summaryrefslogtreecommitdiff
path: root/28666.txt
diff options
context:
space:
mode:
Diffstat (limited to '28666.txt')
-rw-r--r--28666.txt2204
1 files changed, 2204 insertions, 0 deletions
diff --git a/28666.txt b/28666.txt
new file mode 100644
index 0000000..cdb4c92
--- /dev/null
+++ b/28666.txt
@@ -0,0 +1,2204 @@
+The Project Gutenberg EBook of Hymen, by Hilda Doolittle
+
+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: Hymen
+
+Author: Hilda Doolittle
+
+Release Date: May 2, 2009 [EBook #28666]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HYMEN ***
+
+
+
+
+Produced by Meredith Bach and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This book was
+produced from scanned images of public domain material
+from the Google Print project.)
+
+
+
+
+
+
+ +------------------------------------------------------------+
+ | Transcriber's Note |
+ | |
+ | Obvious typographical errors have been corrected in |
+ | this text. For a complete list, please see the bottom of |
+ | this document. |
+ +------------------------------------------------------------+
+
+
+
+
+HYMEN
+
+By
+
+H. D.
+
+NEW YORK
+HENRY HOLT AND COMPANY
+1921
+
+
+
+
+FOR BRYHER AND PERDITA
+
+
+
+
+ _They said:
+ she is high and far and blind
+ in her high pride,
+ but now that my head is bowed
+ in sorrow, I find
+ she is most kind._
+
+ _We have taken life, they said,
+ blithely, not groped in a mist
+ for things that are not--
+ are if you will, but bloodless--
+ why ask happiness of the dead?
+ and my heart bled._
+
+ _Ah, could they know
+ how violets throw strange fire,
+ red and purple and gold,
+ how they glow
+ gold and purple and red
+ where her feet tread._
+
+
+
+
+Acknowledgements are due to the editors of the following periodicals in
+which certain of these poems have appeared: _Poetry_ (Chicago), _The
+Dial_, _Contact_ and _The Bookman_ (New York), _The Nation_, _The
+Sphere_, _The Anglo-French Review_ and _The Egoist_ (London).
+
+
+
+
+CONTENTS
+
+
+HYMEN 7
+
+DEMETER 15
+
+SIMAETHA 19
+
+THETIS 20
+
+CIRCE 21
+
+LEDA 23
+
+HIPPOLYTUS TEMPORIZES 24
+
+CUCKOO SONG 25
+
+THE ISLANDS 27
+
+AT BAIA 30
+
+SEA HEROES 31
+
+"NOT HONEY" 33
+
+EVADNE 34
+
+SONG 35
+
+WHY HAVE YOU SOUGHT 36
+
+THE WHOLE WHITE WORLD 37
+
+PHAEDRA 38
+
+SHE CONTRASTS WITH HERSELF HIPPOLYTA 40
+
+SHE REBUKES HIPPOLYTA 42
+
+EGYPT 44
+
+HELIOS 45
+
+PRAYER 47
+
+
+
+
+HYMEN
+
+
+_As from a temple service, tall and dignified, with slow pace, each a
+queen, the sixteen matrons from the temple of Hera pass before the
+curtain--a dark purple hung between Ionic columns--of the porch or open
+hall of a palace. Their hair is bound as the marble hair of the temple
+Hera. Each wears a crown or diadem of gold._
+
+_They sing--the music is temple music, deep, simple, chanting notes:_
+
+ From the closed garden
+ Where our feet pace
+ Back and forth each day,
+ This gladiolus white,
+ This red, this purple spray--
+ Gladiolus tall with dignity
+ As yours, lady--we lay
+ Before your feet and pray:
+
+ Of all the blessings--
+ Youth, joy, ecstasy--
+ May one gift last
+ (As the tall gladiolus may
+ Outlast the wind-flower,
+ Winter-rose or rose),
+ One gift above,
+ Encompassing all those;
+
+ For her, for him,
+ For all within these palace walls,
+ Beyond the feast,
+ Beyond the cry of Hymen and the torch,
+ Beyond the night and music
+ Echoing through the porch till day.
+
+_The music, with its deep chanting notes, dies away. The curtain hangs
+motionless in rich, full folds. Then from this background of darkness,
+dignity and solemn repose, a flute gradually detaches itself, becomes
+clearer and clearer, pipes alone one shrill, simple little melody._
+
+_From the distance, four children's voices blend with the flute, and
+four very little girls pass singly before the curtain, small maids or
+attendants of the sixteen matrons. Their hair is short and curls at the
+back of their heads like the hair of the chryselephantine Hermes. They
+sing:_
+
+ Where the first crocus buds unfold
+ We found these petals near the cold
+ Swift river-bed.
+
+ Beneath the rocks where ivy-frond
+ Puts forth new leaves to gleam beyond
+ Those lately dead:
+
+ The very smallest two or three
+ Of gold (gold pale as ivory)
+ We gathered.
+
+_When the little girls have passed before the curtain, a wood-wind
+weaves a richer note into the flute melody; then the two blend into one
+song. But as the wood-wind grows in mellowness and richness, the flute
+gradually dies away into a secondary theme and the wood-wind alone
+evolves the melody of a new song._
+
+_Two by two--like two sets of medallions with twin profiles distinct,
+one head slightly higher, bent forward a little--the four figures of
+four slight, rather fragile taller children, are outlined with sharp
+white contour against the curtain._
+
+_The hair is smooth against the heads, falling to the shoulders but
+slightly waved against the nape of the neck. They are looking down, each
+at a spray of winter-rose. The tunics fall to the knees in sharp marble
+folds. They sing:_
+
+ Never more will the wind
+ Cherish you again,
+ Never more will the rain.
+
+ Never more
+ Shall we find you bright
+ In the snow and wind.
+
+ The snow is melted,
+ The snow is gone,
+ And you are flown:
+
+ Like a bird out of our hand,
+ Like a light out of our heart,
+ You are gone.
+
+_As the wistful notes of the wood-wind gradually die away, there comes a
+sudden, shrill, swift piping._
+
+_Free and wild, like the wood-maidens of Artemis, is this last group of
+four--very straight with heads tossed back. They sing in rich, free,
+swift notes. They move swiftly before the curtain in contrast to the
+slow, important pace of the first two groups. Their hair is loose and
+rayed out like that of the sun-god. They are boyish in shape and
+gesture. They carry hyacinths in baskets, strapped like quivers to their
+backs. They reach to draw the flower sprays from the baskets, as the
+Huntress her arrows._
+
+_As they dart swiftly to and fro before the curtain, they are youth,
+they are spring--they are the Chelidonia, their song is the swallow-song
+of joy:_
+
+ Between the hollows
+ Of the little hills
+ The spring spills blue--
+ Turquoise, sapphire, lapis-lazuli
+ On a brown cloth outspread.
+
+ Ah see,
+ How carefully we lay them now,
+ Each hyacinth spray,
+ Across the marble floor--
+ A pattern your bent eyes
+ May trace and follow
+ To the shut bridal door.
+
+ Lady, our love, our dear,
+ Our bride most fair,
+ They grew among the hollows
+ Of the hills;
+ As if the sea had spilled its blue,
+ As if the sea had risen
+ From its bed,
+ And sinking to the level of the shore,
+ Left hyacinths on the floor.
+
+_There is a pause. Flute, pipe and wood-wind blend in a full, rich
+movement. There is no definite melody but full, powerful rhythm like
+soft but steady wind above forest trees. Into this, like rain, gradually
+creeps the note of strings._
+
+_As the strings grow stronger and finally dominate the whole, the
+bride-chorus passes before the curtain. There may be any number in this
+chorus. The figures--tall young women, clothed in long white
+tunics--follow one another closely, yet are all distinct like a
+procession of a temple frieze._
+
+_The bride in the center is not at first distinguishable from her
+maidens; but as they begin their song, the maidens draw apart into two
+groups, leaving the veiled symbolic figure standing alone in the
+center._
+
+_The two groups range themselves to right and left like officiating
+priestesses. The veiled figure stands with her back against the curtain,
+the others being in profile. Her head is swathed in folds of diaphanous
+white, through which the features are visible, like the veiled Tanagra._
+
+_When the song is finished, the group to the bride's left turns about;
+also the bride, so that all face in one direction. In processional form
+they pass out, the figure of the bride again merging, not
+distinguishable from the maidens._
+
+_Strophe_
+
+ But of her
+ Who can say if she is fair?
+ Bound with fillet,
+ Bound with myrtle
+ Underneath her flowing veil,
+ Only the soft length
+ (Beneath her dress)
+ Of saffron shoe is bright
+ As a great lily-heart
+ In its white loveliness.
+
+_Antistrophe_
+
+ But of her
+ We can say that she is fair.
+ We bleached the fillet,
+ Brought the myrtle;
+ To us the task was set
+ Of knotting the fine threads of silk:
+ We fastened the veil,
+ And over the white foot
+ Drew on the painted shoe
+ Steeped in Illyrian crocus.
+
+_Strophe_
+
+ But of her,
+ Who can say if she is fair?
+ For her head is covered over
+ With her mantle
+ White on white,
+ Snow on whiter amaranth,
+ Snow on hoar-frost,
+ Snow on snow,
+ Snow on whitest buds of myrrh.
+
+_Antistrophe_
+
+ But of her,
+ We can say that she is fair;
+ For we know underneath
+ All the wanness,
+ All the heat
+ (In her blanched face)
+ Of desire
+ Is caught in her eyes as fire
+ In the dark center leaf
+ Of the white Syrian iris.
+
+_The rather hard, hieratic precision of the music--its stately pause and
+beat--is broken now into irregular lilt and rhythm of strings._
+
+_Four tall young women, very young matrons, enter in a group. They stand
+clear and fair, but this little group entirely lacks the austere
+precision of the procession of maidens just preceding them. They pause
+in the center of the stage; turn, one three-quarter, two in profile and
+the fourth full face; they stand, turned as if confiding in each other
+like a Tanagra group._
+
+_They sing lightly, their flower trays under their arms._
+
+ Along the yellow sand
+ Above the rocks
+ The laurel-bushes stand.
+ Against the shimmering heat
+ Each separate leaf
+ Is bright and cold,
+ And through the bronze
+ Of shining bark and wood
+ Run the fine threads of gold.
+
+ Here in our wicker-trays,
+ We bring the first faint blossoming
+ Of fragrant bays:
+
+ Lady, their blushes shine
+ As faint in hue
+ As when through petals
+ Of a laurel-rose
+ The sun shines through,
+ And throws a purple shadow
+ On a marble vase.
+
+ (Ah, love,
+ So her fair breasts will shine
+ With the faint shadow above.)
+
+_The harp chords become again more regular in simple definite rhythm.
+The music is not so intense as the bride-chorus; and quieter, more
+sedate, than the notes preceding the entrance of the last group._
+
+_Five or six slightly older serene young women enter in processional
+form; each holding before her, with precise bending of arms, coverlets
+and linen, carefully folded, as if for the bride couch. The garments are
+purple, scarlet and deep blue, with edge of gold._
+
+_They sing to blending of wood-wind and harp._
+
+ From citron-bower be her bed,
+ Cut from branch of tree a-flower,
+ Fashioned for her maidenhead.
+
+ From Lydian apples, sweet of hue,
+ Cut the width of board and lathe.
+ Carve the feet from myrtle-wood.
+
+ Let the palings of her bed
+ Be quince and box-wood overlaid
+ With the scented bark of yew.
+
+ That all the wood in blossoming,
+ May calm her heart and cool her blood
+ For losing of her maidenhood.
+
+_The wood-winds become more rich and resonant. A tall youth crosses the
+stage as if seeking the bride door. The music becomes very rich, full of
+color._
+
+_The figure itself is a flame, an exaggerated symbol; the hair a flame;
+the wings, deep red or purple, stand out against the curtains in a
+contrasting or almost clashing shade of purple. The tunic, again a rich
+purple or crimson, falls almost to the knees. The knees are bare; the
+sandals elaborately strapped over and over. The curtain seems a rich
+purple cloud, the figure, still brighter, like a flamboyant bird, half
+emerged in the sunset._
+
+_Love pauses just outside the bride's door with his gift, a tuft of
+black-purple cyclamen. He sings to the accompaniment of wood-winds, in a
+rich, resonant voice:_
+
+ The crimson cover of her bed
+ Is not so rich, nor so deeply bled
+ The purple-fish that dyed it red,
+ As when in a hot sheltered glen
+ There flowered these stalks of cyclamen:
+
+ (Purple with honey-points
+ Of horns for petals;
+ Sweet and dark and crisp,
+ As fragrant as her maiden kiss.)
+
+ There with his honey-seeking lips
+ The bee clings close and warmly sips,
+ And seeks with honey-thighs to sway
+ And drink the very flower away.
+
+ (Ah, stern the petals drawing back;
+ Ah rare, ah virginal her breath!)
+
+ Crimson, with honey-seeking lips,
+ The sun lies hot across his back,
+ The gold is decked across his wings.
+ Quivering he sways and quivering clings
+ (Ah, rare her shoulders drawing back!)
+ One moment, then the plunderer slips
+ Between the purple flower-lips.
+
+_Love passes out with a crash of cymbals. There is a momentary pause and
+the music falls into its calm, wave-like rhythm._
+
+_A band of boys passes before the curtain. They pass from side to side,
+crossing and re-crossing; but their figures never confuse one another,
+the outlines are never blurred. They stand out against the curtain with
+symbolic gesture, stooping as if to gather up the wreaths, or swaying
+with long stiff branch as if to sweep the fallen petals from the
+floor._
+
+_There is no marked melody from the instruments, but the boys' voices,
+humming lightly as they enter, gradually evolve a little dance song.
+There are no words but the lilt up and down of the boys' tenor voices._
+
+_Then, as if they had finished the task of gathering up the wreaths and
+sweeping the petals, they stand in groups of two before the pillars
+where the torches have been placed. They lift the torches from the
+brackets. They hold them aloft between them, one torch to each two boys.
+Their figures are cut against the curtain like the simple, triangular
+design on the base of a vase or frieze--the boys' heads on a level, the
+torches above them._
+
+_They sing in clear, half-subdued voices._
+
+ Where love is king,
+ Ah, there is little need
+ To dance and sing,
+ With bridal-torch to flare
+ Amber and scatter light
+ Across the purple air,
+ To sing and dance
+ To flute-note and to reed.
+
+ Where love is come
+ (Ah, love is come indeed!)
+ Our limbs are numb
+ Before his fiery need;
+ With all their glad
+ Rapture of speech unsaid,
+ Before his fiery lips
+ Our lips are mute and dumb.
+
+ Ah, sound of reed,
+ Ah, flute and trumpet wail,
+ Ah, joy decreed--
+ The fringes of her veil
+ Are seared and white;
+ Across the flare of light,
+ Blinded the torches fail.
+ (Ah, love is come indeed!)
+
+_At the end of the song, the torches flicker out and the figures are no
+longer distinguishable in the darkness. They pass out like shadows. The
+purple curtain hangs black and heavy._
+
+_The music dies away and is finally cut short with a few deep, muted
+chords._
+
+
+
+
+DEMETER
+
+
+ I
+
+ Men, fires, feasts,
+ steps of temple, fore-stone, lintel,
+ step of white altar, fire and after-fire,
+ slaughter before,
+ fragment of burnt meat,
+ deep mystery, grapple of mind to reach
+ the tense thought,
+ power and wealth, purpose and prayer alike,
+ (men, fires, feasts, temple steps)--useless.
+
+ Useless to me who plant
+ wide feet on a mighty plinth,
+ useless to me who sit,
+ wide of shoulder, great of thigh,
+ heavy in gold, to press
+ gold back against solid back
+ of the marble seat:
+ useless the dragons wrought on the arms,
+ useless the poppy-buds and the gold inset
+ of the spray of wheat.
+
+ Ah they have wrought me heavy
+ and great of limb--
+ she is slender of waist,
+ slight of breast, made of many fashions;
+ they have set _her_ small feet
+ on many a plinth;
+ she they have known,
+ she they have spoken with,
+ she they have smiled upon,
+ she they have caught
+ and flattered with praise and gifts.
+
+ But useless the flattery
+ of the mighty power
+ they have granted me:
+ for I will not stay in her breast
+ the great of limb,
+ though perfect the shell they have
+ fashioned me, these men!
+
+ Do I sit in the market place--
+ do I smile, does a noble brow
+ bend like the brow of Zeus--
+ am I a spouse, his or any,
+ am I a woman, or goddess or queen,
+ to be met by a god with a smile--and left?
+
+
+ II
+
+ Do you ask for a scroll,
+ parchment, oracle, prophecy, precedent;
+ do you ask for tablets marked with thought
+ or words cut deep on the marble surface,
+ do you seek measured utterance or the mystic trance?
+
+ Sleep on the stones of Delphi--
+ dare the ledges of Pallas
+ but keep me foremost,
+ keep me before you, after you, with you,
+ never forget when you start
+ for the Delphic precipice,
+ never forget when you seek Pallas
+ and meet in thought
+ yourself drawn out from yourself
+ like the holy serpent,
+ never forget
+ in thought or mysterious trance--
+ I am greatest and least.
+
+ Soft are the hands of Love,
+ soft, soft are his feet;
+ you who have twined myrtle,
+ have you brought crocuses,
+ white as the inner
+ stript bark of the osier,
+ have you set
+ black crocus against the black
+ locks of another?
+
+
+ III
+
+ Of whom do I speak?
+
+ Many the children of gods
+ but first I take
+ Bromios, fostering prince,
+ lift from the ivy brake, a king.
+
+ Enough of the lightning,
+ enough of the tales that speak
+ of the death of the mother:
+ strange tales of a shelter
+ brought to the unborn,
+ enough of tale, myth, mystery, precedent--
+ a child lay on the earth asleep.
+
+ Soft are the hands of Love,
+ but what soft hands
+ clutched at the thorny ground,
+ scratched like a small white ferret
+ or foraging whippet or hound,
+ sought nourishment and found
+ only the crackling of ivy,
+ dead ivy leaf and the white
+ berry, food for a bird,
+ no food for this who sought,
+ bending small head in a fever,
+ whining with little breath.
+
+ Ah, small black head,
+ ah, the purple ivy bush,
+ ah, berries that shook and spilt
+ on the form beneath,
+ who begot you and left?
+
+ Though I begot no man child
+ all my days,
+ the child of my heart and spirit,
+ is the child the gods desert
+ alike and the mother in death--
+ the unclaimed Dionysios.
+
+
+ IV
+
+ _What of her--
+ mistress of Death?_
+
+ Form of a golden wreath
+ were my hands that girt her head,
+ fingers that strove to meet,
+ and met where the whisps escaped
+ from the fillet, of tenderest gold,
+ small circlet and slim
+ were my fingers then.
+
+ Now they are wrought of iron
+ to wrest from earth
+ secrets; strong to protect,
+ strong to keep back the winter
+ when winter tracks too soon
+ blanch the forest:
+ strong to break dead things,
+ the young tree, drained of sap,
+ the old tree, ready to drop,
+ to lift from the rotting bed
+ of leaves, the old
+ crumbling pine tree stock,
+ to heap bole and knot of fir
+ and pine and resinous oak,
+ till fire shatter the dark
+ and hope of spring
+ rise in the hearts of men.
+
+ _What of her--
+ mistress of Death--
+ what of his kiss?_
+
+ Ah, strong were his arms to wrest
+ slight limbs from the beautiful earth,
+ young hands that plucked the first
+ buds of the chill narcissus,
+ soft fingers that broke
+ and fastened the thorny stalk
+ with the flower of wild acanthus.
+
+ Ah, strong were the arms that took
+ (ah evil, the heart and graceless,)
+ but the kiss was less passionate!
+
+
+
+
+SIMAETHA
+
+
+ Drenched with purple,
+ drenched with dye, my wool,
+ bind you the wheel-spokes--
+ turn, turn, turn my wheel!
+
+ Drenched with purple,
+ steeped in the red pulp
+ of bursting sea-sloes--
+ turn, turn, turn my wheel!
+
+ (Ah did he think
+ I did not know,
+ I did not feel--
+ what wrack, what weal for him:
+ golden one, golden one,
+ turn again Aphrodite with the yellow zone,
+ I am cursed, cursed, undone!
+ Ah and my face, Aphrodite,
+ beside your gold,
+ is cut out of white stone!)
+
+ Laurel blossom and the red seed
+ of the red vervain weed,
+ burn, crackle in the fire,
+ burn, crackle for my need!
+ Laurel leaf, O fruited
+ branch of bay,
+ burn, burn away
+ thought, memory and hurt!
+
+ (Ah when he comes,
+ stumbling across my sill,
+ will he find me still,
+ fragrant as the white privet,
+ or as a bone,
+ polished in wet and sun,
+ worried of wild beaks,
+ and of the whelps' teeth--
+ worried of flesh,
+ left to bleach under the sun,
+ white as ash bled of heat,
+ white as hail blazing in sheet-lightning,
+ white as forked lightning
+ rending the sleet?)
+
+
+
+
+THETIS
+
+
+ I
+
+ On the paved parapet
+ you will step carefully
+ from amber stones to onyx
+ flecked with violet,
+ mingled with light,
+ half showing the sea-grass
+ and sea-sand underneath,
+ reflecting your white feet
+ and the gay strap crimson
+ as lily-buds of Arion,
+ and the gold that binds your feet.
+
+
+ II
+
+ You will pass
+ beneath the island disk
+ (and myrtle-wood,
+ the carved support of it)
+ and the white stretch
+ of its white beach,
+ curved as the moon crescent
+ or ivory when some fine hand
+ chisels it:
+ when the sun slips
+ through the far edge,
+ there is rare amber
+ through the sea,
+ and flecks of it
+ glitter on the dolphin's back
+ and jewelled halter
+ and harness and bit
+ as he sways under it.
+
+
+
+
+CIRCE
+
+
+ It was easy enough
+ to bend them to my wish,
+ it was easy enough
+ to alter them with a touch,
+ but you
+ adrift on the great sea,
+ how shall I call you back?
+
+ Cedar and white ash,
+ rock-cedar and sand plants
+ and tamarisk
+ red cedar and white cedar
+ and black cedar from the inmost forest,
+ fragrance upon fragrance
+ and all of my sea-magic is for nought.
+
+ It was easy enough--
+ a thought called them
+ from the sharp edges of the earth;
+ they prayed for a touch,
+ they cried for the sight of my face,
+ they entreated me
+ till in pity
+ I turned each to his own self.
+
+ Panther and panther,
+ then a black leopard
+ follows close--
+ black panther and red
+ and a great hound,
+ a god-like beast,
+ cut the sand in a clear ring
+ and shut me from the earth,
+ and cover the sea-sound
+ with their throats,
+ and the sea-roar with their own barks
+ and bellowing and snarls,
+ and the sea-stars
+ and the swirl of the sand,
+ and the rock-tamarisk
+ and the wind resonance--
+ but not your voice.
+
+ It is easy enough to call men
+ from the edges of the earth.
+ It is easy enough to summon them to my feet
+ with a thought--
+ it is beautiful to see the tall panther
+ and the sleek deer-hounds
+ circle in the dark.
+
+ It is easy enough
+ to make cedar and white ash fumes
+ into palaces
+ and to cover the sea-caves
+ with ivory and onyx.
+
+ But I would give up
+ rock-fringes of coral
+ and the inmost chamber
+ of my island palace
+ and my own gifts
+ and the whole region
+ of my power and magic
+ for your glance.
+
+
+
+
+LEDA
+
+
+ Where the slow river
+ meets the tide,
+ a red swan lifts red wings
+ and darker beak,
+ and underneath the purple down
+ of his soft breast
+ uncurls his coral feet.
+
+ Through the deep purple
+ of the dying heat
+ of sun and mist,
+ the level ray of sun-beam
+ has caressed
+ the lily with dark breast,
+ and flecked with richer gold
+ its golden crest.
+
+ Where the slow lifting
+ of the tide,
+ floats into the river
+ and slowly drifts
+ among the reeds,
+ and lifts the yellow flags,
+ he floats
+ where tide and river meet.
+
+ Ah kingly kiss--
+ no more regret
+ nor old deep memories
+ to mar the bliss;
+ where the low sedge is thick,
+ the gold day-lily
+ outspreads and rests
+ beneath soft fluttering
+ of red swan wings
+ and the warm quivering
+ of the red swan's breast.
+
+
+
+
+HIPPOLYTUS TEMPORIZES
+
+
+ I worship the greatest first--
+ (it were sweet, the couch,
+ the brighter ripple of cloth
+ over the dipped fleece;
+ the thought: her bones
+ under the flesh are white
+ as sand which along a beach
+ covers but keeps the print
+ of the crescent shapes beneath:
+ I thought:
+ between cloth and fleece,
+ so her body lies.)
+
+ I worship first, the great--
+ (ah, sweet, your eyes--
+ what God, invoked in Crete,
+ gave them the gift to part
+ as the Sidonian myrtle-flower
+ suddenly, wide and swart,
+ then swiftly,
+ the eye-lids having provoked our hearts--
+ as suddenly beat and close.)
+
+ I worship the feet, flawless,
+ that haunt the hills--
+ (ah, sweet, dare I think,
+ beneath fetter of golden clasp,
+ of the rhythm, the fall and rise
+ of yours, carven, slight
+ beneath straps of gold that keep
+ their slender beauty caught,
+ like wings and bodies
+ of trapped birds.)
+
+ I worship the greatest first--
+ (suddenly into my brain--
+ the flash of sun on the snow,
+ the fringe of light and the drift,
+ the crest and the hill-shadow--
+ ah, surely now I forget,
+ ah splendour, my goddess turns:
+ or was it the sudden heat,
+ beneath quivering of molten flesh,
+ of veins, purple as violets?)
+
+
+
+
+CUCKOO SONG
+
+
+ Ah, bird,
+ our love is never spent
+ with your clear note,
+ nor satiate our soul;
+ not song, not wail, not hurt,
+ but just a call summons us
+ with its simple top-note
+ and soft fall;
+
+ not to some rarer heaven
+ of lilies over-tall,
+ nor tuberose set against
+ some sun-lit wall,
+ but to a gracious
+ cedar-palace hall;
+
+ not marble set with purple
+ hung with roses and tall
+ sweet lilies--such
+ as the nightingale
+ would summon for us
+ with her wail--
+ (surely only unhappiness
+ could thrill
+ such a rich madrigal!)
+ not she, the nightingale
+ can fill our souls
+ with such a wistful joy as this:
+
+ nor, bird, so sweet
+ was ever a swallow note--
+ not hers, so perfect
+ with the wing of lazuli
+ and bright breast--
+ nor yet the oriole
+ filling with melody
+ from her fiery throat
+ some island-orchard
+ in a purple sea.
+
+ Ah dear, ah gentle bird,
+ you spread warm length
+ of crimson wool
+ and tinted woven stuff
+ for us to rest upon,
+ nor numb with ecstasy
+ nor drown with death:
+
+ only you soothe, make still
+ the throbbing of our brain:
+ so through her forest trees,
+ when all her hope was gone
+ and all her pain,
+ Calypso heard your call--
+ across the gathering drift
+ of burning cedar-wood,
+ across the low-set bed
+ of wandering parsley and violet,
+ when all her hope was dead.
+
+
+
+
+THE ISLANDS
+
+
+ I
+
+ What are the islands to me,
+ what is Greece,
+ what is Rhodes, Samos, Chios,
+ what is Paros facing west,
+ what is Crete?
+
+ What is Samothrace,
+ rising like a ship,
+ what is Imbros rending the storm-waves
+ with its breast?
+
+ What is Naxos, Paros, Milos,
+ what the circle about Lycia,
+ what, the Cyclades'
+ white necklace?
+
+ What is Greece--
+ Sparta, rising like a rock,
+ Thebes, Athens,
+ what is Corinth?
+
+ What is Euboia
+ with its island violets,
+ what is Euboia, spread with grass,
+ set with swift shoals,
+ what is Crete?
+
+ What are the islands to me,
+ what is Greece?
+
+
+ II
+
+ What can love of land give to me
+ that you have not--
+ what do the tall Spartans know,
+ and gentler Attic folk?
+
+ What has Sparta and her women
+ more than this?
+
+ What are the islands to me
+ if you are lost--
+ what is Naxos, Tinos, Andros,
+ and Delos, the clasp
+ of the white necklace?
+
+
+ III
+
+ What can love of land give to me
+ that you have not,
+ what can love of strife break in me
+ that you have not?
+
+ Though Sparta enter Athens,
+ Thebes wrack Sparta,
+ each changes as water,
+ salt, rising to wreak terror
+ and fall back.
+
+
+ IV
+
+ "What has love of land given to you
+ that I have not?"
+
+ I have questioned Tyrians
+ where they sat
+ on the black ships,
+ weighted with rich stuffs,
+ I have asked the Greeks
+ from the white ships,
+ and Greeks from ships whose hulks
+ lay on the wet sand, scarlet
+ with great beaks.
+ I have asked bright Tyrians
+ and tall Greeks--
+ "what has love of land given you?"
+ And they answered--"peace."
+
+
+ V
+
+ But beauty is set apart,
+ beauty is cast by the sea,
+ a barren rock,
+ beauty is set about
+ with wrecks of ships,
+ upon our coast, death keeps
+ the shallows--death waits
+ clutching toward us
+ from the deeps.
+
+ Beauty is set apart;
+ the winds that slash its beach,
+ swirl the coarse sand
+ upward toward the rocks.
+
+ Beauty is set apart
+ from the islands
+ and from Greece.
+
+
+ VI
+
+ In my garden
+ the winds have beaten
+ the ripe lilies;
+ in my garden, the salt
+ has wilted the first flakes
+ of young narcissus,
+ and the lesser hyacinth,
+ and the salt has crept
+ under the leaves of the white hyacinth.
+
+ In my garden
+ even the wind-flowers lie flat,
+ broken by the wind at last.
+
+
+ VII
+
+ What are the islands to me
+ if you are lost,
+ what is Paros to me
+ if your eyes draw back,
+ what is Milos
+ if you take fright of beauty,
+ terrible, torturous, isolated,
+ a barren rock?
+
+ What is Rhodes, Crete,
+ what is Paros facing west,
+ what, white Imbros?
+
+ What are the islands to me
+ if you hesitate,
+ what is Greece if you draw back
+ from the terror
+ and cold splendour of song
+ and its bleak sacrifice?
+
+
+
+
+AT BAIA
+
+
+ I should have thought
+ in a dream you would have brought
+ some lovely, perilous thing,
+ orchids piled in a great sheath,
+ as who would say (in a dream)
+ I send you this,
+ who left the blue veins
+ of your throat unkissed.
+
+ Why was it that your hands
+ (that never took mine)
+ your hands that I could see
+ drift over the orchid heads
+ so carefully,
+ your hands, so fragile, sure to lift
+ so gently, the fragile flower stuff--
+ ah, ah, how was it
+
+ You never sent (in a dream)
+ the very form, the very scent,
+ not heavy, not sensuous,
+ but perilous--perilous--
+ of orchids, piled in a great sheath,
+ and folded underneath on a bright scroll
+ some word:
+
+ Flower sent to flower;
+ for white hands, the lesser white,
+ less lovely of flower leaf,
+
+ or
+
+ Lover to lover, no kiss,
+ no touch, but forever and ever this.
+
+
+
+
+SEA HEROES
+
+
+ Crash on crash of the sea,
+ straining to wreck men, sea-boards, continents,
+ raging against the world, furious,
+ stay at last, for against your fury
+ and your mad fight,
+ the line of heroes stands, god-like:
+
+ Akroneos, Oknolos, Elatreus,
+ helm-of-boat, loosener-of-helm, dweller-by-sea,
+ Nauteus, sea-man,
+ Prumneos, stern-of-ship,
+ Agchialos, sea-girt,
+ Elatreus, oar-shaft:
+ lover-of-the-sea, lover-of-the-sea-ebb,
+ lover-of-the-swift-sea,
+ Ponteus, Proreus, Ooos:
+ Anabesneos, one caught between
+ wave-shock and wave-shock:
+ Eurualos, broad sea-wrack,
+ like Ares, man's death,
+ and Naubolides, best in shape,
+ of all first in size:
+ Phaekous, seas' thunderbolt--
+ ah, crash on crash of great names--
+ man-tamer, man's-help, perfect Laodamos:
+ and last the sons of great Alkinoos,
+ Laodamos, Halios and god-like Clytomeos.
+
+ Of all nations, of all cities,
+ of all continents,
+ she is favoured among the rest,
+ for she gives men as great as the sea,
+ valorous to the fight,
+ to battle against the elements and evil:
+ greater even than the sea,
+ they live beyond wrack and death of cities,
+ and each god-like name spoken
+ is as a shrine in a godless place.
+
+ But to name you,
+ we reverent are breathless,
+ weak with pain and old loss,
+ and exile and despair--
+ our hearts break but to speak
+ your name, Oknaleos--
+ and may we but call you in the feverish wrack
+ of our storm-strewn beach, Eretmeos,
+ and our hurt is quiet and our hearts tamed,
+ as the sea may yet be tamed,
+ and we vow to float great ships,
+ named for each hero,
+ and oar-blades, cut out of mountain-trees
+ as such men might have shaped:
+ Eretmeos and the sea is swept,
+ baffled by the lordly shape,
+ Akroneos has pines for his ship's keel;
+ to love, to mate the sea?
+ Ah there is Ponteos,
+ the very deeps roar,
+ hailing you dear--
+ they clamour to Ponteos,
+ and to Proeos
+ leap, swift to kiss, to curl, to creep,
+ lover to mistress.
+
+ What wave, what love, what foam,
+ for Ooos who moves swift as the sea?
+ Ah stay, my heart, the weight
+ of lovers, of loneliness
+ drowns me,
+ alas that their very names
+ so press to break my heart
+ with heart-sick weariness,
+ what would they be,
+ the very gods,
+ rearing their mighty length
+ beside the unharvested sea?
+
+
+
+
+"NOT HONEY"
+
+
+ Not honey,
+ not the plunder of the bee
+ from meadow or sand-flower
+ or mountain bush;
+ from winter-flower or shoot
+ born of the later heat:
+ not honey, not the sweet
+ stain on the lips and teeth:
+ not honey, not the deep
+ plunge of soft belly
+ and the clinging of the gold-edged
+ pollen-dusted feet.
+
+ Not so--
+ though rapture blind my eyes,
+ and hunger crisp
+ dark and inert my mouth,
+ not honey, not the south,
+ not the tall stalk
+ of red twin-lilies,
+ nor light branch of fruit tree
+ caught in flexible light branch.
+
+ Not honey, not the south;
+ ah flower of purple iris,
+ flower of white,
+ or of the iris, withering the grass--
+ for fleck of the sun's fire,
+ gathers such heat and power,
+ that shadow-print is light,
+ cast through the petals
+ of the yellow iris flower.
+
+ Not iris--old desire--old passion--
+ old forgetfulness--old pain--
+ not this, nor any flower,
+ but if you turn again,
+ seek strength of arm and throat,
+ touch as the god;
+ neglect the lyre-note;
+ knowing that you shall feel,
+ about the frame,
+ no trembling of the string
+ but heat, more passionate
+ of bone and the white shell
+ and fiery tempered steel.
+
+
+
+
+EVADNE
+
+
+ I first tasted under Apollo's lips
+ love and love sweetness,
+ I Evadne;
+ my hair is made of crisp violets
+ or hyacinth which the wind combs back
+ across some rock shelf;
+ I Evadne
+ was mate of the god of light.
+
+ His hair was crisp to my mouth
+ as the flower of the crocus,
+ across my cheek,
+ cool as the silver cress
+ on Erotos bank;
+ between my chin and throat
+ his mouth slipped over and over.
+
+ Still between my arm and shoulder,
+ I feel the brush of his hair,
+ and my hands keep the gold they took
+ as they wandered over and over
+ that great arm-full of yellow flowers.
+
+
+
+
+SONG
+
+
+ You are as gold
+ as the half-ripe grain
+ that merges to gold again,
+ as white as the white rain
+ that beats through
+ the half-opened flowers
+ of the great flower tufts
+ thick on the black limbs
+ of an Illyrian apple bough.
+
+ Can honey distill such fragrance
+ as your bright hair--
+ for your face is as fair as rain,
+ yet as rain that lies clear
+ on white honey-comb,
+ lends radiance to the white wax,
+ so your hair on your brow
+ casts light for a shadow.
+
+
+
+
+WHY HAVE YOU SOUGHT
+
+
+ Why have you sought the Greeks, Eros,
+ when such delight was yours
+ in the far depth of sky:
+ there you could note bright ivory
+ take colour where she bent her face,
+ and watch fair gold shed gold
+ on radiant surface of porch and pillar:
+ and ivory and bright gold,
+ polished and lustrous grow faint
+ beside that wondrous flesh
+ and print of her foot-hold:
+ Love, why do you tempt the Grecian porticoes?
+
+ Here men are bent with thought
+ and women waste fair moments
+ gathering lint and pricking coloured stuffs
+ to mar their breasts,
+ while she, adored,
+ wastes not her fingers,
+ worn of fire and sword,
+ wastes not her touch
+ on linen and fine thread,
+ wastes not her head
+ in thought and pondering,
+ Love, why have you sought the horde
+ of spearsmen, why the tent
+ Achilles pitched beside the river-ford?
+
+
+
+
+THE WHOLE WHITE WORLD
+
+
+ The whole white world is ours,
+ and the world, purple with rose-bays,
+ bays, bush on bush,
+ group, thicket, hedge and tree,
+ dark islands in a sea
+ of grey-green olive or wild white-olive,
+ cut with the sudden cypress shafts,
+ in clusters, two or three,
+ or with one slender, single cypress-tree.
+
+ Slid from the hill,
+ as crumbling snow-peaks slide,
+ citron on citron fill
+ the valley, and delight
+ waits till our spirits tire
+ of forest, grove and bush
+ and purple flower of the laurel-tree.
+
+ Yet not one wearies,
+ joined is each to each
+ in happiness complete
+ with bush and flower:
+ ours is the wind-breath
+ at the hot noon-hour,
+ ours is the bee's soft belly
+ and the blush of the rose-petal,
+ lifted, of the flower.
+
+
+
+
+PHAEDRA
+
+
+ Think, O my soul,
+ of the red sand of Crete;
+ think of the earth; the heat
+ burnt fissures like the great
+ backs of the temple serpents;
+ think of the world you knew;
+ as the tide crept, the land
+ burned with a lizard-blue
+ where the dark sea met the sand.
+
+ Think, O my soul--
+ what power has struck you blind--
+ is there no desert-root, no forest-berry
+ pine-pitch or knot of fir
+ known that can help the soul
+ caught in a force, a power,
+ passionless, not its own?
+
+ So I scatter, so implore
+ Gods of Crete, summoned before
+ with slighter craft;
+ ah, hear my prayer:
+
+ Grant to my soul
+ the body that it wore,
+ trained to your thought,
+ that kept and held your power,
+ as the petal of black poppy,
+ the opiate of the flower.
+
+ For art undreamt in Crete,
+ strange art and dire,
+ in counter-charm prevents my charm
+ limits my power:
+ pine-cone I heap,
+ grant answer to my prayer.
+
+ No more, my soul--
+ as the black cup, sullen and dark with fire,
+ burns till beside it, noon's bright heat
+ is withered, filled with dust--
+ and into that noon-heat
+ grown drab and stale,
+ suddenly wind and thunder and swift rain,
+ till the scarlet flower is wrecked
+ in the slash of the white hail.
+
+ The poppy that my heart was,
+ formed to blind all mortals,
+ made to strike and gather hearts
+ like flame upon an altar,
+ fades and shrinks, a red leaf
+ drenched and torn in the cold rain.
+
+
+
+
+SHE CONTRASTS WITH HERSELF HIPPOLYTA
+
+
+ Can flame beget white steel--
+ ah no, it could not take
+ within my reins its shelter;
+ steel must seek steel,
+ or hate make out of joy
+ a whet-stone for a sword;
+ sword against flint,
+ Theseus sought Hippolyta;
+ she yielded not nor broke,
+ sword upon stone,
+ from the clash leapt a spark,
+ Hippolytus, born of hate.
+
+ What did she think
+ when all her strength
+ was twisted for his bearing;
+ did it break,
+ even within her sheltered heart, a song,
+ some whispered note,
+ distant and faint as this:
+
+ _Love that I bear
+ within my breast
+ how is my armour melted
+ how my heart:
+ as an oak-tree
+ that keeps beneath the snow,
+ the young bark fresh
+ till the spring cast
+ from off its shoulders
+ the white snow
+ so does my armour melt._
+
+ _Love that I bear
+ within my heart, O speak;
+ tell how beneath the serpent-spotted shell,
+ the cygnets wait,
+ how the soft owl
+ opens and flicks with pride,
+ eye-lids of great bird-eyes,
+ when underneath its breast
+ the owlets shrink and turn._
+
+ You have the power,
+ (then did she say) Artemis,
+ benignity to grant
+ forgiveness that I gave
+ no quarter to an enemy who cast
+ his armour on the forest-moss,
+ and took, unmatched in an uneven contest,
+ Hippolyta who relented not,
+ returned and sought no kiss.
+
+ Then did she pray: Artemis,
+ grant that no flower
+ be grafted alien on a broken stalk,
+ no dark flame-laurel on the stricken crest
+ of a wild mountain-poplar;
+ grant in my thought,
+ I never yield but wait,
+ entreating cold white river,
+ mountain-pool and salt:
+ let all my veins be ice,
+ until they break
+ (strength of white beach,
+ rock of mountain land,
+ forever to you, Artemis, dedicate)
+ from out my reins,
+ those small, cold hands.
+
+
+
+
+SHE REBUKES HIPPOLYTA
+
+
+ Was she so chaste?
+
+ Swift and a broken rock
+ clatters across the steep shelf
+ of the mountain slope,
+ sudden and swift
+ and breaks as it clatters down
+ into the hollow breach
+ of the dried water-course:
+ far and away
+ (through fire I see it,
+ and smoke of the dead, withered stalks
+ of the wild cistus-brush)
+ Hippolyta, frail and wild,
+ galloping up the slope
+ between great boulder and rock
+ and group and cluster of rock.
+
+ Was she so chaste,
+ (I see it, sharp, this vision,
+ and each fleck on the horse's flanks
+ of foam, and bridle and bit,
+ silver, and the straps,
+ wrought with their perfect art,
+ and the sun,
+ striking athwart the silver-work,
+ and the neck, strained forward, ears alert,
+ and the head of a girl
+ flung back and her throat.)
+
+ Was she so chaste--
+ (Ah, burn my fire, I ask
+ out of the smoke-ringed darkness
+ enclosing the flaming disk
+ of my vision)
+ I ask for a voice to answer:
+ was she chaste?
+
+ Who can say--
+ the broken ridge of the hills
+ was the line of a lover's shoulder,
+ his arm-turn, the path to the hills,
+ the sudden leap and swift thunder
+ of mountain boulders, his laugh.
+
+ She was mad--
+ as no priest, no lover's cult
+ could grant madness;
+ the wine that entered her throat
+ with the touch of the mountain rocks
+ was white, intoxicant:
+ she, the chaste,
+ was betrayed by the glint
+ of light on the hills,
+ the granite splinter of rocks,
+ the touch of the stone
+ where heat melts
+ toward the shadow-side of the rocks.
+
+
+
+
+EGYPT
+
+(TO E. A. POE)
+
+
+ Egypt had cheated us,
+ for Egypt took
+ through guile and craft
+ our treasure and our hope,
+ Egypt had maimed us,
+ offered dream for life,
+ an opiate for a kiss,
+ and death for both.
+
+ White poison flower we loved
+ and the black spike
+ of an ungarnered bush--
+ (a spice--or without taste--
+ we wondered--then we asked
+ others to take and sip
+ and watched their death)
+ Egypt we loved, though hate
+ should have withheld our touch.
+
+ Egypt had given us knowledge,
+ and we took, blindly,
+ through want of heart,
+ what Egypt brought;
+ knowing all poison,
+ what was that or this,
+ more or less perilous,
+ than this or that.
+
+ We pray you, Egypt,
+ by what perverse fate,
+ has poison brought with knowledge,
+ given us this--
+ not days of trance,
+ shadow, fore-doom of death,
+ but passionate grave thought,
+ belief enhanced,
+ ritual returned and magic;
+
+ Even in the uttermost black pit
+ of the forbidden knowledge,
+ wisdom's glance,
+ the grey eyes following
+ in the mid-most desert--
+ great shaft of rose,
+ fire shed across our path,
+ upon the face grown grey, a light,
+ Hellas re-born from death.
+
+
+
+
+HELIOS
+
+
+ _Helios makes all things right:--
+ night brands and chokes
+ as if destruction broke
+ over furze and stone and crop
+ of myrtle-shoot and field-wort,
+ destroyed with flakes of iron,
+ the bracken-stems,
+ where tender roots were sown,
+ blight, chaff and waste
+ of darkness to choke and drown._
+
+ _A curious god to find,
+ yet in the end faithful;
+ bitter, the Kyprian's feet--
+ ah flecks of whited clay,
+ great hero, vaunted lord--
+ ah petal, dust and wind-fall
+ on the ground--queen awaiting queen._
+
+ _Better the weight, they tell,
+ the helmet's beaten shell,
+ Athene's riven steel,
+ caught over the white skull,
+ Athene sets to heal
+ the few who merit it._
+
+ _Yet even then, what help,
+ should he not turn and note
+ the height of forehead and the mark of conquest,
+ draw near and try the helmet;
+ to left--reset the crown
+ Athene weighted down,
+ or break with a light touch
+ mayhap the steel set to protect;
+ to slay or heal._
+
+ _A treacherous god, they say,
+ yet who would wait to test
+ justice or worth or right,
+ when through a fetid night
+ is wafted faint and nearer--
+ then straight as point of steel
+ to one who courts swift death,
+ scent of Hesperidean orange-spray._
+
+
+
+
+PRAYER
+
+
+ White, O white face--
+ from disenchanted days
+ wither alike dark rose
+ and fiery bays:
+ no gift within our hands,
+ nor strength to praise,
+ only defeat and silence;
+ though we lift hands, disenchanted,
+ of small strength, nor raise
+ branch of the laurel
+ or the light of torch,
+ but fold the garment
+ on the riven locks,
+ yet hear, all-merciful, and touch
+ the fore-head, dim, unlit of pride and thought,
+ Mistress--be near!
+ Give back the glamour to our will,
+ the thought; give back the tool,
+ the chisel; once we wrought
+ things not unworthy,
+ sandal and steel-clasp;
+ silver and steel, the coat
+ with white leaf-pattern
+ at the arm and throat:
+ silver and metal, hammered for the ridge
+ of shield and helmet-rim;
+ white silver with the dark hammered in,
+ belt, staff and magic spear-shaft
+ with the gilt spark at the point and hilt.
+
+_Printed in England at the Pelican Press, 2 Carmelite Street, London,
+E.C._
+
+ +--------------------------------------------------------------+
+ | Transcriber's Notes |
+ | |
+ | Page 42: though amended to through ("through fire I see |
+ | it, ...") |
+ | |
+ | Hyphenation has generally been standardized. However, when a |
+ | word appears hyphenated and unhyphenated an equal number of |
+ | times, both versions have been retained (forehead/ |
+ | fore-head). |
+ +--------------------------------------------------------------+
+
+
+
+
+
+End of the Project Gutenberg EBook of Hymen, by Hilda Doolittle
+
+*** END OF THIS PROJECT GUTENBERG EBOOK HYMEN ***
+
+***** This file should be named 28666.txt or 28666.zip *****
+This and all associated files of various formats will be found in:
+ https://www.gutenberg.org/2/8/6/6/28666/
+
+Produced by Meredith Bach and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This book was
+produced from scanned images of public domain material
+from the Google Print project.)
+
+
+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
+https://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 are 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 https://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
+https://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 https://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 https://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 including checks, online payments and credit card
+donations. To donate, please visit: https://pglaf.org/donate
+
+
+Section 5. General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was 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:
+
+ https://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.
generated by cgit v1.2.3 (git 2.25.1) at 2026-01-01 02:42:41 +0000