No More Learning

No wind;
the trees merge, green with green;
a car whirs by;
footsteps and voices take their pitch
in the key of dusk,
far-off and near, subdued.

Solid and square to the world
the houses stand,
their windows blocked with venetian blinds.

Nothing will move them.


EAU-FORTE

On black bare trees a stale cream moon
hangs dead, and sours the unborn buds.

Two gaunt old hacks, knees bent, heads low,
tug, tired and spent, an old horse tram.

Damp smoke, rank mist fill the dark square;
and round the bend six bullocks come.

A hobbling, dirt-grimed drover guides
their clattering feet to death and shame.




D. H. LAWRENCE



D. H. LAWRENCE


BALLAD OF ANOTHER OPHELIA

Oh, the green glimmer of apples in the orchard,
Lamps in a wash of rain,
Oh, the wet walk of my brown hen through the stackyard,
Oh, tears on the window pane!

Nothing now will ripen the bright green apples,
Full of disappointment and of rain,
Brackish they will taste, of tears, when the yellow dapples
Of Autumn tell the withered tale again.

All round the yard it is cluck, my brown hen,
Cluck, and the rain-wet wings,
Cluck, my marigold bird, and again
Cluck for your yellow darlings.

For the grey rat found the gold thirteen
Huddled away in the dark,
Flutter for a moment, oh the beast is quick and keen,
Extinct one yellow-fluffy spark.

* * * * * *

Once I had a lover bright like running water,
Once his face was laughing like the sky;
Open like the sky looking down in all its laughter
On the buttercups--and buttercups was I.

What then is there hidden in the skirts of all the blossom,
What is peeping from your wings, oh mother hen?
'T is the sun who asks the question, in a lovely haste for wisdom--
What a lovely haste for wisdom is in men?

Yea, but it is cruel when undressed is all the blossom,
And her shift is lying white upon the floor,
That a grey one, like a shadow, like a rat, a thief, a rain-storm
Creeps upon her then and gathers in his store.

Oh, the grey garner that is full of half-grown apples,
Oh, the golden sparkles laid extinct--!
And oh, behind the cloud sheaves, like yellow autumn dapples,
Did you see the wicked sun that winked?


ILLICIT

In front of the sombre mountains, a faint, lost ribbon of rainbow,
And between us and it, the thunder;
And down below, in the green wheat, the labourers
Stand like dark stumps, still in the green wheat.

You are near to me, and your naked feet in their sandals,
And through the scent of the balcony's naked timber
I distinguish the scent of your hair; so now the limber
Lightning falls from heaven.

Adown the pale-green, glacier-river floats
A dark boat through the gloom--and whither?
The thunder roars. But still we have each other.
The naked lightnings in the heaven dither
And disappear. What have we but each other?
The boat has gone.


FIREFLIES IN THE CORN

_A Woman taunts her Lover_
Look at the little darlings in the corn!
The rye is taller than you, who think yourself
So high and mighty: look how its heads are borne
Dark and proud in the sky, like a number of knights
Passing with spears and pennants and manly scorn.

And always likely! --Oh, if I could ride
With my head held high-serene against the sky
Do you think I'd have a creature like you at my side
With your gloom and your doubt that you love me? O darling rye,
How I adore you for your simple pride!

And those bright fireflies wafting in between
And over the swaying cornstalks, just above
All their dark-feathered helmets, like little green
Stars come low and wandering here for love
Of this dark earth, and wandering all serene--!

How I adore you, you happy things, you dears
Riding the air and carrying all the time
Your little lanterns behind you: it cheers
My heart to see you settling and trying to climb
The cornstalks, tipping with fire their spears.

All over the corn's dim motion, against the blue
Dark sky of night, the wandering glitter, the swarm
Of questing brilliant things:--you joy, you true
Spirit of careless joy: ah, how I warm
My poor and perished soul at the joy of you!

_The Man answers and she mocks_
You're a fool, woman. I love you and you know I do!
--Lord, take his love away, it makes him whine.
And I give you everything that you want me to.
--Lord, dear Lord, do you think he ever _can_ shine?


A WOMAN AND HER DEAD HUSBAND

Ah, stern cold man,
How can you lie so relentless hard
While I wash you with weeping water!
Ah, face, carved hard and cold,
You have been like this, on your guard
Against me, since death began.

You masquerader!
How can you shame to act this part
Of unswerving indifference to me?
It is not you; why disguise yourself
Against me, to break my heart,
You evader?

You've a warm mouth,
A good warm mouth always sooner to soften
Even than your sudden eyes.
Ah cruel, to keep your mouth
Relentless, however often
I kiss it in drouth.

You are not he.
Who are you, lying in his place on the bed
And rigid and indifferent to me?
His mouth, though he laughed or sulked
Was always warm and red
And good to me.

And his eyes could see
The white moon hang like a breast revealed
By the slipping shawl of stars,
Could see the small stars tremble
As the heart beneath did wield
Systole, diastole.

And he showed it me
So, when he made his love to me;
And his brows like rocks on the sea jut out,
And his eyes were deep like the sea
With shadow, and he looked at me,
Till I sank in him like the sea,
Awfully.

Oh, he was multiform--
Which then was he among the manifold?
The gay, the sorrowful, the seer?
I have loved a rich race of men in one--
--But not this, this never-warm
Metal-cold--!

Ah, masquerader!
With your steel face white-enamelled
Were you he, after all, and I never
Saw you or felt you in kissing?
--Yet sometimes my heart was trammelled
With fear, evader!

You will not stir,
Nor hear me, not a sound.
--Then it was you--
And all this time you were
Like this when I lived with you.
It is not true,
I am frightened, I am frightened of you
And of everything.
O God! --God too
Has deceived me in everything,
In everything.


THE MOWERS

There's four men mowing down by the river;
I can hear the sound of the scythe strokes, four
Sharp breaths swishing:--yea, but I
Am sorry for what's i' store.

The first man out o' the four that's mowin'
Is mine: I mun claim him once for all:
--But I'm sorry for him, on his young feet, knowin'
None o' the trouble he's led to stall.

As he sees me bringin' the dinner, he lifts
His head as proud as a deer that looks
Shoulder-deep out o' th' corn: and wipes
His scythe blade bright, unhooks

His scythe stone, an' over the grass to me!
--Lad, tha 's gotten a chilt in me,
An' a man an' a father tha 'lt ha'e to be,
My young slim lad, an' I'm sorry for thee.


SCENT OF IRISES

A faint, sickening scent of irises
Persists all morning. Here in a jar on the table
A fine proud spike of purple irises
Rising above the class-room litter, makes me unable
To see the class's lifted and bended faces
Save in a broken pattern, amid purple and gold and sable.

I can smell the gorgeous bog-end, in its breathless
Dazzle of may-blobs, when the marigold glare overcast
You with fire on your brow and your cheeks and your chin as you dipped
Your face in your marigold bunch, to touch and contrast
Your own dark mouth with the bridal faint lady-smocks
Dissolved in the golden sorcery you should not outlast.

You amid the bog-end's yellow incantation,
You sitting in the cowslips of the meadows above,
--Me, your shadow on the bog-flame, flowery may-blobs,
Me full length in the cowslips, muttering you love--
You, your soul like a lady-smock, lost, evanescent,
You, with your face all rich, like the sheen on a dove--!

You are always asking, do I remember, remember
The buttercup bog-end where the flowers rose up
And kindled you over deep with a coat of gold?
You ask again, do the healing days close up
The open darkness which then drew us in,
The dark that swallows all, and nought throws up.

You upon the dry, dead beech-leaves, in the fire of night
Burnt like a sacrifice;--you invisible--
Only the fire of darkness, and the scent of you!
--And yes, thank God, it still is possible
The healing days shall close the darkness up
Wherein I breathed you like a smoke or dew.

Like vapour, dew, or poison. Now, thank God,
The golden fire has gone, and your face is ash
Indistinguishable in the grey, chill day,
The night has burnt you out, at last the good
Dark fire burns on untroubled without clash
Of you upon the dead leaves saying me yea.


GREEN

The sky was apple-green,
The sky was green wine held up in the sun,
The moon was a golden petal between.

She opened her eyes, and green
They shone, clear like flowers undone,
For the first time, now for the first time seen.




AMY LOWELL



AMY LOWELL


VENUS TRANSIENS

Tell me,
Was Venus more beautiful
Than you are,
When she topped
The crinkled waves,
Drifting shoreward
On her plaited shell?
Was Botticelli's vision
Fairer than mine;
And were the painted rosebuds
He tossed his lady,
Of better worth
Than the words I blow about you
To cover your too great loveliness
As with a gauze
Of misted silver?

For me,
You stand poised
In the blue and buoyant air,
Cinctured by bright winds,
Treading the sunlight.
And the waves which precede you
Ripple and stir
The sands at my feet.


THE TRAVELLING BEAR

Grass-blades push up between the cobblestones
And catch the sun on their flat sides
Shooting it back,
Gold and emerald,
Into the eyes of passers-by.

And over the cobblestones,
Square-footed and heavy,
Dances the trained bear.
Tho cobbles cut his feet,
And he has a ring in his nose
Which hurts him;
But still he dances,
For the keeper pricks him with a sharp stick,
Under his fur.

Now the crowd gapes and chuckles,
And boys and young women shuffle their feet in time to the dancing bear.
They see him wobbling
Against a dust of emerald and gold,
And they are greatly delighted.

The legs of the bear shake with fatigue
And his back aches,
And the shining grass-blades dazzle and confuse him.
But still he dances,
Because of the little, pointed stick.


THE LETTER

Little cramped words scrawling all over the paper
Like draggled fly's legs,
What can you tell of the flaring moon
Through the oak leaves?
Or of my uncurtained window and the bare floor
Spattered with moonlight?
Your silly quirks and twists have nothing in them
Of blossoming hawthorns,
And this paper is dull, crisp, smooth, virgin of loveliness
Beneath my hand.

I am tired, Beloved, of chafing my heart against
The want of you;
Of squeezing it into little inkdrops,
And posting it.
And I scald alone, here, under the fire
Of the great moon.


GROTESQUE

Why do the lilies goggle their tongues at me
When I pluck them;
And writhe, and twist,
And strangle themselves against my fingers,
So that I can hardly weave the garland
For your hair?
Why do they shriek your name
And spit at me
When I would cluster them?
Must I kill them
To make them lie still,
And send you a wreath of lolling corpses
To turn putrid and soft
On your forehead
While you dance?


BULLION

My thoughts
Chink against my ribs
And roll about like silver hail-stones.
I should like to spill them out,
And pour them, all shining,
Over you.
But my heart is shut upon them
And holds them straitly.

Come, You! and open my heart;
That my thoughts torment me no longer,
But glitter in your hair.


SOLITAIRE

When night drifts along the streets of the city,
And sifts down between the uneven roofs,
My mind begins to peek and peer.
It plays at ball in old, blue Chinese gardens,
And shakes wrought dice-cups in Pagan temples,
Amid the broken flutings of white pillars.
It dances with purple and yellow crocuses in its hair,
And its feet shine as they flutter over drenched grasses.
How light and laughing my mind is,
When all the good folk have put out their bed-room candles,
And the city is still!


THE BOMBARDMENT

Slowly, without force, the rain drops into the city. It stops a moment on
the carved head of Saint John, then slides on again, slipping and
trickling over his stone cloak. It splashes from the lead conduit of a
gargoyle, and falls from it in turmoil on the stones in the Cathedral
square. Where are the people, and why does the fretted steeple sweep about
in the sky? Boom! The sound swings against the rain. Boom, again! After
it, only water rushing in the gutters, and the turmoil from the spout of
the gargoyle. Silence. Ripples and mutters. Boom!

The room is damp, but warm. Little flashes swarm about from the firelight.
The lustres of the chandelier are bright, and clusters of rubies leap in
the bohemian glasses on the _étagère_. Her hands are restless, but the
white masses of her hair are quite still. Boom! Will it never cease to
torture, this iteration! Boom! The vibration shatters a glass on the
_étagère_. It lies there formless and glowing, with all its crimson gleams
shot out of pattern, spilled, flowing red, blood-red. A thin bell-note
pricks through the silence. A door creaks. The old lady speaks: "Victor,
clear away that broken glass. " "Alas! Madame, the bohemian glass! " "Yes,
Victor, one hundred years ago my father brought it--" Boom! The room
shakes, the servitor quakes. Another goblet shivers and breaks. Boom!

It rustles at the window-pane, the smooth, streaming rain, and he is shut
within its clash and murmur. Inside is his candle, his table, his ink, his
pen, and his dreams. He is thinking, and the walls are pierced with beams
of sunshine, slipping through young green. A fountain tosses itself up at
the blue sky, and through the spattered water in the basin he can see
copper carp, lazily floating among cold leaves. A wind-harp in a
cedar-tree grieves and whispers, and words blow into his brain, bubbled,
iridescent, shooting up like flowers of fire, higher and higher. Boom! The
flame-flowers snap on their slender stems. The fountain rears up in long
broken spears of disheveled water and flattens into the earth. Boom! And
there is only the room, the table, the candle, and the sliding rain.
Again, Boom! --Boom! --Boom! He stuffs his fingers into his ears. He sees
corpses, and cries out in fright. Boom! It is night, and they are shelling
the city! Boom! Boom!

A child wakes and is afraid, and weeps in the darkness. What has made the
bed shake? "Mother, where are you? I am awake. " "Hush, my Darling, I am
here. " "But, Mother, something so queer happened, the room shook. " Boom!
"Oh! What is it? What is the matter? " Boom! "Where is Father? I am so
afraid. " Boom! The child sobs and shrieks. The house trembles and creaks.
Boom!

Retorts, globes, tubes, and phials lie shattered. All his trials oozing
across the floor. The life that was his choosing, lonely, urgent, goaded
by a hope, all gone. A weary man in a ruined laboratory, that was his
story. Boom! Gloom and ignorance, and the jig of drunken brutes. Diseases
like snakes crawling over the earth, leaving trails of slime. Wails from
people burying their dead. Through the window he can see the rocking
steeple. A ball of fire falls on the lead of the roof, and the sky tears
apart on a spike of flame. Up the spire, behind the lacings of stone,
zig-zagging in and out of the carved tracings, squirms the fire. It spouts
like yellow wheat from the gargoyles, coils round the head of Saint John,
and aureoles him in light. It leaps into the night and hisses against the
rain. The Cathedral is a burning stain on the white, wet night.

Boom! The Cathedral is a torch, and the houses next to it begin to scorch.
Boom! The bohemian glass on the _étagère_ is no longer there. Boom! A
stalk of flame sways against the red damask curtains. The old lady cannot
walk. She watches the creeping stalk and counts. Boom! --Boom! --Boom!

The poet rushes into the street, and the rain wraps him in a sheet of
silver.
But it is threaded with gold and powdered with scarlet beads. The
city burns. Quivering, spearing, thrusting, lapping, streaming, run the
flames. Over roofs, and walls, and shops, and stalls. Smearing its gold on
the sky the fire dances, lances itself through the doors, and lisps and
chuckles along the floors.

The child wakes again and screams at the yellow petalled flower flickering
at the window. The little red lips of flame creep along the ceiling beams.

The old man sits among his broken experiments and looks at the burning
Cathedral. Now the streets are swarming with people. They seek shelter and
crowd into the cellars. They shout and call, and over all, slowly and
without force, the rain drops into the city. Boom! And the steeple crashes
down among the people. Boom! Boom, again! The water rushes along the
gutters. The fire roars and mutters. Boom!


THE END




BIBLIOGRAPHY



BIBLIOGRAPHY


JOHN GOULD FLETCHER
_Fire and Wine. _ Grant Richards, Ltd. , London, 1913.
_Fool's Gold. _ Max Goschen, London, 1913.
_The Dominant City. _ Max Goschen, London, 1913.
_The Book of Nature. _ Constable & Co. , London, 1913.
_Visions of the Evening. _ Erskine McDonald, London, 1913.
_Irradiations: Sand and Spray. _ Houghton Mifflin Company, Boston, 1914.


F. S. FLINT
_The Net of Stars. _ Elkin Mathews, London, 1909.


D. H. LAWRENCE
_Love Poems and Others. _ Duckworth & Co. , London, 1913.
Prose: _The White Peacock. _ William Heinemann, London, 1911.
_The Trespasser. _ Duckworth & Co. , London, 1912.
_Sons and Lovers. _ Duckworth & Co. , London, 1913.
Drama: _The Widowing of Mrs. Holroyd. _ Mitchell Kennerley, New York,
1914.


AMY LOWELL
_A Dome of Many-Coloured Glass. _ Houghton Mifflin Company, Boston,
1912. The Macmillan Company, New York, 1914.
_Sword Blades and Poppy Seed. _ The Macmillan Company, New York; and
Macmillan & Co. , London, 1914.



The Riverside Press

CAMBRIDGE . MASSACHUSETTS

U . S . A





End of the Project Gutenberg EBook of Some Imagist Poets, by
Richard Aldington and H. D. and John Gould Fletcher and F. S. Flint and D. H. Lawrence and Amy Lowell

*** END OF THIS PROJECT GUTENBERG EBOOK SOME IMAGIST POETS ***

***** This file should be named 30276-8. txt or 30276-8. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/3/0/2/7/30276/

Produced by Meredith Bach, Stephanie Eason, 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
http://gutenberg. org/license).


Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1. A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1. E. 8.

1. B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1. C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1. E below.

1. C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1. D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1. E. Unless you have removed all references to Project Gutenberg:

1. E. 1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. org

1. E. 2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1. E. 1
through 1. E. 7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1. E. 8 or
1. E. 9.

1. E. 3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1. E. 1 through 1. E. 7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1. E. 4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1. E. 5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1. E. 1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1. E. 6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www. gutenberg. org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1. E. 1.

1. E. 7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1. E. 8 or 1. E. 9.

1. E. 8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation. "

- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1. F. 3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.

- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.

1. E. 9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.

1. F.

1. F. 1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.