The Project Gutenberg eBook of The Listeners and Other Poems 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 will have to check the laws of the country where you are located before using this eBook. Title: The Listeners and Other Poems Author: Walter De la Mare Release date: September 10, 2007 [eBook #22569] Language: English Credits: E-text prepared by Juliet Sutherland, storm, and the Project Gutenberg Online Distributed Proofreading Team *** START OF THE PROJECT GUTENBERG EBOOK THE LISTENERS AND OTHER POEMS *** E-text prepared by Juliet Sutherland, storm, and the Project Gutenberg Online Distributed Proofreading Team (http://www.pgdp.net) THE LISTENERS AND OTHER POEMS by WALTER DE LA MARE [Illustration] New York Henry Holt and Company The author's thanks for permission to reprint certain of the poems included in this collection are due to the Editors of the _Saturday Review_, the _Thrush_, the _Pall Mall Magazine_, the _Odd Volume_, the _Lady's Realm_, the _English Review_, the _Westminster Gazette_, the _Commonwealth_, and the _Nation_. CONTENTS PAGE THE THREE CHERRY TREES 1 OLD SUSAN 3 OLD BEN 5 MISS LOO 7 THE TAILOR 9 MARTHA 10 THE SLEEPER 12 THE KEYS OF MORNING 14 RACHEL 16 ALONE 17 THE BELLS 19 THE SCARECROW 21 NOD 23 THE BINDWEED 25 WINTER 26 THERE BLOOMS NO BUD IN MAY 27 NOON AND NIGHT FLOWER 29 ESTRANGED 30 THE TIRED CUPID 31 DREAMS 32 FAITHLESS 33 THE SHADE 34 BE ANGRY NOW NO MORE 35 SPRING 36 EXILE 37 WHERE? 38 MUSIC UNHEARD 39 ALL THAT'S PAST 41 WHEN THE ROSE IS FADED 43 SLEEP 44 THE STRANGER 45 NEVER MORE, SAILOR 47 THE WITCH 49 ARABIA 52 THE MOUNTAINS 54 QUEEN DJENIRA 55 NEVER-TO-BE 57 THE DARK CHATEAU 59 THE DWELLING-PLACE 61 THE LISTENERS 64 TIME PASSES 66 BEWARE! 68 THE JOURNEY 69 HAUNTED 74 SILENCE 76 WINTER DUSK 78 AGES AGO 80 HOME 82 THE GHOST 84 AN EPITAPH 85 'THE HAWTHORN HATH A DEATHLY SMELL' 86 THE THREE CHERRY TREES There were three cherry trees once, Grew in a garden all shady; And there for delight of so gladsome a sight, Walked a most beautiful lady, Dreamed a most beautiful lady. Birds in those branches did sing, Blackbird and throstle and linnet, But she walking there was by far the most fair-- Lovelier than all else within it, Blackbird and throstle and linnet. But blossoms to berries do come, All hanging on stalks light and slender, And one long summer's day charmed that lady away, With vows sweet and merry and tender; A lover with voice low and tender. Moss and lichen the green branches deck; Weeds nod in its paths green and shady: Yet a light footstep seems there to wander in dreams, The ghost of that beautiful lady, That happy and beautiful lady. OLD SUSAN When Susan's work was done she'd sit, With one fat guttering candle lit, And window opened wide to win The sweet night air to enter in; There, with a thumb to keep her place She'd read, with stern and wrinkled face, Her mild eyes gliding very slow Across the letters to and fro, While wagged the guttering candle flame In the wind that through the window came. And sometimes in the silence she Would mumble a sentence audibly, Or shake her head as if to say, 'You silly souls, to act this way!' And never a sound from night I'd hear, Unless some far-off cock crowed clear; Or her old shuffling thumb should turn Another page; and rapt and stern, Through her great glasses bent on me She'd glance into reality; And shake her round old silvery head, With--'You!--I thought you was in bed!'-- Only to tilt her book again, And rooted in Romance remain. OLD BEN Sad is old Ben Thistlewaite, Now his day is done, And all his children Far away are gone. He sits beneath his jasmined porch, His stick between his knees, His eyes fixed vacant On his moss-grown trees. Grass springs in the green path, His flowers are lean and dry, His thatch hangs in wisps against The evening sky. He has no heart to care now, Though the winds will blow Whistling in his casement, And the rain drip thro'. He thinks of his old Bettie, How she'd shake her head and say, 'You'll live to wish my sharp old tongue Could scold--some day,' But as in pale high autumn skies The swallows float and play, His restless thoughts pass to and fro, But nowhere stay. Soft, on the morrow, they are gone; His garden then will be Denser and shadier and greener, Greener the moss-grown tree. MISS LOO When thin-strewn memory I look through, I see most clearly poor Miss Loo, Her tabby cat, her cage of birds, Her nose, her hair--her muffled words, And how she'd open her green eyes, As if in some immense surprise, Whenever as we sat at tea She made some small remark to me. It's always drowsy summer when From out the past she comes again; The westering sunshine in a pool Floats in her parlour still and cool; While the slim bird its lean wires shakes, As into piercing song it breaks; Till Peter's pale-green eyes ajar Dream, wake; wake, dream, in one brief bar. And I am sitting, dull and shy, And she with gaze of vacancy, And large hands folded on the tray, Musing the afternoon away; Her satin bosom heaving slow With sighs that softly ebb and flow, And her plain face in such dismay, It seems unkind to look her way: Until all cheerful back will come Her cheerful gleaming spirit home: And one would think that poor Miss Loo Asked nothing else, if she had you. THE TAILOR Few footsteps stray when dusk droops o'er The tailor's old stone-lintelled door: There sits he stitching half asleep, Beside his smoky tallow dip. 'Click, click,' his needle hastes, and shrill Cries back the cricket 'neath the sill. Sometimes he stays, and o'er his thread Leans sidelong his old tousled head; Or stoops to peer with half-shut eye When some strange footfall echoes by; Till clearer gleams his candle's spark Into the dusty summer dark. Then from his crosslegs he gets down, To find how dark the evening's grown; And hunched-up in his door he'll hear The cricket whistling crisp and clear; And so beneath the starry grey Will mutter half a seam away. MARTHA 'Once ... once upon a time ...' Over and over again, Martha would tell us her stories, In the hazel glen. Hers were those clear grey eyes You watch, and the story seems Told by their beautifulness Tranquil as dreams. She'd sit with her two slim hands Clasped round her bended knees; While we on our elbows lolled, And stared at ease. Her voice and her narrow chin, Her grave small lovely head, Seemed half the meaning Of the words she said. 'Once ... once upon a time ...' Like a dream you dream in the night, Fairies and gnomes stole out In the leaf-green light. And her beauty far away Would fade, as her voice ran on, Till hazel and summer sun And all were gone:-- All fordone and forgot; And like clouds in the height of the sky, Our hearts stood still in the hush Of an age gone by. THE SLEEPER As Ann came in one summer's day, She felt that she must creep, So silent was the clear cool house, It seemed a house of sleep. And sure, when she pushed open the door, Rapt in the stillness there, Her mother sat, with stooping head, Asleep upon a chair; Fast--fast asleep; her two hands laid Loose-folded on her knee, So that her small unconscious face Looked half unreal to be: So calmly lit with sleep's pale light Each feature was; so fair Her forehead--every trouble was Smooth'd out beneath her hair. But though her mind in dream now moved, Still seemed her gaze to rest From out beneath her fast-sealed lids, Above her moving breast, On Ann, as quite, quite still she stood; Yet slumber lay so deep Even her hands upon her lap Seemed saturate with sleep. And as Ann peeped, a cloudlike dread Stole over her, and then, On stealthy, mouselike feet she trod, And tiptoed out again. THE KEYS OF MORNING While at her bedroom window once, Learning her task for school, Little Louisa lonely sat In the morning clear and cool, She slanted her small bead-brown eyes Across the empty street, And saw Death softly watching her In the sunshine pale and sweet. His was a long lean sallow face, He sat with half-shut eyes, Like an old sailor in a ship Becalmed 'neath tropic skies. Beside him in the dust he'd set His staff and shady hat; These, peeping small, Louisa saw Quite clearly where she sat-- The thinness of his coal-black locks, His hands so long and lean They scarcely seemed to grasp at all The keys that hung between: Both were of gold, but one was small, And with this last did he Wag in the air, as if to say, 'Come hither, child, to me!' Louisa laid her lesson book On the cold window-sill; And in the sleepy sunshine house Went softly down, until She stood in the half-opened door, And peeped; but strange to say, Where Death just now had sunning sat Only a shadow lay;-- Just the tall chimney's round-topped cowl, And the small sun behind, Had with its shadow in the dust Called sleepy Death to mind. But most she thought how strange it was Two keys that he should bear, And that, when beckoning, he should wag The littlest in the air. RACHEL Rachel sings sweet-- Oh yes, at night, Her pale face bent In the candle-light, Her slim hands touch The answering keys, And she sings of hope And of memories: Sings to the little Boy that stands Watching those slim, Light, heedful hands. He looks in her face; Her dark eyes seem Dark with a beautiful Distant dream; And still she plays, Sings tenderly To him of hope, And of memory. ALONE A very old woman Lives in yon house-- The squeak of the cricket, The stir of the mouse, Are all she knows Of the earth and us. Once she was young, Would dance and play, Like many another Young popinjay; And run to her mother At dusk of day. And colours bright She delighted in; The fiddle to hear, And to lift her chin, And sing as small As a twittering wren. But age apace Comes at last to all; And a lone house filled With the cricket's call; And the scampering mouse In the hollow wall. THE BELLS Shadow and light both strove to be The eight bell-ringers' company, As with his gliding rope in hand, Counting his changes, each did stand; While rang and trembled every stone, To music by the bell-mouths blown, Till the bright clouds that towered on high Seemed to re-echo cry with cry. Still swang the clappers to and fro, When, in the far-spread fields below, I saw a ploughman with his team Lift to the bells and fix on them His distant eyes, as if he would Drink in the utmost sound he could; While near him sat his children three, And in the green grass placidly Played undistracted on, as if What music earthly bells might give Could only faintly stir their dream, And stillness make more lovely seem. Soon night hid horses, children, all In sleep deep and ambrosial; Yet, yet it seemed from star to star, Welling now near, now faint and far, Those echoing bells rang on in dream, And stillness made even lovelier seem. THE SCARECROW All winter through I bow my head Beneath the driving rain; The North wind powders me with snow And blows me black again; At midnight 'neath a maze of stars I flame with glittering rime, And stand, above the stubble, stiff As mail at morning-prime. But when that child, called Spring, and all His host of children, come, Scattering their buds and dew upon Those acres of my home, Some rapture in my rags awakes; I lift void eyes and scan The skies for crows, those ravening foes, Of my strange master, Man. I watch him striding lank behind His clashing team, and know Soon will the wheat swish body high Where once lay sterile snow; Soon shall I gaze across a sea Of sun-begotten grain, Which my unflinching watch hath sealed For harvest once again. NOD Softly along the road of evening, In a twilight dim with rose, Wrinkled with age, and drenched with dew Old Nod, the shepherd, goes. His drowsy flock streams on before him, Their fleeces charged with gold, To where the sun's last beam leans low On Nod the shepherd's fold. The hedge is quick and green with briar, From their sand the conies creep; And all the birds that fly in heaven Flock singing home to sleep. His lambs outnumber a noon's roses, Yet, when night's shadows fall, His blind old sheep-dog, Slumber-soon, Misses not one of all. His are the quiet steeps of dreamland, The waters of no-more-pain, His ram's bell rings 'neath an arch of stars, 'Rest, rest, and rest again.' THE BINDWEED The bindweed roots pierce down Deeper than men do lie, Laid in their dark-shut graves Their slumbering kinsmen by. Yet what frail thin-spun flowers She casts into the air, To breathe the sunshine, and To leave her fragrance there. But when the sweet moon comes, Showering her silver down, Half-wreathèd in faint sleep, They droop where they have blown. So all the grass is set, Beneath her trembling ray, With buds that have been flowers, Brimmed with reflected day. WINTER Clouded with snow The cold winds blow, And shrill on leafless bough The robin with its burning breast Alone sings now. The rayless sun, Day's journey done, Sheds its last ebbing light On fields in leagues of beauty spread Unearthly white. Thick draws the dark, And spark by spark, The frost-fires kindle, and soon Over that sea of frozen foam Floats the white moon. THERE BLOOMS NO BUD IN MAY There blooms no bud in May Can for its white compare With snow at break of day, On fields forlorn and bare. For shadow it hath rose, Azure, and amethyst; And every air that blows Dies out in beauteous mist. It hangs the frozen bough With flowers on which the night Wheeling her darkness through Scatters a starry light. Fearful of its pale glare In flocks the starlings rise; Slide through the frosty air, And perch with plaintive cries. Only the inky rook, Hunched cold in ruffled wings, Its snowy nest forsook, Caws of unnumbered Springs. NOON AND NIGHT FLOWER Not any flower that blows But shining watch doth keep; Every swift changing chequered hour it knows Now to break forth in beauty; now to sleep. This for the roving bee Keeps open house, and this Stainless and clear is, that in darkness she May lure the moth to where her nectar is. Lovely beyond the rest Are these of all delight:-- The tiny pimpernel that noon loves best, The primrose palely burning through the night. One 'neath day's burning sky With ruby decks her place, The other when Eve's chariot glideth by Lifts her dim torch to light that dreaming face. ESTRANGED No one was with me there-- Happy I was--alone; Yet from the sunshine suddenly A joy was gone. A bird in an empty house Sad echoes makes to ring, Flitting from room to room On restless wing: Till from its shades he flies, And leaves forlorn and dim The narrow solitudes So strange to him. So, when with fickle heart I joyed in the passing day, A presence my mood estranged Went grieved away. THE TIRED CUPID The thin moonlight with trickling ray, Thridding the boughs of silver may, Trembles in beauty, pale and cool, On folded flower, and mantled pool. All in a haze the rushes lean-- And he--he sits, with chin between His two cold hands; his bare feet set Deep in the grasses, green and wet. About his head a hundred rings Of gold loop down to meet his wings, Whose feathers arched their stillness through Gleam with slow-gathering drops of dew. The mouse-bat peers; the stealthy vole Creeps from the covert of its hole; A shimmering moth its pinions furls, Grey in the moonshine of his curls; 'Neath the faint stars the night-airs stray, Scattering the fragrance of the may; And with each stirring of the bough Shadow beclouds his childlike brow. DREAMS Be gentle, O hands of a child; Be true: like a shadowy sea In the starry darkness of night Are your eyes to me. But words are shallow, and soon Dreams fade that the heart once knew; And youth fades out in the mind, In the dark eyes too. What can a tired heart say, Which the wise of the world have made dumb? Save to the lonely dreams of a child, 'Return again, come!' FAITHLESS The words you said grow faint; The lamp you lit burns dim; Yet, still be near your faithless friend To urge and counsel him. Still with returning feet To where life's shadows brood, With steadfast eyes made clear in death Haunt his vague solitude. So he, beguiled with earth, Yet with its vain things vexed, Keep even to his own heart unknown Your memory unperplexed. THE SHADE Darker than night; and oh, much darker, she, Whose eyes in deep night darkness gaze on me. No stars surround her; yet the moon seems hid Afar somewhere, beneath that narrow lid. She darkens against the darkness; and her face Only by adding thought to thought I trace, Limned shadowily: O dream, return once more To gloomy Hades and the whispering shore! BE ANGRY NOW NO MORE Be angry now no more! If I have grieved thee--if Thy kindness, mine before, No hope may now restore: Only forgive, forgive! If still resentment burns In thy cold breast, oh if No more to pity turns, No more, once tender, yearns Thy love; oh yet forgive!... Ask of the winter rain June's withered rose again: Ask grace of the salt sea: She will not answer thee. God would ten times have shriven A heart so riven; In her cold care thou'dst be Still unforgiven. SPRING Once when my life was young, I, too, with Spring's bright face By mine, walked softly along, Pace to his pace. Then burned his crimson may, Like a clear flame outspread, Arching our happy way: Then would he shed Strangely from his wild face Wonderful light on me-- Like hounds that keen in chase Their quarry see. Oh, sorrow now to know What shafts, what keenness cold His are to pierce me through, Now that I'm old. EXILE Had the gods loved me I had lain Where darnel is, and thorn, And the wild night-bird's nightlong strain Trembles in boughs forlorn. Nay, but they loved me not; and I Must needs a stranger be, Whose every exiled day gone by Aches with their memory. WHERE? Where is my love-- In silence and shadow she lies, Under the April-grey, calm waste of the skies; And a bird above, In the darkness tender and clear, Keeps saying over and over, Love lies here! Not that she's dead; Only her soul is flown Out of its last pure earthly mansion; And cries instead In the darkness, tender and clear, Like the voice of a bird in the leaves, Love--love lies here. MUSIC UNHEARD Sweet sounds, begone-- Whose music on my ear Stirs foolish discontent Of lingering here; When, if I crossed The crystal verge of death, Him I should see Who these sounds murmureth. Sweet sounds, begone-- Ask not my heart to break Its bond of bravery for Sweet quiet's sake; Lure not my feet To leave the path they must Tread on, unfaltering, Till I sleep in dust. Sweet sounds, begone: Though silence brings apace Deadly disquiet Of this homeless place; And all I love In beauty cries to me, 'We but vain shadows And reflections be.' ALL THAT'S PAST Very old are the woods; And the buds that break Out of the briar's boughs, When March winds wake, So old with their beauty are-- Oh, no man knows Through what wild centuries Roves back the rose. Very old are the brooks; And the rills that rise Where snow sleeps cold beneath The azure skies Sing such a history Of come and gone, Their every drop is as wise As Solomon. Very old are we men; Our dreams are tales Told in dim Eden By Eve's nightingales; We wake and whisper awhile, But, the day gone by, Silence and sleep like fields Of amaranth lie. WHEN THE ROSE IS FADED When the rose is faded, Memory may still dwell on Her beauty shadowed, And the sweet smell gone. That vanishing loveliness, That burdening breath No bond of life hath then Nor grief of death. 'Tis the immortal thought Whose passion still Makes of the changing The unchangeable. Oh, thus thy beauty, Loveliest on earth to me, Dark with no sorrow, shines And burns, with Thee. SLEEP Men all, and birds, and creeping beasts, When the dark of night is deep, From the moving wonder of their lives Commit themselves to sleep. Without a thought, or fear, they shut The narrow gates of sense; Heedless and quiet, in slumber turn Their strength to impotence. The transient strangeness of the earth Their spirits no more see: Within a silent gloom withdrawn, They slumber in secrecy. Two worlds they have--a globe forgot Wheeling from dark to light; And all the enchanted realm of dream That burgeons out of night. THE STRANGER Half-hidden in a graveyard, In the blackness of a yew, Where never living creature stirs, Nor sunbeam pierces through, Is a tombstone green and crooked, Its faded legend gone, And but one rain-worn cherub's head To sing of the unknown. There, when the dusk is falling, Silence broods so deep It seems that every wind that breathes Blows from the fields of sleep? Day breaks in heedless beauty, Kindling each drop of dew, But unforsaking shadow dwells Beneath this lonely yew. And, all else lost and faded, Only this listening head Keeps with a strange unanswering smile Its secret with the dead. NEVER MORE, SAILOR Never more, Sailor, Shalt thou be Tossed on the wind-ridden, Restless sea. Its tides may labour; All the world Shake 'neath that weight Of waters hurled: But its whole shock Can only stir Thy dust to a quiet Even quieter. Thou mock'd'st at land Who now art come To such a small And shallow home; Yet bore the sea Full many a care For bones that once A sailor's were. And though the grave's Deep soundlessness Thy once sea-deafened Ear distress, No robin ever On the deep Hopped with his song To haunt thy sleep. THE WITCH Weary went the old Witch, Weary of her pack, She sat her down by the churchyard wall, And jerked it off her back. The cord brake, yes, the cord brake, Just where the dead did lie, And Charms and Spells and Sorceries Spilled out beneath the sky. Weary was the old Witch; She rested her old eyes From the lantern-fruited yew trees, And the scarlet of the skies; And out the dead came stumbling, From every rift and crack, Silent as moss, and plundered The gaping pack. They wish them, three times over, Away they skip full soon: Bat and Mole and Leveret, Under the rising moon; Owl and Newt and Nightjar: They take their shapes and creep, Silent as churchyard lichen, While she squats asleep. All of these dead were stirring: Each unto each did call, 'A Witch, a Witch is sleeping Under the churchyard wall; 'A Witch, a Witch is sleeping....' The shrillness ebbed away; And up the way-worn moon clomb bright, Hard on the track of day. She shone, high, wan and silvery; Day's colours paled and died: And, save the mute and creeping worm, Nought else was there beside. Names may be writ; and mounds rise; Purporting, Here be bones: But empty is that churchyard Of all save stones. Owl and Newt and Nightjar, Leveret, Bat and Mole Haunt and call in the twilight, Where she slept, poor soul. ARABIA Far are the shades of Arabia, Where the Princes ride at noon, 'Mid the verdurous vales and thickets, Under the ghost of the moon; And so dark is that vaulted purple Flowers in the forest rise And toss into blossom 'gainst the phantom stars Pale in the noonday skies. Sweet is the music of Arabia In my heart, when out of dreams I still in the thin clear mirk of dawn Descry her gliding streams; Hear her strange lutes on the green banks Ring loud with the grief and delight Of the dim-silked, dark-haired Musicians In the brooding silence of night. They haunt me--her lutes and her forests; No beauty on earth I see But shadowed with that dream recalls Her loveliness to me: Still eyes look coldly upon me, Cold voices whisper and say-- 'He is crazed with the spell of far Arabia, They have stolen his wits away.' THE MOUNTAINS Still, and blanched, and cold, and lone, The icy hills far off from me With frosty ulys overgrown Stand in their sculptured secrecy. No path of theirs the chamois fleet Treads, with a nostril to the wind; O'er their ice-marbled glaciers beat No wings of eagles in my mind-- Yea, in my mind these mountains rise, Their perils dyed with evening's rose; And still my ghost sits at my eyes And thirsts for their untroubled snows. QUEEN DJENIRA When Queen Djenira slumbers through The sultry noon's repose, From out her dreams, as soft she lies, A faint thin music flows. Her lovely hands lie narrow and pale With gilded nails, her head Couched in its banded nets of gold Lies pillowed on her bed. The little Nubian boys who fan Her cheeks and tresses clear, Wonderful, wonderful, wonderful voices Seem afar to hear. They slide their eyes, and nodding, say, 'Queen Djenira walks to-day The courts of the lord Pthamasar Where the sweet birds of Psuthys are.' And those of earth about her porch Of shadow cool and grey Their sidelong beaks in silence lean, And silent flit away. NEVER-TO-BE Down by the waters of the sea, Reigns the King of Never-to-be. His palace walls are black with night; His torches star and moonès light, And for his timepiece deep and grave Beats on the green unhastening wave. Windswept are his high corridors; His pleasance the sea-mantled shores; For sentinel a shadow stands With hair in heaven, and cloudy hands; And round his bed, king's guards to be, Watch pines in iron solemnity. His hound is mute; his steed at will Roams pastures deep with asphodel; His queen is to her slumber gone; His courtiers mute lie, hewn in stone; He hath forgot where he did hide His sceptre in the mountain-side. Grey-capped and muttering, mad is he-- The childless King of Never-to-be; For all his people in the deep Keep everlasting fast asleep; And all his realm is foam and rain, Whispering of what comes not again. THE DARK CHATEAU In dreams a dark château Stands ever open to me, In far ravines dream-waters flow, Descending soundlessly; Above its peaks the eagle floats, Lone in a sunless sky; Mute are the golden woodland throats Of the birds flitting by. No voice is audible. The wind Sleeps in its peace. No flower of the light can find Refuge 'neath its trees; Only the darkening ivy climbs Mingled with wilding rose, And cypress, morn and evening, time's Black shadow throws. All vacant, and unknown; Only the dreamer steps From stone to hollow stone, Where the green moss sleeps, Peers at the river in its deeps, The eagle lone in the sky, While the dew of evening drips, Coldly and silently. Would that I could press in!-- Into each secret room; Would that my sleep-bright eyes could win To the inner gloom; Gaze from its high windows, Far down its mouldering walls, Where amber-clear still Lethe flows, And foaming falls. But ever as I gaze, From slumber soft doth come Some touch my stagnant sense to raise To its old earthly home; Fades then that sky serene; And peak of ageless snow; Fades to a paling dawn-lit green, My dark château. THE DWELLING-PLACE Deep in a forest where the kestrel screamed, Beside a lake of water, clear as glass, The time-worn windows of a stone house gleamed, Named only 'Alas.' Yet happy as the wild birds in the glades Of that green forest, thridding the still air With low continued heedless serenades, Its heedless people were. The throbbing chords of violin and lute, The lustre of lean tapers in dark eyes, Fair colours, beauteous flowers, dainty fruit Made earth seem Paradise To them that dwelt within this lonely house: Like children of the gods in lasting peace, They ate, sang, danced, as if each day's carouse Need never pause, nor cease. Some might cry, Vanity! to a weeping lyre, Some in that deep pool mock their longings vain, Came yet at last long silence to the wire, And dark did dark remain. Some to the hunt would wend, with hound and horn, And clash of silver, beauty, bravery, pride, Heeding not one who on white horse upborne With soundless hoofs did ride. Dreamers there were who watched the hours away Beside a fountain's foam. And in the sweet Of phantom evening, 'neath the night-bird's lay, Did loved with loved-one meet. All, all were children, for, the long day done, They barred the heavy door 'gainst lightfoot fear; And few words spake though one known face was gone, Yet still seemed hovering near. They heaped the bright fire higher; poured dark wine; And in long revelry dazed the questioning eye; Curtained three-fold the heart-dismaying shine Of midnight streaming by. They shut the dark out from the painted wall, With candles dared the shadow at the door, Sang down the faint reiterated call Of those who came no more. Yet clear above that portal plain was writ, Confronting each at length alone to pass Out of its beauty into night star-lit, That worn 'Alas!' THE LISTENERS 'Is there anybody there?' said the Traveller, Knocking on the moonlit door; And his horse in the silence champed the grasses Of the forest's ferny floor: And a bird flew up out of the turret, Above the Traveller's head: And he smote upon the door again a second time; 'Is there anybody there?' he said. But no one descended to the Traveller; No head from the leaf-fringed sill Leaned over and looked into his grey eyes, Where he stood perplexed and still. But only a host of phantom listeners That dwelt in the lone house then Stood listening in the quiet of the moonlight To that voice from the world of men: Stood thronging the faint moonbeams on the dark stair, That goes down to the empty hall, Hearkening in an air stirred and shaken By the lonely Traveller's call. And he felt in his heart their strangeness, Their stillness answering his cry, While his horse moved, cropping the dark turf, 'Neath the starred and leafy sky; For he suddenly smote on the door, even Louder, and lifted his head:-- 'Tell them I came, and no one answered, That I kept my word,' he said. Never the least stir made the listeners, Though every word he spake Fell echoing through the shadowiness of the still house From the one man left awake: Ay, they heard his foot upon the stirrup, And the sound of iron on stone, And how the silence surged softly backward, When the plunging hoofs were gone. TIME PASSES There was nought in the Valley But a Tower of Ivory, Its base enwreathed with red Flowers that at evening Caught the sun's crimson As to Ocean low he sped. Lucent and lovely It stood in the morning Under a trackless hill; With snows eternal Muffling its summit, And silence ineffable. Sighing of solitude Winds from the cold heights Haunted its yellowing stone; At noon its shadow Stretched athwart cedars Whence every bird was flown. Its stair was broken, Its starlit walls were Fretted; its flowers shone Wide at the portal, Full-blown and fading, Their last faint fragrance gone. And on high in its lantern A shape of the living Watched o'er a shoreless sea, From a Tower rotting With age and weakness, Once lovely as ivory. BEWARE! An ominous bird sang from its branch, 'Beware, O Wanderer! Night 'mid her flowers of glamourie spilled Draws swiftly near: 'Night with her darkened caravans, Piled deep with silver and myrrh, Draws from the portals of the East, O Wanderer near! 'Night who walks plumèd through the fields Of stars that strangely stir-- Smitten to fire by the sandals of him Who walks with her.' THE JOURNEY Heart-sick of his journey was the Wanderer; Footsore and sad was he; And a Witch who long had lurked by the wayside, Looked out of sorcery. 'Lift up your eyes, you lonely Wanderer,' She peeped from her casement small; 'Here's shelter and quiet to give you rest, young man, And apples for thirst withal.' And he looked up out of his sad reverie, And saw all the woods in green, With birds that flitted feathered in the dappling, The jewel-bright leaves between. And he lifted up his face towards her lattice, And there, alluring-wise, Slanting through the silence of the long past, Dwelt the still green Witch's eyes. And vaguely from the hiding-place of memory Voices seemed to cry; 'What is the darkness of one brief life-time To the deaths thou hast made us die? 'Heed not the words of the Enchantress Who would us still betray!' And sad with the echo of their reproaches, Doubting, he turned away. 'I may not shelter 'neath your roof, lady, Nor in this wood's green shadow seek repose, Nor will your apples quench the thirst A homesick wanderer knows.' '"Homesick," forsooth!' she softly mocked him: And the beauty in her face Made in the sunshine pale and trembling A stillness in that place. And he sighed, as if in fear, the young Wanderer, Looking to left and to right, Where the endless narrow road swept onward, In the distance lost to sight. And there fell upon his sense the briar, Haunting the air with its breath, And the faint shrill sweetness of the birds' throats, Their tent of leaves beneath. And there was the Witch, in no wise heeding; Her arbour, and fruit-filled dish, Her pitcher of well-water, and clear damask-- All that the weary wish. And the last gold beam across the green world Faltered and failed, as he Remembered his solitude and the dark night's Inhospitality. His shoulders were bowed with his knapsack; His staff trailed heavy in the dust; His eyes were dazed, and hopeless of the white road Which tread all pilgrims must. And he looked upon the Witch with eyes of sorrow In the darkening of the day; And turned him aside into oblivion; And the voices died away.... And the Witch stepped down from her casement: In the hush of night he heard The calling and wailing in dewy thicket Of bird to hidden bird. And gloom stole all her burning crimson; Remote and faint in space As stars in gathering shadow of the evening Seemed now her phantom face. And one night's rest shall be a myriad, Midst dreams that come and go; Till heedless fate, unmoved by weakness, bring him This same strange by-way through: To the beauty of earth that fades in ashes, The lips of welcome, and the eyes More beauteous than the feeble shine of Hesper Lone in the lightening skies: Till once again the Witch's guile entreat him; But, worn with wisdom, he Steadfast and cold shall choose the dark night's Inhospitality. HAUNTED The rabbit in his burrow keeps No guarded watch, in peace he sleeps; The wolf that howls into the night Cowers to her lair at morning light; The simplest bird entwines a nest Where she may lean her lovely breast, Couched in the silence of the bough; But thou, O man, what rest hast thou? The deepest solitude can bring Only a subtler questioning In thy divided heart; thy bed Recalls at dawn what midnight said; Seek how thou wilt to feign content Thy flaming ardour's quickly spent; Soon thy last company is gone, And leaves thee--with thyself--alone. Pomp and great friends may hem thee round, A thousand busy tasks be found; Earth's thronging beauties may beguile Thy longing lovesick heart awhile; And pride, like clouds of sunset, spread A changing glory round thy head; But fade will all; and thou must come, Hating thy journey, homeless, home. Rave how thou wilt; unmoved, remote, That inward presence slumbers not, Frets out each secret from thy breast, Gives thee no rally, pause, nor rest, Scans close thy very thoughts, lest they Should sap his patient power away, Answers thy wrath with peace, thy cry With tenderest taciturnity. SILENCE With changeful sound life beats upon the ear; Yet striving for release The most delighting string's Sweet jargonings, The happiest throat's Most easeful, lovely notes Fall back into a veiling silentness. Even 'mid the rumour of a moving host, Blackening the clear green earth, Vainly 'gainst that thin wall The trumpets call, Or with loud hum The smoke-bemuffled drum: From that high quietness no reply comes forth. When all at peace, two friends at ease alone Talk out their hearts,--yet still, Between the grace-notes of The voice of love From each to each Trembles a rarer speech, And with its presence every pause doth fill. Unmoved it broods, this all-encompassing hush Of one who stooping near, No smallest stir will make Our fear to wake; But yet intent Upon some mystery bent, Hearkens the lightest word we say, or hear. WINTER DUSK Dark frost was in the air without, The dusk was still with cold and gloom, When less than even a shadow came And stood within the room. But of the three around the fire, None turned a questioning head to look, Still read a clear voice, on and on, Still stooped they o'er their book. The children watched their mother's eyes Moving on softly line to line; It seemed to listen too--that shade, Yet made no outward sign. The fire-flames crooned a tiny song, No cold wind moved the wintry tree; The children both in Faërie dreamed Beside their mother's knee. And nearer yet that spirit drew Above that heedless one, intent Only on what the simple words Of her small story meant. No voiceless sorrow grieved her mind, No memory her bosom stirred, Nor dreamed she, as she read to two, 'Twas surely three who heard. Yet when, the story done, she smiled From face to face, serene and clear, A love, half dread, sprang up, as she Leaned close and drew them near. AGES AGO Launcelot loved Guinevere, Ages and ages ago, Beautiful as a bird was she, Preening its wings in a cypress tree, Happy in sadness, she and he, They loved each other so. Helen of Troy was beautiful As tender flower in May, Her loveliness from the towers looked down, With the sweet moon for silver crown, Over the walls of Troy Town, Hundreds of years away. Cleopatra, Egypt's Queen, Was wondrous kind to ken, As when the stars in the dark sky Like buds on thorny branches lie, So seemed she too to Antony, That age-gone prince of men. The Pyramids are old stones, Scarred is that grey face, That by the greenness of Old Nile Gazes with an unchanging smile, Man with all mystery to beguile And give his thinking grace. HOME Rest, rest--there is no rest, Until the quiet grave Comes with its narrow arch The heart to save From life's long cankering rust, From torpor, cold and still-- The loveless, saddened dust, The jaded will. And yet, be far the hour Whose haven calls me home; Long be the arduous day Till evening come; What sureness now remains But that through livelong strife Only the loser gains An end to life? Then in the soundless deep Of even the shallowest grave Childhood and love he'll keep, And his soul save; All vext desire, all vain Cries of a conflict done Fallen to rest again; Death's refuge won. THE GHOST Peace in thy hands, Peace in thine eyes, Peace on thy brow; Flower of a moment in the eternal hour, Peace with me now. Not a wave breaks, Not a bird calls, My heart, like a sea, Silent after a storm that hath died, Sleeps within me. All the night's dews, All the world's leaves, All winter's snow Seem with their quiet to have stilled in life's dream All sorrowing now. AN EPITAPH Here lies a most beautiful lady, Light of step and heart was she; I think she was the most beautiful lady That ever was in the West Country. But beauty vanishes; beauty passes; However rare--rare it be; And when I crumble, who will remember This lady of the West Country? 'THE HAWTHORN HATH A DEATHLY SMELL' The flowers of the field Have a sweet smell; Meadowsweet, tansy, thyme, And faint-heart pimpernel; But sweeter even than these, The silver of the may Wreathed is with incense for The Judgment Day. An apple, a child, dust, When falls the evening rain, Wild briar's spicèd leaves, Breathe memories again; With further memory fraught, The silver of the may Wreathed is with incense for The Judgment Day. Eyes of all loveliness-- Shadow of strange delight, Even as a flower fades Must thou from sight; But oh, o'er thy grave's mound, Till come the Judgment Day, Wreathed shall with incense be Thy sharp-thorned may. _The Third Edition, Revised and Enlarged, of_ THE HOME BOOK OF VERSE COMPILED BY BURTON E. STEVENSON has been revised from end to end--590 poems have been added, pages renumbered, author, title, and first line indices, and the biographical matter corrected, etc., etc. The hundreds of letters from readers and poets suggesting additions or corrections as well as the columns of reviews of the first edition have been considered. Poets who were chary of lending their support to an unknown venture have now generously permitted the use of their work. This edition includes the "new" poets such as MASEFIELD, CHESTERTON, FROST, RUPERT BROOKE, DE LA MARE, RALPH HODGSON, etc. "A collection so complete and distinguished that it is difficult to find any other approaching it sufficiently for comparison."--_New York Times Book Review_ on the first edition. _India Paper, 4,096 pages_ _Cloth, one volume,_ _Cloth, two volumes,_ _Half Morocco, one volume,_ _Half Morocco, two volumes,_ HENRY HOLT AND COMPANY PUBLISHERS NEW YORK JEAN-CHRISTOPHE _By ROMAIN ROLLAND_ Translated from the French by GILBERT CANNAN. In three volumes, each $1.50 net. This great trilogy, the life story of a musician, at first the sensation of musical circles in Paris, has come to be one of the most discussed books among literary circles in France, England and America. Each volume of the American edition has its own individual interest, can be understood without the other, and comes to a definite conclusion. _The three volumes with the titles of the French volumes included are:_ JEAN-CHRISTOPHE Dawn--Morning--Youth--Revolt JEAN-CHRISTOPHE IN PARIS The Market Place--Antoinette--The House JEAN-CHRISTOPHE: JOURNEY'S END Love and Friendship--The Burning Bush--The New Dawn _Some Noteworthy Comments_ "'Hats off, gentlemen--a genius.' · One may mention 'Jean-Christophe' in the same breath with Balzac's 'Lost Illusions'; it is as big as that. · It is moderate praise to call it with Edmund Gosse 'the noblest work of fiction of the twentieth century'. · A book as big, as elemental, as original as though the art of fiction began to-day. . We have nothing comparable in English literature. · "--_Springfield Republican._ "If a man wishes to understand those devious currents which make up the great, changing sea of modern life, there is hardly a single book more illustrative, more informing and more inspiring."--_Current Opinion._ "Must rank as one of the very few important works of fiction of the last decade. A vital compelling work. We who love it feel that it will live."--_Independent._ "The most momentous novel that has come to us from France, or from any other European country, in a decade."--_Boston Transcript._ _A 32-page booklet about Romain Rolland and Jean-Christophe, with portraits and complete reviews, on request._ HENRY HOLT AND COMPANY PUBLISHERS NEW YORK *** END OF THE PROJECT GUTENBERG EBOOK THE LISTENERS AND OTHER POEMS *** 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™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks 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™ 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™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ 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™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ 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™ 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™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ 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™ 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™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than 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™ License must appear prominently whenever any copy of a Project Gutenberg™ 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 will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ 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™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ 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™ 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™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 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™ 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™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (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™ 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™ 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™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ 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™ 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™ 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™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ 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™ collection. Despite these efforts, Project Gutenberg™ 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™ trademark, and any other party distributing a Project Gutenberg™ 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™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ 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™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ 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™’s goals and ensuring that the Project Gutenberg™ 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™ 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 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 website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread 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™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ 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 website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, 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.