diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-03-09 07:33:30 -0700 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-09 07:33:30 -0700 |
| commit | dc962f5a469c3e50a500e8af48d917f5c7563445 (patch) | |
| tree | 300ea2424e0cc7fadb52b092f819488448136aec /old/40200.txt | |
| parent | d30b42fb3d484421f524cfdfddf5d83ba1a25d17 (diff) | |
Diffstat (limited to 'old/40200.txt')
| -rw-r--r-- | old/40200.txt | 1607 |
1 files changed, 0 insertions, 1607 deletions
diff --git a/old/40200.txt b/old/40200.txt deleted file mode 100644 index 62b7dfe..0000000 --- a/old/40200.txt +++ /dev/null @@ -1,1607 +0,0 @@ -The Project Gutenberg EBook of Exultations, by Ezra Pound - -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/license - - -Title: Exultations - -Author: Ezra Pound - -Release Date: July 10, 2012 [EBook #40200] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK EXULTATIONS *** - - - - -Produced by Marc D'Hooghe at http://www.freeliterature.org -(Images generously made available by the Internet Archive.) - - - - - -EXULTATIONS - -OF - -EZRA POUND - - - -LONDON - -ELKIN MATHEWS, VIGO STREET - -M CM IX - - - - _I am an eternal spirit and the things I_ - _make are but ephemera, yet I endure:_ - _Yea, and the little earth crumbles beneath_ - _our feet and we endure._ - - - -TO CARLOS TRACY CHESTER - -"_amicitiae longaevitate_" - - - - I have to thank the Editors of the _English Review_ and the - _Evening Standard_ and _St. James's Gazette_ for permission to - include in this volume certain poems which originally appeared in - those papers. - - - - -CONTENTS - - - - GUIDO INVITES YOU THUS - NIGHT LITANY - SANDALPHON - SESTINA: ALTAFORTE - PIERE VIDAL OLD - BALLAD OF THE GOODLY FERE - HYMN III FROM THE LATIN OF FLAMINIUS - SESTINA FOR YSOLT - PORTRAIT (FROM "LA MERE INCONNUE") - FAIR HELENA - LAUDANTES DECEM - AUX BELLES DE LONDRES - FRANCESCA - GREEK EPIGRAM - COLUMBUS' EPITAPH - PLOTINUS - ON HIS OWN FACE IN A GLASS - HISTRION - THE EYES - DEFIANCE - SONG - NEL BIANCHEGGIAR - NILS LYKKE - A SONG OF THE VIRGIN MOTHER - PLANH FOR THE YOUNG ENGLISH KING - ALBA INNOMINATA - PLANH - - - - -EXULTATIONS - - - Guido invites you thus[1] - - - "Lappo I leave behind and Dante too, - Lo, I would sail the seas with thee alone! - Talk me no love talk, no bought-cheap fiddl'ry, - Mine is the ship and thine the merchandise, - All the blind earth knows not th' emprise - Whereto thou calledst and whereto I call. - - Lo, I have seen thee bound about with dreams, - Lo, I have known thy heart and its desire; - Life, all of it, my sea, and all men's streams - Are fused in it as flames of an altar fire! - - Lo, thou hast voyaged not! The ship is mine." - - -[Footnote 1: The reference is to Dante's sonnet "Guido vorrei...."] - - - - Night Litany - - - O Dieu, purifiez nos coeurs! - purifiez nos coeurs! - - Yea the lines hast thou laid unto me - in pleasant places, - And the beauty of this thy Venice - hast thou shown unto me - Until is its loveliness become unto me - a thing of tears. - - O God, what great kindness - have we done in times past - and forgotten it, - That thou givest this wonder unto us, - O God of waters? - - O God of the night - What great sorrow - Cometh unto us, - That thou thus repayest us - Before the time of its coming? - - O God of silence, - Purifiez nos coeurs, - Purifiez nos coeurs, - For we have seen - The glory of the shadow of the - likeness of thine handmaid, - Yea, the glory of the shadow - of thy Beauty hath walked - - Upon the shadow of the waters - In this thy Venice. - And before the holiness - Of the shadow of thy handmaid - Have I hidden mine eyes, - O God of waters. - - O God of silence, - Purifiez nos coeurs, - Purifiez nos coeurs, - O God of waters, - make clean our hearts within us - And our lips to show forth thy praise, - For I have seen the - Shadow of this thy Venice - Floating upon the waters, - And thy stars - Have seen this thing out of their far courses - Have they seen this thing, - O God of waters, - Even as are thy stars - Silent unto us in their far-coursing, - Even so is mine heart - become silent within me. - - _Purifiez nos coeurs_ - _O God of the silence,_ - _Purifiez nos coeurs_ - _O God of waters._ - - - - Sandalphon - - - The angel of prayer according to the Talmud stands unmoved among - the angels of wind and fire, who die as their one song is finished, - also as he gathers the prayers they turn to flowers in his hands. - - - And these about me die, - Because the pain of the infinite singing - Slayeth them. - Ye that have sung of the pain of the earth-horde's - age-long crusading, - Ye know somewhat the strain, - the sad-sweet wonder-pain of such singing. - And therefore ye know after what fashion - This singing hath power destroying. - - Yea, these about me, bearing such song in homage - Unto the Mover of Circles, - Die for the might of their praising, - And the autumn of their marcescent wings - Maketh ever new loam for my forest; - And these grey ash trees hold within them - All the secrets of whatso things - They dreamed before their praises, - And in this grove my flowers, - Fruit of prayerful powers, - Have first their thought of life - And then their being. - - Ye marvel that I die not! _forsitan_! - Thinking me kin with such as may not weep, - Thinking me part of them that die for praising - --yea, tho' it be praising, - past the power of man's mortality to - dream or name its phases, - --yea, tho' it chant and paean - past the might of earth-dwelt - soul to think on, - --yea, tho' it be praising - as these the winged ones die of. - - Ye think me one insensate - else die I also - Sith these about me die, - And if I, watching - - Ever the multiplex jewel, of beryl and jasper and sapphire - Make of these prayers of earth ever new flowers; - Marvel and wonder! - Marvel and wonder even as I, - Giving to prayer new language - And causing the works to speak - Of the earth-horde's age-lasting longing, - Even as I marvel and wonder, and know not, - Yet keep my watch in the ash wood. - - - - Sestina: Altaforte - - - LOQUITUR: _En_ Bertrans de Born. - Dante Alighieri put this man in hell for that he was a stirrer-up - of strife. - Eccovi! - Judge ye! - Have I dug him up again? - The scene is at his castle, Altaforte. "Papiols" is his jongleur. - "The Leopard," the _device_ of Richard (Coeur de Lion). - - - - I - - - Damn it all! all this our South stinks peace. - You whoreson dog, Papiols, come! Let's to music! - I have no life save when the swords clash. - But ah! when I see the standards gold, vair, purple, opposing - And the broad fields beneath them turn crimson, - Then howl I my heart nigh mad with rejoicing. - - II - - In hot summer have I great rejoicing - When the tempests kill the earth's foul peace, - And the light'nings from black heav'n flash crimson, - And the fierce thunders roar me their music - And the winds shriek through the clouds mad, opposing, - And through all the riven skies God's swords clash. - - III - - Hell grant soon we hear again the swords clash! - And the shrill neighs of destriers in battle rejoicing, - Spiked breast to spiked breast opposing! - Better one hour's stour than a year's peace - With fat boards, bawds, wine and frail music! - Bah! there's no wine like the blood's crimson! - - IV - - And I love to see the sun rise blood-crimson. - And I watch his spears through the dark clash - And it fills all my heart with rejoicing - And pries wide my mouth with fast music - When I see him so scorn and defy peace, - His lone might 'gainst all darkness opposing. - - V - - The man who fears war and squats opposing - My words for stour, hath no blood of crimson - But is fit only to rot in womanish peace - Far from where worth's won and the swords clash - For the death of such sluts I go rejoicing; - Yea, I fill all the air with my music. - - VI - - Papiols, Papiols, to the music! - There's no sound like to swords swords opposing, - No cry like the battle's rejoicing - When our elbows and swords drip the crimson - And our charges 'gainst "The Leopard's" rush clash. - May God damn for ever all who cry "Peace!" - - VII - - And let the music of the swords make them crimson! - Hell grant soon we hear again the swords clash! - Hell blot black for alway the thought "Peace"! - - - - Piere Vidal Old - - - It is of Piere Vidal, the fool par excellence of all Provence, of - whom the tale tells how he ran mad, as a wolf, because of his love - for Loba of Penautier, and how men hunted him with dogs through the - mountains of Cabaret and brought him for dead to the dwelling of - this Loba (she-wolf) of Penautier, and how she and her Lord had him - healed and made welcome, and he stayed some time at that court. He - speaks: - - - When I but think upon the great dead days - And turn my mind upon that splendid madness, - Lo! I do curse my strength - And blame the sun his gladness; - For that the one is dead - And the red sun mocks my sadness. - - Behold me, Vidal, that was fool of fools! - Swift as the king wolf was I and as strong - When tall stags fled me through the alder brakes, - And every jongleur knew me in his song, - And the hounds fled and the deer fled - And none fled over long. - - Even the grey pack knew me and knew fear. - God! how the swiftest hind's blood spurted hot - Over the sharpened teeth and purpling lips! - Hot was that hind's blood yet it scorched me not - As did first scorn, then lips of the Penautier! - Aye ye are fools, if ye think time can blot - - From Piere Vidal's remembrance that blue night, - God! but the purple of the sky was deep! - Clear, deep, translucent, so the stars me seemed - Set deep in crystal; and because my sleep - --Rare visitor--came not,--the Saints I guerdon - For that restlessness--Piere set to keep - - One more fool's vigil with the hollyhocks. - Swift came the Loba, as a branch that's caught, - Tom, green and silent in the swollen Rhone, - Green was her mantle, close, and wrought - Of some thin silk stuff that's scarce stuff at all, - But like a mist wherethrough her white form fought, - - And conquered! Ah God! conquered! - Silent my mate came as the night was still. - Speech? Words? Faugh! Who talks of words and love?! - Hot is such love and silent, - Silent as fate is, and as strong until - It faints in taking and in giving all. - - Stark, keen, triumphant, till it plays at death. - God! she was white then, splendid as some tomb - High wrought of marble, and the panting breath - Ceased utterly. Well, then I waited, drew, - Half-sheathed, then naked from its saffron sheath - Drew full this dagger that doth tremble here. - - Just then she woke and mocked the less keen blade. - Ah God, the Loba! and my only mate! - Was there such flesh made ever and unmade! - God curse the years that turn such women grey! - Behold here Vidal, that was hunted, flayed, - Shamed and yet bowed not and that won at last. - - And yet I curse the sun for his red gladness, - I that have known strath, garth, brake, dale, - And every run-way of the wood through that great madness, - Behold me shrivelled as an old oak's trunk - And made men's mock'ry in my rotten sadness! - - No man hath heard the glory of my days: - No man hath dared and won his dare as I: - One night, one body and one welding flame! - What do ye own, ye niggards! that can buy - Such glory of the earth? Or who will win - Such battle-guerdon with his "prowesse high"? - - O Age gone lax! O stunted followers, - That mask at passions and desire desires, - Behold me shrivelled, and your mock of mocks; - And yet I mock you by the mighty fires - That burnt me to this ash. - * * * * * * * - Ah! Cabaret! Ah Cabaret, thy hills again! - * * * * * * * - Take your hands off me!... [_Sniffing the air_. - Ha! this scent is hot! - - - - Ballad of the Goodly Fere[1] - - - Simon Zelotes speaketh it somewhile after the Crucifixion. - - - Ha' we lost the goodliest fere o' all - For the priests and the gallows tree? - Aye lover he was of brawny men, - O' ships and the open sea. - - When they came wi' a host to take Our Man - His smile was good to see, - "First let these go!" quo' our Goodly Fere, - "Or I'll see ye damned," says he. - - Aye he sent us out through the crossed high spears - And the scorn of his laugh rang free, - "Why took ye not me when I walked about - Alone in the town?" says he. - - Oh we drank his "Hale" in the good red wine - When we last made company, - No capon priest was the Goodly Fere - But a man o' men was he. - - I ha' seen him drive a hundred men - Wi' a bundle o' cords swung free, - That they took the high and holy house - For their pawn and treasury. - - They'll no' get him a' in a book I think - Though they write it cunningly; - No mouse of the scrolls was the Goodly Fere - But aye loved the open sea. - - If they think they ha' snared our Goodly Fere - They are fools to the last degree. - "I'll go to the feast," quo' our Goodly Fere, - "Though I go to the gallows tree." - - "Ye ha' seen me heal the lame and blind, - And wake the dead," says he, - "Ye shall see one thing to master all: - 'Tis how a brave man dies on the tree." - - A son of God was the Goodly Fere - That bade us his brothers be. - I ha' seen him cow a thousand men. - I have seen him upon the tree. - - He cried no cry when they drave the nails - And the blood gushed hot and free, - The hounds of the crimson sky gave tongue - But never a cry cried he. - - I ha' seen him cow a thousand men - On the hills o' Galilee, - They whined as he walked out calm between, - Wi' his eyes like the grey o' the sea. - - Like the sea that brooks no voyaging - With the winds unleashed and free, - Like the sea that he cowed at Genseret - Wi' twey words spoke' suddently. - - A master of men was the Goodly Fere, - A mate of the wind and sea, - If they think they ha' slain our Goodly Fere - They are fools eternally. - - I ha' seen him eat o' the honey-comb - Sin' they nailed him to the tree. - - -[Footnote 1: Fere = Mate, Companion.] - - -_*** The Publisher desires to state that the "Ballad of the -Goodly Fere"--by the wish of the Author--is reproduced exactly -as it appeared in the "English Review."_ - - - Hymn III - - - From the Latin of Marc Antony Flaminius, sixteenth century. - - - As a fragile and lovely flower unfolds its gleaming - foliage on the breast of the fostering earth, if - the dew and the rain draw it forth; - So doth my tender mind flourish, if it be fed with the - sweet dew of the fostering spirit, - Lacking this, it beginneth straightway to languish, - even as a floweret born upon dry earth, if the - dew and the rain tend it not. - - - - Sestina for Ysolt - - - There comes upon me will to speak in praise - Of things most fragile in their loveliness; - Because the sky hath wept all this long day - And wrapped men's hearts within its cloak of greyness, - Because they look not down I sing the stars, - Because 'tis still mid-March I praise May's flowers. - - Also I praise long hands that lie as flowers - Which though they labour not are worthy praise, - And praise deep eyes like pools wherein the stars - Gleam out reflected in their loveliness, - For whoso look on such there is no greyness - May hang about his heart on any day. - - The other things that I would praise to-day? - Besides white hands and all the fragile flowers, - And by their praise dispel the evening's greyness? - I praise dim hair that worthiest is of praise - And dream upon its unbound loveliness, - And how therethrough mine eyes have seen the stars. - - Yea, through that cloud mine eyes have seen the stars - That drift out slowly when night steals the day, - Through such a cloud meseems their loveliness - Surpasses that of all the other flowers. - For that one night I give all nights my praise - And love therefrom the twilight's coming greyness. - - There is a stillness in this twilight greyness - Although the rain hath veiled the flow'ry stars, - They seem to listen as I weave this praise - Of what I have not seen all this grey day, - And they will tell my praise unto the flowers - When May shall bid them in in loveliness. - - O ye I love, who hold this loveliness - Near to your hearts, may never any greyness - Enshroud your hearts when ye would gather flowers, - Or bind your eyes when ye would see the stars; - But alway do I give ye flowers by day, - And when day's plucked I give ye stars for praise. - - But most, thou Flower, whose eyes are like the stars, - With whom my dreams bide all the live-long day, - Within thy hands would I rest all my praise. - - - - Portrait - - - From "La Mere Inconnue." - - - Now would I weave her portrait out of all dim splendour. - Of Provence and far halls of memory, - Lo, there come echoes, faint diversity - Of blended bells at even's end, or - As the distant seas should send her - The tribute of their trembling, ceaselessly - Resonant. Out of all dreams that be, - Say, shall I bid the deepest dreams attend her? - - Nay! For I have seen the purplest shadows stand - Alway with reverent chere that looked on her, - Silence himself is grown her worshipper - And ever doth attend her in that land - Wherein she reigneth, wherefore let there stir - Naught but the softest voices, praising her. - - - - "Fair Helena" by Rackham - - - "_What I love best in all the world?_" - - - When the purple twilight is unbound, - To watch her slow, tall grace - and its wistful loveliness, - And to know her face - is in the shadow there, - Just by two stars beneath that cloud-- - The soft, dim cloud of her hair, - And to think my voice - can reach to her - As but the rumour of some tree-bound stream, - Heard just beyond the forest's edge, - Until she all forgets I am, - And knows of me - Naught but my dream's felicity. - - - - Laudantes Decem Pulchritudinis - - Johannae Templi - - - I - - When your beauty is grown old in all men's songs, - And my poor words are lost amid that throng, - Then you will know the truth of my poor words, - And mayhap dreaming of the wistful throng - That hopeless sigh your praises in their songs, - You will think kindly then of these mad words. - - II - - I am torn, torn with thy beauty, - O Rose of the sharpest thorn! - O Rose of the crimson beauty, - Why hast thou awakened the sleeper? - Why hast thou awakened the heart within me, - O Rose of the crimson thorn? - - III - - The unappeasable loveliness - is calling to me out of the wind, - And because your name - is written upon the ivory doors, - The wave in my heart is as a green wave, unconfined, - Tossing the white foam toward you; - And the lotus that pours - Her fragrance into the purple cup, - Is more to be gained with the foam - Than are you with these words of mine. - - IV - - _He speaks to the moonlight concerning the Beloved_. - - Pale hair that the moon has shaken - Down over the dark breast of the sea, - O magic her beauty has shaken - About the heart of me; - Out of you have I woven a dream - That shall walk in the lonely vale - Betwixt the high hill and the low hill, - Until the pale stream - Of the souls of men quench and grow still. - - V - - _Voices speaking to the sun_. - - Red leaf that art blown upward and out and over - The green sheaf of the world, - And through the dim forest and under - The shadowed arches and the aisles, - We, who are older than thou art, - Met and remembered when his eyes beheld her - In the garden of the peach-trees, - In the day of the blossoming. - - VI - - I stood on the hill of Yrma - when the winds were a-hurrying, - With the grasses a-bending - I followed them, - Through the brown grasses of Ahva - unto the green of Asedon. - I have rested with the voices - in the gardens of Ahthor, - I have lain beneath the peach-trees - in the hour of the purple: - - Because I had awaited in - the garden of the peach-trees, - Because I had feared not - in the forest of my mind, - Mine eyes beheld the vision of the blossom - There in the peach-gardens past Asedon. - - O winds of Yrma, let her again come unto me, - Whose hair ye held unbound in the gardens of Ahthor! - - VII - - Because of the beautiful white shoulders and the rounded breasts - I can in no wise forget my beloved of the peach-trees, - And the little winds that speak when the dawn is unfurled - And the rose-colour in the grey oak-leaf's fold - - When it first comes, and the glamour that rests - On the little streams in the evening; all of these - Call me to her, and all the loveliness in the world - Binds me to my beloved with strong chains of gold. - - VIII - - If the rose-petals which have fallen upon my eyes - And if the perfect faces which I see at times - When my eyes are closed-- - Faces fragile, pale, yet flushed a little, like petals of roses: - If these things have confused my memories of her - So that I could not draw her face - Even if I had skill and the colours, - Yet because her face is so like these things - They but draw me nearer unto her in my thought - And thoughts of her come upon my mind gently, - As dew upon the petals of roses. - - IX - - _He speaks to the rain_. - - O pearls that hang on your little silver chains, - The innumerable voices that are whispering - Among you as you are drawn aside by the wind, - Have brought to my mind the soft and eager speech - Of one who hath great loveliness, - - Which is subtle as the beauty of the rains - That hang low in the moonshine and bring - The May softly among us, and unbind - The streams and the crimson and white flowers and reach - Deep down into the secret places. - - X - - The glamour of the soul hath come upon me, - And as the twilight comes upon the roses, - Walking silently among them, - So have the thoughts of my heart - Gone out slowly in the twilight - Toward my beloved, - Toward the crimson rose, the fairest. - - - - Aux Belles de Londres - - - I am aweary with the utter and beautiful weariness - And with the ultimate wisdom and with things terrene, - I am aweary with your smiles and your laughter, - And the sun and the winds again - Reclaim their booty and the heart o' me. - - - - Francesca - - - You came in out of the night - And there were flowers in your hands, - Now you will come out of a confusion of people, - Out of a turmoil of speech about you. - - I who have seen you amid the primal things - Was angry when they spoke your name - In ordinary places. - I would that the cool waves might flow over my mind, - And that the world should dry as a dead leaf, - Or as a dandelion seed-pod and be swept away, - So that I might find you again, - Alone. - - - - Greek Epigram - - - Day and night are never weary, - Nor yet is God of creating - For day and night their torch-bearers - The aube and the crepuscule. - - So, when I weary of praising the dawn and the sun-set, - Let me be no more counted among the immortals; - But number me amid the wearying ones, - Let me be a man as the herd, - And as the slave that is given in barter. - - - - Christophori Columbi Tumulus - - - From the Latin of Hipolytus Capilupus, Early Cent XVI. - - Genoan, glory of Italy, Columbus thou sure light, - Alas the urn takes even thee so soon out-blown. - Its little space - - Doth hold thee, whom Oceanus had not the might - Within his folds to hold, altho' his broad embrace - Doth hold all lands. - - Bark-borne beyond his bound'ries unto Hind thou wast - Where scarce Fame's volant self the way had cast. - - - - Plotinus - - - As one that would draw through the node of things, - Back sweeping to the vortex of the cone, - Cloistered about with memories, alone - In chaos, while the waiting silence sings: - - Obliviate of cycles' wanderings - I was an atom on creation's throne - And knew all nothing my unconquered own. - God! Should I be the hand upon the strings?! - - But I was lonely as a lonely child. - I cried amid the void and heard no cry, - And then for utter loneliness, made I - New thoughts as crescent images of _me_. - And with them was my essence reconciled - While fear went forth from mine eternity. - - - - On His Own Face in a Glass - - - O strange face there in the glass! - O ribald company, O saintly host, - O sorrow-swept my fool, - What answer? O ye myriad - That strive and play and pass, - Jest, challenge, counterlie? - I? I? I? - And ye? - - - - Histrion - - - No man hath dared to write this thing as yet, - And yet I know, how that the souls of all men great - At times pass through us, - And we are melted into them, and are not - Save reflexions of their souls. - Thus am I Dante for a space and am - One Francois Villon, ballad-lord and thief - Or am such holy ones I may not write, - Lest blasphemy be writ against my name; - This for an instant and the flame is gone. - - 'Tis as in midmost us there glows a sphere - Translucent, molten gold, that is the "I" - And into this some form projects itself: - Christus, or John, or eke the Florentine; - And as the clear space is not if a form's - Imposed thereon, - So cease we from all being for the time, - And these, the Masters of the Soul, live on. - - - - The Eyes - - - Rest Master, for we be a-weary, weary - And would feel the fingers of the wind - Upon these lids that lie over us - Sodden and lead-heavy. - - Rest brother, for lo! the dawn is without! - The yellow flame paleth - And the wax runs low. - - Free us, for without be goodly colours, - Green of the wood-moss and flower colours, - And coolness beneath the trees. - - Free us, for we perish - In this ever-flowing monotony - Of ugly print marks, black - Upon white parchment. - - Free us, for there is one - Whose smile more availeth - Than all the age-old knowledge of thy books: - And we would look thereon. - - - - Defiance - - - Ye blood-red spears-men of the dawn's array - That drive my dusk-clad knights of dream away, - Hold! For I will not yield. - - My moated soul shall dream in your despite - A refuge for the vanquished hosts of night - That _can_ not yield. - - - - Song - - - Love thou thy dream - All base love scorning, - Love thou the wind - And here take warning - That dreams alone can truly be, - For 'tis in dream I come to thee. - - - - Nel Biancheggiar - - - Blue-Grey, and white, and white-of-rose, - The flowers of the West's fore-dawn unclose. - I feel the dusky softness whirr - Of colour, as upon a dulcimer - "Her" dreaming fingers lay between the tunes, - As when the living music swoons - But dies not quite, because for love of us - --knowing our state - How that 'tis troublous-- - It wills not die to leave us desolate. - - - - Nils Lykke - - - Beautiful, infinite memories - That are a-plucking at my heart, - Why will you be ever calling and a-calling, - And a-murmuring in the dark there? - And a-reaching out your long hands - Between me and my beloved? - - And why will you be ever a-casting - The black shadow of your beauty - On the white face of my beloved - And a-glinting in the pools of her eyes? - - - - A Song of the Virgin Mother - - - _In the play "Los Pastores de Belen."_ - - From the Spanish of Lope de Vega. - - - As ye go through these palm-trees - O holy angel; - Sith sleepeth my child here - Still ye the branches. - - O Bethlehem palm-trees - That move to the anger - Of winds in their fury, - Tempestuous voices, - Make ye no clamour, - Run ye less swiftly, - Sith sleepeth the child here - Still ye your branches. - - He the divine child - Is here a-wearied - Of weeping the earth-pain, - Here for his rest would he - Cease from his mourning, - Only a little while, - Sith sleepeth this child here - Stay ye the branches. - - Cold be the fierce winds, - Treacherous round him. - Ye see that I have not - Wherewith to guard him, - O angels, divine ones - That pass us a-flying, - Sith sleepeth my child here - Stay ye the branches. - - - - Planh for the Young English King - - - _That is, Prince Henry Plantagenet, elder brother to - Richard "Coeur de Lion."_ - - From the Provencal of Bertrans de Born "Si tuit li dol elh - plor elh marrimen." - - - If all the grief and woe and bitterness, - All dolour, ill and every evil chance - That ever came upon this grieving world - Were set together they would seem but light - Against the death of the young English King. - Worth lieth riven and Youth dolorous, - The world o'ershadowed, soiled and overcast, - Void of all joy and full of ire and sadness. - - Grieving and sad and full of bitterness - Are left in teen the liegemen courteous, - The joglars supple and the troubadours. - O'er much hath ta'en Sir Death that deadly warrior - In taking from them the young English King, - Who made the freest hand seem covetous. - 'Las! Never was nor will be in this world - The balance for this loss in ire and sadness! - - O skilful Death and full of bitterness, - Well mayst thou boast that thou the best chevalier - That any folk e'er had, hast from us taken; - Sith nothing is that unto worth pertaineth - But had its life in the young English King, - And better were it, should God grant his pleasure - That he should live than many a Irving dastard - That doth but wound the good with ire and sadness. - - From this faint world, how full of bitterness - Love takes his way and holds his joy deceitful, - Sith no thing is but turneth unto anguish - And each to-day 'vails less than yestere'en, - Let each man visage this young English King - That was most valiant mid all worthiest men! - Gone is his body fine and amorous, - Whence have we grief, discord and deepest sadness. - - Him, whom it pleased for our great bitterness - To come to earth to draw us from misventure, - Who drank of death for our salvacioun, - Him do we pray as to a Lord most righteous - And humble eke, that the young English King - He please to pardon, as true pardon is, - And bid go in with honoured companions - There where there is no grief, nor shall be sadness. - - - - Alba Innominata - - - From the Provencal. - - - In a garden where the whitethorn spreads her leaves - My lady hath her love lain close beside her, - Till the warder cries the dawn--Ah dawn that grieves! - Ah God! Ah God! That dawn should come so soon! - - "Please God that night, dear night should never cease, - Nor that my love should parted be from me, - Nor watch cry 'Dawn'--Ah dawn that slayeth peace! - Ah God! Ah God! That dawn should come so soon! - - "Fair friend and sweet, thy lips! Our lips again! - Lo, in the meadow there the birds give song! - Ours be the love and Jealousy's the pain! - Ah God! Ah God! That dawn should come so soon! - - "Sweet friend and fair take we our joy again - Down in the garden, where the birds are loud, - Till the warder's reed astrain - Cry God! Ah God! That dawn should come so soon! - - "Of that sweet wind that comes from Far-Away - Have I drunk deep of my Beloved's breath, - Yea! of my Love's that is so dear and gay. - Ah God! Ah God! That dawn should come so soon!" - - _Envoi_. - - Fair is this damsel and right courteous, - And many watch her beauty's gracious way. - Her heart toward love is no wise traitorous. - Ah God! Ah God! That dawns should come so soon! - - - - Planh - - - _It is of the white thoughts that he saw in the Forest_. - - - White Poppy, heavy with dreams, - O White Poppy, who art wiser than love, - Though I am hungry for their lips - When I see them a-hiding - And a-passing out and in through the shadows - --There in the pine wood it is, - And they are white, White Poppy, - They are white like the clouds in the forest of the sky - Ere the stars arise to their hunting. - - O White Poppy, who art wiser than love, - I am come for peace, yea from the hunting - Am I come to thee for peace. - Out of a new sorrow it is, - That my hunting hath brought me. - - White Poppy, heavy with dreams, - Though I am hungry for their lips - When I see them a-hiding - And a-passing out and in through the shadows - --And it is white they are-- - But if one should look at me with the old hunger in her eyes, - How will I be answering her eyes? - - For I have followed the white folk of the forest. - - Aye! It's a long hunting - And it's a deep hunger I have when I see them a-gliding - And a-flickering there, where the trees stand apart. - - But oh, it is sorrow and sorrow - When love dies-down in the heart. - - - - -BY THE SAME AUTHOR - -Personae - -_Choicely Printed at the Chiswick Press on fine paper. Foolscap Octavo, -2s. 6d. net_ - -SOME EARLY REVIEWS - -_The Observer_ says:--"It is something, after all, intangible and -indescribable that makes the real poetry. Criticism and praise alike -give no idea of it Everyone who pretends to know it when he sees it, -should read and keep this little book." - -_The Bookman_:--"No new book of poems for years past has had such a -freshness of inspiration, such a strongly individual note, or been more -alive with undoubtable promise." - -_The Daily Chronicle_:--" All his poems are like this, from beginning to -end, and in every way, his own, and in a world of his own. For brusque -intensity of effect we can hardly compare them to any other work. It is -the old miracle that cannot be defined, nothing more than a subtle -entanglement of words, so that they rise out of their graves and sing." - -From a 3 1/2 page detailed critique, by Mr. Edward Thomas, in _The -English Review_.--"He has ... hardly any of the superficial good -qualities of modern versifiers;... He has not the current melancholy or -resignation or unwillingness to live; nor the kind of feeling for nature -that runs to minute description and decorative metaphor. He cannot be -usefully compared with any living writers;... full of personality and -with such power to express it, that from the first to the last lines of -most of his poems he holds us steadily in his own pure, grave, -passionate world.... The beauty of it ('In praise of Ysolt') is the -beauty of passion, sincerity and intensity, not of beautiful words and -images and suggestions;... the thought dominates the words and is -greater than they are. Here ('Idyl for Glaucus') the effect is full of -human passion and natural magic, without any of the phrases which a -reader of modern verse would expect in the treatment of such a subject. -This admirable poet...." - -_The Oxford Magazine_:--"This is a most exciting book of poems." - -_The Evening Standard_:--"A queer little book which will irritate many -readers." - -_The Morning Post_:--" Mr. Ezra Pound ... immediately compels our -admiration by his fearlessness and lack of self-consciousness." - -_The Isis_(Oxford):--"This book has about it the breath of the open -air,... physically and intellectually the verse seems to reproduce the -personality with a brief fulness and adequacy. It is only in flexible, -lithe measures, such as those which Coventry Patmore chose in his -'Unknown Eros,' and Mr. Pound chooses here that a fully suitable form -for the recital of spiritual experience is to be found. Mr. Pound has a -true and invariable feeling for the measures he employs ... this -wonderful little book...." - -_The Daily Telegraph_:--"A poet with individuality.... Thread of true -beauty.... lifts it out of the ruck of those many volumes, the writers -or which toe the line of poetic convention, and please for no more than -a single reading." - -_Mr. Punch_, concerning a certain Mr. Ezekiel Ton:--"By far the newest -poet going, whatever other advertisements may say;" and announced as -"the most remarkable thing in poetry since Robert Browning," says:--"He -has succeeded where all others have failed, in evolving a blend of the -imagery of the unfettered west, the vocabulary of Wardour Street, and -the sinister abandon of Borgaic Italy." - -Mr. Scott-James, in _The Daily News_:--"At first the whole thing may -seem to be mere madness and rhetoric, a vain exhibition of force and -passion without beauty. But, as we read on, these curious metres of his -seem to have a law and order of their own; the brute force of Mr. -Pound's imagination seems to impart some quality of infectious beauty to -his words.... With Mr. Pound there is no eking out of thin sentiment -with a melody or a song. He writes out of an exuberance of incontinently -struggling ideas and passionate convictions.... He plunges straight into -the heart of his theme, and suggests virility in action combined with -fierceness, eagerness, and tenderness.... he has individuality, passion, -force, and an acquaintance with things that are profoundly moving." Mr. -Scott-James begins his half-column review of Mr. Pound's book with a -remark that he would "Like much more space in which to discuss his -work," and also notes a certain use of spondee and dactyl which "Comes -in strangely and, as we first read it, with the appearance of discord, -but afterwards seems to gain a curious and distinctive vigour." - - - - - -End of the Project Gutenberg EBook of Exultations, by Ezra Pound - -*** END OF THIS PROJECT GUTENBERG EBOOK EXULTATIONS *** - -***** This file should be named 40200.txt or 40200.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/2/0/40200/ - -Produced by Marc D'Hooghe at http://www.freeliterature.org -(Images generously made available by the Internet Archive.) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -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 MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-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 http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. |