The Project Gutenberg EBook of Second April, by Edna St. Vincent Millay 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: Second April Author: Edna St. Vincent Millay Release Date: August 13, 2008 [EBook #1247] Last Updated: February 6, 2013 Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK SECOND APRIL *** Produced by Judy Boss, and David Widger
CONTENTS
To what purpose, April, do you return again?
Beauty is not enough.
You can no longer quiet me with the redness
Of little leaves opening stickily.
I know what I know.
The sun is hot on my neck as I observe
The spikes of the crocus.
The smell of the earth is good.
It is apparent that there is no death.
But what does that signify?
Not only under ground are the brains of men
Eaten by maggots,
Life in itself
Is nothing,
An empty cup, a flight of uncarpeted stairs.
It is not enough that yearly, down this hill,
April
Comes like an idiot, babbling and strewing flowers.
The trees along this city street,
Save for the traffic and the trains,
Would make a sound as thin and sweet
As trees in country lanes.
And people standing in their shade
Out of a shower, undoubtedly
Would hear such music as is made
Upon a country tree.
Oh, little leaves that are so dumb
Against the shrieking city air,
I watch you when the wind has come,—
I know what sound is there.
God had called us, and we came;
Our loved Earth to ashes left;
Heaven was a neighbor's house,
Open to us, bereft.
Gay the lights of Heaven showed,
And 'twas God who walked ahead;
Yet I wept along the road,
Wanting my own house instead.
Wept unseen, unheeded cried,
"All you things my eyes have kissed,
Fare you well! We meet no more,
Lovely, lovely tattered mist!
Weary wings that rise and fall
All day long above the fire!"—
Red with heat was every wall,
Rough with heat was every wire—
"Fare you well, you little winds
That the flying embers chase!
Fare you well, you shuddering day,
With your hands before your face!
And, ah, blackened by strange blight,
Or to a false sun unfurled,
Now forevermore goodbye,
All the gardens in the world!
On the windless hills of Heaven,
That I have no wish to see,
White, eternal lilies stand,
By a lake of ebony.
But the Earth forevermore
Is a place where nothing grows,—
Dawn will come, and no bud break;
Evening, and no blossom close.
Spring will come, and wander slow
Over an indifferent land,
Stand beside an empty creek,
Hold a dead seed in her hand."
God had called us, and we came,
But the blessed road I trod
Was a bitter road to me,
And at heart I questioned God.
"Though in Heaven," I said, "be all
That the heart would most desire,
Held Earth naught save souls of sinners
Worth the saving from a fire?
Withered grass,—the wasted growing!
Aimless ache of laden boughs!"
Little things God had forgotten
Called me, from my burning house.
"Though in Heaven," I said, "be all
That the eye could ask to see,
All the things I ever knew
Are this blaze in back of me."
"Though in Heaven," I said, "be all
That the ear could think to lack,
All the things I ever knew
Are this roaring at my back."
It was God who walked ahead,
Like a shepherd to the fold;
In his footsteps fared the weak,
And the weary and the old,
Glad enough of gladness over,
Ready for the peace to be,—
But a thing God had forgotten
Was the growing bones of me.
And I drew a bit apart,
And I lagged a bit behind,
And I thought on Peace Eternal,
Lest He look into my mind:
And I gazed upon the sky,
And I thought of Heavenly Rest,—
And I slipped away like water
Through the fingers of the blest!
All their eyes were fixed on Glory,
Not a glance brushed over me;
"Alleluia! Alleluia!"
Up the road,—and I was free.
And my heart rose like a freshet,
And it swept me on before,
Giddy as a whirling stick,
Till I felt the earth once more.
All the earth was charred and black,
Fire had swept from pole to pole;
And the bottom of the sea
Was as brittle as a bowl;
And the timbered mountain-top
Was as naked as a skull,—
Nothing left, nothing left,
Of the Earth so beautiful!
"Earth," I said, "how can I leave you?"
"You are all I have," I said;
"What is left to take my mind up,
Living always, and you dead?"
"Speak!" I said, "Oh, tell me something!
Make a sign that I can see!
For a keepsake! To keep always!
Quick!—before God misses me!"
And I listened for a voice;—
But my heart was all I heard;
Not a screech-owl, not a loon,
Not a tree-toad said a word.
And I waited for a sign;—
Coals and cinders, nothing more;
And a little cloud of smoke
Floating on a valley floor.
And I peered into the smoke
Till it rotted, like a fog:—
There, encompassed round by fire,
Stood a blue-flag in a bog!
Little flames came wading out,
Straining, straining towards its stem,
But it was so blue and tall
That it scorned to think of them!
Red and thirsty were their tongues,
As the tongues of wolves must be,
But it was so blue and tall—
Oh, I laughed, I cried, to see!
All my heart became a tear,
All my soul became a tower,
Never loved I anything
As I loved that tall blue flower!
It was all the little boats
That had ever sailed the sea,
It was all the little books
That had gone to school with me;
On its roots like iron claws
Rearing up so blue and tall,—
It was all the gallant Earth
With its back against a wall!
In a breath, ere I had breathed,—
Oh, I laughed, I cried, to see!—
I was kneeling at its side,
And it leaned its head on me!
Crumbling stones and sliding sand
Is the road to Heaven now;
Icy at my straining knees
Drags the awful under-tow;
Soon but stepping-stones of dust
Will the road to Heaven be,—
Father, Son and Holy Ghost,
Reach a hand and rescue me!
"There—there, my blue-flag flower;
Hush—hush—go to sleep;
That is only God you hear,
Counting up His folded sheep!
Lullabye—lullabye—
That is only God that calls,
Missing me, seeking me,
Ere the road to nothing falls!
He will set His mighty feet
Firmly on the sliding sand;
Like a little frightened bird
I will creep into His hand;
I will tell Him all my grief,
I will tell Him all my sin;
He will give me half His robe
For a cloak to wrap you in.
Lullabye—lullabye—"
Rocks the burnt-out planet free!—
Father, Son and Holy Ghost,
Reach a hand and rescue me!
Ah, the voice of love at last!
Lo, at last the face of light!
And the whole of His white robe
For a cloak against the night!
And upon my heart asleep
All the things I ever knew!—
"Holds Heaven not some cranny, Lord,
For a flower so tall and blue?"
All's well and all's well!
Gay the lights of Heaven show!
In some moist and Heavenly place
We will set it out to grow.
Ah, could I lay me down in this long grass
And close my eyes, and let the quiet wind
Blow over me—I am so tired, so tired
Of passing pleasant places! All my life,
Following Care along the dusty road,
Have I looked back at loveliness and sighed;
Yet at my hand an unrelenting hand
Tugged ever, and I passed. All my life long
Over my shoulder have I looked at peace;
And now I fain would lie in this long grass
And close my eyes.
Yet onward!
Cat birds call
Through the long afternoon, and creeks at dusk
Are guttural. Whip-poor-wills wake and cry,
Drawing the twilight close about their throats.
Only my heart makes answer. Eager vines
Go up the rocks and wait; flushed apple-trees
Pause in their dance and break the ring for me;
Dim, shady wood-roads, redolent of fern
And bayberry, that through sweet bevies thread
Of round-faced roses, pink and petulant,
Look back and beckon ere they disappear.
Only my heart, only my heart responds.
Yet, ah, my path is sweet on either side
All through the dragging day,—sharp underfoot
And hot, and like dead mist the dry dust hangs—
But far, oh, far as passionate eye can reach,
And long, ah, long as rapturous eye can cling,
The world is mine: blue hill, still silver lake,
Broad field, bright flower, and the long white road
A gateless garden, and an open path:
My feet to follow, and my heart to hold.
No matter what I say,
All that I really love
Is the rain that flattens on the bay,
And the eel-grass in the cove;
The jingle-shells that lie and bleach
At the tide-line, and the trace
Of higher tides along the beach:
Nothing in this place.
There will be rose and rhododendron
When you are dead and under ground;
Still will be heard from white syringas
Heavy with bees, a sunny sound;
Still will the tamaracks be raining
After the rain has ceased, and still
Will there be robins in the stubble,
Brown sheep upon the warm green hill.
Spring will not ail nor autumn falter;
Nothing will know that you are gone,
Saving alone some sullen plough-land
None but yourself sets foot upon;
Saving the may-weed and the pig-weed
Nothing will know that you are dead,—
These, and perhaps a useless wagon
Standing beside some tumbled shed.
Oh, there will pass with your great passing
Little of beauty not your own,—
Only the light from common water,
Only the grace from simple stone!
Ho, Giant! This is I!
I have built me a bean-stalk into your sky!
La,—but it's lovely, up so high!
This is how I came,—I put
Here my knee, there my foot,
Up and up, from shoot to shoot—
And the blessed bean-stalk thinning
Like the mischief all the time,
Till it took me rocking, spinning,
In a dizzy, sunny circle,
Making angles with the root,
Far and out above the cackle
Of the city I was born in,
Till the little dirty city
In the light so sheer and sunny
Shone as dazzling bright and pretty
As the money that you find
In a dream of finding money—
What a wind! What a morning!—
Till the tiny, shiny city,
When I shot a glance below,
Shaken with a giddy laughter,
Sick and blissfully afraid,
Was a dew-drop on a blade,
And a pair of moments after
Was the whirling guess I made,—
And the wind was like a whip
Cracking past my icy ears,
And my hair stood out behind,
And my eyes were full of tears,
Wide-open and cold,
More tears than they could hold,
The wind was blowing so,
And my teeth were in a row,
Dry and grinning,
And I felt my foot slip,
And I scratched the wind and whined,
And I clutched the stalk and jabbered,
With my eyes shut blind,—
What a wind! What a wind!
Your broad sky, Giant,
Is the shelf of a cupboard;
I make bean-stalks, I'm
A builder, like yourself,
But bean-stalks is my trade,
I couldn't make a shelf,
Don't know how they're made,
Now, a bean-stalk is more pliant—
La, what a climb!
White with daisies and red with sorrel
And empty, empty under the sky!—
Life is a quest and love a quarrel—
Here is a place for me to lie.
Daisies spring from damned seeds,
And this red fire that here I see
Is a worthless crop of crimson weeds,
Cursed by farmers thriftily.
But here, unhated for an hour,
The sorrel runs in ragged flame,
The daisy stands, a bastard flower,
Like flowers that bear an honest name.
And here a while, where no wind brings
The baying of a pack athirst,
May sleep the sleep of blessed things,
The blood too bright, the brow accurst.
Death devours all lovely things;
Lesbia with her sparrow
Shares the darkness,—presently
Every bed is narrow.
Unremembered as old rain
Dries the sheer libation,
And the little petulant hand
Is an annotation.
After all, my erstwhile dear,
My no longer cherished,
Need we say it was not love,
Now that love is perished?
If it were only still!—
With far away the shrill
Crying of a cock;
Or the shaken bell
From a cow's throat
Moving through the bushes;
Or the soft shock
Of wizened apples falling
From an old tree
In a forgotten orchard
Upon the hilly rock!
Oh, grey hill,
Where the grazing herd
Licks the purple blossom,
Crops the spiky weed!
Oh, stony pasture,
Where the tall mullein
Stands up so sturdy
On its little seed!
I
I had forgotten how the frogs must sound
After a year of silence, else I think
I should not so have ventured forth alone
At dusk upon this unfrequented road.
II
I am waylaid by Beauty. Who will walk
Between me and the crying of the frogs?
Oh, savage Beauty, suffer me to pass,
That am a timid woman, on her way
From one house to another!
The railroad track is miles away,
And the day is loud with voices speaking,
Yet there isn't a train goes by all day
But I hear its whistle shrieking.
All night there isn't a train goes by,
Though the night is still for sleep and dreaming
But I see its cinders red on the sky,
And hear its engine steaming.
My heart is warm with the friends I make,
And better friends I'll not be knowing,
Yet there isn't a train I wouldn't take,
No matter where it's going.
These wet rocks where the tide has been,
Barnacled white and weeded brown
And slimed beneath to a beautiful green,
These wet rocks where the tide went down
Will show again when the tide is high
Faint and perilous, far from shore,
No place to dream, but a place to die,—
The bottom of the sea once more.
There was a child that wandered through
A giant's empty house all day,—
House full of wonderful things and new,
But no fit place for a child to play.
April this year, not otherwise
Than April of a year ago,
Is full of whispers, full of sighs,
Of dazzling mud and dingy snow;
Hepaticas that pleased you so
Are here again, and butterflies.
There rings a hammering all day,
And shingles lie about the doors;
In orchards near and far away
The grey wood-pecker taps and bores;
The men are merry at their chores,
And children earnest at their play.
The larger streams run still and deep,
Noisy and swift the small brooks run
Among the mullein stalks the sheep
Go up the hillside in the sun,
Pensively,—only you are gone,
You that alone I cared to keep.
For the sake of some things
That be now no more
I will strew rushes
On my chamber-floor,
I will plant bergamot
At my kitchen-door.
For the sake of dim things
That were once so plain
I will set a barrel
Out to catch the rain,
I will hang an iron pot
On an iron crane.
Many things be dead and gone
That were brave and gay;
For the sake of these things
I will learn to say,
"An it please you, gentle sirs,"
"Alack!" and "Well-a-day!"
Down, you mongrel, Death!
Back into your kennel!
I have stolen breath
In a stalk of fennel!
You shall scratch and you shall whine
Many a night, and you shall worry
Many a bone, before you bury
One sweet bone of mine!
When shall I be dead?
When my flesh is withered,
And above my head
Yellow pollen gathered
All the empty afternoon?
When sweet lovers pause and wonder
Who am I that lie thereunder,
Hidden from the moon?
This my personal death?—
That lungs be failing
To inhale the breath
Others are exhaling?
This my subtle spirit's end?—
Ah, when the thawed winter splashes
Over these chance dust and ashes,
Weep not me, my friend!
Me, by no means dead
In that hour, but surely
When this book, unread,
Rots to earth obscurely,
And no more to any breast,
Close against the clamorous swelling
Of the thing there is no telling,
Are these pages pressed!
When this book is mould,
And a book of many
Waiting to be sold
For a casual penny,
In a little open case,
In a street unclean and cluttered,
Where a heavy mud is spattered
From the passing drays,
Stranger, pause and look;
From the dust of ages
Lift this little book,
Turn the tattered pages,
Read me, do not let me die!
Search the fading letters, finding
Steadfast in the broken binding
All that once was I!
When these veins are weeds,
When these hollowed sockets
Watch the rooty seeds
Bursting down like rockets,
And surmise the spring again,
Or, remote in that black cupboard,
Watch the pink worms writhing upward
At the smell of rain,
Boys and girls that lie
Whispering in the hedges,
Do not let me die,
Mix me with your pledges;
Boys and girls that slowly walk
In the woods, and weep, and quarrel,
Staring past the pink wild laurel,
Mix me with your talk,
Do not let me die!
Farmers at your raking,
When the sun is high,
While the hay is making,
When, along the stubble strewn,
Withering on their stalks uneaten,
Strawberries turn dark and sweeten
In the lapse of noon;
Shepherds on the hills,
In the pastures, drowsing
To the tinkling bells
Of the brown sheep browsing;
Sailors crying through the storm;
Scholars at your study; hunters
Lost amid the whirling winter's
Whiteness uniform;
Men that long for sleep;
Men that wake and revel;—
If an old song leap
To your senses' level
At such moments, may it be
Sometimes, though a moment only,
Some forgotten, quaint and homely
Vehicle of me!
Women at your toil,
Women at your leisure
Till the kettle boil,
Snatch of me your pleasure,
Where the broom-straw marks the leaf;
Women quiet with your weeping
Lest you wake a workman sleeping,
Mix me with your grief!
Boys and girls that steal
From the shocking laughter
Of the old, to kneel
By a dripping rafter
Under the discolored eaves,
Out of trunks with hingeless covers
Lifting tales of saints and lovers,
Travelers, goblins, thieves,
Suns that shine by night,
Mountains made from valleys,—
Bear me to the light,
Flat upon your bellies
By the webby window lie,
Where the little flies are crawling,—
Read me, margin me with scrawling,
Do not let me die!
Sexton, ply your trade!
In a shower of gravel
Stamp upon your spade!
Many a rose shall ravel,
Many a metal wreath shall rust
In the rain, and I go singing
Through the lots where you are flinging
Yellow clay on dust!
My heart is what it was before,
A house where people come and go;
But it is winter with your love,
The sashes are beset with snow.
I light the lamp and lay the cloth,
I blow the coals to blaze again;
But it is winter with your love,
The frost is thick upon the pane.
I know a winter when it comes:
The leaves are listless on the boughs;
I watched your love a little while,
And brought my plants into the house.
I water them and turn them south,
I snap the dead brown from the stem;
But it is winter with your love,—
I only tend and water them.
There was a time I stood and watched
The small, ill-natured sparrows' fray;
I loved the beggar that I fed,
I cared for what he had to say,
I stood and watched him out of sight;
Today I reach around the door
And set a bowl upon the step;
My heart is what it was before,
But it is winter with your love;
I scatter crumbs upon the sill,
And close the window,—and the birds
May take or leave them, as they will.
People that build their houses inland,
People that buy a plot of ground
Shaped like a house, and build a house there,
Far from the sea-board, far from the sound
Of water sucking the hollow ledges,
Tons of water striking the shore,—
What do they long for, as I long for
One salt smell of the sea once more?
People the waves have not awakened,
Spanking the boats at the harbor's head,
What do they long for, as I long for,—
Starting up in my inland bed,
Beating the narrow walls, and finding
Neither a window nor a door,
Screaming to God for death by drowning,—
One salt taste of the sea once more?
Minstrel, what have you to do
With this man that, after you,
Sharing not your happy fate,
Sat as England's Laureate?
Vainly, in these iron days,
Strives the poet in your praise,
Minstrel, by whose singing side
Beauty walked, until you died.
Still, though none should hark again,
Drones the blue-fly in the pane,
Thickly crusts the blackest moss,
Blows the rose its musk across,
Floats the boat that is forgot
None the less to Camelot.
Many a bard's untimely death
Lends unto his verses breath;
Here's a song was never sung:
Growing old is dying young.
Minstrel, what is this to you:
That a man you never knew,
When your grave was far and green,
Sat and gossipped with a queen?
Thalia knows how rare a thing
Is it, to grow old and sing;
When a brown and tepid tide
Closes in on every side.
Who shall say if Shelley's gold
Had withstood it to grow old?
"Thin Rain, whom are you haunting,
That you haunt my door?"
—Surely it is not I she's wanting;
Someone living here before—
"Nobody's in the house but me:
You may come in if you like and see."
Thin as thread, with exquisite fingers,—
Have you seen her, any of you?—
Grey shawl, and leaning on the wind,
And the garden showing through?
Glimmering eyes,—and silent, mostly,
Sort of a whisper, sort of a purr,
Asking something, asking it over,
If you get a sound from her.—
Ever see her, any of you?—
Strangest thing I've ever known,—
Every night since I moved in,
And I came to be alone.
"Thin Rain, hush with your knocking!
You may not come in!
This is I that you hear rocking;
Nobody's with me, nor has been!"
Curious, how she tried the window,—
Odd, the way she tries the door,—
Wonder just what sort of people
Could have had this house before . . .
I know what my heart is like
Since your love died:
It is like a hollow ledge
Holding a little pool
Left there by the tide,
A little tepid pool,
Drying inward from the edge.
OH, come again to Astolat!
I will not ask you to be kind.
And you may go when you will go,
And I will stay behind.
I will not say how dear you are,
Or ask you if you hold me dear,
Or trouble you with things for you
The way I did last year.
So still the orchard, Lancelot,
So very still the lake shall be,
You could not guess—though you should guess—
What is become of me.
So wide shall be the garden-walk,
The garden-seat so very wide,
You needs must think—if you should think—
The lily maid had died.
Save that, a little way away,
I'd watch you for a little while,
To see you speak, the way you speak,
And smile,—if you should smile.
Mine is a body that should die at sea!
And have for a grave, instead of a grave
Six feet deep and the length of me,
All the water that is under the wave!
And terrible fishes to seize my flesh,
Such as a living man might fear,
And eat me while I am firm and fresh,—
Not wait till I've been dead for a year!
Butterflies are white and blue
In this field we wander through.
Suffer me to take your hand.
Death comes in a day or two.
All the things we ever knew
Will be ashes in that hour,
Mark the transient butterfly,
How he hangs upon the flower.
Suffer me to take your hand.
Suffer me to cherish you
Till the dawn is in the sky.
Whether I be false or true,
Death comes in a day or two.
OH, here the air is sweet and still,
And soft's the grass to lie on;
And far away's the little hill
They took for Christ to die on.
And there's a hill across the brook,
And down the brook's another;
But, oh, the little hill they took,—
I think I am its mother!
The moon that saw Gethsemane,
I watch it rise and set:
It has so many things to see,
They help it to forget.
But little hills that sit at home
So many hundred years,
Remember Greece, remember Rome,
Remember Mary's tears.
And far away in Palestine,
Sadder than any other,
Grieves still the hill that I call mine,—
I think I am its mother!
Doubt no more that Oberon—
Never doubt that Pan
Lived, and played a reed, and ran
After nymphs in a dark forest,
In the merry, credulous days,—
Lived, and led a fairy band
Over the indulgent land!
Ah, for in this dourest, sorest
Age man's eye has looked upon,
Death to fauns and death to fays,
Still the dog-wood dares to raise—
Healthy tree, with trunk and root—
Ivory bowls that bear no fruit,
And the starlings and the jays—
Birds that cannot even sing—
Dare to come again in spring!
Listen, children:
Your father is dead.
From his old coats
I'll make you little jackets;
I'll make you little trousers
From his old pants.
There'll be in his pockets
Things he used to put there,
Keys and pennies
Covered with tobacco;
Dan shall have the pennies
To save in his bank;
Anne shall have the keys
To make a pretty noise with.
Life must go on,
And the dead be forgotten;
Life must go on,
Though good men die;
Anne, eat your breakfast;
Dan, take your medicine;
Life must go on;
I forget just why.
Searching my heart for its true sorrow,
This is the thing I find to be:
That I am weary of words and people,
Sick of the city, wanting the sea;
Wanting the sticky, salty sweetness
Of the strong wind and shattered spray;
Wanting the loud sound and the soft sound
Of the big surf that breaks all day.
Always before about my dooryard,
Marking the reach of the winter sea,
Rooted in sand and dragging drift-wood,
Straggled the purple wild sweet-pea;
Always I climbed the wave at morning,
Shook the sand from my shoes at night,
That now am caught beneath great buildings,
Stricken with noise, confused with light.
If I could hear the green piles groaning
Under the windy wooden piers,
See once again the bobbing barrels,
And the black sticks that fence the weirs,
If I could see the weedy mussels
Crusting the wrecked and rotting hulls,
Hear once again the hungry crying
Overhead, of the wheeling gulls,
Feel once again the shanty straining
Under the turning of the tide,
Fear once again the rising freshet,
Dread the bell in the fog outside,—
I should be happy,—that was happy
All day long on the coast of Maine!
I have a need to hold and handle
Shells and anchors and ships again!
I should be happy, that am happy
Never at all since I came here.
I am too long away from water.
I have a need of water near.
When reeds are dead and a straw to thatch the marshes,
And feathered pampas-grass rides into the wind
Like aged warriors westward, tragic, thinned
Of half their tribe, and over the flattened rushes,
Stripped of its secret, open, stark and bleak,
Blackens afar the half-forgotten creek,—
Then leans on me the weight of the year, and crushes
My heart. I know that Beauty must ail and die,
And will be born again,—but ah, to see
Beauty stiffened, staring up at the sky!
Oh, Autumn! Autumn!—What is the Spring to me?
Aye, but she?
Your other sister and my other soul
Grave Silence, lovelier
Than the three loveliest maidens, what of her?
Clio, not you,
Not you, Calliope,
Nor all your wanton line,
Not Beauty's perfect self shall comfort me
For Silence once departed,
For her the cool-tongued, her the tranquil-hearted,
Whom evermore I follow wistfully,
Wandering Heaven and Earth and Hell and the four seasons through;
Thalia, not you,
Not you, Melpomene,
Not your incomparable feet, O thin Terpsichore,
I seek in this great hall,
But one more pale, more pensive, most beloved of you all.
I seek her from afar,
I come from temples where her altars are,
From groves that bear her name,
Noisy with stricken victims now and sacrificial flame,
And cymbals struck on high and strident faces
Obstreperous in her praise
They neither love nor know,
A goddess of gone days,
Departed long ago,
Abandoning the invaded shrines and fanes
Of her old sanctuary,
A deity obscure and legendary,
Of whom there now remains,
For sages to decipher and priests to garble,
Only and for a little while her letters wedged in marble,
Which even now, behold, the friendly mumbling rain erases,
And the inarticulate snow,
Leaving at last of her least signs and traces
None whatsoever, nor whither she is vanished from these places.
"She will love well," I said,
"If love be of that heart inhabiter,
The flowers of the dead;
The red anemone that with no sound
Moves in the wind, and from another wound
That sprang, the heavily-sweet blue hyacinth,
That blossoms underground,
And sallow poppies, will be dear to her.
And will not Silence know
In the black shade of what obsidian steep
Stiffens the white narcissus numb with sleep?
(Seed which Demeter's daughter bore from home,
Uptorn by desperate fingers long ago,
Reluctant even as she,
Undone Persephone,
And even as she set out again to grow
In twilight, in perdition's lean and inauspicious loam).
She will love well," I said,
"The flowers of the dead;
Where dark Persephone the winter round,
Uncomforted for home, uncomforted,
Lacking a sunny southern slope in northern Sicily,
With sullen pupils focussed on a dream,
Stares on the stagnant stream
That moats the unequivocable battlements of Hell,
There, there will she be found,
She that is Beauty veiled from men and Music in a swound."
"I long for Silence as they long for breath
Whose helpless nostrils drink the bitter sea;
What thing can be
So stout, what so redoubtable, in Death
What fury, what considerable rage, if only she,
Upon whose icy breast,
Unquestioned, uncaressed,
One time I lay,
And whom always I lack,
Even to this day,
Being by no means from that frigid bosom weaned away,
If only she therewith be given me back?"
I sought her down that dolorous labyrinth,
Wherein no shaft of sunlight ever fell,
And in among the bloodless everywhere
I sought her, but the air,
Breathed many times and spent,
Was fretful with a whispering discontent,
And questioning me, importuning me to tell
Some slightest tidings of the light of day they know no more,
Plucking my sleeve, the eager shades were with me where I went.
I paused at every grievous door,
And harked a moment, holding up my hand,—and for a space
A hush was on them, while they watched my face;
And then they fell a-whispering as before;
So that I smiled at them and left them, seeing she was not there.
I sought her, too,
Among the upper gods, although I knew
She was not like to be where feasting is,
Nor near to Heaven's lord,
Being a thing abhorred
And shunned of him, although a child of his,
(Not yours, not yours; to you she owes not breath,
Mother of Song, being sown of Zeus upon a dream of Death).
Fearing to pass unvisited some place
And later learn, too late, how all the while,
With her still face,
She had been standing there and seen me pass, without a smile,
I sought her even to the sagging board whereat
The stout immortals sat;
But such a laughter shook the mighty hall
No one could hear me say:
Had she been seen upon the Hill that day?
And no one knew at all
How long I stood, or when at last I sighed and went away.
There is a garden lying in a lull
Between the mountains and the mountainous sea,
I know not where, but which a dream diurnal
Paints on my lids a moment till the hull
Be lifted from the kernel
And Slumber fed to me.
Your foot-print is not there, Mnemosene,
Though it would seem a ruined place and after
Your lichenous heart, being full
Of broken columns, caryatides
Thrown to the earth and fallen forward on their jointless knees,
And urns funereal altered into dust
Minuter than the ashes of the dead,
And Psyche's lamp out of the earth up-thrust,
Dripping itself in marble wax on what was once the bed
Of Love, and his young body asleep, but now is dust instead.
There twists the bitter-sweet, the white wisteria
Fastens its fingers in the strangling wall,
And the wide crannies quicken with bright weeds;
There dumbly like a worm all day the still white orchid feeds;
But never an echo of your daughters' laughter
Is there, nor any sign of you at all
Swells fungous from the rotten bough, grey mother of Pieria!
Only her shadow once upon a stone
I saw,—and, lo, the shadow and the garden, too, were gone.
I tell you you have done her body an ill,
You chatterers, you noisy crew!
She is not anywhere!
I sought her in deep Hell;
And through the world as well;
I thought of Heaven and I sought her there;
Above nor under ground
Is Silence to be found,
That was the very warp and woof of you,
Lovely before your songs began and after they were through!
Oh, say if on this hill
Somewhere your sister's body lies in death,
So I may follow there, and make a wreath
Of my locked hands, that on her quiet breast
Shall lie till age has withered them!
(Ah, sweetly from the rest
I see
Turn and consider me
Compassionate Euterpe!)
"There is a gate beyond the gate of Death,
Beyond the gate of everlasting Life,
Beyond the gates of Heaven and Hell," she saith,
"Whereon but to believe is horror!
Whereon to meditate engendereth
Even in deathless spirits such as I
A tumult in the breath,
A chilling of the inexhaustible blood
Even in my veins that never will be dry,
And in the austere, divine monotony
That is my being, the madness of an unaccustomed mood.
This is her province whom you lack and seek;
And seek her not elsewhere.
Hell is a thoroughfare
For pilgrims,—Herakles,
And he that loved Euridice too well,
Have walked therein; and many more than these;
And witnessed the desire and the despair
Of souls that passed reluctantly and sicken for the air;
You, too, have entered Hell,
And issued thence; but thence whereof I speak
None has returned;—for thither fury brings
Only the driven ghosts of them that flee before all things.
Oblivion is the name of this abode: and she is there."
Oh, radiant Song! Oh, gracious Memory!
Be long upon this height
I shall not climb again!
I know the way you mean,—the little night,
And the long empty day,—never to see
Again the angry light,
Or hear the hungry noises cry my brain!
Ah, but she,
Your other sister and my other soul,
She shall again be mine;
And I shall drink her from a silver bowl,
A chilly thin green wine,
Not bitter to the taste,
Not sweet,
Not of your press, oh, restless, clamorous nine,—
To foam beneath the frantic hoofs of mirth—
But savoring faintly of the acid earth,
And trod by pensive feet
From perfect clusters ripened without haste
Out of the urgent heat
In some clear glimmering vaulted twilight under the odorous vine.
Lift up your lyres! Sing on!
But as for me, I seek your sister whither she is gone.
MEMORIAL TO D. C.
[VASSAR COLLEGE, 1918]
Oh, loveliest throat of all sweet throats,
Where now no more the music is,
With hands that wrote you little notes
I write you little elegies!
Heap not on this mound
Roses that she loved so well;
Why bewilder her with roses,
That she cannot see or smell?
She is happy where she lies
With the dust upon her eyes.
Be to her, Persephone,
All the things I might not be;
Take her head upon your knee.
She that was so proud and wild,
Flippant, arrogant and free,
She that had no need of me,
Is a little lonely child
Lost in Hell,—Persephone,
Take her head upon your knee;
Say to her, "My dear, my dear,
It is not so dreadful here."
Give away her gowns,
Give away her shoes;
She has no more use
For her fragrant gowns;
Take them all down,
Blue, green, blue,
Lilac, pink, blue,
From their padded hangers;
She will dance no more
In her narrow shoes;
Sweep her narrow shoes
From the closet floor.
Let them bury your big eyes
In the secret earth securely,
Your thin fingers, and your fair,
Soft, indefinite-colored hair,—
All of these in some way, surely,
From the secret earth shall rise;
Not for these I sit and stare,
Broken and bereft completely;
Your young flesh that sat so neatly
On your little bones will sweetly
Blossom in the air.
But your voice,—never the rushing
Of a river underground,
Not the rising of the wind
In the trees before the rain,
Not the woodcock's watery call,
Not the note the white-throat utters,
Not the feet of children pushing
Yellow leaves along the gutters
In the blue and bitter fall,
Shall content my musing mind
For the beauty of that sound
That in no new way at all
Ever will be heard again.
Sweetly through the sappy stalk
Of the vigorous weed,
Holding all it held before,
Cherished by the faithful sun,
On and on eternally
Shall your altered fluid run,
Bud and bloom and go to seed;
But your singing days are done;
But the music of your talk
Never shall the chemistry
Of the secret earth restore.
All your lovely words are spoken.
Once the ivory box is broken,
Beats the golden bird no more.
Boys and girls that held her dear,
Do your weeping now;
All you loved of her lies here.
Brought to earth the arrogant brow,
And the withering tongue
Chastened; do your weeping now.
Sing whatever songs are sung,
Wind whatever wreath,
For a playmate perished young,
For a spirit spent in death.
Boys and girls that held her dear,
All you loved of her lies here.
I
We talk of taxes, and I call you friend;
Well, such you are,—but well enough we know
How thick about us root, how rankly grow
Those subtle weeds no man has need to tend,
That flourish through neglect, and soon must send
Perfume too sweet upon us and overthrow
Our steady senses; how such matters go
We are aware, and how such matters end.
Yet shall be told no meagre passion here;
With lovers such as we forevermore
Isolde drinks the draught, and Guinevere
Receives the Table's ruin through her door,
Francesca, with the loud surf at her ear,
Lets fall the colored book upon the floor.
II
Into the golden vessel of great song
Let us pour all our passion; breast to breast
Let other lovers lie, in love and rest;
Not we,—articulate, so, but with the tongue
Of all the world: the churning blood, the long
Shuddering quiet, the desperate hot palms pressed
Sharply together upon the escaping guest,
The common soul, unguarded, and grown strong.
Longing alone is singer to the lute;
Let still on nettles in the open sigh
The minstrel, that in slumber is as mute
As any man, and love be far and high,
That else forsakes the topmost branch, a fruit
Found on the ground by every passer-by.
III
Not with libations, but with shouts and laughter
We drenched the altars of Love's sacred grove,
Shaking to earth green fruits, impatient after
The launching of the colored moths of Love.
Love's proper myrtle and his mother's zone
We bound about our irreligious brows,
And fettered him with garlands of our own,
And spread a banquet in his frugal house.
Not yet the god has spoken; but I fear
Though we should break our bodies in his flame,
And pour our blood upon his altar, here
Henceforward is a grove without a name,
A pasture to the shaggy goats of Pan,
Whence flee forever a woman and a man.
IV
Only until this cigarette is ended,
A little moment at the end of all,
While on the floor the quiet ashes fall,
And in the firelight to a lance extended,
Bizarrely with the jazzing music blended,
The broken shadow dances on the wall,
I will permit my memory to recall
The vision of you, by all my dreams attended.
And then adieu,—farewell!—the dream is done.
Yours is a face of which I can forget
The color and the features, every one,
The words not ever, and the smiles not yet;
But in your day this moment is the sun
Upon a hill, after the sun has set.
V
Once more into my arid days like dew,
Like wind from an oasis, or the sound
Of cold sweet water bubbling underground,
A treacherous messenger, the thought of you
Comes to destroy me; once more I renew
Firm faith in your abundance, whom I found
Long since to be but just one other mound
Of sand, whereon no green thing ever grew.
And once again, and wiser in no wise,
I chase your colored phantom on the air,
And sob and curse and fall and weep and rise
And stumble pitifully on to where,
Miserable and lost, with stinging eyes,
Once more I clasp,—and there is nothing there.
VI
No rose that in a garden ever grew,
In Homer's or in Omar's or in mine,
Though buried under centuries of fine
Dead dust of roses, shut from sun and dew
Forever, and forever lost from view,
But must again in fragrance rich as wine
The grey aisles of the air incarnadine
When the old summers surge into a new.
Thus when I swear, "I love with all my heart,"
'Tis with the heart of Lilith that I swear,
'Tis with the love of Lesbia and Lucrece;
And thus as well my love must lose some part
Of what it is, had Helen been less fair,
Or perished young, or stayed at home in Greece.
VII
When I too long have looked upon your face,
Wherein for me a brightness unobscured
Save by the mists of brightness has its place,
And terrible beauty not to be endured,
I turn away reluctant from your light,
And stand irresolute, a mind undone,
A silly, dazzled thing deprived of sight
From having looked too long upon the sun.
Then is my daily life a narrow room
In which a little while, uncertainly,
Surrounded by impenetrable gloom,
Among familiar things grown strange to me
Making my way, I pause, and feel, and hark,
Till I become accustomed to the dark.
VIII
And you as well must die, beloved dust,
And all your beauty stand you in no stead;
This flawless, vital hand, this perfect head,
This body of flame and steel, before the gust
Of Death, or under his autumnal frost,
Shall be as any leaf, be no less dead
Than the first leaf that fell,—this wonder fled.
Altered, estranged, disintegrated, lost.
Nor shall my love avail you in your hour.
In spite of all my love, you will arise
Upon that day and wander down the air
Obscurely as the unattended flower,
It mattering not how beautiful you were,
Or how beloved above all else that dies.
IX
Let you not say of me when I am old,
In pretty worship of my withered hands
Forgetting who I am, and how the sands
Of such a life as mine run red and gold
Even to the ultimate sifting dust, "Behold,
Here walketh passionless age!"—for there expands
A curious superstition in these lands,
And by its leave some weightless tales are told.
In me no lenten wicks watch out the night;
I am the booth where Folly holds her fair;
Impious no less in ruin than in strength,
When I lie crumbled to the earth at length,
Let you not say, "Upon this reverend site
The righteous groaned and beat their breasts in prayer."
X
Oh, my beloved, have you thought of this:
How in the years to come unscrupulous Time,
More cruel than Death, will tear you from my kiss,
And make you old, and leave me in my prime?
How you and I, who scale together yet
A little while the sweet, immortal height
No pilgrim may remember or forget,
As sure as the world turns, some granite night
Shall lie awake and know the gracious flame
Gone out forever on the mutual stone;
And call to mind that on the day you came
I was a child, and you a hero grown?—
And the night pass, and the strange morning break
Upon our anguish for each other's sake!
XI
As to some lovely temple, tenantless
Long since, that once was sweet with shivering brass,
Knowing well its altars ruined and the grass
Grown up between the stones, yet from excess
Of grief hard driven, or great loneliness,
The worshiper returns, and those who pass
Marvel him crying on a name that was,—
So is it now with me in my distress.
Your body was a temple to Delight;
Cold are its ashes whence the breath is fled,
Yet here one time your spirit was wont to move;
Here might I hope to find you day or night,
And here I come to look for you, my love,
Even now, foolishly, knowing you are dead.
XII
Cherish you then the hope I shall forget
At length, my lord, Pieria?—put away
For your so passing sake, this mouth of clay
These mortal bones against my body set,
For all the puny fever and frail sweat
Of human love,—renounce for these, I say,
The Singing Mountain's memory, and betray
The silent lyre that hangs upon me yet?
Ah, but indeed, some day shall you awake,
Rather, from dreams of me, that at your side
So many nights, a lover and a bride,
But stern in my soul's chastity, have lain,
To walk the world forever for my sake,
And in each chamber find me gone again!
I looked in my heart while the wild swans went over.
And what did I see I had not seen before?
Only a question less or a question more;
Nothing to match the flight of wild birds flying.
Tiresome heart, forever living and dying,
House without air, I leave you and lock your door.
Wild swans, come over the town, come over
The town again, trailing your legs and crying!
End of the Project Gutenberg EBook of Second April, by Edna St. Vincent Millay
*** END OF THIS PROJECT GUTENBERG EBOOK SECOND APRIL ***
***** This file should be named 1247-h.htm or 1247-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/1/2/4/1247/
Produced by Judy Boss, and David Widger
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf.org
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
http://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.