summaryrefslogtreecommitdiff
path: root/37365.txt
diff options
context:
space:
mode:
authorRoger Frank <rfrank@pglaf.org>2025-10-14 20:07:52 -0700
committerRoger Frank <rfrank@pglaf.org>2025-10-14 20:07:52 -0700
commit08cca6c3652836e1a429820e59b2d7d0c4f171f7 (patch)
treed3a6c2a90faf1f4ec97b7c58b5c5a0c8bffdf896 /37365.txt
initial commit of ebook 37365HEADmain
Diffstat (limited to '37365.txt')
-rw-r--r--37365.txt2131
1 files changed, 2131 insertions, 0 deletions
diff --git a/37365.txt b/37365.txt
new file mode 100644
index 0000000..da028f3
--- /dev/null
+++ b/37365.txt
@@ -0,0 +1,2131 @@
+The Project Gutenberg EBook of Sonnets and Other Verse, by W. M. MacKeracher
+
+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: Sonnets and Other Verse
+
+Author: W. M. MacKeracher
+
+Release Date: September 9, 2011 [EBook #37365]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK SONNETS AND OTHER VERSE ***
+
+
+
+
+Produced by Al Haines
+
+
+
+
+
+
+
+
+
+
+SONNETS
+
+AND OTHER VERSE
+
+
+BY
+
+W. M. MacKERACHER
+
+Author of "Canada, My Land"
+
+
+
+
+TORONTO
+
+WILLIAM BRIGGS
+
+1909
+
+
+
+
+Copyright, Canada, 1909, by
+
+W. M. MacKERACHER.
+
+
+
+
+ CONTENTS.
+
+ The Old and The New
+ How Many a Man!
+ The Saddest Thought
+ The House-Hunter
+ On Moving Into a New House
+ Literature
+ A Library
+ On Charles Lamb's Sonnet, "Work."
+ Work
+ The Joy of Creation
+ Adam
+ A Shallow Stream
+ A Faithful Preacher
+ A Wish Rebuked
+ The Sabbath
+ Milton
+ The Three Hundredth Anniversary of Milton's Birth
+ Burns
+ A Late Spring
+ Autumn
+ An Autumn Walk
+ November
+ November Sunshine
+ Short Days
+ The Beginning of Winter
+ The Winter and the Wilderness
+ The Immigrants
+ Wolfe
+ Montcalm
+ The Coming of Champlain
+ The Montagnais at Tadoussac
+ Champlain's First Winter and Spring in Quebec
+ Idleness
+ Success
+ The Exclusion of Asiatics
+ The People's Response to Heroism
+ An Aristocrat
+ In Warehouse and Office
+ H.M.S. "Dreadnought"
+ The Revolution in Russia
+ Tea's Apologia
+ A Wish
+ Alone with Nature
+ The Works of Man and the Works of Nature
+ A Day Redeemed
+ Outremont
+ The New Old Story
+ Recreation
+ Paestum
+ Rondeau: An April Day
+ Autumn
+ My Two Boys
+ My Old Classical Master
+ The Gold-Miners of British Columbia
+ War-ships in Port
+ On Finding a Copy of Burns's Poems in the House of an Ontario Farmer
+ The Ideal Preacher
+ The Wheel of Misfortune
+ Tim O'Gallagher
+
+
+
+
+ SONNETS AND OTHER VERSE.
+
+
+
+ THE OLD AND THE NEW.
+
+ Scorn not the Old; 'twas sacred in its day,
+ A truth overpowering error with its might,
+ A light dispelling darkness with its ray,
+ A victory won, an intermediate height,
+ Which seers untrammel'd by their creeds of yore,
+ Heroes and saints, triumphantly attained
+ With hard assail and tribulation sore,
+ That we might use the vantage-ground they gain'd.
+
+ Scorn not the Old; but hail and seize the New
+ With thrill'd intelligences, hearts that burn,
+ And such truth-seeking spirits that it, too,
+ May soon be superseded in its turn,
+ And men may ever, as the ages roll,
+ March onward toward the still receding goal.
+
+
+
+
+ HOW MANY A MAN!
+
+ How many a man of those I see around
+ Has cherished fair ideals in his youth,
+ And heard the spirit's call, and stood spellbound
+ Before the shrine of Beauty or of Truth,
+ And lived to see his fair ideals fade,
+ And feel a numbness creep upon his soul,
+ And sadly know himself no longer swayed
+ By rigorous Truth or Beauty's sweet control!
+
+ For some, alas! life's thread is almost spun;
+ Few, few and poor, the fibres that remain;
+ But yet, while life lasts, something may be done
+ To make the heavenly vision not in vain;
+ Yet, even yet, some triumph may be won,
+ Yea, loss itself be turned to precious gain.
+
+
+
+
+ THE SADDEST THOUGHT.
+
+ Sad is the wane of beauty to the fair,
+ Sad is the flux of fortune to the proud,
+ Sad is the look dejected lovers wear,
+ And sad is worth beneath detraction's cloud.
+ Sad is our youth's inexorable end,
+ Sad is the bankruptcy of fancy's wealth,
+ Sad is the last departure of a friend,
+ And sadder than most things is loss of health.
+
+ And yet more sad than these to think upon
+ Is this--the saddest thought beneath the sun--
+ Life, flowing like a river, almost gone
+ Into eternity, and nothing done.
+ Let me be spared that bootless last regret:
+ Let me work now; I may do something yet.
+
+
+
+
+ THE HOUSE-HUNTER.
+
+ As one who finds his house no longer fit,
+ Too narrow for his needs, in nothing right,
+ Wanting in every homelike requisite,
+ Devoid of beauty, barren of delight,
+ Goes forth from door to door and street to street,
+ With eager-eyed expectancy to find
+ A new abode for his convenience meet,
+ Spacious, commodious, fair, and to his mind;
+
+ So living souls recurrently outgrow
+ Their mental tenements; their tastes appear
+ Too sordid, and their aims too cramped and low.
+ And they keep moving onward year by year,
+ Each dwelling in its turn prepared to leave
+ For one more like the mansion they conceive.
+
+
+
+
+ ON MOVING INTO A NEW HOUSE.
+
+ Heaven bless this new abode; defend its doors
+ Against the entry of malignant sprites--
+ Gaunt Poverty, pale Sickness, Care that blights;
+ And o'er its thresholds, like the enchanted shores
+ Of faery isles, serene amid the roars
+ Of baffled seas, let in all fair delights
+ (Such as make happy days and restful nights)
+ To tread familiarly its charmed floors.
+
+ Within its walls let moderate Plenty reign,
+ And gracious Industry, and cheerful Health:
+ Plenish its chambers with Contentment's wealth,
+ Nor let high Joy its humble roof disdain;
+ Here let us make renewal of Love's lease,
+ And dwell with Piety, who dwells with Peace.
+
+
+
+
+ LITERATURE.
+
+ Here is a banquet-table of delights,
+ A sumptuous feast of true ambrosial food;
+ Here is a journey among goodly sights,
+ In choice society or solitude;
+ Here is a treasury of gems and gold--
+ Of purest gold and gems of brightest sheen;
+ Here is a landscape gloriously unroll'd,
+ Of heights sublime and pleasant vales between.
+
+ Here is the realm of Thought, diverse and wide,
+ To Genius and her sovereign sons assign'd;
+ The universal church, o'er which preside
+ The heaven-anointed hierarchy of mind
+ And spirit; the imperishable pride
+ And testament and promise of mankind.
+
+
+
+
+ A LIBRARY.
+
+ As one, who, from an antechamber dim,
+ Is ushered suddenly to his surprise
+ Before a gathering of the great and wise,
+ Feels for the moment all his senses swim,
+ Then looks around him like a veteran grim
+ When peerless armies pass before his eyes,
+ Or Michael when he marshals in the skies
+ The embattled legions of the cherubim;
+
+ So shall the scholar pause within this door
+ With startled reverence, and proudly stand,
+ And feel that though the ages' flags are furled
+ By Time's rude breath, their spoils are here in store,
+ The riches of the race are at his hand,
+ And well-nigh all the glory of the world.
+
+
+
+
+ ON CHARLES LAMB'S SONNET, "WORK."
+
+ "Who first invented work?" asks Elia, he
+ Whose life to an ungenial task was wed,
+ And answers, "Satan"; but it could not be--
+ On idleness his foul ambition fed;
+ By idleness the heavenly domiciles
+ Were lost to him and all his idle crew;
+ In idleness he hatches all his wiles,
+ And mischief finds for idle hands to do.
+
+ His business ever was to scamp and shirk,
+ And scout the task that too ignoble seemed,
+ And in snug corners serpentlike to lurk
+ Where no one of his presence ever dreamed;
+ He never knew the zest of honest work,
+ Nor ever shall, or he would be redeemed.
+
+
+
+
+ WORK.
+
+ Not to the Arch-Idler be the honor given
+ Of first inventing work, but to his Lord,
+ Who made the light, the firmament of heaven,
+ And sun and moon and planets in accord,
+ The land and cattle on it, and the sea
+ And fish therein, and flying fowl in air,
+ And grass and herb and fair fruit-yielding tree,
+ And man, His own similitude to wear;
+
+ Whose works are old and yet for ever new,
+ Who all sustains with providential sway,
+ Whose Son, "My Father worketh hitherto
+ And I work," said, and ere He went away,
+ "Finished the work thou gavest me to do,"
+ And unto us, "Work ye while it is day."
+
+
+
+
+ THE JOY OF CREATION.
+
+ How must have thrilled the great Creator's mind
+ With radiant, glad and satisfying joy,
+ Ever new self-expressive forms to find
+ In those six days of rapturous employ!
+ How must He have delighted when He made
+ The stars, and meted ocean with His span,
+ And formed the insect and the tender blade,
+ And fashioned, after His own image, man!
+
+ And unto man such joy in his degree
+ He hath appointed, work of mind and hand,
+ To mould in forms of useful symmetry
+ Words, hues, wood, iron, stone, at his command
+ To toil upon the navigable sea
+ And ply his industry upon the land.
+
+
+
+
+ ADAM.
+
+ God made him, like the angels, innocent,
+ And made a garden marvellously fair,
+ With arbors green, sun-kissed and dew-besprent,
+ And fruits and flowers whose fragrance filled the air;
+ Where rivers four meandered with delight,
+ And in the soil were gleaming treasures laid,
+ Good gold and bdellium and the onyx bright;
+ And set therein the man whom He had made;
+
+ And proved to him by sad experience
+ That not in bowers of indolence, supine
+ On beds of ease, could ev'n Omnipotence
+ Work out in man His last and best design;
+ And in great love and wisdom drove him thence,
+ And cursed him with a blessing most benign.
+
+
+
+
+ A SHALLOW STREAM.
+
+ There is a stream to northward, thinly spread
+ Over a shelving, many-fissured shale,
+ That brawls and blusters in its shallow bed,
+ And ends its course inglorious in a swale.
+ Its babble stirs the laughter of the hills;
+ The rooted mountains mock its fume and fret;
+ And all the summer long the idle mills
+ Wait wearily with water-wheel unwet.
+
+ Let us not waste our lives in froth and foam
+ And unavailing vanity of noise;
+ "Still waters deepest run"--the ancient gnome
+ Pricks well our sham, conceited bubble-toys;
+ Who serve best here in God's great halidome
+ Have volume, depth, serenity and poise.
+
+
+
+
+ A FAITHFUL PREACHER.
+
+ Let no one say of Christ's Church, "Ichabod,"
+ Or deem her strength partaker of decay,
+ Or think her trumpet voices fail. To-day
+ I saw a man who was a man of God,
+ His feet with gospel preparation shod,
+ The Spirit's quick and mighty weapon sway;
+ I heard him faithfully point out the way,
+ To him familiar, which the Master trod.
+
+ Intrepid, patient follower of the Lord,
+ While such as thou, obedient to His call,
+ Living epistles, known and read of all,
+ Proclaim the wonders of His sacred Word,
+ No sound of lamentation should be heard,
+ No shade of apprehension should appal.
+
+
+
+
+ A WISH REBUKED.
+
+ If one could have a hundred years to live,
+ After the settlement of youth's unrest,
+ A hundred years of vigorous life to give
+ To the pursuit of what he counted best,
+ A hundred summers, autumns, winters, springs,
+ To train and use the forces of his mind,
+ He might fulfil his fond imaginings,
+ And lift himself and benefit his kind.
+
+ O faint of heart, to whom this life appears
+ Too short for thy ambitious projects, He
+ Who plied His task in weakness and in tears
+ Along the countrysides of Galilee,
+ And blest the world for these two thousand years,
+ Did His incomparable work in three.
+
+
+
+
+ THE SABBATH.
+
+ Who, careless, would behold a goodly tree
+ Or noble palace stricken to decay?
+ Who would drop precious jewels in the sea
+ Or cast rare heirlooms on the trodden way?
+ Who, but a prodigal in wantonness,
+ Would waste his patrimony for swine's food?
+ Who would his birthright sell for pottage-mess
+ But a dull, sensual Esau, blind to good?
+
+ Our tree o'ershadowing the sons of care,
+ Our palace welcoming the weary guest,
+ Our precious jewel and our heirloom rare,
+ Our birthright and our patrimony blest,
+ Art thou, to guard and keep for ever fair,
+ Sweet Christian Sabbath-day of joy and rest.
+
+
+
+
+ MILTON.
+
+ Say not that England ever kingless was:
+ 'Twixt Charles and Charles two royal men appear,--
+ Cromwell, to give her health with arms and laws,
+ And Milton, thou, to speak out loud and clear
+ For freedom of man's conscience and the state,
+ For England and her deeds before the world,
+ And for the victims of religious hate
+ From Alpine summits pitilessly hurl'd.
+
+ Thou wast a Champion of Liberty:
+ In fair Italian cities thou had'st heard
+ Her voice upon the north wind summon thee,
+ And, like another Moses, had'st preferr'd
+ Affliction with thy brethren to the lure
+ Of beauty, art and cultur'd ease secure.
+
+
+
+
+ THE THREE HUNDREDTH ANNIVERSARY OF MILTON'S BIRTH.
+
+ (December 9th, 1908.)
+
+ "There was a man sent from God, whose name was John."
+
+ Three hundred years have left their telltale rings
+ Upon the tree of Time since he appeared--
+ Milton (to be remembered and revered);
+ Whose spirit mounted on seraphic wings;
+ Who saw, though blind, extraordinary things;
+ Who wrought in obloquy, and persevered,
+ And, Orpheus-like, with his great music reared
+ A monument surpassing those of kings.
+
+ Three hundred years, courageous, lofty soul,
+ Hast thou by precept and example taught
+ Thy lesson. Have we learned it as we ought?
+ Have we moved upward, nearer to the goal?
+ Yea, somewhat have we learned; be with us still,
+ And teach us Man's high function to fulfil.
+
+
+
+
+ BURNS.
+
+ We read his life of poverty and bane,
+ From weakness, folly, error, not exempt,
+ And turn aside with a depressing pain--
+ Compassion tinged with something like contempt.
+ We read his work, and see his human heart,
+ His manly mind, his true, if thwarted, will,
+ And all that's noblest in us takes his part,
+ And shames our former verdict, will or nill.
+
+ His was a fiery spirit that unbound
+ Men's fetters, sometimes leading him astray;
+ He was a seed that fell into the ground
+ And brought forth fruit; he cast himself away
+ Like bread upon the waters, and was found
+ To nourish worth in many an after day.
+
+
+
+
+ A LATE SPRING.
+
+ Twelve weeks had passed--how slowly!--day by day,
+ Since formal, dull Sir Calendar had bowed
+ Old Winter from the scene, and cried, "Make way!
+ The Spring, the Spring!" and still a sullen cloud
+ Obscured the sky, and the north wind blew chill;
+ When lo, one morn the miracle began;
+ A Presence brooded over vale and hill,
+ And through all life a quickening impulse ran.
+
+ Long-hushed, forgotten melodies awoke
+ Within my soul; the rapture of the boy
+ Refilled me; o'er my arid being broke
+ A brimming tide of elemental joy
+ From primal deeps; and all my happy springs
+ Came back to me--I was the peer of kings!
+
+
+
+
+ AUTUMN.
+
+ From shy expectancy to burgeoning,
+ From burgeoning to ripeness and decline,
+ The seasons run their various course and bring
+ Again at last the sober days benign.
+ And spring's pied garland, worn for Beauty's sake,
+ And summer's crown of pride, less fair appear
+ Than the subdued, enchanted tints that make
+ The aureole of the senescent year.
+
+ So grows the good man old--meek, glad, sublime;
+ More lovely than in all his youthful bloom,
+ Grander than in the vigor of his prime,
+ He lights with radiance life's autumnal gloom,
+ And through the fading avenue of Time
+ Walks in triumphal glory to his tomb.
+
+
+
+
+ AN AUTUMN WALK.
+
+ Adown the track that skirts the shallow stream
+ I wandered with blank mind; a bypath drew
+ My aimless steps aside, and, ere I knew,
+ The forest closed around me like a dream.
+ The gold-strewn sward, the horizontal gleam
+ Of the low sun, pouring its splendors through
+ The far-withdrawing vistas, filled the view,
+ And everlasting beauty was supreme.
+
+ I knew not past or future; 'twas a mood
+ Transcending time and taking in the whole.
+ I was both young and old; my lost childhood,
+ Years yet unlived, were gathered round one goal;
+ And death was there familiar. Long I stood,
+ And in eternity renewed my soul.
+
+
+
+
+ NOVEMBER.
+
+ Sombre November, least belov'd of all
+ The months that make the pleasurable year,
+ Too late for the resplendence of the fall,
+ Too soon for Christmas-bringing winter's cheer;
+ Ignoble interregnum following
+ The golden cycle of a good queen's reign,
+ Before her heir, proclaimed already king,
+ Has come of age to rule in her domain;
+
+ We do not praise you; many a dreary day
+ Impatiently we chide your laggard pace;
+ Backward we look, and forward, and we say:
+ The queen was kind and fair of form and face;
+ The king is stern, but clad in brave array:
+ God save His Majesty and send him grace.
+
+
+
+
+ NOVEMBER SUNSHINE.
+
+ O affluent Sun, unwilling to abate
+ Thy bounteous hospitality benign,
+ Whenas we deemed the banquet o'er, thy great
+ Gold flagon brims again with amber wine;
+ Whenas we thought t' have seen on plain and hill
+ Thy euthanasia in October's haze,
+ The blessing of thy light, unstinted still,
+ Irradiates the drear November days.
+
+ Naught can discourage thee, O thurifer
+ Of gladness to the else benighted face
+ Of the misfeatured earth; fit minister
+ Of Him whose love illumines every place,
+ Who pours His mercy forth without demur
+ Over the sins and sorrows of our race.
+
+
+
+
+ SHORT DAYS.
+
+ Now is the Sun, erst spendthrift of his rays
+ And lavish of his largesses of light,
+ Become a miser in his latter days,
+ An avaricious dotard, alter'd quite.
+ Is he the same that all the summer long
+ Strew'd with ungrudging hand his gleaming gold?
+ Can such ill grace to high estate belong?
+ Can bright be dim? can warm so soon be cold?
+
+ Ay, but he goes his parsimonious way,
+ And hoards his shining treasures from the view,
+ And garners up his riches 'gainst the day
+ When Earth, the prodigal, shall beg anew;
+ Then to her need he'll give no niggard dole,
+ But wealth incalculable, heart and soul.
+
+
+
+
+ THE BEGINNING OF WINTER.
+
+ Now are the trees all ruefully bereft
+ Of their brave liveries of green and gold,
+ No shred of all their pleasant raiment left
+ To shield them from the wind and nipping cold.
+ Now is the grass all withered up and dead,
+ And shrouded in its cerement of the snow;
+ Now the enfeebled Sun goes soon to bed,
+ And rises late and carries his head low.
+
+ Now is the night magnificent to view
+ When the Queen Moon appears with cloudless brow;
+ Now are our spirits cleans'd and born anew
+ In the clear, quickening atmosphere; and now
+ We re-make home, and find our hearts' desire
+ In common talk before the cheerful fire.
+
+
+
+
+ THE WINTER AND THE WILDERNESS.
+
+ When we who dwell within this province old,
+ Cloven in twain by the great river's tide,
+ Gird at inhospitable winter's cold,
+ And rue the downfall of fair summer's pride;
+ Or turn our eyes from gazing on the vales
+ Of lavish verdure and abundant fruit,
+ To those rough wastes where Nature ever fails,
+ And tillage spurns a profitless pursuit;
+
+ Let us recall that sentence from the hand
+ Of history's father, laying down his pen,--
+ Those words of Cyrus, which he made to stand
+ To all his work as moral and amen;
+ 'Tis not the richest and most fertile land
+ That always bears the noblest breed of men.[1]
+
+
+[1] "Although the work seems unfinished, it concludes with a sentence
+which cannot have been placed casually at the end, viz., that, as the
+great Cyrus was supposed to have said, 'It is not always the richest
+and most fertile country which produces the most valiant
+men.'"--_Commentary on the Work of Herodotus_.
+
+
+
+
+ THE IMMIGRANTS.
+
+ From lands where old abuses sit entrenched
+ And stern restriction thwarts aspiring merit,
+ And by gaunt men a meagre dole is wrenched
+ From the unkind conditions they inherit;
+ From teeming cities where the ceaseless moan
+ Of want is burthen to the traffic's hum,
+ From shrouded mills, and fields they ne'er might own,
+ From servitude and blank despair, they come.
+
+ And every ship that sails across the foam,
+ And every train that rushes from the sea,
+ And every sun that brightens heaven's dome,
+ And every breeze that stirs the leafing tree,
+ Sings to the pilgrims a glad song of home,
+ With freedom, joy and opportunity.
+
+
+
+
+ WOLFE.
+
+"I would rather have written those lines than take Quebec
+to-morrow."--_Wolfe, on hearing Gray's "Elegy" read the night before
+the capture of Quebec_.
+
+ Thou need'st no marble monuments to keep
+ Thy fame immortal and thy memory
+ An inspiration to make pulses leap
+ And resolution spring to mastery.
+ Thou need'st no gilded tablets on the walls
+ Of cities, no imposing sepulchre,
+ Imperishable Wolfe, whose name recalls
+ The flower of kings, who bore Excalibur.
+
+ The ultimate dispensers of renown,
+ The poets, shall accord thee honor fit,
+ And add fresh laurels ever to thy crown,
+ High-minded hero, who hadst rather writ
+ Those lines of one to every poet dear
+ Than take the fortress of a hemisphere.
+
+
+
+
+ MONTCALM.
+
+"Ce n'est rien, ce n'est rien; ne vous affligez pas pour moi, mes
+bonnes amies."
+
+ Montcalm, calm mount, thou didst not faint nor fail
+ At that fierce volley from thy foemen near,
+ Nor at the charge's deafening prelude quail,--
+ The Highland slogan and the Saxon cheer.
+ But thou, even thou, couldst not withstand the shock
+ That broke and bore precipitately on
+ Tried regiments, La Sarre and Languedoc,
+ Bearn, Guienne and Royal Roussillon.
+
+ Thou couldst but fight as heroes e'er have fought,
+ With that high self-devotion which transcends
+ Vain-glorious victory: "'Tis naught, 'tis naught;
+ Fret not yourselves on my account, good friends,"
+ Yet 'twas thy mortal wound. Such words express
+ True chivalry and Christlike nobleness.
+
+
+
+
+ THE COMING OF CHAMPLAIN.
+
+ (From the prose of Parkman.)
+
+ Up the St. Lawrence with well-weather'd sails
+ A lonely vessel clove its foaming track.
+ None hail'd its coming; the white floundering whales
+ Disported in the Bay of Tadoussac;
+ The wild duck div'd before its figured prow;
+ The painted savage spied it from the shore,
+ And dream'd not that his reign was ended now,--
+ That that strange ship a new Aeneas bore,
+
+ Whose pale-fac'd inconsiderable band
+ Were pioneers of an aggressive host
+ Of thousands, millions, filling all the land,
+ And 'stablishing therein from coast to coast
+ This civil state, with cities, temples, marts,
+ Schools, laws and peaceful industries and arts.
+
+
+
+
+ THE MONTAGNAIS AT TADOUSSAC.
+
+ (From the prose of Parkman.)
+
+ The lodges of the Montagnais were there,
+ Who reaped the harvest of the woods and rocks--
+ Skins of the moose and cariboo and bear,
+ Fur of the beaver, marten, otter, fox.
+ From where the shivering nomad lurks among
+ The stunted forests south of Hudson's Bay
+ They piloted their frail canoes along
+ By many a tributary's devious way;
+
+ Then between mountains stern as Teneriffe
+ Their confluent flotillas glided down
+ The Saguenay, and pass'd beneath the cliff
+ Whose shaggy brows athwart the zenith frown,
+ And reach'd the Bay of Trinity, dark, lone,
+ And silent as the tide of Acheron.
+
+
+
+
+ CHAMPLAIN'S FIRST WINTER AND SPRING IN QUEBEC.
+
+ (From the prose of Parkman.)
+
+ I. THE WINTER.
+
+ September bade the sail of Pontgrave
+ Godspeed, and smil'd upon the infant nation;
+ October deckt the shores and hills with "gay
+ Prognostics of approaching desolation."
+ Ere long the forest, steep'd in golden gloom,
+ Dropt rustling down its shrivel'd festal dress,
+ And chill November, sombre as the tomb,
+ Sank on the vast primeval wilderness.
+
+ Inexorable winter's iron vice
+ Gript hard the land, funereal with snow;
+ The stream was fill'd with grinding drifts of ice;
+ A fell disease laid twenty Frenchmen low
+ In death, and left the dauntless leader eight
+ With whom to hold the New World's fortress gate.
+
+
+ II. THE SPRING.
+
+ The purgatory pass'd--the stalactites
+ That fring'd the cliffs fell crashing to the earth;
+ With clamor shrill the wild geese skimm'd the heights,
+ In airy navies sailing to the north;
+ The bluebirds chirrup'd in the naked woods,
+ The water-willows donn'd their downy blooms,
+ The trim swamp-maple blush'd with ruddy buds,
+ The forest-ash hung out its sable plumes.
+
+ The shad-bush gleam'd a wreath of purest snow,
+ The white stars of the bloodroot peep'd from folds
+ Of rotting leaves, and in the meadows low
+ Shone saffron spots, the gay marsh-marigolds.
+ May made all green, and on the fifth of June
+ A sail appeared, with succor none too soon.
+
+
+
+
+ IDLENESS.
+
+ The street was brisk, an animated scene,
+ And every man was on some business bent,
+ Absorbed in some employment or intent,
+ Pre-occupied, intelligent and keen.
+ True, some were dwarf'd and some were pale and lean.
+ But to the sorriest visage Labor lent
+ A light, transfiguring with her sacrament
+ The abject countenance and slavish mien.
+
+ But one--he shambled aimlessly along
+ Asham'd, and shrunk from the abstracted ken
+ Of passers-by with conscience-struck recoil,
+ A pariah, a leper in the throng,
+ An alien from the commonwealth of men,
+ A stranger to the covenant of toil.
+
+
+
+
+ SUCCESS.
+
+ What is success? In mad soul-suicide
+ The world's vain spoils rapaciously to seize,
+ To pamper the base appetite of pride,
+ And live a lord in luxury and ease?
+ Is this success, whereof so many prate?--
+ To have the Midas-touch that turns to gold
+ Earth's common blessings? to accumulate,
+ And in accumulation to grow old?
+
+ Nay, but to see and undertake with zest
+ The good most in agreement with our powers,
+ To strive, if need be, for the second best,
+ But still to strive, and glean the golden hours,
+ With eyes for nature, and a mind for truth,
+ And the brave, loving, joyous heart of youth.
+
+
+
+
+ THE EXCLUSION OF ASIATICS.
+
+ Is our renown'd Dominion then so small
+ As not to hold this new inhabitant?
+ Or are her means so pitiably scant
+ As not to yield a livelihood to all?
+ Or are we lesser men, foredoom'd to thrall?
+ Or so much better than the immigrant
+ That we should make our hearts as adamant
+ And guard against defilement with a wall?
+
+ Nay, but our land is large and rich enough
+ For us and ours and millions more--her need
+ Is working men; she cries to let them in.
+ Nor can we fear; our race is not the stuff
+ Servants are made of, but a royal seed,
+ And Christian, owning all mankind as kin.
+
+
+
+
+ THE PEOPLE'S RESPONSE TO HEROISM.
+
+ Our hearts are set on pleasure and on gain.
+ Fine clothes, fair houses, more and daintier bread;
+ We have no strivings, and no hunger-pain
+ For spiritual food; our souls are dead.
+ So judged I till the day when news was rife
+ Of fire besieging scholars and their dames,
+ And bravely one gave up her own fair life
+ In saving the most helpless from the flames.
+
+ Then when I heard the instantaneous cheer
+ That broke with sobbing undertones from all
+ The multitude, and watched them drawing near,
+ Stricken and mute, around her funeral pall
+ In grief and exultation, I confest
+ My judgment erred,--we know and love the best.
+
+
+
+
+ AN ARISTOCRAT.
+
+ Her fair companions she outshone,
+ As this or that transcendent star
+ Makes all its sister orbs look wan
+ And dim and lustreless and far.
+
+ Her charm impressed the fleeting glance,
+ But chiefly the reflective mind;
+ A century's inheritance,
+ By carefull'st nurture still refined.
+
+ Devotions, manners, hopes that were,
+ Ideals high, traditions fine,
+ Were felt to culminate in her,
+ The efflorescence of her line.
+
+ What time and cost conspired to trace
+ Her lineaments of perfect grace!
+
+
+
+
+ IN WAREHOUSE AND OFFICE.
+
+ How can the man whose uneventful days,
+ Each like the other, are obscurely spent
+ Amid the mill's dead products, keep his gaze
+ Upon a lofty goal serenely bent?
+ Or he who sedulously tells and groups
+ Their minted shadows with deft finger-tips?
+ Or who above the shadow's shadow stoops,
+ And dips his pen and writes, and writes and dips?
+
+ How can he? Yet some such have been and are,
+ Prophets and seers in deed, if not in word,
+ And poets of a faery land afar,
+ By incommunicable music stirred;
+ Feasting the soul apart with what it craves,
+ Their occupation's masters, not its slaves.
+
+
+
+
+ H. M. S. "DREADNOUGHT."
+
+ Titanic craft of many thousand tons,
+ A smaller Britain free to come and go,
+ Relying on thy ten terrific guns
+ To daunt afar the most presumptuous foe;
+ Thick-panoplied with plates of hardened steel,
+ Equipped with all the engin'ry of death,
+ Unrivalled swiftness in thy massive keel,
+ Annihilation latent in thy breath.
+
+ "Dreadnought" thy name. And yet, for all thy size
+ And strength, the ocean might engulf thy prow,
+ Or the swift red torpedo of the skies,
+ The lightning, blast thy boast-emblazoned brow;
+ Thou hast thy use, but Britain's sons were wise
+ To put their trust in better things than thou.
+
+
+
+
+ THE REVOLUTION IN RUSSIA.
+
+ From Lapland to the land of Tamerlane,
+ Kamchatka to the confines of the Turk,
+ The spirit tyrants never can restrain
+ When once awake is mightily at work.
+ Liberty, frantic with a fearful hope,
+ Out of long darkness suddenly arisen,
+ Maddens the dull half-human herds who grope
+ And rend the bars of their ancestral prison.
+
+ Over the wan lone steppe her couriers speed,
+ The secret forest echoes her command,
+ She smites the sword that made her children bleed,
+ And Death and Havoc hold the famished land.
+ But God overrules, and oft man's greatest good
+ Is won through nights of dread and days of blood.
+
+
+
+
+ TEA'S APOLOGIA.
+
+ Loved by a host from Noah's days till now,
+ Extolled by bards in many a glowing line,
+ My purple rival of the mantling brow
+ May laugh to scorn this swarthy face of mine.
+ I care not: many a weary pain I cure;
+ Cold, heat and thirst I harmlessly abate;
+ I bless the weak, the aged and the poor;
+ And I have known the favor of the great.
+
+ I've cheered the minds of mighty poets gone;
+ Philosophers have owned my solace true;
+ Shy Cowper was my sweet Anacreon;
+ Keen Hazlitt craved "whole goblets" of my brew;
+ De Quincey praised my stimulating draught;
+ What cups of me old Doctor Johnson quaffed!
+
+
+
+
+ A WISH.
+
+ When my time comes to quit this pleasing scene,
+ And drop from out the busy life of men;
+ When I shall cease to be where I have been
+ So willingly, and ne'er may be again;
+ When my abandoned tabernacle's dust
+ With dust is laid, and I am counted dead;
+ Ere I am quite forgotten, as I must
+ Be in a little while, let this be said:
+
+ He loved this good God's world, the night and day,
+ Men, women, children (these he loved the best);
+ Pictures and books he loved, and work and play,
+ Music and silence, soberness and jest;
+ His mind was open, and his heart was gay;
+ Green be his grave, and peaceful be his rest!
+
+
+
+
+ ALONE WITH NATURE.
+
+ The rain came suddenly, and to the shore
+ I paddled, and took refuge in the wood,
+ And, leaning on my paddle, there I stood
+ In mild contentment watching the downpour,
+ Feeling as oft I have felt heretofore,
+ Rooted in nature, that supremest mood
+ When all the strength, the peace, of solitude,
+ Sink into and pervade the being's core.
+
+ And I have thought, if man could but abate
+ His need of human fellowship, and find
+ Himself through Nature, healing with her balm
+ The world's sharp wounds, and growing in her state,
+ What might and greatness, majesty of mind,
+ Sublimity of soul and Godlike calm!
+
+
+
+
+ THE WORKS OF MAN AND OF NATURE.
+
+ Man's works grow stale to man: the years destroy
+ The charm they once possessed; the city tires;
+ The terraces, the domes, the dazzling spires
+ Are in the main but an attractive toy--
+ They please the man not as they pleased the boy;
+ And he returns to Nature, and requires
+ To warm his soul at her old altar fires,
+ To drink from her perpetual fount of joy.
+
+ It is that man and all the works of man
+ Prepare to pass away; he may depend
+ On naught but what he found her stores among;
+ But she, she changes not, nor ever can;
+ He knows she will be faithful to the end,
+ For ever beautiful, for ever young.
+
+
+
+
+ A DAY REDEEMED.
+
+ I rose, and idly sauntered to the pane,
+ And on the March-bleak mountain bent my look;
+ And standing there a sad review I took
+ Of what the day had brought me. What the gain
+ To Wisdom's store? What holds had Knowledge ta'en?
+ I mused upon the lightly-handled book,
+ The erring thought, and felt a stern rebuke:
+ "Alas, alas! the day hath been in vain!"
+
+ But as I gazed upon the upper blue,
+ With many a twining jasper ridge up-ploughed,
+ Sudden, up-soaring, swung upon my view
+ A molten, rolling, sunset-laden cloud:
+ My spirit stood, and caught its glorious hue--
+ "Not lost the day!" it, leaping, cried aloud.
+
+
+
+
+ OUTREMONT.
+
+ Far stretched the landscape, fair, without a flaw,
+ Down to one silver sheet, some stream or cloud,
+ Through glamorous mists. Midway, an engine ploughed
+ Across the scene. In meditative awe
+ I stood and gazed, absorbed in what I saw,
+ Till sweet-breathed Evening came, the pensive-browed,
+ And creeping from the city, spread her shroud
+ Over the sunlit slopes of Outremont.
+
+ Soon the mild Indian summer will be past,
+ November's mists soon flee December's snows;
+ The trees may perish, and the winter's blast
+ Wreck the tall windmills; these weak eyes may close;
+ But ever will that scene continue fast
+ Fixed in my soul, where richer still it grows.
+
+
+
+
+ THE NEW OLD STORY.
+
+ Hard by an ancient mansion stood an oak;
+ For centuries, 'twas said, it had been there:
+ The old towers crumbled 'neath decay's slow stroke,
+ While, hall by hall, upgrew a palace fair;
+ Lives and momentous eras waxed and waned,
+ Old barons died, and barons young and gay
+ Ruled in their stead, and still the oak remained,
+ And each new spring seemed older not a day.
+
+ The vesture of the spirit of mankind,--
+ Forms and beliefs, like meteors, rise and set;
+ The spirit too doth change; but o'er the mind
+ This old Evangel holds young lordship yet;
+ And here among Canadian snows we bring
+ Each Christmastide our tribute to the King.
+
+
+
+
+ RECREATION.
+
+ Give me a cottage embower'd in trees,
+ Far from the press and the din of the town;
+ There let me loiter and live at my ease,
+ Happier far than the King with his crown.
+
+ There let the music that's sweeter than words
+ Waken my soul's inarticulate song,
+ Murmur of zephyrs and warbling of birds,
+ Babble of waters that hurry along.
+
+ Under the shade of the maple and beech
+ Let me in tranquil contentment recline,
+ Learning what nature and solitude teach,
+ Charming philosophy, human, divine;
+
+ Finding how trivial the myriad things
+ Life is concern'd with, to seek or to shun;
+ Seeing the sources whence blessedness springs,
+ Gathering strength for the work to be done.
+
+
+
+
+ PAESTUM.
+
+ Paestum, your temples and your streets
+ Have been restored to view;
+ Your fadeless Grecian beauty greets
+ The eyes of men anew.
+
+ But where are all your roses now--
+ Those wonderful delights
+ That made such garlands for the brow
+ Of your fair Sybarites?
+
+ They in your time were more renown'd,
+ And dearer to your heart,
+ Than these fine works which mark the bound
+ And highest reach of art.
+
+ We'd see you as you look'd of old;
+ Though column, arch and wall
+ Were worth a kingdom to behold,
+ One rose would shame them all.
+
+
+
+
+ RONDEAU: AN APRIL DAY.
+
+ An April day, when skies are blue,
+ And earth rejoices to renew
+ Her vernal youth by lawn and lea,
+ And sap mounts upward in the tree,
+ And ruddy buds come bursting through;
+
+ When violets of tender hue
+ And trilliums keep the morning dew
+ Through all the sweet forenoon--give me
+ An April day;
+
+ When surly Winter's roystering crew
+ Have said the last of their adieux,
+ And left the fettered river free,
+ And buoyant hope and ecstasy
+ Of life awake, my wants are few--
+ An April day.
+
+
+
+
+ AUTUMN.
+
+ The Year, an aged holy priest,
+ In gorgeous vestments clad,
+ Now celebrates the solemn feast
+ Of Autumn, sweet and sad.
+
+ The Sun, a contrite thurifer
+ After his garish days,
+ Through lessening arch, a wavy blur,
+ His burnish'd censer sways.
+
+ The Earth,--an altar all afire
+ Her hecatombs to claim,
+ Shoots upward many a golden spire
+ And crimson tongue of flame.
+
+ Like Jethro's shepherd, when he turn'd
+ In Midian's land to view
+ The bush that unconsuming burn'd,
+ I pause--and worship, too.
+
+
+
+
+ MY TWO BOYS.
+
+ To some the heavenly Father good
+ Has given raiment rich and fine,
+ And tables spread with dainty food,
+ And jewels rare that brightly shine.
+
+ To some He's given gold that buys
+ Immunity from petty care,
+ Freedom and leisure and the prize
+ Of pleasing books and pictures fair.
+
+ To some He's given wide domains
+ And high estate and tranquil ease,
+ And homes where all refinement reigns
+ And everything combines to please.
+
+ To some He's given minds to know
+ The what and how, the where and when;
+ To some, a genius that can throw
+ A light upon the hearts of men.
+
+ To some He's given fortunes free
+ From sorrows and replete with joys;
+ To some, a thousand friends; to me
+ He's given my two little boys.
+
+
+
+
+ MY OLD CLASSICAL MASTER.
+
+ Ever hail'd with delight when my memory strays
+ O'er the various scenes of my juvenile days,
+ Do you mind if I sing a poor song in your praise,
+ My jolly old classical master?
+
+ You were kind--over-lenient, 'twas rumor'd, to rule--
+ And so learn'd, though the blithest of all in the school,
+ 'Twas your pupil's own fault if he left you a fool,
+ My jolly old classical master.
+
+ "Polumetis Odusseus" you brought back to life,
+ "Xanthos Menelaos" recalled to the strife:
+ You knew more about Homer than Homer's own wife,
+ My jolly old classical master.
+
+ You could sever each classical Gordian knot,
+ Each "crux criticorum" explain on the spot;
+ We preferr'd your opinion to Liddell and Scott,
+ My jolly old classical master.
+
+ To you "Arma virumque," "All Gaul" and the rest
+ Were a snap of the fingers, a plaything, a jest,
+ Even Horace mere English--you lik'd Horace best,
+ My jolly old classical master.
+
+ We esteemed you a marvel in Latin and Greek,
+ An Erasmus, a Bentley, a Person, a freak;
+ And for all sorts of knowledge we held you unique,
+ My jolly old classical master.
+
+ You brought forth from your treasury things new and old,
+ Philosophical gems, oratorical gold;
+ And how many a capital story you told,
+ My jolly old classical master!
+
+ Your devotion to learning, whole-hearted and pure,
+ Your fine critical relish of literature,
+ And your gay disposition, had charms to allure,
+ My jolly old classical master.
+
+ Here's a health to you, sir, from a thousand old boys,
+ Who once plagu'd you with nonsense and tried you with noise,
+ But who learn'd from you, lov'd you, and wish you all joys,
+ My jolly old classical master.
+
+ May your mien be still jovial, your mind be still bright,
+ May your wit be still sprightly, your heart be still light,
+ And long, long may it be ere your spirit takes flight,
+ My jolly old classical master.
+
+
+
+
+ THE GOLD-MINERS OF BRITISH COLUMBIA.
+
+ They come not from the sunny, sunny south,
+ Nor from the Arctic region,
+ Nor from the east, the busy, busy east,
+ The where man's name is legion;
+ But they come from the west, the rugged, rugged west,
+ From the world's remotest edges;
+ And their pockets they are filled with the yellow, yellow gold
+ That they mined in the mountain ledges.
+
+ CHORUS--
+
+ Then, hey, lads, hey, for the mining man so bold,
+ Who comes from the world's far edges!
+ And hey for the gold, the yellow, yellow gold,
+ That is stored in the mountain ledges!
+
+ They basked not, they, in balmy tropic shade,
+ 'Neath orange tree and banyan;
+ But braved the bush, the torrent and the steep,
+ By gorge and gulch and canyon.
+ They would not be held back in cities over desks,
+ Or among the homestead hedges;
+ So their pockets now are filled with the yellow, yellow gold
+ That they mined in the mountain ledges.
+
+ They left their homes, their loved ones all behind,
+ Forsook kind friend and neighbor,
+ And went to seek the thing of greatest worth,
+ For gold, rare gold, to labor.
+ Oh! they bled the old earth--they opened up her veins
+ With their picks and drills and sledges;
+ And their pockets now are filled with the yellow, yellow gold
+ That they mined in the mountain ledges.
+
+
+
+
+ WAR-SHIPS IN PORT.
+
+ The tread of armed mariners is in our streets to-day,
+ An Empire's pulse is beating in the march of this array.
+ From western woods, and Celtic hills, and homely Saxon shires,
+ They sailed beneath the "meteor flag," the emblem of our sires;
+ And for the glory that has been, the pride that yet may be,
+ We hail them in the sacred names of home and liberty,
+ And know that not on sea or land more dauntless hearts there are
+ Than the hearts of these bold seamen from the English men-of-war.
+
+ Trafalgar's fame-crowned hero stands, encarved in storied stone,
+ And from his place of honor looks in silence and alone:
+ But no, to-day his spirit lives, and walks the crowded way;
+ For us Drake, Hawkins, Frobisher and Howard live to-day;
+ For us from many a page of eld, 'mid war and tempest blast,
+ A thousand thousand valiant forms come trooping from the past,
+ And say, "Forget not us to-day, we have a part with these,
+ The 'sea-dogs' of old England, the 'Mistress of the Seas.'"
+
+ No, no, ye gruff old heroes, ye can never be forgot;
+ The memory of your prowess will outlive the storm, the shot
+ Destruction pours impartially on common and sublime,
+ And scorn the volleying years that mount the battery of time;
+ For far above this tide of war your worth is written clear
+ On fame's bright rock of adamant, imperishable here;
+ Your names may be recorded not, your graves be 'neath the keel,
+ But many a million English hearts some love for you shall feel.
+
+ Five grim old ocean-buffeters, stern ploughshares of the deep,
+ Have come to visit us of those whose duty 'tis to keep,
+ With the old lion's courage and the young eagle's ken,
+ Their sleepless watch upon the sea that skirts this world of men:
+ And if again in stately pride their lordly forms they bear
+ Upon the ample bosom of our noble stream, whene'er
+ From massive prow impregnable their peaceful anchor falls,
+ We'll hail old England's hearts of steel who man her iron walls.
+
+
+
+
+ ON FINDING A COPY OF BURNS'S POEMS IN
+ THE HOUSE OF AN ONTARIO FARMER.
+
+ Large Book, with heavy covers worn and old,
+ Bearing clear proof of usage and of years,
+ Thine edges yellow with their faded gold,
+ Thy leaves with fingers stained--perchance with tears;
+
+ How oft thy venerable page has felt
+ The hardened hands of honorable toil!
+ How oft thy simple song had power to melt
+ The hearts of the rude tillers of the soil!
+
+ How oft has fancy borne them back to see
+ The Scottish peasant at his work, and thou
+ Hast made them feel the grandeur of the free
+ And independent follower of the plough!
+
+ What careth he that his proud name hath peal'd
+ From shore to shore since his new race began,
+ In humble cot and "histie stibble field"
+ Who doth "preserve the dignity of man"?
+
+ With reverent hands I lay aside the tome,
+ And to my longing heart content returns,
+ And in the stranger's house I am at home,
+ For thou dost make us brothers, Robert Burns.
+
+ And thou, old Book, go down from sire to son;
+ Repeat the pathos of the poet's life;
+ Sing the sweet song of him who fought and won
+ The outward struggle and the inward strife.
+
+ Go down, grand Book, from hoary sire to son;
+ Keep by the Book of books thy wonted place;
+ Tell what a son of man hath felt and done,
+ And make of us and ours a noble race,--
+
+ A race to scorn the sordid greed of gold,
+ To spurn the spurious and contemn the base,
+ Despise the shams that may be bought and sold,--
+ A race of brothers and of men,--a race
+
+ To usher in the long-expected time
+ Good men have sought and prophets have foretold,
+ When this bright world shall be the happy clime
+ Of brotherhood and peace, when men shall mould
+
+ Their lives like His who walked in Palestine;
+ The truly human manhood thou dost show,
+ Leading them upward to the pure divine
+ Nature of God made manifest below.
+
+
+
+
+ THE IDEAL PREACHER.
+
+ It was back in Renfrew County, near the Opeongo line,
+ Where the land's all hills and hollows and the hills are clothed
+ with pine,
+ And in the wooded valleys little lakes shine here and there
+ Like jewels in the masses of a lovely woman's hair;
+ Where the York branch, by a channel ripped through rugged rocks
+ and sand,
+ Sweeps to join the Madawaska, speeding downward to the Grand;
+ Where the landscape glows with beauty, like a halo shed abroad,
+ And the face of nature mirrors back the unseen face of God.
+
+ I was weary with my journey, and with difficulty strove
+ To keep myself awake at first, as, sitting by the stove
+ In old William Rankin's shanty, I attended as I might
+ To the pioneer backwoodsman's tales far on into the night;
+ But William talked until the need of sleep one quite forgot,
+ Not stopping but to stir the fire, which kept the stove red-hot;
+ For the wind was raw and cold without, although the month of May:
+ Up north the winter struggles hard before it yields its sway;
+ And the snow is in the forests, and the ice is in the lakes,
+ And the frost is in the seedland oft when sunny June awakes.
+
+ He talked of camps in winter time, of river drives in spring,
+ Of discords in the settlement,--in fact, of everything;
+ He told of one good elder who'd been eaten by a bear,
+ And wondered that a beast of prey should eat a man of pray'r;
+ Of beast, from wolf to porcupine, killed with gun, axe and fork,
+ And, finally, of college men who did not pine for pork.
+ "But yet among them students," said the bushman, "there wuz one
+ As hit me an' the settlement as fair as any gun.
+
+ "O' course, he wa'nt no buster, hed no shinin' gifts o' speech;
+ But jis' as reg'lar he could give some pointers how to preach.
+ He talked straight on like tellin' yarns--more heart, I'd say, 'an head;
+ But somehow people felt he meant 'bout every word he said.
+ He wa'n't chuck full o' larnin' from the peelin' to the core;--
+ Leastwise, he wa'n't the kind they call a college batch-o'-lore;
+ He'd no degree, the schoolma'am said,--though soon he let 'em see
+ That o' certain sterlin' qualities he had a great degree,--
+ Leastwise he hed no letters till the hind end o' his name,--
+ But, preacher, say, you don't set much importance by them same?--
+ Y' may hev titles o' y'r own, an' think I'm speakin' bold;
+ But there's that bob-tailed nag o' mine, the chestnut three-year-old;
+ It's true she can't make such a swish, to scare away the flies,
+ But if y'd see her cover ground, y'd scarce believe y'r eyes.
+
+ "O' course, he hed his enemies,--you preachers alluz hez,--
+ But 'twa'n't no use their tellin' us he wa'n't the stuff, I gez;
+ An' after while they closed right up an' looked like,--it wuz fun,--
+ When they seed the way he 'sisted out ol' Game-leg Templeton.
+ O' course, y' knows ol' Templeton,--twuz him as druv y' in;
+ Y' noticed, maybe, how he limped, and sort o' saved his shin.
+ He's run the mail through fair and foul 'tween this and Cumbermere,
+ And faithful served Her Majesty fur nigh on twenty year.
+
+ "The preacher stayed with Templeton, the same's you're stay'n' with me,
+ On a new clearance back o' this, which, course, y' didn't see.
+ An' one day on a visit tour the chap wuz startin' out
+ In the way o' Little Carlow,--twuz good twelve mile round about,--
+ An' in the bush he'd lose hisself, as everybody knowed:
+ 'I'll take the axe,' says Templeton, 'an' go an' blaze a road.
+ It's only three mile through the bush.' An' so they started in,
+ Quite happy like,--men never knows when troubles will begin.
+ 'Bout noon,--the folks was in the house a eatin' o' their snack,--
+ The chap comes home with Templeton a-hangin' on his back.
+
+ "The call wuz close fur Templeton, who'd somehow missed his stroke;
+ He alluz swung a heavy blow, an' the bone wuz well-nigh broke;
+ An' wust of all, 'twuz two whole days afore the doctor came;
+ He was up the Long Lake section, seein'--what's that fellow's name?--
+ Well, never mind.--An' when he did examine of the wound,
+ He said 'twould take all summer fur the man to git around.
+
+ "Well, what y' think thet preacher done, but turn right out an' mow
+ The meadow down an' put it in, and th' harvest, too, although
+ The ol' man worried and complained as how he'd orter stop;
+ An' there wa'nt no binders in them days, and work wuz work, sure pop.
+
+ "Well, when the people heerd about the way that preacher done,
+ All on 'em growed religious straight, sir, every mother's son;
+ The meetin'-house wuz crowded from the pulpit to the door--
+ Some on 'em hadn't showed face there fur twenty year or more;
+ An' them as sot out on the fence an' gossiped all the while,
+ Jis' brought the fence planks in and sot down on 'em in the aisle,
+ An' listened,--sir, no orator as ever spoke aloud
+ Worked on his audience the way as that chap on our crowd.
+
+ We aint no shakes o' people; we aint up to nothin' new;
+ But we knows a man what's shammin' and we knows a man what's true.
+ An' when we heerd that preacher talk 'bout Christian sacrifice
+ And bearin' burdens for the weak, we valued his advice;
+ An' we showed it--there wuz nothin' as we thought too good for him;
+ We poured our cup o' gratitude an' filled it to the brim.
+
+ "He aint been near so fort'nate 'n the city where he's went;
+ Some folks as didn't like him set them sticklers on his scent;
+ An' the presbytery giv him fits fur trimmin' of his lamp
+ The way it shined the brightest, an' he jined another camp.
+ But most men,--leastwise such as him,--I take it, fur my part,
+ Aint got much devil in their brains when God is in their heart;
+ An' I'll allow it yet, although they puts me in the stocks,
+ That religion what is practical's sufficient orthodox.
+
+ "Well, thet's the finest preacher as hez struck back here to spout,
+ An' there never wuz another we cared very much about.
+ I've heerd o' Beecher's meetings an' such men as John B. Gough;
+ But fourteen waggon loads druv down to see that preacher off.
+ We sent him back to college with a fresh supply o' socks,--
+ Nigh everything a student needs wuz jammed intill that box;
+ An', preacher, spite of what yourself with all your parts may feel,
+ Fur me an' Game-leg Templeton that man is our ideel."
+
+
+
+
+ THE WHEEL OF MISFORTUNE.
+
+ O m'sieu, doan you hask me ma story, doan hask me how dis was happenn;
+ Dat's one beeg black hole on ma life, w'ere I doan want to look on
+ some more....
+ Well, he's coom joos' so well for to tole you, all tak' beet tabac
+ firs' and den
+ A'll tole you what cep' to de pries' a have nevare tole no one before.
+
+ Bien, M'sieu; he's come pass joos like dis way; a go out wit' de boys
+ to make lark;
+ Dare was Armand and Joseph and Louiee, an' we drink on de deefront
+ saloon.
+ An' we feenish in plac' wit' de music, like one of dose garden or park,
+ W'ere he's play dose curse wheel for de monee--in Hingleesh dat's wheel
+ of fortune.
+
+ He was Saturday night on de week, M'sieu, an' a have ma week's pay on
+ my bourse,
+ Wit'out w'at we pay for de whiskey--'bout one dollar feefty or less;
+ An' a'm t'ink a can win me lots monee, and eef a doan win some, of
+ coorse,
+ A can stop 'fore a lose much, a tell me, but a've pooty beeg hope
+ for success.
+
+ Well, Louiee, he's be careful, risk notting, he's laugh w'en a'm buy
+ some paddell,
+ Armand he's buy some for obligement, he's not half so careful's Louiee.
+ An' we play dare teel half pas' eleven, an' de meantime she's go
+ pooty well,
+ Teel Armand he's lose all she's monee, an' shortly 's de same ting
+ wit' me.
+
+ But Louiee he's got plaintee of monee, an' he's got plaintee fr'en'
+ on de plac',
+ An' a'm hask heem for lend me ten dollar, a'm pay wit' good interes',
+ be sure;
+ He'll tol me he's got more as feefty an' he's give me plusieurs jours
+ de grace,
+ For Louiee he was know a was hones' for all a was poor of de poor.
+
+ Well, I not was require all dat monee teel de wheel she was tak' few
+ more whirl,
+ For a keep on to lose pooty steady, and Armand he say, "Doan play
+ some more,"
+ But Louiee he say, "Win yet posseeble," and Joseph he was off wit'
+ his girl,
+ An' de croupier say, "Bettre luck nex' time, dare is good luck an'
+ bad luck in store."
+
+ And de wheel she was turn on de peevot and shine in de light electrique,
+ She seem like beeg star to be turning, an' sing tune like she doan
+ care notting;
+ But she turn like de pool on de river dat's tak' everyt'ing down
+ pooty queek,
+ An' she shine like de snake w'en he's body is roll' up--de snake
+ wit' de sting.
+
+ An' a'm play teel a lose all dat monee, an' de wicked roulette she
+ go roun',
+ An' a'm play also feefty more dollar, an' ma head she commence for
+ to reel;
+ An' oh, M'sieu, de hard time dat was follow teel a lay ma good wife
+ in de groun',
+ An' hoffen a hask me forgiveness, as dare by dat grave a go kneel.
+
+
+
+
+ TIM O'GALLAGHER.
+
+ My name is Tim O'Gallagher,--there's Oirish in that same;
+ My parients from the Imerald Oisle beyant the ocean came;
+ My father came from Donegal, my mother came from Clare;
+ But oi was born in Pontiac, besoide the Belle Riviere.
+ Oi spint my choildhood tamin' bears, and fellin' timber trays,
+ And catchin' salmon tin fate long--and doin' what oi plaze.
+ Oi got my iddication from the Riverind Father Blake;
+ He taught me Latin grammar, and he after taught me Grake,
+ Till oi could rade the classics in a distint sort of way--
+ 'Twas the sadetoime of the harvist that oi'm rapin' ivery day.
+
+ My parients thought me monsthrous shmart--of thim 'twas awful koind,
+ And where oi'd go to college now was what perplixed their moind;
+ So they axed the Riverind Father Blake what varsity was bist
+ To make a docthor, bachelor and lawyer and the rist.
+ Said Father Blake, "If oi must make decision, faith! oi will:
+ Sure, sind the boy to Munthreal, there's none loike Ould McGill."
+
+ So oi came to Munthreal and found McGill one afternoon,
+ And saw a great excoited crowd all shoutin' out of tune;
+ And in the cintre thorty min was foightin' jist loike mad,
+ And two big fellows on the top of one poor little lad.
+ Oi turned indignant to the crowd, and tould them to their face:
+ "Ye pack of coward savages, onciviloized and base,
+ To stand and see two stalwart min abusin' one that way!
+ Oi loike a gladiatorial show, but loike to see fair play."
+ So oi jumped at those two bullies and oi caught thim by the shirt,
+ And oi knocked their hids together and consoigned thim to the dirt.
+ Oi was removed and they were carried home, but all the same,
+ Though Ould McGill was two min short, she won that football game.
+ They thought oi was a tough gussoon, and whin they played agin,
+ They put me in the scrimmage--we got thorty-foive to tin.
+
+ Oi thin wint up to college whin the lictures would begin;
+ Oi attinded ivery licture--when oi happened to be in;
+ Got my work up, kipt my note-books in the illigantist shape;
+ Oi took notes of ivery licture--barrin' whin oi was ashlape.
+ But, och! oi try to do my bist, for sure it's Father Blake
+ As says the foinist faculty is Arts, and no mistake;
+ For there they tache philosophy and English literature,
+ The mathematics also, and the classic authors, sure.
+ Oi larned the Gracian poethry, oi larned the Latin prose;
+ Oi know as much about thim both as my profissor knows:
+ How Troy, that had for noine long years defoied the Graycian force,
+ Was "hors de combat" put at last by jist a wooden horse;
+ How Xerxes wipt because his army soon would pass away,
+ And Alexander wipt because there were no more to shlay;
+ How Cato from his toga plucked the Carthaginian fruit;
+ How Brutus murdered Saysar, and how Saysar called him "Brute."
+
+ Oi'd the honor of a mornin' with an influential Med,
+ And he took me to the room in which they mutilate the dead.
+ Oi don't objict to crack a skull or spoil a purty face,
+ But to hack a man who's dead is what oi called extramely base.
+ But all pursonal convictions, he explained, should be resoigned
+ For the binifit of scoience and the good of humankoind;
+ And though oi don't at all admoire their ways o' goin' on,
+ Oi'll take a course in Medicine, oi will, before oi'm gone.
+
+ Oi saw the Scoience workshops, too, and thought whin oi was made,
+ These little hands were niver mint to larn the blacksmith trade;
+ And for that illictricity, the thing what gives the shock,
+ They collared old Promaytheus and chained him to a rock
+ For a-playin' with the loightnin' and a-raychin to the skoies,
+ And the vultures gnawed his vittles, and the crows picked out his oyes.
+ But toimes has changed, and larnin' gives us power--don't you see?--
+ And whin oi'm done with Arts oi'll take that shplindid faculty;
+ For, sure, it's from their workshops that the solar system's run;
+ Besoides, they make the wither, too, and rigilate the sun.
+
+ Oi troied exams at Christmas, and oi didn't pass at all;
+ But oi can have another whack at thim nixt spring and fall.
+ In toime oi'll pass in iverything, and masther all they taiche;
+ Oi'll go through ivery faculty, and come out hid in aiche.
+ And whin oi've conquered all, loike Alexander oi will soigh
+ There is no more to conquer, and oi'll lay me down and doie.
+ They'll birry me with honors, and erict in my behalf
+ A monimint which shall disphlay the followin' epitaph:
+
+ "Here loies shwate Tim O'Gallagher,--sure he had wits to shpare,--
+ His father came from Donegal, his mother came from Clare.
+ He was a shplindid scholar, for he studied at McGill;
+ He drank the well of larnin' dhroy (and, faith! he got his fill).
+ Was niver mortal craythur larned to such a great degree,--
+ B.A.M.A.M.D.C.M.B.SC.LL.D."
+
+
+
+
+
+
+
+
+
+
+
+End of Project Gutenberg's Sonnets and Other Verse, by W. M. MacKeracher
+
+*** END OF THIS PROJECT GUTENBERG EBOOK SONNETS AND OTHER VERSE ***
+
+***** This file should be named 37365.txt or 37365.zip *****
+This and all associated files of various formats will be found in:
+ https://www.gutenberg.org/3/7/3/6/37365/
+
+Produced by Al Haines
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties. Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark. Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission. If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy. You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research. They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks. Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A. By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement. If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B. "Project Gutenberg" is a registered trademark. It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement. There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement. See
+paragraph 1.C below. There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works. See paragraph 1.E below.
+
+1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works. Nearly all the individual works in the
+collection are in the public domain in the United States. If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed. Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work. You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D. The copyright laws of the place where you are located also govern
+what you can do with this work. Copyright laws in most countries are in
+a constant state of change. If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work. The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E. Unless you have removed all references to Project Gutenberg:
+
+1.E.1. The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2. If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges. If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3. If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder. Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5. Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6. You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form. However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form. Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7. Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8. You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+ the use of Project Gutenberg-tm works calculated using the method
+ you already use to calculate your applicable taxes. The fee is
+ owed to the owner of the Project Gutenberg-tm trademark, but he
+ has agreed to donate royalties under this paragraph to the
+ Project Gutenberg Literary Archive Foundation. Royalty payments
+ must be paid within 60 days following each date on which you
+ prepare (or are legally required to prepare) your periodic tax
+ returns. Royalty payments should be clearly marked as such and
+ sent to the Project Gutenberg Literary Archive Foundation at the
+ address specified in Section 4, "Information about donations to
+ the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+ you in writing (or by e-mail) within 30 days of receipt that s/he
+ does not agree to the terms of the full Project Gutenberg-tm
+ License. You must require such a user to return or
+ destroy all copies of the works possessed in a physical medium
+ and discontinue all use of and all access to other copies of
+ Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+ money paid for a work or a replacement copy, if a defect in the
+ electronic work is discovered and reported to you within 90 days
+ of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+ distribution of Project Gutenberg-tm works.
+
+1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark. Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1. Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection. Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from. If you
+received the work on a physical medium, you must return the medium with
+your written explanation. The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund. If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund. If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4. Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5. Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law. The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section 2. Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers. It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come. In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3. Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service. The Foundation's EIN or federal tax identification
+number is 64-6221541. Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising. Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations. Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org. Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+ Dr. Gregory B. Newby
+ Chief Executive and Director
+ gbnewby@pglaf.org
+
+
+Section 4. Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment. Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States. Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements. We do not solicit donations in locations
+where we have not received written confirmation of compliance. To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States. U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses. Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations. To donate, please visit: https://pglaf.org/donate
+
+
+Section 5. General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone. For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included. Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+ https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.