diff options
Diffstat (limited to 'old/52457-8.txt')
| -rw-r--r-- | old/52457-8.txt | 2559 |
1 files changed, 0 insertions, 2559 deletions
diff --git a/old/52457-8.txt b/old/52457-8.txt deleted file mode 100644 index 27bcab5..0000000 --- a/old/52457-8.txt +++ /dev/null @@ -1,2559 +0,0 @@ -The Project Gutenberg EBook of In Various Moods, by Irving Bacheller - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: In Various Moods - Poems and Verses - -Author: Irving Bacheller - -Release Date: June 30, 2016 [EBook #52457] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK IN VARIOUS MOODS *** - - - - -Produced by David Widger from page images generously -provided by the Internet Archive - - - - - - - - - -IN VARIOUS MOODS - -Poems And Verses - -By Irving Bacheller - -Harper & Brothers Publishers New York And London - -MCMX - -[Illustration: 0002] - -[Illustration: 0007] - -[Illustration: 0010] - - - - -IN VARIOUS MOODS - - - - -THE SOWERS - - -_Written for the Fiftieth Anniversary of the Founding of St. Lawrence -University_ - - - I know the hills that lift the distant plain, - - The college hall--the spirit of its throngs, - - The meadows and the waving fields of grain, - - Full well I know their colors and their songs. - - I know the storied gates where love was told, - - The grove where walked the muses and the seers, - - The river, dark or touched with light of gold, - - Or slow, or swift so like the flowing years. - - I know not these who sadly sit them down - - And while the night in half-forgotten days; - - I know not these who wear the hoary crown - - And find a pathos in the merry lays. - - Here Memory, with old wisdom on her lips, - - A finger points at each familiar name-- - - Some writ on water, stone or stranded ships, - - Some in the music of the trump of fame. - - Here oft, I think, beloved voices call - - Behind a weathered door 'neath ancient trees. - - I hear sad echoes in the empty hall, - - The wide world's lyric in the harping breeze. - - It sings of them I loved and left of old, - - Of my fond hope to bring a worthy prize-- - - Some well-earned token, better far than gold, - - And lay it humbly down before their eyes. - - And tell them it were rightly theirs--not mine, - - An harvest come of their own word and deed; - - I strove with tares that threatened my design - - To make the crop as noble as the seed. - - So they might see it paid--that life they knew-- - - A toilsome web and knit of many a skein, - - With love's sweet sacrifice all woven through, - - And broken threads of hope and joy and pain. - - On root-bound acres, pent with rocks and stones, - - Their hope of wealth and leisure slowly died. - - They gave their strength in toil that racked their - bones, - - They gave their youth, their beauty, and their pride. - - Ere Nature's last defence had been withdrawn - - That those they loved might have what they could - not-- - - The power of learning wedded to their brawn - - And to the simple virtue there begot. - - My college! Once--it was a day of old-- - - I saw thy panes aglow with sunset fire - - And heard the story of thy purpose told - - And felt the tide of infinite desire. - - In thee I saw the gates of mystery - - That led to dream-lit, vast, inviting lands-- - - Far backward to the bourne of history - - And forward to the House not made with hands. - - You gave the husbandman a richer yield - - Than any that his granary may hold; - - You called his children from the shop and field, - - Taught them to sow and reap an undredfold. - - To sow the seed of truth and hope and peace, - - And take the root of error from the sod; - - To be of those who make the sure increase, - - Forever growing, in the lands of God. - - - - -THE NEW WORLD - - -_Read before the Lambda Chapter of Phi Beta Kappa, June 24, 1902_ - - - Idle gods of Old Olympus--Zeus and his immortal - clan, - - Grown in stature, grace and wisdom, meekly serve - the will of man. - - Every elemental giant has been trained to seek and - raise - - Gates of the "impossible" that lead to undiscovered - ways. - - Man hath come to stranger things than ever bard - or prophet saw. - - Lo, he sits in judgment on the gods and doth amend - their law. - - Now reality with wonder-deed of ancient fable teems-- - - Fact is wrought of golden fancy from the old - Homeric dreams. - - Zeus, with thought to load the fulmen gathered for - his mighty sling, - - Hurls across the ocean desert as 'twere ut a pebble-fling; - - Titans move the gathered harvests, push the loaded - ship and train, - - Rushing swiftly 'twixt horizons, shoulder to the - hurricane. - - Hermes, of the winged sandal, strides from midday - into night. - - Pallas, with a nobler passion, turns the hero from - his fight. - - Vulcan melts the sundered mountain into girder, - beam and frieze. - - Where the mighty wheel is turning hear the groan - of Hercules. - - Eyes of man, forever reaching where immensity - envails, - - View the ships of God in full career with light upon - their sails. - - Read the tonnage, log, and compass--measure each - magnetic chain - - Fastened to the fiery engine towing in the upper - main. - - Man hath searched the small infernos, narrow as a - needle's eye, - - Rent the veil of littleness 'neath which unnumbered - dragons lie. - - Conquered pain with halted feeling, baned the - falling House of Life, - - As with breeding rats infested, ravening in bloody - strife. - - Change hath shorn the distances from little unto - mighty things-- - - Aye, from man to God, from poor to rich, from - peasants unto kings. - - Justice, keen-eyed, Saxon-hearted, scans the records - of the world, - - Makes the heartless tyrant tremble when her stem - rebuke is hurled. - - Thought-ways, reaching under oceans or above the - mountain height, - - Drain to distant, darkened realms the ceaseless - overflow of light. - - In the shortened ways of travel Charity shall seek - her goal, - - Find the love her burden merits in the commerce - of the soul. - - Right must rule in earth and heaven, though its - coming here be slow; - - Gods must grow in grace and wisdom as the mind - of man doth grow; - - Law and Prophet be forgotten, deities uprise and - fall - - Till one God, one hope, one rule of life be great - enough for all. - - - - -FAITH - - -_Being some words of counsel from an old Yankee to his son Bill when the -latter is about to enter college._ - - - Faith, Bill? You remember how ye used to wake - an' cry, - - An' when I lit a candle how the bugaboos 'u'd fly? - - Well, faith is like a father in the dark of every - night-- - - It tells ye not t' be afraid, an' mebbe strikes a - light. - - Now, don't expect too much o' God, it wouldn't - be quite fair - - If fer anything ye wanted ye could only swap a - prayer; - - I'd pray fer yours, an' you fer mine, an' Deacon - Henry Hospur, - - He wouldn't hev a thing t' do but lay abed an' - prosper. - - If all things come so easy, Bill, they'd hev but little - worth, - - An' some one with a gift o' prayer 'u'd mebbe own - the earth. - - It's the toil ye give t' git a thing--the sweat an' - blood an' care-- - - That makes the kind o' argument that ought to - back yer prayer. - - Fer the record o' yer doin'--I believe the soul is - planned - - With some self-workin' register t' tell jest how ye - stand. - - An' it won't take any cipherin' t' show, that - fearful day, - - If ye've multiplied yer talents well, er thrown 'em - all away. - - When yer feet are on the summit, an' the wide - horizon clears, - - An' ye look back on yer pathway windin' thro' the - vale o' tears; - - When ye see how much ye've trespassed, an' how - fur ye've gone astray, - - Ye'll know the way o' Providence ain't apt t' be - _your_ way. - - God knows as much as can be known, but I don't - think it's true. - - He knows of all the dangers in the path o' me an' - you. - - If I shet my eyes an' hurl a stun that kills--the - King o' Siam, - - The chances are that God 'll be as much surprised - as I am. - - If ye pray with faith _believin'_, why, ye'll certainly - receive, - - But that God 'll break His own good law is more 'n - I'll believe. - - If it grieves Him when a sparrow falls, it's sure as - anything, - - He'd hev turned the arrow, if He could, that broke - the sparrow's wing. - - Ye can read old Nature's history that's writ in rocks - an' stones, - - Ye can see her throbbin' vitals an' her mighty rack - o' bones, - - But the soul o' her--the livin' God, a little child - may know - - No lens er rule o' cipherin' can ever hope t' show. - - There's a part o' God's creation very handy t' yer - view, - - All the truth o' life is in it an' remember, Bill, it's - _you_. - - An' after all yer science ye must look up in yer - mind - - An' learn its own astronomy the star o' peace t' find. - - There's good old Aunt Samanthy Jane that all her - journey long - - Has led her heart to labor with a reveille of song. - - Her folks hev robbed an' left her, but her faith in - goodness grows; - - She hasn't any larnin', but I tell ye, Bill, _she_ knows! - - She's hed her share o' troubles; I remember well - the day - - We took her t' the poor-house--she was singin' all - the way. - - Ye needn't be afraid t' come where stormy Jordan - flows, - - If all the l'arnin' ye can git has taught ye half _she_ - knows. - - There's a many big departments in this ancient - school o' God, - - An' ye keep right on a l'arnin' till ye lay beneath - the sod, - - All the books an' apperaytus, all the wisdom o' - the seers - - Will be jest a preparation fer the study o' the years. - - - - -BALLAD OF THE SABRE CROSS AND 7 - - - A troop of sorrels led by Vic and then a troop of - bays, - - In the backward ranks of the foaming flanks a - double troop of grays; - - The horses are galloping muzzle to tail, and back - of the waving manes - - The troopers sit, their brows all knit, a left hand - on the reins. - - Their hats are gray, and their shirts of blue have - a sabre cross and 7, - - And little they know, when the trumpeters blow, - they'll halt at the gates of heaven. - - Their colors have dipped at the top of a ridge-- - how the long line of cavalry waves!-- - - And over the hills, at a gallop that kills, they are - riding to get to their graves. - - "I heard the scouts jabber all night," said one; - "they peppered my dreams with alarm. - - "That old Ree scout had his medicine out an' - was tryin' to fix up a charm." - - There are miles of tepees just ahead, and the - warriors in hollow and vale - - Lie low in the grass till the troopers pass and then - they creep over the trail. - - The trumpets have sounded--the General shouts! - He pulls up and turns to the rear; - - "We can't go back--they've covered our track-- - we've got t' fight 'em here." - - He rushes a troop to the point of the ridge, where - the valley opens wide, - - And Smith deploys a line of the boys to stop the - coming tide. - - A fire flames up on the skirt of the hills; in every - deep ravine - - The savages yell, like the fiends of hell, behind a - smoky screen. - - "Where's Reno?" said Custer. "Why don't he - charge? It isn't a time to dally!" - - And he waves his hat, this way and that, as he - looks across the valley. - - There's a wild stampede of horses; every man in - the skirmish line - - Stands at his post as a howling host rush up the - steep incline. - - Their rifles answer a deadly fire and they fall with - a fighting frown, - - Till two by two, in a row of blue, the skirmish line - is down. - - A trooper stood over his wounded mate. "No use - o' yer tryin't' fight, - - "Blow out yer brains--you'll suffer hell-pains - when ye go to the torture to-night. - - "We tackled too much; 'twas a desperate game-- - I knowed we never could win it. - - "Custer is dead--they're all of 'em dead an' I - shall be dead in a minute." - - They're all of them down at the top of the ridge; - the sabre cross and 7 - - On many a breast, as it lies at rest, is turned to the - smoky heaven. - - Three wounded men are up and away; they're - running hard for their lives, - - While bloody corses of riders and horses are - quivering under the knives. - - Some troopers watch from a distant hill with hope - that never tires; - - -[Illustration: 0034] - - - There's a reeling dance on the river's edge; its - echoes fill the night; - - In the valley dim its shadows swim on a lengthening - pool of light. - - The scattered troops of Reno look and listen with - bated breath, - - While bugle strains on lonely plains are searching - the valley of death. - - -[Illustration: 0035] - - - "What's that like tumbled grave-stones on the - hilltop there ahead?" - - Said the trooper peering through his glass, "My - God! sir, it's the dead! - - "How white they look! How white they look! - they've killed 'em--every one! - - "An' they're stripped as bare as babies an' they're - rotting in the sun." - - And Custer--back of the tumbled line on a slope - of the ridge we found him; - - And three men deep in a bloody heap, they fell as - they rallied 'round him. - - The plains lay brown, like a halted sea held firm - by the leash of God; - - In the rolling waves we dug their graves and left - them under the sod. - - - - -WHISPERIN' BILL - - - So ye 're runnin' fer Congress, mister? Le 'me tell - ye 'bout my son-- - - Might make you fellers carefuller down there in - Washington-- - - He clings to his rifle an' uniform--folks call him - Whisperin' Bill; - - An' I tell ye the war ain't over yit up here on - Bowman's Hill. - - This dooryard is his battle-field--le's see, he was nigh - sixteen - - When Sumter fell, an' as likely a boy as ever this - world has seen; - - An' what with the news o' battles lost, the speeches - an' all the noise, - - I guess ev'ry farm in the neighborhood lost a part - of its crop o' boys. - - 'T was harvest time when Bill left home; ev'ry stalk - in the fields o' rye - - Seemed to stan' tiptoe to see him off an' wave him - a fond good-bye; - - His sweetheart was here with some other gals--the - sassy little miss! - - An' purtendin' she wanted to whisper 'n his ear, she - give him a rousin' kiss. - - Oh, he was a han'some feller! an' tender an' brave - an' smart, - - An' though he was bigger 'n I was, the boy had a - woman's heart. - - I couldn't control my feelin's, but I tried with all - my might, - - An' his mother an' me stood a-cryin' till Bill was - out o' sight. - - His mother she often tol' him, when she knew he - was goin' away, - - That God would take care o' him, maybe, if he - didn't fergit to pray; - - An' on the bloodiest battle-fields, when bullets - whizzed in the air, - - An' Bill was a-fightin' desperit, he used to whisper - a prayer. - - Oh, his comrades has often tol' me that Bill never - flinched a bit - - When every second a gap in the ranks tol' where - a ball had hit. - - An' one night, when the field was covered with the - awful harvest o' war, - - They found my boy 'mongst the martyrs o' the cause - he was fightin' for. - - His fingers was clutched in the dewy grass--oh, - no, sir, he wasn't dead, - - But he lay kind o' helpless an' crazy with a rifleball - in his head; - - An' he trembled with the battle-fear as he lay there - in the dew; - - An' he whispered as he tried to rise: "God 'll take - care o' you." - - An officer wrote an' toL' us how the boy had been - hurt in the fight, - - But he said the doctors reckoned they could bring - him around all right. - - An' then we heard from a neighbor, disabled at - Malvern Hill, - - That he thought in the course of a week or so he'd - be comin' home with Bill. - - We was that anxious t' see him we'd set up an' - talk o' nights - - Till the break o' day had dimmed the stars an' - put out the Northern Lights; - - We waited an' watched fer a month or more, an' - the summer was nearly past, - - When a letter come one day that said they'd started - fer home at last. - - I'll never fergit the day Bill come--'twas harvest - time again-- - - An' the air blown over the yeller fields was sweet - with the scent o' the grain; - - The dooryard was full o' the neighbors, who had - come to share our joy, - - An' all of us sent up a mighty cheer at the sight o' - that soldier boy. - - An' all of a sudden somebody said: "My God! - don't the boy know his mother?" - - An' Bill stood a-whisperin', fearful like, an' a-starin' - from one to another; - - "Don't be afraid, Bill," says he to himself, as he - stood in his coat o' blue, - - "Why, God 'll take care o' you, Bill, God 'll take - care o' you." - - He seemed to be loadin' an' firin' a gun, an' to act - like a man who hears - - The awful roar o' the battle-field a-soundin' in his - ears; - - Ten thousan' ghosts o' that bloody day was marchin' - through his brain - - An' his feet they kind o' picked their way as if - they felt the slain. - - An' I grabbed his hand, an' says I to Bill, "Don't - ye 'member me? - - I'm yer father--don't ye know me? How frightened - ye seem to be!" - - But the boy kep' a-whisperin' to himself, as if - 'twas all he knew, - - "God'll take o' you, Bill, God'll take care o' - you." - - He's never known us since that day, nor his - sweetheart, an' never will; - - Father an' mother an' sweetheart are all the same - to Bill. - - An' he groans like a wounded soldier, sometimes - the whole night through, - - An' we smooth his head, an' say: "Yes, Bill, - He 'll surely take care o' you." - - Ye can stop a war in a minute, but when can ye - stop the groans? - - Fer ye've broke our hearts an' sapped our blood - an' plucked away our bones. - - An' ye've filled our souls with bitterness that goes - from sire to son, - - So ye best be kind o' careful down there in Washington. - - - - -THE RED DEW - - -_Being some small account of the war experience of an East River pilot, -whose boat was the Susquehanna, familiarily known as the Susq, and who -lost his leg and more at Gettysburg._ - - - At de break o' day I goes t' bed, an' I goes to work - at dusk, - - Fer ev'ry night dat a boat can run I takes de wheel - o' de Susq. - - De nights is long in de pilot-house? Well, now - d'ye hear me speakin'? - - No night is long since de one I spent wid me sta'b'ard - side a-leakin'. - - I'd gone t' de war an' was all stove in, an' I seen - how a little white hand - - Can take holt of a great big chump like me an' - make him drop his sand. - - An' her face! De face o' de Holy Mary warn't - any sweeter 'n hern! - - If ye like I'll set de wheel o' me mind an' let 'er - drift astern. - - We'd fit all day till de sun was low an' I t'ought de - war was fun, - - Till a big ball skun de side o' me face an' smashed - de end o' me gun. - - Den anodder one kicked me foot off--see? an' - I tell ye it done it cunnin', - - An' I trun meself in de grass, kerplunk, but me - mind kep' on a-runnin'. - - Next I knowed I was feelin' o' somebody's face, - an' I seen de poor devil was cryin', - - An' he tumbled all over me tryin't' r'ise, an' he - cussed an' kep' turnin' an' tryin'; - - "Good Gawd!" sez I, "what's de matter wid you? - Shut up yer face an' hark," - - An' s' help me, de odder man's face was mine an' - I was alone in de dark. - - When I lay wid me back ag'in de world I seen how - little I was - - An' I knowed, fer de firs' time in me life, how deep - an' broad de sky was; - - An' me mind kep' a-wanderin' off 'n de night, till - it stopped where de Bowery ends, - - An' come back a-sighin' an' says t' me dat it couldn't - find no friends. - - Den I fumbled me breat' till I cert'inly t'ought - I never could ketch it ag'in. - - If I'd bin a-bawlin' t' git a prize ye bet cher life - I'd 'a' win. - - If ye're dyin' an' ain't no home in de world an' - yer fr'ends is all on de shelf, - - An' dere's nobody else t' bawl fer ye--ye're goin' - t' bawl fer yerself. - - De sun peeped over de hills at last, an' as soon as - I seen his rim - - De dew in de valley was all afire wid a sort o' a - ruby glim. - - De blue coats lay in de tumbled grass--some - stirrin' but most o' 'em dead-- - - 'Pon me word, de poor devils had bled so much, - de dew in de valley were red! - - An' what d'ye t'ink? de nex' t'ing I knowed, a - lady had holt o' me hand, - - An' smoothed de frills all out o' me face an' brushed - off de dew an' de sand. - - No lady had ever mammied me an' I were scairt - so I dassent say boo, - - I warn't in no shape t' help meself an' I didn't - know what she'd do. - - An' me heart was a-t'umpin' ag'in me ribs, an' me - lettin' on I was dead! - - Till she put down her cheek so close to me mug - dat I had t' move me head. - - An' she lifted me head wid her sof' white hands - an' I don't know all she done; - - I was blubberin' so dat I couldn't see, but I knowed - I were havin' fun. - - I lay wid me head 'n de lady's lap while de doctors - cut an' sawed, - - An' dey hurted me so dat me eyes was sot, but I - never cussed er jawed. - - An' she patted me cheek an' spoke so sof' dat I - didn't move a peg, - - An' I t'ought if dey'd let me lay dere awhile dey - could saw off de odder leg. - - Fer de loss o' me leg, t'ree times a year, I gets me - little wad, - - But dere ain't any pension fer losin' yer heart - unless it comes from Gawd. - - If anythin' busts ye there, me boy, I t'ink ye'll be - apt t' find - - Ye'll either drop out o' de game o' life, er else go - lame in yer mind. - - I never c'u'd know de reason why, till de lady - helt me head, - - Dat a man 'll go broke fer de woman he loves er - mebbe fight till he's dead. - - When I t'inks dat I never had no friends an' what - am I livin' fer? - - I fergits dat I'm holdin' de wheel o' de Susq, an' - I sets an' t'inks o' her. - - An' I t'inks how gentle she spoke t' me, an' I t'inks - o' her sof', white hand, - - An' de feel o' her fingers on me face when she - brushed off de dew an' de sand. - - An' I set a-t'inkin' an' turnin' me wheel, sometimes - de whole night t'rough, - - An' de good Gawd knows I'd a giv' me life, if she'd - only 'a' loved me too. - - - - -THE BABY CORPS - - -_Being some account of the little cadets of the Virginia Military -Institute, who stood the examination of war at New Market, Va. May 15, -1864, in the front line of the Confederate forces, where more than three -hundred answered to their names and all were perfect._ - - - We were only a lot of little boys--they called us a - baby corps-- - - At the Institute in Lexington in the winter - of '64; - - And the New Year brought to the stricken South - no end of the war in sight, - - But we thought we could whip the North in a week - if they'd only let us fight. - - One night when the boys were all abed we heard - the long roll beat, - - And quickly the walls of the building shook with - the tread of hurrying feet; - - And when the battalion stood in line we heard the - welcome warning: - - "Breckinridge needs the help o' the corps; be - ready to march in the morning." - - And many a boastful tale was told, through the - lingering hours of night, - - And the teller fenced with airy foes and showed - how heroes fight. - - And notes of love were written with many a fevered - sigh, - - That breathed the solemn sacrifice of those about - to die. - - Some sat in nature's uniform patching their suits - of gray, - - And some stood squinting across their guns in a - darkly suggestive way. - - The battalion was off on the Staunton pike as soon - as the sun had risen, - - And we turned and cheered for the Institute, but - yesterday a prison. - - At Staunton the soldiers chaffed us, and the girls - of the city schools - - Giggled and flirted around the corps till we felt like - a lot of fools; - - They threw us kisses and tiny drums and a volley - of baby rattles, - - 'Til we thought that the fire of ridicule was worse - than the fire of battles. - - We made our escape in the early dawn, and, camping - the second night, - - Were well on our way to the seat of war, with - Harrisonburg in sight; - - And the troopers who met us, riding fast from the - thick of the army hives, - - Said: "Sigel has come with an awful force, and - ye'll have to fight fer yer lives." - - But we wanted to fight, and the peril of war never - weakened our young desires, - - And the third day out we camped at dusk in sight - of the picket fires; - - Our thoughts, wing-weary with homeward flight, - went astray in the gloomy skies, - - And our hearts were beating a reveille whenever - we closed our eyes. - - "Hark! what's that? The sentry call?" (A - galloping horseman comes.) - - "Hey, boys! Get up! There's something wrong! - Don't ye hear 'em a-thumpin' the drums?" - - Said the captain, who sat in the light of the fire - tying his muddy shoes: - - "We must toe the line of the Yankees soon, an' - we haven't much time to lose. - - "Hats off!" And we all stood silent while the - captain raised his hand - - And prayed, imploring the God of war to favor - his little band. - - His voice went out in a whisper at last, and then - without further remark - - He bade the battalion form in fours, and led us - away in the dark. - - We lamed our legs on the heavy road and a long - rain cooled our blood - - And every time we raised a foot we could hear the - suck of the mud. - - At noon we came--a weary lot--to the top of a - big clay hill, - - And below were miles of infantry--the whole bunch - standing still. - - The league-long hills are striped with blue, the - valley is lined with gray, - - And between the armies of North and South are - blossoming fields of May. - - There's a mighty cheer in the Southern host as, - led by the fife and drum, - - To the front of the lines with a fearless tread our - baby cadets have come. - - "Forward!" The air is quaking now; a shrill- - voiced, angry yell - - Answers the roar of the musketry and the scream - of the rifled shell. - - The gray ranks rushing, horse and foot, at the - flaming wall of blue - - Break a hole in its centre, and some one shouts: - "See the little cadets go through!" - - A shell shoots out of its hood of smoke, and slows - mid-air and leaps - - At our corps that is crossing a field of wheat, and - we stagger and fall in heaps; - - We close the ranks, and they break again, when a - dozen more fall dying; - - And some too hurt to use their guns stand up with - the others trying. - - "Lie down an' give 'em a volley, boys--quick there, - every one! - - "Lie down, you little devils!--Down! It's better - to die than run." - - And huddling under the tender wheat, the living lay - down with the dead, - - And you couldn't have lifted your finger then - without touching a piece of lead. - - "Look up in the sky and see the shells go over - a-whiskin' their tails"; - - "Better not lift yer hand too high or the bullets - 'll trim yer nails." - - Said the captain, "Forward, you who can!" In a - jiffy I'm off on my feet - - An' up to their muzzles a-clubbin' my gun, an' - the Yanks have begun a retreat. - - Said a wounded boy, peering over the grain, - "Hurrah! See our banner a-flyin'! - - "Wish I was there, but I can't get up--I wonder - if _I'm_ a-dyin'? - - "O Jim! did you ever hear of a man that lived - that was hit in the head? - - "Say, Jim! did you ever hear of a man that - lived-- My God! Jim's dead!" - - A mist, like a web that is heavy with prey, is caught - in the green o' the fields; - - It breaks and is parted as if a soul were struggling - where it yields; - - The twilight deepens and hushes all, save the beat - beating of distant drums, - - And over the shuddering deep of the air a wave of - silence comes. - - By lantern light we found the boys where under the - wheat they lay - - As if sleep--soft-fingered, compelling sleep!--had - come in the midst of play. - - The captain said of the bloody charge and the - soldiers who fought so well: - - "The army had to follow the boys if they entered - the flames o' hell." - - - - -PICTURE, SOUND AND SONG - - - The battle roar is ended and the twilight falls - again, - - The bugles have blown, the hosts have flown save - they in the dusky grain. - - And lo! the shaking barley tells where the wounded - writhe and roll; - - With a panting breath at the pass of death the body - fights for the soul. - - Some rise to retreat and they die on their feet in - this terrible fight for the soul. - - And horses urged by the spur of Death are galloping - over the grain; - - Their hoofs are red, their riders are dead, and - loose are the stirrup and rein. - - A ghost in the saddle is riding them down, the - spurs of Pain at his heels; - - They are cut to the bone, they rush and they groan, - as a wake in the barley reels: - - And faces rise with haggard eyes where the wake - in the barley reels. - - The blue and the gray lie face to face and their - fingers harrow the loam, - - There's a sob and a prayer in the smoky air as - their winged thoughts fly home. - - The Devil of war has dimmed the sky with the - breath of his iron lungs, - - And he gluts his ear on the note of fear in the cry - of the fevered tongues; - - Like the toll of a bell at the gate of hell is the wail - of the fevered tongues. - - One rising, walked from the bullet shock, seems to - reel 'neath the weight of his head, - - He feels for his gun and starts to run and falls in a - hollow--dead. - - The wagons are coming and over each the light of - a lantern swings, - - And a holy thought to the soul is brought, as the - voice of a driver sings; - - And the cry of pain in the trampled grain is hushed - as the driver sings: - - My country, 'tis of thee, - - Sweet land of liberty, - - Of thee I sing. - - - - -THE VEN'SON-TREE - - - The busy cranes go back an' forth, a-ploughin' up - the sky, - - The wild goose drag comes down the wind an' - goes a-roarin' by; - - The song-birds sow their music in the blue fields - over me - - An' it seems to grow up into thoughts about the - ven'son-tree. - - The apple-blossoms scatter down--a scented summer - snow, - - An' man an' wind an' cloud an' sun have all begun - to sow. - - The green hopes come a-sproutin' up somewhere - inside o' me, - - An' it's time we ought to see the sprouts upon the - ven'son-tree. - - The velvet leaves the willow an' adorns the ven'son - bough, - - There's new silk in the tree-top an' the coat o' horse - an' cow. - - The woods are trimmed fer weddin's, an' are all - in Sunday clo's, - - An' the bark upon the ven'son-tree is redder than - a rose. - - The days are still an' smoky, an' the nights are - growin' cold, - - The maples are a-drippin' blood, the beeches - drippin' gold; - - The briers are above my head, the brakes above - my knee, - - An' the bark is gettin' kind o' blue upon the ven'son- - tree. - - What makes the big trees shake an' groan as if - they all had sinned? - - 'Tis God A'mighty's reaper with the horses o' the - wind. - - He will hitch with chains o' lightnin', He will urge - with thunder call, - - He will try the rotten-hearted till they reel an' - break an' fall. - - The leaves are driftin' in the breeze, an' gathered - where they lie - - Are the colors o' the sunset an' the smell o' the - windy sky; - - The squirrels whisk, with loaded mouths, an' stop - an' say to me: - - "It's time to gether in the fruit upon the ven'son- - tree." - - "What makes ye look so anxious an' what makes - ye speak so low?" - - "It's 'cause I'm thinkin' of a place where I'm - a-goin' to go. - - "This here I've, been a-tinkerin' which lays acrost - my knee - - "Is the axe that I'm a-usin' fer to fell the ven'son- - tree." - - I've polished up the iron an' I've covered it with ile, - Its bit is only half an inch, its helve is half a - mile. - - (The singer blows an imitation of the startled deer) - "Whew! what's that so pesky--why, it kind o' - frightened me?" - - "It's the wind a blowin' through the top o' the - cute ol' ven'son-tree." - - - - -HIM AN' ME - - -_Being a story of the Adirondacks told by me in the words of him who had -borne with buck-fever and bad marksmanship until, having been long out -of meat and patiencey he put his confidence in me and we sallied forth._ - - - We'd greased our tongues with bacon 'til they'd - shy at food an' fork - - An' the trails o' thought were slippery an' slopin' - towards New York; - - An' our gizzards shook an' trembled an' were most - uncommon hot - - An' the oaths were slippin' easy from the tongue - o' Philo Scott. - - Then skyward rose a flapjack an' a hefty oath he - swore - - An' he spoke of all his sufferin' which he couldn't - stan' no more; - - An' the flapjack got to jumpin' like a rabbit on - the run - - As he give his compliments to them who couldn't - p'int a gun. - - He told how deer would let 'em come an' stan' an' - rest an' shoot - - An' how bold an' how insultin' they would eye the - tenderfoot; - - How he--Fide Scott--was hankerin' fer suthin' - fit to eat - - "------!" says he. "Le's you an' me go out an' - - find some meat." - - We paddled off a-whisperin' beneath the long birch - limbs - - An' we snooked along as silent as a sucker when - he swims; - - I could hear him slow his paddle as eroun' the - turns he bore; - - I could hear his neck a-creakin' while his eye run - up the shore. - - An' soon we come acrost a buck as big an' bold - as sin - - An' Philo took t' swallerin' to keep his - feelin's in; - - An' every time he swallered, as he slowly swung - eroun', - - I could hear his Adam's apple go a-squeakin' up - an' down. - - He sot an' worked his paddle jest as skilful as he - could - - An' we went on slow an' careless, like a chunk o' - floatin' wood: - - An' I kind o' shook an' shivered an' the pesky ol' - canoe - - It seemed to feel as I did, for it shook an' shivered - too. - - I sot there, full o' deviltry, a-p'intin' with the - gun, - - An' we come up clost and closter, but the deer he - didn't run; - - An' Philo shet his teeth so hard he split his brier- - root - - As he held his breath a-waitin' an' expectin' me to - shoot. - - I could kind o' feel him hanker, I could kind o' - hear him think, - - An' we'd come so nigh the animal we didn't dast - to wink, - - But I kep' on a-p'intin' of the rifle at the deer - - Jest as if I was expectin' fer to stick it in his - ear. - - An' Philo tetched the gunnel soft an' shook it with - his knee; - - I kind o' felt him nudgin' an' a-wishin' he was me, - - But I kep' on a-p'intin', with a foolish kind o' grin, - - Enjoyin' all the wickedness that he was holdin' in. - - An' of a sudden I could feel a tremble in his feet; - - I knew that he was gettin' mad an' fillin' up with - heat. - - His breath come fast an' faster, but he couldn't - say a damn-- - - He'd the feelin's of a panther an' the quiet of a - lamb. - - An' his foot come creepin' for'ards an' he tetched - me with his boot - - An' he whispered low an' anxious, an says he: - "Why don't ye shoot?'' - - An' the buck he see the time had come fer him an' - us to part - - An' away he ran as Philo pulled the trigger of his - heart. - - He had panthers in his bosom, he had horns upon - his mind; - - An' the panthers spit an' rassied an' their fur riz - up behind; - - An' he gored me with his languidge an' he clawed - me with his eye - - 'Til I wisht that, when I done him dirt, I hadn't - been so nigh. - - He scairt the fish beneath us an' the birds upon the - shore - - An' he spoke of all his sufferin' which he couldn't - stan' no more; - - Then he sot an' thought an' muttered as he pushed - a mile er so - - Like a man that's lost an' weary on the mountain - of his woe. - - An' he eyed me over cur'ous an' with pity on his - face - - An' he seemed to be a sortin' words to make 'em - fit the case. - - "Of all the harmless critters that I ever met," says - he, - - "There ain't not none more harmlesser--my God!-- - than what you be." - - An' he added, kind o' sorrowful, an' hove a mighty - sigh: - - "I'd be 'shamed t' meet another deer an' look him - in the eye. - - God knows a man that p'ints so never orter hev no - grub, - - What game are you expectin' fer t' slaughter with - a club?" - - An' I answered with a riddle: "It has head an' - eyes an' feet - - An' is black an' white an' harmless, but a fearful - thing to meet; - - It's a long an' pesky animal as any in the county; - - Can't ye guess?--I've ketched a pome an' I'll give - ye half the bounty." - - - - -A VOICE OF THE FIELDS - - - The red was on the clover an' the blue was in the - sky; - - There was music in the meadow, there was dancing - in the rye, - - An' I heard her call the scattered flock in pastures - far away - - An' the echo in the wooded hills: "Co' day! Co' - day! Co' day!" - - O fair was she--my lady love--an' lithe as the - willow-tree, - - An' like a miser's money are her parting words - t' me. - - O the years are long an' lonesome since my sweet- - heart went away! - - An' I think o' her as I call the flocks: "Co' day! - Co' day! Co' day!" - - Her cheeks have stole the clover's red, her lips the - odored air, - - An' the glow o' the morning sunlight she took away - in her hair; - - Her voice had the meadow music, her form an' - her laughing eye - - Have taken the blue o' the heavens an' the grace - o' the bending rye. - - My love has robbed the summer day--the field, - the sky, the dell, - - She has carried their treasurers with her, she has - taken my heart as well; - - An' if ever, in the further fields, her feet should - go astray - - May she hear the good God calling her: "Co' day! - Co' day! Co' day!" - - - - -THE WEAVER'S DYE - - - There's many a hue an' some I knew in the skeins - of a weaver old-- - - Ah, there is the white o' the lily hand an' the glow - o' the silky gold! - - An' the crimson missed in the lips we kissed an' - the blue o' the maiden's eye; - - O, look at the wonderful web of life, an' look at - the weaver's dye! - - - - -THE SLUMBER SHIP - -A LULLABY - - - Jack Tot is as big as a baby's thumb, - - And his dinner is only a drop and a crumb - And a wee little sailor is he. - - Heigh ho! - - A very fine sailor is he. - - He made his boat of a walnut shell; - - He sails her at night, and he steers her well - With the wing of a bumblebee. - - Heigh ho! - - The wing of a bumblebee. - - She is rigged with the hair of a lady's curl, - - And her lantern is made of a gleaming pearl, - - And it never goes out in a gale. - - Heigh ho! - - It never goes out in a gale. - - Her mast is made of a very long thorn; - - She's a bell for the fog, and a cricket's horn, - - And a spider spun her sail. - - Heigh ho! - - A spider he spun her sail. - - She carries a cargo of baby souls, - - And she crosses the terrible Nightmare Shoals, - - On her way to the Isles of Rest. - - Heigh ho! - - The beautiful Isles of Rest. - - The Slumber Sea is the sea she sails, - - While the skipper is telling incredible tales - With many a merry jest. - - Ho! ho! - - He's fond of a merry jest. - - When the little folks yawn they're ready to go, - - And the skipper is lifting his sail--he ho! - - In the swell how the little folks nod! - - Ha! ha! - - Just see how the little folks nod! - - He fluttered his wing as they ast him to sing an' - he tried fer t' clear out his throat; - - He hemmed an' he hawed an' he hawked an' he - cawed - - But he couldn' deliver a note. - - The swallow was there an' he ushered each pair - in his linsey an' claw-hammer coat. - - The bobolink tried fer t' flirt with the bride, in a - way that was sassy an' bold, - - An' the notes that he took as he shivered an' - shook - - Had a sound like the jingle o' gold. - - He sat on a brier an' laughed at the choir an' told - 'em the music was old. - - The sexton he came--Mr. Spider by name--a - citizen hairy an' gray. - - His rope in a steeple, he called the good people - - That live in the land o' the hay. - - The ants an' the squgs an' the crickets an' bugs - came out in a mighty array. - - A number came down from ole Barleytown an' the - neighborin' city o' Rye. - - An' the little black people each climbed up a steeple, - An' sat lookin' up at the sky; - - They came fer t' see what a weddin' might be an' - they furnished the cake an' the pie. - - - - -OLD HOME, GOOD-BYE! - - - The day is passing; I have tarried long; - - My way leads far through paths I fear to try; - - But as I go I'll cheer my heart with song-- - - Old home, good-bye! - - In hallowed scenes what feet have trod thy stage! - - The babe, the maiden leaving home to wed; - - The young man going forth by duty led - - And faltering age. - - And some, returning from far distant lands, - - Fainting and sick their ways to thee have wended - - To feel the sweet ministry of loving hands, - - Their journeys ended. - - Thou hadst a soul--thy goodly prop' and stay - - That kept the log, the compass and the chart, - - And showed the way for many a trusting heart-- - - The long, long way! - - O humble home! thou hadst a secret door - - Through which I looked, betimes, with wondering - eye - - On splendors that no palace ever wore - - In days gone by. - - From narrow walls thy lamp gave glad release - - And shone afar on distant lands and powers; - - A sweet voice sang of love and heavenly peace - - And made them ours. - - Thou hadst a magic window, broad and high-- - - The light and glory of the morning shone - - Through it, however dark the day had grown - - Or bleak the sky. - - Its panes, like mighty lenses, brought to view - - A fairer home; I saw in depths above - - The timber of the old home in the new-- - - The oak of love. - - - - -THE RUSTIC DANCE - - - To Jones's tavern, near the ancient woods, - - Drive young and old from distant neighborhoods. - - Here comes old Crocket with his great bass horn-- - - Its tone less fit for melody than scorn. - - Down through its wrinkled tubes, from first to last, - - A century's caravan of song has passed. - - The boys and girls, their mirthful sports begun, - - With noisy kisses punctuate the fun. - - Some youths look on, too bashful to assist - - And bear the sweet disgrace of being kissed. - - The fiddler comes--his heart a merry store, - - And shouts of welcome greet him at the door. - - Unlettered man--how rude the jest he flings! - - But mark his power to wake the tuneful strings! - - The old folks smile and tell how, long ago, - - Their feet obeyed the swaying of his bow; - - And how the God-sent magic of his art - - To thoughts of love inclined the youthful heart, - - And shook the bonds of care from aged men - - Who 'neath the spell returned to youth again. - - He taps the fiddle-back as 'twere a drum; - - The raw recruits in Cupid's army come; - - And heeding not the praise his playing wins, - - The ebullition of his soul begins. - - The zeal of Crocket turned to scornful sound, - - Pursues the measure like a baying hound. - - The fiddle's notes pour forth like showers of rain, - - The dancers sway like wind-swept fields of grain, - - And midst the storm, to maddening fury stirred, - - The thunder of the old bass horn is heard. - - Beside the glowing fire, with smiles serene, - - An aged couple sit and view the scene. - - Grandfather's ears the reveille have caught, - - And thronging memories fill the camps of thought. - - His heels strike on the floor, with measured beat, - - As if to ease a tickling in his feet. - - Year after year, for love of kith and kin. - - Grandmother's hands have had to toil and spin; - - But since the palsy all their cunning stole - - Her mind is spinning raiment for the soul, - - Of spotless white and beauty fit to wear, - - When comes the Bridegroom and the end of care. - - So goes the dance until the night is gone - - And chanticleer proclaims the breaking dawn. - - The waning stars show pale to wearied eyes - - And seem to dance cotillions in the skies; - - As if, forsooth, upon the journey home - - Terpsichore's music filled the starry dome. - - Blest be the dance! with noisy pleasure rife - - Enough to temper all the woe in life; - - What magic power its capering measures hold - - To keep the hearts of men from growing old! - - Stem Father Time, rejoicing in the scene, - - Forbears to reap while yet the fields are green. - - - - -TO A DEAD CLASSMATE - - - He started on the left road and I went on the - right, - - We were young and strong and the way was long - and we travelled day an' night; - - And O the haste and O the waste! and the rush - of the busy throng! - - The worried eye, and the quick good-bye, and - the need to hurry along! - - Odd times we met on the main highway and told - our hopes and fears, - - And after every parting came a wider flood of - years. - - I love to tell of the last farewell, and this is the way - it ran: - - "I don't know when I'll see you again--take care - of yourself, ol' man." - - Put the Beta pin upon his breast, with rosemary - and rue, - - The cap and gown, the scarlet and brown and the - symbol of '82, - - And lay him low with a simple word as the loving - eye grows dim: - - "He took care of more than his share--O Christ! - take care of him." - - The snow is falling on the head and aye the heart - grows cold; - - The new friend comes to claim a share of that we - gave the old, - - And men forget while the eye is wet and bend to - the lug of the load, - - And whether or when they will meet you again is - ever a chance of the road. - - The babes are boys, the boys are men, and slowly, - year by year, - - New faces throng the storied halls and old ones - disappear. - - As the hair is grayed and the red lips fade let - friend be friend, for aye - - We come and go and ere we know have spoken - a long good-bye. - - - -TO MY FRIEND A. B. - - - The veil of care is lifted from his face! - - How smooth the brow where toil had left its trace! - - How confident the look, how calm the eyes - - Once keen with life and restless enterprise! - - And gone the lines that marked the spirit's haste - - To do its work, nor any moment waste. - - Imperial peace and beauty crown his head, - - God's superscription writ upon the dead. - - Behold, herein, his dream, his inmost thought - - As if in time-washed Parian marble wrought. - - Truly he read the law we must obey: - - Man moulds the image and God gives the clay, - - And if it's cast of God or Cæsar is - - To each all render what is rightly his. - - Thousands at noontide are climbing the hills under - Nain, like an army - - Fleeing the carnage of war, seeking where it may - rest and take counsel; - - Some with the blind or the palsied, some bearing - the sick on their shoulders, - - Lagging but laboring hard, so they be not too far - from the Prophet; - - Some bringing only a burden of deep and inveterate - longing. - - Hard by the gate of the city their Captain halts - and is waiting. - - Closer the multitude presses and widens afar on - the hillside; - - Thronged are the ways to the city with eager and - hastening comers. - - Heard ye? A man was delivered from death by - his power, and the story - - Crosses the murmuring host like a wave passing - over the waters, - - How at the touch of his finger this day, the dead - rose and was living. - - Hushed are the people; the Prophet is speaking; - his hand is uplifted-- - - Lo! the frail hand that ere long was to stop the mad - rush of the tempest. - - Quickly their voices are hushed, and the fear of - Jehovah is on them. - - Jesus stood high on a hillock. His face, so divinely - impassioned, - - Shone with the light that of old had illumined the - dreams of the prophets. - - Gently he spake, like a shepherd who calleth his - flock to green pastures. - - Hiding her face and apart from the people, a woman - stood weeping, - - Daughter of woe! on a rosary strung with her - tears ever counting - - Treasures her heart had surrendered and writ on - her brow was the record. - - Hope and the love of her kindred and peace and - all pleasure had left her - - Chained to the pillar of life like a captive, and - Shame was her keeper. - - Long spake the Prophet, and scarcely had finished - when came the afflicted, - - Loudly entreating: "Make way for the blind!" and - the people were parted, - - Silent with pity, and many were suffered to pass; - but the woman - - Felt no miraculous touch, for the press kept her - back and rebuked her. - - "Why comest thou to the Prophet?" they said. - "Get thee hence and be silent; - - "He hath no mercy for thee or thy kind"; and - the woman stood weeping. - - Now when the even was come over Nain, and the - bridge of the twilight, - - Silently floating aloft on the deepening flood of the - shadows, - - Rested its timbers of gold on the summits of Tabor - and Hermon, - - Jesus came, weary, to sup at the house of one - Simon, a Pharisee, - - Dwelling at Nain. Far behind him the woman - came, following slowly; - - Entered the gate in the dusk, and when all were - reclining at supper, - - Stood by the Prophet, afraid, like a soul that has - come to its judgment, - - Weeping, her head bowing low, her hair hanging - loose on her shoulders. - - Then there was silence, and Jesus was moved, so - he spake to the woman: - - "Daughter, what grieves thee so sore?" and she - spake not, but dumb with her weeping - - Sank at his feet; and her tears fell upon them like - rain, and she kissed them. - - Simon, amazed when the Prophet forbade not the - woman to touch him, - - Rose to rebuke her; but seeing His face, how it - shone with compassion, - - Waited; and Jesus then spake: "I have somewhat - to say to thee, Simon. - - "A man had two debtors of pence, and the one - owed five hundred, - - "The other owed fifty; and when they had nothing - to pay he forgave them - - "All that they owed; wherefore which of the two - will most love him?" - - Simon said, thoughtfully: "He, I suppose, to whom - most was forgiven." - - Jesus made answer: "Thou judgest well. Consider - this woman. - - "Weary with travel and sore were my feet, but - thou gavest no water; - - "She, to wash them, hath given the tears of her - love and her sorrow, - - "Wiping them dry with her hair; and hath kissed - them and bathed them with ointment. - - "Wherefore, O woman, weep not! I forgive thee - thy sins which are many. - - "Go thou in peace." - - And those who were with Him at meat were astonished. - - "Lo! she spoke not, she asked not and yet He forgave - her," they whispered. - - * * * * - - Dear to my God are the rills that flow from the - mountains of sorrow - - Over the faces of men and in them is a rainbow of - promise. - - Strong is the prayer of the rills that oft bathed the - feet of The Master. - - -THE END - - - - - - -End of the Project Gutenberg EBook of In Various Moods, by Irving Bacheller - -*** END OF THIS PROJECT GUTENBERG EBOOK IN VARIOUS MOODS *** - -***** This file should be named 52457-8.txt or 52457-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/2/4/5/52457/ - -Produced by David Widger from page images generously -provided by the Internet Archive - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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 in the United States with eBooks -not protected by U.S. copyright law. 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 -www.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 unprotected by copyright law 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 in the United States and - most other parts of the world 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. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (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 The -Project Gutenberg Trademark LLC, 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 -works not protected by U.S. copyright law 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 information page at -www.gutenberg.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. 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 in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, 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 contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -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 www.gutenberg.org/donate - -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: www.gutenberg.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 forty 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 not protected by copyright 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: 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. - |