No More Learning

Of That Blithe Throat of Thine

Of that blithe throat of thine from arctic bleak and blank,
I'll mind the lesson, solitary bird--let me too welcome chilling drifts,
E'en the profoundest chill, as now--a torpid pulse, a brain unnerv'd,
Old age land-lock'd within its winter bay--(cold, cold, O cold! )
These snowy hairs, my feeble arm, my frozen feet,
For them thy faith, thy rule I take, and grave it to the last;
Not summer's zones alone--not chants of youth, or south's warm tides alone,
But held by sluggish floes, pack'd in the northern ice, the cumulus
of years,
These with gay heart I also sing.




Broadway

What hurrying human tides, or day or night!
What passions, winnings, losses, ardors, swim thy waters!
What whirls of evil, bliss and sorrow, stem thee!
What curious questioning glances--glints of love!
Leer, envy, scorn, contempt, hope, aspiration!
Thou portal--thou arena--thou of the myriad long-drawn lines and groups!
(Could but thy flagstones, curbs, facades, tell their inimitable tales;
Thy windows rich, and huge hotels--thy side-walks wide;)
Thou of the endless sliding, mincing, shuffling feet!
Thou, like the parti-colored world itself--like infinite, teeming,
mocking life!
Thou visor'd, vast, unspeakable show and lesson!




To Get the Final Lilt of Songs

To get the final lilt of songs,
To penetrate the inmost lore of poets--to know the mighty ones,
Job, Homer, Eschylus, Dante, Shakespere, Tennyson, Emerson;
To diagnose the shifting-delicate tints of love and pride and doubt--
to truly understand,
To encompass these, the last keen faculty and entrance-price,
Old age, and what it brings from all its past experiences.




Old Salt Kossabone

Far back, related on my mother's side,
Old Salt Kossabone, I'll tell you how he died:
(Had been a sailor all his life--was nearly 90--lived with his
married grandchild, Jenny;
House on a hill, with view of bay at hand, and distant cape, and
stretch to open sea;)
The last of afternoons, the evening hours, for many a year his
regular custom,
In his great arm chair by the window seated,
(Sometimes, indeed, through half the day,)
Watching the coming, going of the vessels, he mutters to himself--
And now the close of all:
One struggling outbound brig, one day, baffled for long--cross-tides
and much wrong going,
At last at nightfall strikes the breeze aright, her whole luck veering,
And swiftly bending round the cape, the darkness proudly entering,
cleaving, as he watches,
"She's free--she's on her destination"--these the last words--when
Jenny came, he sat there dead,
Dutch Kossabone, Old Salt, related on my mother's side, far back.




The Dead Tenor

As down the stage again,
With Spanish hat and plumes, and gait inimitable,
Back from the fading lessons of the past, I'd call, I'd tell and own,
How much from thee! the revelation of the singing voice from thee!
(So firm--so liquid-soft--again that tremulous, manly timbre!
The perfect singing voice--deepest of all to me the lesson--trial
and test of all:)
How through those strains distill'd--how the rapt ears, the soul of
me, absorbing
Fernando's heart, Manrico's passionate call, Ernani's, sweet Gennaro's,
I fold thenceforth, or seek to fold, within my chants transmuting,
Freedom's and Love's and Faith's unloos'd cantabile,
(As perfume's, color's, sunlight's correlation:)
From these, for these, with these, a hurried line, dead tenor,
A wafted autumn leaf, dropt in the closing grave, the shovel'd earth,
To memory of thee.




Continuities

Nothing is ever really lost, or can be lost,
No birth, identity, form--no object of the world.
Nor life, nor force, nor any visible thing;
Appearance must not foil, nor shifted sphere confuse thy brain.
Ample are time and space--ample the fields of Nature.
The body, sluggish, aged, cold--the embers left from earlier fires,
The light in the eye grown dim, shall duly flame again;
The sun now low in the west rises for mornings and for noons continual;
To frozen clods ever the spring's invisible law returns,
With grass and flowers and summer fruits and corn.




Yonnondio

A song, a poem of itself--the word itself a dirge,
Amid the wilds, the rocks, the storm and wintry night,
To me such misty, strange tableaux the syllables calling up;
Yonnondio--I see, far in the west or north, a limitless ravine, with
plains and mountains dark,
I see swarms of stalwart chieftains, medicine-men, and warriors,
As flitting by like clouds of ghosts, they pass and are gone in the
twilight,
(Race of the woods, the landscapes free, and the falls!
No picture, poem, statement, passing them to the future:)
Yonnondio! Yonnondio! --unlimn'd they disappear;
To-day gives place, and fades--the cities, farms, factories fade;
A muffled sonorous sound, a wailing word is borne through the air
for a moment,
Then blank and gone and still, and utterly lost.




Life

Ever the undiscouraged, resolute, struggling soul of man;
(Have former armies fail'd? then we send fresh armies--and fresh again;)
Ever the grappled mystery of all earth's ages old or new;
Ever the eager eyes, hurrahs, the welcome-clapping hands, the loud
applause;
Ever the soul dissatisfied, curious, unconvinced at last;
Struggling to-day the same--battling the same.




"Going Somewhere"

My science-friend, my noblest woman-friend,
(Now buried in an English grave--and this a memory-leaf for her dear sake,)
Ended our talk--"The sum, concluding all we know of old or modern
learning, intuitions deep,
"Of all Geologies--Histories--of all Astronomy--of Evolution,
Metaphysics all,
"Is, that we all are onward, onward, speeding slowly, surely bettering,
"Life, life an endless march, an endless army, (no halt, but it is
duly over,)
"The world, the race, the soul--in space and time the universes,
"All bound as is befitting each--all surely going somewhere. "




Small the Theme of My Chant

Small the theme of my Chant, yet the greatest--namely, One's-Self--
a simple, separate person. That, for the use of the New World, I sing.
Man's physiology complete, from top to toe, I sing. Not physiognomy alone,
nor brain alone, is worthy for the Muse;--I say the Form complete
is worthier far. The Female equally with the Male, I sing.
Nor cease at the theme of One's-Self. I speak the word of the
modern, the word En-Masse.
My Days I sing, and the Lands--with interstice I knew of hapless War.
(O friend, whoe'er you are, at last arriving hither to commence, I
feel through every leaf the pressure of your hand, which I return.
And thus upon our journey, footing the road, and more than once, and
link'd together let us go. )




True Conquerors

Old farmers, travelers, workmen (no matter how crippled or bent,)
Old sailors, out of many a perilous voyage, storm and wreck,
Old soldiers from campaigns, with all their wounds, defeats and scars;
Enough that they've survived at all--long life's unflinching ones!
Forth from their struggles, trials, fights, to have emerged at all--
in that alone,
True conquerors o'er all the rest.




The United States to Old World Critics

Here first the duties of to-day, the lessons of the concrete,
Wealth, order, travel, shelter, products, plenty;
As of the building of some varied, vast, perpetual edifice,
Whence to arise inevitable in time, the towering roofs, the lamps,
The solid-planted spires tall shooting to the stars.




The Calming Thought of All

That coursing on, whate'er men's speculations,
Amid the changing schools, theologies, philosophies,
Amid the bawling presentations new and old,
The round earth's silent vital laws, facts, modes continue.




Thanks in Old Age

Thanks in old age--thanks ere I go,
For health, the midday sun, the impalpable air--for life, mere life,
For precious ever-lingering memories, (of you my mother dear--you,
father--you, brothers, sisters, friends,)
For all my days--not those of peace alone--the days of war the same,
For gentle words, caresses, gifts from foreign lands,
For shelter, wine and meat--for sweet appreciation,
(You distant, dim unknown--or young or old--countless, unspecified,
readers belov'd,
We never met, and neer shall meet--and yet our souls embrace, long,
close and long;)
For beings, groups, love, deeds, words, books--for colors, forms,
For all the brave strong men--devoted, hardy men--who've forward
sprung in freedom's help, all years, all lands
For braver, stronger, more devoted men--(a special laurel ere I go,
to life's war's chosen ones,
The cannoneers of song and thought--the great artillerists--the
foremost leaders, captains of the soul:)
As soldier from an ended war return'd--As traveler out of myriads,
to the long procession retrospective,
Thanks--joyful thanks! --a soldier's, traveler's thanks.




Life and Death

The two old, simple problems ever intertwined,
Close home, elusive, present, baffled, grappled.
By each successive age insoluble, pass'd on,
To ours to-day--and we pass on the same.




The Voice of the Rain

And who art thou? said I to the soft-falling shower,
Which, strange to tell, gave me an answer, as here translated:
I am the Poem of Earth, said the voice of the rain,
Eternal I rise impalpable out of the land and the bottomless sea,
Upward to heaven, whence, vaguely form'd, altogether changed, and
yet the same,
I descend to lave the drouths, atomies, dust-layers of the globe,
And all that in them without me were seeds only, latent, unborn;
And forever, by day and night, I give back life to my own origin,
and make pure and beautify it;
(For song, issuing from its birth-place, after fulfilment, wandering,
Reck'd or unreck'd, duly with love returns. )




Soon Shall the Winter's Foil Be Here

Soon shall the winter's foil be here;
Soon shall these icy ligatures unbind and melt--A little while,
And air, soil, wave, suffused shall be in softness, bloom and
growth--a thousand forms shall rise
From these dead clods and chills as from low burial graves.

Thine eyes, ears--all thy best attributes--all that takes cognizance
of natural beauty,
Shall wake and fill. Thou shalt perceive the simple shows, the
delicate miracles of earth,
Dandelions, clover, the emerald grass, the early scents and flowers,
The arbutus under foot, the willow's yellow-green, the blossoming
plum and cherry;
With these the robin, lark and thrush, singing their songs--the
flitting bluebird;
For such the scenes the annual play brings on.




While Not the Past Forgetting

While not the past forgetting,
To-day, at least, contention sunk entire--peace, brotherhood uprisen;
For sign reciprocal our Northern, Southern hands,
Lay on the graves of all dead soldiers, North or South,
(Nor for the past alone--for meanings to the future,)
Wreaths of roses and branches of palm.




The Dying Veteran

Amid these days of order, ease, prosperity,
Amid the current songs of beauty, peace, decorum,
I cast a reminiscence--(likely 'twill offend you,
I heard it in my boyhood;)--More than a generation since,
A queer old savage man, a fighter under Washington himself,
(Large, brave, cleanly, hot-blooded, no talker, rather spiritualistic,
Had fought in the ranks--fought well--had been all through the
Revolutionary war,)
Lay dying--sons, daughters, church-deacons, lovingly tending him,
Sharping their sense, their ears, towards his murmuring, half-caught words:
"Let me return again to my war-days,
To the sights and scenes--to forming the line of battle,
To the scouts ahead reconnoitering,
To the cannons, the grim artillery,
To the galloping aides, carrying orders,
To the wounded, the fallen, the heat, the suspense,
The perfume strong, the smoke, the deafening noise;
Away with your life of peace! --your joys of peace!
Give me my old wild battle-life again! "




Stronger Lessons

Have you learn'd lessons only of those who admired you, and were
tender with you, and stood aside for you?
Have you not learn'd great lessons from those who reject you, and
brace themselves against you? or who treat you with contempt,
or dispute the passage with you?




A Prairie Sunset

Shot gold, maroon and violet, dazzling silver, emerald, fawn,
The earth's whole amplitude and Nature's multiform power consign'd
for once to colors;
The light, the general air possess'd by them--colors till now unknown,
No limit, confine--not the Western sky alone--the high meridian--
North, South, all,
Pure luminous color fighting the silent shadows to the last.




Twenty Years

Down on the ancient wharf, the sand, I sit, with a new-comer chatting:
He shipp'd as green-hand boy, and sail'd away, (took some sudden,
vehement notion;)
Since, twenty years and more have circled round and round,
While he the globe was circling round and round, --and now returns:
How changed the place--all the old land-marks gone--the parents dead;
(Yes, he comes back to lay in port for good--to settle--has a
well-fill'd purse--no spot will do but this;)
The little boat that scull'd him from the sloop, now held in leash I see,
I hear the slapping waves, the restless keel, the rocking in the sand,
I see the sailor kit, the canvas bag, the great box bound with brass,
I scan the face all berry-brown and bearded--the stout-strong frame,
Dress'd in its russet suit of good Scotch cloth:
(Then what the told-out story of those twenty years? What of the future? )




Orange Buds by Mail from Florida

A lesser proof than old Voltaire's, yet greater,
Proof of this present time, and thee, thy broad expanse, America,
To my plain Northern hut, in outside clouds and snow,
Brought safely for a thousand miles o'er land and tide,
Some three days since on their own soil live-sprouting,
Now here their sweetness through my room unfolding,
A bunch of orange buds by mall from Florida.




Twilight

The soft voluptuous opiate shades,
The sun just gone, the eager light dispell'd--(I too will soon be
gone, dispell'd,)
A haze--nirwana--rest and night--oblivion.




You Lingering Sparse Leaves of Me

You lingering sparse leaves of me on winter-nearing boughs,
And I some well-shorn tree of field or orchard-row;
You tokens diminute and lorn--(not now the flush of May, or July
clover-bloom--no grain of August now;)
You pallid banner-staves--you pennants valueless--you overstay'd of time,
Yet my soul-dearest leaves confirming all the rest,
The faithfulest--hardiest--last.




Not Meagre, Latent Boughs Alone

Not meagre, latent boughs alone, O songs! (scaly and bare, like
eagles' talons,)
But haply for some sunny day (who knows? ) some future spring, some
summer--bursting forth,
To verdant leaves, or sheltering shade--to nourishing fruit,
Apples and grapes--the stalwart limbs of trees emerging--the fresh,
free, open air,
And love and faith, like scented roses blooming.




The Dead Emperor

To-day, with bending head and eyes, thou, too, Columbia,
Less for the mighty crown laid low in sorrow--less for the Emperor,
Thy true condolence breathest, sendest out o'er many a salt sea mile,
Mourning a good old man--a faithful shepherd, patriot.




As the Greek's Signal Flame

As the Greek's signal flame, by antique records told,
Rose from the hill-top, like applause and glory,
Welcoming in fame some special veteran, hero,
With rosy tinge reddening the land he'd served,
So I aloft from Mannahatta's ship-fringed shore,
Lift high a kindled brand for thee, Old Poet.




The Dismantled Ship

In some unused lagoon, some nameless bay,
On sluggish, lonesome waters, anchor'd near the shore,
An old, dismasted, gray and batter'd ship, disabled, done,
After free voyages to all the seas of earth, haul'd up at last and
hawser'd tight,
Lies rusting, mouldering.




Now Precedent Songs, Farewell

Now precedent songs, farewell--by every name farewell,
(Trains of a staggering line in many a strange procession, waggons,
From ups and downs--with intervals--from elder years, mid-age, or youth,)
"In Cabin'd Ships, or Thee Old Cause or Poets to Come
Or Paumanok, Song of Myself, Calamus, or Adam,
Or Beat! Beat! Drums! or To the Leaven'd Soil they Trod,
Or Captain! My Captain! Kosmos, Quicksand Years, or Thoughts,
Thou Mother with thy Equal Brood," and many, many more unspecified,
From fibre heart of mine--from throat and tongue--(My life's hot
pulsing blood,
The personal urge and form for me--not merely paper, automatic type
and ink,)
Each song of mine--each utterance in the past--having its long, long
history,
Of life or death, or soldier's wound, of country's loss or safety,
(O heaven! what flash and started endless train of all! compared
indeed to that!
What wretched shred e'en at the best of all! )




An Evening Lull

After a week of physical anguish,
Unrest and pain, and feverish heat,
Toward the ending day a calm and lull comes on,
Three hours of peace and soothing rest of brain.




Old Age's Lambent Peaks

The touch of flame--the illuminating fire--the loftiest look at last,
O'er city, passion, sea--o'er prairie, mountain, wood--the earth itself,
The airy, different, changing hues of all, in failing twilight,
Objects and groups, bearings, faces, reminiscences;
The calmer sight--the golden setting, clear and broad:
So much i' the atmosphere, the points of view, the situations whence
we scan,
Bro't out by them alone--so much (perhaps the best) unreck'd before;
The lights indeed from them--old age's lambent peaks.




After the Supper and Talk

After the supper and talk--after the day is done,
As a friend from friends his final withdrawal prolonging,
Good-bye and Good-bye with emotional lips repeating,
(So hard for his hand to release those hands--no more will they meet,
No more for communion of sorrow and joy, of old and young,
A far-stretching journey awaits him, to return no more,)
Shunning, postponing severance--seeking to ward off the last word
ever so little,
E'en at the exit-door turning--charges superfluous calling back--
e'en as he descends the steps,
Something to eke out a minute additional--shadows of nightfall deepening,
Farewells, messages lessening--dimmer the forthgoer's visage and form,
Soon to be lost for aye in the darkness--loth, O so loth to depart!
Garrulous to the very last.




BOOKXXXV. GOOD-BYE MY FANCY


Sail out for Good, Eidolon Yacht!

Heave the anchor short!
Raise main-sail and jib--steer forth,
O little white-hull'd sloop, now speed on really deep waters,
(I will not call it our concluding voyage,
But outset and sure entrance to the truest, best, maturest;)
Depart, depart from solid earth--no more returning to these shores,
Now on for aye our infinite free venture wending,
Spurning all yet tried ports, seas, hawsers, densities, gravitation,
Sail out for good, eidolon yacht of me!




Lingering Last Drops

And whence and why come you?

We know not whence, (was the answer,)
We only know that we drift here with the rest,
That we linger'd and lagg'd--but were wafted at last, and are now here,
To make the passing shower's concluding drops.




Good-Bye My Fancy

Good-bye my fancy--(I had a word to say,
But 'tis not quite the time--The best of any man's word or say,
Is when its proper place arrives--and for its meaning,
I keep mine till the last. )




On, on the Same, Ye Jocund Twain!

On, on the same, ye jocund twain!
My life and recitative, containing birth, youth, mid-age years,
Fitful as motley-tongues of flame, inseparably twined and merged in
one--combining all,
My single soul--aims, confirmations, failures, joys--Nor single soul alone,
I chant my nation's crucial stage, (America's, haply humanity's)--
the trial great, the victory great,
A strange eclaircissement of all the masses past, the eastern world,
the ancient, medieval,
Here, here from wanderings, strayings, lessons, wars, defeats--here
at the west a voice triumphant--justifying all,
A gladsome pealing cry--a song for once of utmost pride and satisfaction;
I chant from it the common bulk, the general average horde, (the
best sooner than the worst)--And now I chant old age,
(My verses, written first for forenoon life, and for the summer's,
autumn's spread,
I pass to snow-white hairs the same, and give to pulses
winter-cool'd the same;)
As here in careless trill, I and my recitatives, with faith and love,
wafting to other work, to unknown songs, conditions,
On, on ye jocund twain! continue on the same!




MY 71st Year

After surmounting three-score and ten,
With all their chances, changes, losses, sorrows,
My parents' deaths, the vagaries of my life, the many tearing
passions of me, the war of '63 and '4,
As some old broken soldier, after a long, hot, wearying march, or
haply after battle,
To-day at twilight, hobbling, answering company roll-call, Here,
with vital voice,
Reporting yet, saluting yet the Officer over all.




Apparitions

A vague mist hanging 'round half the pages:
(Sometimes how strange and clear to the soul,
That all these solid things are indeed but apparitions, concepts,
non-realities. )




The Pallid Wreath

Somehow I cannot let it go yet, funeral though it is,
Let it remain back there on its nail suspended,
With pink, blue, yellow, all blanch'd, and the white now gray and ashy,
One wither'd rose put years ago for thee, dear friend;
But I do not forget thee. Hast thou then faded?
Is the odor exhaled? Are the colors, vitalities, dead?
No, while memories subtly play--the past vivid as ever;
For but last night I woke, and in that spectral ring saw thee,
Thy smile, eyes, face, calm, silent, loving as ever:
So let the wreath hang still awhile within my eye-reach,
It is not yet dead to me, nor even pallid.




An Ended Day

The soothing sanity and blitheness of completion,
The pomp and hurried contest-glare and rush are done;
Now triumph! transformation! jubilate!




Old Age's Ship & Crafty Death's

From east and west across the horizon's edge,
Two mighty masterful vessels sailers steal upon us:
But we'll make race a-time upon the seas--a battle-contest yet! bear
lively there!
(Our joys of strife and derring-do to the last! )
Put on the old ship all her power to-day!
Crowd top-sail, top-gallant and royal studding-sails,
Out challenge and defiance--flags and flaunting pennants added,
As we take to the open--take to the deepest, freest waters.




To the Pending Year

Have I no weapon-word for thee--some message brief and fierce?
(Have I fought out and done indeed the battle? ) Is there no shot left,
For all thy affectations, lisps, scorns, manifold silliness?
Nor for myself--my own rebellious self in thee?

Down, down, proud gorge! --though choking thee;
Thy bearded throat and high-borne forehead to the gutter;
Crouch low thy neck to eleemosynary gifts.




Shakspere-Bacon's Cipher

I doubt it not--then more, far more;
In each old song bequeath'd--in every noble page or text,
(Different--something unreck'd before--some unsuspected author,)
In every object, mountain, tree, and star--in every birth and life,
As part of each--evolv'd from each--meaning, behind the ostent,
A mystic cipher waits infolded.




Long, Long Hence

After a long, long course, hundreds of years, denials,
Accumulations, rous'd love and joy and thought,
Hopes, wishes, aspirations, ponderings, victories, myriads of readers,
Coating, compassing, covering--after ages' and ages' encrustations,
Then only may these songs reach fruition.




Bravo, Paris Exposition!

Add to your show, before you close it, France,
With all the rest, visible, concrete, temples, towers, goods,
machines and ores,
Our sentiment wafted from many million heart-throbs, ethereal but solid,
(We grand-sons and great-grandsons do not forget your grandsires,)
From fifty Nations and nebulous Nations, compacted, sent oversea to-day,
America's applause, love, memories and good-will.




Interpolation Sounds

Over and through the burial chant,
Organ and solemn service, sermon, bending priests,
To me come interpolation sounds not in the show--plainly to me,
crowding up the aisle and from the window,
Of sudden battle's hurry and harsh noises--war's grim game to sight
and ear in earnest;
The scout call'd up and forward--the general mounted and his aides
around him--the new-brought word--the instantaneous order issued;
The rifle crack--the cannon thud--the rushing forth of men from their
tents;
The clank of cavalry--the strange celerity of forming ranks--the
slender bugle note;
The sound of horses' hoofs departing--saddles, arms, accoutrements.




To the Sun-Set Breeze

Ah, whispering, something again, unseen,
Where late this heated day thou enterest at my window, door,
Thou, laving, tempering all, cool-freshing, gently vitalizing
Me, old, alone, sick, weak-down, melted-worn with sweat;
Thou, nestling, folding close and firm yet soft, companion better
than talk, book, art,
(Thou hast, O Nature! elements! utterance to my heart beyond the
rest--and this is of them,)
So sweet thy primitive taste to breathe within--thy soothing fingers
my face and hands,
Thou, messenger--magical strange bringer to body and spirit of me,
(Distances balk'd--occult medicines penetrating me from head to foot,)
I feel the sky, the prairies vast--I feel the mighty northern lakes,
I feel the ocean and the forest--somehow I feel the globe itself
swift-swimming in space;
Thou blown from lips so loved, now gone--haply from endless store,
God-sent,
(For thou art spiritual, Godly, most of all known to my sense,)
Minister to speak to me, here and now, what word has never told, and
cannot tell,
Art thou not universal concrete's distillation? Law's, all
Astronomy's last refinement?
Hast thou no soul? Can I not know, identify thee?




Old Chants

An ancient song, reciting, ending,
Once gazing toward thee, Mother of All,
Musing, seeking themes fitted for thee,
Accept me, thou saidst, the elder ballads,
And name for me before thou goest each ancient poet.

(Of many debts incalculable,
Haply our New World's chieftest debt is to old poems. )

Ever so far back, preluding thee, America,
Old chants, Egyptian priests, and those of Ethiopia,
The Hindu epics, the Grecian, Chinese, Persian,
The Biblic books and prophets, and deep idyls of the Nazarene,
The Iliad, Odyssey, plots, doings, wanderings of Eneas,
Hesiod, Eschylus, Sophocles, Merlin, Arthur,
The Cid, Roland at Roncesvalles, the Nibelungen,
The troubadours, minstrels, minnesingers, skalds,
Chaucer, Dante, flocks of singing birds,
The Border Minstrelsy, the bye-gone ballads, feudal tales, essays, plays,
Shakespere, Schiller, Walter Scott, Tennyson,
As some vast wondrous weird dream-presences,
The great shadowy groups gathering around,
Darting their mighty masterful eyes forward at thee,
Thou! with as now thy bending neck and head, with courteous hand
and word, ascending,
Thou! pausing a moment, drooping thine eyes upon them, blent
with their music,
Well pleased, accepting all, curiously prepared for by them,
Thou enterest at thy entrance porch.




A Christmas Greeting

Welcome, Brazilian brother--thy ample place is ready;
A loving hand--a smile from the north--a sunny instant hall!
(Let the future care for itself, where it reveals its troubles,
impedimentas,
Ours, ours the present throe, the democratic aim, the acceptance and
the faith;)
To thee to-day our reaching arm, our turning neck--to thee from us
the expectant eye,
Thou cluster free! thou brilliant lustrous one! thou, learning well,
The true lesson of a nation's light in the sky,
(More shining than the Cross, more than the Crown,)
The height to be superb humanity.




Sounds of the Winter

Sounds of the winter too,
Sunshine upon the mountains--many a distant strain
From cheery railroad train--from nearer field, barn, house,
The whispering air--even the mute crops, garner'd apples, corn,
Children's and women's tones--rhythm of many a farmer and of flail,
An old man's garrulous lips among the rest, Think not we give out yet,
Forth from these snowy hairs we keep up yet the lilt.




A Twilight Song

As I sit in twilight late alone by the flickering oak-flame,
Musing on long-pass'd war-scenes--of the countless buried unknown
soldiers,
Of the vacant names, as unindented air's and sea's--the unreturn'd,
The brief truce after battle, with grim burial-squads, and the
deep-fill'd trenches
Of gather'd from dead all America, North, South, East, West, whence
they came up,
From wooded Maine, New-England's farms, from fertile Pennsylvania,
Illinois, Ohio,
From the measureless West, Virginia, the South, the Carolinas, Texas,
(Even here in my room-shadows and half-lights in the noiseless
flickering flames,
Again I see the stalwart ranks on-filing, rising--I hear the
rhythmic tramp of the armies;)
You million unwrit names all, all--you dark bequest from all the war,
A special verse for you--a flash of duty long neglected--your mystic
roll strangely gather'd here,
Each name recall'd by me from out the darkness and death's ashes,
Henceforth to be, deep, deep within my heart recording, for many
future year,
Your mystic roll entire of unknown names, or North or South,
Embalm'd with love in this twilight song.




When the Full-Grown Poet Came

When the full-grown poet came,
Out spake pleased Nature (the round impassive globe, with all its
shows of day and night,) saying, He is mine;
But out spake too the Soul of man, proud, jealous and unreconciled,
Nay he is mine alone;
--Then the full-grown poet stood between the two, and took each
by the hand;
And to-day and ever so stands, as blender, uniter, tightly holding hands,
Which he will never release until he reconciles the two,
And wholly and joyously blends them.




Osceola

When his hour for death had come,
He slowly rais'd himself from the bed on the floor,
Drew on his war-dress, shirt, leggings, and girdled the belt around
his waist,
Call'd for vermilion paint (his looking-glass was held before him,)
Painted half his face and neck, his wrists, and back-hands.
Put the scalp-knife carefully in his belt--then lying down, resting
moment,
Rose again, half sitting, smiled, gave in silence his extended hand
to each and all,
Sank faintly low to the floor (tightly grasping the tomahawk handle,)
Fix'd his look on wife and little children--the last:

(And here a line in memory of his name and death. )




A Voice from Death

A voice from Death, solemn and strange, in all his sweep and power,
With sudden, indescribable blow--towns drown'd--humanity by
thousands slain,
The vaunted work of thrift, goods, dwellings, forge, street, iron bridge,
Dash'd pell-mell by the blow--yet usher'd life continuing on,
(Amid the rest, amid the rushing, whirling, wild debris,
A suffering woman saved--a baby safely born! )

Although I come and unannounc'd, in horror and in pang,
In pouring flood and fire, and wholesale elemental crash, (this
voice so solemn, strange,)
I too a minister of Deity.

Yea, Death, we bow our faces, veil our eyes to thee,
We mourn the old, the young untimely drawn to thee,
The fair, the strong, the good, the capable,
The household wreck'd, the husband and the wife, the engulfed forger
in his forge,
The corpses in the whelming waters and the mud,
The gather'd thousands to their funeral mounds, and thousands never
found or gather'd.

Then after burying, mourning the dead,
(Faithful to them found or unfound, forgetting not, bearing the
past, here new musing,)
A day--a passing moment or an hour--America itself bends low,
Silent, resign'd, submissive.

War, death, cataclysm like this, America,
Take deep to thy proud prosperous heart.

E'en as I chant, lo! out of death, and out of ooze and slime,
The blossoms rapidly blooming, sympathy, help, love,
From West and East, from South and North and over sea,
Its hot-spurr'd hearts and hands humanity to human aid moves on;
And from within a thought and lesson yet.

Thou ever-darting Globe! through Space and Air!
Thou waters that encompass us!
Thou that in all the life and death of us, in action or in sleep!
Thou laws invisible that permeate them and all,
Thou that in all, and over all, and through and under all, incessant!
Thou! thou! the vital, universal, giant force resistless, sleepless, calm,
Holding Humanity as in thy open hand, as some ephemeral toy,
How ill to e'er forget thee!

For I too have forgotten,
(Wrapt in these little potencies of progress, politics, culture,
wealth, inventions, civilization,)
Have lost my recognition of your silent ever-swaying power, ye
mighty, elemental throes,
In which and upon which we float, and every one of us is buoy'd.




A Persian Lesson

For his o'erarching and last lesson the greybeard sufi,
In the fresh scent of the morning in the open air,
On the slope of a teeming Persian rose-garden,
Under an ancient chestnut-tree wide spreading its branches,
Spoke to the young priests and students.

"Finally my children, to envelop each word, each part of the rest,
Allah is all, all, all--immanent in every life and object,
May-be at many and many-a-more removes--yet Allah, Allah, Allah is there.

"Has the estray wander'd far? Is the reason-why strangely hidden?
Would you sound below the restless ocean of the entire world?
Would you know the dissatisfaction? the urge and spur of every life;
The something never still'd--never entirely gone? the invisible need
of every seed?

"It is the central urge in every atom,
(Often unconscious, often evil, downfallen,)
To return to its divine source and origin, however distant,
Latent the same in subject and in object, without one exception. "




The Commonplace

The commonplace I sing;
How cheap is health! how cheap nobility!
Abstinence, no falsehood, no gluttony, lust;
The open air I sing, freedom, toleration,
(Take here the mainest lesson--less from books--less from the schools,)
The common day and night--the common earth and waters,
Your farm--your work, trade, occupation,
The democratic wisdom underneath, like solid ground for all.




"The Rounded Catalogue Divine Complete"

The devilish and the dark, the dying and diseas'd,
The countless (nineteen-twentieths) low and evil, crude and savage,
The crazed, prisoners in jail, the horrible, rank, malignant,
Venom and filth, serpents, the ravenous sharks, liars, the dissolute;
(What is the part the wicked and the loathesome bear within earth's
orbic scheme? )
Newts, crawling things in slime and mud, poisons,
The barren soil, the evil men, the slag and hideous rot.




Mirages

More experiences and sights, stranger, than you'd think for;
Times again, now mostly just after sunrise or before sunset,
Sometimes in spring, oftener in autumn, perfectly clear weather, in
plain sight,
Camps far or near, the crowded streets of cities and the shopfronts,
(Account for it or not--credit or not--it is all true,
And my mate there could tell you the like--we have often confab'd
about it,)
People and scenes, animals, trees, colors and lines, plain as could be,
Farms and dooryards of home, paths border'd with box, lilacs in corners,
Weddings in churches, thanksgiving dinners, returns of long-absent sons,
Glum funerals, the crape-veil'd mother and the daughters,
Trials in courts, jury and judge, the accused in the box,
Contestants, battles, crowds, bridges, wharves,
Now and then mark'd faces of sorrow or joy,
(I could pick them out this moment if I saw them again,)
Show'd to me--just to the right in the sky-edge,
Or plainly there to the left on the hill-tops.




L. of G. 's Purport

Not to exclude or demarcate, or pick out evils from their formidable
masses (even to expose them,)
But add, fuse, complete, extend--and celebrate the immortal and the good.
Haughty this song, its words and scope,
To span vast realms of space and time,
Evolution--the cumulative--growths and generations.

Begun in ripen'd youth and steadily pursued,
Wandering, peering, dallying with all--war, peace, day and night
absorbing,
Never even for one brief hour abandoning my task,
I end it here in sickness, poverty, and old age.

I sing of life, yet mind me well of death:
To-day shadowy Death dogs my steps, my seated shape, and has for years--
Draws sometimes close to me, as face to face.




The Unexpress'd

How dare one say it?
After the cycles, poems, singers, plays,
Vaunted Ionia's, India's--Homer, Shakspere--the long, long times'
thick dotted roads, areas,
The shining clusters and the Milky Ways of stars--Nature's pulses reap'd,
All retrospective passions, heroes, war, love, adoration,
All ages' plummets dropt to their utmost depths,
All human lives, throats, wishes, brains--all experiences' utterance;
After the countless songs, or long or short, all tongues, all lands,
Still something not yet told in poesy's voice or print--something lacking,
(Who knows? the best yet unexpress'd and lacking. )




Grand Is the Seen

Grand is the seen, the light, to me--grand are the sky and stars,
Grand is the earth, and grand are lasting time and space,
And grand their laws, so multiform, puzzling, evolutionary;
But grander far the unseen soul of me, comprehending, endowing all those,
Lighting the light, the sky and stars, delving the earth, sailing
the sea,
(What were all those, indeed, without thee, unseen soul? of what
amount without thee? )
More evolutionary, vast, puzzling, O my soul!
More multiform far--more lasting thou than they.




Unseen Buds

Unseen buds, infinite, hidden well,
Under the snow and ice, under the darkness, in every square or cubic inch,
Germinal, exquisite, in delicate lace, microscopic, unborn,
Like babes in wombs, latent, folded, compact, sleeping;
Billions of billions, and trillions of trillions of them waiting,
(On earth and in the sea--the universe--the stars there in the
heavens,)
Urging slowly, surely forward, forming endless,
And waiting ever more, forever more behind.




Good-Bye My Fancy!

Good-bye my Fancy!
Farewell dear mate, dear love!
I'm going away, I know not where,
Or to what fortune, or whether I may ever see you again,
So Good-bye my Fancy.

Now for my last--let me look back a moment;
The slower fainter ticking of the clock is in me,
Exit, nightfall, and soon the heart-thud stopping.

Long have we lived, joy'd, caress'd together;
Delightful! --now separation--Good-bye my Fancy.

Yet let me not be too hasty,
Long indeed have we lived, slept, filter'd, become really blended
into one;
Then if we die we die together, (yes, we'll remain one,)
If we go anywhere we'll go together to meet what happens,
May-be we'll be better off and blither, and learn something,
May-be it is yourself now really ushering me to the true songs, (who
knows? )
May-be it is you the mortal knob really undoing, turning--so now finally,
Good-bye--and hail! my Fancy.





End of the Project Gutenberg EBook of Leaves of Grass, by Walt Whitman

*** END OF THIS PROJECT GUTENBERG EBOOK LEAVES OF GRASS ***

***** This file should be named 1322. txt or 1322. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/1/3/2/1322/

Produced by G.
Fuhrman

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. F. 2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1. F. 3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1. F. 3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1. F. 4. Except for the limited right of replacement or refund set forth
in paragraph 1. F. 3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1. F. 5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1. F. 6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section 2. Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www. pglaf. org.


Section 3. Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf. org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U. S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712. , but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf. org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf. org

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 http://pglaf. org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U. S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf. org/donate


Section 5. General Information About Project Gutenberg-tm electronic
works.

Professor Michael S.