The Project Gutenberg eBook of Poems, by Clive Bell.

Most or these verses have appeared in the papers—The Nation, New Statesman, Cambridge Magazine—to the editors of which I tender customary dues. Also, in 1917, a dozen were brought together to make a little book, Ad Familiares, of which a hundred copies were printed privately. Of these seventy were immediately distributed amongst my friends, while the remaining thirty have drifted into the hands of curious amateurs who wrote and asked for them. My stock is now exhausted; but apparently the stock of amateurs is not: for, from time to time, still reach me civil requests for a copy. What can I do? On the one hand, my vanity is outraged by the idea of people anxious but unable to read me; on the other, I am too mean to print for their benefit at my own expense. What I have done is to accept with joy an offer by the Hogarth Press to publish a complete edition of my poems—seventeen in number. Thus, in future, without being at pains to write a flattering letter, and at a trifling cost, any amateur can acquire the works of an extremely rare poet.

THE CARD HOUSE

And so he laboured very hard,
Piled little card on little card
And laughed to see how well it stood,
How all his work was sure and good
And pretty as a minaret.
He shone with pleasure. "Now I'll set
A jolly cap to crown the thing."
He clapped his hands. Perhaps the fling,
Perhaps the shout was over-daring;
It toppled down while he was staring.
One had to titter, willy-nilly,
To see him look so sad and silly.

LETTER TO A LADY I

A Gli Alberetti

Venice

April, 1913

Here in a garden under vines
Translucent in the mid-day sun,
Washing, green shutters, and the lines
Of the Salute, which is fun
And pure baroque to men of taste,
I'm waiting—while the pot-boy chaste
Or chastish since Ignatius Chowne
And J. A. Symonds to this town
Have taught Italian history—waiting,
I say, while he is regulating
A "conto" of 12.50-Change
For 50 lire; it is strange
In "tutto il viale bello"
In which the shops are small but thrifty
There's not a single honest fellow
To furnish 37.50.

I'm waiting still, and still I ponder,
As I have pondered all the morning,
Out on the blue Giudecca yonder,
Under the arches, listless, yawning
Full-mouthed against precocious summer
That's sprung this quick surprise upon us,
And found us out, the sly new-comer,
Tweed-coated, winter-hosed, astonished—
I ponder, knowing all the time
The answer, ponder for the pleasure
Of fitting fancy into rhyme
And matching music with the weather,
What lacks when sea and sky conspire
With form as thin but more romantic
Than that which some of us admire
At Covent Garden,—Transatlantic
Cousins still call it monumental,
But we know better—sentimental
People divine a riddle basking
Under its marble,—never mind them,
Be sure they'll come, their tales behind them,
Safe home to Chelsea. Still I'm asking:
"What's lacking yet?" The Spring's awake,
Each palace curtsies to her neighbour,
Each gondolier's a handsome rake,
Each mouth-organ a dulcet tabor;
What can I want when Venice plays
And Time's a song, and Fate's a dancer,
And Life drifts gaily down her ways,
What's lacking, Madame? Can you answer?

TO A.V.S. WITH A BOOK

Books are the quiet monitors of mind,
They prompt its motions, shape its ways, they find
A road through mazes to the higher ground,
Whence to explore the sky-bound marches. Round
About us lie the open downs. Our days
Still ask a guide and goad. Wherefore always
We meditate wise thoughts and passionate lays;
Wherefore I send a book.

Books are the mind's last symbol. They express
Its visions and its subtleties—a dress
Material for the immaterial things
That soar to immortality on wings
Of words, and live, by magic of the pen,
Where dead minds live, upon the lips of men
And deep in hearts that stir. Wherefore do I,
Drawing a little near, prophetically,
Send you a book.

Books are the heart's memorial. They shall measure,
In after days, our undiscovered treasure,—
Thrilling self-knowledge, half-divined untold
Yearnings, and tongueless agonies, shall unfold
Or half unfold to half-illumined eyes.
The cypress shadows creeping gnomonwise
Still stretch their purple fingers down the hill
That hangs above Fiesole; and still
Your English fireside glows. Do you most dear—
Sometimes just guessed at, sometimes very near—
Yet always dear and fairest friend, do you
Recall the sunlight and the firelight too?
Recall the pregnant hours, the gay delights,
The pain, the tears maybe, the ravished heights,
The golden moments my cold lines commend,
The days, in memory or which I send
A book?

MYSELF TO MYSELF

It was the thrush's song I heard
To-day, in March. And you who came
At life through books, whom poets stirred
To love of beauty, who the name
Of art revered and fancy knew
From earliest days,—why, how should you
Guess at my feelings when among
The elms I heard the thrush's song?

For you the country means a mood,
Recalls a poem, lays a scene;
For you its beauties are more good
Sometimes than paintings: it has been
Music to calm or move you, still
A background to your thought and will.

Nothing for me the country means:
It is. The thrush's earliest song
In the precocious sunshine cleans
My soul of culture. Comes along
The acrid smell of daffodil,
Hard from the soil still wet and chill.

These do not mean. I am content
To look or listen, passion spent,
Far beyond art and thought, and free
From Vanity and Jealousy,
As free as flower, or bird, or tree,
Not to mean anything, but be.

SPRING

The sun crept into the peaceful earth
And troubled her dream of fair content;
He tempted the timorous blossoms to birth,
The poor pink fools that laughing went
Naked to meet him, their leaves without,
And the meddlesome bees droned round and about.

The sober grey that shrouded the head
Of the pensive sea he ravished away;
He twitched it from her, and gave instead
The libertine breezes who ruffle her day;
Who tease and tousle and toss anew
Her mourning garment of exquisite blue.

He cozened the mud-flies out on the heath,
Ephemeral butterflies opened their wings;
The credulous birds from their mates beneath
Caught up the catch that Eternity sings—
Sings to the Echoes in Fools' Paradise—
"Shall not our folly befool the wise?"

REPLY TO MRS. JOWITT

WHO SENT ME A PIECE OF GOOD NEWS IN A RHYMED LETTER

Wittering, April 1915

When all the world was very good
(So says the nursery rhyme)
The fairy Fays and Mays who stood
As godmothers, from time to time,
Would give their virtuous picaninnies
A golden goblet filled with guineas.
That was the golden age: and nurse
Declared that ours grew worse and worse
("Don't bite the spoon, Miss Leslie!")
Yet I believe that fairies still
Can fill a cup, and over-fill,—
At any rate in Chelsea.
Telling good news is reckoned kind
(Except when Germans tell it,)
To wrap it in a pleasant rind
Of song was thought angelic
By the good shepherds, and by me
A piece of sweet diablerie.

One cavil: though it ill becomes
One who has in his time
Bedragged the depths and skimmed the scums
To catch a dubious rhyme,
To scold a poetess who fell
And, though she knew she shouldn't,
Wrote down a name that rhymed with "well"
Instead of one that wouldn't,
Yet, frankly, tuneful, erring sister,
Can one be musical to "Mister"?
A monosyllable, I confess,
Is what the Muse prefers:
She cut a queen's name down to Bess
And yours is worse than hers:
Meanwhile it takes a better poet
Than I to deal with Mrs. Jowitt.

TO GERALD SHOVE

I like to let my fancy rove
O'er all the charms of Mister Shoave.
But oh! how very much above
Such obvious charms are those of Shuv.

Oh Shuv most intimate! Oh Shoave
More pompous-fine! Yet interwove,
How complex-sweet and meet for love
The compound name of Gerald Shuv.

Oh Gerald dear! Oh Shuv! Oh Shoave!
My late-found bliss, my treasure-trove;
My poor heart yearns to counter-prove
Those double facets that me move
So strangely; therefore, deign t'approve
This syncretism—Gerald Shoove.

MARCH

If I could catch all the stars in a net
And make them tell me their Christian names,
Or snare the dream of a violet,
Or persuade the squirrels to teach me their games,
Or quite surprise, on a warm June night,
The lilac bushes that laugh for delight
And tremble for fear lest we should hear them,—
If I could tiptoe breathlessly near them
And overhear them
And master so
Secrets that only the lilacs know:
If I could feel what a young bird feels
When first it flutters across the road,
Or learn at last from the creaking wheels
Of a wagon that story they tell their load—
The hillside legend that never grows old:
If I could be told
All the subtle, impalpable, exquisite things
That we just surmise when the country sings,
That week before they begin the hay:
If I could contrive to sing, or to say,
Or to be, what the poets have never invented,
Should I be contented?
Was I to-day?

APRIL

After so many days...
The moon lies right across the sea,
The tide's up to the brink,
A door keeps flapping in the wind,
I cannot sleep a wink,
Although I'm sleepy as can be.
But lie in bed and think
Of you and all your proud, gay ways.

JUNE

They say you are the latest, loveliest jest
Of some transmigratory ghost,
The last embodiment, and best,
Of some small being—tell me, are you most
Yourself when most
A squirrel or jerboa?
Or rather,
Since you are tender, humorous, and wise,
Is yours the spirit of some steadier goer,
A grave, precautious donkey, whose wide eyes
See, far away, the thin ambiguous towers,
Nor miss the pebbly road nor truant flowers—
See farther,
And less painfully, than ours?
Or, as I think,
Have you, like some
Too curious spirit peering from the East,
O'erleant the ramparts or your little town
In Fairyland; and from the brink
Of The Impossible tumbled down
To where we now uneasily surmise
Your vagrant figure, trailing Sirenwise—
Strayed reveller, from some fairy banquet come
To sow sedition at our sober feast?

OCTOBER

O up the hill and down the hill
And all across the ferry,
Avid as bees under the trees—
Probably they'll be merry:

And back again, under the rain,
As wild as wind-tossed plovers,
Wet and chill and enchanted still—
I fear they must be lovers.

DECEMBER

In some few years, when you and I—
Perhaps in some few months—shall lie,
Where lie at last everyone must,
Little will it approve our dust
That one shall write above our tombs:
"They gave their days to glums and glooms."

Much rather had I someone said:
"They loved to wantonness, these dead."
"They kissed too much," I'd have one say,
"Until they kissed their souls away.
Still they were young, and, lip to lip,
They found a way to make Time skip;
And they were bold enough to find
A way to brave him, mind to mind;
And sometimes, by their deadly art,
They caught and crushed him, heart to heart."

This elegy methinks becomes
Us better than our glooms and glums.

LETTER TO A LADY II

Sept. 1916.

No: I was not made for love;
I was made for easier things,
Ecstasies on paper wings,
Agonies that end in laughter
—Smoke or kisses coming after—
Not for love.

I was made for airy thinking,
Nimble sallies, champagne-drinking,
Badinage and argument,
Reading's infinite content,
Ill-considered merriment,
Friendship, anything but love.

Made for singing little songs,
Made for righting little wrongs,
Made to taste whate'er there be
Of loveliness and gaiety
On this variegated earth;
Made for sentiment and mirth
And light romance, perhaps just worth
A smile from Art, a nod from Truth,
I, apt for a fantastic youth
Of follies, an old age of thought,
And never thinking to be caught
As now I am, said "Never mind
Love, for Love, you know, is blind."
I was made with eyes to see,
And taste to choose fastidiously,
And ears to hear, enough of brain
To make most matters fairly plain,
Enough of health for work or play,
Of wealth enough to pick my way,
Sense to enjoy, and arts to bring
Soft nothings off a softer thing,
A turn of wit, a taste for ease,
And what had love to do with these?

I was made to revel in
The viola and violin,
The broad bassoon and clarinette,
From every art devised to get
Its complement of melody:
Believe me, I was meant to be
One who smiled back at smiling faces,
A loiterer in life's pleasant places,
A well of receptivity.

I was contrived by God to pull
The noses of the very dull;
Tweak up as 'twere a cotton gown
The law most solemnly laid down;
Expressly charged to mock the great
And weather-cockwise still girate.
To choose a rose and praise a frill,
And sometimes cause a tiny thrill,
To be a lover in my fashion—
But O! I was not made for passion.

Therefore, dear Lady, if you please
Deal very gingerly with these.
Here is our garden: O, take care
Our passion spoil not our parterre.
Be gracious, Madame, lest your frown
Should bake the lawns and burn them brown,
Be very kind, or jealous showers
May quite dash down our scented flowers,
And O! be chary of reproof,
Remember I'm not made for love.

TO LOPOKOVA DANCING

Is it true?
Are Ariel's whims
Embodied in your artful limbs?
And Puck, they say, betrayed you all his lore:
Did he? Are you—
As now to me at any rate you seem,
Twisting a Longhi into fun and air,—
Are you, perhaps, that unpropounded theme
Of playfulness Mozart forgot to score,
As lyrical and debonair and new
And fair?
The rhythm snaps. Surely I caught you there?
You are, at least I'm almost sure you were,
Some truant from the lesser Piero's store,
A living Procne by a livelier shore,
Where lustier satyrs ply remorselessly
More pagan antics by a bluer sea,
A sea as frankly unmysterious
As Theocritus.

AFTER AS CLEPIADES

'Ηδὺ θέρους διψῶιντι χιὼν ποτόν...

O iced gin-slings are pretty good in Ascot week at tea,
And, though no poet, I protest lilacs have bloomed for me:
But when beneath one baldaquin two bees are but one sting,
The lilacs and the juniper are quite another thing.

THE LAST INFIRMITY

Then tell me this, how must I praise you, dear
And desperate doubter of all pleasant things—
Infidel to yourself—who neither clear,
Untroubled truth, nor chequered flatteries,
Nor love's tried tales and trusted sorceries,
Will hear?
In vain the throstle sings,
Roses are red in vain, and sunlight fair:
For all that amorous armoury of words,
Which poets forge themselves from ecstasy,
For all youth's uncontrived niaiseries,
Melodious similes of flowers and birds,
For well-found compliment or unfeigned prayer,
You do not care.
You are the last word of a thousand years,
Fine fleur of Europe's slow civility.
All subtlest products of her ceaseless toils,
The middle ages' mystic gaiety,
The gorgeous hubris of Italian dawn,
The slow maturing vintage of its spoils,
What Titian dreamed of, what Velasquez guessed,
Rambouillet played with, Versailles half expressed,
You are the heir to: and to you have gone
Voltaire's thin smiles and Prévost's prettiest tears.
Listen! You are that mystery,
That still life that just lies
Below the surface. Sometimes you'd surmise,
So smooth, so silently, the stream goes by,
That it were dead: but, peering past the brink,
An inch below the glass you catch a wink,
A twist, the thrilling sense of flow.
And there! And there! And see the green weeds blow
And strain against the strong, subaqueous wind.
So, just beneath that faint, diaphanous snow,
Your skin, it flutters pulsewise: now behind
That bright brown eye stays frozen; now afar
Mocks our dull inquisition that would know
What life is, what you are.

_ΠΑΝΤΩΝ ΓΛΥΚΥΤΑΤΩΝ ΜΕΤΑΒΟΛΗ_

Frankly, I do not greatly care
Always to be my best;
I like sometimes to take the air,
Sometimes to take a rest.

Sometimes, austere philosopher,
I scan what thought reveals:
At other times I much prefer
Silk stockings and high heels.

And sometimes Beauty moves me much,
And sometimes Pleasure more:
Great Art seems sometimes Double Dutch,
And Amabel a bore.

Is God's clock always just at noon?
Is Heaven always fair?
May angels not adore the moon?
Is there no tea-time there?
Why, then, how blest are we on earth,
Who know an ampler range,
With blondes and browns and grief and mirth
And, above all things, Change.

*** END OF THE PROJECT GUTENBERG EBOOK POEMS ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.