diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 01:37:47 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 01:37:47 -0700 |
| commit | 34c9e4d8a1f4d6b22e445e49a2a91a629ab0d08f (patch) | |
| tree | 354e876593d7f8b29b89f1fba751ee45396c022a | |
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 21211-8.txt | 1376 | ||||
| -rw-r--r-- | 21211-8.zip | bin | 0 -> 19899 bytes | |||
| -rw-r--r-- | 21211-h.zip | bin | 0 -> 20518 bytes | |||
| -rw-r--r-- | 21211-h/21211-h.htm | 1186 | ||||
| -rw-r--r-- | 21211.txt | 1376 | ||||
| -rw-r--r-- | 21211.zip | bin | 0 -> 19861 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 |
9 files changed, 3954 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/21211-8.txt b/21211-8.txt new file mode 100644 index 0000000..3a3d1cc --- /dev/null +++ b/21211-8.txt @@ -0,0 +1,1376 @@ +The Project Gutenberg EBook of Silverpoints, by John Gray + +This eBook is for the use of anyone anywhere 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 + + +Title: Silverpoints + +Author: John Gray + +Release Date: April 24, 2007 [EBook #21211] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK SILVERPOINTS *** + + + + +Produced by Ruth Hart ruthhart@twilightoracle.com + + + + + +Transcriber's note: In the original text all the verse titles and +dedications are in regular type, while all the stanzas are italicized. +I have not indicated these different styles in this online text. + + +SILVERPOINTS + +BY + +JOHN GRAY + +LONDON M.DCCC.XC.III +ELKIN MATHEWS AND +JOHN LANE. AT THE +SIGN OF THE BODLEY +HEAD IN VIGO STREET + +ALL RIGHTS RESERVED + + +. . . EN COMPOSANT DES ACROSTICHES INDOLENTS + P.V. + + + + +LES DEMOISELLES DE SAUVE + +TO S. A. S. ALICE, PRINCESSE DE MONACO + +Beautiful ladies through the orchard pass; +Bend under crutched-up branches, forked and low; +Trailing their samet palls o'er dew-drenched grass. + +Pale blossoms, looking on proud Jacqueline, +Blush to the colour of her finger tips, +And rosy knuckles, laced with yellow lace. + +High-crested Berthe discerns, with slant, clinched eyes, +Amid the leaves pink faces of the skies; +She locks her plaintive hands Sainte-Margot-wise. + +Ysabeau follows last, with languorous pace; +Presses, voluptuous, to her bursting lips. +With backward stoop, a bunch of eglantine. + +Courtly ladies through the orchard pass; +Bow low, as in lords' halls; and springtime grass +Tangles a snare to catch the tapering toe. + + + + +HEART'S DEMESNE + +TO PAUL VERLAINE + +Listen, bright lady, thy deep Pansie eyes +Made never answer when my eyes did pray, +Than with those quaintest looks of blank surprise. + +But my love longing has devised a way +To mock thy living image, from thy hair +To thy rose toes and keep thee by alway. + +My garden's face is oh! so maidly fair, +With limbs all tapering and with hues all fresh; +Thine are the beauties all that flourish there. + +Amaranth, fadeless, tells me of thy flesh. +Briar rose knows thy cheek, the Pink thy pout. +Bunched kisses dangle from the Woodbine mesh. + +I love to loll, when Daisy stars peep out, +And hear the music of my garden dell, +Hollyhock's laughter and the Sunflowers shout. + +And many whisper things I dare not tell. + + + + +SONG OF THE SEEDLING + +TO ARTHUR SEWELL BUTT + +Tell, little seedling, murmuring germ, +Why are you joyful? What do you sing? +Have you no fear of that crawling thing, +Him that has so many legs? and the worm? + +Rain drops patter above my head-- + Drip, drip, drip. +To moisten the mould where my roots are fed-- + Sip, sip, sip. +No thought have I of the legged thing. + Of the worm no fear, + When the goal is so near; +Every moment my life has run, +The livelong day I've not ceased to sing: +I must reach the sun, the sun. + + + + +LADY EVELYN + +I know no Name too sweet to tell of her, +For Love's sweet Sake and Domination. +She hath me all; her Spell hath Power to stir +My Heart to every Lust, and spur me on. +Love saith: 'tis even thus; her Will no Thrall, +But Touchstone of thy Worth in Love's Armure; +They only conquer in Love's Lists that fall, +And Wounds renewed for Wounds are captain Cure. +He doubly is inslaved that gilts his Chain, +Saith Reason, chaffering for his Empire gone, +Bestir, and root the Canker that hath ta'en +Thy Breast for Bed, and feeds thy Heart upon. + +I this: Sweet Love, an sweet an sour thou be, +I know no Name too sweet to tell of thee. + + + + +COMPLAINT + +TO FELIX FÉNÉON + +Men, women, call thee so or so; + I do not know. + Thou hast no name +For me, but in my heart aflame + +Burns tireless, neath a silver vine. + And round entwine + Its purple girth +All things of fragrance and of worth. + +Thou shout! thou burst of light! thou throb + Of pain! thou sob! + Thou like a bar +Of some sonata, heard from far + +Through blue-hue'd veils! When in these wise, + To my soul's eyes, + Thy shape appears, +My aching hands are full of tears. + + + + +A HALTING SONNET + +TO MISS ELLEN TERRY ON HER BIRTHDAY + +It is not meet for one like me to praise +A lady, princess, goddess, artist such; +For great ones crane their foreheads to her touch, +To change their splendours into crowns of bays. +But poets never rhyme as they are bid; +Nor never see their ft goal; but aspire, +With straining eyes, to some far silvern spire; +Flowers among, sing to the gods cloud-hid. +One of these, onetime, opened velvet eyes +Upon the world--the years recall the day; +Those lights still shine, conscious of power alway, +But flattering men with feigned looks of surprise. + + The couplet is so great that, where thou art, + --Thou being a poem--it is past my art. + + + + +WINGS IN THE DARK + +TO ROBERT HARBOROUGH SHERARD + +Forth into the warm darkness faring wide-- +More silent momently the silent quay-- +Towards where the ranks of boats rock to the tide, +Muffling their plaintive gurgling jealously. + +With gentle nodding of her gracious snout, +One greets her master till he step aboard; +She flaps her wings, impatient to get out; +She runs to plunder, straining every cord, + +Full-winged and stealthy like a bird of prey, +All tense the muscles of her seemly flanks; +She, the coy creature that the idle day +Sees idly riding in the idle ranks. + +Backward and forth, over the chosen ground, +Like a young horse, she drags the heavy trawl, +Tireless; or speeds her rapturous course unbound, +And passing fishers through the darkness call + +Deep greeting, in the jargon of the sea. +Haul upon haul, flounders and soles and dabs, +And phosphorescent animalcule, +Sand, seadrift, weeds, thousands of worthless crabs. + +Low on the mud the darkling fishes grope. +Cautious to stir, staring with jewel eyes; +Dogs of the sea, the savage congers mope, +Winding their sulky march Meander-wise. + +Suddenly all is light and life and flight, +Upon the sandy bottom, agate strewn. +The fishers mumble, waiting till the night +Urge on the clouds, and cover up the moon. + + + + +THE BARBER + +I + +I dreamed I was a barber; and there went +Beneath my hand, oh! manes extravagant. +Beneath my trembling fingers, many a mask +Of many a pleasant girl. It was my task +To gild their hair, carefully, strand by strand; +To paint their eyebrows with a timid hand; +To draw a bodkin, from a vase of kohl, +Through the closed lashes; pencils from a bowl +Of sepia to paint them underneath; +To blow upon their eyes with a soft breath. +They lay them back and watched the leaping bands. + +II + +The dream grew vague. I moulded with my hands +The mobile breasts, the valley; and the waist +I touched; and pigments reverently placed +Upon their thighs in sapient spots and stains, +Beryls and crysolites and diaphanes, +And gems whose hot harsh names are never said. +I was a masseur; and my fingers bled +With wonder as I touched their awful limbs. + +III + +Suddenly, in the marble trough, there seems +O, last of my pale, mistresses, Sweetness! +A twylipped scarlet pansie. My caress +Tinges thy steelgray eyes to violet. +Adown thy body skips the pit-a-pat +Of treatment once heard in a hospital +For plagues that fascinate, but half appal. + +IV + +So, at the sound, the blood of me stood cold. +Thy chaste hair ripened into sullen gold. +The throat, the shoulders, swelled and were uncouth. +The breasts rose up and offered each a mouth. +And on the belly pallid blushes crept, +That maddened me, until I laughed and wept. + + + + +MISHKA + +TO HENRI TEIXEIRA DE MATTOS + +Mishka is poet among the beasts. +When roots are rotten, and rivers weep. +The bear is at play in the land of sleep. +Though his head be heavy between his fists. +The bear is poet among the beasts. + +THE DREAM: + +Wide and large are the monster's eyes, +Nought saying, save one word alone: +Mishka! Mishka, as turned to stone, +Hears no word else, nor in anywise +Can see aught save the monster's eyes. + +Honey is under the monster's lips; +And Mishka follows into her lair, +dragged in the net of her yellow hair, +Knowing all things when honey drips +On his tongue like rain, the song of the hips + +Of the honey-child, and of each twin mound. +Mishka! there screamed a far bird-note, +Deep in the sky, when round his throat +The triple coil of her hair she wound. +And stroked his limbs with a humming sound. + +Mishka is white like a hunter's son +Tor he knows no more of the ancient south +When the honey-child's lips are on his mouth, +When all her kisses are joined in one, +And his body is bathed in grass and sun. + +The shadows lie mauven beneath the trees, +And purple stains, where the finches pass, +Leap in the stalks of the deep, rank grass. +Flutter of-wing, and the buzz of bees, +Deepen the silence, and sweeten ease. + +The honey-child is an olive tree, +The voice of birds and the voice of flowers, +Each of them all and all the hours, +The honey-child is a winged bee, +Her touch is a perfume, a melody. + + + + +SUMMER PAST + +TO OSCAR WILDE + +There was the summer. There + Warm hours of leaf-lipped song, + And dripping amber sweat. + O sweet to see +The great trees condescend to cast a pearl +Down to the myrtles; and the proud leaves curl + In ecstasy. + + Fruit of a quest, despair. + Smart of a sullen wrong. + Where may they hide them yet? + One hour, yet one, +To find the mossgod lurking in his nest, +To see the naiads' floating hair, caressed + By fragrant sun. + + Beams. Softly lulled the eves + The song-tired birds to sleep, + That other things might tell + Their secrecies. +The beetle humming neath the fallen leaves. +Deep in what hollow do the stern gods keep +Their bitter silence? By what listening well + Where holy trees, + +Song-set, unfurl eternally the sheen + Of restless green? + + + + +THE VINES + +TO ANDRÉ CHEVRILLON + +"Have you seen the listening snake?" +bramble clutches for his bride, +Lately she was by his side, +Woodbine, with her gummy hands. + +In the ground the mottled snake +Listens for the dawn of day; +Listens, listening death away, +Till the day burst winter's bands. + +Painted ivy is asleep, +Stretched upon the bank, all torn, +Sinewy though she be; love-lorn +Convolvuluses cease to creep. + +Bramble clutches for his bride, +Woodbine, with her gummy hands, +All his horny claws expands; +She has withered in his grasp. + +"Till the day dawn, till the tide +Of the winter's afternoon." +"Who tells dawning?"--"Listen, soon." +Half born tendrils, grasping, gasp. + + + + +Je pleure dans les coins; je n'ai plus goût à rien; +Oh! j'ai tant pleuré, Dimanche, en mon paroissien! + +JULES LAFORGUE + +Did we not, Darling, you and I, +Walk on the earth like other men? +Did we not walk and wonder why +They spat upon us so. And then + +We lay us down among fresh earthy +Sweet flowers breaking overhead, +Sore needed rest for our frail girth, +For our frail hearts; a well-sought bed. + +So Spring came, and spread daffodils; +Summer, and fluffy bees sang on; +The fluffy bee knows us, and fills +His house with sweet to think upon. + +Deep in the dear dust, Dear, we dream, +Our melancholy is a thing +At last our own; and none esteem +How our black lips are blackening. + +And none note how our poor eyes fall, +Nor how our cheeks are sunk and sere . . . +Dear, when you waken, will you call? . . . +Alas! we are not very near. + + + + +Ainsi, elle viendrait à moi! les yeux bien fous! +Et elle me suivrait avec cet air partout! + +TO E. M. G. + +Lean back, and press the pillow deep, +Heart's dear demesne, dear Daintiness; +Close your tired eyes, but not to sleep . . . +How very pale your pallor is! + +You smile, your cheek's voluptuous line +Melts in your dimpled saucy cave. +Your hairbraids seem a wilful vine, +Scorning to imitate a wave. + +Your voice is tenebrous, as if +An angel mocked a blackbird's pipe. +You are my magic orchard feoff, +Where bud and fruit are always ripe. + +O apple garden! all the days +Are fain to crown the darling year, +Ephemeral bells and garland bays, +Shy blade and lusty, bursting ear. + +In every kiss I call you mine, +Tell me, my dear, how pure, how brave +Our child will be! what velvet eyne, +What bonny hair our child will have! + + + + +CROCUSES IN GRASS + +TO CHARLES HAZELWOOD SHANNON + +Purple and white the crocus flowers, + And yellow, spread upon + The sober lawn; the hours +Are not more idle in the sun. + +Perhaps one droops a prettier head, + And one would say: Sweet Queen, + Your lips are white and red, +And round you lies the grass most green. + +And she, perhaps, for whom is fain + The other, will not heed; + Or, that he may complain, +Babbles, for dalliaunce, with a weed. + +And he dissimulates despair, + And anger, and suprise; + The while white daisies stare +--And stir not--with their yellow eyes. + + + + +POEM + +TO ARTHUR EDMONDS + +Geranium, houseleek, laid in oblong beds +On the trim grass. The daisies' leprous stain +Is fresh. Each night the daisies burst again, +Though every day the gardener crops their heads. + +A wistful child, in foul unwholesome shreds, +Recalls some legend of a daisy chain +That makes a pretty necklace. She would fain +Make one, and wear it, if she had some threads. + +Sun, leprous flowers, foul child. The asphalt burns. +The garrulous sparrows perch on metal Burns. +Sing! Sing! they say, and flutter with their wings. +He does not sing, he only wonders why +He is sitting there. The sparrows sing. And I +Yield to the strait allure of simple things. + + + + +ON A PICTURE + +TO PIERRE LOUYS + +Not pale, as one in sleep or holier death, +Nor illcontent the lady seems, nor loth +To lie in shadow of shrill river growth, +So steadfast are the river's arms beneath. + +Pale petals follow her in very faith, +Unmixed with pleasure or regret, and both +Her maidly hands look up, in noble sloth +To take the blossoms of her scattered wreath. + +No weakest ripple lives to kiss her throat. +Nor dies in meshes of untangled hair; +No movement stirs the floor of river moss. + +Until some furtive glimmer gleam across +Voluptuous mouth, where even teeth are bare, +And gild the broidery of her petticoat. . . . + + + + +PARSIFAL IMITATED FROM THE FRENCH +OF PAUL VERLAINE + +Conquered the flower-maidens, and the wide embrace +Of their round proffered arms, that tempt the virgin boy; +Conquered the trickling of their babbling tongues; the coy +Back glances, and the mobile breasts of subtle grace; + +Conquered the Woman Beautiful, the fatal charm +Of her hot breast, the music of her babbling tongue; +Conquered the gate of Hell, into the gate the young +Man passes, with the heavy trophy at his arm, + +The holy Javelin that pierced the Heart of God. +He heals the dying king, he sits upon the throne, +King, and high priest of that great gift, the living Blood. + +In robe of gold the youth adores the glorious Sign +Of the green goblet, worships the mysterious Wine. +And oh! the chime of children's voices in the dome. + + + + +A CRUCIFIX + +TO ERNEST DOWSON + +A gothic church. At one end of an aisle, +Against a wall where mystic sunbeams smile +Through painted windows, orange, blue, and gold, +The Christ's unutterable charm behold. +Upon the cross, adorned with gold and green, +Long fluted golden tongues of sombre sheen, +Like four flames joined in one, around the head +And by the outstretched arms, their glory spread. +The statue is of wood; of natural size +Tinted; one almost sees before one's eyes +The last convulsion of the lingering breath. +"Behold the man!" Robust and frail. Beneath +That breast indeed might throb the Sacred Heart. +And from the lips, so holily dispart, +The dying murmur breathes "Forgive! Forgive!" +O wide-stretched arms! "I perish, let them live." +Under the torture of the thorny crown, +The loving pallor of the brow looks down +On human blindness, on the toiler's woes; +The while, to overturn Despair's repose, +And urge to Hope and Love, as Faith demands, +Bleed, bleed the feet, the broken side, the hands. +A poet, painter, Christian,--it was a friend +Of mine--his attributes most fitly blend-- +Who saw this marvel, made an exquisite +Copy; and, knowing how I worshipped it, +Forgot it, in my room, by accident. +I write these verses in acknowledgment. + + + + +LE CHEVALIER MALHEUR + +Grim visor'd cavalier! + Rides silently MISCHANCE. +Stabbed is my dying heart + of his unpitying lance. +My poor hearts blood leaps forth, + a single crimson jet. +The hot sun licks it up + where petals pale are wet. +Deep shadow seals my sight, + one shriek my lips has fed. +With a wrung, sullen shudder + my poor heart is dead. +The cavalier dismounts; + and, kneeling on the ground, +His finger iron-mailed + he thrusts into the wound. +Suddenly, at the freezing touch, + the iron smart, +At once within me bursts + a new, a noble heart. +Suddenly, as the steel + into the wound is pressed, +A heart all beautiful + and young throbs in my breast. +Trembling, incredulous + I sat; but ill at ease, +As one who, in a holy trance, + strange visions sees. +While the good cavalier, + remounted on his horse, +Left me a parting nod + as he retook his course, +And shouted to me + (still I hear his cries): +"Once only can the miracle + avail.--Be wise!" + + + + +SPLEEN + +The roses every one were red, +And all the ivy leaves were black. + +Sweet, do not even stir your head, +Or all of my despairs come back. + +The sky is too blue, too delicate: +Too soft the air, too green the sea. + +I fear---how long had I to wait!-- +That you will tear yourself from me. + +The shining box-leaves weary me, +The varnished holly's glistening, + +The stretch of infinite country; +So, saving you, does everything. + + + + +CLAIR DE LUNE + +How like a well-kept garden is your soul, +With bergomask and solemn minuet! +Playing upon the lute! The dancers seem +But sad, beneath their strange habiliments. +While, in the minor key, their songs extol +The victor Love, and life's sweet blandishments, +Their looks belie the burden of their lays, +The songs that mingle with the still moon-beams. +So strange, so beautiful, the pallid rays; +Making the birds among the branches dream, +And sob with ecstasy the slender jets, + +The fountains tall that leap upon the lawns +Amid the garden gods, the marble fauns. + + + + +MON DIEU M'A DIT: . . . + +God has spoken: Love me, + son, thou must; Oh see +My broken side; my heart, + its rays refulgent shine; +My feet, insulted, stabbed, + that Mary bathes with brine +Of bitter tears my sad arms, + helpless, son, for thee; + +With thy sins heavy; and my hands; + thou seest the rod; +Thou seest the nails, the sponge, + the gall; and all my pain +Must teach thee love, amidst a world + where flesh doth reign, +My flesh alone, my blood, + my voice, the voice of God, + +Say, have I not loved thee, + loved thee to death, +O brother in my Father, + in the Spirit son? +Say, as the word is written, + is my work not done? +Thy deepest woe have I not sobbed + with struggling breath? +Has not thy sweat of anguished nights + from all my pores in pain +Of blood dripped, piteous friend, + who seekest me in vain? + + + + +GREEN + +Leaves and branches, flowers and fruits are here; +And here my heart, which throbs alone for thee. +Ah! do not wound my heart with those two dear +White hands, but take the poor gift tenderly. + +I come, all covered with the dews of night +The morning breeze has pearled upon my face. +Let my fatigue, at thy feet, in thy sight, +Dream through the moments of its sweet solace. + +With thy late kisses ringing, let my head +Roll in blest indolence on thy young breast; +To lull the tempest thy caresses bred, +And soothe my senses with a little rest. + + + + +FLEURS. IMITATED FROM THE FRENCH +OF STEPHANE MALLARMÉ + +The tawny iris--oh! the slim-necked swan; +And, sign of exiled souls, the bay divine; +Ruddy as seraph's heel its fleckless sheen, +Blushing the brightness of a trampled dawn. + +The hyacinth; the myrtle's sweet alarm; +Like to a woman's flesh, the cruel rose, +Blossom'd Herodiade of the garden close, +Fed with ferocious dew of blooddrops warm. + +Thou mad'st the lilies' pallor, nigh to swoon. +Which, rolling billows of deep sighs upon, +Through the blue incense of horizons wan, +Creeps dreamily towards the weeping moon. + +Praise in the censers, praise upon the gong, +Madone! from the garden of our woes: +On eves celestial throb the echo long! +Ecstatic visions! radiance of haloes! + +Mother creatrice! in thy strong, just womb, +Challices nodding the not distant strife; +Great honey'd blossoms, a balsamic tomb +For weary poets blanched with starless life. + + + + +CHARLEVILLE. IMITATED FROM THE FRENCH +OF ARTHUR RIMBAUD + +TO FRANK HARRIS + +The square, with gravel paths and shabby lawns. +Correct, the trees and flowers repress their yawns. +The tradesman brings his favourite conceit, +To air it, while he stifles with the heat. + +In the kiosk, the military band. +The shakos nod the time of the quadrilles. +The flaunting dandy strolls about the stand. +The notary, half unconscious of his seals. + +On the green seats, small groups of grocermen, +Absorbed, their sticks scooping a little hole +Upon the path, talk market prices; then +Take up a cue: I think, upon the whole. . . . + +The loutish roughs are larking on the grass. +The sentimental trooper, with a rose +Between his teeth, seeing a baby, grows +More tender, with an eye upon the nurse. + +Unbuttoned, like a student, I follow +A couple of girls along the chesnut row. +They know I am following, for they turn and laugh, +Half impudent, half shy, inviting chaff. + +I do not say a word. I only stare +At their round, fluffy necks. I follow where +The shoulders drop; I struggle to define +The subtle torso's hesitating line. + +Only my rustling tread, deliberate, slow; +The rippled silence from the still leaves drips. +They think I am an idiot, they speak low; +-- I feel faint kisses creeping on my lips. + + + + +SENSATION + +I walk the alleys trampled through the wheat, +Through whole blue summer eves, on velvet grass. +Dreaming, I feel the dampness at my feet; +The breezes bathe my naked head and pass. + +I do not think a single thought, nor say +A word; but in my soul the mists upcurl +Of infinite love. I will go far away +With nature, happily, as with a girl. + + + + +À UNE MADONE. IMITATED FROM THE FRENCH +OF CHARLES BAUDELAIRE + +Madone! my lady, I will build for thee +A grotto altar of my misery. +Deep will I scoop, where darkest lies my heart, +Far from the world's cupidity apart, + +A niche, with mercy stained, and streaked with gold, +Where none thy statue's wonder may behold. + +Then, for thy head, I will fashion a tiar, +A filigree of verse, with many a star + +Of crystal rhyme its heavy folds upon. +And jealousy, O mortal! my Madone, + +Shall cut for thee a gown, of dreadful guise, +Which like a portcullis, shall veil thy thighs; + +Rude, heavy curtain, faced with bitter fears, +Broidered, in place of pearls, with all my tears. + +And, of my worship, shoes will I design; +Two satin shoes, to case thy feet divine, + +Which, while their precious freight they softly hold, +Shall guard the imprint in a faithful mould. + +If I should fail to forge a silver moon, +I with my art, for thee to tread upon, + +Then will I place the writhing beast that hangs +Upon my heart, and tears it with his fangs, + +Where thou may'st crush his head, and smile supreme, +O majesty! all potent to redeem. + +And all my thoughts, like candles, shalt thou see +before thine altar spread, Star of the Sea! + +Starring thine azure roof with points of fire. +With nought hut thee to cherish and admire, + +So shall my soul in plaintive fumes arise +Of incense ever to thy pitying eyes. + + +Last, that indeed a Mary thou may'st be, +And that my love be mixed with cruelty-- + +O foul voluptuousness! when I have made +Of every deadly sin a deadlier blade, + +Torturer filled with pain will I draw near +The target of thy breast, and, sick with fear, + +Deliberately plant them all where throbs +Thy bleeding heart, and stifling with its sobs. + + + + +FEMMES DAMNÉES + +Like moody beasts they lie along the sands;, +Look where the sky against the sea-rim clings: +Foot stretches out to foot, and groping hands +Have languors soft and bitter shudderings. + +Some, smitten hearts with the long secrecies, +On velvet moss, deep in their bowers' ease, +Prattling the love of timid infancies, +Are tearing the green bark from the young trees. + +Others, like sisters, slowly walk and grave; +By rocks that swarm with ghostly legions, +Where Anthony saw surging on the waves +The purple breasts of his temptations, + +Some, by the light of crumbling, resinous gums, +In the still hollows of old pagan dens, +Call thee in aid to their deliriums +O Bacchus! cajoler of ancient pains. + +And those whose breasts for scapulars are fain +Nurse under their long robes the cruel thong. +These, in dim woods, where huddling shadows throng. +Mix with the foam of pleasure tears of pain. + + + + +LE VOYAGE À CYTHÈRE + +Bird-like, my heart was glad to soar and vault; +Fluttering among the cordages; and on +The vessel flew, under an empty vault: +An angel drunken of a radiant sun. + +Tell me, what is that gray, that sombre isle? +'Tis Cythera, famed on many a poet string; +A name that has not lacked the slavering smile; +But now, you see, it is not much to sing. + +Isle of soft whispers, tremours of the heart! +The splendid phantom of thy rude goddess +Floats on thy seas like breath of spikenard, +Charging men's souls with love and lusciousness. + +Sweet isle of myrtles, once of open blooms: +Now only of lean lands most lean: it seems +A flinty desert bitter with shrill screams: +But one strange object on its horror looms. + +Not a fair temple, foiled with coppiced trees, +Where the young priestess, mistress of the flowers, +Goes opening her gown to the cool breeze, +To still the fire, the torment that devours. + +But as along the shore we skirted, near +Enough to scare the birds with our white sails, +We saw a three-limbed gibbet rising sheer. +Detached against the sky in spare details. + +Perched on their pasturage, ferocious fowl +Riddled with rage a more than putrid roast; +Each of them stabbing, like a tool, his foul +Beak in the oozing members of his host. + +Below, a troop of jealous quadrupeds, +Looking aloft with eye and steadfast snout; +A larger beast above the others' heads, +A hangman with his porters round about. + +The eyes, two caves; and from the rotten paunch, +Its freight, too heavy, streamed along the haunch, +Hang for these harpies' hideous delight, +Poor rag of flesh, torn of thy sex and sight! + +Cythera's child, child of so sweet a sky! +Silent thou bearest insult--as we must-- +In expiation of what faults deny +Thee even a shallow shelter in the dust. + +Ludicrous sufferer! thy woes are mine. +There came, at seeing of thy dangling limbs, +Up to my lips, like vomiting, the streams +Of ancient miseries, of gall and brine. + +Before thee, brother in my memory fresh! +I felt the mangling of the appetites +Of the black panthers, of the savage kites, +That were so fain to rend and pick my flesh. + +The sea was sleeping. Blue and beautiful +The sky. Henceforth I saw but murk and blood, +Alas! and as it had been in a shroud, +My heart lay buried in that parable, + +All thine isle showed me, Venus! was upthrust, +A symbol calvary where my image hung. +Give me, Lord God, to look upon that dung, +My body and my heart, without disgust. + + + + + +End of the Project Gutenberg EBook of Silverpoints, by John Gray + +*** END OF THIS PROJECT GUTENBERG EBOOK SILVERPOINTS *** + +***** This file should be named 21211-8.txt or 21211-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/1/2/1/21211/ + +Produced by Ruth Hart ruthhart@twilightoracle.com + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere 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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. 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 MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.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. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +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: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/21211-8.zip b/21211-8.zip Binary files differnew file mode 100644 index 0000000..f7201b4 --- /dev/null +++ b/21211-8.zip diff --git a/21211-h.zip b/21211-h.zip Binary files differnew file mode 100644 index 0000000..3e394cd --- /dev/null +++ b/21211-h.zip diff --git a/21211-h/21211-h.htm b/21211-h/21211-h.htm new file mode 100644 index 0000000..1d8d428 --- /dev/null +++ b/21211-h/21211-h.htm @@ -0,0 +1,1186 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<meta http-equiv="Content-Type" content= +"text/html; charset=iso-8859-1"> +<title>The Project Gutenberg eBook of Silverpoints, by John +Gray</title> +</head> +<body> + + +<pre> + +The Project Gutenberg EBook of Silverpoints, by John Gray + +This eBook is for the use of anyone anywhere 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 + + +Title: Silverpoints + +Author: John Gray + +Release Date: April 24, 2007 [EBook #21211] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK SILVERPOINTS *** + + + + +Produced by Ruth Hart ruthhart@twilightoracle.com + + + + + +</pre> + +<div style="padding-left: 150px"> +<p>SILVERPOINTS</p> +<p>BY</p> +<p>JOHN GRAY</p> +<br> +<p>LONDON M.DCCC.XC.III<br> +ELKIN MATHEWS AND<br> +JOHN LANE. AT THE<br> +SIGN OF THE BODLEY<br> +HEAD IN VIGO STREET</p> +<br> +<p>ALL RIGHTS RESERVED</p> +<br> +<br> +<p>. . . EN COMPOSANT DES ACROSTICHES INDOLENTS<br> + P.V.</p> +<br> +<br> +<p>LES DEMOISELLES DE SAUVE</p> +<p>TO S. A. S. ALICE, PRINCESSE DE MONACO</p> +<p><i>Beautiful ladies through the orchard pass;<br> +Bend under crutched-up branches, forked and low;<br> +Trailing their samet palls o'er dew-drenched grass.</i></p> +<p><i>Pale blossoms, looking on proud Jacqueline,<br> +Blush to the colour of her finger tips,<br> +And rosy knuckles, laced with yellow lace.</i></p> +<p><i>High-crested Berthe discerns, with slant, clinched +eyes,<br> +Amid the leaves pink faces of the skies;<br> +She locks her plaintive hands Sainte-Margot-wise.</i></p> +<p><i>Ysabeau follows last, with languorous pace;<br> +Presses, voluptuous, to her bursting lips.<br> +With backward stoop, a bunch of eglantine.</i></p> +<p><i>Courtly ladies through the orchard pass;<br> +Bow low, as in lords' halls; and springtime grass<br> +Tangles a snare to catch the tapering toe.</i></p> +<br> +<br> +<p>HEART'S DEMESNE</p> +<p>TO PAUL VERLAINE</p> +<p><i>Listen, bright lady, thy deep Pansie eyes<br> +Made never answer when my eyes did pray,<br> +Than with those quaintest looks of blank surprise.</i></p> +<p><i>But my love longing has devised a way<br> +To mock thy living image, from thy hair<br> +To thy rose toes and keep thee by alway.</i></p> +<p><i>My garden's face is oh! so maidly fair,<br> +With limbs all tapering and with hues all fresh;<br> +Thine are the beauties all that flourish there.</i></p> +<p><i>Amaranth, fadeless, tells me of thy flesh.<br> +Briar rose knows thy cheek, the Pink thy pout.<br> +Bunched kisses dangle from the Woodbine mesh.</i></p> +<p><i>I love to loll, when Daisy stars peep out,<br> +And hear the music of my garden dell,<br> +Hollyhock's laughter and the Sunflowers shout.</i></p> +<p><i>And many whisper things I dare not tell.</i></p> +<br> +<br> +<p>SONG OF THE SEEDLING</p> +<p>TO ARTHUR SEWELL BUTT</p> +<p><i>Tell, little seedling, murmuring germ,<br> +Why are you joyful? What do you sing?<br> +Have you no fear of that crawling thing,<br> +Him that has so many legs? and the worm?</i></p> +<p><i>Rain drops patter above my head—<br> + Drip, drip, drip.<br> +To moisten the mould where my roots are fed—<br> + Sip, sip, sip.<br> +No thought have I of the legged thing.<br> + Of the worm no fear,<br> + When the goal is so near;<br> +Every moment my life has run,<br> +The livelong day I've not ceased to sing:<br> +I must reach the sun, the sun.</i></p> +<br> +<br> +<p>LADY EVELYN</p> +<p><i>I know no Name too sweet to tell of her,<br> +For Love's sweet Sake and Domination.<br> +She hath me all; her Spell hath Power to stir<br> +My Heart to every Lust, and spur me on.<br> +Love saith: 'tis even thus; her Will no Thrall,<br> +But Touchstone of thy Worth in Love's Armure;<br> +They only conquer in Love's Lists that fall,<br> +And Wounds renewed for Wounds are captain Cure.<br> +He doubly is inslaved that gilts his Chain,<br> +Saith Reason, chaffering for his Empire gone,<br> +Bestir, and root the Canker that hath ta'en<br> +Thy Breast for Bed, and feeds thy Heart upon.</i></p> +<p><i>I this: Sweet Love, an sweet an sour thou be,<br> +I know no Name too sweet to tell of thee.</i></p> +<br> +<br> +<p>COMPLAINT</p> +<p>TO FELIX FÉNÉON</p> +<p><i>Men, women, call thee so or so;<br> + I do not know.<br> + Thou hast no name<br> +For me, but in my heart aflame</i></p> +<p><i>Burns tireless, neath a silver vine.<br> + And round entwine<br> + Its purple girth<br> +All things of fragrance and of worth.</i></p> +<p><i>Thou shout! thou burst of light! thou throb<br> + Of pain! thou sob!<br> + Thou like a bar<br> +Of some sonata, heard from far</i></p> +<p><i>Through blue-hue'd veils! When in these wise,<br> + To my soul's eyes,<br> + Thy shape appears,<br> +My aching hands are full of tears.</i></p> +<br> +<br> +<p>A HALTING SONNET</p> +<p>TO MISS ELLEN TERRY ON HER BIRTHDAY</p> +<p><i>It is not meet for one like me to praise<br> +A lady, princess, goddess, artist such;<br> +For great ones crane their foreheads to her touch,<br> +To change their splendours into crowns of bays.<br> +But poets never rhyme as they are bid;<br> +Nor never see their ft goal; but aspire,<br> +With straining eyes, to some far silvern spire;<br> +Flowers among, sing to the gods cloud-hid.<br> +One of these, onetime, opened velvet eyes<br> +Upon the world—the years recall the day;<br> +Those lights still shine, conscious of power alway,<br> +But flattering men with feigned looks of surprise.</i></p> +<p><i> The couplet is so great that, where thou art,<br> + —Thou being a poem—it is past my art.</i></p> +<br> +<br> +<p>WINGS IN THE DARK</p> +<p>TO ROBERT HARBOROUGH SHERARD</p> +<p><i>Forth into the warm darkness faring wide—<br> +More silent momently the silent quay—<br> +Towards where the ranks of boats rock to the tide,<br> +Muffling their plaintive gurgling jealously.</i></p> +<p><i>With gentle nodding of her gracious snout,<br> +One greets her master till he step aboard;<br> +She flaps her wings, impatient to get out;<br> +She runs to plunder, straining every cord,</i></p> +<p><i>Full-winged and stealthy like a bird of prey,<br> +All tense the muscles of her seemly flanks;<br> +She, the coy creature that the idle day<br> +Sees idly riding in the idle ranks.</i></p> +<p><i>Backward and forth, over the chosen ground,<br> +Like a young horse, she drags the heavy trawl,<br> +Tireless; or speeds her rapturous course unbound,<br> +And passing fishers through the darkness call</i></p> +<p><i>Deep greeting, in the jargon of the sea.<br> +Haul upon haul, flounders and soles and dabs,<br> +And phosphorescent animalcule,<br> +Sand, seadrift, weeds, thousands of worthless crabs.</i></p> +<p><i>Low on the mud the darkling fishes grope.<br> +Cautious to stir, staring with jewel eyes;<br> +Dogs of the sea, the savage congers mope,<br> +Winding their sulky march Meander-wise.</i></p> +<p><i>Suddenly all is light and life and flight,<br> +Upon the sandy bottom, agate strewn.<br> +The fishers mumble, waiting till the night<br> +Urge on the clouds, and cover up the moon.</i></p> +<br> +<br> +<p>THE BARBER<br> +<br> +I</p> +<p><i>I dreamed I was a barber; and there went<br> +Beneath my hand, oh! manes extravagant.<br> +Beneath my trembling fingers, many a mask<br> +Of many a pleasant girl. It was my task<br> +To gild their hair, carefully, strand by strand;<br> +To paint their eyebrows with a timid hand;<br> +To draw a bodkin, from a vase of kohl,<br> +Through the closed lashes; pencils from a bowl<br> +Of sepia to paint them underneath;<br> +To blow upon their eyes with a soft breath.<br> +They lay them back and watched the leaping bands.</i></p> +II<br> +<p><i>The dream grew vague. I moulded with my hands<br> +The mobile breasts, the valley; and the waist<br> +I touched; and pigments reverently placed<br> +Upon their thighs in sapient spots and stains,<br> +Beryls and crysolites and diaphanes,<br> +And gems whose hot harsh names are never said.<br> +I was a masseur; and my fingers bled<br> +With wonder as I touched their awful limbs.</i></p> +III<br> +<p><i>Suddenly, in the marble trough, there seems<br> +O, last of my pale, mistresses, Sweetness!<br> +A twylipped scarlet pansie. My caress<br> +Tinges thy steelgray eyes to violet.<br> +Adown thy body skips the pit-a-pat<br> +Of treatment once heard in a hospital<br> +For plagues that fascinate, but half appal.</i></p> +IV<br> +<p><i>So, at the sound, the blood of me stood cold.<br> +Thy chaste hair ripened into sullen gold.<br> +The throat, the shoulders, swelled and were uncouth.<br> +The breasts rose up and offered each a mouth.<br> +And on the belly pallid blushes crept,<br> +That maddened me, until I laughed and wept.</i></p> +<br> +<br> +<p>MISHKA</p> +<p>TO HENRI TEIXEIRA DE MATTOS</p> +<p><i>Mishka is poet among the beasts.<br> +When roots are rotten, and rivers weep.<br> +The bear is at play in the land of sleep.<br> +Though his head be heavy between his fists.<br> +The bear is poet among the beasts.</i></p> +<p>THE DREAM:</p> +<p><i>Wide and large are the monster's eyes,<br> +Nought saying, save one word alone:<br> +Mishka! Mishka, as turned to stone,<br> +Hears no word else, nor in anywise<br> +Can see aught save the monster's eyes.</i></p> +<p><i>Honey is under the monster's lips;<br> +And Mishka follows into her lair,<br> +dragged in the net of her yellow hair,<br> +Knowing all things when honey drips<br> +On his tongue like rain, the song of the hips</i></p> +<p><i>Of the honey-child, and of each twin mound.<br> +Mishka! there screamed a far bird-note,<br> +Deep in the sky, when round his throat<br> +The triple coil of her hair she wound.<br> +And stroked his limbs with a humming sound.</i></p> +<p><i>Mishka is white like a hunter's son<br> +Tor he knows no more of the ancient south<br> +When the honey-child's lips are on his mouth,<br> +When all her kisses are joined in one,<br> +And his body is bathed in grass and sun.</i></p> +<p><i>The shadows lie mauven beneath the trees,<br> +And purple stains, where the finches pass,<br> +Leap in the stalks of the deep, rank grass.<br> +Flutter of-wing, and the buzz of bees,<br> +Deepen the silence, and sweeten ease.</i></p> +<p><i>The honey-child is an olive tree,<br> +The voice of birds and the voice of flowers,<br> +Each of them all and all the hours,<br> +The honey-child is a winged bee,<br> +Her touch is a perfume, a melody.</i></p> +<br> +<br> +<p>SUMMER PAST</p> +<p>TO OSCAR WILDE</p> +<p><i>There was the summer. There<br> + Warm hours of leaf-lipped song,<br> + And dripping amber sweat.<br> + O sweet to see<br> +The great trees condescend to cast a pearl<br> +Down to the myrtles; and the proud leaves curl<br> + In ecstasy.</i></p> +<p><i> Fruit of a quest, despair.<br> + Smart of a sullen wrong.<br> + Where may they hide them yet?<br> + One hour, yet one,<br> +To find the mossgod lurking in his nest,<br> +To see the naiads' floating hair, caressed<br> + By fragrant sun.</i></p> +<p><i> Beams. Softly lulled the eves<br> + The song-tired birds to sleep,<br> + That other things might tell<br> + Their secrecies.<br> +The beetle humming neath the fallen leaves.<br> +Deep in what hollow do the stern gods keep<br> +Their bitter silence? By what listening well<br> + Where holy trees,</i></p> +<p><i>Song-set, unfurl eternally the sheen<br> + Of restless green?</i></p> +<br> +<br> +<p>THE VINES</p> +<p>TO ANDRÉ CHEVRILLON</p> +<p><i>"Have you seen the listening snake?"<br> +bramble clutches for his bride,<br> +Lately she was by his side,<br> +Woodbine, with her gummy hands.</i></p> +<p><i>In the ground the mottled snake<br> +Listens for the dawn of day;<br> +Listens, listening death away,<br> +Till the day burst winter's bands.</i></p> +<p><i>Painted ivy is asleep,<br> +Stretched upon the bank, all torn,<br> +Sinewy though she be; love-lorn<br> +Convolvuluses cease to creep.</i></p> +<p><i>Bramble clutches for his bride,<br> +Woodbine, with her gummy hands,<br> +All his horny claws expands;<br> +She has withered in his grasp.</i></p> +<p><i>"Till the day dawn, till the tide<br> +Of the winter's afternoon."<br> +"Who tells dawning?"—"Listen, soon."<br> +Half born tendrils, grasping, gasp.</i></p> +<br> +<br> +<p><i>Je pleure dans les coins; je n'ai plus goût à +rien;<br> +Oh! j'ai tant pleuré, Dimanche, en mon paroissien!</i></p> +<p>JULES LAFORGUE</p> +<p><i>Did we not, Darling, you and I,<br> +Walk on the earth like other men?<br> +Did we not walk and wonder why<br> +They spat upon us so. And then</i></p> +<p><i>We lay us down among fresh earthy<br> +Sweet flowers breaking overhead,<br> +Sore needed rest for our frail girth,<br> +For our frail hearts; a well-sought bed.</i></p> +<p><i>So Spring came, and spread daffodils;<br> +Summer, and fluffy bees sang on;<br> +The fluffy bee knows us, and fills<br> +His house with sweet to think upon.</i></p> +<p><i>Deep in the dear dust, Dear, we dream,<br> +Our melancholy is a thing<br> +At last our own; and none esteem<br> +How our black lips are blackening.</i></p> +<p><i>And none note how our poor eyes fall,<br> +Nor how our cheeks are sunk and sere . . .<br> +Dear, when you waken, will you call? . . .<br> +Alas! we are not very near.</i></p> +<br> +<br> +<p><i>Ainsi, elle viendrait à moi! les yeux bien fous!<br> +Et elle me suivrait avec cet air partout!</i></p> +<p>TO E. M. G.</p> +<p><i>Lean back, and press the pillow deep,<br> +Heart's dear demesne, dear Daintiness;<br> +Close your tired eyes, but not to sleep . . .<br> +How very pale your pallor is!</i></p> +<p><i>You smile, your cheek's voluptuous line<br> +Melts in your dimpled saucy cave.<br> +Your hairbraids seem a wilful vine,<br> +Scorning to imitate a wave.</i></p> +<p><i>Your voice is tenebrous, as if<br> +An angel mocked a blackbird's pipe.<br> +You are my magic orchard feoff,<br> +Where bud and fruit are always ripe.</i></p> +<p><i>O apple garden! all the days<br> +Are fain to crown the darling year,<br> +Ephemeral bells and garland bays,<br> +Shy blade and lusty, bursting ear.</i></p> +<p><i>In every kiss I call you mine,<br> +Tell me, my dear, how pure, how brave<br> +Our child will be! what velvet eyne,<br> +What bonny hair our child will have!</i></p> +<br> +<br> +<p>CROCUSES IN GRASS</p> +<p>TO CHARLES HAZELWOOD SHANNON</p> +<p><i>Purple and white the crocus flowers,<br> + And yellow, spread upon<br> + The sober lawn; the hours<br> +Are not more idle in the sun.</i></p> +<p><i>Perhaps one droops a prettier head,<br> + And one would say: Sweet Queen,<br> + Your lips are white and red,<br> +And round you lies the grass most green.</i></p> +<p><i>And she, perhaps, for whom is fain<br> + The other, will not heed;<br> + Or, that he may complain,<br> +Babbles, for dalliaunce, with a weed.</i></p> +<p><i>And he dissimulates despair,<br> + And anger, and suprise;<br> + The while white daisies stare<br> +—And stir not—with their yellow eyes.</i></p> +<br> +<br> +<p>POEM</p> +<p>TO ARTHUR EDMONDS</p> +<p><i>Geranium, houseleek, laid in oblong beds<br> +On the trim grass. The daisies' leprous stain<br> +Is fresh. Each night the daisies burst again,<br> +Though every day the gardener crops their heads.</i></p> +<p><i>A wistful child, in foul unwholesome shreds,<br> +Recalls some legend of a daisy chain<br> +That makes a pretty necklace. She would fain<br> +Make one, and wear it, if she had some threads.</i></p> +<p><i>Sun, leprous flowers, foul child. The asphalt burns.<br> +The garrulous sparrows perch on metal Burns.<br> +Sing! Sing! they say, and flutter with their wings.<br> +He does not sing, he only wonders why<br> +He is sitting there. The sparrows sing. And I<br> +Yield to the strait allure of simple things.</i></p> +<br> +<br> +<p>ON A PICTURE</p> +<p>TO PIERRE LOUŸS</p> +<p><i>Not pale, as one in sleep or holier death,<br> +Nor illcontent the lady seems, nor loth<br> +To lie in shadow of shrill river growth,<br> +So steadfast are the river's arms beneath.</i></p> +<p><i>Pale petals follow her in very faith,<br> +Unmixed with pleasure or regret, and both<br> +Her maidly hands look up, in noble sloth<br> +To take the blossoms of her scattered wreath.</i></p> +<p><i>No weakest ripple lives to kiss her throat.<br> +Nor dies in meshes of untangled hair;<br> +No movement stirs the floor of river moss.</i></p> +<p><i>Until some furtive glimmer gleam across<br> +Voluptuous mouth, where even teeth are bare,<br> +And gild the broidery of her petticoat. . . .</i></p> +<br> +<br> +<p>PARSIFAL IMITATED FROM THE FRENCH<br> +OF PAUL VERLAINE</p> +<p><i>Conquered the flower-maidens, and the wide embrace<br> +Of their round proffered arms, that tempt the virgin boy;<br> +Conquered the trickling of their babbling tongues; the coy<br> +Back glances, and the mobile breasts of subtle grace;</i></p> +<p><i>Conquered the Woman Beautiful, the fatal charm<br> +Of her hot breast, the music of her babbling tongue;<br> +Conquered the gate of Hell, into the gate the young<br> +Man passes, with the heavy trophy at his arm,</i></p> +<p><i>The holy Javelin that pierced the Heart of God.<br> +He heals the dying king, he sits upon the throne,<br> +King, and high priest of that great gift, the living +Blood.</i></p> +<p><i>In robe of gold the youth adores the glorious Sign<br> +Of the green goblet, worships the mysterious Wine.<br> +And oh! the chime of children's voices in the dome.</i></p> +<br> +<br> +<p>A CRUCIFIX</p> +<p>TO ERNEST DOWSON</p> +<p><i>A gothic church. At one end of an aisle,<br> +Against a wall where mystic sunbeams smile<br> +Through painted windows, orange, blue, and gold,<br> +The Christ's unutterable charm behold.<br> +Upon the cross, adorned with gold and green,<br> +Long fluted golden tongues of sombre sheen,<br> +Like four flames joined in one, around the head<br> +And by the outstretched arms, their glory spread.<br> +The statue is of wood; of natural size<br> +Tinted; one almost sees before one's eyes<br> +The last convulsion of the lingering breath.<br> +"Behold the man!" Robust and frail. Beneath<br> +That breast indeed might throb the Sacred Heart.<br> +And from the lips, so holily dispart,<br> +The dying murmur breathes "Forgive! Forgive!"<br> +O wide-stretched arms! "I perish, let them live."<br> +Under the torture of the thorny crown,<br> +The loving pallor of the brow looks down<br> +On human blindness, on the toiler's woes;<br> +The while, to overturn Despair's repose,<br> +And urge to Hope and Love, as Faith demands,<br> +Bleed, bleed the feet, the broken side, the hands.<br> +A poet, painter, Christian,—it was a friend<br> +Of mine—his attributes most fitly blend—<br> +Who saw this marvel, made an exquisite<br> +Copy; and, knowing how I worshipped it,<br> +Forgot it, in my room, by accident.<br> +I write these verses in acknowledgment.</i></p> +<br> +<br> +<p>LE CHEVALIER MALHEUR</p> +<p><i>Grim visor'd cavalier!<br> + Rides silently MISCHANCE.<br> +Stabbed is my dying heart<br> + of his unpitying lance.<br> +My poor hearts blood leaps forth,<br> + a single crimson jet.<br> +The hot sun licks it up<br> + where petals pale are wet.<br> +Deep shadow seals my sight,<br> + one shriek my lips has fed.<br> +With a wrung, sullen shudder<br> + my poor heart is dead.<br> +The cavalier dismounts;<br> + and, kneeling on the ground,<br> +His finger iron-mailed<br> + he thrusts into the wound.<br> +Suddenly, at the freezing touch,<br> + the iron smart,<br> +At once within me bursts<br> + a new, a noble heart.<br> +Suddenly, as the steel<br> + into the wound is pressed,<br> +A heart all beautiful<br> + and young throbs in my breast.<br> +Trembling, incredulous<br> + I sat; but ill at ease,<br> +As one who, in a holy trance,<br> + strange visions sees.<br> +While the good cavalier,<br> + remounted on his horse,<br> +Left me a parting nod<br> + as he retook his course,<br> +And shouted to me<br> + (still I hear his cries):<br> +"Once only can the miracle<br> + avail.—Be wise!"</i><br> +<br> +<br></p> +<p>SPLEEN</p> +<p><i>The roses every one were red,<br> +And all the ivy leaves were black.</i></p> +<p><i>Sweet, do not even stir your head,<br> +Or all of my despairs come back.</i></p> +<p><i>The sky is too blue, too delicate:<br> +Too soft the air, too green the sea.</i></p> +<p><i>I fear—-how long had I to wait!—<br> +That you will tear yourself from me.</i></p> +<p><i>The shining box-leaves weary me,<br> +The varnished holly's glistening,</i></p> +<p><i>The stretch of infinite country;<br> +So, saving you, does everything.</i></p> +<br> +<br> +<p>CLAIR DE LUNE</p> +<p><i>How like a well-kept garden is your soul,<br> +With bergomask and solemn minuet!<br> +Playing upon the lute! The dancers seem<br> +But sad, beneath their strange habiliments.<br> +While, in the minor key, their songs extol<br> +The victor Love, and life's sweet blandishments,<br> +Their looks belie the burden of their lays,<br> +The songs that mingle with the still moon-beams.<br> +So strange, so beautiful, the pallid rays;<br> +Making the birds among the branches dream,<br> +And sob with ecstasy the slender jets,</i></p> +<p><i>The fountains tall that leap upon the lawns<br> +Amid the garden gods, the marble fauns.</i></p> +<br> +<br> +<p>MON DIEU M'A DIT: . . .</p> +<p><i>God has spoken: Love me,<br> + son, thou must; Oh see<br> +My broken side; my heart,<br> + its rays refulgent shine;<br> +My feet, insulted, stabbed,<br> + that Mary bathes with brine<br> +Of bitter tears my sad arms,<br> + helpless, son, for thee;</i></p> +<p><i>With thy sins heavy; and my hands;<br> + thou seest the rod;<br> +Thou seest the nails, the sponge,<br> + the gall; and all my pain<br> +Must teach thee love, amidst a world<br> + where flesh doth reign,<br> +My flesh alone, my blood,<br> + my voice, the voice of God,</i></p> +<p><i>Say, have I not loved thee,<br> + loved thee to death,<br> +O brother in my Father,<br> + in the Spirit son?<br> +Say, as the word is written,<br> + is my work not done?<br> +Thy deepest woe have I not sobbed<br> + with struggling breath?<br> +Has not thy sweat of anguished nights<br> + from all my pores in pain<br> +Of blood dripped, piteous friend,<br> + who seekest me in vain?</i></p> +<br> +<br> +<p>GREEN</p> +<p><i>Leaves and branches, flowers and fruits are here;<br> +And here my heart, which throbs alone for thee.<br> +Ah! do not wound my heart with those two dear<br> +White hands, but take the poor gift tenderly.</i></p> +<p><i>I come, all covered with the dews of night<br> +The morning breeze has pearled upon my face.<br> +Let my fatigue, at thy feet, in thy sight,<br> +Dream through the moments of its sweet solace.</i></p> +<p><i>With thy late kisses ringing, let my head<br> +Roll in blest indolence on thy young breast;<br> +To lull the tempest thy caresses bred,<br> +And soothe my senses with a little rest.</i></p> +<br> +<br> +<p>FLEURS. IMITATED FROM THE FRENCH<br> +OF STEPHANE MALLARMÉ</p> +<p><i>The tawny iris—oh! the slim-necked swan;<br> +And, sign of exiled souls, the bay divine;<br> +Ruddy as seraph's heel its fleckless sheen,<br> +Blushing the brightness of a trampled dawn.</i></p> +<p><i>The hyacinth; the myrtle's sweet alarm;<br> +Like to a woman's flesh, the cruel rose,<br> +Blossom'd Herodiade of the garden close,<br> +Fed with ferocious dew of blooddrops warm.</i></p> +<p><i>Thou mad'st the lilies' pallor, nigh to swoon.<br> +Which, rolling billows of deep sighs upon,<br> +Through the blue incense of horizons wan,<br> +Creeps dreamily towards the weeping moon.</i></p> +<p><i>Praise in the censers, praise upon the gong,<br> +Madone! from the garden of our woes:<br> +On eves celestial throb the echo long!<br> +Ecstatic visions! radiance of haloes!</i></p> +<p><i>Mother creatrice! in thy strong, just womb,<br> +Challices nodding the not distant strife;<br> +Great honey'd blossoms, a balsamic tomb<br> +For weary poets blanched with starless life.</i></p> +<br> +<br> +<p>CHARLEVILLE. IMITATED FROM THE FRENCH<br> +OF ARTHUR RIMBAUD</p> +<p>TO FRANK HARRIS</p> +<p><i>The square, with gravel paths and shabby lawns.<br> +Correct, the trees and flowers repress their yawns.<br> +The tradesman brings his favourite conceit,<br> +To air it, while he stifles with the heat.</i></p> +<p><i>In the kiosk, the military band.<br> +The shakos nod the time of the quadrilles.<br> +The flaunting dandy strolls about the stand.<br> +The notary, half unconscious of his seals.</i></p> +<p><i>On the green seats, small groups of grocermen,<br> +Absorbed, their sticks scooping a little hole<br> +Upon the path, talk market prices; then<br> +Take up a cue: I think, upon the whole. . . .</i></p> +<p><i>The loutish roughs are larking on the grass.<br> +The sentimental trooper, with a rose<br> +Between his teeth, seeing a baby, grows<br> +More tender, with an eye upon the nurse.</i></p> +<p><i>Unbuttoned, like a student, I follow<br> +A couple of girls along the chesnut row.<br> +They know I am following, for they turn and laugh,<br> +Half impudent, half shy, inviting chaff.</i></p> +<p><i>I do not say a word. I only stare<br> +At their round, fluffy necks. I follow where<br> +The shoulders drop; I struggle to define<br> +The subtle torso's hesitating line.</i></p> +<p><i>Only my rustling tread, deliberate, slow;<br> +The rippled silence from the still leaves drips.<br> +They think I am an idiot, they speak low;<br> +— I feel faint kisses creeping on my lips.</i></p> +<br> +<br> +<p>SENSATION</p> +<p><i>I walk the alleys trampled through the wheat,<br> +Through whole blue summer eves, on velvet grass.<br> +Dreaming, I feel the dampness at my feet;<br> +The breezes bathe my naked head and pass.</i></p> +<p><i>I do not think a single thought, nor say<br> +A word; but in my soul the mists upcurl<br> +Of infinite love. I will go far away<br> +With nature, happily, as with a girl.</i></p> +<br> +<br> +<p>À UNE MADONE. IMITATED FROM THE FRENCH<br> +OF CHARLES BAUDELAIRE</p> +<p><i>Madone! my lady, I will build for thee<br> +A grotto altar of my misery.<br> +Deep will I scoop, where darkest lies my heart,<br> +Far from the world's cupidity apart,</i></p> +<p><i>A niche, with mercy stained, and streaked with gold,<br> +Where none thy statue's wonder may behold.</i></p> +<p><i>Then, for thy head, I will fashion a tiar,<br> +A filigree of verse, with many a star</i></p> +<p><i>Of crystal rhyme its heavy folds upon.<br> +And jealousy, O mortal! my Madone,</i></p> +<p><i>Shall cut for thee a gown, of dreadful guise,<br> +Which like a portcullis, shall veil thy thighs;</i></p> +<p><i>Rude, heavy curtain, faced with bitter fears,<br> +Broidered, in place of pearls, with all my tears.</i></p> +<p><i>And, of my worship, shoes will I design;<br> +Two satin shoes, to case thy feet divine,</i></p> +<p><i>Which, while their precious freight they softly hold,<br> +Shall guard the imprint in a faithful mould.</i></p> +<p><i>If I should fail to forge a silver moon,<br> +I with my art, for thee to tread upon,</i></p> +<p><i>Then will I place the writhing beast that hangs<br> +Upon my heart, and tears it with his fangs,</i></p> +<p><i>Where thou may'st crush his head, and smile supreme,<br> +O majesty! all potent to redeem.</i></p> +<p><i>And all my thoughts, like candles, shalt thou see<br> +before thine altar spread, Star of the Sea!</i></p> +<p><i>Starring thine azure roof with points of fire.<br> +With nought hut thee to cherish and admire,</i></p> +<p><i>So shall my soul in plaintive fumes arise<br> +Of incense ever to thy pitying eyes.<br> + </i></p> +<p><i>Last, that indeed a Mary thou may'st be,<br> +And that my love be mixed with cruelty—</i></p> +<p><i>O foul voluptuousness! when I have made<br> +Of every deadly sin a deadlier blade,</i></p> +<p><i>Torturer filled with pain will I draw near<br> +The target of thy breast, and, sick with fear,</i></p> +<p><i>Deliberately plant them all where throbs<br> +Thy bleeding heart, and stifling with its sobs.</i></p> +<br> +<br> +<p>FEMMES DAMNÉES</p> +<p><i>Like moody beasts they lie along the sands;,<br> +Look where the sky against the sea-rim clings:<br> +Foot stretches out to foot, and groping hands<br> +Have languors soft and bitter shudderings.</i></p> +<p><i>Some, smitten hearts with the long secrecies,<br> +On velvet moss, deep in their bowers' ease,<br> +Prattling the love of timid infancies,<br> +Are tearing the green bark from the young trees.</i></p> +<p><i>Others, like sisters, slowly walk and grave;<br> +By rocks that swarm with ghostly legions,<br> +Where Anthony saw surging on the waves<br> +The purple breasts of his temptations,</i></p> +<p><i>Some, by the light of crumbling, resinous gums,<br> +In the still hollows of old pagan dens,<br> +Call thee in aid to their deliriums<br> +O Bacchus! cajoler of ancient pains.</i></p> +<p><i>And those whose breasts for scapulars are fain<br> +Nurse under their long robes the cruel thong.<br> +These, in dim woods, where huddling shadows throng.<br> +Mix with the foam of pleasure tears of pain.</i></p> +<br> +<br> +<p>LE VOYAGE À CYTHÈRE</p> +<p><i>Bird-like, my heart was glad to soar and vault;<br> +Fluttering among the cordages; and on<br> +The vessel flew, under an empty vault:<br> +An angel drunken of a radiant sun.</i></p> +<p><i>Tell me, what is that gray, that sombre isle?<br> +'Tis Cythera, famed on many a poet string;<br> +A name that has not lacked the slavering smile;<br> +But now, you see, it is not much to sing.</i></p> +<p><i>Isle of soft whispers, tremours of the heart!<br> +The splendid phantom of thy rude goddess<br> +Floats on thy seas like breath of spikenard,<br> +Charging men's souls with love and lusciousness.</i></p> +<p><i>Sweet isle of myrtles, once of open blooms:<br> +Now only of lean lands most lean: it seems<br> +A flinty desert bitter with shrill screams:<br> +But one strange object on its horror looms.</i></p> +<p><i>Not a fair temple, foiled with coppiced trees,<br> +Where the young priestess, mistress of the flowers,<br> +Goes opening her gown to the cool breeze,<br> +To still the fire, the torment that devours.</i></p> +<p><i>But as along the shore we skirted, near<br> +Enough to scare the birds with our white sails,<br> +We saw a three-limbed gibbet rising sheer.<br> +Detached against the sky in spare details.</i></p> +<p><i>Perched on their pasturage, ferocious fowl<br> +Riddled with rage a more than putrid roast;<br> +Each of them stabbing, like a tool, his foul<br> +Beak in the oozing members of his host.</i></p> +<p><i>Below, a troop of jealous quadrupeds,<br> +Looking aloft with eye and steadfast snout;<br> +A larger beast above the others' heads,<br> +A hangman with his porters round about.</i></p> +<p><i>The eyes, two caves; and from the rotten paunch,<br> +Its freight, too heavy, streamed along the haunch,<br> +Hang for these harpies' hideous delight,<br> +Poor rag of flesh, torn of thy sex and sight!</i></p> +<p><i>Cythera's child, child of so sweet a sky!<br> +Silent thou bearest insult—as we must—<br> +In expiation of what faults deny<br> +Thee even a shallow shelter in the dust.</i></p> +<p><i>Ludicrous sufferer! thy woes are mine.<br> +There came, at seeing of thy dangling limbs,<br> +Up to my lips, like vomiting, the streams<br> +Of ancient miseries, of gall and brine.</i></p> +<p><i>Before thee, brother in my memory fresh!<br> +I felt the mangling of the appetites<br> +Of the black panthers, of the savage kites,<br> +That were so fain to rend and pick my flesh.</i></p> +<p><i>The sea was sleeping. Blue and beautiful<br> +The sky. Henceforth I saw but murk and blood,<br> +Alas! and as it had been in a shroud,<br> +My heart lay buried in that parable,</i></p> +<p><i>All thine isle showed me, Venus! was upthrust,<br> +A symbol calvary where my image hung.<br> +Give me, Lord God, to look upon that dung,<br> +My body and my heart, without disgust.</i></p> +<br> +<br></div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Silverpoints, by John Gray + +*** END OF THIS PROJECT GUTENBERG EBOOK SILVERPOINTS *** + +***** This file should be named 21211-h.htm or 21211-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/1/2/1/21211/ + +Produced by Ruth Hart ruthhart@twilightoracle.com + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere 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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. 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 MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.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. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +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: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</body> +</html> diff --git a/21211.txt b/21211.txt new file mode 100644 index 0000000..a890487 --- /dev/null +++ b/21211.txt @@ -0,0 +1,1376 @@ +The Project Gutenberg EBook of Silverpoints, by John Gray + +This eBook is for the use of anyone anywhere 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 + + +Title: Silverpoints + +Author: John Gray + +Release Date: April 24, 2007 [EBook #21211] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK SILVERPOINTS *** + + + + +Produced by Ruth Hart ruthhart@twilightoracle.com + + + + + +Transcriber's note: In the original text all the verse titles and +dedications are in regular type, while all the stanzas are italicized. +I have not indicated these different styles in this online text. + + +SILVERPOINTS + +BY + +JOHN GRAY + +LONDON M.DCCC.XC.III +ELKIN MATHEWS AND +JOHN LANE. AT THE +SIGN OF THE BODLEY +HEAD IN VIGO STREET + +ALL RIGHTS RESERVED + + +. . . EN COMPOSANT DES ACROSTICHES INDOLENTS + P.V. + + + + +LES DEMOISELLES DE SAUVE + +TO S. A. S. ALICE, PRINCESSE DE MONACO + +Beautiful ladies through the orchard pass; +Bend under crutched-up branches, forked and low; +Trailing their samet palls o'er dew-drenched grass. + +Pale blossoms, looking on proud Jacqueline, +Blush to the colour of her finger tips, +And rosy knuckles, laced with yellow lace. + +High-crested Berthe discerns, with slant, clinched eyes, +Amid the leaves pink faces of the skies; +She locks her plaintive hands Sainte-Margot-wise. + +Ysabeau follows last, with languorous pace; +Presses, voluptuous, to her bursting lips. +With backward stoop, a bunch of eglantine. + +Courtly ladies through the orchard pass; +Bow low, as in lords' halls; and springtime grass +Tangles a snare to catch the tapering toe. + + + + +HEART'S DEMESNE + +TO PAUL VERLAINE + +Listen, bright lady, thy deep Pansie eyes +Made never answer when my eyes did pray, +Than with those quaintest looks of blank surprise. + +But my love longing has devised a way +To mock thy living image, from thy hair +To thy rose toes and keep thee by alway. + +My garden's face is oh! so maidly fair, +With limbs all tapering and with hues all fresh; +Thine are the beauties all that flourish there. + +Amaranth, fadeless, tells me of thy flesh. +Briar rose knows thy cheek, the Pink thy pout. +Bunched kisses dangle from the Woodbine mesh. + +I love to loll, when Daisy stars peep out, +And hear the music of my garden dell, +Hollyhock's laughter and the Sunflowers shout. + +And many whisper things I dare not tell. + + + + +SONG OF THE SEEDLING + +TO ARTHUR SEWELL BUTT + +Tell, little seedling, murmuring germ, +Why are you joyful? What do you sing? +Have you no fear of that crawling thing, +Him that has so many legs? and the worm? + +Rain drops patter above my head-- + Drip, drip, drip. +To moisten the mould where my roots are fed-- + Sip, sip, sip. +No thought have I of the legged thing. + Of the worm no fear, + When the goal is so near; +Every moment my life has run, +The livelong day I've not ceased to sing: +I must reach the sun, the sun. + + + + +LADY EVELYN + +I know no Name too sweet to tell of her, +For Love's sweet Sake and Domination. +She hath me all; her Spell hath Power to stir +My Heart to every Lust, and spur me on. +Love saith: 'tis even thus; her Will no Thrall, +But Touchstone of thy Worth in Love's Armure; +They only conquer in Love's Lists that fall, +And Wounds renewed for Wounds are captain Cure. +He doubly is inslaved that gilts his Chain, +Saith Reason, chaffering for his Empire gone, +Bestir, and root the Canker that hath ta'en +Thy Breast for Bed, and feeds thy Heart upon. + +I this: Sweet Love, an sweet an sour thou be, +I know no Name too sweet to tell of thee. + + + + +COMPLAINT + +TO FELIX FENEON + +Men, women, call thee so or so; + I do not know. + Thou hast no name +For me, but in my heart aflame + +Burns tireless, neath a silver vine. + And round entwine + Its purple girth +All things of fragrance and of worth. + +Thou shout! thou burst of light! thou throb + Of pain! thou sob! + Thou like a bar +Of some sonata, heard from far + +Through blue-hue'd veils! When in these wise, + To my soul's eyes, + Thy shape appears, +My aching hands are full of tears. + + + + +A HALTING SONNET + +TO MISS ELLEN TERRY ON HER BIRTHDAY + +It is not meet for one like me to praise +A lady, princess, goddess, artist such; +For great ones crane their foreheads to her touch, +To change their splendours into crowns of bays. +But poets never rhyme as they are bid; +Nor never see their ft goal; but aspire, +With straining eyes, to some far silvern spire; +Flowers among, sing to the gods cloud-hid. +One of these, onetime, opened velvet eyes +Upon the world--the years recall the day; +Those lights still shine, conscious of power alway, +But flattering men with feigned looks of surprise. + + The couplet is so great that, where thou art, + --Thou being a poem--it is past my art. + + + + +WINGS IN THE DARK + +TO ROBERT HARBOROUGH SHERARD + +Forth into the warm darkness faring wide-- +More silent momently the silent quay-- +Towards where the ranks of boats rock to the tide, +Muffling their plaintive gurgling jealously. + +With gentle nodding of her gracious snout, +One greets her master till he step aboard; +She flaps her wings, impatient to get out; +She runs to plunder, straining every cord, + +Full-winged and stealthy like a bird of prey, +All tense the muscles of her seemly flanks; +She, the coy creature that the idle day +Sees idly riding in the idle ranks. + +Backward and forth, over the chosen ground, +Like a young horse, she drags the heavy trawl, +Tireless; or speeds her rapturous course unbound, +And passing fishers through the darkness call + +Deep greeting, in the jargon of the sea. +Haul upon haul, flounders and soles and dabs, +And phosphorescent animalcule, +Sand, seadrift, weeds, thousands of worthless crabs. + +Low on the mud the darkling fishes grope. +Cautious to stir, staring with jewel eyes; +Dogs of the sea, the savage congers mope, +Winding their sulky march Meander-wise. + +Suddenly all is light and life and flight, +Upon the sandy bottom, agate strewn. +The fishers mumble, waiting till the night +Urge on the clouds, and cover up the moon. + + + + +THE BARBER + +I + +I dreamed I was a barber; and there went +Beneath my hand, oh! manes extravagant. +Beneath my trembling fingers, many a mask +Of many a pleasant girl. It was my task +To gild their hair, carefully, strand by strand; +To paint their eyebrows with a timid hand; +To draw a bodkin, from a vase of kohl, +Through the closed lashes; pencils from a bowl +Of sepia to paint them underneath; +To blow upon their eyes with a soft breath. +They lay them back and watched the leaping bands. + +II + +The dream grew vague. I moulded with my hands +The mobile breasts, the valley; and the waist +I touched; and pigments reverently placed +Upon their thighs in sapient spots and stains, +Beryls and crysolites and diaphanes, +And gems whose hot harsh names are never said. +I was a masseur; and my fingers bled +With wonder as I touched their awful limbs. + +III + +Suddenly, in the marble trough, there seems +O, last of my pale, mistresses, Sweetness! +A twylipped scarlet pansie. My caress +Tinges thy steelgray eyes to violet. +Adown thy body skips the pit-a-pat +Of treatment once heard in a hospital +For plagues that fascinate, but half appal. + +IV + +So, at the sound, the blood of me stood cold. +Thy chaste hair ripened into sullen gold. +The throat, the shoulders, swelled and were uncouth. +The breasts rose up and offered each a mouth. +And on the belly pallid blushes crept, +That maddened me, until I laughed and wept. + + + + +MISHKA + +TO HENRI TEIXEIRA DE MATTOS + +Mishka is poet among the beasts. +When roots are rotten, and rivers weep. +The bear is at play in the land of sleep. +Though his head be heavy between his fists. +The bear is poet among the beasts. + +THE DREAM: + +Wide and large are the monster's eyes, +Nought saying, save one word alone: +Mishka! Mishka, as turned to stone, +Hears no word else, nor in anywise +Can see aught save the monster's eyes. + +Honey is under the monster's lips; +And Mishka follows into her lair, +dragged in the net of her yellow hair, +Knowing all things when honey drips +On his tongue like rain, the song of the hips + +Of the honey-child, and of each twin mound. +Mishka! there screamed a far bird-note, +Deep in the sky, when round his throat +The triple coil of her hair she wound. +And stroked his limbs with a humming sound. + +Mishka is white like a hunter's son +Tor he knows no more of the ancient south +When the honey-child's lips are on his mouth, +When all her kisses are joined in one, +And his body is bathed in grass and sun. + +The shadows lie mauven beneath the trees, +And purple stains, where the finches pass, +Leap in the stalks of the deep, rank grass. +Flutter of-wing, and the buzz of bees, +Deepen the silence, and sweeten ease. + +The honey-child is an olive tree, +The voice of birds and the voice of flowers, +Each of them all and all the hours, +The honey-child is a winged bee, +Her touch is a perfume, a melody. + + + + +SUMMER PAST + +TO OSCAR WILDE + +There was the summer. There + Warm hours of leaf-lipped song, + And dripping amber sweat. + O sweet to see +The great trees condescend to cast a pearl +Down to the myrtles; and the proud leaves curl + In ecstasy. + + Fruit of a quest, despair. + Smart of a sullen wrong. + Where may they hide them yet? + One hour, yet one, +To find the mossgod lurking in his nest, +To see the naiads' floating hair, caressed + By fragrant sun. + + Beams. Softly lulled the eves + The song-tired birds to sleep, + That other things might tell + Their secrecies. +The beetle humming neath the fallen leaves. +Deep in what hollow do the stern gods keep +Their bitter silence? By what listening well + Where holy trees, + +Song-set, unfurl eternally the sheen + Of restless green? + + + + +THE VINES + +TO ANDRE CHEVRILLON + +"Have you seen the listening snake?" +bramble clutches for his bride, +Lately she was by his side, +Woodbine, with her gummy hands. + +In the ground the mottled snake +Listens for the dawn of day; +Listens, listening death away, +Till the day burst winter's bands. + +Painted ivy is asleep, +Stretched upon the bank, all torn, +Sinewy though she be; love-lorn +Convolvuluses cease to creep. + +Bramble clutches for his bride, +Woodbine, with her gummy hands, +All his horny claws expands; +She has withered in his grasp. + +"Till the day dawn, till the tide +Of the winter's afternoon." +"Who tells dawning?"--"Listen, soon." +Half born tendrils, grasping, gasp. + + + + +Je pleure dans les coins; je n'ai plus gout a rien; +Oh! j'ai tant pleure, Dimanche, en mon paroissien! + +JULES LAFORGUE + +Did we not, Darling, you and I, +Walk on the earth like other men? +Did we not walk and wonder why +They spat upon us so. And then + +We lay us down among fresh earthy +Sweet flowers breaking overhead, +Sore needed rest for our frail girth, +For our frail hearts; a well-sought bed. + +So Spring came, and spread daffodils; +Summer, and fluffy bees sang on; +The fluffy bee knows us, and fills +His house with sweet to think upon. + +Deep in the dear dust, Dear, we dream, +Our melancholy is a thing +At last our own; and none esteem +How our black lips are blackening. + +And none note how our poor eyes fall, +Nor how our cheeks are sunk and sere . . . +Dear, when you waken, will you call? . . . +Alas! we are not very near. + + + + +Ainsi, elle viendrait a moi! les yeux bien fous! +Et elle me suivrait avec cet air partout! + +TO E. M. G. + +Lean back, and press the pillow deep, +Heart's dear demesne, dear Daintiness; +Close your tired eyes, but not to sleep . . . +How very pale your pallor is! + +You smile, your cheek's voluptuous line +Melts in your dimpled saucy cave. +Your hairbraids seem a wilful vine, +Scorning to imitate a wave. + +Your voice is tenebrous, as if +An angel mocked a blackbird's pipe. +You are my magic orchard feoff, +Where bud and fruit are always ripe. + +O apple garden! all the days +Are fain to crown the darling year, +Ephemeral bells and garland bays, +Shy blade and lusty, bursting ear. + +In every kiss I call you mine, +Tell me, my dear, how pure, how brave +Our child will be! what velvet eyne, +What bonny hair our child will have! + + + + +CROCUSES IN GRASS + +TO CHARLES HAZELWOOD SHANNON + +Purple and white the crocus flowers, + And yellow, spread upon + The sober lawn; the hours +Are not more idle in the sun. + +Perhaps one droops a prettier head, + And one would say: Sweet Queen, + Your lips are white and red, +And round you lies the grass most green. + +And she, perhaps, for whom is fain + The other, will not heed; + Or, that he may complain, +Babbles, for dalliaunce, with a weed. + +And he dissimulates despair, + And anger, and suprise; + The while white daisies stare +--And stir not--with their yellow eyes. + + + + +POEM + +TO ARTHUR EDMONDS + +Geranium, houseleek, laid in oblong beds +On the trim grass. The daisies' leprous stain +Is fresh. Each night the daisies burst again, +Though every day the gardener crops their heads. + +A wistful child, in foul unwholesome shreds, +Recalls some legend of a daisy chain +That makes a pretty necklace. She would fain +Make one, and wear it, if she had some threads. + +Sun, leprous flowers, foul child. The asphalt burns. +The garrulous sparrows perch on metal Burns. +Sing! Sing! they say, and flutter with their wings. +He does not sing, he only wonders why +He is sitting there. The sparrows sing. And I +Yield to the strait allure of simple things. + + + + +ON A PICTURE + +TO PIERRE LOUYS + +Not pale, as one in sleep or holier death, +Nor illcontent the lady seems, nor loth +To lie in shadow of shrill river growth, +So steadfast are the river's arms beneath. + +Pale petals follow her in very faith, +Unmixed with pleasure or regret, and both +Her maidly hands look up, in noble sloth +To take the blossoms of her scattered wreath. + +No weakest ripple lives to kiss her throat. +Nor dies in meshes of untangled hair; +No movement stirs the floor of river moss. + +Until some furtive glimmer gleam across +Voluptuous mouth, where even teeth are bare, +And gild the broidery of her petticoat. . . . + + + + +PARSIFAL IMITATED FROM THE FRENCH +OF PAUL VERLAINE + +Conquered the flower-maidens, and the wide embrace +Of their round proffered arms, that tempt the virgin boy; +Conquered the trickling of their babbling tongues; the coy +Back glances, and the mobile breasts of subtle grace; + +Conquered the Woman Beautiful, the fatal charm +Of her hot breast, the music of her babbling tongue; +Conquered the gate of Hell, into the gate the young +Man passes, with the heavy trophy at his arm, + +The holy Javelin that pierced the Heart of God. +He heals the dying king, he sits upon the throne, +King, and high priest of that great gift, the living Blood. + +In robe of gold the youth adores the glorious Sign +Of the green goblet, worships the mysterious Wine. +And oh! the chime of children's voices in the dome. + + + + +A CRUCIFIX + +TO ERNEST DOWSON + +A gothic church. At one end of an aisle, +Against a wall where mystic sunbeams smile +Through painted windows, orange, blue, and gold, +The Christ's unutterable charm behold. +Upon the cross, adorned with gold and green, +Long fluted golden tongues of sombre sheen, +Like four flames joined in one, around the head +And by the outstretched arms, their glory spread. +The statue is of wood; of natural size +Tinted; one almost sees before one's eyes +The last convulsion of the lingering breath. +"Behold the man!" Robust and frail. Beneath +That breast indeed might throb the Sacred Heart. +And from the lips, so holily dispart, +The dying murmur breathes "Forgive! Forgive!" +O wide-stretched arms! "I perish, let them live." +Under the torture of the thorny crown, +The loving pallor of the brow looks down +On human blindness, on the toiler's woes; +The while, to overturn Despair's repose, +And urge to Hope and Love, as Faith demands, +Bleed, bleed the feet, the broken side, the hands. +A poet, painter, Christian,--it was a friend +Of mine--his attributes most fitly blend-- +Who saw this marvel, made an exquisite +Copy; and, knowing how I worshipped it, +Forgot it, in my room, by accident. +I write these verses in acknowledgment. + + + + +LE CHEVALIER MALHEUR + +Grim visor'd cavalier! + Rides silently MISCHANCE. +Stabbed is my dying heart + of his unpitying lance. +My poor hearts blood leaps forth, + a single crimson jet. +The hot sun licks it up + where petals pale are wet. +Deep shadow seals my sight, + one shriek my lips has fed. +With a wrung, sullen shudder + my poor heart is dead. +The cavalier dismounts; + and, kneeling on the ground, +His finger iron-mailed + he thrusts into the wound. +Suddenly, at the freezing touch, + the iron smart, +At once within me bursts + a new, a noble heart. +Suddenly, as the steel + into the wound is pressed, +A heart all beautiful + and young throbs in my breast. +Trembling, incredulous + I sat; but ill at ease, +As one who, in a holy trance, + strange visions sees. +While the good cavalier, + remounted on his horse, +Left me a parting nod + as he retook his course, +And shouted to me + (still I hear his cries): +"Once only can the miracle + avail.--Be wise!" + + + + +SPLEEN + +The roses every one were red, +And all the ivy leaves were black. + +Sweet, do not even stir your head, +Or all of my despairs come back. + +The sky is too blue, too delicate: +Too soft the air, too green the sea. + +I fear---how long had I to wait!-- +That you will tear yourself from me. + +The shining box-leaves weary me, +The varnished holly's glistening, + +The stretch of infinite country; +So, saving you, does everything. + + + + +CLAIR DE LUNE + +How like a well-kept garden is your soul, +With bergomask and solemn minuet! +Playing upon the lute! The dancers seem +But sad, beneath their strange habiliments. +While, in the minor key, their songs extol +The victor Love, and life's sweet blandishments, +Their looks belie the burden of their lays, +The songs that mingle with the still moon-beams. +So strange, so beautiful, the pallid rays; +Making the birds among the branches dream, +And sob with ecstasy the slender jets, + +The fountains tall that leap upon the lawns +Amid the garden gods, the marble fauns. + + + + +MON DIEU M'A DIT: . . . + +God has spoken: Love me, + son, thou must; Oh see +My broken side; my heart, + its rays refulgent shine; +My feet, insulted, stabbed, + that Mary bathes with brine +Of bitter tears my sad arms, + helpless, son, for thee; + +With thy sins heavy; and my hands; + thou seest the rod; +Thou seest the nails, the sponge, + the gall; and all my pain +Must teach thee love, amidst a world + where flesh doth reign, +My flesh alone, my blood, + my voice, the voice of God, + +Say, have I not loved thee, + loved thee to death, +O brother in my Father, + in the Spirit son? +Say, as the word is written, + is my work not done? +Thy deepest woe have I not sobbed + with struggling breath? +Has not thy sweat of anguished nights + from all my pores in pain +Of blood dripped, piteous friend, + who seekest me in vain? + + + + +GREEN + +Leaves and branches, flowers and fruits are here; +And here my heart, which throbs alone for thee. +Ah! do not wound my heart with those two dear +White hands, but take the poor gift tenderly. + +I come, all covered with the dews of night +The morning breeze has pearled upon my face. +Let my fatigue, at thy feet, in thy sight, +Dream through the moments of its sweet solace. + +With thy late kisses ringing, let my head +Roll in blest indolence on thy young breast; +To lull the tempest thy caresses bred, +And soothe my senses with a little rest. + + + + +FLEURS. IMITATED FROM THE FRENCH +OF STEPHANE MALLARME + +The tawny iris--oh! the slim-necked swan; +And, sign of exiled souls, the bay divine; +Ruddy as seraph's heel its fleckless sheen, +Blushing the brightness of a trampled dawn. + +The hyacinth; the myrtle's sweet alarm; +Like to a woman's flesh, the cruel rose, +Blossom'd Herodiade of the garden close, +Fed with ferocious dew of blooddrops warm. + +Thou mad'st the lilies' pallor, nigh to swoon. +Which, rolling billows of deep sighs upon, +Through the blue incense of horizons wan, +Creeps dreamily towards the weeping moon. + +Praise in the censers, praise upon the gong, +Madone! from the garden of our woes: +On eves celestial throb the echo long! +Ecstatic visions! radiance of haloes! + +Mother creatrice! in thy strong, just womb, +Challices nodding the not distant strife; +Great honey'd blossoms, a balsamic tomb +For weary poets blanched with starless life. + + + + +CHARLEVILLE. IMITATED FROM THE FRENCH +OF ARTHUR RIMBAUD + +TO FRANK HARRIS + +The square, with gravel paths and shabby lawns. +Correct, the trees and flowers repress their yawns. +The tradesman brings his favourite conceit, +To air it, while he stifles with the heat. + +In the kiosk, the military band. +The shakos nod the time of the quadrilles. +The flaunting dandy strolls about the stand. +The notary, half unconscious of his seals. + +On the green seats, small groups of grocermen, +Absorbed, their sticks scooping a little hole +Upon the path, talk market prices; then +Take up a cue: I think, upon the whole. . . . + +The loutish roughs are larking on the grass. +The sentimental trooper, with a rose +Between his teeth, seeing a baby, grows +More tender, with an eye upon the nurse. + +Unbuttoned, like a student, I follow +A couple of girls along the chesnut row. +They know I am following, for they turn and laugh, +Half impudent, half shy, inviting chaff. + +I do not say a word. I only stare +At their round, fluffy necks. I follow where +The shoulders drop; I struggle to define +The subtle torso's hesitating line. + +Only my rustling tread, deliberate, slow; +The rippled silence from the still leaves drips. +They think I am an idiot, they speak low; +-- I feel faint kisses creeping on my lips. + + + + +SENSATION + +I walk the alleys trampled through the wheat, +Through whole blue summer eves, on velvet grass. +Dreaming, I feel the dampness at my feet; +The breezes bathe my naked head and pass. + +I do not think a single thought, nor say +A word; but in my soul the mists upcurl +Of infinite love. I will go far away +With nature, happily, as with a girl. + + + + +A UNE MADONE. IMITATED FROM THE FRENCH +OF CHARLES BAUDELAIRE + +Madone! my lady, I will build for thee +A grotto altar of my misery. +Deep will I scoop, where darkest lies my heart, +Far from the world's cupidity apart, + +A niche, with mercy stained, and streaked with gold, +Where none thy statue's wonder may behold. + +Then, for thy head, I will fashion a tiar, +A filigree of verse, with many a star + +Of crystal rhyme its heavy folds upon. +And jealousy, O mortal! my Madone, + +Shall cut for thee a gown, of dreadful guise, +Which like a portcullis, shall veil thy thighs; + +Rude, heavy curtain, faced with bitter fears, +Broidered, in place of pearls, with all my tears. + +And, of my worship, shoes will I design; +Two satin shoes, to case thy feet divine, + +Which, while their precious freight they softly hold, +Shall guard the imprint in a faithful mould. + +If I should fail to forge a silver moon, +I with my art, for thee to tread upon, + +Then will I place the writhing beast that hangs +Upon my heart, and tears it with his fangs, + +Where thou may'st crush his head, and smile supreme, +O majesty! all potent to redeem. + +And all my thoughts, like candles, shalt thou see +before thine altar spread, Star of the Sea! + +Starring thine azure roof with points of fire. +With nought hut thee to cherish and admire, + +So shall my soul in plaintive fumes arise +Of incense ever to thy pitying eyes. + + +Last, that indeed a Mary thou may'st be, +And that my love be mixed with cruelty-- + +O foul voluptuousness! when I have made +Of every deadly sin a deadlier blade, + +Torturer filled with pain will I draw near +The target of thy breast, and, sick with fear, + +Deliberately plant them all where throbs +Thy bleeding heart, and stifling with its sobs. + + + + +FEMMES DAMNEES + +Like moody beasts they lie along the sands;, +Look where the sky against the sea-rim clings: +Foot stretches out to foot, and groping hands +Have languors soft and bitter shudderings. + +Some, smitten hearts with the long secrecies, +On velvet moss, deep in their bowers' ease, +Prattling the love of timid infancies, +Are tearing the green bark from the young trees. + +Others, like sisters, slowly walk and grave; +By rocks that swarm with ghostly legions, +Where Anthony saw surging on the waves +The purple breasts of his temptations, + +Some, by the light of crumbling, resinous gums, +In the still hollows of old pagan dens, +Call thee in aid to their deliriums +O Bacchus! cajoler of ancient pains. + +And those whose breasts for scapulars are fain +Nurse under their long robes the cruel thong. +These, in dim woods, where huddling shadows throng. +Mix with the foam of pleasure tears of pain. + + + + +LE VOYAGE A CYTHERE + +Bird-like, my heart was glad to soar and vault; +Fluttering among the cordages; and on +The vessel flew, under an empty vault: +An angel drunken of a radiant sun. + +Tell me, what is that gray, that sombre isle? +'Tis Cythera, famed on many a poet string; +A name that has not lacked the slavering smile; +But now, you see, it is not much to sing. + +Isle of soft whispers, tremours of the heart! +The splendid phantom of thy rude goddess +Floats on thy seas like breath of spikenard, +Charging men's souls with love and lusciousness. + +Sweet isle of myrtles, once of open blooms: +Now only of lean lands most lean: it seems +A flinty desert bitter with shrill screams: +But one strange object on its horror looms. + +Not a fair temple, foiled with coppiced trees, +Where the young priestess, mistress of the flowers, +Goes opening her gown to the cool breeze, +To still the fire, the torment that devours. + +But as along the shore we skirted, near +Enough to scare the birds with our white sails, +We saw a three-limbed gibbet rising sheer. +Detached against the sky in spare details. + +Perched on their pasturage, ferocious fowl +Riddled with rage a more than putrid roast; +Each of them stabbing, like a tool, his foul +Beak in the oozing members of his host. + +Below, a troop of jealous quadrupeds, +Looking aloft with eye and steadfast snout; +A larger beast above the others' heads, +A hangman with his porters round about. + +The eyes, two caves; and from the rotten paunch, +Its freight, too heavy, streamed along the haunch, +Hang for these harpies' hideous delight, +Poor rag of flesh, torn of thy sex and sight! + +Cythera's child, child of so sweet a sky! +Silent thou bearest insult--as we must-- +In expiation of what faults deny +Thee even a shallow shelter in the dust. + +Ludicrous sufferer! thy woes are mine. +There came, at seeing of thy dangling limbs, +Up to my lips, like vomiting, the streams +Of ancient miseries, of gall and brine. + +Before thee, brother in my memory fresh! +I felt the mangling of the appetites +Of the black panthers, of the savage kites, +That were so fain to rend and pick my flesh. + +The sea was sleeping. Blue and beautiful +The sky. Henceforth I saw but murk and blood, +Alas! and as it had been in a shroud, +My heart lay buried in that parable, + +All thine isle showed me, Venus! was upthrust, +A symbol calvary where my image hung. +Give me, Lord God, to look upon that dung, +My body and my heart, without disgust. + + + + + +End of the Project Gutenberg EBook of Silverpoints, by John Gray + +*** END OF THIS PROJECT GUTENBERG EBOOK SILVERPOINTS *** + +***** This file should be named 21211.txt or 21211.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/1/2/1/21211/ + +Produced by Ruth Hart ruthhart@twilightoracle.com + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere 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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. 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 MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.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. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +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: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/21211.zip b/21211.zip Binary files differnew file mode 100644 index 0000000..73b384a --- /dev/null +++ b/21211.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..3de297c --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #21211 (https://www.gutenberg.org/ebooks/21211) |