The Project Gutenberg eBook of The Farmer's Bride This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: The Farmer's Bride Author: Charlotte Mew Release date: July 30, 2023 [eBook #71305] Language: English Original publication: United Kingdom: The Poetry Bookshop, 1921 Credits: Jessica Hope *** START OF THE PROJECT GUTENBERG EBOOK THE FARMER'S BRIDE *** TRANSCRIBER’S NOTES Italic text is denoted by _underscores_. Diacritical marks, where missing from the original table of contents, have been added so that the titles listed in the contents exactly match the poem titles from the main text. THE FARMER’S BRIDE The Original Edition of THE FARMER’S BRIDE, consisting of seventeen of the poems included in this volume, was first published in 1916. THE FARMER’S BRIDE By CHARLOTTE MEW [_A new Edition with eleven new Poems_] LONDON THE POETRY BOOKSHOP 35 DEVONSHIRE STREET, THEOBALD’S ROAD, W.C. 1921 Printed in England at The Westminster Press, Harrow Road, London, W. THE AUTHOR begs to thank the Editors of _The Nation_, _The Westminster Gazette_, _The New Weekly_, _The Englishwoman_, _The Egoist_, _The Graphic_, _The Athenæum_, and _The Monthly Chapbook_ for permission to reprint some of the poems in this book. To ---- He asked life of thee, and thou gavest him a long life: even for ever and ever. CONTENTS PAGE THE FARMER’S BRIDE 11 FAME 13 THE NARROW DOOR 14 THE FÊTE 15 BESIDE THE BED 20 IN NUNHEAD CEMETERY 21 THE PEDLAR 24 PÉCHERESSE 25 THE CHANGELING 27 KEN 29 À QUOI BON DIRE 32 THE QUIET HOUSE 33 ON THE ASYLUM ROAD 36 JOUR DES MORTS (CIMETIÈRE MONTPARNASSE) 37 THE FOREST ROAD 38 MADELEINE IN CHURCH 40 EXSPECTO RESURRECTIONEM 47 ON THE ROAD TO THE SEA 48 THE SUNLIT HOUSE 50 THE SHADE-CATCHERS 51 LE SACRÉ-CŒUR (MONTMARTRE) 52 SONG 53 SATURDAY MARKET 54 ARRACOMBE WOOD 55 SEA LOVE 56 THE ROAD TO KÉRITY 57 I HAVE BEEN THROUGH THE GATES 58 THE CENOTAPH 59 THE FARMER’S BRIDE Three Summers since I chose a maid, Too young maybe--but more’s to do At harvest-time than bide and woo. When us was wed she turned afraid Of love and me and all things human; Like the shut of a winter’s day. Her smile went out, and ’twasn’t a woman-- More like a little frightened fay. One night, in the Fall, she runned away. “Out ’mong the sheep, her be,” they said, ’Should properly have been abed; But sure enough she wasn’t there Lying awake with her wide brown stare. So over seven-acre field and up-along across the down We chased her, flying like a hare Before our lanterns. To Church-Town All in a shiver and a scare We caught her, fetched her home at last And turned the key upon her, fast. She does the work about the house As well as most, but like a mouse: Happy enough to chat and play With birds and rabbits and such as they, So long as men-folk keep away. “Not near, not near!” her eyes beseech When one of us comes within reach. The women say that beasts in stall Look round like children at her call. _I’ve_ hardly heard her speak at all. Shy as a leveret, swift as he, Straight and slight as a young larch tree, Sweet as the first wild violets, she, To her wild self. But what to me? The short days shorten and the oaks are brown, The blue smoke rises to the low grey sky, One leaf in the still air falls slowly down, A magpie’s spotted feathers lie On the black earth spread white with rime, The berries redden up to Christmas-time. What’s Christmas-time without there be Some other in the house than we! She sleeps up in the attic there Alone, poor maid. ’Tis but a stair Betwixt us. Oh! my God! the down, The soft young down of her, the brown, The brown of her--her eyes, her hair, her hair! FAME Sometimes in the over-heated house, but not for long, Smirking and speaking rather loud, I see myself among the crowd, Where no one fits the singer to his song, Or sifts the unpainted from the painted faces Of the people who are always on my stair; They were not with me when I walked in heavenly places; But could I spare In the blind Earth’s great silences and spaces, The din, the scuffle, the long stare If I went back and it was not there? Back to the old known things that are the new, The folded glory of the gorse, the sweet-briar air, To the larks that cannot praise us, knowing nothing of what we do And the divine, wise trees that do not care Yet, to leave Fame, still with such eyes and that bright hair! God! If I might! And before I go hence Take in her stead To our tossed bed, One little dream, no matter how small, how wild. Just now, I think I found it in a field, under a fence-- A frail, dead, new-born lamb, ghostly and pitiful and white. A blot upon the night, The moon’s dropped child! THE NARROW DOOR The narrow door, the narrow door On the three steps of which the café children play Mostly at shop with pebbles from the shore, It is always shut this narrow door But open for a little while to-day. And round it, each with pebbles in his hand, A silenced crowd the café children stand To see the long box jerking down the bend Of twisted stair; then set on end, Quite filling up the narrow door Till it comes out and does not go in any more. Along the quay you see it wind, The slow black line. Someone pulls up the blind Of the small window just above the narrow door-- _“Tiens! que veux-tu acheter?”_ Rénée cries, _“Mais, pour quat’sous, des oignons,”_ Jean replies And one pays down with pebbles from the shore. THE FÊTE To-night again the moon’s white mat Stretches across the dormitory floor While outside, like an evil cat The _pion_ prowls down the dark corridor, Planning, I know, to pounce on me, in spite For getting leave to sleep in town last night. But it was none of us who made that noise, Only the old brown owl that hoots and flies Out of the ivy--he will say it was us boys-- _Seigneur mon Dieu!_ the _sacré_ soul of spies! He would like to catch each dream that lies Hidden behind our sleepy eyes: Their dream? But mine--it is the moon and the wood that sees; All my long life how I shall hate the trees! In the _Place d’Armes_, the dusty planes, all Summer through Dozed with the market women in the sun and scarcely stirred To see the quiet things that crossed the Square--, A tiny funeral, the flying shadow of a bird, The hump-backed barber Célestin Lemaire, Old madame Michel in her three-wheeled chair, And filing past to Vespers, two and two, The _demoiselles_ of the _pensionnat_. Towed like a ship through the harbour bar, Safe into port, where _le petit Jésus_ Perhaps makes nothing of the look they shot at you: _Si, c’est défendu, mais que voulez-vous?_ It was the sun. The sunshine weaves A pattern on dull stones: the sunshine leaves The portraiture of dreams upon the eyes Before it dies: All Summer through The dust hung white upon the drowsy planes Till suddenly they woke with the Autumn rains. It is not only the little boys Who have hardly got away from toys, But I, who am seventeen next year, Some nights, in bed, have grown cold to hear That lonely passion of the rain Which makes you think of being dead, And of somewhere living to lay your head As if you were a child again, Crying for one thing, known and near Your empty heart, to still the hunger and the fear That pelts and beats with it against the pane. But I remember smiling too At all the sun’s soft tricks and those Autumn dreads In winter time, when the grey light broke slowly through The frosted window-lace to drag us shivering from our beds. And when at dusk the singing wind swung down Straight from the stars to the dark country roads Beyond the twinkling town, Striking the leafless poplar boughs as he went by, Like some poor, stray dog by the wayside lying dead, We left behind us the old world of dread, I and the wind as we strode whistling on under the Winter sky. And then in Spring for three days came the Fair Just as the planes were starting into bud Above the caravans: you saw the dancing bear Pass on his chain; and heard the jingle and the thud. Only four days ago They let you out of this dull show To slither down the _montagne russe_ and chaff the man _à la tête de veau_-- Hit, slick, the bull’s eye at the _tir_, Spin round and round till your head went queer On the _porcs-roulants. Oh! là là! la fête!_ _Va pour du vin, et le tête-a-tête_ With the girl who sugars the _quafres! Pauvrette_, How thin she was; but she smiled, you bet, As she took your tip--“One does not forget The good days, Monsieur.” Said with a grace, But _sacrébleu!_ what a ghost of a face! And no fun too for the _demoiselles_ Of the _pensionnat_, who were hurried past, With their _“Oh, que c’est beau--Ah, qu’elle est belle!”_ A lap-dog’s life from first to last! The good nights are not made for sleep, nor the good days for dreaming in, And at the end in the big Circus tent we sat and shook and stewed like sin! Some children there had got--but where? Sent from the south, perhaps--a red bouquet Of roses, sweetening the fetid air With scent from gardens by some far away blue bay. They threw one at the dancing bear; The white clown caught it. From St. Rémy’s tower The deep, slow bell tolled out the hour; The black clown, with his dirty grin Lay, sprawling in the dust, as She rode in. She stood on a white horse--and suddenly you saw the bend Of a far-off road at dawn, with knights riding by, A field of spears--and then the gallant day Go out in storm, with ragged clouds low down, sullen and grey Against red heavens: wild and awful, such a sky As witnesses against you at the end Of a great battle; bugles blowing, blood and dust-- The old _Morte d’Arthur_, fight you must--. It died in anger. But it was not death That had you by the throat, stopping your breath. She looked like Victory. She rode my way. She laughed at the black clown and then she flew A bird above us, on the wing Of her white arms; and you saw through A rent in the old tent, a patch of sky With one dim star. She flew, but not so high-- And then she did not fly; She stood in the bright moonlight at the door Of a strange room, she threw her slippers on the floor-- Again, again You heard the patter of the rain, The starving rain--it was this Thing, Summer was this, the gold mist in your eyes;-- Oh God! it dies, But after death--, To-night the splendour and the sting Blows back and catches at your breath, The smell of beasts, the smell of dust, the scent of all the roses in the world, the sea, the Spring, The beat of drums, the pad of hoofs, music, the dream, the dream, the Enchanted Thing! At first you scarcely saw her face, You knew the maddening feet were there, What called was that half-hidden, white unrest To which now and then she pressed Her finger tips; but as she slackened pace And turned and looked at you it grew quite bare: There was not anything you did not dare:-- Like trumpeters the hours passed until the last day of the Fair. In the _Place d’Armes_ all afternoon The building birds had sung “Soon, soon,” The shuttered streets slept sound that night, It was full moon: The path into the wood was almost white, The trees were very still and seemed to stare: Not far before your soul the Dream flits on, But when you touch it, it is gone And quite alone your soul stands there. Mother of Christ, no one has seen your eyes: how can men pray Even unto you? There were only wolves’ eyes in the wood-- My Mother is a woman too: Nothing is true that is not good, With that quick smile of hers, I have heard her say;-- I wish I had gone back home to-day; I should have watched the light that so gently dies From our high window, in the Paris skies, The long, straight chain Of lamps hung out along the Seine: I would have turned to her and let the rain Beat on her breast as it does against the pane;-- Nothing will be the same again;-- There is something strange in my little Mother’s eyes, There is something new in the old heavenly air of Spring-- The smell of beasts, the smell of dust--_The Enchanted Thing!_ All my life long I shall see moonlight on the fern And the black trunks of trees. Only the hair Of any woman can belong to God. The stalks are cruelly broken where we trod, There had been violets there, I shall not care As I used to do when I see the bracken burn. BESIDE THE BED Someone has shut the shining eyes, straightened and folded The wandering hands quietly covering the unquiet breast: So, smoothed and silenced you lie, like a child, not again to be questioned or scolded; But, for you, not one of us believes that this is rest. Not so to close the windows down can cloud and deaden The blue beyond: or to screen the wavering flame subdue its breath: Why, if I lay my cheek to your cheek, your grey lips, like dawn, would quiver and redden, Breaking into the old, odd smile at this fraud of death. Because all night you have not turned to us or spoken It is time for you to wake; your dreams were never very deep: I, for one, have seen the thin, bright, twisted threads of them dimmed suddenly and broken, This is only a most piteous pretence of sleep! IN NUNHEAD CEMETERY It is the clay that makes the earth stick to his spade; He fills in holes like this year after year; The others have gone; they were tired, and half afraid, But I would rather be standing here; There is nowhere else to go. I have seen this place From the windows of the train that’s going past Against the sky. This is rain on my face-- It was raining here when I saw it last. There is something horrible about a flower; This, broken in my hand, is one of those He threw in just now: it will not live another hour; There are thousands more: you do not miss a rose. One of the children hanging about Pointed at the whole dreadful heap and smiled This morning, after THAT was carried out; There is something terrible about a child. We were like children, last week, in the Strand; That was the day you laughed at me Because I tried to make you understand The cheap, stale chap I used to be Before I saw the things you made me see. This is not a real place; perhaps by-and-by I shall wake--I am getting drenched with all this rain: To-morrow I will tell you about the eyes of the Crystal Palace train Looking down on us, and you will laugh and I shall see what you see again. Not here, not now. We said “Not yet Across our low stone parapet Will the quick shadows of the sparrows fall.” But still it was a lovely thing Through the grey months to wait for Spring With the birds that go a-gypsying In the parks till the blue seas call. And next to these, you used to care For the lions in Trafalgar Square, Who’ll stand and speak for London when her bell of Judgment tolls-- And the gulls at Westminster there were The old sea-captains’ souls. To-day again the brown tide splashes, step by step, the river stair, And the gulls are there! By a month we have missed our Day: The children would have hung about Round the carriage and over the way As you and I came out. We should have stood on the gulls’ black cliffs and heard the sea And seen the moon’s white track, I would have called, you would have come to me And kissed me back. You have never done that: I do not know Why I stood staring at your bed And heard you, though you spoke so low, But could not reach your hands, your little head. There was nothing we could not do, you said, And you went, and I let you go! Now I will burn you back, I will burn you through, Though I am damned for it we two will lie And burn, here where the starlings fly To these white stones from the wet sky--; Dear, you will say this is not I-- It would not be you, it would not be you! If for only a little while You will think of it you will understand, If you will touch my sleeve and smile As you did that morning in the Strand I can wait quietly with you Or go away if you want me to-- God! What is God? but your face has gone and your hand! Let me stay here too. When I was quite a little lad At Christmas time we went half mad For joy of all the toys we had, And then we used to sing about the sheep The shepherds watched by night; We used to pray to Christ to keep Our small souls safe till morning light--; I am scared, I am staying with you to-night-- Put me to sleep. I shall stay here: here you can see the sky; The houses in the streets are much too high; There is no one left to speak to there; Here they are everywhere, And just above them fields and fields of roses lie-- If he would dig it all up again they would not die. THE PEDLAR Lend me, a little while, the key That locks your heavy heart, and I’ll give you back-- Rarer than books and ribbons and beads bright to see, This little Key of Dreams out of my pack. The road, the road, beyond men’s bolted doors, There shall I walk and you go free of me, For yours lies North across the moors, And mine South. To what sea? How if we stopped and let our solemn selves go by, While my gay ghost caught and kissed yours, as ghosts don’t do, And by the wayside this forgotten you and I Sat, and were twenty-two? Give me the key that locks your tired eyes, And I will lend you this one from my pack, Brighter than coloured beads and painted books that make men wise: Take it. No, give it back! PÉCHERESSE Down the long quay the slow boats glide, While here and there a house looms white Against the gloom of the waterside, And some high window throws a light As they sail out into the night. At dawn they will bring in again To women knitting on the quay Who wait for him, their man of men; I stand with them, and watch the sea Which may have taken mine from me. Just so the long days come and go. The nights, ma Doué! the nights are cold! Our Lady’s heart is as frozen snow, Since this one sin I have not told; And I shall die or perhaps grow old Before he comes. The foreign ships Bring many a one of face and name As strange as his, to buy your lips, A gold piece for a scarlet shame Like mine. But mine was not the same. One night was ours, one short grey day Of sudden sin, unshrived, untold. He found me, and I lost the way To Paradise for him. I sold My soul for love and not for gold. He bought my soul, but even so, My face is all that he has seen, His is the only face I know, And in the dark church, like a screen, It shuts God out; it comes between; While in some narrow foreign street Or loitering on the crowded quay, Who knows what others he may meet To turn his eyes away from me? Many are fair to such as he! There is but one for such as I To love, to hate, to hunger for; I shall, perhaps, grow old and die, With one short day to spend and store, One night, in all my life, no more. Just so the long days come and go, Yet this one sin I will not tell Though Mary’s heart is as frozen snow And all nights are cold for one warmed too well. But, oh! ma Doué! _the nights of Hell!_ THE CHANGELING Toll no bell for me, dear Father, dear Mother, Waste no sighs; There are my sisters, there is my little brother Who plays in the place called Paradise, Your children all, your children for ever; But I, so wild, Your disgrace, with the queer brown face, was never, Never, I know, but half your child! In the garden at play, all day, last summer, Far and away I heard The sweet “tweet-tweet” of a strange new-comer, The dearest, clearest call of a bird. It lived down there in the deep green hollow, My own old home, and the fairies say The word of a bird is a thing to follow, So I was away a night and a day. One evening, too, by the nursery fire, We snuggled close and sat round so still, When suddenly as the wind blew higher, Something scratched on the window-sill. A pinched brown face peered in--I shivered; No one listened or seemed to see; The arms of it waved and the wings of it quivered, Whoo--I knew it had come for me; Some are as bad as bad can be! All night long they danced in the rain, Round and round in a dripping chain, Threw their caps at the window-pane, Tried to make me scream and shout And fling the bedclothes all about: I meant to stay in bed that night, And if only you had left a light They would never have got me out. Sometimes I wouldn’t speak, you see, Or answer when you spoke to me, Because in the long, still dusks of Spring You can hear the whole world whispering; The shy green grasses making love, The feathers grow on the dear, grey dove, The tiny heart of the redstart beat, The patter of the squirrel’s feet, The pebbles pushing in the silver streams, The rushes talking in their dreams, The swish-swish of the bat’s black wings, The wild-wood bluebell’s sweet ting-tings, Humming and hammering at your ear, Everything there is to hear In the heart of hidden things, But not in the midst of the nursery riot, That’s why I wanted to be quiet Couldn’t do my sums, or sing, Or settle down to anything. And when, for that, I was sent upstairs I _did_ kneel down to say my prayers; But the King who sits on your high church steeple Has nothing to do with us fairy people! ’Times I pleased you, dear Father, dear Mother, Learned all my lessons and liked to play, And dearly I loved the little pale brother Whom some other bird must have called away. Why did They bring me here to make me Not quite bad and not quite good, Why, unless They’re wicked, do They want, in spite, to take me Back to their wet, wild wood? Now, every night I shall see the windows shining, The gold lamp’s glow, and the fire’s red gleam, While the best of us are twining twigs and the rest of us are whining In the hollow by the stream. Black and chill are Their nights on the wold; And They live so long and They feel no pain: I shall grow up, but never grow old, I shall always, always be very cold, I shall never come back again! KEN The town is old and very steep, A place of bells and cloisters and grey towers, And black clad people walking in their sleep-- A nun, a priest, a woman taking flowers To her new grave; and watched from end to end By the great Church above, through the still hours: But in the morning and the early dark The children wake to dart from doors and call Down the wide, crooked street, where, at the bend, Before it climbs up to the park, Ken’s is the gabled house facing the Castle wall. When first I came upon him there Suddenly, on the half-lit stair, I think I hardly found a trace Of likeness to a human face In his. And I said then If in His image God made men, Some other must have made poor Ken-- But for his eyes which looked at you As two red, wounded stars might do. He scarcely spoke, you scarcely heard, His voice broke off in little jars To tears sometimes. An uncouth bird He seemed as he ploughed up the street, Groping, with knarred, high-lifted feet And arms thrust out as if to beat Always against a threat of bars. And oftener than not there’d be A child just higher than his knee Trotting beside him. Through his dim Long twilight this, at least, shone clear, That all the children and the deer, Whom every day he went to see Out in the park, belonged to him. “God help the folk that next him sits He fidgets so, with his poor wits.” The neighbours said on Sunday nights When he would go to Church to “see the lights!” Although for these he used to fix His eyes upon a crucifix In a dark corner, staring on Till everybody else had gone. And sometimes, in his evil fits, You could not move him from his chair-- You did not look at him as he sat there, Biting his rosary to bits. While pointing to the Christ he tried to say “Take it away.” Nothing was dead: He said “a bird” if he picked up a broken wing, A perished leaf or any such thing Was just “a rose”; and once when I had said He must not stand and knock there any more, He left a twig on the mat outside my door. Not long ago The last thrush stiffened in the snow, While black against a sullen sky The sighing pines stood by. But now the wind has left our rattled pane To flutter the hedge-sparrow’s wing, The birches in the wood are red again And only yesterday The larks went up a little way to sing What lovers say Who loiter in the lanes to-day; The buds begin to talk of May With learned rooks on city trees, And if God please With all of these We too, shall see another Spring. But in that red brick barn upon the hill I wonder--can one own the deer, And does one walk with children still As one did here-- Do roses grow Beneath those twenty windows in a row-- And if some night When you have not seen any light They cannot move you from your chair What happens there? I do not know. So, when they took Ken to that place, I did not look After he called and turned on me His eyes. These I shall see-- À QUOI BON DIRE Seventeen years ago you said Something that sounded like Good-bye; And everybody thinks that you are dead, But I. So I, as I grow stiff and cold To this and that say Good-bye too; And everybody sees that I am old But you. And one fine morning in a sunny lane Some boy and girl will meet and kiss and swear That nobody can love their way again While over there You will have smiled, I shall have tossed your hair. THE QUIET HOUSE When we were children old Nurse used to say, The house was like an auction or a fair Until the lot of us were safe in bed. It has been quiet as the country-side Since Ted and Janey and then Mother died And Tom crossed Father and was sent away. After the lawsuit he could not hold up his head, Poor Father, and he does not care For people here, or to go anywhere. To get away to Aunt’s for that week-end Was hard enough; (since then, a year ago, He scarcely lets me slip out of his sight--) At first I did not like my cousin’s friend, I did not think I should remember him: His voice has gone, his face is growing dim And if I like him now I do not know. He frightened me before he smiled-- He did not ask me if he might-- He said that he would come one Sunday night, He spoke to me as if I were a child. No year has been like this that has just gone by; It may be that what Father says is true, If things are so it does not matter why: But everything has burned and not quite through. The colours of the world have turned To flame, the blue, the gold has burned In what used to be such a leaden sky. When you are burned quite through you die. Red is the strangest pain to bear; In Spring the leaves on the budding trees; In Summer the roses are worse than these, More terrible than they are sweet: A rose can stab you across the street Deeper than any knife: And the crimson haunts you everywhere-- Thin shafts of sunlight, like the ghosts of reddened swords have struck our stair As if, coming down, you had spilt your life. I think that my soul is red Like the soul of a sword or a scarlet flower: But when these are dead They have had their hour. I shall have had mine, too, For from head to feet, I am burned and stabbed half through, And the pain is deadly sweet. The things that kill us seem Blind to the death they give: It is only in our dream The things that kill us live. The room is shut where Mother died, The other rooms are as they were, The world goes on the same outside, The sparrows fly across the Square, The children play as we four did there, The trees grow green and brown and bare, The sun shines on the dead Church spire, And nothing lives here but the fire, While Father watches from his chair Day follows day The same, or now and then, a different grey, Till, like his hair, Which Mother said was wavy once and bright, They will all turn white. To-night I heard a bell again-- Outside it was the same mist of fine rain, The lamps just lighted down the long, dim street, No one for me-- I think it is myself I go to meet: I do not care; some day I _shall_ not think; I shall not _be_! ON THE ASYLUM ROAD Theirs is the house whose windows--every pane-- Are made of darkly stained or clouded glass: Sometimes you come upon them in the lane, The saddest crowd that you will ever pass. But still we merry town or village folk Throw to their scattered stare a kindly grin, And think no shame to stop and crack a joke With the incarnate wages of man’s sin. None but ourselves in our long gallery we meet, The moor-hen stepping from her reeds with dainty feet, The hare-bell bowing on his stem, Dance not with us; their pulses beat To fainter music; nor do we to them Make their life sweet. The gayest crowd that they will ever pass Are we to brother-shadows in the lane: Our windows, too, are clouded glass To them, yes, every pane! JOUR DES MORTS (CIMETIÈRE MONTPARNASSE) Sweetheart, is this the last of all our posies And little festivals, my flowers are they But white and wistful ghosts of gayer roses Shut with you in this grim garden? Not to-day, Ah! no! come out with me before the grey gate closes It is your fête and here is your bouquet! THE FOREST ROAD The forest road, The infinite straight road stretching away World without end: the breathless road between the walls Of the black listening trees: the hushed, grey road Beyond the window that you shut to-night Crying that you would look at it by day-- There is a shadow there that sings and calls But not for you. Oh! hidden eyes that plead in sleep Against the lonely dark, if I could touch the fear And leave it kissed away on quiet lids-- If I could hush these hands that are half-awake, Groping for me in sleep I could go free. I wish that God would take them out of mine And fold them like the wings of frightened birds Shot cruelly down, but fluttering into quietness so soon, Broken, forgotten things; there is not grief for them in the green Spring When the new birds fly back to the old trees. But it shall not be so with you. I will look back. I wish I knew that God would stand Smiling and looking down on you when morning comes, To hold you, when you wake, closer than I, So gently though: and not with famished lips or hungry arms: He does not hurt the frailest, dearest things As we do in the dark. See, dear, your hair-- I must unloose this hair that sleeps and dreams About my face, and clings like the brown weed To drowned, delivered things, tossed by the tired sea Back to the beaches. Oh! your hair! If you had lain A long time dead on the rough, glistening ledge Of some black cliff, forgotten by the tide, The raving winds would tear, the dripping brine would rust away Fold after fold of all the loveliness That wraps you round, and makes you, lying here, The passionate fragrance that the roses are. But death would spare the glory of your head In the long sweetness of the hair that does not die: The spray would leap to it in every storm, The scent of the unsilenced sea would linger on In these dark waves, and round the silence that was you-- Only the nesting gulls would hear--but there would still be whispers in your hair; Keep them for me; keep them for me. What _is_ this singing on the road That makes all other music like the music in a dream-- Dumb to the dancing and the marching feet; you know, in dreams, you see Old pipers playing that you cannot hear, And ghostly drums that only seem to beat. This seems to climb: Is it the music of a larger place? It makes our room too small: it is like a stair, A calling stair that climbs up to a smile you scarcely see, Dim, but so waited for; and _you_ know what a smile is, how it calls, How if I smiled you always ran to me. Now you must sleep forgetfully, as children do. There is a Spirit sits by us in sleep Nearer than those who walk with us in the bright day. I think he has a tranquil, saving face: I think he came Straight from the hills: he may have suffered there in time gone by, And once, from those forsaken heights, looked down, Lonely himself, on all the lonely sorrows of the earth. It is his kingdom--Sleep. If I could leave you there-- If, without waking you, I could get up and reach the door--! We used to go together.--Shut, scared eyes, Poor, desolate, desperate hands, it is not I Who thrust you off. No, take your hands away-- I cannot strike your lonely hands. Yes, I have struck your heart, It did not come so near. Then lie you there Dear and wild heart behind this quivering snow With two red stains on it: and I will strike and tear Mine out, and scatter it to yours. Oh! throbbing dust, You that were life, our little wind-blown hearts! The road! the road! There is a shadow there: I see my soul, I hear my soul, singing among the trees! MADELEINE IN CHURCH Here, in the darkness, where this plaster saint Stands nearer than God stands to our distress, And one small candle shines, but not so faint As the far lights of everlastingness I’d rather kneel than over there, in open day Where Christ is hanging, rather pray To something more like my own clay, Not too divine; For, once, perhaps my little saint Before he got his niche and crown, Had one short stroll about the town; It brings him closer, just that taint And anyone can wash the paint Off our poor faces, his and mine! Is that why I see Monty now? equal to any saint, poor boy, as good as gold, But still, with just the proper trace Of earthliness on his shining wedding face; And then gone suddenly blank and old The hateful day of the divorce: Stuart got his, hands down, of course Crowing like twenty cocks and grinning like a horse: But Monty took it hard. All said and done I liked him best,-- He was the first, he stands out clearer than the rest. It seems too funny all we other rips Should have immortal souls; Monty and Redge quite damnably Keep theirs afloat while we go down like scuttled ships.-- It’s funny too, how easily we sink, One might put up a monument, I think To half the world and cut across it “Lost at Sea!” I should drown Jim, poor little sparrow, if I netted him to-night-- No, it’s no use this penny light-- Or my poor saint with his tin-pot crown-- The trees of Calvary are where they were, When we are sure that we can spare The tallest, let us go and strike it down And leave the other two still standing there. I, too, would ask Him to remember me If there were any Paradise beyond this earth that I could see. Oh! quiet Christ who never knew The poisonous fangs that bite us through And make us do the things we do, See how we suffer and fight and die, How helpless and how low we lie, God holds You, and You hang so high, Though no one looking long at You, Can think You do not suffer too, But, up there, from your still, star-lighted tree What can You know, what can You really see Of this dark ditch, the soul of me! We are what we are: when I was half a child I could not sit Watching black shadows on green lawns and red carnations burning in the sun, Without paying so heavily for it That joy and pain, like any mother and her unborn child were almost one. I could hardly bear The dreams upon the eyes of white geraniums in the dusk, The thick, close voice of musk, The jessamine music on the thin night air, Or, sometimes, my own hands about me anywhere-- The sight of my own face (for it was lovely then) even the scent of my own hair, Oh! there was nothing, nothing that did not sweep to the high seat Of laughing gods, and then blow down and beat My soul into the highway dust, as hoofs do the dropped roses of the street. I think my body was my soul, And when we are made thus Who shall control Our hands, our eyes, the wandering passion of our feet, Who shall teach us To thrust the world out of our heart; to say, till perhaps in death, When the race is run, And it is forced from us with our last breath “Thy will be done”? If it is Your will that we should be content with the tame, bloodless things. As pale as angels smirking by, with folded wings. Oh! I know Virtue, and the peace it brings! The temperate, well-worn smile The one man gives you, when you are evermore his own: And afterwards the child’s, for a little while, With its unknowing and all-seeing eyes So soon to change, and make you feel how quick The clock goes round. If one had learned the trick-- (How does one though?) quite early on, Of long green pastures under placid skies, One might be walking now with patient truth. What did we ever care for it, who have asked for youth, When, oh! my God! this is going or has gone? There is a portrait of my mother, at nineteen, With the black spaniel, standing by the garden seat, The dainty head held high against the painted green And throwing out the youngest smile, shy, but half haughty and half sweet. Her picture then: but simply Youth, or simply Spring To me to-day: a radiance on the wall, So exquisite, so heart-breaking a thing Beside the mask that I remember, shrunk and small, Sapless and lined like a dead leaf, All that was left of oh! the loveliest face, by time and grief! And in the glass, last night, I saw a ghost behind my chair-- Yet why remember it, when one can still go moderately gay--? Or could--with any one of the old crew, But oh! these boys! the solemn way They take you and the things they say-- This “I have only as long as you” When you remind them you are not precisely twenty-two-- Although at heart perhaps--God! if it were Only the face, only the hair! If Jim had written to me as he did to-day A year ago--and now it leaves me cold-- I know what this means, old, old, _old_! _Et avec ça--mais on a vécu, tout se paie._ That is not always true: there was my Mother--(we at least the dead are free!) Yoked to the man that Father was; yoked to the woman I am, Monty too; The little portress at the Convent School, stewing in hell so patiently; The poor, fair boy who shot himself at Aix. And what of me--and what of me? But I, I paid for what I had, and they for nothing. No, one cannot see How it shall be made up to them in some serene eternity. If there were fifty heavens God could not give us back the child who went or never came; Here, on our little patch of this great earth, the sun of any darkened day, Not one of all the starry buds hung on the hawthorn trees of last year’s May, No shadow from the sloping fields of yesterday; For every hour they slant across the hedge a different way, The shadows are never the same. “Find rest in Him” One knows the parsons’ tags-- Back to the fold, across the evening fields, like any flock of baa-ing sheep: Yes, it may be, when He has shorn, led us to slaughter, torn the bleating soul in us to rags, For so He giveth His beloved sleep. Oh! He will take us stripped and done, Driven into His heart. So we are won: Then safe, safe are we? in the shelter of His everlasting wings-- I do not envy Him his victories, His arms are full of broken things. But I shall not be in them. Let Him take The finer ones, the easier to break. And they are not gone, yet, for me, the lights, the colours, the perfumes, Though now they speak rather in sumptuous rooms, In silks and in gem-like wines; Here, even, in this corner where my little candle shines And overhead the lancet-window glows With golds and crimsons you could almost drink To know how jewels taste, just as I used to think There was the scent in every red and yellow rose Of all the sunsets. But this place is grey, And much too quiet. No one here, Why, this is awful, this is fear! Nothing to see, no face. Nothing to hear except your heart beating in space As if the world was ended. Dead at last! Dead soul, dead body, tied together fast. These to go on with and alone, to the slow end: No one to sit with, really, or to speak to, friend to friend: Out of the long procession, black or white or red Not one left now to say “Still I am here, then see you, dear, lay here your head.” Only the doll’s house looking on the Park To-night, all nights, I know, when the man puts the lights out, very dark. With, upstairs, in the blue and gold box of a room, just the maids’ footsteps overhead, Then utter silence and the empty world--the room--the bed-- The corpse! No, not quite dead, while this cries out in me, But nearly: very soon to be A handful of forgotten dust-- There must be someone. Christ! there must, Tell me there _will_ be someone. Who? If there were no one else, could it be You? How old was Mary out of whom you cast So many devils? Was she young or perhaps for years She had sat staring, with dry eyes, at this and that man going past Till suddenly she saw You on the steps of Simon’s house And stood and looked at You through tears. I think she must have known by those The thing, for what it was that had come to her. For some of us there is a passion, I suppose So far from earthly cares and earthly fears That in its stillness you can hardly stir Or in its nearness, lift your hand, So great that you have simply got to stand Looking at it through tears, through tears Then straight from these there broke the kiss, I think You must have known by this The thing, for what it was, that had come to You: She did not love You like the rest, It was in her own way, but at the worst, the best, She gave you something altogether new. And through it all, from her, no word, She scarcely saw You, scarcely heard: Surely You knew when she so touched You with her hair, Or by the wet cheek lying there, And while her perfume clung to You from head to feet all through the day That You can change the things for which we care, But even You, unless You kill us, not the way. This, then was peace for her, but passion too. I wonder was it like a kiss that once I knew, The only one that I would care to take Into the grave with me, to which if there were afterwards, to wake. Almost as happy as the carven dead In some dim chancel lying head by head We slept with it, but face to face, the whole night through-- One breath, one throbbing quietness, as if the thing behind our lips was endless life, Lost, as I woke, to hear in the strange earthly dawn, his “Are you there?” And lie still, listening to the wind outside, among the firs. So Mary chose the dream of Him for what was left to her of night and day, It is the only truth: it is the dream in us that neither life nor death nor any other thing can take away: But if she had not touched Him in the doorway of the dream could she have cared so much? She was a sinner, we are what we are: the spirit afterwards, but first, the touch. And He has never shared with me my haunted house beneath the trees Of Eden and Calvary, with its ghosts that have not any eyes for tears, And the happier guests who would not see, or if they did, remember these, Though they lived there a thousand years. Outside, too gravely looking at me, He seems to stand, And looking at Him, if my forgotten spirit came Unwillingly back, what could it claim Of those calm eyes, that quiet speech, Breaking like a slow tide upon the beach, The scarred, not quite human hand?-- Unwillingly back to the burden of old imaginings When it has learned so long not to think, not to be, Again, again it would speak as it has spoken to me of things That I shall not see! I cannot bear to look at this divinely bent and gracious head: When I was small I never quite believed that He was dead: And at the Convent school I used to lie awake in bed Thinking about His hands. It did not matter what they said, He was alive to me, so hurt, so hurt! And most of all in Holy Week When there was no one else to see I used to think it would not hurt me too, so terribly, If He had ever seemed to notice me Or, if, for once, He would only speak. EXSPECTO RESURRECTIONEM Oh! King who hast the key Of that dark room, The last which prisons us but held not Thee, Thou know’st its gloom. Dost Thou a little love this one Shut in to-night, Young and so piteously alone, Cold--out of sight? Thou know’st how hard and bare The pillow of that new-made narrow bed, Then leave not there So dear a head! ON THE ROAD TO THE SEA We passed each other, turned and stopped for half an hour, then went our way, I who make other women smile did not make you-- But no man can move mountains in a day. So this hard thing is yet to do. But first I want your life:--before I die I want to see The world that lies behind the strangeness of your eyes, There is nothing gay or green there for my gathering, it may be, Yet on brown fields there lies A haunting purple bloom: is there not something in grey skies And in grey sea? I want what world there is behind your eyes, I want your life and you will not give it to me. Now, if I look, I see you walking down the years, Young, and through August fields--a face, a thought, a swinging dream perched on a stile--; I would have liked (so vile we are!) to have taught you tears But most to have made you smile. To-day is not enough or yesterday: God sees it all-- Your length on sunny lawns, the wakeful rainy nights--; tell me--; (how vain to ask), but it is not a question--just a call--; Show me then, only your notched inches climbing up the garden wall, I like you best when you were small. Is this a stupid thing to say Not having spent with you one day? No matter; I shall never touch your hair Or hear the little tick behind your breast. Still it is there, And as a flying bird Brushes the branches where it may not rest I have brushed your hand and heard The child in you: I like that best So small, so dark, so sweet; and were you also then too grave and wise? Always I think. Then put your far off little hand in mine;--Oh! let it rest; I will not stare into the early world beyond the opening eyes, Or vex or scare what I love best. But I want your life before mine bleeds away-- Here--not in heavenly hereafters--soon,-- I want your smile this very afternoon, (The last of all my vices, pleasant people used to say, I wanted and I sometimes got--the Moon!) You know, at dusk, the last bird’s cry, And round the house the flap of the bat’s low flight, Trees that go black against the sky And then--how soon the night! No shadow of you on any bright road again, And at the darkening end of this--what voice? whose kiss? As if you’d say! It is not I who have walked with you, it will not be I who take away Peace, peace, my little handful of the gleaner’s grain From your reaped fields at the shut of day. Peace! Would you not rather die Reeling,--with all the cannons at your ear? So, at least, would I, And I may not be here To-night, to-morrow morning or next year. Still I will let you keep your life a little while, See dear? _I have made you smile._ THE SUNLIT HOUSE White through the gate it gleamed and slept In shuttered sunshine: the parched garden flowers Their fallen petals from the beds unswept, Like children unloved and ill-kept Dreamed through the hours. Two blue hydrangeas by the blistered door, burned brown, Watched there and no one in the town Cared to go past it night or day, Though why this was they wouldn’t say. But, I the stranger, knew that I must stay, Pace up the weed-grown paths and down, Till one afternoon--there is just a doubt-- But I fancy I heard a tiny shout-- From an upper window a bird flew out-- And I went my way. THE SHADE-CATCHERS I think they were about as high As haycocks are. They went running by Catching bits of shade in the sunny street: “I’ve got one,” cried sister to brother. “I’ve got two.” “Now I’ve got another.” But scudding away on their little bare feet, They left the shade in the sunny street. LE SACRÉ-CŒUR (_Montmartre_) It is dark up here on the heights, Between the dome and the stars it is quiet too, While down there under the crowded lights Flares the importunate face of you, Dear Paris of the hot white hands, the scarlet lips, the scented hair, _Une jolie fille à vendre, très cher_; A thing of gaiety, a thing of sorrow, Bought to-night, possessed, and tossed Back to the mart again to-morrow, Worth and over, what you cost; While half your charm is that you are Withal, like some unpurchasable star, So old, so young and infinite and lost. It is dark on the dome-capped hill, Serenely dark, divinely still, Yet here is the Man who bought you first Dying of his immortal smart, Your Lover, the King with the broken heart, Who while you, feasting, drink your fill, Pass round the cup Not looking up, Calls down to you, “I thirst.” “A king with a broken heart! _Mon Dieu!_ One breaks so many, _cela peut se croire_, To remember all _c’est la mer à boire_, And the first, _mais comme c’est vieux_. Perhaps there is still some keepsake--or One has possibly sold it for a song: _On ne peut pas toujours pleurer les morts_, And this One--He has been dead so long!” SONG Love, Love to-day, my dear, Love is not always here; Wise maids know how soon grows sere The greenest leaf of Spring; But no man knoweth Whither it goeth When the wind bloweth So frail a thing. Love, Love, my dear, to-day, If the ship’s in the bay, If the bird has come your way That sings on summer trees; When his song faileth And the ship saileth No voice availeth To call back these. SATURDAY MARKET Bury your heart in some deep green hollow Or hide it up in a kind old tree Better still, give it the swallow When she goes over the sea. In Saturday Market there’s eggs a’plenty And dead-alive ducks with their legs tied down, Grey old gaffers and boys of twenty-- Girls and the women of the town-- Pitchers and sugar-sticks, ribbons and laces, Posies and whips and dicky-birds’ seed, Silver pieces and smiling faces, In Saturday Market they’ve all they need. What were you showing in Saturday Market That set it grinning from end to end Girls and gaffers and boys of twenty--? Cover it close with your shawl, my friend-- Hasten you home with the laugh behind you, Over the down--, out of sight, Fasten your door, though no one will find you No one will look on a Market night. See, you, the shawl is wet, take out from under The red dead thing--. In the white of the moon On the flags does it stir again? Well, and no wonder! Best make an end of it; bury it soon. If there is blood on the hearth who’ll know it? Or blood on the stairs, When a murder is over and done why show it? In Saturday Market nobody cares. Then lie you straight on your bed for a short, short weeping And still, for a long, long rest, There’s never a one in the town so sure of sleeping As you, in the house on the down with a hole in your breast. Think no more of the swallow, Forget, you, the sea, Never again remember the deep green hollow Or the top of the kind old tree! ARRACOMBE WOOD Some said, because he wud’n spaik Any words to women but Yes and No, Nor put out his hand for Parson to shake He mun be bird-witted. But I do go By the lie of the barley that he did sow, And I wish no better thing than to hold a rake Like Dave, in his time, or to see him mow. Put up in churchyard a month ago, “A bitter old soul,” they said, but it wadn’t so. His heart were in Arracombe Wood where he’d used to go To sit and talk wi’ his shadder till sun went low, Though what it was all about us’ll never know. And there baint no mem’ry in the place Of th’ old man’s footmark, nor his face; Arracombe Wood do think more of a crow-- ’Will be violets there in the Spring: in Summer time the spider’s lace; And come the Fall, the whizzle and race Of the dry, dead leaves when the wind gies chase; And on the Eve of Christmas, fallin’ snow. SEA LOVE Tide be runnin’ the great world over: T’was only last June month I mind that we Was thinkin’ the toss and the call in the breast of the lover So everlastin’ as the sea. Heer’s the same little fishes that sputter and swim, Wi’ the moon’s old glim on the grey, wet sand; An’ him no more to me nor me to him Than the wind goin’ over my hand. THE ROAD TO KÉRITY Do you remember the two old people we passed on the road to Kérity, Resting their sack on the stones, by the drenched wayside, Looking at us with their lightless eyes through the driving rain, and then out again To the rocks, and the long white line of the tide: Frozen ghosts that were children once, husband and wife, father, and mother, Looking at us with those frozen eyes; have you ever seen anything quite so chilled or so old? But we--with our arms about each other, We did not feel the cold! I HAVE BEEN THROUGH THE GATES His heart, to me, was a place of palaces and pinnacles and shining towers; I saw it then as we see things in dreams,--I do not remember how long I slept; I remember the trees, and the high, white walls, and how the sun was always on the towers; The walls are standing to-day, and the gates: I have been through the gates, I have groped, I have crept Back, back. There is dust in the streets, and blood; they are empty; darkness is over them; His heart is a place with the lights gone out, forsaken by great winds and the heavenly rain, unclean and unswept, Like the heart of the holy city, old, blind, beautiful Jerusalem, Over which Christ wept. THE CENOTAPH Not yet will those measureless fields be green again Where only yesterday the wild, sweet, blood of wonderful youth was shed; There is a grave whose earth must hold too long, too deep a stain, Though for ever over it we may speak as proudly as we may tread. But here, where the watchers by lonely hearths from the thrust of an inward sword have more slowly bled, We shall build the Cenotaph: Victory, winged, with Peace, winged too, at the column’s head. And over the stairway, at the foot--oh! here, leave desolate, passionate hands to spread Violets, roses, and laurel, with the small, sweet, twinkling country things Speaking so wistfully of other Springs, From the little gardens of little places where son or sweetheart was born and bred. In splendid sleep, with a thousand brothers To lovers--to mothers Here, too, lies he: Under the purple, the green, the red, It is all young life: it must break some women’s hearts to see Such a brave, gay coverlet to such a bed! Only, when all is done and said, God is not mocked and neither are the dead. For this will stand in our Market-place-- Who’ll sell, who’ll buy (Will you or I Lie each to each with the better grace)? While looking into every busy whore’s and huckster’s face As they drive their bargains, is the Face Of God: and some young, piteous, murdered face. *** END OF THE PROJECT GUTENBERG EBOOK THE FARMER'S BRIDE *** 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.