No More Learning

. .
But most I'll choose that subtler dusk that comes
Into the mind--into the heart, you say--
When, as we look bewildered at lovely things,
Striving to give their loveliness a name,
They are forgotten; and other things, remembered,
Flower in the heart with the fragrance we call grief.


VII

In the long silence of the sea, the seaman
Strikes twice his bell of bronze. The short note wavers
And loses itself in the blue realm of water.
One sea-gull, paired with a shadow, wheels, wheels;
Circles the lonely ship by wave and trough;
Lets down his feet, strikes at the breaking water,
Draws up his golden feet, beats wings, and rises
Over the mast. . . . Light from a crimson cloud
Crimsons the sluggishly creeping foams of waves;
The seaman, poised in the bow, rises and falls
As the deep forefoot finds a way through waves;
And there below him, steadily gazing westward,
Facing the wind, the sunset, the long cloud,
The goddess of the ship, proud figurehead,
Smiles inscrutably, plunges to crying waters,
Emerges streaming, gleaming, with jewels falling
Fierily from carved wings and golden breasts;
Steadily glides a moment, then swoops again.
Carved by the hand of man, grieved by the wind;
Worn by the tumult of all the tragic seas,
Yet smiling still, unchanging, smiling still
Inscrutably, with calm eyes and golden brow--
What is it that she sees and follows always,
Beyond the molten and ruined west, beyond
The light-rimmed sea, the sky itself? What secret
Gives wisdom to her purpose? Now the cloud
In final conflagration pales and crumbles
Into the darkening waters. Now the stars
Burn softly through the dusk. The seaman strikes
His small lost bell again, watching the west
As she below him watches. . . . O pale goddess
Whom not the darkness, even, or rain or storm,
Changes; whose great wings are bright with foam,
Whose breasts are cold as the sea, whose eyes forever
Inscrutably take that light whereon they look--
Speak to us! Make us certain, as you are,
That somewhere, beyond wave and wave and wave,
That dreamed-of harbor lies which we would find.




TETELESTAI


I

How shall we praise the magnificence of the dead,
The great man humbled, the haughty brought to dust?
Is there a horn we should not blow as proudly
For the meanest of us all, who creeps his days,
Guarding his heart from blows, to die obscurely?
I am no king, have laid no kingdoms waste,
Taken no princes captive, led no triumphs
Of weeping women through long walls of trumpets;
Say rather I am no one, or an atom;
Say rather, two great gods in a vault of starlight
Play ponderingly at chess; and at the game's end
One of the pieces, shaken, falls to the floor
And runs to the darkest corner; and that piece
Forgotten there, left motionless, is I. . . .
Say that I have no name, no gifts, no power,
Am only one of millions, mostly silent;
One who came with lips and hands and a heart,
Looked on beauty, and loved it, and then left it.
Say that the fates of time and space obscured me,
Led me a thousand ways to pain, bemused me,
Wrapped me in ugliness; and like great spiders
Dispatched me at their leisure. . . . Well, what then?
Should I not hear, as I lie down in dust,
The horns of glory blowing above my burial?


II

Morning and evening opened and closed above me:
Houses were built above me; trees let fall
Yellowing leaves upon me, hands of ghosts,
Rain has showered its arrows of silver upon me
Seeking my heart; winds have roared and tossed me;
Music in long blue waves of sound has borne me
A helpless weed to shores of unthought silence;
Time, above me, within me, crashed its gongs
Of terrible warning, sifting the dust of death;
And here I lie. Blow now your horns of glory
Harshly over my flesh, you trees, you waters!
You stars and suns, Canopus, Deneb, Rigel,
Let me, as I lie down, here in this dust,
Hear, far off, your whispered salutation!
Roar now above my decaying flesh, you winds,
Whirl out your earth-scents over this body, tell me
Of ferns and stagnant pools, wild roses, hillsides!
Anoint me, rain, let crash your silver arrows
On this hard flesh! I am the one who named you,
I lived in you, and now I die in you.
I, your son, your daughter, treader of music,
Lie broken, conquered. . . . Let me not fall in silence.


III

I, the restless one; the circler of circles;
Herdsman and roper of stars, who could not capture
The secret of self; I who was tyrant to weaklings,
Striker of children; destroyer of women; corrupter
Of innocent dreamers, and laugher at beauty; I,
Too easily brought to tears and weakness by music,
Baffled and broken by love, the helpless beholder
Of the war in my heart of desire with desire, the struggle
Of hatred with love, terror with hunger; I
Who laughed without knowing the cause of my laughter, who grew
Without wishing to grow, a servant to my own body;
Loved without reason the laughter and flesh of a woman,
Enduring such torments to find her! I who at last
Grow weaker, struggle more feebly, relent in my purpose,
Choose for my triumph an easier end, look backward
At earlier conquests; or, caught in the web, cry out
In a sudden and empty despair, "Tetelestai! "
Pity me, now! I, who was arrogant, beg you!
Tell me, as I lie down, that I was courageous.
Blow horns of victory now, as I reel and am vanquished.
Shatter the sky with trumpets above my grave.


IV

. . . Look! this flesh how it crumbles to dust and is blown!
These bones, how they grind in the granite of frost and are nothing!
This skull, how it yawns for a flicker of time in the darkness
Yet laughs not and sees not! It is crushed by a hammer of sunlight,
And the hands are destroyed. . . . Press down through the leaves of the
jasmine,
Dig through the interlaced roots--nevermore will you find me;
I was no better than dust, yet you cannot replace me. . . .
Take the soft dust in your hand--does it stir: does it sing?
Has it lips and a heart? Does it open its eyes to the sun?
Does it run, does it dream, does it burn with a secret, or tremble
In terror of death? Or ache with tremendous decisions? . . .
Listen! . . . It says: "I lean by the river. The willows
Are yellowed with bud. White clouds roar up from the south
And darken the ripples; but they cannot darken my heart,
Nor the face like a star in my heart! . . . Rain falls on the water
And pelts it, and rings it with silver. The willow trees glisten,
The sparrows chirp under the eaves; but the face in my heart
Is a secret of music. . . . I wait in the rain and am silent. "
Listen again! . . . It says: "I have worked, I am tired,
The pencil dulls in my hand: I see through the window
Walls upon walls of windows with faces behind them,
Smoke floating up to the sky, an ascension of seagulls.
I am tired. I have struggled in vain, my decision was fruitless,
Why then do I wait? with darkness, so easy, at hand! . . .
But to-morrow, perhaps. . . . I will wait and endure till
to-morrow! . . . "
Or again: "It is dark. The decision is made. I am vanquished
By terror of life. The walls mount slowly about me
In coldness. I had not the courage. I was forsaken.
I cried out, was answered by silence. . . . Tetelestai! . . . "


V

Hear how it babbles! --Blow the dust out of your hand,
With its voices and visions, tread on it, forget it, turn homeward
With dreams in your brain. . . . This, then, is the humble, the
nameless,--
The lover, the husband and father, the struggler with shadows,
The one who went down under shoutings of chaos! The weakling
Who cried his "forsaken! " like Christ on the darkening hilltop! . . .
This, then, is the one who implores, as he dwindles to silence,
A fanfare of glory. . . . And which of us dares to deny him!




EDNA ST. VINCENT MILLAY




EIGHT SONNETS


I

When you, that at this moment are to me
Dearer than words on paper, shall depart,
And be no more the warder of my heart,
Whereof again myself shall hold the key;
And be no more, what now you seem to be,
The sun, from which all excellencies start
In a round nimbus, nor a broken dart
Of moonlight, even, splintered on the sea;

I shall remember only of this hour--
And weep somewhat, as now you see me weep--
The pathos of your love, that, like a flower,
Fearful of death yet amorous of sleep,
Droops for a moment and beholds, dismayed,
The wind whereon its petals shall be laid.


II

What's this of death, from you who never will die?
Think you the wrist that fashioned you in clay,
The thumb that set the hollow just that way
In your full throat and lidded the long eye
So roundly from the forehead, will let lie
Broken, forgotten, under foot some day
Your unimpeachable body, and so slay
The work he most had been remembered by?

I tell you this: whatever of dust to dust
Goes down, whatever of ashes may return
To its essential self in its own season,
Loveliness such as yours will not be lost,
But, cast in bronze upon his very urn,
Make known him Master, and for what good reason.


III

I know I am but summer to your heart,
And not the full four seasons of the year;
And you must welcome from another part
Such noble moods as are not mine, my dear.
No gracious weight of golden fruits to sell
Have I, nor any wise and wintry thing;
And I have loved you all too long and well
To carry still the high sweet breast of spring.

Wherefore I say: O love, as summer goes,
I must be gone, steal forth with silent drums,
That you may hail anew the bird and rose
When I come back to you, as summer comes.
Else will you seek, at some not distant time,
Even your summer in another clime.


IV

Here is a wound that never will heal, I know,
Being wrought not of a dearness and a death
But of a love turned ashes and the breath
Gone out of beauty; never again will grow
The grass on that scarred acre, though I sow
Young seed there yearly and the sky bequeath
Its friendly weathers down, far underneath
Shall be such bitterness of an old woe.

That April should be shattered by a gust,
That August should be leveled by a rain,
I can endure, and that the lifted dust
Of man should settle to the earth again;
But that a dream can die, will be a thrust
Between my ribs forever of hot pain.


V

What lips my lips have kissed, and where, and why,
I have forgotten, and what arms have lain
Under my head till morning; but the rain
Is full of ghosts to-night, that tap and sigh
Upon the glass and listen for reply;
And in my heart there stirs a quiet pain,
For unremembered lads that not again
Will turn to me at midnight with a cry.

Thus in the winter stands the lonely tree,
Nor knows what birds have vanished one by one,
Yet knows its boughs more silent than before:
I cannot say what loves have come and gone;
I only know that summer sang in me
A little while, that in me sings no more.


VI

Euclid alone has looked on Beauty bare.
Let all who prate of Beauty hold their peace,
And lay them prone upon the earth and cease
To ponder on themselves, the while they stare
At nothing, intricately drawn nowhere
In shapes of shifting lineage; let geese
Gabble and hiss, but heroes seek release
From dusty bondage into luminous air.

O blinding hour, O holy, terrible day,
When first the shaft into his vision shone
Of light anatomized! Euclid alone
Has looked on Beauty bare. Fortunate they
Who, though once only and then but far away,
Have heard her massive sandal set on stone.


VII

Oh, oh, you will be sorry for that word!
Give back my book and take my kiss instead.
Was it my enemy or my friend I heard? --
"What a big book for such a little head! "
Come, I will show you now my newest hat,
And you may watch me purse my mouth and prink.
Oh, I shall love you still and all of that.
I never again shall tell you what I think.

I shall be sweet and crafty, soft and sly;
You will not catch me reading any more;
I shall be called a wife to pattern by;
And some day when you knock and push the door,
Some sane day, not too bright and not too stormy,
I shall be gone, and you may whistle for me.


VIII

Say what you will, and scratch my heart to find
The roots of last year's roses in my breast;
I am as surely riper in my mind
As if the fruit stood in the stalls confessed.
Laugh at the unshed leaf, say what you will,
Call me in all things what I was before,
A flutterer in the wind, a woman still;
I tell you I am what I was and more.

My branches weigh me down, frost cleans the air,
My sky is black with small birds bearing south;
Say what you will, confuse me with fine care,
Put by my word as but an April truth,--
Autumn is no less on me that a rose
Hugs the brown bough and sighs before it goes.




BIBLIOGRAPHY




BIBLIOGRAPHY

(The following lists include poetical works only)


AMY LOWELL

A Dome of Many-Colored Glass Houghton Mifflin Co. 1912

Sword Blades and Poppy Seed The Macmillan Company 1914

Men, Women and Ghosts The Macmillan Company 1916

Can Grande's Castle The Macmillan Company 1918

Pictures of the Floating World The Macmillan Company 1919

Legends Houghton Mifflin Co. 1921

Fir-Flower Tablets Houghton Mifflin Co. 1921


ROBERT FROST

A Boy's Will Henry Holt and Company 1914

North of Boston Henry Holt and Company 1915

Mountain Interval Henry Holt and Company 1916


CARL SANDBURG

Chicago Poems Henry Holt and Company 1916

Cornhuskers Henry Holt and Company 1918

Smoke and Steel Harcourt, Brace and Co. 1930

Slabs of the Sunburnt West Harcourt, Brace and Co. 1922


VACHEL LINDSAY

Rhymes to be Traded for Bread Privately Printed; 1912
Springfield, Ill.

General William Booth Enters Into Mitchell Kennerley 1913
Heaven

The Congo and Other Poems The Macmillan Company 1915

The Chinese Nightingale The Macmillan Company 1917

The Golden Whales of California The Macmillan Company 1920


JAMES OPPENHEIM

Monday Morning and Other Poems Sturgis & Walton Co. 1909

Songs for the New Age The Century Company 1914

War and Laughter The Century Company 1915

The Book of Self Alfred A. Knopf 1917

The Solitary B. W. Huebsch 1919

The Mystic Warrior Alfred A. Knopf 1921


ALFRED KREYMBORG

Mushrooms Alfred A. Knopf 1916

Plays for Poem-Mimes The Others Press 1918

Plays for Merry Andrews The Sunwise Turn 1920

Blood of Things Nicholas L. Brown 1921


SARA TEASDALE

Sonnets to Duse The Poet Lore Co. 1907

Helen of Troy G. P. Putnam's Sons 1911

Rivers to the Sea The Macmillan Company 1915

Love Songs The Macmillan Company 1917

Flame and Shadow The Macmillan Company 1920


LOUIS UNTERMEYER

The Younger Quire Moods Publishing Co. 1911

First Love Sherman French & Co. 1911

Challenge The Century Company 1914

"--and Other Poets" Henry Holt and Company 1916

The Poems of Heinrich Heine Henry Holt and Company 1917

These Times Henry Holt and Company 1917

Including Horace Harcourt, Brace and Co. 1919

The New Adam Harcourt, Brace and Co. 1920

Heavens Harcourt, Brace and Co. 1922


JOHN GOULD FLETCHER

Fire and Wine Grant Richards (London) 1913

The Dominant City Max Goschen (London) 1913

Fool's Gold Max Goschen (London) 1913

The Book of Nature Constable & Co. (London) 1913

Visions of the Evening Erskine Macdonald (London) 1913

Irradiations Houghton Mifflin Co. 1915

Goblins and Pagodas Houghton Mifflin Co. 1916

Japanese Prints The Four Seas Company 1918

The Tree of Life The Macmillan Company 1919

Breakers and Granite The Macmillan Company 1921


JEAN STARR UNTERMEYER

Growing Pains B. W. Huebsch 1918

Dreams Out of Darkness B. W. Huebsch 1921


H. D.

Sea Garden Houghton Mifflin Co. 1916

Hymen Henry Holt and Co.
1921


CONRAD AIKEN

Earth Triumphant The Macmillan Company 1914

Turns and Movies Houghton Mifflin Co. 1916

The Jig of Forslin The Four Seas Company 1916

Nocturne of Remembered Spring The Four Seas Company 1917

The Charnel Rose The Four Seas Company 1918

The House of Dust The Four Seas Company 1920

Punch: the Immortal Liar Alfred A. Knopf 1921


EDNA ST. VINCENT MILLAY

Renascence Mitchell Kennerley 1917

A Few Figs from Thistles Frank Shay 1920

The Lamp and the Bell Frank Shay 1921

Aria Da Capo Mitchell Kennerley 1921

Second April Mitchell Kennerley 1921





End of the Project Gutenberg EBook of American Poetry, 1922, by
Edna St. Vincent Millay and Robert Frost

*** END OF THIS PROJECT GUTENBERG EBOOK AMERICAN POETRY, 1922 ***

***** This file should be named 25880-8. txt or 25880-8. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/2/5/8/8/25880/

Produced by David Starner, Huub Bakker, Stephen Hope and
the Online Distributed Proofreading Team at
http://www. pgdp. net (This book was produced from scanned
images of public domain material from the Google Print
project. )


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.