No More Learning

[75] Kiukiang, the poet's place of exile.

[76] A. D. 815. His first winter at Kiukiang.

[77] By the weight of snow.

[78] The revolt of Wu Yuan-chi.


TO A PORTRAIT PAINTER WHO DESIRED HIM TO SIT

_You_, so bravely splashing reds and blues!
Just when _I_ am getting wrinkled and old.
Why should you waste the moments of inspiration
Tracing the withered limbs of a sick man?
Tall, tall is the Palace of Ch'i-lin;[79]
But my deeds have not been frescoed on its walls.
Minutely limned on a foot of painting silk--
What can I do with a portrait such as _that_?

[79] One of the "Record Offices" of the T'ang dynasty, where meritorious
deeds were illustrated on the walls.


SEPARATION

Yesterday I heard that such-a-one was gone;
This morning they tell me that so-and-so is dead.
Of friends and acquaintances more than two-thirds
Have suffered change and passed to the Land of Ghosts.
Those that are gone I shall not see again;
They, alas, are for ever finished and done.
Those that are left,--where are they now?
They are all scattered,--a thousand miles away.
Those I have known and loved through all my life,
On the fingers of my hand--how many do I count?
Only the prefects of T'ung, Kuo and Li
And F? ng Province--just those four. [80]
Longing for each other we are all grown gray;
Through the Fleeting World rolled like a wave in the stream.
Alas that the feasts and frolics of old days
Have withered and vanished, bringing us to this!
When shall we meet and drink a cup of wine
And laughing gaze into each other's eyes?

[80] Yuan Ch? n (d. 831), Ts'ui Hsuan-liang (d. 833), Liu Yu-hsi
(d. 842), and Li Chien (d. 821).


HAVING CLIMBED TO THE TOPMOST PEAK OF THE INCENSE-BURNER MOUNTAIN

Up and up, the Incense-burner Peak!
In my heart is stored what my eyes and ears perceived.
All the year--detained by official business;
To-day at last I got a chance to go.
Grasping the creepers, I clung to dangerous rocks;
My hands and feet--weary with groping for hold.
There came with me three or four friends,
But two friends dared not go further.
At last we reached the topmost crest of the Peak;
My eyes were blinded, my soul rocked and reeled.
The chasm beneath me--ten thousand feet;
The ground I stood on, only a foot wide.
If you have not exhausted the scope of seeing and hearing,
How can you realize the wideness of the world?
The waters of the River looked narrow as a ribbon,
P'? n Castle smaller than a man's fist.
How it clings, the dust of the world's halter!
It chokes my limbs: I cannot shake it away.
Thinking of retirement,[81] I heaved an envious sigh,
Then, with lowered head, came back to the Ants' Nest.

[81] _I. e. _, retirement from office.


EATING BAMBOO-SHOOTS

My new Province is a land of bamboo-groves:
Their shoots in spring fill the valleys and hills.
The mountain woodman cuts an armful of them
And brings them down to sell at the early market.
Things are cheap in proportion as they are common;
For two farthings, I buy a whole bundle.
I put the shoots in a great earthen pot
And heat them up along with boiling rice.
The purple nodules broken,--like an old brocade;
The white skin opened,--like new pearls.
Now every day I eat them recklessly;
For a long time I have not touched meat.
All the time I was living at Lo-yang
They could not give me enough to suit my taste,
Now I can have as many shoots as I please;
For each breath of the south-wind makes a new bamboo!


THE RED COCKATOO

Sent as a present from Annam--
A red cockatoo.
Coloured like the peach-tree blossom,
Speaking with the speech of men.
And they did to it what is always done
To the learned and eloquent.
They took a cage with stout bars
And shut it up inside.


AFTER LUNCH

After lunch--one short nap:
On waking up--two cups of tea.
Raising my head, I see the sun's light
Once again slanting to the south-west.
Those who are happy regret the shortness of the day;
Those who are sad tire of the year's sloth.
But those whose hearts are devoid of joy or sadness
Just go on living, regardless of "short" or "long. "


ALARM AT FIRST ENTERING THE YANG-TZE GORGES

Written in 818, when he was being towed up the rapids to Chung-chou.

Above, a mountain ten thousand feet high:
Below, a river a thousand fathoms deep.
A strip of green, walled by cliffs of stone:
Wide enough for the passage of a single reed. [82]
At Chu-t'ang a straight cleft yawns:
At Yen-yu islands block the stream.
Long before night the walls are black with dusk;
Without wind white waves rise.
The big rocks are like a flat sword:
The little rocks resemble ivory tusks.

[82] See Odes, v, 7.

* * * * *

We are stuck fast and cannot move a step.
How much the less, three hundred miles? [83]
Frail and slender, the twisted-bamboo rope:
Weak, the dangerous hold of the towers' feet.
A single slip--the whole convoy lost:
And _my_ life hangs on _this_ thread!
I have heard a saying "He that has an upright heart
Shall walk scathless through the lands of Man and Mo. "[84]
How can I believe that since the world began
In every shipwreck none have drowned but rogues?
And how can I, born in evil days[85]
And fresh from failure,[86] ask a kindness of Fate?
Often I fear that these un-talented limbs
Will be laid at last in an un-named grave!

[83] The distance to Chung-chou.

[84] Dangerous savages.

[85] Of civil war.

[86] Alluding to his renewed banishment.


ON BEING REMOVED FROM HSUN-YANG AND SENT TO CHUNG-CHOU

A remote place in the mountains of Pa (Ssech'uan)

Before this, when I was stationed at Hsun-yang,
Already I regretted the fewness of friends and guests.
Suddenly, suddenly,--bearing a stricken heart
I left the gates, with nothing to comfort me.
Henceforward,--relegated to deep seclusion
In a bottomless gorge, flanked by precipitous mountains,
Five months on end the passage of boats is stopped
By the piled billows that toss and leap like colts.
The inhabitants of Pa resemble wild apes;
Fierce and lusty, they fill the mountains and prairies.
Among such as these I cannot hope for friends
And am pleased with anyone who is even remotely human!


PLANTING FLOWERS ON THE EASTERN EMBANKMENT

Written when Governor of Chung-Chou

I took money and bought flowering trees
And planted them out on the bank to the east of the Keep.
I simply bought whatever had most blooms,
Not caring whether peach, apricot, or plum.
A hundred fruits, all mixed up together;
A thousand branches, flowering in due rotation.
Each has its season coming early or late;
But to all alike the fertile soil is kind.
The red flowers hang like a heavy mist;
The white flowers gleam like a fall of snow.
The wandering bees cannot bear to leave them;
The sweet birds also come there to roost.
In front there flows an ever-running stream;
Beneath there is built a little flat terrace.
Sometimes I sweep the flagstones of the terrace;
Sometimes, in the wind, I raise my cup and drink.
The flower-branches screen my head from the sun;
The flower-buds fall down into my lap.
Alone drinking, alone singing my songs
I do not notice that the moon is level with the steps.
The people of Pa do not care for flowers;
All the spring no one has come to look.
But their Governor General, alone with his cup of wine
Sits till evening and will not move from the place!


CHILDREN

Written _circa_ 820

My niece, who is six years old, is called "Miss Tortoise";
My daughter of three,--little "Summer Dress. "
One is beginning to learn to joke and talk;
The other can already recite poems and songs.
At morning they play clinging about my feet;
At night they sleep pillowed against my dress.
Why, children, did you reach the world so late,
Coming to me just when my years are spent?
Young things draw our feelings to them;
Old people easily give their hearts.
The sweetest vintage at last turns sour;
The full moon in the end begins to wane.
And so with men the bonds of love and affection
Soon may change to a load of sorrow and care.
But all the world is bound by love's ties;
Why did I think that I alone should escape?


PRUNING TREES

Trees growing--right in front of my window;
The trees are high and the leaves grow thick.
Sad alas! the distant mountain view
Obscured by this, dimly shows between.
One morning I took knife and axe;
With my own hand I lopped the branches off.
Ten thousand leaves fall about my head;
A thousand hills came before my eyes.
Suddenly, as when clouds or mists break
And straight through, the blue sky appears;
Again, like the face of a friend one has loved
Seen at last after an age of parting.
First there came a gentle wind blowing;
One by one the birds flew back to the tree.
To ease my mind I gazed to the South East;
As my eyes wandered, my thoughts went far away.
Of men there is none that has not some preference;
Of things there is none but mixes good with ill.
It was not that I did not love the tender branches;
But better still,--to see the green hills!


BEING VISITED BY A FRIEND DURING ILLNESS

I have been ill so long that I do not count the days;
At the southern window, evening--and again evening.
Sadly chirping in the grasses under my eaves
The winter sparrows morning and evening sing.
By an effort I rise and lean heavily on my bed;
Tottering I step towards the door of the courtyard.
By chance I meet a friend who is coming to see me;
Just as if I had gone specially to meet him.
They took my couch and placed it in the setting sun;
They spread my rug and I leaned on the balcony-pillar.
Tranquil talk was better than any medicine;
Gradually the feelings came back to my numbed heart.


ON THE WAY TO HANGCHOW: ANCHORED ON THE RIVER AT NIGHT

Little sleeping and much grieving,--the traveller
Rises at midnight and looks back towards home.
The sands are bright with moonlight that joins the shores;
The sail is white with dew that has covered the boat.
Nearing the sea, the river grows broader and broader:
Approaching autumn,--the nights longer and longer.
Thirty times we have slept amid mists and waves,
And still we have not reached Hang-chow!


STOPPING THE NIGHT AT JUNG-YANG

I grew up at Jung-yang;
I was still young when I left.
On and on,--forty years passed
Till again I stayed for the night at Jung-yang.
When I went away, I was only eleven or twelve;
This year I am turned fifty-six.
Yet thinking back to the times of my childish games,
Whole and undimmed, still they rise before me.
The old houses have all disappeared;
Down in the village none of my people are left.
It is not only that streets and buildings have changed;
But steep is level and level changed to steep!
Alone unchanged, the waters of Ch'iu and Yu
Passionless,--flow in their old course.


THE SILVER SPOON

While on the road to his new province, Hang-chow, in 822, he sends a
silver spoon to his niece A-kuei, whom he had been obliged to leave
behind with her nurse, old Mrs. Ts'ao.

To distant service my heart is well accustomed;
When I left home, it wasn't _that_ which was difficult
But because I had to leave Miss Kuei at home--
For this it was that tears filled my eyes.
Little girls ought to be daintily fed:
Mrs. Ts'ao, please see to this!
That's why I've packed and sent a silver spoon;
You will think of me and eat up your food nicely!


THE HAT GIVEN TO THE POET BY LI CHIEN

Long ago to a white-haired gentleman
You made the present of a black gauze hat.
The gauze hat still sits on my head;
But you already are gone to the Nether Springs.
The thing is old, but still fit to wear;
The man is gone and will never be seen again.
Out on the hill the moon is shining to-night
And the trees on your tomb are swayed by the autumn wind.


THE BIG RUG

That so many of the poor should suffer from cold what can we do to
prevent?
To bring warmth to a single body is not much use.
I wish I had a big rug ten thousand feet long,
Which at one time could cover up every inch of the City.


AFTER GETTING DRUNK, BECOMING SOBER IN THE NIGHT

Our party scattered at yellow dusk and I came home to bed;
I woke at midnight and went for a walk, leaning heavily on a friend.
As I lay on my pillow my vinous complexion, soothed by sleep, grew
sober;
In front of the tower the ocean moon, accompanying the tide, had
risen.
The swallows, about to return to the beams, went back to roost
again;
The candle at my window, just going out, suddenly revived its light.
All the time till dawn came, still my thoughts were muddled;
And in my ears something sounded like the music of flutes and
strings.


REALIZING THE FUTILITY OF LIFE

Written on the wall of a priest's cell, _circa_ 828

Ever since the time when I was a lusty boy
Down till now when I am ill and old,
The things I have cared for have been different at different times,
But my being _busy_, _that_ has never changed.
_Then_ on the shore,--building sand-pagodas;
_Now_, at Court, covered with tinkling jade.
This and that,--equally childish games,
Things whose substance passes in a moment of time!
While the hands are busy, the heart cannot understand;
When there are no Scriptures, then Doctrine is sound. [87]
Even should one zealously strive to learn the Way,
That very striving will make one's error more.

[87] This is the teaching of the Dhyana Sect.


RISING LATE AND PLAYING WITH A-TS'UI, AGED TWO

Written in 831

All the morning I have lain perversely in bed;
Now at dusk I rise with many yawns.
My warm stove is quick to get ablaze;
At the cold mirror I am slow in doing my hair.
With melted snow I boil fragrant tea;
Seasoned with curds I cook a milk-pudding.
At my sloth and greed there is no one but me to laugh;
My cheerful vigour none but myself knows.
The taste of my wine is mild and works no poison;
The notes of my harp are soft and bring no sadness.
To the Three Joys in the book of Mencius[88]
I have added the fourth of playing with my baby-boy.

[88] "Mencius," bk. vii, pt. i, 20.


ON A BOX CONTAINING HIS OWN WORKS

I break up cypress and make a book-box;
The box well-made,--and the cypress-wood tough.
In it shall be kept what author's works?
The inscription says PO LO-T'IEN.
All my life has been spent in writing books,
From when I was young till now that I am old.
First and last,--seventy whole volumes;
Big and little,--three thousand themes. [89]
Well I know in the end they'll be scattered and lost;
But I cannot bear to see them thrown away
With my own hand I open and shut the locks,
And put it carefully in front of the book-curtain.
I am like T? ng Pai-tao;[90]
But to-day there is not any Wang Ts'an. [91]
All I can do is to divide them among my daughters
To be left by them to give to my grandchildren.

[89] _I. e. _, separate poems, essays, etc.

[90] Who was obliged to abandon his only child on the roadside.

[91] Who rescued a foundling.


ON BEING SIXTY

Addressed to Liu M? ng-t? , who had asked for a poem. He was the same
age as Po Chu-i.

Between thirty and forty, one is distracted by the Five Lusts;
Between seventy and eighty, one is a prey to a hundred diseases.
But from fifty to sixty one is free from all ills;
Calm and still--the heart enjoys rest.
I have put behind me Love and Greed; I have done with Profit and
Fame;
I am still short of illness and decay and far from decrepit age.
Strength of limb I still possess to seek the rivers and hills;
Still my heart has spirit enough to listen to flutes and strings.
At leisure I open new wine and taste several cups;
Drunken I recall old poems and sing a whole volume.
M? ng-t? has asked for a poem and herewith I exhort him
Not to complain of three-score, "the time of obedient ears. "[92]

[92] Confucius said that it was not till _sixty_ that "his ears obeyed
him. " This age was therefore called "the time of obedient ears. "


CLIMBING THE TERRACE OF KUAN-YIN AND LOOKING AT THE CITY

Hundreds of houses, thousands of houses,--like a chess-board.
The twelve streets like a field planted with rows of cabbage.
In the distance perceptible, dim, dim--the fire of approaching dawn;
And a single row of stars lying to the west of the Five Gates.


CLIMBING THE LING YING TERRACE AND LOOKING NORTH

Mounting on high I begin to realize the smallness of Man's Domain;
Gazing into distance I begin to know the vanity of the Carnal World.
I turn my head and hurry home--back to the Court and Market,
A single grain of rice falling--into the Great Barn.


GOING TO THE MOUNTAINS WITH A LITTLE DANCING GIRL, AGED FIFTEEN

Written when the poet was about sixty-five

Two top-knots not yet plaited into one.
Of thirty years--just beyond half.
You who are really a lady of silks and satins
Are now become my hill and stream companion!
At the spring fountains together we splash and play:
On the lovely trees together we climb and sport.
Her cheeks grow rosy, as she quickens her sleeve-dancing:
Her brows grow sad, as she slows her song's tune.
Don't go singing the Song of the Willow Branches,[93]
When there's no one here with a heart for you to break!

[93] A plaintive love-song, to which Po Chu-i had himself written words.


DREAMING OF YUAN CH? N

This was written eight years after Yuan Ch? n's death, when Po-Chu-i
was sixty-eight.

At night you came and took my hand and we wandered together in my
dream;
When I woke in the morning there was no one to stop the tears that
fell on my handkerchief.
On the banks of the Ch'ang my aged body three times[94] has passed
through sickness;
At Hsien-yang[95] to the grasses on your grave eight times has
autumn come.
You lie buried beneath the springs and your bones are mingled with
the clay.
I--lodging in the world of men; my hair white as snow.
A-wei and Han-lang[96] both followed in their turn;
Among the shadows of the Terrace of Night did you know them or not?

[94] Since you died.

[95] Near Ch'ang-an, modern Si-ngan-fu.

[96] Affectionate names of Li Chien and Ts'ui Hsuan-liang.


A DREAM OF MOUNTAINEERING

Written when he was over seventy

At night, in my dream, I stoutly climbed a mountain.
Going out alone with my staff of holly-wood.
A thousand crags, a hundred hundred valleys--
In my dream-journey none were unexplored
And all the while my feet never grew tired
And my step was as strong as in my young days.
Can it be that when the mind travels backward
The body also returns to its old state?
And can it be, as between body and soul,
That the body may languish, while the soul is still strong?
Soul and body--both are vanities:
Dreaming and waking--both alike unreal.
In the day my feet are palsied and tottering;
In the night my steps go striding over the hills.
As day and night are divided in equal parts--
Between the two, I _get_ as much as I _lose_.


EASE

Congratulating himself on the comforts of his life after his
retirement from office. Written _circa_ 844.

Lined coat, warm cap and easy felt slippers,
In the little tower, at the low window, sitting over the sunken
brazier.
Body at rest, heart at peace; no need to rise early.
I wonder if the courtiers at the Western Capital know of these
things, or not?


ON HEARING SOMEONE SING A POEM BY YUAN CH? N

Written long after Ch? n's death

No new poems his brush will trace:
Even his fame is dead.
His old poems are deep in dust
At the bottom of boxes and cupboards.
Once lately, when someone was singing,
Suddenly I heard a verse--
Before I had time to catch the words
A pain had stabbed my heart.


THE PHILOSOPHERS

LAO-TZ?

"Those who speak know nothing;
Those who know are silent. "
These words, as I am told,
Were spoken by Lao-tz? .
If we are to believe that Lao-tz?
Was himself _one who knew_,
How comes it that he wrote a book
Of five thousand words?

CHUANG-TZ? , THE MONIST

Chuang-tz? levels all things
And reduces them to the same Monad.
But _I_ say that even in their sameness
Difference may be found.
Although in following the promptings of their nature
They display the same tendency,
Yet it seems to me that in some ways
A phoenix is superior to a reptile!


TAOISM AND BUDDHISM

Written shortly before his death

A traveller came from across the seas
Telling of strange sights.
"In a deep fold of the sea-hills
I saw a terrace and tower.
In the midst there stood a Fairy Temple
With one niche empty.
They all told me this was waiting
For Lo-t'ien to come. "

Traveller, I have studied the Empty Gate;[97]
I am no disciple of Fairies
The story you have just told
Is nothing but an idle tale.
The hills of ocean shall never be
Lo-t'ien's home.
When I leave the earth it will be to go
To the Heaven of Bliss Fulfilled. [98]

[97] Buddhism. The poem is quite frivolous, as is shown by his claim to
Bodhisattva-hood.

[98] The "tushita" Heaven, where Bodhisattvas wait till it is time for
them to appear on earth as Buddhas.


LAST POEM

* * * * *

They have put my bed beside the unpainted screen;
They have shifted my stove in front of the blue curtain.
I listen to my grandchildren, reading me a book;
I watch the servants, heating up my soup.
With rapid pencil I answer the poems of friends;
I feel in my pockets and pull out medicine-money.
When this superintendence of trifling affairs is done,
I lie back on my pillows and sleep with my face to the
South.


THE END


CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.


* * * * *


Transcriber's Note

The half-title page has been removed from the text.

The following printed errata have been incorporated into the text:

P. 21, heading, for BIOGRAPHICAL read BIBLIOGRAPHICAL.
P. 27, l. 7 ? _single of_ ? _single one of_.
P. 29, l. 9 ? _eat_ ? _ate_.
P. 32, l. 23 ? _houses_ ? _house_.
P. 65, l. 3 ? _standing_ ? _stand_.
P. 88, l. 15 ? _pillar_ ? _pillow_.
P. 109, l. 22 ? _Memories_ ? _Memoires_.
P. 116, last line, ? _Turn_ ? _Turns_.
P. 134, l. 10 ? _and of Wu_ ? _and Wu_.
P. 165, l. 13 ? _the things_ ? _these things_.

The following additional errors have been corrected:

p. v "Fu j? n" changed to "Fu-j? n"

p. v "Chicago)" changed to "(Chicago)"

p. 21 "Two articles of" changed to "Two articles on"

p. 23 ""Li Sao," changed to ""Li Sao,""

p. 26 "next door" changed to "next door. "

p. 33 "the night. " changed to "the night. ""

p. 56 "again. " changed to "again. ""

p. 62 "Hsien-m? n" changed to "Hsien-m? n[23]"

p. 106 "as he tells us" changed to "as he tells us,"

p. 118 "wrote your letter" changed to "wrote your letter. "

p. 131 "Yin and Yang. "" changed to "Yin and Yang. "[61]"


The following are used inconsistently in the text:

forename and fore-name

fourscore and four-score

goodbye and good-bye

hairpins and hair-pins

Hangchow and Hang-chow

Hsuan-liang and Hsuan-liang

lifetime and life-time

roadside and road-side

siecle and Siecle

Yangtze and Yang-tze


Some lines have been left as printed, with no end punctuation:

p. 49 "mid-stream white waves rise"

p. 78 "over the story of King Chou"

p. 121 ""medium's" advice"

p. 122 "The wind stirs and sighs"

p. 156 "which was difficult"

p. 160 "them thrown away"

p. 167 "disciple of Fairies"


Other possible errors have been left as printed:

p. 117 "And threw you my clothes"

p. 143 (note) "Giles, 2526"

p. 141 "village of Hsin-f? ng? "








End of Project Gutenberg's A Hundred and Seventy Chinese Poems, by Various

*** END OF THIS PROJECT GUTENBERG EBOOK CHINESE POEMS ***

***** This file should be named 42290-0. txt or 42290-0. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/4/2/2/9/42290/

Produced by Henry Flower and the Online Distributed
Proofreading Team at http://www. pgdp. net (This file was
produced from images generously made available by The
Internet Archive/American Libraries. )


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
www. 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.