The Project Gutenberg EBook of Oxford Poetry, by Various This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: Oxford Poetry 1917 Author: Various Editor: Wilfred Rowland Childe Thomas Wade Earp Dorothy Leigh Sayers Release Date: January 1, 2016 [EBook #50815] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK OXFORD POETRY *** Produced by MWS, Les Galloway 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) OXFORD POETRY 1917 EDITED BY W. R. C., T. W. E., AND D. L. S. (_SECOND IMPRESSION_) OXFORD B. H. BLACKWELL, BROAD STREET 1918 OXFORD POETRY SERIES OXFORD POETRY 1910-1913. Edited by G. D. H. C., G. P. D., and W. S. V. With an Introduction by GILBERT MURRAY. Cloth boards, 4s. net. OXFORD POETRY 1914. Edited by G. D. H. C. and W. S. V. With a Preface by Sir WALTER RALEIGH. [_Out of print._ OXFORD POETRY 1915. Edited by G. D. H. C. and T. W. E. Roxburgh parchment, 2s. 6d. net; sewed, 1s. 3d. net. OXFORD POETRY 1916. Edited by T. W. E., W R. C., and A. L. H. Uniform with the above. OXFORD POETRY 1914-1916. Uniform with the 1910-1913 volume. Now ready. 4s. net. NEW YORK AGENTS LONGMANS, GREEN & CO., FOURTH AVENUE AND THIRTIETH STREET CONTENTS P. BLOOMFIELD (BALLIOL) PAGE SECOND-BEST 1 M. ST. CLARE BYRNE (SOMERVILLE) FAVETE LINGUIS 2 J. E. A. CARVER (MAGDALEN) TINTAGIL 3 EUGENE PARKER CHASE (MAGDALEN) ON SUSSEX DOWNS 4 W. R. CHILDE (MAGDALEN) THE LAST ABBOT OF GLOUCESTER 5 THE GOTHIC ROSE 6 GERALD H. CROW (HERTFORD) AD DOMINAM SUAM MARIAM VIRGINEM 7 DESIDERIO DESIDERAVI 8 HUMILITY 9 D. N. DALGLISH (ST. HILDA'S) OTMOOR 10 E. C. DICKINSON (NON-COLL.) A CHILD'S VOICE 12 RIVER SONG 14 E. R. DODDS (UNIVERSITY) MEASURE 15 C. J. DRUCE (NON-COLL.) THE MEETING 16 T. W. EARP (EXETER) THE CANAL 18 SOLITUDE 19 U. ELLIS-FERMOR (SOMERVILLE) SED MILES 20 JOAN EVANS (ST. HUGH'S) THE HAMADRYAD 21 FLORA FORSTER (SOMERVILLE) DUCKLINGTON 22 L. GIELGUD (MAGDALEN) SUMMER DEVILRY 23 ROBERT GRAVES (ST. JOHN'S) DOUBLE RED DAISIES 24 DEAD COW FARM 25 RUSSELL GREEN (QUEEN'S) DE MUNDO 26 MERCY HARVEY (ST. HILDA'S) SONG 28 H. C. HARWOOD (BALLIOL) CALL OF THE DEAD 29 RETURN 30 E. E. ST. L. HILL (KEBLE) DIFFIDENCE 32 A. L. HUXLEY (BALLIOL) L'APRÈS-MIDI D'UN FAUNE 33 C. R. JURY (MAGDALEN) LOVE 37 SONNET 38 CHAMAN LALL (JESUS) "THIRTY YEARS AFTER" 39 M. LEIGH (SOMERVILLE) TWO EPITAPHS 41 E. H. W. MEYERSTEIN (MAGDALEN) THE FINGER 42 LONDON 43 EVAN MORGAN (CHRIST CHURCH) IN OLDEN DAYS 45 A SERENADE 46 F. ST. V. MORRIS (WADHAM) LAST POEM 47 ROBERT NICHOLS (TRINITY) THE MAN OF HONOUR 48 ELIZABETH RENDALL (HOME STUDENT) MY SOUL IS AN INFANTA 50 D. L. SAYERS (SOMERVILLE) FAIR EREMBOURS 52 H. SIMPSON (HOME STUDENT) "THERE ARE QUANTITIES OF THINGS" 54 E. E. SMITH (UNIVERSITY) THE VOYAGE 55 L. A. G. STRONG (WADHAM) THE MAD MAN 56 THE BAIT-DIGGER'S SON 57 D. E. A. WALLACE (SOMERVILLE) SONNET IN CONTEMPT OF DEATH 59 LEO WARD (CHRIST CHURCH) THE LAST COMMUNION 60 _P. BLOOMFIELD_ (_BALLIOL_) SECOND-BEST I would sail all alone up the stream, Since you are far away, dear brother; I would sail alone, and rather dream Of you, than change thoughts with another. Now May is come so beautiful, so blue, And the chestnuts and the willows are green Again ... then, since I may not be near you, Dear brother, let me sail alone, unseen, 'Neath the overhanging buds, past rushes Where the white, graceful swan sits on her nest, Hear the song of the ripples and thrushes And be with solitude ... the second-best. All alone up the stream would I sail, Think of your smile, and your voice, and eyes, Fear you were out of a fairy-tale, Paint your vision, brother, in the skies. _M. ST. CLARE BYRNE_ (_SOMERVILLE_) FAVETE LINGUIS There are few people, being by, That leave me peacefully to lie: Mostly their restless brains, or mine, Seek each the other to divine: Silence, that rightfully should be Clear-hearted as a stretch of sea That runs far inland, luminous, To rest in still shades verdurous, Becomes instead a thwarted thing, With only waywardness to bring. All otherwise in you I find The inner places of the mind: The gift of quiet on your brow Like some long benediction now Closes upon me: spirit-born Tranquillity enfolds each worn Wan thought, with slender fingers cool Drawing away from off the pool Of night the mists that hide a star, Dreaming wondrously afar: Till vision cometh down for me In gracious white serenity. _J. E. A. CARVER_ (_MAGDALEN_) TINTAGIL I lay on the verge of a Western cliff On a waning Summer's day, And watched the seagulls' skimming flight As their shrill call filled the bay. The waves rolled on from pool to pool To the end of the rock-strewn lea: Where a glistening stream through a vale sped on, With its leaping trout, to the sea. The wind rose, too, from a breath to a blast As the rising tide drew near, And the rain-clouds swelled from the distant deep, So I knew 'twas a storm to fear. I've lived on that coast for years now, And I love the roar of the waves As they lash the seaweed on the shore, And the cold grey rocks and the caves. _EUGENE PARKER CHASE_ (_MAGDALEN_) ON SUSSEX DOWNS A boy stood on the windy Sussex downs, Resting a moment in his lonely walk To gaze at the fresh fields, and their neighbour towns Sunk in the valleys watered by thin streams And sheltered by the pallid hills of chalk. It seemed a land for slow and leisured dreams, For fantasy, vague and cool as the mist. The church there in the field, with yew-trees round Should send across the air a silver sound Of holy bells. The loud rooks should desist A moment from their cawing; the dim sun Brighten his face, the rounded meadows glisten, And all the windswept grassy hillsides listen And then take up the sound the bells begun. Slowly, at length, rounding the hill, a white, Long, slender, floating airship flies. It, of this quiet landscape, is the sight Most peaceful--white splash on the blue spring skies. It passes over the church-crowned slope, it blends Its whiteness for a moment with the cloud, And finally, with nose a little bowed, Off towards the distant sea its course it bends. The watching boy beheld no other change In all the placid, comfortable scene, And yet he deeply realized what mean The airships and the other things that are strange, But form a living part of England now; And when he left the place where he had been, He seemed to have become a man somehow. _W. R. CHILDE_ (_MAGDALEN_) THE LAST ABBOT OF GLOUCESTER The Middle Ages sleep in alabaster A delicate fine sleep. They never knew The irreparable hell of that disaster, That broke with hammers Heaven's fragile blue. Yea, crowned and robed and silent he abides, Last of the Romans and that ivory calm, Beneath whose wings august the minster-sides Trembled like virgins to the perfect Psalm. Yea, it is gone with him, yea, it returns not; The gilt proud sanctuaries are dust, the high Steam of the violet fragrant frankincense burns not: All gone; it was too beautiful to die. It was too beautiful to live; the world Ne'er rotted it with her slow-creeping hells: Men shall not see the Vision crowned and pearled, When Jerusalem blossomed in the noontide bells! THE GOTHIC ROSE Amid the blue smoke of gem-glassed chapels You shall find Me, the white five-wounded Flower, The Rose of Sarras. Yea, the moths have eaten, And fretted the gold cloths of the duke of York, And lost is the scarlet cloak of the cardinal Beaufort; Tapers are quencht and rods of silver broken, Where once king Richard dined beneath the leopards: But think you that any beautifulness is wasted, Wherewith Mine angels have blessed the blue-eyed English, Twining into stone an obscure dream of Heaven, A crown of flinty spines about the Rose, A slim flame blessing the coronal of thorns? And York is for ever the White Rose of Mary, And Lancaster is dipt in the Precious Blood, Though the high shrine that was built by the king of the Romans Be down at Hayles, and the abbey of saint Mary Be shattered now in three-towered Eboracum. _GERALD H. CROW_ (_HERTFORD_) AD DOMINAM SUAM MARIAM VIRGINEM O lily Lady of loveliness, O tender-hearted, marvellous-eyed, Bend from Thine aureate throne and bless The lonely people and comfortless At Jesu-Mass and Vespertide. And bless the mighty and proud of mien, The scornful folk that pity and pass,-- For they are lonely as none have been, The proud that lack on whom to lean-- At Vespertide and Jesu-Mass. And bless before Thou makest end Both me and mine in sorrow and pride, Where frankincense and prayer ascend And kneeling lilies whisper and bend At Jesu-Mass and Vespertide. DESIDERIO DESIDERAVI Dear Father God, I want but one thing now. Because I have been heart-proud all my days, And given and asked all proudly for Love's sake, In search of some lost tenderness out of the world, And somehow never found it, I want this. I want to choose my death as I have chosen Mine other lovers proudly, and cleave to him. I do not want to die afraid and failing Some king that trusted me; nor yet to leave This beautiful bright-coloured world in anguish, Dirt, ugliness, old age, or shamefully Eaten up with lust. I want to make myself Lovelier on that last day than any of these My lovers yet have found me, and so to die Calmly by mine own hand and follow after That tenderness that somehow passed me by, That tenderness that will not let me be. HUMILITY Take counsel, O my friend, of your heart's pride, And choose the proud thing alway. Never heed The "wretched, rash, intruding fools" of the world, Nor take the half-truths that life brings old men For wisdom: nor the naked indecencies That purity-mongers have shamed children with For goodness: nor the silly hypocrisies Of mean men for humility. But say, "God is my Father. Christ was young and died To comfort me. The towering archangels With all their blue and gold and steely mail Are my strong helpers and mine elder brothers. The sweet white virgins gone to martyrdom Calm-eyed and singing are my sisters." Yea, Because of all these things keep your heart proud. Be proud enough to serve the poor, too proud To attend the rich: enough to love, not hate, And give, not sell. Remember gentleness Is the heart's pride of understanding, truth Her greatness that will not be afraid for wrath Nor flatter favour. This remember also, The pure in heart shall walk like fierce white flames Questing across the world in goodlier hope And knightlier courtesy than they of the Graal, For these are they in the end that shall see God. _D. N. DALGLISH_ (_ST. HILDA'S_) OTMOOR The armies take the field in May, And trees go marching all the day On Otmoor, where the winds are strong And mornings are a season long; Where shining clouds halt for a pace, Idling behind out of the race. On Otmoor, hedges never die Once spring has flung her tapestry; And there most kindly summer throws The lightest snowflakes of the rose, And buttercups grow tall and straight In fields that keep an open gate, And daisies make a frosty gleam; And yet you may not sleep nor dream, Though field and road and wood are blessed, Touched by the peaceful hands of rest. On Otmoor, you may hear the voice Of living green things that rejoice-- Hedges that boast defended fields, And green seclusions proud of shields; Great open deserts in the sky, Cool icebergs slowly riding by In the unruffled sea of blue; Branches that let the sun pass through, The cuckoo and the ecstatic lark, Shadows that play at being dark-- In every leaf and stem and flower There throbs a kindly, silent power, And energies of being pass From every breeze that stirs the grass, And close around, with friendly care, I feel the encircling sky and air, That keep me safe, that hold without Each shuddering fear, each traitorous doubt. So am I safe and fenced around; Boundless themselves, they set my bound, For, should I make the ring less wide, My fears start up on every side; And only in unmeasured space Can lives meet Life with braver face. Here I may watch the silent earth Consuming what shall come to birth; For every leaf that falls and dies Unbounded woodlands shall arise, And though the roadside stream be dead, New springs leap at the mountain head. _E. C. DICKINSON_ (_NON-COLL._) A CHILD'S VOICE 'Twas in a far back swallow-time When the air was filled with chime Of Sunday bells that danced in tune With Eastern phantasies, A child within a garden's boon Oft sighed with saddened eyes. A swallow screamed and wheeled at him Beside the greenhouse door; It knew that there he strove to limn The need in his soul's core: And he is lonely and sad who tells His need to Sunday bells. Of playfellows there was not one To whom at wake of sun The child might turn to speak a dream Of lazy summer seas O'er which a ship rode fair of beam Bringing his soul's keys; And how a wondrous alien boy Trod proud that ship of Fate. There mid the bells of Sunday joy He whispered, "Come not late Within my longing, for my play Won't keep for any day." "The greenhouse tank is stagnant now Under the cherry bough; And there a ship is by the quay, The joy of my Baghdad. Oh come, oh come and play with me That I should not be sad." The jewelled shade of evening's hood Held many Eastern tales; And cinnamon and sandalwood Lurked in his camels' bales. But then a swallow harshly screamed And tumbled what he dreamed. And that was back in swallow-time With life a child's rhyme. And some came true of what he dreamed, And some has been forgot. But life with sadness still is seamed, And thorns take long to rot. RIVER SONG One day I would be glad And with all quiet be Except your cadenced murmur Beside the willow-tree. One day I would be glad With fields of king-cup gold: One day of dancing water Below the cuckoo-fold. One day I would be glad With crowned vermilion kings Whose scarves are lilies blowing Where youth for ever sings. One day I would be glad With Oxford's poplared grace: One day with love between us And then--to lose your face. _E. R. DODDS_ (_UNIVERSITY_) MEASURE I think we are made the prisoners of the sun, Snared in the waxing and the waning passion, Lest life should grow intense To burn up sense And lose life's fashion in the unfashioned One. I believe the cool unlabouring dark is sent Swift on the wildness of the day's mad ending Lest the delight of fire Consume desire And in Love's spending Love itself be spent. I believe the rain-soft autumn has its task To curb the stretched importunate flame of summer, For fear too strong a fever Should quite dissever The invisible murmur from the coloured mask. This is the sun's wisdom: that change and rest And change, the embodied world's recurrent measure, In check and counterpoise Contain all joys Lest the one treasure perish, being possessed. _C. J. DRUCE_ (_NON-COLL._) THE MEETING But we should meet in very different wise-- On some clear-lifted crest when sunset stills Wide cleansing winds, and transient beauty lies Immortal in the moment it fulfils: Or down a deep glade you should come to me, Moving your limbs with slow primordial ease, With eyes whose calm has caught the mystery That walks at dawn beneath the gloom of trees: Or by the tenderness of a placid stream: Or anywhere where trivial clamours cease, And things irrelevant fade like a dream, That souls may grow articulate in peace. Instead of this, I know what will befall:-- The seething station where, urged and confined, Chaotic energies interweave and brawl, And confused sights and sounds beat on my mind; There I shall wait, and feel my spirit's flame (Trained upwards, purged, for that white moment's sake) Flicker, burn thickly, bowing to the claim Of alien currents that I cannot break. For all the folk who come and go, or stand With strained expectant eyes, or talk with those From whom they soon must part, have at command Some part of my unwilling brain, impose Conjectured joys and griefs upon my sense, As they, perhaps, guess at my purpose here; And jealous egotisms feed suspense As the desired, half-dreaded hour draws near. At last a rumble, distant, ominous, hoarse, Swells to a shattering roar that daunts the world; And round the curve, a black embodied force Triumphantly increases, and is hurled Like a great wave upon us, swallowing all. Vague figures wax and wane and fluctuate In the inane, till one, more steadfast-small, Persists, grows luminous, letting penetrate Some likeness of your shape, and of your face Some strange reflected charm: I grope to find A hand with mine in the resisting space, Hear my tongue utter what no thought designed, Weak ineffectual words, unheedful of replies-- Questions of tickets, luggage, urge and swarm-- But far beneath all this, in secret lies An infant consciousness, yet feebly warm With life, and promise that the time is nigh That crowds or things no longer may subdue, When the dull futile body that is I Shall feel the quickening spirit that is you. _T. W. EARP_ (_EXETER_) THE CANAL When you're tired of books and the dusty, well-known room It's good to put on a gown and go for a walk, Taking deep breaths and smelling the hawthorn bloom By the canal, where shadowy lovers talk. They are far too happy to care if anyone passes, And you envy a little, as you go along, Those happy lovers of the lower classes Whose emotions are like the rhythm of a rag-time song. The breath of the summer night is about your head, Burdened with fragrance, lulling the brain to sleep, You begin to forget the dull things you have read, And just go walking on and breathing deep. SOLITUDE They have been sitting here until eleven, The loud and the quiet and the one who is never shocked, And we talked of most of the things between hell and heaven, But now the last friend has gone and the door is locked. And I cannot help feeling, though it's rather silly, A little afraid to be left so quiet and alone; I can hear a petal drop from the tiger-lily, So complete and awful has the silence grown. I long to hear that tramp of the policeman's Outside the shutters, but the night is dumb, And in a state of tension unknown to Huysmans I wait and wait for the sound that will not come. _U. ELLIS-FERMOR_ (_SOMERVILLE_) SED MILES... Bear the hearse, bear the pall, We shall fare forward, We have answered the problem, We have closed the volume. In the doubt, in the strife, We chose the giving, We have had light for doubt, We have had our answer. Doubts of the end of life, We have been spared them; We have given the tangled skein To be cut by the shearers. Violet scent, flower of broom, We have foregone them, We have given the morning, The gods have accepted, They have pardoned the reckoning. _JOAN EVANS_ (_ST. HUGH'S_) THE HAMADRYAD Her flitting form is slim and pale As beechen stems at night, Her hair is dark as barren trees Against the moon's pale light. Her dreadful seeking hands are curved Like chestnut buds in spring; Against her bosom close she holds A dove with frightened wing. We may not see her as she goes Over the leaf-strewn moss; But see the russet leaves are stirred, Feel some strange sense of loss. We cannot see her cold sad eyes Filled with a craving pain-- We only hear upon the leaves Patter of April rain. _FLORA FORSTER_ (_SOMERVILLE_) DUCKLINGTON Down there at Ducklington The ducks are never old; The geese are always goslings, The catkins always gold. The orchards blossom ever Like foam heaped on a cup, Down there at Ducklington Where never a duck grows up! Down there at Ducklington The years linger yet At April, with its little leaves And ash-buds of jet. And I could be a child again And drink, as from a cup, Youth, down at Ducklington, Where never a duck grows up! Down there at Ducklington, With its ducklings ever young, With its year ever at April, And the songs of June unsung-- The potion of eternal youth Is brewed there in a cup-- Down there at Ducklington Where never a duck grows up! _L. GIELGUD_ (_MAGDALEN_) SUMMER DEVILRY The sky is very near to me to-night: It breathes, as from a throat of molten lead, A damnèd effluence about my head, An effluence of hell, a fœtid blight: Dark visions break on my distorted sight Of bloody lust and cruelty and dread, Devils unnamed in their own likeness tread The ways of earth, and are not put to flight. In rifts of voiceless lightning, such as breaks This goitrous firmament, have stood revealed Over the dead in some old battlefield The ghastly dogs of death, and bloated snakes Dripping the slime of Acherontian lakes On some dead sovereign's blood-emblazoned shield. _ROBERT GRAVES_ (_ST. JOHN'S_) DOUBLE RED DAISIES Double red daisies, they're my flowers Which nobody else may grow In a big quarrelsome house like ours They try it sometimes, but no, I root them up because they're my flowers Which nobody else may grow. _Claire has a tea-rose, but she didn't plant it; Ben has an iris, but I don't want it. Daisies, double red daisies for me, The beautifullest flowers in the garden._ Double red daisy, that's my mark: I paint it in all my books. It's carved high up on the beech-tree bark-- How neat and lovely it looks! So don't forget that it's my trademark; Don't copy it in your books. _Claire has a tea-rose, but she didn't plant it; Ben has an iris, but I don't want it. Daisies, double red daisies for me, The beautifullest flowers in the garden._ DEAD COW FARM It's told in those old sagas, how In the beginning the First Cow (For nothing living yet had birth But Elemental Cow on earth) Began to lick cold stones and mud. Under her warm tongue flesh and blood Blossomed, a miracle to believe. And so was Adam born, and Eve. Here now is Chaos once again, Primæval mud, cold stones and rain; Here flesh decays and blood drips red, And the Cow's dead, the old Cow's dead. _RUSSELL GREEN_ (_QUEEN'S_) DE MUNDO[A] ... And then arose the vision of the world Immense, a tangle of dark ravelled time, Twisted and knotted by a surge of men: Vast sombre tribes forth from the old abyss Clambering, travailed, hated, fought and fell. The slow tower, stone upon laborious stone, Compacting men and clans, cities and states, Aspired through ages to the unknown god: Adventurers with the guidance of no star, Discovering all, rich isle and barren shore, And ever seas beyond the indolent seas Rounding known courses with uncharted doubt: A people wandering in the wilderness, So vague a cloud, so dim a pillar of fire They blindly followed to a promised land Flowing with rivers of perennial truth-- And they the chosen vessel,--who of old Knew not wherefore they broke their bonds and fled. Yet in the end a desolation came And the golden bowl was broken.... I saw men, symbols of humanity,-- Immortal longings bound in mortal clay,-- Wayfaring still upon the ancient road Winding away to the invisible hills. Still on the visionary scaffolding The players played the old Morality,-- The pilgrim Life waylaid by cruel Despair, Wealth dowering Evil and maltreating Good, And Pain and Care tormenting Body and Soul, And Giant Sin bestriding hill and dale, Building his shrines for men to worship him; Corruption, too, with serpents in his hair, And next, obscene Ungodliness, whose eyes Vacant and dull, bent ever on the earth. Then, last of all, Humanum Genus came Bearing a scroll with the Apostle's words-- "Having no hope and without God in the world." So from the seat of vision I arose Trembling, appalled, and went upon my way Sadly, for all my vision ended in this-- Piercing of heart, reason's bewilderment-- "We've come from mystery and to mystery go." What shall be said when all things have been said? What shall be said when this is pondered on-- "Either He lives not who created man, Or man for sin is cast forth from His grace; Yea, between Him and man a gulf is set"? [A] This poem originally appeared in _The Westminster Gazette_. _MERCY HARVEY_ (_ST. HILDA'S_) SONG For Beauty's sake I weep, Because my love is beautiful, I came upon her lying asleep Within a bower sweet and cool. The tall trees intertwined And made a bower for my love, With green shrubs nestling there behind, And a blue strip of sky above. For Beauty's sake I grieve, That Beauty soon must fade and die, As lilac blossoms fall, nor leave One ghostly fragrance lingering nigh. For Beauty's sake I strive For one long moment's raptured bliss To hold her in her form alive And give her one impassioned kiss. For her own sake she dies, Nor leaves behind one memory; The light out of the western skies Is gone, and thou art gone from me. _H. C. HARWOOD_ (_BALLIOL_) CALL OF THE DEAD Have you not waited there too long, Little brother of mine, With a spirit too weak in a world too strong? You do not play as you used to do When you and I were an army of two. Surely you dally there too long, Little brother of mine. Death is an old benevolent king, Little brother of mine, And around his throne the children sing. Time, life's sullen minister, Dulls the heart and dulls the hair, But does not stand before my king, Little brother of mine. Hopes we cherish down below, Little brother of mine, Melt in manhood like the snow. Tranquil in inexperience, Call on Death for your defence, And leave the tangle down below, Little brother of mine. Forgotten laughter, remembered tears, Little brother of mine, Would be the burden of your years. So let us play together again With a child's swift joy and swifter pain, And reckon no more of months and years, Little brother of mine. RETURN Against the ebbing tide we make our way. Beyond the low green banks the fenlands stretch To a far horizon. Trawler, smack and ketch Are passing for the business of the day. There is the inlet where the immortal boys, As white and slim as ever, splash and call. Deserted on the other bank Blake Hall Still contemplates contemptuously their noise. There are the docks where the tall mastheads shine Of mighty _Helsingfors_, the timber ship. And a new craft is lying in the slip Which presently shall be baptized with wine. The houses gather thicker, and a girl Waves her indifferent smiling welcome. See! The loungers are awakened on the quay And stand to catch the rope the sailors curl. Now grey and swift the startled seagulls wheel. The engine-room is silent which so long Has shaped our lives to its monotonous song. The fenders bump against the slowing keel. The smoke is rising from my father's home Across the street, and flapping in the breeze A curtain welcomes me from off the seas, The querulous seas, where I was wont to roam. And there miraculously free from age The faces of my playfellows are seen. And all is now as it has ever been, Or smiling destiny turns back the page. But always ere my feet are firm upon The natal shore, dream ship, dream river fade, And I am burdened with the choice I made And lonely in the land where I am gone. _E. E. ST. L. HILL_ (_KEBLE_) DIFFIDENCE Dulled is the azure of the skies. Can aught but woe my woes beget? My inmost self in anguish cries "I love my Love"--My Love!--and yet I cannot as a lover say "I love my Love," because I know I am not worthy. Still I may Win in the end the right to show My Love what is my heart's desire. For more than this I may not hope, To naught beyond can I aspire. Alone, in secret, I must grope My way and be content to see The beauty of my star above, For never will my Love love me Though I so truly love my Love. _A. L. HUXLEY_ (_BALLIOL_) L'APRÈS-MIDI D'UN FAUNE (_From the French of Stéphane Mallarmé._) I would immortalize these nymphs: so bright Their sunlit colouring, so airy-light, It floats like drowsing down. Loved I a dream? My doubts, born of oblivious darkness, seem A subtle tracery of branches grown The tree's true self--proving that I have known No triumph, but the shadow of a rose. But think. These nymphs, their loveliness ... suppose They bodied forth my senses' fabulous thirst. Illusion! which the blue eyes of the first, As cold and chaste as is the weeping spring, Beget: the other, sighing, passioning, Is she the wind, warm in your fleece at noon? No. Through this quiet, when a weary swoon Crushes and chokes the latest faint essay Of morning, cool against the encroaching day, There is no murmuring water, save the gush Of my clear fluted notes; and in the hush Blows never a wind save that which through my reed Puffs out before the rain of notes can speed Upon the air, with that calm breath of art That mounts the unwrinkled zenith visibly, Where inspiration seeks its native sky. You fringes of a calm Sicilian lake, The sun's own mirror, which I love to take, Silent beneath your starry flowers, tell _How here I cut the hollow rushes, well Tamed by my skill, when, on the glaucous gold Of distant lawns about their fountain cold, A living whiteness stirs like a lazy wave, And at the first slow notes my panpipes gave These flocking swans, these naiads rather, fly Or dive._ Noon burns inert and tawny-dry, Nor marks how clean that Hymen slipped away From me who seek in song the real A. Wake, then, to your first ardour and the sight, O lonely faun, of the old fierce white light, With, lilies, one of you for innocence. Other than their lips' delicate pretence, The light caress that quiets treacherous lovers, My breast, I know not how to tell, discovers The bitten print of some immortal's kiss. But hush! a mystery so great as this I dare not tell, save to my double reed, Which, sharer of my every joy and need, Dreams down its cadenced monologues that we Falsely confuse the beauties that we see With the bright palpable shapes our song creates: My flute, as loud as passion modulates, Purges the common dream of flank and breast, Seen through closed eyes and inwardly caressed, Of every empty and monotonous line. Bloom then, O Syrinx, in thy flight malign, A reed once more beside our trysting-lake. Proud of my music let me often make A song of goddesses and see their rape Profanely done on many a painted shape. So, when the grape's transparent juice I drain, I quell regrets for pleasure past and feign A new real grape. For holding towards the sky The empty skin, I blow it tight and lie Dream-drunk till evening, eyeing it. Tell o'er Remembered joys and plump the grape once more. _Between the reeds I saw their bodies gleam Who cool no mortal fever in the stream, Crying to the woods the rage of their desire: And their bright hair went down in jewelled fire Where crystal broke and dazzled shudderingly. I check my swift pursuit; for see where lie, Bruised, being twins in love, by languor sweet, Two sleeping girls, clasped at my very feet. I seize and run with them, nor part the pair, Breaking this covert of frail petals, where Roses drink scent of the sun and our light play 'Mid tumbled flowers shall match the death of day._ I love that virginal fury, ah! the wild Thrill when a maiden body shrinks, defiled, Shuddering like arctic light, from lips that sear Its nakedness ... the flesh in secret fear! Contagiously through my linked pair it flies Where innocence in either, struggling, dies, Wet with fond tears or some less piteous dew. Gay in the conquest of these fears, I grew So rash that I must needs the sheaf divide Of ruffled kisses heaven itself had tied. _For as I leaned to stifle in the hair Of one my passionate laughter (taking care With a stretched finger, that her innocence Might stain with her companion's kindling sense, To touch the younger little one, who lay Child-like unblushing) my ungrateful prey Slips from me, freed by passion's sudden death, Nor heeds the frenzy of my sobbing breath._ Let it pass! others of their hair shall twist A rope to drag me to those joys I missed. See how the bursting currants ripe and red To quench the thirst of the mumbling bees have bled; So too our blood, kindled by some chance fire, Flows for the swarming legions of desire. At evening, when the woodland green turns gold And ashen-grey, 'mid the quenched leaves, behold! Red Etna glows, by Venus visited, Walking the lava with her snowy tread Whene'er the flames in thunderous slumber die. I hold the goddess! Ah, sure penalty! But the unthinking soul and body swoon At last beneath the heavy hush of noon. Forgetful let me lie where summer's drouth Sifts fine the sand, and then with gaping mouth Dream, planet-struck by the grape's round wine-red star. Nymphs, I shall see the shade that now you are. _C. R. JURY_ (_MAGDALEN_) LOVE Though life has stooped before its height, And beauty, that I still shall trust, The child of a diviner light Be torn, and lower than the dust, Love has a life beyond the heat Of sorrow, pain, desire or dread; He holds as his eternal seat The great remembrance of the dead. They lose no splendour by decay; They are a fixed immortal power, And I their lover, though I stay Surrounded by the dying hour. And now thy beauty, as that fire Which walks against the morning, bears Of day and night one great desire, Has made life's splendour one with theirs. They live; I see them in thine eyes; Thy life is theirs; no death can stem Their torrent. When I watch it rise, I love thee, as I worship them. SONNET I would to God thou wert mine own good son Thy face is fair, thy body strong and pure, Thy spirit nobly high, thy deeds well done, Thy heart well set to love and to endure. 'Tis such a fearless boy I would beget, To give the venerable world its due; Yea, to be bold and lovely ere I set, To take the time, and mould what shall ensue. I would thou wert the fruit of my best hour, So that I might bequeathe thee my strong fire; But I am like to die before my flower And lose inheritors for my desire. O if thou wert mine own, I had this boast; Therefore I love thee better than thou know'st. _CHAMAN LALL_ (_JESUS_) "THIRTY YEARS AFTER" It is thirty years since we two parted, It is thirty unswept, cobweb years Since, with a look of indifference, in a storm of elegance, Like some knowing, hungering bird, Like some forewarned, huckstering drone of a butterfly, Like a swift passion--she swept past my youth unhonied. And I am now a very old man--almost dead; I am now a very old ornament of lead; Weismann and Ellis, Burton I have read These thirty years in bed. This room; And the shadows lengthening on the lawn; And the distant boom, boom of the world; Wearisome watchings for the first star; And the toil, toil of the dawn: These have emptied my soul of its waves, These have made cold prisons of my faery caves, These have frosted The red, red poppy-leaf of time. Who now cares for my politics? Who now cares for my brilliant repartees That crushed one with an epigram, That struck one like an oriflamme? But now they ask me who I am. Once women came to me, And she, Once women came to me with their offerings Like long lines of brown bees Burdened with offerings, Like naked houris of turbaned Kings, Once----But now drifts Across the living-deadness Of an Egyptian desert My barren Arab way, My unflowered desert way. It is thirty years since we two parted, It is thirty unswept, cobweb years Since, with a look of indifference, in a storm of elegance, Like a swift passion--she swept past my youth unhonied. And I am now a very old man--almost dead; I am now a very old ornament of lead; Weismann and Ellis, Burton I have read These thirty years in bed. _M. LEIGH_ (_SOMERVILLE_) TWO EPITAPHS ON TWO LOVERS Love, when we walked on earth, your chastity Was all to you, your body all to me; Now the grave holds the flesh that parted us, And being nought, we shall united be. ON AN ARISTOCRAT DYING UNDER A DEMOCRACY Living, your constitution levelled me; Dead, all are equal in their six-foot graves: But God counts not by heads; in His regard One freeborn man is worth a host of slaves. _E. H. W. MEYERSTEIN_ (_MAGDALEN_) THE FINGER (To R. T.) How curiously this triple whole Of skin and blood and bone Consenteth to the mind's control And to the mind's alone. 'Tis for diurnal uses mine, To move howe'er I please, Or mingle with its brothers nine Enclasped about my knees. Yet often when the mind's afar, By vagrant thought bestirred, It gaily shifts and beats the bar To songs and sounds unheard. Mute eloquence! 'Tis plain to see As face in looking-glass That more than one is lord of me When this is brought to pass. What else but mind and mind alone Should rule the triple whole, But how if skin and blood and bone Themselves enshroud a soul? LONDON Sir, you're from Oxford, seat of bliss Arrived in the Metropolis; We hold you well and think we can Make you, in your despite, a man. 'Tis here our wont, though strange it seems, To deal in solid facts, not dreams; For lies are lies, and gold is gold, And men are daily bought or sold. Parade the purlieus if you wish To study poor-law and fried fish; There's much that waits to be improved, And an improver's rarely loved. Or yours is the creative touch; We have a score of shops for such, Where novelties in paint and words Are scrutinized by lonely herds. Colour and motion are aglow In streets above and tubes below. We energize: to meditate Only befits a culture-state. Such friends we'll give you as will prove The world is only made of love; But life is necessary too, And vices, seeing you are you. For in this pantomimic scene There's nothing common or unclean; You lodge upon the second floor And opposite a noted whore. So, when your dreams are laid to rest, You're part of what you most detest, And know this nightmare was made real To dissipate a false ideal. _EVAN MORGAN_ (_CHRIST CHURCH_) IN OLDEN DAYS AN ALLEGORY Down from the flowering tulip-tree The birds of love flew down to me,-- The birds of love with plumage rare Sped in circles 'bout my hair, And it was dawn and I was glad, And Dawn appeared, a Spartan lad; With flowers twined about his hair, A countenance that knew not care. The flow'rs waved in careless joy As they nodded and danced o'er the head of the boy. Lo! he picked the birds up one by one And he killed them in his wanton fun, So I cried to him: "They're the birds of love That abide in the jewelled tree above, And the tree and the birds are the jewels of love." But the youth of the morn with laughter cried: "Those birds are mine that you espied; Mine are these birds, and mine this tree: I am the God of Love," cried he, "The God of Love, of birds and tree." "I weep for the birds, for they brought me love Down from the tulip-tree above, From the tree above they brought me love." "I'll give you love, my sorrowful brave-- I'll give you myself to hold as a slave," So taking Love as a slave with me, Fast I fled from the tulip-tree; I fled from the tree and my slave with me,-- Love was the slave and I Poetry. A SERENADE Your love is like some wondrous scented rose. The evening sees a purple pool of blood Beneath the tree that Summer's glory chose Crimsonly thick with passion'd joys to flood. Your love is like the harvest of the sun Moltenly golden, gloriously sublime. Were I the reaper, swiftly would I run And reap thy golden love till death were time. Your love is like the shadows of the ev'n, The gold-green tints that linger in the sky; When the red king in opal cloud flies heav'n, Leaving the dewy earth to sleep and cry. Your love is like the mystery of the night, When the wan mists the dreamy violets kiss, It comes like ghostly owl with muted flight, It comes like Death;--but Death from you is bliss. _F. ST. V. MORRIS_ (_WADHAM_) [_3rd Batt. Sherwood Foresters, attached R.F.C. Died of wounds, April 29, 1917_] LAST POEM Through vast Realms of air we passed On wings all-whitely fair. Sublime On speeding wing we climb Like an unfettered Thing, Away Height upon height; and play In God's great Lawns of Light. And He Guides us safe home to see The Fields He bade us roam. _ROBERT NICHOLS_ (_TRINITY_) THE MAN OF HONOUR I. O had I died when o'er the sullen plain The harsh light drifted and the roaring guns Lifted their voices summoning amain Youth from its joy in storms and flying suns And happy comradeship of weathered men, All had been as in purpose due and well, Honourable my service had been then And honoured the blank spot on which I fell. But now--O heart!--how much dishonoured I, And by my own hand too--twice bitter case-- My true love stained with secret infamy, My treachery disguised by friendship's face, And that bare passion bade me forth to die Fouled to the instrument of my disgrace! II. What has a man but honour? When 'tis gone The man is gone: for all that in him blent To strike a star for men to gaze upon Becomes his quicker ruin's instrument. For from that height to which with toil we climb, From that we fall and to the further pit, Who honour bore and lost. This is my crime And this the daily punishment of it:-- To honour honour more than e'er I did When I possessed it, to esteem the lot Of those whose treasure from themselves lies hid Or those who lose it and yet miss it not. O God, now raise me to the thing forbid Or from my eyes its pure light wholly blot! III. Wherefore on God thou callest? 'Tis in vain: Our hearts our fortunes are until we die, And naught can change them or for loss or gain Save Courage at least glance of Honour's eye. For Honour, daughter of sound brain and blood, Motions us ever though we may not heed; She is imperative hunger for the good, Good so instinctive that to gain we bleed. Wherefore, dishonoured soul, part from thy love-- Fearfuller wrench than muscle torn from bone-- Or her soul too must perish here. Enough! I cannot leave her. Then there is but one Refuge for us now to make trial of,-- Refuge to which I cannot fare alone. IV. They burned too deep. Had they but taken that lightly Which take they must, Love being absolute lord-- Parted by now they yet had rendered rightly Memory each to each, love's last reward. But of their love maybe a fiercer glow They had who saved their honour at the last By direst means. Whether it be or no, In death their faces held a _something_ fast. Beneath the fall's white glare and drumming zest, Where on black depths an hundred suns are burning, Their bodies bound, like faggots, breast to breast Rose for a peaceful space, lazily turning: Their mutual smile acknowledged _this_ was best. Love had found Honour's way. O bitter learning! _ELIZABETH RENDALL_ (_HOME STUDENT_) MY SOUL IS AN INFANTA (_From the French of Albert Samain._) My soul is an Infanta, robed for state, Whose exiled years, termless, imperial, Are mirrored in some dim Escurial, Forgotten as old galleys in the roads disconsolate. Fleet as the wind, her daïsed throne beside, Twin greyhounds couch majestical, and seem To course, through Forests of Enchanted Dream, At will, a phantom fancied quarry, melancholy-eyed. Stirless, she holds a tulip flower, attent The while her page, whose name is Yesterday, Reads with hushed breath an old bewitching lay, And hears its magic in her heart die impotent. Before her--marbled fountains, terraced slopes, And all the green of Spring. Sombre, her mind She mads with those high dreams, the unconfined Horizon hides, and turns, for our despair, to wistful hopes. Here dwells she, gracious, unrebellious, kind, Knowing, since Fate is Lord, the strife how vain; Knowing, for all her birthright of disdain, Her spirit touched to pity as the sea stirs to the wind. Here dwells she, unrebellious, past surprise, Tranquil through tears, save when she evokes the ghost Of Hope's Armadas with their piteous host Foundering, betrayed anew eternally before her eyes. Yet, in some magic, purple, sunset hour, Old portraits, shadowy on the tarnished gold-- Ivory, black of velvet--wake to hold New promise from the past of splendid insubstantial power. Pale painted hands Velasquez pictured, guide Her soaring thoughts again to nothingness Miraged so fair, dies all her weariness And glows a sudden glory from the rubies of her pride. But lo, old horror of the world of men And all its brazen clangour stills her blood... Life flows--a distant murmur--like the flood... More secret and more strange the smile is on her lips again. No breath may trouble now her eyes' repose Where haunt the veilèd ghosts of cities dead; Adown dim corridors with tranquil tread Singing she passes where an idle fountain idly flows. Pale at her casement sits she, to await Till pride and peace shall have an end at last, Holding her tulip, mirrored in the past, Forgotten as old galleys in the roads disconsolate. My soul is an Infanta, robed for state. _D. L. SAYERS_ (_SOMERVILLE_) FAIR EREMBOURS A SONG OF THE WEB. FRENCH, XII C. When in the long-day month, the month of May, The Franks of France from king's court ride away, Reynault rides foremost, the first in rank alway. Passes the tower where Erembours doth stay; He never deigned to lift his head her way, Ha, Reynault, ha, true love! Fair Erembours, within the window's ray, Holds on her knees a web of colours gay, Sees Franks of France from king's court ride away, Sees Reynault riding the first in rank alway, Speaketh aloud, on this wise she doth say: Ha, Reynault, ha, true love! Reynault, true love, I have beheld the day When if my father's castle stood on your way You had been sad, had I had nought to say. --Ill hast thou wrought with me, king's daughter, yea, Hast loved another, cast my love away. Ha, Reynault, ha, true love! Reynault, fair sir, on relics solemnly I'll swear, before an hundred maidens free And thirty ladies that I shall bring with me, I never loved another man save thee; Take this amends, I'll give thee kisses three. Ha, Reynault, ha, true love! O then Count Reynault up by the stairway ran, Wide were his shoulders, and small his girdle's span, His hair close-curled, and very fair to scan, In all the world is not so fine a man. Erembours saw him, and so to weep began. Ha, Reynault, ha, true love! Count Reynault mounts into her highest towers And sets him on a bed of broidered flowers, And close beside him sits fair Erembours. Then they take up their loves of former hours. Ha, Reynault, ha, true love! _H. SIMPSON_ (_HOME-STUDENT_) "THERE ARE QUANTITIES OF THINGS..." There are quantities of things One would like to be and do When one's mind unfurls its wings; Clouds full chase across the blue All unthinking in their flight; Overcasting me and you, Sometimes raining out of spite. Or perhaps you would prefer To go coasting through the night With a flutter and a stir, Like a nightjar in a wood Rising softly with a whirr. Or with cold and scanty blood Don a fish's suit of scales, And go oaring through the flood Under bigger fishes' tails, Into warm and open sea While above you blow the gales-- So my mind spins constantly In unprofitable rings Almost to infinity-- Such innumerable things One would like to do and be When one's thoughts shake out their wings. _E. E. SMITH_ (_UNIVERSITY_) THE VOYAGE O my soul that fliest over never-ending seas That are so still their deeps lie dark beneath the sun, Untroubled by any foam, so that the ship-boy sees All the world's water, and thinks his voyage never done: Some day thou wilt stay thy wings and stoop to land Where the sea's edge lies sharp like a bright sword, And hardly break the waves, and sweet is the sand Where the keel runs home and ships are gently shored. There sit the solemn seamen, with rings in their brown ears, Who are grave when they laugh and are not ashamed to weep; Their hair and their beards are grown long with the long years, And some are too old and too wise for speaking, and some sleep. And when the night grows cold they stir, and touch their lips With dark-red sluggish liquor, and kindle a fire from wood Washed up by a quiet wave from the wracked majestical ships, The planks where the feet of the sea-captains and the ship-boys stood. Their eyes grow silent and dark, their gnarled bodies swing Like trees that are stript in a wind; they go mad with moon and stars, Murmuring songs like water, and beating their hands as they sing Of how they are fled far off from the foam of tides and the handling of bars. _L. A. G. STRONG_ (_WADHAM_) THE MAD MAN I think I'll do a fearful deed Of wickedness and cruelty, And then, if Father Walsh speaks truth, Jesus will weep a tear for me, And I will catch it in my hat Just here outside my cabin door: And put it on my little field Where nothing ever grew before. And it will sprout so fine and brave, That lovely birds with yellow bills Will come to peck my crowded corn From all the Seven Holy Hills. THE BAIT-DIGGER'S SON Aye, there's many a man does be drownded, An' carried a middling way: But never the like o' me brother Was floated from Dublin to Bray. An' him only two days in it-- Sure ye'd hardly believe it at all: But it's God's truth. He went down fishing One night from the North Wall. What way was it? There's none knows rightly-- He was there one turn o' the light, An' when next it came round he was no place: An' no sign of him till next night, When two men out o' Coliemore Harbour, Rowin' back from the fishin' ground, Seen him floatin' by on his belly Down the middle o' Dalkey Sound: But they didn't dare stop for to get him, For the boat was a heavy weight, An' the wind was strong, an' the current Was runnin' the divil's own gate. An' he crossed the Bay o' Killiney; Till next mornin', at twelve o' the clock, They found him all swelled an' puffy, At Bray, in the slit of a rock. * * * * * Aye, there's many a man does be drownded, An' carried a middling way: But never the like o' me brother Was floated from Dublin to Bray. _D. E. A. WALLACE_ (_SOMERVILLE_) SONNET IN CONTEMPT OF DEATH When I consider some day wanton Death With sudden hand ungently laid above The heart of her, my softly-sleeping love, Shall fright away her sweet and rhythmic breath; Shall quell the colour in her flower-face, Inevitable and unheralded As frosts in May that strike the blossom dead-- Shall quench her eyes, transfix her dreaming grace; When I consider that her limbs shall be Set stiffly in a strong rigidity; That by-and-by her flesh shall fall away, Unsightly in a horrible decay, Then do I laugh, despite my catching breath-- A piteous fool, a sad, blind fool is Death! _LEO WARD_ (_CHRIST CHURCH_) THE LAST COMMUNION There is a time wherein eternity Takes rest upon the world: King Charity Bow'd to our fallen state: the God of Grace Made visible upon a human face:-- When the deep harmony, the eternal Word, The unfallen Wisdom (only love has heard!) Touches the troubled body, bruised and hard With the long fight, yet now set heavenward:-- When the deep argument of souls must cease, Dying--to meet the victory of peace! BILLING AND SONS, LTD., PRINTERS, GUILDFORD, ENGLAND * * * * * Transcriber's Notes Italics are represented thus _italics_. Obvious typographical errors have been silently corrected, but no other changes have been made to the text. End of the Project Gutenberg EBook of Oxford Poetry, by Various *** END OF THIS PROJECT GUTENBERG EBOOK OXFORD POETRY *** ***** This file should be named 50815-0.txt or 50815-0.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/5/0/8/1/50815/ Produced by MWS, Les Galloway 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 print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase "Project Gutenberg"), you agree to comply with all the terms of the Full Project Gutenberg-tm License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase "Project Gutenberg" associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that * You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, "Information about donations to the Project Gutenberg Literary Archive Foundation." * You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg-tm License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg-tm works. * You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. * You comply with all other terms of this agreement for free distribution of Project Gutenberg-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and The Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws. The Foundation's principal office is in Fairbanks, Alaska, with the mailing address: PO Box 750175, Fairbanks, AK 99775, but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation's web site and official page at www.gutenberg.org/contact For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart was the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our Web site which has the main PG search facility: www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.