had not any gold.

The wise-men came from out the east,
And they were wrapped in white;
The star that led them all the way
Did glorify the night.

The angels came from heaven high,
And they were clad with wings;
And lo, they brought a joyful song
The host of heaven sings.

The kings they knocked upon the door,
The wise-men entered in,
The shepherds followed after them
To hear the song begin.

And Mary held the little child
And sat upon the ground;
She looked up, she looked down,
She looked all around.

The angels sang thro' all the night
Until the rising sun,
But little Jesus fell asleep
Before the song was done.




The Faery Forest


The faery forest glimmered
Beneath an ivory moon,
The silver grasses shimmered
Against a faery tune.

Beneath the silken silence
The crystal branches slept,
And dreaming thro' the dew-fall
The cold white blossoms wept.




A Fantasy


Her voice is like clear water
That drips upon a stone
In forests far and silent
Where Quiet plays alone.

Her thoughts are like the lotus
Abloom by sacred streams
Beneath the temple arches
Where Quiet sits and dreams.

Her kisses are the roses
That glow while dusk is deep
In Persian garden closes
Where Quiet falls asleep.




A Minuet of Mozart's


Across the dimly lighted room
The violin drew wefts of sound,
Airily they wove and wound
And glimmered gold against the gloom.

I watched the music turn to light,
But at the pausing of the bow,
The web was broken and the glow
Was drowned within the wave of night.




Twilight


Dreamily over the roofs
The cold spring rain is falling,
Out in the lonely tree
A bird is calling, calling.

Slowly over the earth
The wings of night are falling;
My heart like the bird in the tree
Is calling, calling, calling.




The Prayer


My answered prayer came up to me,
And in the silence thus spake he:
"O you who prayed for me to come,
Your greeting is but cold and dumb. "

My heart made answer: "You are fair,
But I have prayed too long to care.
Why came you not when all was new,
And I had died for joy of you. "




Two Songs for a Child


I
Grandfather's Love

They said he sent his love to me,
They wouldn't put it in my hand,
And when I asked them where it was
They said I couldn't understand.

I thought they must have hidden it,
I hunted for it all the day,
And when I told them so at night
They smiled and turned their heads away.

They say that love is something kind,
That I can never see or touch.
I wish he'd sent me something else,
I like his cough-drops twice as much.


II
The Kind Moon

I think the moon is very kind
To take such trouble just for me.
He came along with me from home
To keep me company.

He went as fast as I could run;
I wonder how he crossed the sky?
I'm sure he hasn't legs and feet
Or any wings to fly.

Yet here he is above their roof;
Perhaps he thinks it isn't right
For me to go so far alone,
Tho' mother said I might.




On the Tower



Under the leaf of many a Fable lies the Truth for those who look for it.
Jami.



On the Tower

(A play in one act. )


The Knight.
The Lady.

Voices of men and women on the ground at the foot of the tower.
The voice of the Knight's Page.



The top of a high battlemented tower of a castle. A stone ledge,
which serves as a seat, extends part way around the parapet.
Small clouds float by in the blue sky, and occasionally a swallow
passes.
Entrance R. from an unseen stairway which is supposed to extend
around the outside of the tower.


The Lady (unseen).
Oh do not climb so fast, for I am faint
With looking down the tower to where the earth
Lies dreaming in the sun. I fear to fall.

The Knight (unseen).
Lean on me, love, my love, and look not down.

L.
Call me not "love", call me your conquered foe,
That now, since you have battered down her gates,
Gives you the keys that lock the highest tower
And mounts with you to prove her homage true;
Oh bid me go no farther lest I fall,
My foot has slipped upon the rain-worn stones,
Why are the stairs so narrow and so steep?
Let us go back, my lord.

K.
Are you afraid,
Who were so dauntless till the walls gave way?
Courage, my sweet. I would that I could climb
A thousand times by wind-swept stairs like these,
That lead so near to heaven.

L.
Sir, you may,
You are a knight and very valorous;
I am a woman. I shall never come
This way but once.
(The Knight and the Lady appear on the top of the tower. )

K.
Kiss me at last, my love.

L.
Oh, my sweet lord, I am too tired to kiss.
Look how the earth is like an emerald,
With rivers veined and flawed with fallow fields.

K. (Lifting her veil)
Then I kiss you, a thousand thousand kisses
For all the days ere I had won to you
Beyond the walls and gates you barred so close.
Call me at last your love, your castle's lord.

L. (After a pause)
I love you.

(She kisses him. Her veil blows away like a white butterfly
over the parapet. Faint cries and laughter from men and women
under the tower. )

Men and Women.
The veil, the lady's veil!

(The knight takes the lady in his arms. )

L.
My lord, I pray you loose me from your arms
Lest that my people see how much we love.

K.
May they not see us? All of them have loved.

L.
But you have been an enemy, my lord,
With walls between us and with moss-grown moats,
Now on a sudden must I kiss your mouth?
I who was taught before I learned to speak
That all my house was hostile unto yours,
Now can I put my head against your breast
Here in the sight of all who choose to come?

K.
Are we not past the caring for their eyes
And nearer to the heaven than to earth?
Look up and see.

L.
I only see your face.

(She touches his hair with her hands. Murmuring under the tower. )

K.
Why came we here in all the noon-day light
With only darting swallows over us
To make a speck of darkness on the sun?
Let us go down where walls will shut us round.
Your castle has a hundred quiet halls,
A hundred chambers, where the shadows lie
On things put by, forgotten long ago.
Forgotten lutes with strings that Time has slackened,
We two shall draw them close and bid them sing--
Forgotten games, forgotten books still open
Where you had laid them by at vesper-time,
And your embroidery, whereon half-worked
Weeps Amor wounded by a rose's thorn.
Shall I not see the room in which you slept,
Palpitant still and breathing of your thoughts,
Where maiden dreams adown the ways of sleep
Swept noiselessly with damosels and knights
To tourneys where the trumpet made no sound,
Blow as he might, the scarlet trumpeter,
And were the dreams not sometimes brimmed with tears
That waked you when the night was loneliest?
Will you not bring me to your oratory
Where prayers arose like little birds set free
Still upward, upward without sound of flight?
Shall I not find your turrets toward the north,
Where you defied white winter armed for war;
Your southern casements where the sun blows in
Between the leaf-bent boughs the wind has lifted?
Shall we not see the sunrise toward the east,
Watch dawn by dawn the rose of day unfolding
Its golden-hearted beauty sovereignly;
And toward the west look quietly at evening?
Shall I not see all these and all your treasures?
In carven coffers hidden in the dark
Have you not laid a sapphire lit with flame
And amethysts set round with deep-wrought gold,
Perhaps a ruby?

L.
All my gems are yours
And all my chambers curtained from the sun.
My lord shall see them all, in time, in time.


(The sun begins to sink. )

K.
Shall I not see them now? To-day, to-night?

L.
How could I show you in one day, my lord,
My castle and my treasures and my tower?
Let all the days to come suffice for this
Since all the past days made them what they are.
You will not be impatient, my sweet lord.
Some of the halls have long been locked and barred,
And some have secret doors and hard to find
Till suddenly you touch them unawares,
And down a sable way runs silver light.
We two will search together for the keys,
But not to-day. Let us sit here to-day,
Since all is yours and always will be yours.

(The stars appear faintly one by one. )

K. (After a pause. )
I grow a little drowsy with the dusk.

L. (Singing. )
There was a man that loved a maid,
(Sleep and take your rest)
Over her lips his kiss was laid,
Over her heart, his breast.

(The knight sleeps. )

All of his vows were sweet to hear,
Sweet was his kiss to take;
Why was her breast so quick to fear,
Why was her heart, to break?

Why was the man so glad to woo?
(Sleep and take your rest)
Why were the maiden's words so few----

(She sees that he is asleep, and slipping off her long cloak-like
outer garment, she pillows his head upon it against the parapet,
and half kneeling at his feet she sings very softly:)

I love you, I love you, I love you,
I am the flower at your feet,
The birds and the stars are above you,
My place is more sweet.

The birds and the stars are above you,
They envy the flower in the grass,
For I, only I, while I love you
Can die as you pass.

(Light clouds veil the stars, growing denser constantly.
The castle bell rings for vespers, and rising, the lady moves
to a corner of the parapet and kneels there. )

L.
Ave Maria! gratia plena, Dominus----

Voice of the Page (from the foot of the tower. )
My lord, my lord, they call for you at court!

(The knight wakes. It is now quite dark. )

There is a tourney toward; your enemy
Has challenged you. My lord, make haste to come!

(The knight rises and gropes his way toward the stairs. )

K.
I will make haste. Await me where you are.

(To himself. )
There was a lady on this tower with me----

(He glances around hurriedly but does not see her in the darkness. )

Page.
My lord has far to ride before the dawn!

K. (To himself. )
Why should I tarry?

(To the page. )
Bring my horse and shield!

(He descends. As the noise of his footfall on the stairs dies away,
the lady gropes toward the stairway, then turns suddenly, and going to
the ledge where they have sat, she throws herself over the parapet. )


CURTAIN.




[End of Helen of Troy And Other Poems. ]




Sara Teasdale

Sara Teasdale was born in St. Louis, Missouri, where she attended a
school that was founded by the grandfather of another great poet from
St. Louis--T. S. Eliot. She later associated herself more with New
York City. Her first book of poems was "Sonnets to Duse" (1907), but
"Helen of Troy" (1911) was the true launch of her career, followed by
"Rivers to the Sea" (1915), "Love Songs" (1917), "Flame and Shadow"
(1920) and more. Her final volume, "Strange Victory", is considered
by many to be predictive of her suicide.

It is interesting to note that in Teasdale's Collected Works, about
half of the poems in this volume--some more justly than others--have
been excluded, and most of the rest have been slightly changed. Most
of the poems from this volume which were selected to be included in
"Love Songs" also had some minor changes. This edition preserves the
original readings, but they are not to be considered authoritative.









End of Project Gutenberg's Helen of Troy and Other Poems, by Sara Teasdale

*** END OF THIS PROJECT GUTENBERG EBOOK HELEN OF TROY AND OTHER POEMS ***

***** This file should be named 400. txt or 400. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/4/0/400/

Produced by A. Light and L. Bowser. For Gwenette.

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
http://gutenberg. net/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. net

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. net),
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.