The Project Gutenberg eBook of "England and Yesterday": A Book of Short 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: "England and Yesterday": A Book of Short Poems Author: Louise Imogen Guiney Release date: July 9, 2016 [eBook #52533] Language: English Credits: Produced by Emmy, MWS and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) *** START OF THE PROJECT GUTENBERG EBOOK "ENGLAND AND YESTERDAY": A BOOK OF SHORT POEMS *** Produced by Emmy, MWS and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) “ENGLAND AND YESTERDAY” “England and Yesterday” A BOOK OF SHORT POEMS BY LOUISE IMOGEN GUINEY LONDON GRANT RICHARDS 1898 CHISWICK PRESS:—CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON. CONTENTS. PAGE LONDON: SONNETS WRITTEN IN 1889. I. On First Entering Westminster Abbey 3 II. Fog 4 III. Saint Peter-ad-Vincula 5 IV. Strikers in Hyde Park 6 V. Changes in the Temple 7 VI. The Lights of London 8 VII. Doves 9 VIII. In the Reading-Room of the British Museum 10 IX. Sunday Chimes in the City 11 X. A Porch in Belgravia 12 XI. York Stairs 13 XII. In the Docks 14 OXFORD: SONNETS WRITTEN THERE BETWEEN 1890 AND 1895. I. The Tow-Path 17 II. The Old Dial of Corpus 18 III. Ad Antiquarium 19 IV. Rooks in New College Gardens 20 V. On the Pre-Reformation Churches about Oxford 21 VI. On the Same (_continued_) 22 VII. A December Walk 23 VIII. Undertones at Magdalen 24 IX. Port Meadow 25 X. Martyrs’ Memorial 26 XI. A Last View 27 XII. Retrieval 28 LYRICS. A Ballad of Kenelm 31 Two Irish Peasant Songs 33 In a Ruin, after a Thunderstorm 35 To a Child 36 In a Perpendicular Church 37 A Seventeenth-Century Song 37 Columba and the Stork 38 The Chantry 39 April in Govilon 40 On Leaving Winchester 41 On the Cenotaph of the Prince Imperial in Saint George’s Chapel 42 Of Joan’s Youth 43 Passing the Minster 43 The Yew-Tree 44 Shropshire Landscape 45 The Graham Tartan to a Graham 46 In a London Street 46 Athassel Abbey 47 Romans in Dorset 49 LINES ON VARIOUS FLY-LEAVES. To Henry Howard, Earl of Surrey 53 For Izaak Walton 53 A Footnote to a Famous Lyric 54 A Memory of a Breconshire Valley 56 Writ in my Lord Clarendon’s “History of the Rebellion” 57 A Last Word on Shelley 57 An Epitaph for William Hazlitt 58 Emily Brontë 58 Pax Paganica 59 Valediction: R. L. S., 1894 59 LONDON: SONNETS WRITTEN IN 1889. _TO HERBERT E. CLARKE._ I. ON FIRST ENTERING WESTMINSTER ABBEY. Holy of England! since my light is short And faint, O rather by the sun anew Of timeless passion set my dial true, That with thy saints and thee I may consort; And wafted in the cool enshadowed port Of poets, seem a little sail long due, And be as one the call of memory drew Unto the saddle void since Agincourt! Not now for secular love’s unquiet lease, Receive my soul, who, rapt in thee erewhile, Hath broken tryst with transitory things; But seal with her a marriage and a peace Eternal, on thine Edward’s altar-isle, Above the stormless sea of ended kings. II. FOG. Like bodiless water passing in a sigh, Through palsied streets the fatal shadows flow, And in their sharp disastrous undertow Suck in the morning sun, and all the sky. The towery vista sinks upon the eye, As if it heard the horns of Jericho, Black and dissolved; nor could the founders know How what was built so bright should daily die. Thy mood with man’s is broken and blent in, City of Stains! and ache of thought doth drown The generous light in which thy life began. Great as thy dole is, smirchèd with his sin, Greater and elder yet the love of man Full in thy look, though the dark visor’s down. III. S. PETER-AD-VINCULA. Too well I know, pacing the place of awe, Three queens, young save in trouble, moulder by; More in his halo, Monmouth’s mocking eye, The eagle Essex in a harpy’s claw; Seymour and Dudley, and stout heads that saw Sundown of Scotland: how with treasons lie White martyrdoms; rank in a company Breaker and builder of the eternal law. Oft as I come, the bitter garden-row Of ruined roses hanging from the stem, Where winds of old defeat yet batter them, Infects me: suddenly must I depart, Ere thought of men’s injustice then, and now, Add to these aisles one other broken heart. IV. STRIKERS IN HYDE PARK. A woof reversed the fatal shuttles weave, How slow! but never once they slip the thread. Hither, upon the Georgian idlers’ tread, Up spacious ways the lindens interleave, Clouding the royal air since yester-eve, Come men bereft of time, and scant of bread, Loud, who were dumb, immortal, who were dead, Through the cowed world their kingdom to retrieve. What ails thee, England? Altar, mart, and grange Dream of the knife by night; not so, not so, The clear Republic waits the general throe, Along her noonday mountains’ open range. God be with both! for one is young to know Her mother’s rote of evil and of change. V. CHANGES IN THE TEMPLE. The cry is at thy gates, thou darling ground, Again; for oft ere now thy children went Beggared and wroth, and parting greeting sent Some red old alley with a dial crowned; Some house of honour, in a glory bound With lives and deaths of spirits excellent; Some tree, rude-taken from his kingly tent, Hard by a little fountain’s friendly sound. O for Virginius’ hand, if only that Maintain the whole, and spoil these spoilings soon! Better the scowling Strand should lose, alas, Her walled oasis, and where once it was, All mournful in the cleared quadrangle sat Echo, and ivy, and the loitering moon. VI. THE LIGHTS OF LONDON. The evenfall, so slow on hills, hath shot Far down into the valley’s cold extreme, Untimely midnight; spire and roof and stream Like fleeing spectres, shudder and are not. The Hampstead hollies, from their sylvan plot Yet cloudless, lean to watch, as in a dream, From chaos climb, with many a hasty gleam, London, one moment fallen and forgot. Her booths begin to flare; her gases bright Prick door and window; street and lane obscure Sparkle and swarm with nothing true nor sure, Full as a marsh of mist and winking light: Heaven thickens over, heaven that cannot cure Her tear by day, her fevered smile by night. VII. DOVES. Ah, if man’s boast and man’s advance be vain! And yonder bells of Bow, loud-echoing home, And the lone Tree, foreknow it, and the Dome, That monstrous island of the middle main; If each inheritor must sink again Under his sires, as falleth where it clomb Back on the gone wave the disheartened foam?— I crossed Cheapside, and this was in my brain. What folly lies in forecasts and in fears! Like a wide laughter sweet and opportune, Wet from the fount, three hundred doves of Paul’s Shook their warm wings, drizzling the golden noon, And in their rain-cloud vanished up the walls. “God keeps,” I said, “our little flock of years.” VIII. IN THE READING-ROOM OF THE BRITISH MUSEUM. Praised be the moon of books! that doth above A world of men, the sunken Past behold, And colour spaces else too void and cold, To make a very heaven again thereof; As when the sun is set behind a grove, And faintly unto nether ether rolled, All night, his whiter image and his mould Grows beautiful with looking on her love. Thou, therefore, moon of so divine a ray, Lend to our steps both fortitude and light! Feebly along a venerable way They climb the infinite, or perish quite; Nothing are days and deeds to such as they, While in this liberal house thy face is bright. IX. SUNDAY CHIMES IN THE CITY. Across the bridge, where in the morning blow The wrinkled tide turns homeward, and is fain Homeward to drag the black sea-goer’s chain, And the long yards by Dowgate dipping low; Across dispeopled ways, patient and slow, Saint Magnus and Saint Dunstan call in vain: From Wren’s forgotten belfries, in the rain, Down the blank wharves the dropping octaves go. Forbid not these! Though no man heed, they shower A subtle beauty on the empty hour, From all their dark throats aching and outblown; Aye in the prayerless places welcome most, Like the last gull that up a naked coast Deploys her white and steady wing, alone. X. A PORCH IN BELGRAVIA. When, after dawn, the lordly houses hide Till you fall foul of it, some piteous guest, (Some girl the damp stones gather to their breast, Her gold hair rough, her rebel garment wide, Who sleeps, with all that luck and life denied Camped round, and dreams how seaward and southwest Blue over Devon farms the smoke-rings rest, And sheep and lambs ascend the lit hillside,) Dear, of your charity, speak low, step soft, Pray for a sinner. Planet-like and still, Best hearts of all are sometimes set aloft Only to see and pass, nor yet deplore Even Wrong itself, crowned Wrong inscrutable, Which cannot but have been, for evermore. XI. YORK STAIRS. Many a musing eye returns to thee, Against the formal street disconsolate, Who kept in green domains thy bridal state, With young tide-waters leaping at thy knee; And lest the ravening smoke, and enmity Corrode thee quite, thy lover sighs, and straight Desires thee safe afar, too graceful gate! Throned on a terrace of the Boboli. Nay, nay, thy use is here. Stand queenly thus Till the next fury; teach the time and us Leisure and will to draw a serious breath: Not wholly where thou art the soul is cowed, Nor the fooled capital proclaims aloud Barter is god, while Beauty perisheth. XII. IN THE DOCKS. Where the bales thunder till the day is done, And the wild sounds with wilder odours cope; Where over crouching sail and coiling rope, Lascar and Moor along the gangway run; Where stifled Thames spreads in the pallid sun, A hive of anarchy from slope to slope; Flag of my birth, my liberty, my hope, I see thee at the masthead, joyous one! O thou good guest! So oft as, young and warm, To the home-wind thy hoisted colours bound, Away, away from this too thoughtful ground, Sodden with human trespass and despair, Thee only, from the desert, from the storm, A sick mind follows into Eden air. OXFORD: SONNETS WRITTEN THERE IN 1890 AND 1895. _TO LIONEL JOHNSON._ I. THE TOW-PATH. Furrow to furrow, oar to oar succeeds, Each length away, more bright, more exquisite; The sister shells that hither, thither flit, Strew the long stream like dropping maple-seeds. A comrade on the marge now lags, now leads, Who with short calls his pace doth intermit: An angry Pan, afoot; but if he sit, Auspicious Pan among the river reeds. West of the glowing hay-ricks, (tawny-black, Where waters by their warm escarpments run), Two lovers, slowly crossed from Kennington, Print in the early dew a married track, And drain the aroma’d eve, and spend the sun, Ere, in laborious health, the crews come back. II. THE OLD DIAL OF CORPUS. Warden of hours and ages, here I dwell, Who saw young Keble pass, with sighing shook For good unborn; and, towards a willow nook, Pole, princely in the senate and the cell; And doubting the near boom of Osney bell, Turning on me that sweetly subtile look, Erasmus, in his breast an Attic book: Peacemakers all, their dreams to ashes fell. Naught steadfast may I image nor attain Save steadfast labour; futile must I grope After my god, like him, inconstant bright. But sun and shade must unto you remain Alternately a symbol and a hope, Men, spirits! of Emmanuel your Light. III. AD ANTIQUARIUM. My gentle Aubrey, who in everything Hadst of thy city’s youth so lovely lust, Yet never lineal to her towers august Thy spirit could fix, or perfectly upbring, Sleep, sleep! I ope, not unremembering, Thy comely manuscript, and, interthrust, Find delicate hueless leaves more sad than dust, Two centuries unkissed of any spring. Filling a homesick page beneath a lime, Thy mood beheld, as mine thy debtor’s now, The endless terraces of ended Time, Vague in green twilight. Goodly was release Into that Past where these poor leaves, and thou, Do freshen in the air of eldest peace. IV. ROOKS IN NEW COLLEGE GARDENS. Through rosy cloud, and over thorny towers, Their wings with darkling autumn distance filled, From Isis’ valley border, hundred-hilled, The rooks are crowding home as evening lowers: Not for men only, and their musing hours, By battled walls did gracious Wykeham build These dewy spaces early sown and stilled, These dearest inland melancholy bowers. Blest birds! A book held open on the knee Below, is all they guess of Adam’s blight: With surer art the while, and simpler rite, They follow Truth in some monastic tree, Where breathe against their docile breasts, by night, The scholar’s star, the star of sanctity. V. ON THE PRE-REFORMATION CHURCHES ABOUT OXFORD. Imperial Iffley, Cumnor bowered in green, And Templar Sandford in the boatman’s call, And sweet-belled Appleton, and Marcham wall That dost upon adoring ivies lean; Meek Binsey; Dorchester, where streams convene Bidding on graves thy solemn shadow fall; Clear Cassington that soars perpetual; Holton and Hampton Poyle, and towers between: If one of all in your sad courts that come, Belovèd and disparted! be your own, Kin to the souls ye had, while yet endures Some memory of a great communion known At home in quarries of old Christendom,— Ah, mark him: he will lay his cheek to yours. VI. ON THE SAME (CONTINUED). Is this the end? Is this the pilgrim’s day For dread, for dereliction, and for tears? Rather, from grass and air and many spheres, In prophecy his spirit sinks away; And under English eaves, more still than they, Far-off, incoming, wonderful, he hears The long-arrested, the believing years Carry the sea-wall! Shall he, sighing, say: “Farewell to Faith, for she is dead at best Who had such beauty”? or, with kisses lain For witness on her darkened doors, go by With a new psalm: “O banished light so nigh! Of them was I, who bore thee and who blest: Even here remember me when thou shalt reign.” VII. A DECEMBER WALK. Whithersoever cold and fair ye flow, Calm tides of moonlit midnight, bear my mind! Past Christchurch gate, with leafy frost entwined, And Merton in a huge tiara’s glow, And groves in bridal gossamers below Saint Mary’s armoured spire; and whence aligned In altered eminence for dawn to find, Sleep the droll Cæsars, hooded with the snow. White sacraments of weather, shine on me! Upbear my footfall, and my fancy sift, Lest either blemish an ensainted ground Spread so with childhood. Bid with me, outbound, On recollected wing mine angel drift Across new spheres of immortality. VIII. UNDERTONES AT MAGDALEN. Fair are the finer creature-sounds; of these Is Magdalen full: her bees, the while they drop Susurrant in the garth from weeds atop; And round the priestless Pulpit, auguries Of wrens in council from a hundred leas; And Cherwell fish in laughter fain to stop The water-plantain’s way; and deer that crop Delicious herbage under choral trees. The cry for silver and gold in Christendom Without, threads not her silence and her dark. Only against the isolate Tower there break Low rhythmic rumours of good men to come: Invasive seas of hushed approach, that make Memorial music, would the ear but hark. IX. PORT MEADOW. The plain gives freedom. Hither, from the town, How oft a dreamer and a book of yore Escaped the lamplit Square, and heard no more From Cowley border surge the game’s renown; But bade the vernal sky with spices drown His head by Plato’s in the grass, before Yon oar that’s never old, the sunset oar, At Medley Lock was lain in music down! So seeming far the confines and the crowd, The gross routine, the cares that vex and tire, From this large light, sad thoughts in it, high-driven, Go happier than the inly-moving cloud That lets her vesture fall, a floss of fire, Abstracted, on the ivory hills of heaven. X. MARTYRS’ MEMORIAL. Such natural debts of love our Oxford knows, So many ancient dues undesecrate, I marvel how the landmark of a hate For witness unto future time she chose; How out of her corroborate ranks arose The three, in great denial only great, For Art’s enshrining! . . Thus, averted straight, My soul to seek a holier captain goes: That sweet adventurer whom Truth befell Whenas the synagogues were watching not; Whose crystal name on royal Oriel Hangs like a shield; who to an outland spot Led hence, beholds his Star; and counts it well Of all his dear domain to live forgot. XI. A LAST VIEW. Where down the glen, across the shallow ford, Stretches the open aisle from scene to scene, By halted horses silently we lean, Gazing enchanted from our steeper sward. How yon low loving skies of April hoard An hundred pinnacles, and how with sheen Of spike and ball her languid clouds between, Grey Oxford grandly rises riverward! Sweet on those dim long-dedicated walls, Silver as rain the frugal sunshine falls; Slowly sad eyes resign them, bound afar. Dear Beauty, dear Tradition, fare you well: And powers that aye aglow in you, impel Our quickening spirits from the slime we are. XII. RETRIEVAL. Stars in the bosom of thy triple tide, June air and ivy on thy gracile stone, O glory of the West, as thou wert sown, Be perfect: O miraculous, abide! And still, for greatness flickering from thy side, Eternal alchemist, upraise, enthrone True heirs in true succession, later blown From that same seed of fire which never died. Nor love shall lack her solace, to behold Ranged to the morrow’s melancholy verge, Thy lights uprisen in Thought’s disclosing spaces; And round some beacon-spirit, stable, old, In radiant broad tumultuary surge For ever, the young voices, the young faces. LYRICS. _TO DORA SIGERSON SHORTER_ AND _CLEMENT SHORTER._ A BALLAD OF KENELM. “_In Clent cow-batch, Kenelm, King born, Lieth under a thorn._” It was a goodly child, Sweet as the gusty May; It was a knight that broke On his play, A fair and coaxing knight: “O little liege!” said he, “Thy sister bids thee come After me. “A pasture rolling west Lies open to the sun, Bright-shod with primroses Doth it run; And forty oaks be nigh, Apart, and face to face, And cow-bells all the morn In the space. “And there the sloethorn bush Beside the water grows, And hides her mocking head Under snows; Black stalks afoam with bloom, And never a leaf hath she: Thou crystal of the realm, Follow me!” Uplooked the undefiled: “All things, ere I was born, My sister found; now find Me the thorn.” They travelled down the lane, An hour’s dust they made: The belted breast of one Bore a blade. The primroses were out, The aislèd oaks were green, The cow-bells pleasantly Tinked between; The brook was beaded gold, The thorn was burgeoning, Where evil Ascobert Slew the King. He hid him in the ground, Nor washed away the dyes, Nor smoothed the fallen curls From his eyes. No father had the babe To bless his bed forlorn; No mother now to weep By the thorn. There fell upon that place A shaft of heavenly light; The thorn in Mercia spake Ere the night: “Beyond, a sister sees Her crownèd period, But at my root a lamb Seeth God.” Unto each, even so. As dew before the cloud, The guilty glory passed Of the proud. Boy Kenelm has the song, Saint Kenelm has the bower; His thorn a thousand years Is in flower! TWO IRISH PEASANT SONGS. I. IN LEINSTER. I try to knead and spin, but my life is low the while. Oh, I long to be alone, and walk abroad a mile, Yet if I walk alone, and think of naught at all, Why from me that’s young should the wild tears fall? The shower-stricken earth, the earth-coloured streams, They breathe on me awake, and moan to me in dreams, And yonder ivy fondling the broke castle-wall, It pulls upon my heart till the wild tears fall. The cabin-door looks down a furze-lighted hill, And far as Leighlin Cross the fields are green and still; But once I hear the blackbird in Leighlin hedges call, The foolishness is on me, and the wild tears fall! II. IN ULSTER. ’Tis the time o’ the year, if the quicken-bough be staunch, The green, like a breaker, rolls steady up the branch, And surges in the spaces, and floods the trunk, and heaves In jets of angry spray that is the under-white of leaves; And from the thorn in companies the foamy petals fall, And waves of jolly ivy wink along a windy wall. ’Tis the time o’ the year the marsh is full of sound, And good and glorious it is to smell the living ground. The crimson-headed catkin shakes above the pasture-bars, The daisy takes the middle field, and spangles it with stars, And down the bank into the lane the primroses do crowd, All coloured like the twilight moon, and spreading like a cloud! ’Tis the time o’ the year, in early light and glad, The lark has a music to drive a lover mad; The downs are dripping nightly, the breathèd damps arise, Deliciously the freshets cool the grayling’s golden eyes, And lying in a row against the chilly north, the sheep Inclose a place without a wind for little lambs to sleep. ’Tis the time o’ the year I turn upon the height To watch from my harrow the dance of going light; And if before the sun be hid, come slowly up the vale Honora with her dimpled throat, Honora with her pail, Hey, but there’s many a March for me, and many and many a lass! I fall to work and song again, and let Honora pass. IN A RUIN, AFTER A THUNDERSTORM. Keep of the Norman, old to flood and cloud! Thou dost reproach me with thy sunset look, That in our common menace, I forsook Hope, the last fear, and stood impartial proud: Almost, almost, while ether spake aloud, Death, from the smoking stones, my spirit shook Into thy hollow as leaves into a brook, No more than they by heaven’s assassins cowed. But now thy thousand-scarrèd steep is flecked With the calm kisses of the light delayed, Breathe on me better valour: to subject My soul to greed of life, and grow afraid Lest, ere her fight’s full term, the Architect See downfall of the stronghold that He made. TO A CHILD. Dear Owain, when you are minded To gather the perfect thing, Over Abergavenny Climb in the evening!— I have seen where orchis dances A saraband with the Spring; Where samphire leans to ocean, And shakes in the word he saith; Or the brood of the peasant ragweed, Innocent, sweet of breath, Runs with a wild Welsh river That never has heard of death; Where thrift, with a foot shell-tinted, On the dark coast-road delays; And foxglove flames in a ruin; And campion meekly lays On a crag’s uneven shoulder Her satiny cheek, for days. Well: these in their mortal beauty, And these in their youth, abound. But over Abergavenny, Past sunset-hour, I found (O Holy Grail of a flower!) The sun on the hilltop ground. IN A PERPENDICULAR CHURCH. The slackened arches never lose their beauty of alarm; The tall lines frown along the wall, like angels, sword in arm; And where the vaults diverge, a grove with fancied snow o’erspread, Goes light among a myriad panes, with dust upon her head. England of old most innocent, whose flower of skill achieved Failed quick as Lammas lilies, when thy hand no more believed, What hast thou here, beloved but dead, held to thy childless heart? Alas, thy human all of heaven: thine own and only Art. A SEVENTEENTH-CENTURY SONG. She alone of Shepherdesses With her blue disdayning eyes, Wo’d not hark a Kyng that dresses All his lute in sighes: Yet to winne Katheryn, I elect for mine Emprise. None is like her, none above her, Who so lifts my youth in me, That a little more to love her Were to leave her free! But to winne Katheryn, Is mine utmost love’s degree. Distaunce, cold, delay, and danger, Build the four walles of her bower; She’s noe Sweete for any stranger, She’s noe valley flower: And to winne Katheryn, To her height my heart can Tower! Uppe to Beautie’s promontory I will climb, nor loudlie call Perfect and escaping glory Folly, if I fall: Well to winne Katheryn! To be worth her is my all. COLUMBA AND THE STORK. The cliffs of Iona were red, with the moon to lee, A finger of rock in the infinite wind and the sea; And white on the cliffs as a volley of spray down-flying, The beautiful stork of Eiré indriven and dying. I stole from the choir; I fed him, I bathed his breast, Till in late sunshine he lifted his wing to the west. Oh, the bells of the Abbey were calling clearer and bolder, And I feared the pale admonishing face at my shoulder. Columb the saint’s! but I said, with mine arm in air, (Of that banished body and homesick spirit aware,) “The bird is of Eiré; out of the storm I bore him; And lo, he is free, with the valleys of Eiré before him.” Of the man that was Eiré-born, and in exile yet, This the reproach I had, and cannot forget, This the reproach I had, and never another: “Blessed art thou, to have lightened the heart of my brother!” THE CHANTRY. A loyal lady young; a knight for honour slain: All beauty and all quiet sealed of old upon Their images that lie in coif and morion. A moment since, through rifts and pauses of the rain, The day shot in; the lancet window showered again Its moth-like play of silver, rose, and sapphire; shone What arms of warring duchies glorious, bygone: Lombardy, Desmond, Malta, suitored Aquitaine! The while, aloft in Art’s immortal summertide, Fair is the carven hostel, fortunate either guest, And men of moodier England pass, and hear outside Fury of toil alone, and fate’s diurnal storm, Hearts with the King of Saints, hearts beating light and warm! To these your courage give, that these attain your rest. APRIL IN GOVILON. Slowly, slowly darken Primrose and pimpernel; Heather of the rock, a-shake On delicious air; Slanted seas of spreading grass, (Green glow and tidal swell,) Under wind and pausing light how variably fair! Larks from heaven descending Hush; not a cloud-shadow, Where so late the romping lambs Chased it, in a ring; High along a little wood Quick rain-sparkles go; Blorenge walls the faëry world: the sole substantial thing. April in Govilon, Filled with a bright heart-break; Evenfall on dying wing, Swanlike and supreme! Soon, unheard, the Hyades Run up the hills to take Seven lamps, and trail the seven all night in Isca stream. ON LEAVING WINCHESTER. A palmer’s kiss on thy familiar marge, My oriel city, whence the soul hath sight Of passional yesterdays, all gold and large, Arising to enrich our narrow night: Though others bless thee, who so blest before Hath pastured, from the violent time apart, And laved in supersensual light the heart Alone with thy magnificent No More? Sweet court of roses now, sweet camp of bees! The hills that lean to thy white bed at dawn, Hear, for the clash of raging dynasties, Laughter of boys about a branchy lawn. Hast thou a stain? Let ivy cover all; Nor seem of greatness disinhabited, While spirits in their wonted splendour tread From close to close, by Wolvesey’s idle wall. Bright fins against thy lucid water leap, And nigh thy towers the nesting wood-dove dwell; Be lenient winter, and long moons, and sleep Upon thee, but on me the sharp Farewell. Happy art thou, O clad and crowned with rest! Happy the shepherd (would that I were he!) Whose early way is step for step with thee, Whose old brow fades on thine immortal breast. ON THE CENOTAPH OF THE PRINCE IMPERIAL IN SAINT GEORGE’S CHAPEL. No young and exiled dust beneath is laid In sole entail of high inheritance, Though once compassion softly came, and made A sleep at Windsor for the Son of France: And sleep so long hath kept his image clear Of pain’s pollution, and the Zulu spear, It seems his piteous self at last that lies In prayer’s old heart built to the island skies, Low as the sifted snow is, and meek as Paradise. Thus passeth all ye dream of might and grace! Wherefore, beside the stones that cry it loud, Let every musing spirit pause to trace The cloud-burst of that Empire like a cloud; And, looking on these stainless brows, proclaim Peace unto Corsica’s portentous name, And peace to her, who in a sculptured boy, Mould of her martyred beauty and her joy, Reads here the end of Helen, the end of Helen’s Troy. OF JOAN’S YOUTH. I would unto my fair restore A simple thing: The flushing cheek she had before! Out-velveting No more, no more, By Severn shore, The carmine grape, the moth’s auroral wing. Ah, say how winds in flooded grass Unmoor the rose; Or guileful ways the salmon pass To sea, disclose; For so, alas, With Love, alas, With fatal, fatal Love a girlhood goes. PASSING THE MINSTER. Praise to thine awful beauty, praise And peace, O warden of my ways! Bid o’er the brow to thee I raise, Eternal unction fall. Nobly and equally thou must Take adoration of my dust, And unto altitudes august Thy low-born lover call. Bless me; forget me not: a lone Clear _Amen_ through thine arches blown, A heartstring of that Hope, a stone Fixed also in that Wall. THE YEW-TREE. As I came homeward At merry Christmas, By the old church tower, Through the churchyard grass, And saw there, circled With graves all about, The yew-tree paternal, The yew-tree devout, Then this hot life-blood Was hard to endure, O Death! so I loved thee, The sole love sure. For stars slip in heaven, They wander, they break: But under the yew-tree Not one heartache. And ours, what failure Renewed and avowed! But ah, the long-buried Is leal, and is proud. Now I came homeward At merry Christmas, By the wise gray tower, Through the green kind grass. SHROPSHIRE LANDSCAPE. Vague, in a silver sheen Rayed from their armour green, Some aged limes upstand; Nigh fields kindle and shine: Beauty incarnadine! What thrill of what Uranian wine So flushed the placid land? All tints of a broken wave Light the leafy architrave, Far up the cloudy spring; And the ploughed soil ruddier glows Than the ruby or the rose, Or the moon, when the harvest goes Beneath her blazing wing. Trees keep the broad outpost; Dusk, by their dusky host, Long-loved Severn glides. Thence, towards the hilly south, Like a queen, battle-wroth, Upon a vermeil saddle-cloth, The three-spired city rides. THE GRAHAM TARTAN TO A GRAHAM. Use me in honour: cherish me As ivy from a sacred tree. Mine in the winds of war to close Around the armour of Montrose, And kiss the death-wound of Dundee. Yet fear not me, nor such estate Heroic and inviolate; But green-and-white-and-azure wind About thy body and thy mind, And by that length enlarge thy fate! IN A LONDON STREET. Though sea and mount have beauty, and this but what it can, Thrice fairer than their life the life here battling in the van, The tragic gleam, the mist and grime, The dread endearing stain of time, The sullied heart of man. Mine is the clotted sunshine, a bubble in the sky, That where it dare not enter, steals in shrouded passion by; And mine the saffron river-sails, And every plane-tree that avails To rest an urban eye; The bells, the dripping gables, the tavern’s corner glare The cabs in firefly dartings, the barrel-organ’s air, Where one by one, or two by two, The hatless babes are dancing through The gutters of the square. Not on Sicilian headlands of song and old desire, My spirit chose her pleasure-house, but in the London mire: Long, long alone she loves to pace, And find a music in the place As in a minster choir. O deeds of awe and rapture! O names of legendry! Still is it most of joy within your altered pale to be, Whose very ills I fain would slake, Mine angels are, and help to make In hell, a heaven for me. ATHASSEL ABBEY. Folly and Time have fashioned Of thee a songless reed; O not-of-earth-impassioned! Thy music’s mute indeed. Red from the chantry crannies The orchids burn and swing, And where the arch began is Rest for a raven’s wing; And up the dinted column Quick tails of squirrels wave, And black, prodigious, solemn, A forest fills the nave. Still faith fuller, still faster, To ruin give thy heart: Perfect before the Master Aye as thou wert, thou art. But I am wind that passes In ignorance and tears, Uplifted from the grasses, Blown to the void of years, Blown to the void, yet sighing In thee to merge and cease, Last breath of beauty’s dying, Of sanctity, of peace! Though use nor place forever Unto my soul befall, By no belovèd river Set in a saintly wall, Do thou by builders given Speech of the dumb to be, Beneath thine open heaven, Athassel! pray for me. ROMANS IN DORSET. (TO A. B.) A stupor on the heath, And wrath along the sky; Space everywhere; beneath, The flat and treeless wold for us, with darkest noon on high. Sullen quiet below, But storm in upper air! A wind from long ago, In mouldy chambers of the cloud, had ripped an arras there, And singed the triple gloom, And let through, in a flame, Crowned faces of old Rome: Regnant, o’er Rome’s abandoned ground, processional they came. Uprisen like any sun, Through vistas hollow gray, Aloft, and one by one, In brazen casque, the Emperors loomed large, and sank away. In ovals of wan light, Each warrior eye and mouth: A pageant brutal bright, As if, once over, loudly passed Jove’s laughter in the south; And dimmer, these among, Some cameo’d head aloof, With ringlets heavy-hung, As golden stone-crop comely grows around the castle roof. An instant; gusts again, Then heaven’s impacted wall, The hot insistent rain, The thunder-shock: and of the Past, mirage no more at all. No more the alien dream Pursuing, as we went, With glory’s cursèd gleam; Nor sins of Cæsar’s ruined line engulphed us, innocent. The vision, great and dread, Corroded; sole in view Was empty Egdon spread, Her crimson summer weeds a-shake in tempest: but we knew What Tacitus had borne In that wrecked world we saw; And what, thine heart uptorn, My Juvenal! distraught with love of violated Law. LINES ON VARIOUS FLY-LEAVES. _TO GWENLLIAN E. F. MORGAN._ TO HENRY HOWARD, EARL OF SURREY. Young father-poet! much in you I praise Adventure high, romantic, vehement, All with inviolate honour sealed and blent, To the axe-edge that cleft your soldier bays: Your friendships too, your follies, whims, and frays; And, most, your verse, with strict imperious bent, Heard sweetly as from some old harper’s tent, And surging in the listener’s brain for days. At Framlingham to-night, if there should be No guest, beyond a sea-born wind that sighs, No guard, save moonlight’s crossed and trailing spears, And I, your pilgrim, call you, O let me In at the gate! and smile into the eyes That sought you, Surrey, down three hundred years. FOR IZAAK WALTON. Can trout allure the rod of yore In Itchen stream to dip? Or lover of her banks restore That sweet Socratic lip? Old fishing and wishing Are over many a year. O hush thee, O hush thee! heart innocent and dear. Again the foamy shallows fill, The quiet clouds amass, And soft as bees, by Catherine Hill At dawn the anglers pass, And follow the hollow, In boughs to disappear. O hush thee, O hush thee! heart innocent and dear. Nay, rise not now, nor with them take One golden-freckled fool! Thy sons to-day bring each an ache For ancient arts to cool. But, father, lie rather Unhurt and idle near: O hush thee, O hush thee! heart innocent and dear. While thought of thee to men is yet A sylvan playfellow, Ne’er by thy marble they forget In pious cheer to go. As air falls, the prayer falls O’er kingly Winchester: O hush thee, O hush thee! heart innocent and dear. A FOOT-NOTE TO A FAMOUS LYRIC. True love’s own talisman, which here Shakespeare and Sidney failed to teach, A steel-and-velvet Cavalier Gave to our Saxon speech: Chief miracle of theme and touch That many envy and adore: _I could not love thee, dear, so much, Loved I not Honour more_. No critic born since Charles was king, But sighed in smiling, as he read: “Here’s theft of the supremest thing A poet might have said!” Young knight and wit and beau, who won Mid war’s upheaval, ladies’ praise, Was’t well of you, ere you had done, To blight our modern bays? O yet to you, whose random hand Struck from the dark whole gems like these, (Archaic beauty, never planned Nor reared by wan degrees, Which leaves an artist poor, and Art An earldom richer all her years;) To you, dead on your shield apart, Be _Ave_! passed in tears. ’Twas virtue’s breath inflamed your lyre; Heroic from the heart it ran; Nor for the shedding of such fire Lives, since, a manlier man. And till your strophe sweet and bold So lovely aye, so lonely long, Love’s self outdo, dear Lovelace! hold The parapets of song. A MEMORY OF A BRECONSHIRE VALLEY. —“_Patulis ubi vallibus errans, Subjacet aëriis montibus Isca pater._” _Ad Posteros._ I. I followed thee, wild stream of Paradise, White Usk, forever showering the sunned bee In the pink chestnut and the hawthorn tree; And, all along, had magical surmise Of mountains fluctuant in those vesper skies, As unto mermen, caverned in mid-sea, Far up the vast green reaches, soundlessly The giant rollers form, and fall, and rise. Above thy poet’s dust, by yonder yew, Ere distance perished, ere a star began, His clear monastic measure, heard of few, Through lonelier glens of mine own being ran; And thou to me wert dear, because I knew The God who made thee gracious, and the man. II. If, by that second lover’s power controlled, In sweet symbolic rite thy breath o’erfills Fields of no war with vagrant daffodils, From distance unto distance trailing gold; If dazzling sands or thickets thee enfold, Transfigured Usk, where from their mossy sills Gray hamlets kiss thee, and by herded hills Diviner run thy shallows than of old;— If intellectual these, O name thy Vaughan Creator too: and close his memory keep, Who from thy fountain, kind to him, hath drawn Birth, energy, and joy; devotion deep; A play of thought more mystic than the dawn; And death at home; and centuried sylvan sleep. WRIT IN MY LORD CLARENDON’S “HISTORY OF THE REBELLION.” How life hath cheapened, and how blank The Worlde is! like a fen Where long ago unstainèd sank The starrie gentlemen: Since Marston Moor and Newbury drank King Charles his gentlemen. If Fate in any air accords What Fate denied, O then I ask to be among your Swordes, My joyous gentlemen; Towards Honour’s heaven to goe, and towards King Charles his gentlemen! A LAST WORD ON SHELLEY. Each great inrolling wave, a league of sound, All night, all day, the hostile crags confound To merest snow and smoke. The crags remain. Smile at the storm for our safe poet’s sake! Not ever this ordainèd world shall break That mounting, foolish, foam-bright heart again. AN EPITAPH FOR WILLIAM HAZLITT. Between the wet trees and the sorry steeple, Keep, Time, in dark Soho, what once was Hazlitt, Seeker of Truth, and finder oft of Beauty; Beauty’s a sinking light, ah, none too faithful; But Truth, who leaves so here her spent pursuer, Forgets not her great pawn: herself shall claim it. Therefore sleep safe, thou dear and battling spirit, Safe also on our earth, begetting ever Some one love worth the ages and the nations! Nothing falls under, to thine eyes eternal. Sleep safe in dark Soho: the stars are shining; Titian and Wordsworth live; the People marches. EMILY BRONTË. What sacramental hurt that brings The terror of the truth of things, Had changed thee? Secret be it yet. ’Twas thine, upon a headland set, To view no isles of man’s delight With lyric foam in rainbow flight, But all a-swing, a-gleam, mid slow uproar, Black sea, and curved uncouth sea-bitten shore. PAX PAGANICA. Good oars, for Arnold’s sake, By Laleham lightly bound, And near the bank, O soft, Darling swan! Let not the o’erweary wake Anew from natal ground, But where he slumbered oft, Slumber on. Be less than boat or bird, The pensive stream along; No murmur make, nor gleam, At his side. Where was it he had heard Of warfare and of wrong?— Not there, in any dream Since he died. VALEDICTION (R. L. S., 1894). When from the vista of the Book I shrink, From lauded pens that earn ignoble wage, Begetting nothing joyous, nothing sage, Nor keep with Shakespeare’s use one golden link; When heavily my sanguine spirits sink, To read too plain on each impostor page Only of kings the broken lineage, Well for my peace if then on thee I think, Louis: our priest of letters, and our knight With whose familiar baldric hope is girt, From whose young hands she bears the Grail away. All glad, all great! Truer because thou wert, I am and must be; and in thy known light Go down to dust, content with this my day. [Illustration] CHISWICK PRESS:—CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON. Some of Grant Richards’s Publications in Belles Lettres. By A. E. HOUSMAN. A SHROPSHIRE LAD. Fcap. 8vo, cloth, 3_s._ 6_d._ net. By KATHARINE TYNAN (Mrs. Hinkson). THE WIND IN THE TREES: A BOOK OF COUNTRY VERSE. Fcap. 8vo, cloth, 3_s._ 6_d._ net. By ALICE MEYNELL. THE FLOWER OF THE MIND: A CHOICE AMONG THE BEST POEMS. With Cover designed by LAURENCE HOUSMAN. Crown 8vo, yapped parchment, 7_s._ 6_d._ By EDWARD VERRALL LUCAS. A BOOK OF VERSES FOR CHILDREN. With Cover, Title-page, and End-papers designed in colours by F. D. BEDFORD. Crown 8vo, cloth, 6_s._ [_Third Edition._ By LAURENCE HOUSMAN. SPIKENARD: A BOOK OF DEVOTIONAL LOVE POEMS. With Cover designed by the Author. Small 4to, boards, 3_s._ 6_d._ net. By LAURENCE BINYON. PORPHYRION AND OTHER POEMS. Crown 8vo, buckram, 5_s._ net. By WALTER LEAF, LL.D. VERSIONS FROM THE DIVAN OF HAFIZ. Pott 4to, 5_s._ net. By RICHARD LE GALLIENNE. RUBAIYAT OF OMAR KHAYYĀM: A PARAPHRASE FROM SEVERAL LITERAL TRANSLATIONS. Long fcap. 8vo, parchment cover, 5_s._ By LAURENCE ALMA-TADEMA. REALMS OF UNKNOWN KINGS: POEMS. Fcap. 8vo, buckram, 3_s._ net; paper covers, 2_s._ net. By ARABELLA and LOUISA SHORE. POEMS BY A. AND L. Crown 8vo, cloth, 5_s._ net. By LOUISA SHORE. HANNIBAL: A DRAMA IN TWO PARTS. With Photogravure Portrait of the Author. Crown 8vo, cloth, 5_s._ net. By EUGENE LEE-HAMILTON. THE INFERNO OF DANTE TRANSLATED INTO ENGLISH VERSE. Fcap. 8vo, half parchment, 5_s._ net. By MAURICE MAETERLINCK. AGLAVAINE AND SELYSETTE: A DRAMA IN FIVE ACTS. Translated by ALFRED SUTRO. With an Introduction by W. J. MACKAIL, and Title-page designed by W. H. MARGETSON. Globe 8vo, half buckram, 2_s._ 6_d._ net. ———————— GRANT RICHARDS, 9, HENRIETTA STREET, COVENT GARDEN, W.C. End of Project Gutenberg's "England and Yesterday", by Louise Imogen Guiney *** END OF THE PROJECT GUTENBERG EBOOK "ENGLAND AND YESTERDAY": A BOOK OF SHORT 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.