The Project Gutenberg eBook of Oxford poetry, 1918 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: Oxford poetry, 1918 Editor: T. W. Earp E. F. A. Geach Dorothy L. Sayers Release date: May 16, 2023 [eBook #70771] Language: English Original publication: United Kingdom: B. H. Blackwell Credits: Chuck Greif, MWS and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries) *** START OF THE PROJECT GUTENBERG EBOOK OXFORD POETRY, 1918 *** OXFORD POETRY 1918 NEW YORK AGENTS: LONGMANS, GREEN AND CO. FOURTH AVENUE AND 30TH STREET OXFORD POETRY 1918 EDITED BY T. W. E., E. F. A. G., AND D. L. S. OXFORD B. H. BLACKWELL, BROAD STREET 1918 CONTENTS PAGE ANON (NON-COLL.) BY PROXY 1 BASIL BLACKWELL (MERTON) AT THE PAUPER ASYLUM 2 C. BURCHARDT (MAGDALEN) COMPLAINT 3 M. ST. CLARE BYRNE (SOMERVILLE) “AND ONE FELL BY THE WAYSIDE...” 4 J. E. A. CARVER (MAGDALEN) EVENING 5 E. P. CHASE (MAGDALEN) ON A BIRTHDAY 6 WILFRED CHILDE (MAGDALEN) SEA FAIRY 7 AGE GOTHIQUE DORÉ 8 ROSA INNOCENS 9 GERALD H. CROW (HERTFORD) TRENCH VISION 10 MADHOUSE GARDEN 11 G. D. DESMOND (SOMERVILLE) HOME-COMING 12 AGE 13 E. C. DICKINSON (NON-COLL.) A TAVERN LILT 14 T. W. EARP (EXETER) OUR LADY OF LIGHT 16 E. F. A. GEACH (HOME STUDENT) ROMANCE 18 RETROSPECT 18 E. F. A. GEACH (HOME STUDENT) AND D. E. A. WALLACE (SOMERVILLE) BALLADE OF LADIES WHO DIED FOR LOVE 19 K. GIBBERD (ST. HILDA’S HALL) WHEN I AM OLD 20 RUSSELL GREEN (QUEEN’S) FAITH 21 HILLS 22 REGINALD HARRIS (C.C.C.) SONG 23 FRAGMENT FROM THE “LAMENT FOR BION” 24 MERCY HARVEY (ST. HILDA’S HALL) SONG 25 H. C. HARWOOD (BALLIOL) INCOMPATIBILITY 26 DEDICATION OF AN UNWRITTEN MASTERPIECE TO A WOMAN AS YET UNKNOWN 27 LUISA HEWITT (HOME STUDENT) “YOU LIT YOUR CIGARETTE FROM MINE” 28 AVE ATQUE VALE 29 R. M. HEWITT (KEBLE) ITER PERSICUM 30 GAUDIUM IN CŒLO 31 E. E. ST. L. HILL (KEBLE) PARTING 32 ALDOUS HUXLEY (BALLIOL) TWO SONGS 33 SONG OF POPLARS 34 C. R. JURY (MAGDALEN) A SONNET TO A FRIEND 35 AN EPITAPH 35 MARGARET LEIGH (SOMERVILLE) TWO EPITAPHS 36 SONNET: THE JOURNALIST 37 E. H. W. MEYERSTEIN (MAGDALEN) THE INCANTATION 38 ROBERT NICHOLS (TRINITY) CLOSING LINES FROM “POLYPHEMUS HIS PASSION” 41 L. RICE-OXLEY (KEBLE) THE OPENING OF THE GRAVE OF ARTHUR AND GUINEVERE AT GLASTONBURY 45 DOROTHY L. SAYERS (SOMERVILLE) PYGMALION 46 HELEN SIMPSON (HOME STUDENT) THE HEAD OF THE TABLE 49 AEROPLANE, JUNE 6TH 50 L. A. G. STRONG (WADHAM) RUFUS PRAYS 51 IN THE GARDEN 52 SHERARD VINES (NEW COLLEGE) PERMISSION 53 SUMMER 54 D. E. A. WALLACE (SOMERVILLE) RIVER-POOLS 55 LIFE AND I 56 _ANON_ (_NON-COLL._) BY PROXY You will not lure me with your charms Or win me back again Because you held me in your arms And I forgot my pain. ’Twas not for you my spirit yearned That night of fierce desire; The flame in which we met and burned Drew from an alien fire. I shall not win my lady’s grace, Her eyes are still and cold; I may not find a resting-place Before my life grows old. One thought alone rejoicing stirs And shall, when all is done-- That in your arms my soul met hers And we became as one. _BASIL BLACKWELL_ (_MERTON_) AT THE PAUPER ASYLUM With naked turf-plots three by six in symmetric precision spread You see, between its walls of red, the graveyard of the lunatics. No cenotaph or obelisk holds memory in graven speech; Sole epitaph accorded each a number on a painted disk. In nameless uniformity, with few to know and none to weep, While space allows, their freehold keep the men that God has made awry. And these within their straitened fold, who nothing owned, were owned of none, Possess of all beneath the Sun what God and man could not withhold. So close they lie, a skeleton might give his rotting friend a nudge And say, “If you or I were judge, we should not moulder here alone. “Lest we might harm our fellow-men, they prisoned us, and now exhaust, To speed a cosmic holocaust, the blood and gold they grudged us then. “The world had seen less misery with us for prince and presbyter, Who sometimes knew the fools we were, and in our folly could not lie. “But happier we who lived in scorn, and dying, passed from human thought Than they whose sophistry has bought the curses of a race unborn.” _C. BURCHARDT_ (_MAGDALEN_) COMPLAINT My love has left me. Let my heart forget The happy days and moments of our past That in the future I shall not regret The worship of a love that could not last. Make me remember there are things apart From dreamy love and visionary truth And teach me to forget how once my heart Did love with all the tenderness of youth. Yes, teach me to forget--and how to live Without the joy of hope. For I have seen How every single pleasure life can give Must needs sow seeds of misery between. No more of love. Since at such heavy cost It must be bought and even then be lost. _M. ST. CLARE BYRNE_ (_SOMERVILLE_) “AND ONE FELL BY THE WAYSIDE ...” Scholar, and man of letters, and daintily nurtured, You were one with your peers, Leaving the half-told story, Throwing away the dear things of this life-time-- All you found was the steady, silent effort, Only the toilsome moulding, the shaping the weapon, None of the keen sword-glory. Not for you the crown and the consummation, Not the battle-death, sharp, swift, and kindly; Only the early plodding on, half blindly, Only seeing the end by the faith of the spirit, Only the hardest of all, the preparation, All the heart-breaking spadework, Formulas, initiation; Only the snows of December ... Under the snow the quiet brown land lies sleeping, Waiting the breath of Spring-- God will remember. _J. E. A. CARVER_ (_MAGDALEN_) EVENING The children play, and the old folk talk In the silent village square, While the wagons jolt, and the belfry’s note Comes floating through the air. The white owl hoots from his lofty seat; In the fields the rabbits play; The weazel squeaks, and the red fox sneaks From his lair at close of day. The final signs of departing day Burst out in its changing hues, While the stars pearl out in the azure sky, And silent fall the dews. _E. P. CHASE_ (_MAGDALEN_) ON A BIRTHDAY Am I a man at last? I feared to think Not long ago, that I could ever be Older than twenty-one. Eternity Is not more vast if one lean o’er its brink Than are the cool sane draughts of years we drink After the brilliance and the ecstasy Of a decisive year. Majority We hail; past commoner birthdays we slink. We love all action that is glorious It matters little whether, in our aim We seem to fail or are victorious. But in the lesser things and lesser hours We must--how can we?--spend our treasured powers For duties that can never bring us fame. _WILFRED CHILDE_ (_MAGDALEN_) SEA FAIRY All day long the waves wander and the winds cry, And there are blue stones sparkling by the shores; But with evening there cometh a silence over the void sky And the sea is hushed along her coral corridors. Then the mer-girls fall asleep, their singing is over, Their golden limbs lie stretched along the sands; And wearily nods the Sun like a giant lover, In a blood-red bath of dreams, with lilies in his hands. On white wings screaming come the elvish gulls But lo! where a glint of turquoise divides the cliffs, Where the Halcyon Birds whom the rest of the world thinks fools Are crossing the Ocean becalmed on their amorous skiffs. AGE GOTHIQUE DORÉ TO G. C. King Richard in his garden walks royal, His mantle green being wrought with scarlet flowers, His hand holding a coloured book of hours. His coat all gold, gilden his feet withal. King Richard walks in his garden by Thames-side, Hearing the bells of high Westminster ring, And the sound of the chaunt of the monks echoing, Singing each in his stall to God Crucified. Golden the sun descends beyond Thames-water, Golden flash out London steeples and spires, Their vanes burn and turn in the day’s last fires. About the King the flowers of the garden fade, And in star-light he walks on, yet lonelier, His heart being filled with the peace of the Mother Maid. ROSA INNOCENS O young fresh rose, O tender rose, O rose so young, so newly born, Whose petals fair do now unclose To the radiant kisses of the air, And the shell-soft lips of the morn, To the heavens holy and bare! Lovely, young, fresh rose, Frail-framed and lapped in dew, O born like a virgin anew After a time of bale and scorn, Storm-wind shattering the boughs Of the tall trees turn by turn: But thou art still abiding Amid the slender veins of thy house, Like an immaculate lady, Very beautiful and causing the eyes of the beholders To weep strange tears of joy! _GERALD H. CROW_ (_HERTFORD_) TRENCH VISION A great bee pottered round the room And gossipped like a child to itself, Investigating bloom by bloom The lilac on the window-shelf. Outside among the garden beds The wind went like a laughing boy, And caught the poppies by the heads, And chased the honey-bees for joy. The slanting patch of sunlight crept Along the floor, across the wall, And I was there and laughed and wept, And laughed again to see it all. MADHOUSE GARDEN Aloof he heareth yet the vulgar urge And throng his realm, and groweth glad of bars. It is a gentle kingly thaumaturge Hath made a net of little silver stars, And snared contentment, that great golden carp, The moon contentment, that shall never die, And charmeth him upon a tender harp, And hath him in a net of lazuli. Thus I shall hear you crying presently, And shall look forth with questioning dream-dimmed eyes Upon your turmoil and perplexity, Out of whatever hell or paradise The maker of nets is come to, bye and bye; And shall not understand or sympathize. _G. D. DESMOND_ (_SOMERVILLE_) HOME-COMING I come back to my garment of hills Now my soul is laid bare. For I gave him my lips and my limbs And my hands, and long hair-- I gave him all things that were mine, This my garment of clay. So have need of my garment of hills, To hide me away-- O high hills, O loved hills, O hills That are healing and strength, I have grown to your measure at last, I can wear you at length. I have loved, so my soul is upgrown, Adult in its nakedness And I, as the naked, cry. * * * * * And the wild, kind hills are my dress. AGE I think that I am old. Silent I am with sorrow At the beauteous sky that holds the new morrow. I think that I am old. The lark sings words to me, Who erst sung but Music. And in the ancient sea, I can see old colours that I have seen elsewhere.... Purple orchids hurt me: and everything that’s fair-- Buttercups and distance and smoke, and people’s bodies. O, I cannot get away from the places where my God is. Laughter is a thing to strain and angle for, My heart is quick and shrinking and pains me at its core. I am older, older, than the Earth--O, I am old. If I should be older, colder, than the stars, far off and cold?... Once I danced and sang and capered on the grass At the cool close of day, when shadows creep and pass. When shadows link, and lengthen, and slowly become--nought. Light flies, and shadow dies without its sustenance. And stars shine out most silently, like jewels quietly wrought. Not even then I ceased, nor paused upon my dance. Now, I am struck and smitten with beauty’s poignancy. Now, I am hurt with wonder, closed in from ecstasy. No ecstasy is mine. I cannot get away. Every way I turn--myself. By night, by day, My face, my soul, my body, the people that I know-- Ah, no more free fashioning of worlds that gleam and go. * * * * * I have grown to be my own world, my world with heart and pain And he that has found himself can be never lost again. And he that is quite awake cannot dream his dreams again. _E. C. DICKINSON_ (_NON.-COLL._) A TAVERN LILT TO W. W. I do not know more wonderful respite Than to sit within the Inns of swinkèd lords With a mate upon the left hand and the right And tankards of good ale upon the boards. My lads, the World for us when we’re in yoke-- To Hell and through to Heaven twice a day; While Lancashire’s a splendid land for folk Who’d woo a lass or taste a knuckled fray. And when we’re free, with Freedom’s cap fast on, How shall we bend new lives to jollity? What songs our Will and Tom would you have won Making the home-thatch rich for you and me? Our Will, you’re young--the lathe you scorn to turn-- And sorrow life is not all Wigan Fair; While I’d seek luck beside a gipsy’s burn With a brace of whippets for a rabbits snare. And you, Tom, you--what would you draw for prize? A quickened pulse for the lass within your arms-- With her to walk i’ the lanes at the moon’s rise, By the downland’s edge and over the sleeping farms. My mates, you’re English and o’ the very best-- With no mean thought i’ the length or breadth o’ you: Not Galahads, but yet to stand confessed With finest hearts as ever heroes knew. Because o’ simple, wide, and proudest worth As English soil may give to English rule. My head is bared before your richened birth, My hand grips yours in cider-time and Yule! And so again--more wonderful respite I know not in the Inns of swinkèd lords, With you upon my left hand and my right And plenty of good ale upon the boards! A health, a health, my lads, for very joy! With such as you beside for love and life We can with ease Dame Sorrowful destroy; E’en toast the maid who will not be my wife! _T. W. EARP_ (_EXETER_) OUR LADY OF LIGHT On those eternal peaks of thought, Where her bright crystal towers shine, The many precious treasures brought Seem its clear walls to incarnadine. For all the varied colours heaped There mingle in one general flush, As through that lovely place there leaped The rose-leaf burnish of a blush. The golden arrowheads of wit, The laughters of refinèd sense, Diamond of sorrows infinite, Calm, open looks of innocence, And rubies, lovers’ burning hearts-- With these she decks her diadem, Transmuting, by her learnèd arts, Each to its own peculiar gem. The jostling, crowded jewels show In sparkling piles where colours dance, And with angelic rosy glow The ramparts of her palace glance. And there she busied is, alone, To make of beauty beauties fresh, Or, seated queenly on her throne, Weaves fate into a glittering mesh. For every soul she gazes through And sees its deepest-hid desires, As though we were but drops of dew, Transparent, lit by alien fires. This one she chooses; it is clear And burns with an intenser flame; But that, for a long age’s year, Leaves to the darkness whence it came. While time itself grows weary, she Still solitary sits to weave, Until that last eternity When all are taken, none to leave. Then in her magic tissue hapt, The new-clothed, fragrant earth shall run In visionary radiance wrapped, A dazzling sister to the sun, And so Our Lady’s work be done. _E. F. A. GEACH_ (_HOME STUDENT_) ROMANCE “_J’étais comme un autre Jason allant à la conquête de la toison d’or_.” (MADEMOISELLE DE MAUPIN). Round the next corner and in the next street Adventure lies in wait for you. Oh, who can tell what you may meet Round the next corner and in the next street! Could life be anything but sweet When all is hazardous and new Round the next corner and in the next street? Adventure lies in wait for you. RETROSPECT Now I have fallen out of love A year or two, I hold review Of all the things I used to do, Turning with fingers rational The closed leaves of my passional. And I am quite amazed, by Jove! Wholly incredulous I smile-- So hard it is to reconcile With this, my mere immediate me The other self I used to be You with the you that once was you-- Now I have fallen out of love A year or two. _E. F. A. GEACH_ (_HOME STUDENT_) _D. E. A. WALLACE_ (_SOMERVILLE_) BALLADE OF LADIES WHO DIED FOR LOVE Ladies, why did ye all in vain Seek death to end your misery? Why did ye not forget your pain In new loves and new ecstasy? Ophelia racked with phantasy, And Sigismunda, sick with rue-- Ladies, why did ye choose to die When all the world was made for you? Wild Phœdra by thy passion slain, Œnone, nymph of Thessaly, Dido and lily-white Elaine, O Queen who died for Antony, Sappho and all thy poesy, Juliet to thy dead love true-- Ladies, why did ye choose to die When all the world was made for you? Fair Margaret distraught and fain Beside thy phantom love to lie, And Isabella who didst wane Over thy pot of porphyry, Aude and Isolde, tell me why, Your lovers direly stricken thro’, You chose by those same swords to die, When all the world was made for you? ENVOY: Love’s happiness had passed you by, But there were other things to do. Ladies, why did ye choose to die, When all the world was made for you? _K. GIBBERD_ (_ST. HILDA’S HALL_) WHEN I AM OLD I often think that when I’m old and grey, Mechanically living through each day, That when like all the rest I’ve found my groove With little room for heart or mind to move, But just enough to eat and work and dress; And keep a failing temper more or less-- In tired sleep I’ll sometimes creep away Back down the years to some old Oxford way. And on this daisied lawn again I’ll lie, And listen while the river folk go by; And through the trees I’ll sometimes see the flash Of punters’ poles and hear the rhythmic splash Of oars; and over there again I’ll see The petalled path beneath the cherry-tree, And love the hawthorn scent, the cuckoo’s cry, And Magdalen chiming while the spring runs by. And you’ll be there, dear phantom friend, and you, And you familiar faces that I knew So well; and toward the ending of the day We’ll sit and talk--the old accustomed way, Till in the mutual calm we’ll see unfurled The immeasurable vastness of the world And I shall dream of all that I will do With Life--and so will you, and you and you. _RUSSELL GREEN_ (_QUEEN’S_) FAITH When a foam of snow is hurled Under the bare black trees, And rain is on the seas, And winter on the world, Yet, when I think of her, I know where summer is. When friends to-day forget Ardours of yesterday, And to-morrow turn away As if we never met, Yet, when I think of her, I know where constancy is. HILLS As I go inland Lo! my heart drooping As a bird’s in the grove when the shadow falls swooping Of the hawk’s wing down from a cloudless sky. For the hills creep together, Murmuring, conspiring; Solitude, poverty, sorrow desiring For men that are born to dream and to die. A prison land-locked, A grave for the living, And the ancient warders unsleeping, unforgiving, Cordon after cordon, massing behind me. I am in peril. I have left the sea. _REGINALD HARRIS_ (_C. C. C._) SONG “_My heart was blithe at morning._” My heart was blithe at morning, For he was by my side, And through the woods together We wandered far and wide. My heart was gay at noon-tide Together on the lea We lay, and heard the murm’ring Of many a busy bee. My heart was sad at even, For in the cold stars’ wake, I laid him in the dark, dark grave And, oh, my heart would break! FRAGMENT FROM THE “LAMENT FOR BION,” OF MOSCHUS Raise high, Sicilian Muses, Raise high the mournful cry, The mallows in the woodlands Whene’er they fade and die, And the dill, and the green parsley, When they grow wan and sere, Live on again, though dead a while, And flower another year. But we, the great, the noble men, The mighty, and the wise, Whene’er our term of life is past, And our frail body dies, Lie down for ever, evermore Beneath earth’s hollow deep, And undisturbed for ever Lie low in death’s long sleep. _MERCY HARVEY_ (_ST. HILDA’S HALL_) SONG Oh! who hath seen Twilight the solemn-eyed? When the earth with a weary sigh Turns unto her, as a widowed bride, With the light all gone from the sky. She walketh in solitariness, Where still, shadowy waters gleam, But her grey eyes are none the less As if full of a troubled dream. _H. C. HARWOOD_ (_BALLIOL_) INCOMPATIBILITY There shall be no more sorrow and no more pain. Go you to your anger and I to my books again. You loved me, but never have liked me, the issue was plain, Woman, if you be woman, you live too late, Never the man was suckled to be your mate, Wed with a god and break him in battle with fate. You are truth, and the world is illusion; faith, it is doubt. It wraps its disaster in darkness, and you shine out; And the liquor that drugs to endurance is not for your drought. Pass on to the waste and the fell! I stay, and forget Your breasts and your hair and your laughter like suns that are set. Despise me, forgive me, but leave me. I love you yet. DEDICATION, OF AN UNWRITTEN MASTERPIECE, TO A WOMAN AS YET UNKNOWN If I have laboured seven years, It was not for your heart. Mine was the better part And hope is bright amid the vapourous fears. You are too close to me to need The idle compliment That it was my intent To build your name above the ages’ greed. We are comrade adventurers; Here is my challenge hurled Against the conspired world; You will have little time for flatterers, An equal combatant ... Or so, While in the dark I groped Vainly perhaps, I hoped, And, when at length we meet and love, shall know. _LUISA HEWITT_ (_HOME STUDENT_) You lit your cigarette from mine, And each increased the other’s glow Till the blue clouds began to blow And two red stars began to shine. Who knows, if then our lips had met, A greater fire we might have fanned Whose fragrant smoke had filled the land, But left us ashes and regret. AVE ATQUE VALE Zeus! whom Prometheus first defied and failed to quell, Once, only once I call on you that cannot hear; Titans and monstrous Forms inspiring these with fear; Heroes enthroned in Heaven, of whom their children tell; Pan of the forest, fauns and dryads of the dell; Chryselephantine gods to Art and Athens dear, Protectors of the deme, the spindle and the spear,-- Once, only once I give you greeting and--farewell. Proud-vested charioteers of punctual sun and moon, Racing and wrestling in your diverse course divine, Ye stars of peace and war, ye rivers of the sea, Greeting! from one who will forget your name right soon; Farewell! the while I pass, and nevermore repine The Perfect God in Man alone constraining me. _R. M. HEWITT_ (_KEBLE_) ITER PERSICUM When I rode out of Ispahan A thousand years ago, My horse’s hoofs were shod with gold, My turban rolled with gems untold, And the people louted low. My poet rode along with me And sang of old Irán, Of Rustem and of Rudabeh, And whiled away the summer day As only poets can. But now I march the Persian road With the devil of a pack; The jackals howl as we go by, And the fellows sigh and curse and cry, And my clothes are like a sack. And the palaces of Ispahan Are full of owls and bats, And the truest poet that ever I knew, Whose roses grew in the Syrian dew, Lies dead at Davos Platz. GAUDIUM IN COELO I dreamed that I was dead, and after My soul had passed its mortal bars I caught an echo of rolling laughter Across the intervening stars. And all my fear was changed to wonder, I knew the rapture of the blest; To hear the immortal sons of thunder Applaud each day the immortal jest. _E. E. ST. L. HILL_ (_KEBLE_) PARTING The sky illumed by evening’s magic light Reflected in the lake seems opal blue. The autumn sun glows with a radiance bright That gives to everything an orange hue. The evening of the year draws on to night. No sound of arms within this hallowed place Comes to disturb us with the thought of strife. Unhindered I may gaze upon your face, My jewel of priceless worth--my Love--my Life-- Forgetting I must leave you for a space. The woods around us, clothed in sombre gold, Robed for the great Death Pageant of the year, Grow dark. I strain you to my breast and hold You there, whispering in your ear Stories of love you know ere they are told. Now I must go. But, when the blue-bells make The woods a carpet azure as the sky, Once more my darling in my arms I’ll take, Once more we’ll be together--you and I-- And dream our dreams again and never wake. _ALDOUS HUXLEY_ (_BALLIOL_) TWO SONGS I Thick-flowered is the trellis That hides our joys From prying eyes of malice And all annoys, And we lie rosily bowered. Through the long afternoons And evenings endlessly Drawn out, when summer swoons In perfume windlessly, Sounds our light laughter, With whispered words between And silent kisses. None but the flowers have seen Our white caresses-- Flowers and the bright-eyed birds. II Men of a certain age Grow sad remembering Their youth’s libertinage, Drinking and chambering. She, whom devotedly Once they solicited, Proves all too bloatedly Gross when revisited Twenty years after, Sordid years, Oh, bitter laughter And bitter tears! SONG OF POPLARS Shepherd, to yon tall poplars tune your flute: Let them pierce, keenly, subtly shrill, The slow blue rumour of the hill; Let the grass cry with an anguish of evening gold, And the great sky be mute. Then hearken how the poplar trees unfold Their buds, yet close and gummed and blind, In airy leafage of the mind, Rustling in silvery whispers the twin-hued scales That fade not nor grow old. “Poplars and fountains and you cypress spires Springing in dark and rusty flame, Seek you aught that hath a name? Or say, say: Are you all an upward agony Of undefined desires? “Say, are you happy in the golden march Of sunlight all across the day? Or do you watch the uncertain way That leads the withering moon on cloudy stairs Over the heaven’s wide arch? “Is it towards sorrow or towards joy you lift The sharpness of your trembling spears? Or do you seek, through the grey tears That blur the sky, in the heart of the triumphing blur, A deeper, calmer rift?” So; I have tuned my music to the trees, And there were voices, dim below Their shrillness, voices swelling slow In the blue murmur of hills, and a golden cry And then vast silences. _C. R. JURY_ (_MAGDALEN_) A SONNET TO A FRIEND Young bright-plumed eagle, prince of pure heaven’s fire, Inhabitant of glory clothed in light, Exalt me to this new triumphant pyre That burns the shades and monsters of our night, Vouchsafe thy spirit; touch me with the power So to desire, and so maintain my voice As thou, who in thy fair ascending hour Hawk’st in the top of morning at thy joys; O mortal splendour in immortal beams, Or deathless ghost, who buildest out of dust An edifice of temporal flame which seems Beyond the movement of our change and rust, Though it must die; O sheer delight above me, Fountain of undescended love, I love thee. AN EPITAPH You who shall come, exalt these childless dead As your great fathers, from whose fire you are bred; The dead beget you now, for now they give Their hope of sons, that you, their sons, may live. _MARGARET LEIGH_ (_SOMERVILLE_) TWO EPITAPHS I. ON A DIPLOMAT. Oh, who will bid me rise again That gambled with the souls of men? Those whose lives I signed away Will meet me at the Judgment Day, My dead: can _they_ forgive and pray? All honest men, pray for me, and pray well, Lest true men’s curses send the false to hell. II. ON A PROFITEER. I fattened on the blood and tears Of these long laborious years; Out of loss came forth my gain, Watered by another’s pain: Who shall bid me rise again? Pray for me, all poor men, and pray right well, Lest poor men’s curses bring the rich to hell. SONNET: THE JOURNALIST He called for blood, and would not shed his own, He sat at ease, and sent young men to die With his strong pen; he was the enemy Stalking at noontide, by whose hand were sown Rank tares among us--love of country grown To poisonous cant, and blind hostility. He forged a chain to lead the people by, A chain of words, rattling with strident tone. He battened on men’s selfishness and fear, He pulled the strings that shook their statesmen down; The people were content to sit and hear His platitudes, and tremble at his frown, And followed him with meek attentive ear Till His Mendacity assumed the crown. _E. H. W. MEYERSTEIN_ (_MAGDALEN_) THE INCANTATION Evil birds of evil feather Night and storm are met together, Bitter gale and dripping wrack Unforetold by almanack. Come, Lucasta, bolt the door While I grave upon the floor Circle wide, and strew around Pentacles to guard the ground When the solemn fiends appear In fulfilment of our prayer; For though Cimon scorn thy sight He shall sleep with thee to-night. Wond’rest not how I, a crone Whom no crippled lout would own His paramour, have strength to fling The loveless ’neath his true love’s wing. The old are strong, the young are fair, And thou, wan leaf, whom eager care Spirits to this world-shop of mine, Shalt for this hour see things divine. Thou trustest that my ugliness Shall dissipate thy soul’s distress. Yea, though he loathe Lucasta bright, Cimon shall sleep with her to-night. See yon dun familiar toad That infecteth my abode With sage humours; stroke his head. Now he sleeps as he were dead. Yet must he hearken to the charm Watching that we take no harm, For spirits are fickle as men are And called to help may come to war. He wakes; now will I cease my croak And read the grand words from this book That he who recks not of our rite May sleep with her who loves to-night. Arise, ye majesties of flame Exhorted by Jehovah’s name, That all things to itself hath won, The almighty Tetragrammaton. Paymon, Belphegor, ye that err, Tried spaniel-friends to Lucifer And him whose red and gusty eyes Captain the legions of the flies, Attend with ceremonious hum, Conjure the light o’ love to come Infirm of step, infirm of sight, To sleep with her who loves to-night. Lucasta, see the lamp burns blue. Spirits, have we this boon of you? In the smoke their faces nod, He shall come though he were God. Shake not, girl, thy love they say Conquers--Spirits frisk away; By the powers that raised you, hence To your depths. Ye have licence. So, they are vanished. Why so frail? Once more the wick gleams yellow pale, The smokewreaths whirl to left and right, Cimon shall sleep with thee to-night. He comes; his hand is on the latch, The owlet shrieks above the thatch, Unbolt, unbolt--scatter the yew, The tripod, and the cauldron’s brew. Cimon, Lucasta, hails thee now, The star of fate is on his brow, His eyes grow moist, his bosom warms, Receive him in thy weary arms, Loveliest! By Thessalian might He sleeps with her he loves to-night. _ROBERT NICHOLS_ (_TRINITY_) CLOSING LINES FROM “POLYPHEMUS HIS PASSION: A PASTORAL” THE SHEPHERD. A GIRL. _Shepherd._ Thus found he his loved Galatea fled With Acis! What rage ensued thou knowest. Deceived, dejected, foiled, and overthrown In hoarse distraction a full sev’n days’ term He ranged, but on the eighth no more was glimpsed Striding from vale to vale nor, raging, heard Splintering the pine-slope nigh the precipice With fist far flung nor with a desolate Thunder of voice, volleyed from scarp to jag, Dislodging from steep snowfields friths compact In downward avalanche: less loud than he. And no tide had we of him, save by chance The while I wandered seeking a strayed goat Through seaward vales, I happen’d on him. _Girl._ Ah! Lubberly still poor wretch? or quiet grown? _Shepherd._ He on an ocean pinnacle of rock Sat, scowling, motionless. In truth he seemed Rather a further buttress of the crag Than a giant, helpless and unhappy being. About his brooding bulk all day the birds, The slippery swallow, the pois’d martin, Lifted or swept a-scatter ev’n as when, Chatting, such gad around the ravaged mien Of the colossal Pharaoh or twin gods Hawk-headed and immense of ancient Egypt. Thus grieved he. And the huge begnarlèd hands Pillared his jaw. A chillness gloomed his face As on bare hills shadow of moveless cloud. Nor spake he aught. But when the sun raged high Grappling a rock he dashed it ’gainst his breast And roared till the golden-green sea blackened And spouting drove, loud with careering gulls, Before his gusty breath; but passion spent Dropping then pined, while from the single eye One tear, as huge and hot as Phlegethon, Fell in a hissing flood. _Girl._ Alas, poor brute! And yet I laugh. _Shepherd._ Longtime in sufferance Bowed he his massy head, quite dumb with grief. But, at the last, confusedly arousing His sluggish hands, groped for and found his pipes Twin, dry, boughless trunks of beech fire-hollowed And with huge cinder bored. This pair he set To cave-like mouth, then, pursing hairy lips, Vented, with monster fingers laid on stops, His heart’s deep sorrow: ’twas a wounding sound. _Girl._ And was it angry, then, the giant’s plaint? _Shepherd._ Angry ’twas not: though anger in it spake As of a rebel turning eye to heav’n With moody imprecation natural To one so crossed from birth. Melancholy Lent majesty to strains uncouth. He mourned The gift of might which is his mightiest foe. Mourned! though the dire pipes themselves rebelling Came apt not to his hand. With rage he shook Yet, obstinate, subdued them to his mood So that they brimmed the dusky lower air, The fire-strewn skies, flushed cliffs and tawny sea With the beauty borne of desolation. Thus lingered he. _Girl._ And of the tune itself, Ugly, was it? _Shepherd._ Listen: when twilight fell, While the near wave lapsed with but seldom foam, Darkling against the light foretells the moon, He still played on. “Strange end,” thought I, “thou hast, Poor fool whose all of life is ended now, Saving the music thou canst make of it.” Since, as I think, his heart is shipwrecked now: Heart, but not song! For as the night waxed late Somewhat of beauty found he and with beauty Somewhat of solace. To the last I listened The while th’ unbroken moon rocked in the tide And multitudes of sea-sprites, glistering, Rose up in choir, but, sudden, hushed to hear Such grief pine on. Thus somewhat was the sound-- Like to the muffled wind among the crags When night is clear, without or stars or moon, And lightless clouds drift on a lightless sky; Or as the mournful blowing of the waves, Which in the pyloned gloom of northern cave Nightly with flood soon-swallowed and discharge Of pouring foam, deep tide and troubled ebb, Makes profound plaint and dreary melody To lightless waste, huge night and solemn stars. Such was the Cyclops’ music. _Girl._ Ah, poor soul! _Shepherd._ Dost weep? _Girl._ Yes, shepherd. _Shepherd._ Fie, now; comfort thee! The gods wax angry at a lass’s tears Who has no whit to cry for. Thus say I, Those there are who ev’n by living darken The lives of such as are less passionate Yet in their fall, by ev’n the full measure That they o’ertopped us, must we mourn for them, Such wonder has Life bared. _Girl._ Maybe ’tis so; Still I am sorry. _Shepherd._ Yield thee now thine arm. So: round my neck as mine sinks now round thine.... Evening falls. Hear the brook in the spinney: Thy very voice. _Girl._ And ... is yon star Venus? _Shepherd._ Aye: Venus ’tis. Thou hast eyes like heaven. _Girl._ Love is a pretty thing. Kiss me, sweet shepherd. _L. RICE-OXLEY_ (_KEBLE_) THE OPENING OF THE GRAVE OF ARTHUR AND GUINEVERE AT GLASTONBURY[A] One slender relic from the wreck of death, One golden hair from that far age, A gleaming memory, a momentary breath Of mystic times and Merlin sage! This only trace of that far-famous queen And of her beauty causing sin Recalled what Lancelot had whilom seen, What fame his compeers sought to win. Swift as a monk stoops down to grasp that hair The golden glint dissolves to dust, And naught of that old glory lieth there But bones, and armour gone to rust. Seek ye not thus to clutch the golden past Of legend and romance, for so Its splendour will dissolve and nothing last But Now, and dust of long ago. [A] A tradition says that the grave was opened in the time of Henry II., and that all that remained of the royal pair was a hair, which too turned to dust as a monk stooped down to pick it up. _DOROTHY L. SAYERS_ (_SOMERVILLE_) PYGMALION Therefore one day, as all flesh must, she died, Just as the mowers brought the last load in From happy meadows warm with summer-tide, And through the open casement, far and thin, The nightingale’s first music did begin. “Love is the sum of this world’s whole delight, Love,” said the bird, “the ending of desire, Love brought us, timid, forth to the lovely light, Love the sole outlet, love, both toil and hire, Love, with whose death the songs of life expire.” Yet, as the limbs turned stone and bitter-cold, Widowed Pygmalion sat beside the bed, Huddling dry-eyed to see the new grown old Again so strangely, and his clamorous head Jarred him with discourse; and at length he said: “Marble, my white girl, marble! Cyprian thighs And amorous bosom all made chaste once more, As though no lips had ever kissed thine eyes To slumber--virgin as they were, before The feet of Venus glowed along the floor!... “Thy beauty should have made the workman blind That found thee buried in the dust of thrones Hereafter, when our pomps are left behind Like some strange, sprawling scale of barbarous tones, Our temples turned to curious heaps of stones; “When by the highways merchant folk shall go Three feet of earth above our walls and towers, And other than Grecian ships bear to and fro New wares, new men, and all as brief as flowers-- Thou hadst outlasted all that time devours. “But thou art dead; thou art flesh and art dead; The grave will be thy lover, thy round breast Nourish the worm, while, shred by ghastly shred, The mouth that laughed, the fingers that caressed, Wither, O dearest of my works and best!... “What have I gained? some mornings when my soul Leaped out of me into the arms of day, When the world, like a chariot, span in my own control, Times when I saw the beech-tree leaves a-sway And knew how green they were and far from grey. “Say I learned joy--this was indeed a gain; But can I face the reckoning unafraid? For joy I bartered, first, that ancient pain Which stabbed me into vision; next, betrayed All that men looked for in me; thus I paid. “Yea, I that rated at a small amount That strange, cold jewel, purchased unawares, Men’s gratitude--I that no longer count For anything in any man’s affairs, Am doubtful now; thus the gods grant our prayers. “Ay me undone! The world cries out to me: ‘Pygmalion the sculptor, where art thou?’-- Buried indeed, O buried hopelessly Fathom-deep under, fathom-deep under now-- The curious rootlets pry about his brow ... “There is no remedy; what is changed is changed; No skill can rub out wrinkles from the heart, Nor even God knit friends that are estranged As innocently again as at the start, Since they must keep the memory of that smart “For good or evil still. So I return Never to that old quiet which asked no beat Of answering pulse, content alone to burn, While no fierce hand might fret thy bosom sweet, Nor any lover come betwixt thy feet. “I wrought thee for the world, and then thou wast Immortal--and I wept uncomforted; But since I made thee mine--O thou art lost To me and all men. I was glad,” he said, “But thou art dead, O thou art dead, art dead.” _HELEN SIMPSON_ (_HOME STUDENT_) THE HEAD OF THE TABLE; DECODERS W.R.N.S. Every day at ten to three, Be the weather wet or warm, I doff my identity, And assume a uniform. Clad in this I sally out, Cause considerable stir, Order nobodies about As becomes an Officer; Freeze the surreptitious smile With a chill severity-- Longing all the weary while For the unregenerate Me. But when my release is earned And I am at home, secure, My identity has turned Unexpectedly demure. Why? I enter rather late And My manner when we meet, Seems, I fear, to indicate The repentant indiscreet. I, thus tantalized by Me Spend an irritated day; Now the question seems to be-- What goes on when I’m away? AEROPLANE, JUNE 6TH. I was watching as you flew Circling in the summer sky; Round about you thoughts I threw, Every bit as swift as you, Every bit as high. Out of cloud a palace springs, Domes and minarets and towers, Bastions, where the trumpet rings And my topmost turret swings High about the showers. You were captain in the skies Nimble as a darting sword-- Of the company of spies Who my castle from surprise Vigilantly ward. Wheeling, darting, unaware That you were the warden bold Of my palace towering there, Of its battlements of air And its roofs of gold. All unheeding trumpet calls Down you plunged from out the blue; Warderless the silver wells, And my airy castle falls Swifter far than you. _L. A. G. STRONG_ (_WADHAM_) RUFUS PRAYS In the darkening church, Where but a few had stayed, At the Litany Desk The idiot knelt and prayed. Rufus, stunted, uncouth. The one son of his mother: “Eh, I’d sooner ’ave Rufie,” She said, “than many another. “‘E’s so useful about the ’ouse And so gentle as ’e can be: And ’e gets up early o’ mornin’s To make me a cup o’ tea.” The formal evensong Had passed over his head: He sucked his thumb, and squinted, And dreamed, instead. Now while the organ boomed To few who still were there, At the Litany Desk The idiot made his prayer: “Gawd bless Muther, ’N’ make Rufie a good lad. Take Rufie to Heaven, ’N’ forgive him when he’s bad. “’N’ early mornin’s in Heaven ’E’ll make Muther’s tea, ’N’ a cup for the Lord Jesus ’N’ a cup for Thee.” IN THE GARDEN A soft and flowered vision Came on me as a breeze In summer, and I saw The souls of men like bees. Up stairs of orchard foam With balustrade of may, Stagger, a mazy cluster, Drunk with the scented day. Then strong from newer honey, With brighter pollen shod, The little souls went buzzing Up to the Hives of God. _SHERARD VINES_ (_NEW COLLEGE_) PERMISSION Not till, fallen swooning at the last Round, heart-broken at the cruel pace, Thrown out useless from my working place Sickness, scorn, and bitterness to taste, Not till hard days have me crucified To a desk, the close nights to a bed Comfortless, and all my gain unmade, All the towers brought low that were my pride, May I seek the silent golden tor, Sleep beside long crumbled architraves, See the desolate glory of the waves Snarling, like tigers on a lone lee shore. SUMMER In blatant light the grasses look Like bronzen swords of green, The hillock-tops simmer and smoke, The stark road thrusts between. No mild opacity of cloud Transmutes the harshness, where Like stars of newly spattered blood Kempt cottage flowers stare. A blast of Hell gets up to flout The sharp metallic trees, And hungry insects haste about Their cruel purposes. _D. E. A. WALLACE_ (_SOMERVILLE_) RIVER-POOLS Were I a shadow in a pool I would not live, I would not fear to die; But only, faint and cool, I’d pass my days of unreality In passive contemplation of the sky; And no desire should shake me. And no denial break me, Ah, fool, Thou art no shadow in a pool. Were I a shadow in a pool I could not love, I could not thrill with hate; But, ashy-pale and cool, Through endless meadows moving desolate I would outgaze the sky dispassionate, With never grief to move me. And never friend to love me. Glad fool, Thou art no shadow in a pool! LIFE AND I Life and I are a pair of lovers: Life is only as old as I. Here he kissed me, with no one by, Here the day long will we lie, On a hillside swept with the calling of plovers, Until the stooping midnight covers Life and me with the star-wrought sky. Life, come kiss me! Joy, come tell me, Will you love me still to-morrow? Will you ravish me and sell me, Love of mine, to sorrow? “Sweet, come kiss me! Sweet, come tell me No misgivings of the morrow! But ... there are two ways to spell me: I am Joy--and Sorrow.” BILLING AND SONS, LTD., PRINTERS. GUILDFORD, ENGLAND FROM B. H. BLACKWELL’S LIST [Illustration] =Oxford Poetry, 1910-1913.= _Out of Print._ =Oxford Poetry, 1914-1916.= Uniform with the 1910-1913 volume, 5s. net. =Oxford Poetry, 1914.= [_Out of Print._ =Oxford Poetry, 1915.= Edited by G. D. H. C. and T. W. E. Uniform with the above, Roxburgh parchment, 2s. 6d. net; sewed, 1s. 6d. net. [_Third Impression._ =Oxford Poetry, 1916.= Edited by T. W. E., W. R. C., and A. L. H. Uniform with the above, Roxburgh parchment, 2s. 6d. net; sewed, 1s. 6d. net. =Oxford Poetry, 1917.= Edited by T. W. E., W. R. C., and D. L. S. Uniform with the above. Roxburgh parchment, 2s. 6d. net; sewed, 1s. 6d. net. [_Second Impression._ _DOROTHY L. SAYERS._ (_Author of ‘Op. I.’_) =Catholic Tales.= Impl. 16mo, art wrapper, 3s. net. These poems are startling. Inspired equally by the New Testament, the Fathers, and G. K. Chesterton, and written with intense conviction, their superficial blasphemy is likely to deceive even the elect. _L. and R._ =Wine and Gall.= Art wrapper, 1s. 6d. net. The authors, whoever they may be, combine rare technical mastery with a refreshing but sane originality. They show that traditional form is quite adequate to express modern idea. * * * * * FROM B. H. BLACKWELL’S LIST _A. G. SHIRREFF, I.C.S._ (_Author of ‘The Dilettante,’ and ‘The Tale of Florentius.’_) =Tales of the Sarai.= Crown 8vo, sewed, 2s. 6d. net. ‘Very delightful ... for humour we want nothing better. We have not derived more pleasure for some time from any book of verse.’--_The Times._ _EDITH SITWELL._ =Wheels: An Anthology of Verse.= Edited by EDITH SITWELL. Impl. 16mo, boards with design, 3s. 6d. net. ‘They have not as a body very much in common.’--_The Times._ ‘The names of the poets are unfamiliar to us.’--_Everyman._ ‘Conceived in morbid eccentricity and executed in factitious gloom.... The fœtidness of the whole clings to the nostrils.’--_The Pall Mall Gazette._ ‘The poets ... present such identity of mood and even imagery that it might seem that the mood and its emotion had been agreed upon.’--_The Oxford Chronicle._ ‘The names speak for themselves.’--_The Observer._ ‘A readable volume of thoughtful poems by sensible people.... There is not a dull page, and scarcely one which does not, incidentally, picture some charming rural scene, as it ponders on the mysteries, joys, and pains of life.’--_The Commonwealth._ ‘Much achievement and more promise, and we have no doubt whatever that, fifty years hence, the publication of “Wheels” will be remembered as a notable event in the inner history of English literature.’--_The Morning Post._ =Wheels, 1917: A Second Cycle.= Uniform with the above, 3s. 6d. net. ‘“Wheels” is, in its way, as notable a phenomenon as “The Yellow Book.”’--_The Globe._ =Wheels, 1918: A Third Cycle.= Uniform with the above, 4s. 6d. net. [_Now Ready._ *** END OF THE PROJECT GUTENBERG EBOOK OXFORD POETRY, 1918 *** 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.