No More Learning

We could not endure separation. We sought each other out and went on
and on together, exploring the Fairy Castle. [36]

[36] Name of a mountain.

We followed the thirty-six bends of the twisting waters, and all along
the streams a thousand different flowers were in bloom. We passed
through ten thousand valleys, and in each we heard the voice of wind
among the pines.

Then the Governor of Han-tung came out to meet us, on a silver saddle
with tassels of gold that reached to the ground. And the Initiate of
Tz? -yang[37] summoned us, blowing on his jade _sh? ng_. And Sennin music
was made in the tower of Ts'an Hsia,[38] loud as the blended voices of
phoenix and roc.

[37] _I. e. _, Hu Tz? -yang, a Taoist friend of the poet's.

[38] Lit. "Feeding on sunset-cloud" Tower, built by Hu Tz? -yang.

And the Governor of Han-tung, because his long sleeves would not keep
still when the flutes called to him, rose and drunkenly danced. Then he
brought his embroidered coat and covered me with it, and I slept with
my head on his lap.

At the feast our spirits had soared to the Nine Heavens, but before
evening we were scattered like stars or rain, flying away over hills
and rivers to the frontier of Ch'u. I went back to my mountain to seek
my old nest, and you, too, went home, crossing the Wei Bridge.

Then your father, who was brave as leopard or tiger, became Governor of
Ping-chou[39] and put down the rebel bands. And in the fifth month he
sent for me. I crossed the T'ai-hang Mountains; and though it was hard
going on the Sheep's Gut Hills, I paid no heed to broken wheels.

[39] _I. e. _, T'ai-yuan Fu.

When at last, far on into Winter, I got to the Northern Capital,[40] I
was moved to see how much you cared for my reception and how little you
cared for the cost--amber cups and fine foods on a blue jade dish. You
made me drunk and satisfied. I had no thought of returning.

[40] _I. e. _, T'ai-yuan Fu.

Sometimes we went out towards the western corner of the City, to where
waters like green jade flow round the temple of Shu Yu. [41] We launched
our boat and sported on the stream, while flutes and drums sounded. The
little waves were like dragon-scales, and the sedge-leaves were pale
green. When it was our mood, we took girls with us and gave ourselves
to the moments that passed, forgetting that it would soon be over, like
willow-flowers or snow. Rouged faces, flushed with drink, looked well
in the sunset. Clear water a hundred feet deep reflected the faces
of the singers--singing-girls delicate and graceful in the light of
the young moon. And the girls sang again and again to make the gauze
dresses dance. The clear wind blew the songs away into the empty sky:
the sound coiled in the air like moving clouds in flight.

[41] A brother of Prince Ch'? ng, of the Chou dynasty.

The pleasures of those times shall never again be met with. I went West
to offer up a Ballad of Tall Willows,[42] but got no promotion at the
Northern Gate and, white-headed, went back to the Eastern Hills.

[42] Yang Hsiung, died A. D. 18, having lived all his life in obscurity,
obtained promotion in his old age by a poem of this title.

Once we met at the Southern end of Wei Bridge, but scattered again to
the north of the Tso Terrace.

And if you ask me how many are my regrets at this parting, I will tell
you they come from me thick as the flowers that fall at Spring's end.

But I cannot tell you all I feel; I could not even if I went on talking
for ever. So I call in the boy and make him kneel here and tie this up,
and send it to you, a remembrance, from a thousand miles away.


XV. 2. A DREAM OF T'IEN-MU MOUNTAIN

(_Part of a Poem in Irregular Metre. _)

On through the night I flew, high over the Mirror Lake. The lake-moon
cast my shadow on the waves and travelled with me to the stream of
Shan. The Lord Hsieh's[43] lodging-place was still there. The blue
waters rippled; the cry of the apes was shrill. I shod my feet with
the shoes of the Lord Hsieh and "climbed to Heaven on a ladder of dark
clouds. "[44] Half-way up, I saw the unrisen sun hiding behind the sea
and heard the Cock of Heaven crowing in the sky. By a thousand broken
paths I twisted and turned from crag to crag. My eyes grew dim. I
clutched at the rocks, and all was dark.

[43] Hsieh Ling-yun (_circa_ A. D. 400) was a famous mountain-climber
who invented special mountain-climbing shoes.

[44] A quotation from one of Hsieh's poems.

The roaring of bears and the singing of dragons echoed amid the stones
and streams. The darkness of deep woods made me afraid. I trembled at
the storied cliffs.

The clouds hung dark, as though they would rain; the air was dim with
the spray of rushing waters.

Lightning flashed: thunder roared. Peaks and ridges tottered and broke.
Suddenly the walls of the hollow where I stood sundered with a crash,
and I looked down on a bottomless void of blue, where the sun and moon
gleamed on a terrace of silver and gold.

A host of Beings descended--Cloud-spirits, whose coats were made of
rainbow and the horses they rode on were the winds.


XV. 16. PARTING WITH FRIENDS AT A WINESHOP IN NANKING

The wind blowing through the willow-flowers fills the shop with scent;
A girl of Wu has served wine and bids the traveller taste.
The young men of Nanking have come to see me off;
I that go and you that stay | must each drink his cup.
I beg you tell the Great River | whose stream flows to the East
That thoughts of you will cling to my heart | when _he_ has ceased
to flow.


XV. 28. AT CHIANG-HSIA, PARTING FROM SUNG CHIH-T'I

Clear as the sky the waters of Hupeh
Far away will join with the Blue Sea;
We whom a thousand miles will soon part
Can mend our grief only with a cup of wine.
The valley birds are singing in the bright sun;
The river monkeys wail down the evening wind.
And I, who in all my life have seldom wept,
Am weeping now with tears that will never dry.


XX. 1. THE WHITE RIVER AT NAN-YANG

Wading at dawn the White River's source,
Severed a while from the common ways of men,
To islands tinged with the colours of Paradise,
Where the river sky drowns in limpid space.
While my eyes were watching the clouds that travel to the sea.
My heart was idle as the fish that swim in the stream.
With long singing I put the sun to rest:
Riding the moon,[45] came back to my fields and home.

[45] _I. e. _, "availing myself of the moonlight. "


XX. 1. THE CLEAR COLD SPRING

(_Literal Version. _)

Regret that dropping sun's dusk;
Love this cold stream's clearness.
Western beams follow flowing water;
Stir a ripple in wandering person's mind.
Idly sing, gazing at cloudy moon;
Song done--sound of tall pines.


XX. 8. GOING DOWN CHUNG-NAN MOUNTAIN AND SPENDING THE NIGHT DRINKING
WITH THE HERMIT TOU-SS?

At dusk we left the blue mountain-head;
The mountain-moon followed our homeward steps.
We looked round: the path by which we had come
Was a dark cleft across the shoulder of the hill.
Hand in hand we reached the walls of the farm;
A young boy opened the wicker-gate.
Through green bamboos a deep road ran
Where dark creepers brushed our coats as we passed.
We were glad at last to come to a place of rest,
With wine enough to drink together to our fill,
Long I sang to the tune of the Pine-tree Wind;
When the song was over, the River-stars[46] were few.
_I_ was drunk and you happy at my side;
Till mingled joy drove the World from our hearts.

[46] Stars of the Milky Way.


XXIII. 3. DRINKING ALONE BY MOONLIGHT

A cup of wine, under the flowering-trees: (1)
I drink alone, for no friend is near.
Raising my cup, I beckon the bright moon,
For he, with my shadow, will make three men.
The moon, alas! is no drinker of wine:
Listless, my shadow creeps about at my side.
Yet with the moon as friend and the shadow as slave
I must make merry before the Spring is spent.
To the songs I sing the moon flickers her beams;
In the dance I weave my shadow tangles and breaks.
While we were sober, three shared the fun;
Now we are drunk, each goes his way.
May we long share our odd, inanimate feast,
And meet at last on the Cloudy River of the Sky. [47]

[47] The Milky Way.

In the third month the town of Hsien-yang (2)
Is thick-spread with a carpet of fallen flowers.
Who in Spring can bear to grieve alone?
Who, sober, look on sights like these?
Riches and Poverty, long or short life,
By the Maker of Things are portioned and disposed.
But a cup of wine levels life and death
And a thousand things obstinately hard to prove.
When I am drunk, I lose Heaven and Earth;
Motionless, I cleave to my lonely bed.
At last I forget that I exist at all,
And at _that_ moment my joy is great indeed.

If High Heaven had no love for wine, (3)
There would not be a Wine Star in the sky.
If Earth herself had no love for wine,
There would not be a city called Wine Springs. [48]
Since Heaven and Earth both love wine,
I can love wine, without shame before God.
Clear wine was once called "a Saint;"
Thick wine was once called "a Sage. "[49]
Of Saint and Sage I have long quaffed deep,
What need for me to study spirits and _hsien_? [50]
At the third cup I penetrate the Great Way;
A full gallon--Nature and I are one. . . .
But the things I feel when wine possesses my soul
I will never tell to those who are not drunk.

[48] Chiu-ch'uan, in Kansuh.

[49] "History of Wei Dynasty" (Life of Hsu Mo): "A drunken visitor
said, 'Clear wine I account a Saint: thick wine only a Sage. '"

[50] Rishi, Immortals.


XXIII. 9. IN THE MOUNTAINS ON A SUMMER DAY

Gently I stir a white feather fan,
With open shirt, sitting in a green wood.
I take off my cap and hang it on a jutting stone:
A wind from the pine-trees trickles on my bare head.


XXIII. 10. DRINKING TOGETHER IN THE MOUNTAINS[51]

[51] _Cf. _ _Little Review_, June, 1917, version by Sasaki and M.
Bodenheim.

Two men drinking together where mountain flowers grow:
One cup, one cup, and again one cup.
"Now I am drunk and would like to sleep: so please go away.
Come back to-morrow, if you feel inclined, and bring your harp
with you. "


XXIII. 10. WAKING FROM DRUNKENNESS ON A SPRING DAY

"Life in the World is but a big dream:
I will not spoil it by any labour or care. "
So saying, I was drunk all the day,
Lying helpless at the porch in front of my door.
When I woke up, I blinked at the garden lawn;
A lonely bird was singing amid the flowers.
I asked myself, had the day been wet or fine?
The Spring wind was telling the mango-bird.
Moved by its song, I soon began to sigh,
And as wine was there, I filled my own cup.
Wildly singing, I waited for the moon to rise,
When my song was over, all my senses had gone.


XXIII. 13. SELF-ABANDONMENT

I sat drinking and did not notice the dusk,
Till falling petals filled the folds of my dress.
Drunken I rose and walked to the moonlit stream;
The birds were gone, and men also few.


XXV. 1. TO TAN CH'IU

My friend is lodging high in the Eastern Range,
Dearly loving the beauty of valleys and hills.
At Green Spring he lies in the empty woods;
And is still asleep when the sun shines on high.
A pine-tree wind dusts his sleeves and coat;
A pebbly stream cleans his heart and ears.
I envy you, who far from strife and talk
Are high-propped on a pillow of blue cloud.


XXX. 8. CLEARING UP AT DAWN

The fields are chill; the sparse rain has stopped;
The colours of Spring teem on every side.
With leaping fish the blue pond is full;
With singing thrushes the green boughs droop.
The flowers of the field have dabbled their powdered cheeks;
The mountain grasses are bent level at the waist.
By the bamboo stream the last fragments of cloud
Blown by the wind slowly scatter away.

[Many of the above poems have been translated before, in some cases by
three or four different hands. But III. 4, III. 26, XV. 2, and XXIII. 9
are, so far as I know, translated for the first time. ]




DISCUSSION ON THE FOREGOING PAPER


THE CHAIRMAN (MR. GEORGE JAMIESON): Mr. Li T'ai-po was, I am afraid,
a bit of a Bohemian (laughter), and his Bacchanalian experiences have
been repeated in later days even with the great poets. I am sure you
will all join with me in expressing a hearty vote of thanks to Mr.
Waley for his address and the very felicitous language in which he has
translated a number of these ancient poems. I trust his paper will
be printed and preserved with the rest of our publications, because
these poems, as far as I can judge--but hearing them read does not
impress one so much as reading them at leisure--are well worthy of
careful perusal. It is curious to note how unchangeable and immobile
China is. At the time these poems were written we in Great Britain
were living under King Alfred and trying to keep out the Danes and
other things. (Laughter. ) I can tell you that the Szechwan Road as
described in the poem that Mr. Waley has read is just the same now
as it was when the poem was written. And the social conditions of
the people are the same now as they were at that time. I have often
thought that Chinese poets are very limited in their range. They
seem to be deficient in the quality of imagination. China has never
produced a great epic poem.
Of course I speak subject to correction,
but I believe I am right in saying that China has never produced a
poet comparable with Homer, Dante, Virgil, or Milton. There has been
no one born with the power of telling a story like Homer. The poets of
China appear to me to be emotional and descriptive, but incapable of
any high flights of imagination. I think that Macaulay says that great
flights of imagination are peculiar to the early periods of a nation's
civilization, and that story-telling reaches its highest form as an art
before printing has been much in vogue.

Mr. M. F. A. FRASER: I have listened to this lecture with the greatest
interest. The English was particularly pleasing, and I am glad that the
lecturer has broken away from the old custom of seeking rhymes, and
followed the French custom in the translation of these poems. A man
may be an excellent writer and translator, and not be a poet, but to
translate foreign poetry into English considerable literary gifts are
required.

Mr. PAUL KING: All of you who have been lately in China must be struck
with the extraordinary difference between the China described in these
poems and the China which has come into being since the revolution.
Ideas of a very practical nature have now taken possession of the
people. And then, what about modern Chinese poets? Do any of us know
of any? In my intercourse with the Chinese I cannot recall a modern
Chinese who was a poet. It is possible that I may have met one, and
that he concealed his poetic gifts. (Laughter. ) Our lecturer tells us,
however, that he knows certain Chinese poets. It would be interesting
to know if they are publishing their poems, and how they would compare
with the work of the older poets in our possession.

Mr. L. Y. CHEN: I should like to join in congratulating Mr. Waley on
his very learned paper and beautiful translations. It is quite true
that there are no epic poems in Chinese literature. This form of poetry
has not been introduced in China, but I differ with your statement,
Sir, that Chinese poetry lacks imagination. (Applause. ) I could give
you many instances to the contrary, though not from memory. The last
speaker's remark that the present China is different from what China is
in Chinese poetry may be true, but I may well retort that the England
as represented in Shakespeare is very different from the England of
to-day. (Laughter and cheers. ) And Li T'ai-po lived many hundred years
ago, but Shakespeare lived at a more recent period. Human nature has
two states, the spiritual and the practical. You can combine the two.
If you have the practical it does not necessarily follow that you are
lacking in the spiritual. As for present-day Chinese poets, there are
several famous ones in China.

Since the lecturer has raised the question whether Li T'ai-po or Tu
Fu is the greater poet, I would say that the Chinese of the present
day consider Tu Fu to be the greater. It strikes me as curious that
European people who know something about Chinese poetry should prefer
Li T'ai-po. Perhaps very few people have heard of Tu Fu. Certainly
there is no translation of the most important of Tu Fu's poems in the
English language. In China every child who has studied poetry knows
something about Tu Fu's poems. Tu Fu is placed first by the Chinese
because he is the greatest national poet. He expresses national
feelings in a way that can be appreciated by everybody. Li T'ai-po's
poems deal chiefly with wine and women, love and sensual things, but
Tu Fu's poems are full of men and women, elderly people and children,
their joy, their anguish, the hardship of the soldier, and things of
that sort. In a word, Tu Fu's poetry expresses what we ordinary men and
women wish to express and cannot.

Mr. G. WILLOUGHBY-MEADE: One or two observations occur to me in
connection with the translation of this poetry into English. The two
greatest reading publics are the Anglo-American and the Chinese. The
Anglo-American people have produced an enormous amount of poetry which
they do not often quote, and the Chinese have produced an enormous
amount of poetry which, according to experts, they quote a great deal.
Now, at the present moment that peculiar British shyness for quoting
poetry seems to have largely disappeared in consequence of the writings
of soldier poets. These poems have been written under conditions of
great danger, difficulty, and discomfort, and it seems to me that it
would be a very good thing if poetry illustrating the thought of these
men could be placed before the Anglo-American public.

The CHAIRMAN proposed a hearty vote of thanks to the Lecturer, which
was carried by acclamation.




PRINTED BY
BILLING AND SONS, LTD.
GUILDFORD, ENGLAND

* * * * *

Transcriber's Note

p. 10 "Ch'i Kuan" changed to "Ch'i Kuan""





End of Project Gutenberg's The Poet Li Po, by Arthur Waley and Bai Li

*** END OF THIS PROJECT GUTENBERG EBOOK THE POET LI PO ***

***** This file should be named 43274-0. txt or 43274-0. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/4/3/2/7/43274/

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


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License available with this file or online at
www. gutenberg. org/license.


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

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

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

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

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

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

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

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

1. 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 1. F. 3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1. F. 3.