initial commit of ebook 26918HEADmain

1 files changed, 1771 insertions, 0 deletions

diff --git a/26918.txt b/26918.txt
new file mode 100644
index 0000000..110adf0
--- /dev/null
+++ b/26918.txt
@@ -0,0 +1,1771 @@
+The Project Gutenberg EBook of Spectra, by Arthur Ficke and Witter Bynner
+
+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: Spectra
+       A Book of Poetic Experiments
+
+Author: Arthur Ficke
+        Witter Bynner
+
+Release Date: October 14, 2008 [EBook #26918]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK SPECTRA ***
+
+
+
+
+Produced by Ruth Hart
+
+
+
+
+SPECTRA
+
+A BOOK OF POETIC EXPERIMENTS
+
+BY
+
+ANNE KNISH
+AND
+EMANUEL MORGAN
+
+
+
+NEW YORK
+MITCHELL KENNERLEY
+1916
+
+
+
+COPYRIGHT 1916 BY
+MITCHELL KENNERLEY
+
+PRINTED IN AMERICA
+
+
+CONTENTS
+
+                                                 PAGE
+To Remy de Gourmont (Emanuel Morgan)              vii
+Preface (Anne Knish)                               ix
+
+SPECTRA BY EMANUEL MORGAN
+OPUS                                             PAGE
+1  Drums                                           53
+2  Hope                                            14
+6  If I Were Only Dafter                           56
+7  A Bunch of Grapes                                8
+9  Frogs' Legs on a Plate                          57
+13  A Peacock-Feather                              11
+14  I Had Put Out My Leaves                        51
+15  Despair Comes                                   6
+16  The Guillotine                                 20
+17  Needles and Pins                               46
+29  Knives                                         31
+31  Thank God that We Can Laugh                    27
+40  Two Cocktails Round a Smile                    35
+41  Spectres                                        2
+45  The Locust-Tree                                49
+46  No Other Angle                                 40
+47  Giver of Bribes in the Brightness of Morning   37
+55  The Impossible                                 43
+62  Three Little Creatures                         16
+63  Spears                                         23
+78  I Am Beset                                     63
+79  Only Lovers                                    66
+101  The Piano                                     61
+104  Madagascar                                    59
+
+SPECTRA BY ANNE KNISH
+OPUS                                             PAGE
+1  The Seconds Bob By                              41
+40  I Have not Written--That You May Read          26
+50  The Piano Lives in a Dusk                       1
+67  I Would Not in the Early Morning               10
+76  Years Are Nothing                               4
+80  Oh, My Little House of Glass                   52
+88  So We Came Back Again                          36
+96  You Are the Delphic Oracle                     33
+118  If Bathing Were a Virtue                       7
+122  Upstairs There Lies a Sodden Thing            39
+126  His Eyes                                      12
+131  I Am Weary                                    18
+134  Listen, My Friend                             21
+135  In a Tomb of Argolis                          64
+150  Sounds                                        29
+151  Candle, Candle                                15
+181  Skeptical Cat                                 62
+182  He's the Remnant of a Suit                    60
+187  I Do Not Know Very Much                       58
+191  The Black Bark of a Dog                       48
+195   Her Soul Was Freckled                        55
+200  If I Should Enter to his Chamber              45
+
+
+
+TO REMY DE GOURMONT
+
+     POET, a wreath!--
+No matter how we had combined our flowers,
+You would have worn them--being ours. . . .
+On you, on them, the showers--
+     O roots beneath!
+          EMANUEL MORGAN.
+
+
+
+PREFACE
+
+THIS volume is the first compilation of the recent experiments in
+Spectra. It is the aim of the Spectric group to push the possibilities
+of poetic expression into a new region,--to attain a fresh brilliance
+of impression by a method not so wholly different from the
+methods of Futurist Painting.
+
+An explanation of the term "Spectric" will indicate something of the
+nature of the technique which it describes. "Spectric" has, in this
+connection, three separate but closely related meanings. In the first
+place, it speaks, to the mind, of that process of diffraction by
+which are disarticulated the several colored and other rays of which
+light is composed. It indicates our feeling that the theme of a
+poem is to be regarded as a prism, upon which the colorless white
+light of infinite existence falls and is broken up into glowing,
+beautiful, and intelligible hues. In its second sense, the term
+Spectric relates to the reflex vibrations of physical sight, and
+suggests the luminous appearance which is seen after exposure of
+the eye to intense light, and, by analogy, the after-colors of
+the poet's initial vision. In its third sense, Spectric connotes
+the overtones, adumbrations, or spectres which for the poet haunt
+all objects both of the seen and the unseen world,--those
+shadowy projections, sometimes grotesque, which, hovering around the
+real, give to the real its full ideal significance and its poetic
+worth. These spectres are the manifold spell and true essence of
+objects,--like the magic that would inevitably encircle a mirror from
+the hand of Helen of Troy.
+
+Just as the colors of the rainbow recombine into a white light,--just
+as the reflex of the eye's picture vividly haunts sleep,--just as
+the ghosts which surround reality are the vital part of that
+existence,--so may the Spectric vision, if successful, synthesize,
+prolong, and at the same time multiply the emotional images of
+the reader. The rays which the poet has dissociated into colorful
+beauty should recombine in the reader's brain into a new intensity
+of unified brilliance. The reflex of the poet's sight should sustain
+the original perception with a haunting keenness. The insubstantiality
+of the poet's spectres should touch with a tremulous vibrancy of
+ultimate fact the reader's sense of the immediate theme.
+
+If the Spectrist wishes to describe a landscape, he will not
+attempt a map, but will put down those winged emotions, those
+fantastic analogies, which the real scene awakens in his own mind.
+In practice this will be found to be the vividest of all modes of
+communication, as the touch of hands quickens a mere exchange of names.
+
+It may be noted that to Spectra, to these reflected experiences of
+life, as we perceive them, adheres often a tinge of humor. Occidental
+art, in contrast to art in the Orient, has until lately been afraid
+of the flash of humor in its serious works. But a growing acquaintance
+with Chinese painting is surely liberating in our poets and painters
+a happy sense of the disproportion of man to his assumed place in
+the universe, a sense of the tortuous grotesque vanity of the
+individual. By this weapon, man helps defend his intuition of the
+Absolute and of his own obscure but real relation to it.
+
+The Spectric method is as yet in its infancy; and the poems that
+follow are only experimental efforts toward the desired end. Among
+them, the most obvious illustrations of the method are perhaps _Opus
+41_ by Emanuel Morgan and _Opus 76_ by Anne Knish.
+
+Emanuel Morgan, with whom the Spectric theory originated, has
+found the best expression of his genius in regular metrical forms
+and rhyme. Anne Knish, on the other hand, has used only free
+verse. We wish to make it clear that the Spectric manner does
+hot necessitate the employment of either of these metrical systems
+to the exclusion of the other.
+
+Although the members of our group would by no means attempt to
+establish a claim as actual inventors of the Spectric method,
+yet we can justifiably say that we have for the first time
+used the method consciously and consistently, and formulated
+its possibilities by means of elaborate experiment. Among
+recent poets in English, we have noted few who can be regarded
+in a sure sense as Spectrists.
+          ANNE KNISH.
+
+
+
+ANNE KNISH
+_Opus 50_
+
+THE piano lives in a dusk
+Where rich amber lights
+Quiver obscurely.
+
+     It exists only at twilight;
+And somewhere afar
+In the depths of a tropic forest
+The sun is now setting, and the phoenix looks
+Mysteriously toward the gold.
+
+     I think I must have been born in such a forest,
+Or in the tangle of a Chinese screen.
+
+     There is indigo in this music;
+This dusk is filled with amber lights;
+Through the tangled evening of heavy flower-scents
+Come footfalls
+That surely I can almost remember.
+
+
+
+EMANUEL MORGAN
+_Opus 41_
+
+SPECTRES came dancing up the wind,
+     Trailing down the long grass,
+Shooting high, undisciplined,
+     To join the sun and see you pass . . .
+     The colors of the pointed glass.
+
+Under a willow-maze you went
+     Unsaddened . . . But a violet beam
+Fell on the white face, backward bent,
+     Of a body in a stream.
+
+Into the sun you came again,
+     With sun-red light your feet were shod . . .
+And round you stood a ring of feathered men
+     With naked arms acknowledging a god.
+
+Indigo-birds and squirrels on a tree
+     And orioles flashed in and out . . .
+The yellow outline of Eurydice
+     Waited for Orpheus in a black redoubt
+
+With a beaded fern you waved away a gnat . . .
+     And maidens, hung with vivid beads of green,
+One of them bearing in her arms an orange cat,
+     Held palms about a queen.
+
+Then you were lost to sight
+     And locking trees became the clouds of you,
+Till you emerged, the moon upon your shoulder, and the night
+     Bloomed blue.
+
+
+
+ANNE KNISH
+_Opus 76_
+
+YEARS are nothing;
+Days alone count;
+These, and the nights.
+I have seen the grey stars marching,
+And the green bubbles in wine,
+And there are Gothic vaults of sleep.
+
+     My cathedral
+Has one great spire
+Tawny in the sunlight.
+Gargoyles haunt its nave;
+High up amid its dark-arches
+Forgotten songs live shadowy.
+Gold and sardonyx
+Deck its altars.
+Its mighty roof
+Is copper rivering with the rain.
+
+     Tomorrow lightning swords will come
+And thunder of cannon.
+They will unrivet this roof
+Of mighty copper.
+Before the eyes of my gargoyles,
+In the sound of my forgotten songs,
+They will take it.
+And as the rain sluices down
+I shall have to follow my roof into the war.
+
+
+
+EMANUEL MORGAN
+_Opus 15_
+
+DESPAIR comes when all comedy
+     Is tame
+And there is left no tragedy
+     In any name,
+When die round and wounded breathing
+     Of love upon the breast
+Is not so glad a sheathing
+     As an old brown vest.
+
+Asparagus is feathery and tall,
+And the hose lies rotting by the garden-wall.
+
+
+
+ANNE KNISH
+_Opus 118_
+
+IF bathing were a virtue, not a lust,
+I would be dirtiest.
+
+     To some, housecleaning is a holy rite.
+For myself, houses would be empty
+But for the golden motes dancing in sunbeams.
+
+     Tax-assessors frequently overlook valuables.
+Today they noted my jade.
+But my memory of you escaped them.
+
+
+
+EMANUEL MORGAN
+_Opus 7_
+
+BEYOND her lips in the dark are a man's feet
+     Composed and dead . . .
+In the light between her lips is a moving tongue-rip sweet,
+     Red.
+
+Her arms are his white robes,
+     They cover a king,
+His ornaments her crescent lobes
+     And two moons on a string.
+
+Sheba, Sheba, Proserpina, Salome,
+     See, I am come!--king, god, saint!--
+With the stone of a volcano O show that you know me,
+     Pound till the true blood pricks through the paint!
+
+Twitch of the dead man's feet if he remembers
+     A bunch of grapes and a ripped-open gown.--
+And the live man's eyes are night after embers,
+     Two black spots on a white-faced down  . . .
+
+And in the dawn, lava . . . rolling down . . .
+Down-rolling lava on an up-pointing town.
+
+
+
+ANNE KNISH
+_Opus 67_
+
+I WOULD not in the early morning
+Start my mind on its inevitable journey
+Toward the East.
+There are white domes somewhere
+Under that blue enameled sky, white domes, white domes;
+Therefore even the cream
+Is safest yellow.
+Cream is better than lemon
+In tea at breakfast
+I think of tigers as eating lemons.
+Thank God this tea comes from the green grocer,
+Not from Ceylon.
+
+
+
+EMANUEL MORGAN
+_Opus 13_
+
+O PEACOCK-FEATHER
+     Drawn through a death-dim hole,
+With colors blurred together,
+     Persian pattern of a soul--
+
+Is it enough to have belonged
+     To the exaltation of a bird
+Round whom they thronged
+     Each time her high tail stirred?
+
+. . . I loved a woman whose two eyes,
+     One blue, one gray,
+          Would block
+Like cliffs my foothold in the skies . . .
+     She is dead, they say--
+          Dead as a peacock.
+
+
+
+ANNE KNISH
+_Opus 126_
+
+HIS eyes
+Are the resurrection.
+Once when beneath the moonrise
+They looked into mine,
+Grey mists held mastery between us,
+And I knew that his soul
+Had gone down into death.
+But tonight a golden star-dust
+Is pouring through space,
+And the mist is burned away by it.
+Tonight his soul awakens
+Out of its splendid cerements,
+And through his eyes the miracle
+Arises to the earth.
+
+     I have prayed long beside the tomb
+And touched the grave-cloths
+With living fingers.
+I have lain my breasts
+Against the granite
+Of the sarcophagus
+Where he was.
+Prayers for the dead I offered up
+And hecatombs.
+
+     Today there was a wonder in the sunrise.
+I knew that there were glories in the sky
+And new branches of willow on the earth.
+And my soul trembled with prophecy.
+
+     I prophesied
+The resurrection.
+Now it has come.
+And I lie shaken
+Before its tumult.
+
+
+
+EMANUEL MORGAN
+_Opus 2_
+
+HOPE
+Is the antelope
+Over the hills;
+Fear
+Is the wounded deer
+Bleeding in rills;
+Care
+Is the heavy bear
+Tearing at meat;
+Fun
+Is the mastodon
+Vanished complete . . .
+
+And I am the stag with the golden horn
+Waiting till my day is born.
+
+
+
+ANNE KNISH
+_Opus 151_
+
+CANDLE, candle,
+     Flicker and flow--
+I knew you once--
+     But it was not long ago,
+          it was
+
+Last night.
+And you spoiled my otherwise bright
+          evening.
+
+
+
+EMANUEL MORGAN
+_Opus 62_
+
+THREE little creatures gloomed across the floor
+     And stood profound in front of me,
+And one was Faith, and one was Hope,
+     And one was Charity.
+
+Faith looked for what it could not find,
+     Hope looked for what was lost,
+(Love looked and looked but Love was blind),
+     Charity's eyes were crossed.
+
+Then with a leap a single shape,
+     With beauty on its chin,
+Brandished a little screaming ape . . .
+     And each one, like a pin,
+
+Fell to a pattern on the rug
+     As flat as they could be--
+And died there comfortable and snug,
+     Faith, Hope and Charity.
+
+That shape, it was my shining soul
+     Bludgeoning every sham . . .
+O little ape, be glad that I
+     Can be the thing I am!
+
+
+
+ANNE KNISH
+_Opus 131_
+
+I AM weary of salmon dawns
+And of cinnamon sunsets;
+Silver-grey and iron-grey
+Of winter dusk and morn
+Torture me; and in the amethystine shadows
+Of snow, and in the mauve of curving clouds
+Some poison has dwelling.
+
+     Ivory on a fan of Venice,
+Black-pearl of a bowl of Japan,
+Prismatic lustres of Phoenician glass,
+Fawn-tinged embroideries from looms of Bagdad,
+The green of ancient bronze, cinereous tinge
+Of iron gods,--
+These, and the saffron of old cerements,
+Violet wine,
+Zebra-striped onyx,
+Are to me like the narrow walls of home
+To the land-locked sailor.
+
+     I must have fire-brands!
+I must have leaves!
+I must have sea-deeps!
+
+
+
+EMANUEL MORGAN
+_Opus 16_
+
+DEATH on a cross was not the blade
+     In Mary's heart . . .
+For the mother of man and the son of the maid
+     Had walked one night apart,
+When his beard was not yet grown--and, afraid,
+     She had seen his young words dart.
+
+Between a mother and a son,
+     The guillotine . . .
+It falls, it falls, and one by one,
+     Unseeing and unseen,
+They face the great sharp shining ton
+     That time has eaten green.
+
+Between the shoulder and the head
+     The guillotine must play
+And cleave with clash unmerited
+     The generating day . . .
+Till the separated parts, not dead,
+     Rise and walk away.
+
+
+
+ANNE KNISH
+_Opus 134_
+
+LISTEN, my friend,
+That you may understand me.--
+
+     In my earliest youth
+I dreamed in hues volcanic.
+I saw each day open
+Like a curtain of flame.
+Black slaves attended
+My waking moments;
+Three ebony slaves
+Washed sleep from my white body.
+Three ebony slaves
+Around my ivory smoothness
+Folded heavy robes
+Of crimson and white.
+And as I issued forth
+Into the blue vault of the daylight
+A grey ape pranced before me
+And a leopard crept behind.
+
+     This was the state
+Of my young heritage.
+Scarlet as the voice of trumpets
+Was the pageant of my days.
+Can I accept now
+The twilight?
+And soon the dark, where all colors
+Die?
+
+     Before I die, I will hold one last revel!
+I will have golden cups and poppy curtains!--
+And yet--
+
+     No! . . . In a black hall
+The black table shall spread far down before me
+And all the feasters garbed in black.
+Then, at the feast's height, I arising
+Shall with a gesture like the midnight
+Throw back my midnight robe and suddenly stand
+Naked, the sole white flame of the world.
+
+
+
+EMANUEL MORGAN
+_Opus 63_
+
+THE seven deathly spears of memory
+Setting behind a god, a golden glorious
+Halo of land and sea
+Even for you and me,
+     Even for us . . .
+
+     The spear of Egypt,
+Orange,
+Through the sleeping lid,
+With all the power of the bulk of a pyramid.
+
+     The spear of Chile,
+Yellow,
+Through the thrilling cheek,
+With all the push of an upturned Andean peak.
+
+     The spear of Thibet,
+Violet,
+Through the eager hand,
+The thrust of the iron of a silent land.
+
+     The spear of the Ice-Poles,
+Green,
+Through the warm-breathing breast,
+The glacial east and the glacial west
+
+     The spear of Norway,
+Blue,
+Through the curved arm-pit,
+The cheerless sun majestic in a jagged slit.
+
+     The spear of India,
+Indigo,
+Through the holy side,
+A heaven-touching temple-roof down a mountain-slide.
+
+     The spear of Europe,
+Red,
+In the mouth's breath,
+The million-splintering scream of death . . .
+
+     Even to us,
+The seven-spearing sun,
+The sword of separation before our love is done;
+     Even for us,
+A simian shape
+Throwing seven souls on the sea-wet cape;
+     Even for us
+Who smile mouth to mouth,
+The full tornado from the seven-forked south;
+     Even to us
+Who clasp with our knees,
+The scattering upheaval of the seven cold seas!
+
+     And this is as near as lovers ever come,
+Their words are dumb;
+This is as near as they have ever kissed,
+Their lips are ocean-mist.
+
+     Yet what avail the seven
+Spears of memory
+Against the obstinate archery
+Of light, the spears of heaven?
+
+
+
+ANNE KNISH
+_Opus 40_
+
+I HAVE not written, reader,
+That you may read. . . .
+They sit in rows in the bare school-room
+Reading.
+Throwing rocks at windows is better,
+And oh the tortoise-shell cat with the can tied on!
+I would rather be a can-tier
+Than a writer for readers.
+
+     I have written, reader,
+For abstruse reasons.
+Gold in the mine . . .
+Black water seeping into tunnels . . .
+A plank breaks, and the roof falls . . .
+Three men suffocated.
+The wife of one now works in a laundry;
+The wife of another has married a fat man;
+I forget about the third.
+
+
+
+EMANUEL MORGAN
+_Opus 31_
+
+THE night is growing deep with snow
+     O put your hand in mine,
+While the mirthful secrets that we know
+     Bloom in the fire-shine--
+Flakes falling with an undertow
+     Of delicate design.
+
+Hushed are the courts where ladies went
+     Unquestioning to quaff
+Goblets of liquid firmament--
+     Thank God that we can laugh!
+
+Hushed are the plains where Asia poured
+     The blood of peacock kings--
+But we can echo, thank the Lord,
+     What the China teapot sings:
+
+          Nothing bereaves
+          The eternal tune
+          Of little crisp leaves
+          Green in the moon.
+
+The night is deeper still with snow . . .
+     O let us never stir
+From the mirthful secrets that we know
+     Of old diameter!
+Eve laughed at Adam long ago,
+     And Adam laughed at her.
+
+
+
+ANNE KNISH
+_Opus 150_
+
+SOUNDS, pure sounds--
+Nothing--
+Vibrancies of the air--
+And yet--
+
+     This summer night
+There are crickets shrilling
+Beyond the deep bassoon of frogs.
+They cease for a moment
+As the rattling clangor
+Of the trolley
+Bumps by.
+I hear footsteps
+Hollow on the pavement
+Now deserted
+And blank of sound.
+They die.
+The crickets now are sleeping;
+Even the leaves
+Grow still.
+
+     And slowly
+Out of the blankness, out of the silence
+Emerges on soundless wings!
+The long sweet-sloping
+Rise and fall of far viol notes,--
+The mad Nirvana,
+The faint and spectral
+Dream-music
+Of my heart's desire.
+
+
+
+EMANUEL MORGAN
+_Opus 29_
+
+KNIVES for feet, and wheels for a chin,
+And the long smooth iron bore for a neck,
+And bullets for hands. . . . And the root runs in,
+The root of blood no stone can check,
+From the breasts of the grinding crash of sin,
+From engines hugging in a wreck.
+
+A thousand round-red mouths of pain
+Blaring black,
+A twisting comrade on his back
+In a round-red stain,
+Clotted stalks of red sumac,
+Discs of the sun on a bayonet-stack . . .
+
+Blood, flame, a cataract
+Thrown upward from a desert place:
+Flame and blood, the one blind fact,
+Contained, or spouting from the face,
+Or coiling out of bellies, packed
+In a stinking spent embrace . . .
+
+Country, a babble of black spume . . .
+Faith, an eyeball in the sand . . .
+Mother, a nail through a broken hand--
+A kissing fume--
+And out of her breast the bloody bubbling milk-red breath
+Of death.
+
+
+
+ANNE KNISH
+_Opus 96_
+
+YOU are the Delphic Oracle
+Of the Under-World.
+
+     As we sit talking,
+All of us together,
+You flash forth sudden utterance
+Of buried things
+That writhe in obscure life
+Within our minds' last darkness.
+That which we think and say not
+You say and think not.
+In us these thoughts
+Like worms stir vilely.
+But from you they depart as sudden butterflies
+Crimson and green against the pure sky.
+
+     Many are the revelers;
+Few are the thyrsus-bearers;
+And sole is Dionysus.
+
+     This I inscribe to you,
+Singer,
+In memory of the crags of Delphi
+And the Thessalian vales beyond.
+
+
+
+EMANUEL MORGAN
+_Opus 40_
+
+TWO cocktails round a smile,
+     A grapefruit after grace,
+Flowers in an aisle
+     . . . Were your face.
+
+A strap in a street-car,
+     A sea-fan on the sand,
+A beer on a bar
+     . . . Were your hand
+
+The pillar of a porch,
+     The tapering of an egg,
+The pine of a torch
+     . . . Were your leg.--
+
+Sun on the Hellespont,
+     White swimmers in the bowl
+Of the baptismal font
+     Are your soul.
+
+
+
+ANNE KNISH
+_Opus 88_
+
+SO we came back again
+After some years--
+Just revisiting
+The scenes of our sin.
+Nothing is there but the garden;
+And we had expected
+That we would be there.
+
+     I heard a wind blowing
+Down the sky.
+It came with heavy auguries
+And passed.
+There was a soothsayer once in Rome
+Who on a white altar
+Inspected the purple entrails of victims.
+
+
+
+EMANUEL MORGAN
+_Opus 47_
+
+GIVER of bribes in the brightness of  morning,
+     Cities have wavered and rocked and gone down . . .
+But the lamps of the altars hang round you, adorning
+     The niche of your neck and the drift of your gown.
+
+O bribe-giver, marked with purple metal--
+     Cut in your naked contentment there shows
+On the curve of your breast one carven petal
+     From heaven's impenetrable rose!
+
+You open the window to myriad windows,
+     The high triangular door of the world . . .
+Till the walls and the roofs and the curious keystone,
+     The carven rose with its petals uncurled,
+
+Are swayed in the swathe of the uppermost ether,
+     Where stars are the columns upholding a dome,
+And the edifice rolls on a corner of ocean,
+     Lifts on a wave, poises on foam . . .
+
+We stand on the rose, we are images golden,
+     We move interchanging, attaining one crest:
+One chin and one mouth and one nose and one forehead,
+     One mouth and one chin and one neck and one breast . . .
+
+I pull you apart from me, struggle to bind you,
+     I free you, I rend you in seven great rays . . .
+And we cling to them all . . . but we lose them, and slowly--
+     We slip with the rainbow down the blue bays.
+
+
+
+ANNE KNISH
+_Opus 122_
+
+UPSTAIRS there lies a sodden thing
+Sleeping.
+Soon it will come down
+And drink coffee.
+I shall have to smile at it across the table.
+How can I?
+For I know that at this moment
+It sleeps without a sign of life; it is as good as dead.
+I will not consort with reformed corpses,
+I the life-lover, I the abundant.
+I have known living only;
+I will not acknowledge kinship with death.
+White graves or black, linen or porphyry,
+Are all one to me.
+And yet, on the Lybian plains
+Where dust is blown,
+A king once
+Built of baked clay and bulls of bronze
+A tomb that makes me waver.
+
+
+
+EMANUEL MORGAN
+_Opus 46_
+
+I ONLY know that you are given me
+     For my delight.
+No other angle finishes my soul
+     But you, you white.
+
+I know that I am given you,
+     Black whirl to white,
+To lift the seven colors up . . .
+     Focus of light!
+
+
+
+ANNE KNISH
+_Opus 1_
+
+REITERATION! . . .
+
+The seconds bob by,
+So many, so many,
+Each ugly in its own way
+As raw meats are all ugly.
+Why do we feed on the dead?
+Or would at least it were with cries and lust
+Of slaying our human food
+Beneath a cannibal sun!
+But these old corpses of alien creatures! . . .
+I loathe them!
+And too many heads go by the window,
+All alien--
+Filers of saws, doubtless,
+Or lechers
+Or Sabbath-keepers.
+Morality comes from God.
+He was busy.
+He forgot to make beauty.
+Why does he not call back into their hen-house
+This ugly straggling flock of seconds
+That trail by
+With pin-feathers showing?
+
+
+
+EMANUEL MORGAN
+_Opus 55_
+
+WHY ask it of me?--the impossible!--
+     Shall I pick up the lightning in my hand?
+Have I not given homages too well
+     For words to understand?--
+
+Words take you from me, bring you back again,
+     Dance in our presence, cover your proud face
+With the incredible counterpane,
+     Break our embrace . . .
+
+No, not to you
+     Your wish,
+But to some kangaroo
+     Or cuttle-fish
+
+Or octopus or eagle or tarantula
+     Or elephant or dove
+Or some peninsula
+     Let me speak love--
+
+Or call some battle or some temple-bell
+     Or many-curving pine
+Or some cool truth-containing well
+     Or thin cathedral--mine!
+
+
+
+ANNE KNISH
+_Opus 200_
+
+IF I should enter to his chamber
+And suddenly touch him,
+Would he fade to a thin mist,
+Or glow into a fire-ball,
+Or burst like a punctured light-globe?
+It is impossible that he would merely yawn and rub
+And say--"What is it?"
+
+
+
+EMANUEL MORGAN
+_Opus 17_
+
+MAN-THUNDER, woman-lightning,
+     Rumble, gleam;
+Refusal,
+     Scream.
+
+Needles and pins of pain
+     All pointed the same way;
+Parellel lines of pain
+     When the lips are gray
+     And know not what they say:
+Rain,
+Rain.
+
+But after the whirl of fright
+     And great shouts and flashes,
+     The pounding clashes
+     And deep slashes,
+     After the scattered ashes
+
+Of the night,
+Heaven's height
+     Abashes
+     With a gleam through unknown lashes
+Of delicious points of light.
+
+
+
+ANNE KNISH
+_Opus 191_
+
+THE black bark of a dog
+Made patterns against the night.
+And little leaves flute-noted across the moon.
+
+     I seemed to feel your soft looks
+Steal across that quiet evening room
+Where once our souls spoke, long ago.
+
+     For that was of a vastness;
+And this night is of a vastness . . .
+
+     There was a dog-bark then--
+It was the sound
+Of my rebellious and incredulous heart
+Its patterns twined about the stars
+And drew them down
+And devoured them.
+
+
+
+EMANUEL MORGAN
+_Opus 45_
+
+AN angel, bringing incense, prays
+     Forever in that tree . . .
+I go blind still when the locust sways
+     Those honey-domes for me.
+
+All the fragrances of dew, O angel, are there,
+The myrrhic rapture of young hair,
+     The lips of lust;
+     And all the stenches of dust,
+Even the palm and the fingers of a hand burnt bare
+     With a curling sweet-smelling crust,
+And the bitter staleness of old hair,
+     Powder on a withering bust . . .
+
+The moon came through the window to our bed.
+     And the shadows of the locust-tree
+     On your white sweet body made of me,
+     Of my lips, a drunken bee. . . .
+O tree-like Spring, O blossoming days,
+I, who some day shall be dead,
+     Shall have ever a lover to sway with me.
+For when my face decays
+     And the earth moulds in my nostrils, shall there not be
+     The breath therein of a locust-tree,
+     The seed, the shoot of a locust-tree,
+     The honey-domes of a locust-tree,
+     Till lovers go blind and sway with me?--
+
+O tree-like Spring, O blossomy days,
+To sway as long as the locust sways!
+
+
+
+EMANUEL MORGAN
+_Opus 14_
+
+BESIDE the brink of dream
+     I had put out my willow-roots and leaves
+As by a stream
+     Too narrow for the invading greaves
+Of Rome in her trireme . . .
+     Then you came--like a scream
+Of beeves.
+
+
+
+ANNE KNISH
+_Opus 80_
+
+OH my little house of glass!
+How carefully
+I have planted shrubbery
+To plume before your transparency.
+Light is too amorous of you,
+Transfusing through and through
+Your panes with an effulgence never new.
+Sometimes
+I am terribly tempted
+To throw the stones myself.
+
+
+
+EMANUEL MORGAN
+_Opus 1_
+
+THEY enter with long trailing of shadowy cloth,
+     And each with one hand praying in the air,
+And the softness of their garments is the grayness of a moth--
+     The lost and broken night-moth of despair.
+
+And they keep a wounded distance
+     With following bare feet,
+A distance Isadoran--
+     And the dark moons beat
+Their drums.
+
+More desolate than they are Isadora stands,
+     The blaze of the sun on her grief;
+The stars of a willow are in both her hands,
+     And her heart is the shape of a leaf.
+
+And they come to her for comfort
+     And her black-thrown hair
+Is a harp of consolation
+Singing anthems in the air.
+
+With the dark she wrestles, daring alone,
+     Though their young arms would aid;
+Her body wreathes and brightens, never thrown,
+     Unvanquished, unafraid . . .
+
+Till light comes leaping
+     On little children's feet,
+Comes leaping Isadoran--
+     And the white stars beat
+Their drums.
+
+
+
+ANNE KNISH
+_Opus 195_
+
+HER soul was freckled
+Like the bald head
+Of a jaundiced Jewish banker.
+Her fair and featurous face
+Writhed like
+An albino boa-constrictor.
+She thought she resembled the Mona Lisa.
+This demonstrates the futility of thinking.
+
+
+
+EMANUEL MORGAN
+_Opus 6_
+
+IF I were only dafter
+     I might be making hymns
+To the liquor of your laughter
+     And the lacquer of your limbs.
+
+But you turn across the table
+     A telescope of eyes.
+And it lights a Russian sable
+     Running circles in the skies. . . .
+
+Till I go running after,
+     Obeying all your whims--
+For the liquor of your laughter
+     And the lacquer of your limbs.
+
+
+
+EMANUEL MORGAN
+_Opus 9_
+
+WHEN frogs' legs on a plate are brought to me
+     As though I were divinity in France,
+I feel as God would feel were He to see
+     Imperial Russians dance.
+
+These people's thoughts and gestures and concerns
+     Move like a Russian ballet made of eggs;
+A bright-smirched canvas heaven heaves and burns
+     Above their arms and legs.
+
+Society hops this way and that, well-taught;
+     But while I watch, in cloudy state,
+I feel as God would feel if he were brought
+     Frogs' legs on a plate.
+
+
+
+ANNE KNISH
+_Opus 187_
+
+I DO not know very much,
+But I know this--
+That the storms of contempt that sweep over us,
+Ready to blast any edifice before then
+Rise from the fathomless maelstrom
+Of contempt for ourselves.
+If there be a god,
+May he preserve me
+From striking with these lightnings
+Those whom I love.
+
+     Saying which,
+Zarathustra strolled on
+Down Fifth Avenue.
+
+     The last three lines
+Are symptomatic.
+
+
+
+EMANUEL MORGAN
+_Opus 104_
+
+HOW terrible to entertain a lunatic!
+To keep his earnestness from coming close!
+
+A Madagascar land-crab once
+Lifted blue claws at me
+And rattled long black eyes
+That would have got me
+Had I not been gay.
+
+
+
+ANNE KNISH
+_Opus 182_
+
+"HE'S the remnant of a suit that has been drowned;
+That's what decided me," said Clarice.
+"And so I married him,
+I really wanted a merman;
+And this slimy quality in him
+Won me.
+No one forbade the banns.
+Ergo--will you love me?"
+
+
+
+EMANUEL MORGAN
+_Opus 101_
+
+HE not only plays
+One note
+But holds another note
+Away from it--
+As a lover
+Lifts
+A waft of hair
+From loved eyes.
+
+The piano shivers,
+When he touches it,
+And the leg shines.
+
+
+
+ANNE KNISH
+_Opus 181_
+
+SKEPTICAL cat,
+Calm your eyes, and come to me.
+For long ago, in some palmed forest,
+I too felt claws curling
+Within my fingers . . .
+Moons wax and wane;
+My eyes, too, once narrowed and widened
+Why do you shrink back?
+Come to me: let me pat you--
+Come, vast-eyed one . . .
+Or I will spring upon you
+And with steel-hook fingers
+Tear you limb from limb. . . .
+
+There were twins in my cradle. . . .
+
+
+
+EMANUEL MORGAN
+_Opus 78_
+
+I AM beset by liking so many people.
+What can I do but hide my face away?--
+Lest, looking up in love, I see no eyes or lids
+In the gleaming whirl of day,
+Lest, reaching for the fingers of love,
+I know not which are they,
+Lest the dear-lipped multitude,
+Kissing me, choke me dead!--
+
+O green eyes in the breakers,
+White heave unquieted,
+What can I do but dive again, again--again--
+To hide my head!
+
+
+
+ANNE KNISH
+_Opus 135_
+
+IN a tomb of Argolis,
+Under an arch of great stones,
+Where my eyes were sightless, groping,
+I touched this figment of clay.
+
+     Forgotten vase of immemorial Greece,
+Colorless form!
+I have entered to the blind dark
+Of the tomb where you have slept forever
+And with the dreams of my importunate hands
+I touch you in the profound darkness.
+
+     You are cold and estranged;
+Yet the ends of my fingers cling to your porous surface.
+You are thin and very tall;
+My palm can cover your mouth.
+Your lip curves but a little;
+Around your throat
+My two hands meet,
+And then part as I follow the swelling
+Rhythm that downward widens,
+And I pass around and under,
+And the returning line
+Ebbs home.
+
+Beneath your feet I touch cold marble;
+My hand returns
+To sleep upon your breast
+Dreaming it warm.
+
+
+
+EMANUEL MORGAN
+_Opus 79_
+
+ONLY the wise can see me in the mist,
+     For only lovers know that I am here
+After his piping, shall the organist
+     Be portly and appear?
+
+Pew after pew,
+     Wave after wave . . .
+Shall the digger dig and then undo
+     His own dear grave?
+
+Hear me in the playing
+     Of a big brass band . . .
+See me, straying
+     With children hand in hand . . .
+
+Smell me, a dead fish . . .
+     Taste me, a rotten tree. . . .
+Someday touch me, all you wish,
+     In the wide sea.
+
+
+
+
+
+
+
+
+End of Project Gutenberg's Spectra, by Arthur Ficke and Witter Bynner
+
+*** END OF THIS PROJECT GUTENBERG EBOOK SPECTRA ***
+
+***** This file should be named 26918.txt or 26918.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/6/9/1/26918/
+
+Produced by Ruth Hart
+
+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.