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.
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.
Yeats
The reed-wrens of the
furthest reed beds disturbed amid their sleep must have wondered at the
red gleam reflected in each other's eyes. Useless his night-long toil;
the clouds covered the moon's face more and more, until, when the long
fire-lash was at its brightest, they drowned her completely in a surge
of unbroken mist. Raging against the fire he scattered with his staff
the burning branches, and trampled in his fury the sacrificial embers
beneath his feet. Suddenly a voice in the surrounding darkness called
him softly by name. He turned. For years no articulate voice had
sounded in his ears. It seemed to rise from the air just beneath the
verge of the precipice. Holding by a hazel bush he leaned out, and for
a moment it seemed to him the form of a beautiful woman floated faintly
before him, but changed as he watched to a little cloud of vapour;
and from the nearest of the haunted islands there came assuredly a
whiff of music. Then behind him in the forest said the voice, 'Dhoya,
my beloved. ' He rushed in pursuit; something white was moving before
him. He stretched out his hand; it was only a mass of white campion
trembling in the morning breeze, for an ashen morning was just touching
the mists on the eastern mountains. Beginning suddenly to tremble with
supernatural fear Dhoya turned homewards. Everything was changed; dark
shadows seemed to come and go, and elfin chatter to pass upon the
breeze. But when he reached the shelter of the pine woods all was still
as of old. He slackened his speed. Those solemn pine-trees soothed
him with their vast unsociability--many and yet each one alone. Once
or twice, when in some glade further than usual from its kind arose a
pine-tree larger than the rest, he paused with bowed head to mutter an
uncouth prayer to that dark outlaw. As he neared his cave and came from
the deep shade into the region of mountain-ash and hazel, the voices
seemed again to come and go, and the shadows to circle round him, and
once a voice said, he imagined, in accents faint and soft as falling
dew, 'Dhoya, my beloved. ' But a few yards from the cave all grew
suddenly silent.
II
Slower and slower he went, with his eyes on the ground, bewildered
by all that was happening. A few feet from the cave he stood still,
counting aimlessly the round spots of light made by the beams slanting
through trees that hid with their greenness, as in the centre of the
sea, that hollow rock. As over and over he counted them, he heard,
first with the ear only, then with the mind also, a footstep going to
and fro within the cave. Lifting his eyes he saw the same figure seen
on the cliff--the figure of a woman, beautiful and young. Her dress was
white, save for a border of feathers dyed the fatal red of the spirits.
She had arranged in one corner the spears, and in the other the
brushwood and branches used for the fire, and spread upon the ground
the skins, and now began pulling vainly at the great stone pitcher of
the Fomorians.
Suddenly she saw him and with a burst of laughter flung her arms round
his neck, crying, 'Dhoya, I have left my world far off. My people--on
the floor of the lake they are dancing and singing, and on the islands
of the lake; always happy, always young, always without change. I have
left them for thee, Dhoya, for they cannot love. Only the changing,
and moody, and angry, and weary can love. I am beautiful; love me,
Dhoya. Do you hear me? I left the places where they dance, Dhoya, for
thee! ' For long she poured out a tide of words, he answering at first
little, then more and more as she melted away the silence of so many
inarticulate years; and all the while she gazed on him with eyes, no
ardour could rob of the mild and mysterious melancholy that watches us
from the eyes of animals--sign of unhuman reveries.
Many days passed over these strangely-wedded ones. Sometimes when he
asked her, 'Do you love me? ' she would answer, 'I do not know, but
I long for your love endlessly. ' Often at twilight, returning from
hunting, he would find her bending over a stream that flowed near to
the cave, decking her hair with feathers and reddening her lips with
the juice of a wild berry.
He was very happy secluded in that deep forest. Hearing the faint
murmurs of the western sea, they seemed to have outlived change. But
Change is everywhere, with the tides and the stars fastened to her
wheel. Every blood-drop in their lips, every cloud in the sky, every
leaf in the world changed a little, while they brushed back their hair
and kissed. All things change save only the fear of change. And yet
for his hour Dhoya was happy and as full of dreams as an old man or an
infant--for dreams wander nearest to the grave and the cradle.
Once, as he was returning home from hunting, by the northern edge of
the lake, at the hour when the owls cry to each other, 'It is time to
be abroad,' and the last flutter of the wind has died away, leaving
under every haunted island an image legible to the least hazel branch,
there suddenly stood before him a slight figure, at the edge of the
narrow sand-line, dark against the glowing water. Dhoya drew nearer. It
was a man leaning on his spear-staff, on his head a small red cap. His
spear was slender and tipped with shining metal; the spear of Dhoya of
wood, one end pointed and hardened in the fire. The red-capped stranger
silently raised that slender spear and thrust at Dhoya, who parried
with his pointed staff.
For a long while they fought. The last vestige of sunset passed away
and the stars came out. Underneath them the feet of Dhoya beat up the
ground, but the feet of the other as he rushed hither and thither,
matching his agility with the mortal's mighty strength, made neither
shadow nor footstep on the sands. Dhoya was wounded, and growing weary
a little, when the other leaped away, and, crouching down by the water,
began: 'You have carried away by some spell unknown the most beautiful
of our bands--you who have neither laughter nor singing. Restore her,
Dhoya, and go free. ' Dhoya answered him no word, and the other rose and
again thrust at him with the spear. They fought to and fro upon the
sands until the dawn touched with olive the distant sky, and then his
anger-fit, long absent, fell on Dhoya, and he closed with his enemy and
threw him, and put his knee on his chest and his hands on his throat,
and would have crushed all life out of him, when lo! he held beneath
his knee no more than a bundle of reeds.
Nearing home in the early morning he heard the voice he loved, singing:
Full moody is my love and sad,
His moods bow low his sombre crest,
I hold him dearer than the glad,
And he shall slumber on my breast.
My love hath many an evil mood,
Ill words for all things soft and fair,
I hold him dearer than the good,
My fingers feel his amber hair.
No tender wisdom floods the eyes
That watch me with their suppliant light--
I hold him dearer than the wise,
And for him make me wise and bright.
And when she saw him she cried, 'An old mortal song heard floating from
a tent of skin, as we rode, I and mine, through a camping-place at
night. ' From that day she was always either singing wild and melancholy
songs or else watching him with that gaze of animal reverie.
Once he asked, 'How old are you? '
'A thousand years, for I am young. '
'I am so little to you,' he went on, 'and you are so much to me--dawn,
and sunset, tranquillity, and speech, and solitude. '
'Am I so much? ' she said; 'say it many times! ' and her eyes seemed to
brighten and her breast heaved with joy.
Often he would bring her the beautiful skins of animals, and she would
walk to and fro on them, laughing to feel their softness under her
feet. Sometimes she would pause and ask suddenly, 'Will you weep for me
when we have parted? ' and he would answer, 'I will die then'; and she
would go on rubbing her feet to and fro in the soft skin.
And so Dhoya grew tranquil and gentle, and Change seemed still to
have forgotten them, having so much on her hands. The stars rose and
set watching them smiling together, and the tides ebbed and flowed,
bringing mutability to all save them. But always everything changes,
save only the fear of Change.
III
One evening as they sat in the inner portion of the cave, watching
through the opening the paling of the sky and the darkening of the
leaves, and counting the budding stars, Dhoya suddenly saw stand before
him the dark outline of him he fought on the lake sand, and heard at
the same instant his companion sigh.
The stranger approached a little, and said, 'Dhoya, we have fought
heretofore, and now I have come to play chess against thee, for well
thou knowest, dear to the perfect warrior after war is chess. '
'I know it,' answered Dhoya.
'And when we have played, Dhoya, we will name the stake. '
'Do not play,' whispered his companion at his side.
But Dhoya, being filled with his anger-fit at the sight of his enemy,
answered, 'I will play, and I know well the stake you mean, and I name
this for mine, that I may again have my knee on your chest and my hands
on your throat, and that you will not again change into a bundle
of wet reeds. ' His companion lay down on a skin and began to cry a
little. Dhoya felt sure of winning. He had often played in his boyhood,
before the time of his anger-fits, with his masters of the galley; and
besides, he could always return to his hands and his weapons once more.
Now the floor of the cave was of smooth, white sand, brought from
the seashore in his great Fomorian pitcher, to make it soft for his
beloved to walk upon; before it had been, as it now is, of rough clay.
On this sand the red-capped stranger marked out with his spear-point
a chess-board, and marked with rushes, crossed and recrossed each
alternate square, fixing each end of the rush in the sand, until a
complete board was finished of white and green squares, and then drew
from a bag large chessmen of mingled wood and silver. Two or three
would have made an armful for a child. Standing each at his end they
began to play. The game did not last long. No matter how carefully
Dhoya played, each move went against him. At last, leaping back from
the board, he cried, 'I have lost! ' The two spirits were standing
together at the entrance. Dhoya seized his spear, but slowly the
figures began to fade, first a star and then the leaves showed through
their forms. Soon all had vanished away.
Then, understanding his loss, he threw himself on the ground, and
rolling hither and thither, roared like a wild beast. All night long he
lay on the ground, and all the next day till nightfall. He had crumbled
his staff unconsciously between his fingers into small pieces, and now,
full of dull rage, the pointed end of the staff still in his hand,
arose and went forth westward. In a ravine of the northern mountain
he came on the tracks of wild horses. Soon one passed him fearlessly,
knowing nothing of man. He drove the pointed end of the staff deep in
the flank, making a great wound, sending the horse rushing with short
screams down the mountain. Other horses passed him one by one, driven
southward by a cold wind laden with mist, arisen in the night-time.
Towards the end of the ravine stood one black and huge, the leader of
the herd. Dhoya leaped on his back with a loud cry that sent a raven
circling from the neighbouring cliff, and the horse, after vainly
seeking to throw him, rushed off towards the north-west, over the
heights of the mountains where the mists floated. The moon, clear
sometimes of the flying clouds, from low down in the south-east, cast
a pale and mutable light, making their shadow rise before them on
the mists, as though they pursued some colossal demon, sombre on his
black charger. Then leaving the heights they rushed down that valley
where, in far later times, Diarmuid hid in a deep cavern his Grania,
and passed the stream where Muadhan, their savage servant, caught fish
for them on a hook baited with a quicken-berry. On over the plains,
on northward, mile after mile, the wild gigantic horse leaping cliff
and chasm in his terrible race; on until the mountains of what is now
Donegal rose before them--over these among the clouds, driving rain
blowing in their faces from the sea, Dhoya knowing not whither he went,
or why he rode. On--the stones loosened by the hoofs rumbling down into
the valleys--till far in the distance he saw the sea, a thousand feet
below him; then, fixing his eyes thereon, and using the spear-point as
a goad, he roused his black horse into redoubled speed, until horse and
rider plunged headlong into the Western Sea.
Sometimes the cotters on the mountains of Donegal hear on windy nights
a sudden sound of horses' hoofs, and say to each other, 'There goes
Dhoya. ' And at the same hour men say if any be abroad in the valleys
they see a huge shadow rushing along the mountain.
_Printed by_ A. H. BULLEN, _at The Shakespeare Head Press,
Stratford-on-Avon_.
* * * * *
Transcriber's Notes:
Repeated story titles were removed to avoid redundancy. Obvious
punctuation errors repaired. Varied hyphenation was retained.
End of the Project Gutenberg EBook of The Collected Works in Verse and Prose
of William Butler Yeats, Vol. 7 (of 8), by William Butler Yeats
*** END OF THIS PROJECT GUTENBERG EBOOK WORKS OF W B YEATS, VOL 7 ***
***** This file should be named 49614-0. txt or 49614-0. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/4/9/6/1/49614/
Produced by Emmy, mollypit and the Online Distributed
Proofreading Team at http://www. pgdp. net (This file was
produced from images generously made available by The
Internet Archive)
Updated editions will replace the previous one--the old editions will
be renamed.
Creating the works from print editions not protected by U. S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you! ) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg-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 in the United States with eBooks
not protected by U. S. copyright law. Redistribution is subject to the
trademark license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-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 unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg-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 in the United States and
most other parts of the world at no cost and with almost no
restrictions whatsoever. You may copy it, give it away or re-use it
under the terms of the Project Gutenberg License included with this
eBook or online at www. gutenberg. org. If you are not located in the
United States, you'll have to check the laws of the country where you
are located before using this ebook.
1. E. 2. If an individual Project Gutenberg-tm electronic work is
derived from texts not protected by U. S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase "Project
Gutenberg" associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1. E. 1 through 1. E. 7 or
obtain permission for the use of the work and the Project Gutenberg-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 The
Project Gutenberg Trademark LLC, 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
works not protected by U. S. copyright law 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 1. F. 3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1. F. 3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.
1. F. 4. Except for the limited right of replacement or refund set forth
in paragraph 1. F. 3, this work is provided to you 'AS-IS', WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1. F. 5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.
1. F. 6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-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 information page at
www. gutenberg. org
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U. S. federal laws and your state's laws.
The Foundation's principal office is in Fairbanks, Alaska, with the
mailing address: PO Box 750175, Fairbanks, AK 99775, 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 contact links and up to
date contact information can be found at the Foundation's web site and
official page at www. gutenberg. org/contact
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf. org
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 www. gutenberg. org/donate
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U. S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www. gutenberg. org/donate
Section 5. General Information About Project Gutenberg-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 forty 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 not protected by copyright in
the U. S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.
Most people start at our Web site which has the main PG search
facility: 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.
furthest reed beds disturbed amid their sleep must have wondered at the
red gleam reflected in each other's eyes. Useless his night-long toil;
the clouds covered the moon's face more and more, until, when the long
fire-lash was at its brightest, they drowned her completely in a surge
of unbroken mist. Raging against the fire he scattered with his staff
the burning branches, and trampled in his fury the sacrificial embers
beneath his feet. Suddenly a voice in the surrounding darkness called
him softly by name. He turned. For years no articulate voice had
sounded in his ears. It seemed to rise from the air just beneath the
verge of the precipice. Holding by a hazel bush he leaned out, and for
a moment it seemed to him the form of a beautiful woman floated faintly
before him, but changed as he watched to a little cloud of vapour;
and from the nearest of the haunted islands there came assuredly a
whiff of music. Then behind him in the forest said the voice, 'Dhoya,
my beloved. ' He rushed in pursuit; something white was moving before
him. He stretched out his hand; it was only a mass of white campion
trembling in the morning breeze, for an ashen morning was just touching
the mists on the eastern mountains. Beginning suddenly to tremble with
supernatural fear Dhoya turned homewards. Everything was changed; dark
shadows seemed to come and go, and elfin chatter to pass upon the
breeze. But when he reached the shelter of the pine woods all was still
as of old. He slackened his speed. Those solemn pine-trees soothed
him with their vast unsociability--many and yet each one alone. Once
or twice, when in some glade further than usual from its kind arose a
pine-tree larger than the rest, he paused with bowed head to mutter an
uncouth prayer to that dark outlaw. As he neared his cave and came from
the deep shade into the region of mountain-ash and hazel, the voices
seemed again to come and go, and the shadows to circle round him, and
once a voice said, he imagined, in accents faint and soft as falling
dew, 'Dhoya, my beloved. ' But a few yards from the cave all grew
suddenly silent.
II
Slower and slower he went, with his eyes on the ground, bewildered
by all that was happening. A few feet from the cave he stood still,
counting aimlessly the round spots of light made by the beams slanting
through trees that hid with their greenness, as in the centre of the
sea, that hollow rock. As over and over he counted them, he heard,
first with the ear only, then with the mind also, a footstep going to
and fro within the cave. Lifting his eyes he saw the same figure seen
on the cliff--the figure of a woman, beautiful and young. Her dress was
white, save for a border of feathers dyed the fatal red of the spirits.
She had arranged in one corner the spears, and in the other the
brushwood and branches used for the fire, and spread upon the ground
the skins, and now began pulling vainly at the great stone pitcher of
the Fomorians.
Suddenly she saw him and with a burst of laughter flung her arms round
his neck, crying, 'Dhoya, I have left my world far off. My people--on
the floor of the lake they are dancing and singing, and on the islands
of the lake; always happy, always young, always without change. I have
left them for thee, Dhoya, for they cannot love. Only the changing,
and moody, and angry, and weary can love. I am beautiful; love me,
Dhoya. Do you hear me? I left the places where they dance, Dhoya, for
thee! ' For long she poured out a tide of words, he answering at first
little, then more and more as she melted away the silence of so many
inarticulate years; and all the while she gazed on him with eyes, no
ardour could rob of the mild and mysterious melancholy that watches us
from the eyes of animals--sign of unhuman reveries.
Many days passed over these strangely-wedded ones. Sometimes when he
asked her, 'Do you love me? ' she would answer, 'I do not know, but
I long for your love endlessly. ' Often at twilight, returning from
hunting, he would find her bending over a stream that flowed near to
the cave, decking her hair with feathers and reddening her lips with
the juice of a wild berry.
He was very happy secluded in that deep forest. Hearing the faint
murmurs of the western sea, they seemed to have outlived change. But
Change is everywhere, with the tides and the stars fastened to her
wheel. Every blood-drop in their lips, every cloud in the sky, every
leaf in the world changed a little, while they brushed back their hair
and kissed. All things change save only the fear of change. And yet
for his hour Dhoya was happy and as full of dreams as an old man or an
infant--for dreams wander nearest to the grave and the cradle.
Once, as he was returning home from hunting, by the northern edge of
the lake, at the hour when the owls cry to each other, 'It is time to
be abroad,' and the last flutter of the wind has died away, leaving
under every haunted island an image legible to the least hazel branch,
there suddenly stood before him a slight figure, at the edge of the
narrow sand-line, dark against the glowing water. Dhoya drew nearer. It
was a man leaning on his spear-staff, on his head a small red cap. His
spear was slender and tipped with shining metal; the spear of Dhoya of
wood, one end pointed and hardened in the fire. The red-capped stranger
silently raised that slender spear and thrust at Dhoya, who parried
with his pointed staff.
For a long while they fought. The last vestige of sunset passed away
and the stars came out. Underneath them the feet of Dhoya beat up the
ground, but the feet of the other as he rushed hither and thither,
matching his agility with the mortal's mighty strength, made neither
shadow nor footstep on the sands. Dhoya was wounded, and growing weary
a little, when the other leaped away, and, crouching down by the water,
began: 'You have carried away by some spell unknown the most beautiful
of our bands--you who have neither laughter nor singing. Restore her,
Dhoya, and go free. ' Dhoya answered him no word, and the other rose and
again thrust at him with the spear. They fought to and fro upon the
sands until the dawn touched with olive the distant sky, and then his
anger-fit, long absent, fell on Dhoya, and he closed with his enemy and
threw him, and put his knee on his chest and his hands on his throat,
and would have crushed all life out of him, when lo! he held beneath
his knee no more than a bundle of reeds.
Nearing home in the early morning he heard the voice he loved, singing:
Full moody is my love and sad,
His moods bow low his sombre crest,
I hold him dearer than the glad,
And he shall slumber on my breast.
My love hath many an evil mood,
Ill words for all things soft and fair,
I hold him dearer than the good,
My fingers feel his amber hair.
No tender wisdom floods the eyes
That watch me with their suppliant light--
I hold him dearer than the wise,
And for him make me wise and bright.
And when she saw him she cried, 'An old mortal song heard floating from
a tent of skin, as we rode, I and mine, through a camping-place at
night. ' From that day she was always either singing wild and melancholy
songs or else watching him with that gaze of animal reverie.
Once he asked, 'How old are you? '
'A thousand years, for I am young. '
'I am so little to you,' he went on, 'and you are so much to me--dawn,
and sunset, tranquillity, and speech, and solitude. '
'Am I so much? ' she said; 'say it many times! ' and her eyes seemed to
brighten and her breast heaved with joy.
Often he would bring her the beautiful skins of animals, and she would
walk to and fro on them, laughing to feel their softness under her
feet. Sometimes she would pause and ask suddenly, 'Will you weep for me
when we have parted? ' and he would answer, 'I will die then'; and she
would go on rubbing her feet to and fro in the soft skin.
And so Dhoya grew tranquil and gentle, and Change seemed still to
have forgotten them, having so much on her hands. The stars rose and
set watching them smiling together, and the tides ebbed and flowed,
bringing mutability to all save them. But always everything changes,
save only the fear of Change.
III
One evening as they sat in the inner portion of the cave, watching
through the opening the paling of the sky and the darkening of the
leaves, and counting the budding stars, Dhoya suddenly saw stand before
him the dark outline of him he fought on the lake sand, and heard at
the same instant his companion sigh.
The stranger approached a little, and said, 'Dhoya, we have fought
heretofore, and now I have come to play chess against thee, for well
thou knowest, dear to the perfect warrior after war is chess. '
'I know it,' answered Dhoya.
'And when we have played, Dhoya, we will name the stake. '
'Do not play,' whispered his companion at his side.
But Dhoya, being filled with his anger-fit at the sight of his enemy,
answered, 'I will play, and I know well the stake you mean, and I name
this for mine, that I may again have my knee on your chest and my hands
on your throat, and that you will not again change into a bundle
of wet reeds. ' His companion lay down on a skin and began to cry a
little. Dhoya felt sure of winning. He had often played in his boyhood,
before the time of his anger-fits, with his masters of the galley; and
besides, he could always return to his hands and his weapons once more.
Now the floor of the cave was of smooth, white sand, brought from
the seashore in his great Fomorian pitcher, to make it soft for his
beloved to walk upon; before it had been, as it now is, of rough clay.
On this sand the red-capped stranger marked out with his spear-point
a chess-board, and marked with rushes, crossed and recrossed each
alternate square, fixing each end of the rush in the sand, until a
complete board was finished of white and green squares, and then drew
from a bag large chessmen of mingled wood and silver. Two or three
would have made an armful for a child. Standing each at his end they
began to play. The game did not last long. No matter how carefully
Dhoya played, each move went against him. At last, leaping back from
the board, he cried, 'I have lost! ' The two spirits were standing
together at the entrance. Dhoya seized his spear, but slowly the
figures began to fade, first a star and then the leaves showed through
their forms. Soon all had vanished away.
Then, understanding his loss, he threw himself on the ground, and
rolling hither and thither, roared like a wild beast. All night long he
lay on the ground, and all the next day till nightfall. He had crumbled
his staff unconsciously between his fingers into small pieces, and now,
full of dull rage, the pointed end of the staff still in his hand,
arose and went forth westward. In a ravine of the northern mountain
he came on the tracks of wild horses. Soon one passed him fearlessly,
knowing nothing of man. He drove the pointed end of the staff deep in
the flank, making a great wound, sending the horse rushing with short
screams down the mountain. Other horses passed him one by one, driven
southward by a cold wind laden with mist, arisen in the night-time.
Towards the end of the ravine stood one black and huge, the leader of
the herd. Dhoya leaped on his back with a loud cry that sent a raven
circling from the neighbouring cliff, and the horse, after vainly
seeking to throw him, rushed off towards the north-west, over the
heights of the mountains where the mists floated. The moon, clear
sometimes of the flying clouds, from low down in the south-east, cast
a pale and mutable light, making their shadow rise before them on
the mists, as though they pursued some colossal demon, sombre on his
black charger. Then leaving the heights they rushed down that valley
where, in far later times, Diarmuid hid in a deep cavern his Grania,
and passed the stream where Muadhan, their savage servant, caught fish
for them on a hook baited with a quicken-berry. On over the plains,
on northward, mile after mile, the wild gigantic horse leaping cliff
and chasm in his terrible race; on until the mountains of what is now
Donegal rose before them--over these among the clouds, driving rain
blowing in their faces from the sea, Dhoya knowing not whither he went,
or why he rode. On--the stones loosened by the hoofs rumbling down into
the valleys--till far in the distance he saw the sea, a thousand feet
below him; then, fixing his eyes thereon, and using the spear-point as
a goad, he roused his black horse into redoubled speed, until horse and
rider plunged headlong into the Western Sea.
Sometimes the cotters on the mountains of Donegal hear on windy nights
a sudden sound of horses' hoofs, and say to each other, 'There goes
Dhoya. ' And at the same hour men say if any be abroad in the valleys
they see a huge shadow rushing along the mountain.
_Printed by_ A. H. BULLEN, _at The Shakespeare Head Press,
Stratford-on-Avon_.
* * * * *
Transcriber's Notes:
Repeated story titles were removed to avoid redundancy. Obvious
punctuation errors repaired. Varied hyphenation was retained.
End of the Project Gutenberg EBook of The Collected Works in Verse and Prose
of William Butler Yeats, Vol. 7 (of 8), by William Butler Yeats
*** END OF THIS PROJECT GUTENBERG EBOOK WORKS OF W B YEATS, VOL 7 ***
***** This file should be named 49614-0. txt or 49614-0. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/4/9/6/1/49614/
Produced by Emmy, mollypit and the Online Distributed
Proofreading Team at http://www. pgdp. net (This file was
produced from images generously made available by The
Internet Archive)
Updated editions will replace the previous one--the old editions will
be renamed.
Creating the works from print editions not protected by U. S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you! ) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg-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 in the United States with eBooks
not protected by U. S. copyright law. Redistribution is subject to the
trademark license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-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 unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg-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 in the United States and
most other parts of the world at no cost and with almost no
restrictions whatsoever. You may copy it, give it away or re-use it
under the terms of the Project Gutenberg License included with this
eBook or online at www. gutenberg. org. If you are not located in the
United States, you'll have to check the laws of the country where you
are located before using this ebook.
1. E. 2. If an individual Project Gutenberg-tm electronic work is
derived from texts not protected by U. S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase "Project
Gutenberg" associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1. E. 1 through 1. E. 7 or
obtain permission for the use of the work and the Project Gutenberg-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 The
Project Gutenberg Trademark LLC, 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
works not protected by U. S. copyright law 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 1. F. 3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1. F. 3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.
1. F. 4. Except for the limited right of replacement or refund set forth
in paragraph 1. F. 3, this work is provided to you 'AS-IS', WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1. F. 5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.
1. F. 6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-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 information page at
www. gutenberg. org
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U. S. federal laws and your state's laws.
The Foundation's principal office is in Fairbanks, Alaska, with the
mailing address: PO Box 750175, Fairbanks, AK 99775, 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 contact links and up to
date contact information can be found at the Foundation's web site and
official page at www. gutenberg. org/contact
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf. org
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 www. gutenberg. org/donate
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U. S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www. gutenberg. org/donate
Section 5. General Information About Project Gutenberg-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 forty 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 not protected by copyright in
the U. S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.
Most people start at our Web site which has the main PG search
facility: 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.