diff options
Diffstat (limited to '38071.txt')
| -rw-r--r-- | 38071.txt | 1703 |
1 files changed, 1703 insertions, 0 deletions
diff --git a/38071.txt b/38071.txt new file mode 100644 index 0000000..5fa5006 --- /dev/null +++ b/38071.txt @@ -0,0 +1,1703 @@ +The Project Gutenberg EBook of The Guards Came Through and Other Poems, by +Arthur Conan Doyle + +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: The Guards Came Through and Other Poems + +Author: Arthur Conan Doyle + +Release Date: November 21, 2011 [EBook #38071] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE GUARDS CAME THROUGH *** + + + + +Produced by Gerard Arthus; paksenarrion; Jana Srna; Special +Collections, Florida State University; Lilly Library, +Indiana University; Brooklyn Public Library; Morris Library, +Southern Illinois University and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + + + + + +THE GUARDS CAME THROUGH AND OTHER POEMS + + + + +BY THE SAME AUTHOR + + + SONGS OF ACTION + SONGS OF THE ROAD + + THE WHITE COMPANY + MICAH CLARKE + THE REFUGEES + RODNEY STONE + UNCLE BERNAC + THE ADVENTURES OF SHERLOCK HOLMES + MEMOIRS OF SHERLOCK HOLMES + HIS LAST BOW: SOME REMINISCENCES OF SHERLOCK HOLMES + THE ADVENTURES OF BRIGADIER GERARD + THE SIGN OF FOUR + SIR NIGEL + CAPTAIN OF THE POLESTAR + ROUND THE RED LAMP + THE STARK MUNRO LETTERS + THE TRAGEDY OF THE "KOROSKO" + A DUET, WITH AN OCCASIONAL CHORUS + THE GREEN FLAG, AND OTHER STORIES + THE ADVENTURES OF GERARD + THE HOUND OF THE BASKERVILLES + THE RETURN OF SHERLOCK HOLMES + THROUGH THE MAGIC DOOR + ROUND THE FIRE STORIES + THE LAST GALLEY + THE LOST WORLD + THE VALLEY OF FEAR + DANGER! AND OTHER STORIES + +LONDON: JOHN MURRAY + + + + + THE GUARDS CAME THROUGH + AND OTHER POEMS + + + BY ARTHUR CONAN DOYLE + + AUTHOR OF + "SONGS OF ACTION," "SONGS OF THE ROAD" + + + LONDON + JOHN MURRAY, ALBEMARLE STREET, W. + 1919 + + + All Rights Reserved + + + + +PREFACE + + +I must apologize for the size of this booklet, which can only be +justified on the grounds that there is some demand for the contents as +recitations. I hope presently to combine whatever is worth preserving +in my three volumes of verse, so as to make a single collection. + +Arthur Conan Doyle. + + + + +CONTENTS + + + PAGE + + THE GUARDS CAME THROUGH 9 + VICTRIX 13 + THOSE OTHERS 16 + HAIG IS MOVING 20 + THE GUNS IN SUSSEX 22 + YPRES 26 + GROUSING 37 + THE VOLUNTEER 40 + THE NIGHT PATROL 44 + THE WRECK ON LOCH MCGARRY 47 + THE BIGOT 55 + THE ATHABASCA TRAIL 62 + RAGTIME! 65 + CHRISTMAS IN WARTIME 68 + LINDISFAIRE 70 + A PARABLE 75 + FATE 76 + + + + +THE GUARDS CAME THROUGH + + + Men of the Twenty-first, + Up by the Chalk Pit Wood, + Weak from our wounds and our thirst, + Wanting our sleep and our food + After a day and a night. + God! shall I ever forget? + Beaten and broke in the fight, + But sticking it, sticking it yet, + Trying to hold the line, + Fainting and spent and done; + Always the thud and the whine, + Always the yell of the Hun. + Northumberland, Lancaster, York, + Durham and Somerset, + Fighting alone, worn to the bone, + But sticking it, sticking it yet. + + Never a message of hope, + Never a word of cheer, + Fronting Hill 70's shell-swept slope, + With the dull, dead plain in our rear; + Always the shriek of the shell, + Always the roar of the burst, + Always the tortures of Hell, + As waiting and wincing we cursed + Our luck, the guns, and the Boche. + When our Corporal shouted "Stand to!" + And I hear some one cry, "Clear the front for the Guards!"-- + And the Guards came through. + + Our throats they were parched and hot, + But, Lord! if you'd heard the cheer, + Irish, Welsh and Scot, + Coldstream and Grenadier-- + Two Brigades, if you please, + Dressing as straight as a hem. + We, we were down on our knees, + Praying for us and for them, + Praying with tear-wet cheek, + Praying with outstretched hand. + Lord! I could speak for a week, + But how could you understand? + How could your cheeks be wet? + Such feelin's don't come to you; + But how can me or my mates forget + How the Guards came through? + + "Five yards left extend!" + It passed from rank to rank, + And line after line, with never a bend, + And a touch of the London swank. + A trifle of swank and dash, + Cool as a home parade, + Twinkle, glitter and flash, + Flinching never a shade, + With the shrapnel right in their face, + Doing their Hyde Park stunt, + Swinging along at an easy pace, + Arms at the trail, eyes front. + Man! it was great to see! + Man! it was great to do! + It's a cot, and a hospital ward for me, + But I'll tell them in Blighty wherever I be, + How the Guards came through. + + + + +VICTRIX + + + How was it then with England? + Her faith was true to her plighted word, + Her strong hand closed on her blunted sword, + Her heart rose high to the foeman's hate, + She walked with God on the hills of Fate-- + And all was well with England. + + How was it then with England? + Her soul was wrung with loss and pain, + Her face was grey with her heart's-blood drain, + But her falcon eyes were hard and bright, + Austere and cold as an ice-cave's light-- + And all was well with England. + + How was it then with England? + Little she said to foe or friend, + True, heart true, to the uttermost end, + Her passion cry was the scathe she wrought, + In flame and steel she voiced her thought-- + And all was well with England. + + How was it then with England? + With drooping sword and bended head, + She turned apart and mourned her dead, + Sad sky above, sad earth beneath, + She walked with God in the Vale of Death-- + Ah, woe the day for England! + + How is it now with England? + She sees upon her mist-girt path + Dim drifting shapes of fear and wrath. + Hold high the heart! Bend low the knee! + She has been guided, and will be-- + And all is well with England. + + + + +THOSE OTHERS + + + Where are those others?--the men who stood + In the first wild spate of the German flood, + And paid full price with their heart's best blood + For the saving of you and me: + French's Contemptibles, haggard and lean, + Allenby's lads of the cavalry screen, + Gunners who fell in Battery L, + And Guardsmen of Landrecies? + + Where are those others who fought and fell, + Outmanned, outgunned and scant of shell, + On the deadly curve of the Ypres hell, + Barring the coast to the last? + Where are our laddies who died out there, + From Poelcapelle to Festubert, + When the days grew short and the poplars bare + In the cold November blast? + + For us their toil and for us their pain, + The sordid ditch in the sodden plain, + The Flemish fog and the driving rain, + The cold that cramped and froze; + The weary night, the chill bleak day, + When earth was dark and sky was grey, + And the ragged weeds in the dripping clay + Were all God's world to those. + + Where are those others in this glad time, + When the standards wave and the joy-bells chime, + And London stands with outstretched hands + Waving her children in? + Athwart our joy still comes the thought + Of the dear dead boys, whose lives have bought + All that sweet victory has brought + To us who lived to win. + + To each his dreams, and mine to me, + But as the shadows fall I see + That ever-glorious company-- + The men who bide out there. + Rifleman, Highlander, Fusilier, + Airman and Sapper and Grenadier, + With flaunting banner and wave and cheer, + They flow through the darkening air. + + And yours are there, and so are mine, + Rank upon rank and line on line, + With smiling lips and eyes that shine, + And bearing proud and high. + Past they go with their measured tread, + These are the victors, these--the dead! + Ah, sink the knee and bare the head + As the hallowed host goes by! + + + + +HAIG IS MOVING + +AUGUST 1918 + + + Haig is moving! + Three plain words are all that matter, + Mid the gossip and the chatter, + Hopes in speeches, fears in papers, + Pessimistic froth and vapours-- + Haig is moving! + + Haig is moving! + We can turn from German scheming, + From humanitarian dreaming, + From assertions, contradictions, + Twisted facts and solemn fictions-- + Haig is moving! + + Haig is moving! + All the weary idle phrases, + Empty blamings, empty praises, + Here's an end to their recital, + There is only one thing vital-- + Haig is moving! + + Haig is moving! + He is moving, he is gaining, + And the whole hushed world is straining, + Straining, yearning, for the vision + Of the doom and the decision-- + Haig is moving! + + + + +THE GUNS IN SUSSEX + + + Light green of grass and richer green of bush + Slope upwards to the darkest green of fir. + How still! How deathly still! And yet the hush + Shivers and trembles with some subtle stir, + Some far-off throbbing like a muffled drum, + Beaten in broken rhythm oversea, + To play the last funereal march of some + Who die to-day that Europe may be free. + + The deep-blue heaven, curving from the green, + Spans with its shimmering arch the flowery zone; + In all God's earth there is no gentler scene, + And yet I hear that awesome monotone. + Above the circling midge's piping shrill, + And the long droning of the questing bee, + Above all sultry summer sounds, it still + Mutters its ceaseless menaces to me. + + And as I listen, all the garden fair + Darkens to plains of misery and death, + And, looking past the roses, I see there + Those sordid furrows with the rising breath + Of all things foul and black. My heart is hot + Within me as I view it, and I cry, + "Better the misery of these men's lot + Than all the peace that comes to such as I!" + + And strange that in the pauses of the sound + I hear the children's laughter as they roam, + And then their mother calls, and all around + Rise up the gentle murmurs of a home. + But still I gaze afar, and at the sight + My whole soul softens to its heart-felt prayer, + "Spirit of Justice, Thou for whom they fight, + Ah, turn in mercy to our lads out there! + + "The froward peoples have deserved Thy wrath, + And on them is the Judgment as of old, + But if they wandered from the hallowed path + Yet is their retribution manifold. + Behold all Europe writhing on the rack, + The sins of fathers grinding down the sons! + How long, O Lord?" He sends no answer back, + But still I hear the mutter of the guns. + + + + +YPRES + +SEPTEMBER, 1915 + + + Push on, my Lord of Wuertemberg, across the Flemish Fen! + See where the lure of Ypres calls you! + There's just one ragged British line of Plumer's weary men; + It's true they held you off before, but venture it again, + Come, try your luck, whatever fate befalls you! + + You've been some little time, my Lord. Perhaps you scarce remember + The far-off early days of that resistance. + Was it in October last? Or was it in November? + And now the leaves are turning and you stand in mid-September + Still staring at the Belfry in the distance. + + Can you recall the fateful day--a day of drifting skies, + When you started on the famous Calais onset? + Can it be the War-Lord blundered when he urged the enterprise? + For surely it's a weary while since first before your eyes + That old Belfry rose against the sunset. + + You held council at your quarters when the budding Alexanders + And the Pickel-haubed Caesars gave their reasons. + Was there one amongst that bristle-headed circle of commanders + Ever ventured the opinion that a little town of Flanders + Would hold you pounded here through all the seasons? + + You all clasped hands upon it. You would break the British line, + You would smash a road to westward with your host, + The howitzers should thunder and the Uhlan lances shine + Till Calais heard the blaring of the distant "Wacht am Rhein," + As you topped the grassy uplands of the coast. + Said the Graf von Feuer-Essen, "It's a fact beyond discussion, + That man to man we can outfight the foe. + There is valour in the French, there is patience in the Russian, + But blend all war-like virtues and you get the lordly Prussian," + And the bristle-headed murmured, "_Das ist so._" + + "And the British," cried another, "they are mercenary cattle, + Without one noble impulse of the soul, + Degenerate and drunken; if the dollars chink and rattle, + 'Tis the only sort of music that will call them to the battle." + And all the bristle-headed cried, "_Ja wohl!_" + And so next day your battle rolled across the Menin Plain, + Where Capper's men stood lonely to your wrath. + You broke him, and you broke him, but you broke him all in vain, + For he and his contemptibles kept closing up again, + And the khaki bar was still across your path. + + And on the day when Gheluvelt lay smoking in the sun, + When Von Deimling stormed so hotly in the van, + You smiled as Haig reeled backwards and you thought him on the run, + But, alas for dreams that vanish, for before the day was done + It was you, my Lord of Wuertemberg, that ran. + + A dreary day was that--but another came, more dreary, + When the Guard from Arras led your fierce attacks, + Spruce and splendid in the morning were the Potsdam Grenadiere, + But not so spruce that evening when they staggered spent and weary, + With those cursed British storming at their backs. + + You knew--your spies had told you--that the ranks were scant and thin, + That the guns were short of shell and very few, + By all Bernhardi's maxims you were surely bound to win, + There's the open town before you. Haste, my Lord, and enter in, + Or the War-Lord may have telegrams for you. + Then came the rainy winter, when the price was ever dearer, + Every time you neared the prize of which you dreamed, + Each day the Belfry faced you but you never brought it nearer, + Each night you saw it clearly but you never saw it clearer. + Ah, what a weary time it must have seemed! + + At last there came the Easter when you loosed the coward gases, + Surely you have got the rascals now! + You could see them spent and choking as you watched them thro' your + glasses, + Yes, they choke, but never waver, and again the moment passes + Without one leaf of laurel for your brow. + + Then at Hooge you had them helpless, for their guns were one to ten, + And you blasted trench and traverse at your will, + You had them dead and buried, but they still sprang up again. + "_Donnerwetter!_" cried your Lordship, "_Donnerwetter!_" cried your men, + For their very ghosts were guarding Ypres still. + + Active, Guards, Reserve--men of every corps and name + That the bugles of the War-Lord muster in, + Each in turn you tried them, but the story was the same; + Play it how you would, my Lord, you never won the game, + No, never in a twelvemonth did you win. + + A year, my Lord of Wuertemberg--a year, or nearly so, + Since first you faced the British _vis-a-vis_! + Your learned Commandanten are the men who ought to know, + But to ordinary mortals it would seem a trifle slow, + If you really mean to travel to the sea. + + If you cannot _straf_ the British, since they _strafen_ you so well, + You can safely smash the town that lies so near, + So it's down with arch and buttress, down with belfry and with bell, + And it's _hoch_ the seven-seven that can drop the petrol shell + On the shrines that pious hands have loved to rear! + + Fair Ypres was a relic of the soul of other days, + A poet's dream, a wanderer's delight, + We will keep it as a symbol of your brute Teutonic ways + That millions yet unborn may come and curse you as they gaze + At this token of your impotence and spite. + + For shame, my Lord of Wuertemberg! Across the Flemish Fen + See where the little army calls you. + It's just the old familiar line of fifty thousand men, + They've beat you once or twice, my Lord, but venture it again, + Come, try your luck, whatever fate befalls you. + + + + +GROUSING + + "The army swore terribly in Flanders." + UNCLE TOBY. + + + What do the soldiers say? + "Dam! Dam! Dam! + I don't mind cold, I don't mind heat, + Over the top for a Sunday treat, + With Fritz I'll always take my spell, + But I want my grub, and where in hell + Is the jam?" + + What does the officer say? + "Dam! Dam! Dam! + Mud and misery, flies and stench, + Piggin' it here in a beastly trench, + But what I mean, by Jove, you see, + I like my men and they don't mind me, + So, on the whole, I'd rather be + Where I am." + + What does the enemy say? + "Kolossal Verdam! + They told me, when the war began, + The British Tommy always ran, + And so he does, just as they said, + But, _Donnerwetter!_ it's straight ahead, + Like a ram." + + What does the public say? + "Dam! Dam! Dam! + They tax me here, they tax me there, + Bread is dear and the cupboard bare, + I'm bound to grouse, but if it's the way + To win the war, why then I'll pay + Like a lamb." + + + + +THE VOLUNTEER + +(1914-1919) + + + The dreams are passed and gone, old man, + That came to you and me, + Of a six days' stunt on an east coast front, + And the Hun with his back to the sea. + + Lord, how we worked and swotted sore + To be fit when the day should come! + Four years, my lad, and five months more, + Since first we followed the drum. + + Though "Follow the drum" is a bit too grand, + For we ran to no such frills; + It was just the whistles of Nature's band + That heartened us up the hills. + + That and the toot of the corporal's flute, + Until he could blow no more, + And the lilt of "Sussex by the Sea," + The marching song of the corps. + + Those hills! My word, you would soon get fit, + Be you ever so stale and slack, + If you pad it with rifle and marching kit + To Rotherfield Hill and back! + + Drills in hall, and drills outdoors, + And drills of every type, + Till we wore our boots with forming fours, + And our coats with "Shoulder hipe!" + + No glory ours, no swank, no pay, + One dull eventless grind; + Find yourself, and nothing a day + Were the terms that the old boys signed. + + Just drill and march and drill again, + And swot at the old parade, + But they got two hundred thousand men. + Not bad for the old brigade! + + A good two hundred thousand came, + On the chance of that east coast fight; + They may have been old and stiff and lame, + But, by George, their hearts were right! + + Discipline! My! "Eyes right!" they cried, + As we passed the drill hall door, + And left it at that--so we marched cock-eyed + From three to half-past four. + + And solid! Why, after a real wet bout + In a hole in the Flanders mud, + It would puzzle the Boche to fetch us out, + For we couldn't get out if we would! + + Some think we could have stood war's test, + Some say that we could not, + But a chap can only do his best, + And offer all he's got. + + Fall out, the guard! The old home guard! + Pile arms! Right turn! Dismiss! + No grousing, even if it's hard + To break our ranks like this. + + We can't show much in the way of fun + For four and a half years gone; + If we'd had our chance--just one! just one!-- + Carry on, old Sport, carry on! + + + + +THE NIGHT PATROL + +SEPTEMBER 1918 + + + Behind me on the darkened pier + They crowd and chatter, man and maid, + A coon-song gently strikes the ear, + A flapper giggles in the shade. + There where the in-turned lantern gleams + It shines on khaki and on brass; + Across its yellow slanting beams + The arm-locked lovers slowly pass. + + Out in the darkness one far light + Throbs like a pulse, and fades away-- + Some signal on the guarded Wight, + From Helen's Point to Bembridge Bay. + An eastern wind blows chill and raw, + Cheerless and black the waters lie, + And as I gaze athwart the haze, + I see the night patrol go by. + + Creeping shadows blur the gloom, + Thicken and darken, pass and fade; + Again and yet again they loom, + One ruby spark above each shade-- + Twelve ships in all! They glide so near, + One hears the wave the fore-foot curled, + And yet to those upon the pier + They seem some other sterner world. + + The coon-song whimpers to a wail, + The treble laughter sinks and dies, + The lovers cluster on the rail, + With whispered words and straining eyes. + One hush of awe, and then once more + The vision fades for them and me, + And there is laughter on the shore, + And silent duty on the sea. + + + + +THE WRECK ON LOCH McGARRY + + + If you should search all Scotland round, + The mainland, skerries, and the islands, + A grimmer spot could not be found + Than Loch McGarry in the Highlands. + + Pent in by frowning mountains high, + It stretches silent as the tomb, + Turbid and thick its waters lie, + No eye can pierce their yellow gloom. + + 'Twas here that on a summer day + Four tourists hired a crazy wherry. + No warning voices bade them stay, + As they pushed out on Loch McGarry. + + McFarlane, Chairman of the Board, + A grim hard-fisted son of lucre, + His thoughts were ever on his hoard, + And life a money-game, like Euchre. + + Bob Ainslie, late of London Town, + A spruce young butterfly of fashion, + A wrinkle in his dressing-gown + Would rouse an apoplectic passion. + + John Waters, John the self-absorbed, + With thoughts for ever inward bent, + Complacent, self-contained, self-orbed, + Wrapped in eternal self-content. + + Lastly coquettish Mrs. Wild, + Chattering, rowdy, empty-headed; + At sight of her the whole world smiled, + Except the wretch whom she had wedded. + + Such were the four who sailed that day, + To the Highlands each a stranger; + Sunlit and calm the wide loch lay, + With not a hint of coming danger. + + Drifting they watched the heather hue, + The waters and the cliffs that bound them; + The air was still, the sky was blue, + Deceitful peace lay all around them. + + McFarlane pondered on the stocks, + John Waters on his own perfection, + Bob Ainslie's thoughts were on his socks, + And Mrs. Wild's on her complexion. + + When sudden--oh, that dreadful scream! + That cry from panic fear begotten! + The boat is gaping in each seam, + The worn-out planks are old and rotten. + + With two small oars they work and strain, + A long mile from the nearer shore + They cease--their efforts are in vain; + She's sinking fast, and all is o'er. + + The yellow water, thick as pap, + Is crawling, crawling to the thwarts, + And as they mark its upward lap, + So fear goes crawling up their hearts. + + Slowly, slowly, thick as pap, + The creeping yellow waters rise; + Like drowning mice within a trap, + They stare around with frantic eyes. + + Ah, how clearly they could see + Every sin and shame and error! + How they vowed that saints they'd be, + If delivered from this terror! + + How they squirmed and how they squealed! + How they shouted for assistance! + How they fruitlessly appealed + To the shepherds in the distance! + + How they sobbed and how they moaned, + As the waters kept encroaching! + How they wept and stormed and groaned, + As they saw their fate approaching! + + And they vowed each good resolve + Should be permanent as granite, + Never, never, to dissolve, + Firm and lasting like our planet. + + See them sit, aghast and shrinking! + Surely it could not be true! + "Oh, have mercy! Oh, we're sinking! + Oh, good Lord, what _shall_ we do!" + + Ah, it's coming! Now she founders! + See the crazy wherry reel! + Downward to the rocks she flounders-- + Just one foot beneath her keel! + + In the shallow, turbid water + Lay the saving reef below. + Oh, the waste of high emotion! + Oh, the useless fear and woe! + + Late that day four sopping tourists + To their quarters made their way, + And the brushes of Futurists + Scarce could paint their disarray. + + And with half-amused compassion + They were viewed from the hotel, + From the pulp-clad beau of fashion, + To the saturated belle. + + But a change was in their features, + And that change has come to tarry, + For they all are altered creatures + Since the wreck of Loch McGarry. + + Now McFarlane never utters + Any talk of bills or bullion, + But continually mutters + Texts from Cyril or Tertullian. + + As to Ainslie, he's not caring + How the new-cut collar lies, + And has been detected wearing + Dinner-jackets with white ties. + + Waters, who had never thought + In his life of others' needs, + Has most generously bought + A nursing-home for invalids. + + And the lady--ah, the lady! + She has turned from paths of sin, + And her husband's face so shady + Now is brightened by a grin. + + So misfortunes of to-day + Are the blessings of to-morrow, + And the wisest cannot say + What is joy and what is sorrow. + + If your soul is arable + You can start this seed within it, + And my tiny parable + May just help you to begin it. + + + + +THE BIGOT + + + The foolish Roman fondly thought + That gods must be the same to all, + Each alien idol might be brought + Within their broad Pantheon Hall. + The vision of a jealous Jove + Was far above their feeble ken; + They had no Lord who gave them love, + But scowled upon all other men. + + But in our dispensation bright, + What noble progress have we made! + We know that we are in the light, + And outer races in the shade. + Our kindly creed ensures us this-- + That Turk and infidel and Jew + Are safely banished from the bliss + That's guaranteed to me and you. + + The Roman mother understood + That, if the babe upon her breast + Untimely died, the gods were good, + And the child's welfare manifest. + With tender guides the soul would go + And there, in some Elysian bower, + The tiny bud plucked here below + Would ripen to the perfect flower. + + Poor simpleton! Our faith makes plain + That, if no blest baptismal word + Has cleared the babe, it bears the stain + Which faithless Adam had incurred. + How philosophical an aim! + How wise and well-conceived a plan + Which holds the new-born babe to blame + For all the sins of early man! + + Nay, speak not of its tender grace, + But hearken to our dogma wise: + Guilt lies behind that dimpled face, + And sin looks out from gentle eyes. + Quick, quick, the water and the bowl! + Quick with the words that lift the load! + Oh, hasten, ere that tiny soul + Shall pay the debt old Adam owed! + + The Roman thought the souls that erred + Would linger in some nether gloom, + But somewhere, sometime, would be spared + To find some peace beyond the tomb. + In those dark halls, enshadowed, vast, + They flitted ever, sad and thin, + Mourning the unforgotten past + Until they shed the taint of sin. + + And Pluto brooded over all + Within that land of night and fear, + Enthroned in some dark Judgment Hall, + A god himself, reserved, austere. + How thin and colourless and tame! + Compare our nobler scheme with it, + The howling souls, the leaping flame, + And all the tortures of the pit! + + Foolish half-hearted Roman hell! + To us is left the higher thought + Of that eternal torture cell + Whereto the sinner shall be brought. + Out with the thought that God could share + Our weak relenting pity sense, + Or ever condescend to spare + The wretch who gave Him just offence! + + 'Tis just ten thousand years ago + Since the vile sinner left his clay, + And yet no pity can he know, + For as he lies in hell to-day + So when ten thousand years have run + Still shall he lie in endless night. + O God of Love! O Holy One! + Have we not read Thy ways aright? + + The godly man in heaven shall dwell, + And live in joy before the throne, + Though somewhere down in nether hell + His wife or children writhe and groan. + From his bright Empyrean height + He sees the reek from that abyss-- + What Pagan ever dreamed a sight + So holy and sublime as this! + + Poor foolish folk! Had they begun + To weigh the myths that they professed, + One hour of reason and each one + Would surely stand a fraud confessed. + Pretending to believe each deed + Of Theseus or of Hercules, + With fairy tales of Ganymede, + And gods of rocks and gods of trees! + + No, no, had they our purer light + They would have learned some saner tale + Of Balaam's ass, or Samson's might, + Or prophet Jonah and his whale, + Of talking serpents and their ways, + Through which our foolish parents strayed, + And how there passed three nights and days + Before the sun or moon was made! + + . . . . + + O Bigotry, you crowning sin! + All evil that a man can do + Has earthly bounds, nor can begin + To match the mischief done by you-- + You, who would force the source of love + To play your small sectarian part, + And mould the mercy from above + To fit your own contracted heart. + + + + +THE ATHABASCA TRAIL + + + My life is gliding downwards; it speeds swifter to the day + When it shoots the last dark canyon to the Plains of Far-away, + But while its stream is running through the years that are to be, + The mighty voice of Canada will ever call to me. + I shall hear the roar of rivers where the rapids foam and tear, + I shall smell the virgin upland with its balsam-laden air, + And shall dream that I am riding down the winding woody vale + With the packer and the packhorse on the Athabasca Trail. + + I have passed the warden cities at the Eastern water-gate + Where the hero and the martyr laid the corner stone of State, + The habitant, _coureur-des-bois_, and hardy voyageur-- + Where lives a breed more strong at need to venture or endure? + I have seen the gorge of Erie where the roaring waters run, + I have crossed the Inland Ocean, lying golden in the sun, + But the last and best and sweetest is the ride by hill and dale + With the packer and the packhorse on the Athabasca Trail. + + I'll dream again of fields of grain that stretch from sky to sky + And the little prairie hamlets where the cars go roaring by, + Wooden hamlets as I saw them--noble cities still to be, + To girdle stately Canada with gems from sea to sea. + Mother of a mighty manhood, land of glamour and of hope, + From the eastward sea-swept islands to the sunny western slope, + Ever more my heart is with you, ever more till life shall fail + I'll be out with pack and packer on the Athabasca Trail. + + + + +RAGTIME! + +["During the catastrophe the band of the _Titanic_ played negro melodies +and ragtime until the last moment, when they broke into a hymn."--DAILY +PAPER.] + + + Ragtime! Ragtime! Keep it going still! + Let them hear the ragtime! Play it with a will! + Women in the lifeboats, men upon the wreck, + Take heart to hear the ragtime lilting down the deck. + + Ragtime! Ragtime! Yet another tune! + Now the "Darkey Dandy," now "The Yellow Coon!" + Brace against the bulwarks if the stand's askew, + Find your footing as you can, but keep the music true! + + There's glowing hell beneath us where the shattered boilers roar, + The ship is listing and awash, the boats will hold no more! + There's nothing more that you can do, and nothing you can mend, + Only keep the ragtime playing to the end. + + Don't forget the time, boys! Eyes upon the score! + Never heed the wavelets sobbing down the floor! + Play it as you played it when with eager feet + A hundred pair of dancers were stamping to the beat. + + Stamping to the ragtime down the lamp-lit deck, + With shine of glossy linen and with gleam of snowy neck, + They've other thoughts to think to-night, and other things to do, + But the tinkle of the ragtime may help to see them through. + + Shut off, shut off the ragtime! The lights are falling low! + The deck is buckling under us! She's sinking by the bow! + One hymn of hope from dying hands on dying ears to fall-- + Gently the music fades away--and so, God rest us all! + + + + +CHRISTMAS IN WARTIME + + + 1916 + + Cheer oh, comrades, we can bide the blast + And face the gloom until it shall grow lighter. + What though one Christmas should be overcast, + If duty done makes all the others brighter. + + + 1917 + + THE LAST LAP + + We seldom were quick off the mark, + And sprinting was never our game; + But when it's insistence and hold-for-the-distance, + We've never been beat at that same. + + The first lap was all to the Hun, + At the second we still saw his back; + But we knew how to wait and to spurt down the straight, + Till we left him dead-beat on the track. + + He's a bluffer for all he is worth, + But he's winded and done to the core, + So the last lap is here, with the tape very near, + And the old colours well to the fore. + + + 1918 + + Not merry! No--the words would grate, + With gaps at every table-side, + But chastened, thankful, calm, sedate, + Be your victorious Christmas-tide. + + + + +LINDISFAIRE + + + Horses go down the dingy lane, + But never a horse comes up again. + The greasy yard where the red hides lie + Marks the place where the horses die. + + Wheat was sinking year by year, + I bought things cheap, I sold them dear; + Rent was heavy and taxes high, + And a weary-hearted man was I. + + In Lindisfaire I walked my grounds, + I hadn't the heart to ride to hounds; + And as I walked in black despair, + I saw my old bay hunter there. + + He tried to nuzzle against my cheek, + He looked the grief he could not speak; + But no caress came back again, + For harder times make harder men. + + My thoughts were set on stable rent, + On money saved and money spent, + On weekly bills for forage lost, + And all the old bay hunter cost. + + For though a flier in the past, + His days of service long were past, + His gait was stiff, his eyes were dim, + And I could find no use for him. + + I turned away with heart of gloom, + And sent for Will, my father's groom, + The old, old groom, whose worn-out face + Was like the fortune of our race. + + I gave my order sharp and hard, + "Go, ride him to the knacker's yard; + He'll fetch two pounds, it may be three; + Sell him, and bring the price to me." + + I saw the old groom wince away, + He looked the thoughts he dared not say; + Then from his fob he slowly drew + A leather pouch of faded hue. + + "Master," said he, "my means are small, + This purse of leather holds them all; + But I have neither kith nor kin, + I'll pay your price for Prince's skin. + + "My brother rents the Nether Farm, + And he will hold him safe from harm + In the great field where he may graze, + And see the finish of his days." + + With dimming eyes I saw him stand, + Two pounds were in his shaking hand; + I gave a curse to drown the sob, + And thrust the purse within his fob. + + "May God do this and more to me + If we should ever part, we three, + Master and horse and faithful friend, + We'll share together to the end!" + + You'll think I'm playing it on you, + I give my word the thing is true; + I hadn't hardly made the vow, + Before I heard a view-halloo. + + And, looking round, whom should I see, + But Bookie Johnson hailing me; + Johnson, the man who bilked the folks + When Ethelrida won the Oaks. + + He drew a wad from out his vest, + "Here are a thousand of the best; + Luck's turned a bit with me of late, + And, as you see, I'm getting straight." + + That's all. My luck was turning too; + If you have nothing else to do, + Run down some day to Lindisfaire, + You'll find the old bay hunter there. + + + + +A PARABLE + + + High-brow House was furnished well + With many a goblet fair; + So when they brought the Holy Grail, + There was never a space to spare. + Simple Cottage was clear and clean, + With room to store at will; + So there they laid the Holy Grail, + And there you'll find it still. + + + + +FATE + + + I know not how I know, + And yet I know. + I do not plan to go, + And yet I go. + There is some dim force propelling, + Gently guiding and compelling, + And a faint voice ever telling + "This is so." + + The path is rough and black-- + Dark as night-- + And there lies a fairer track + In the light. + Yet I may not shirk or shrink, + For I feel the hands that link + As they guide me on the brink + Of the Height. + + Bigots blame me in their wrath. + Let them blame! + Praise or blame, the fated path + Is the same. + If I droop upon my mission, + There is still that saving vision, + Iridescent and Elysian, + Tipped in flame. + + It was granted me to stand + By my dead. + I have felt the vanished hand + On my head, + On my brow the vanished lips, + And I know that Death's eclipse + Is a floating veil that slips, + Or is shed. + + When I heard thy well-known voice, + Son of mine, + Should I silently rejoice, + Or incline + To strike harder as a fighter, + That the heavy might be lighter, + And the gloomy might be brighter + At the sign? + + Great Guide, I ask you still, + "Wherefore I?" + But if it be thy will + That I try, + Trace my pathway among men, + Show me how to strike, and when, + Take me to the fight--and then, + Oh, be nigh! + + +Printed by Hazell, Watson & Viney, Ld., London and Aylesbury, England. + + + + +BY ARTHUR CONAN DOYLE + + +SONGS OF ACTION + +SEVENTH IMPRESSION. + +_Punch._--"Dr. Conan Doyle has well named his verse 'Songs of Action.' +It pulsates with life and movement, whether the scenes be laid on sea or +land, on ship or horseback." + +_The Daily Telegraph._--"There is spirit and animation, the rush and +glow of young blood about his poems--always a pulsating sense of life." + +_The Yorkshire Post._--"Dr. Conan Doyle writes a good song and a good +ballad. He has the requisite amount of pathos, and his humour is +spontaneous." + + +SONGS OF THE ROAD + +_The Morning Post._--"A troop of rollicking tales, of fervid exhortations +and straightforward arguments ... sound sentiments, hearty humour.... +The creator of Sherlock Holmes is able to construct vivid and pungent +verse." + +_The Spectator._--"He can tell a good story as well in verse as in +prose: and the fetters of rhyme in no way weaken the merits of the swift +tale ... humour as well as spirit." + +_The Observer._--"The strong vitality of the author pervades his poetry. +It is a tonic to meet his frank optimism." + + +JOHN MURRAY, Albemarle Street, London, W.1 + + + + +RECENT POETRY + + + By Rear-Admiral Ronald A. Hopwood, C.B. + THE NEW NAVY, and other Poems + THE SECRET OF THE SHIPS 3_s._ 6_d._ net + THE OLD WAY, and other Poems 3_s._ 6_d._ net + _4th Impression_ + + + THE POETS IN PICARDY + By E. de Stein. 2nd Impression. 3_s._ 6_d._ net + + PSYCHOLOGIES + By Sir Ronald Ross, K.C.B. 2_s._ 6_d._ net + + THE MAN WHO SAW, and other Poems + By Sir William Watson. 3_s._ 6_d._ net + + POEMS NEW AND OLD + By Sir Henry Newbolt. 7_s._ 6_d._ net + + + By Lieut. Joseph Lee + With Illustrations by the Author. 3_s._ 6_d._ net each + BALLADS OF BATTLE _4th Impression_ + WORK-A-DAY WARRIORS + + + By J. Griffyth Fairfax + MESOPOTAMIA 3_s._ 6_d._ net + THE HORNS OF TAURUS 3_s._ 6_d._ net + THE TEMPLE OF JANUS 5_s._ net + + + By Ronald Campbell Macfie, LL.D. + ODES AND OTHER POEMS 5_s._ net + WAR 3_s._ 6_d._ net + + + JOHN MURRAY, Albemarle Street, London, W.1 + + + + + +End of the Project Gutenberg EBook of The Guards Came Through and Other Poems, by +Arthur Conan Doyle + +*** END OF THIS PROJECT GUTENBERG EBOOK THE GUARDS CAME THROUGH *** + +***** This file should be named 38071.txt or 38071.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/8/0/7/38071/ + +Produced by Gerard Arthus; paksenarrion; Jana Srna; Special +Collections, Florida State University; Lilly Library, +Indiana University; Brooklyn Public Library; Morris Library, +Southern Illinois University and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + +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. |