The Project Gutenberg EBook of Verses of a V.A.D., by Vera Mary Brittain

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: Verses of a V.A.D.

Author: Vera Mary Brittain

Release Date: May 1, 2016 [EBook #51907]

Language: English

Character set encoding: UTF-8

*** START OF THIS PROJECT GUTENBERG EBOOK VERSES OF A V.A.D. ***




Produced by MWS, Chuck Greif and the Online Distributed
Proofreading Team at http://www.pgdp.net (This file was
produced from images generously made available by The
Internet Archive/American Libraries.)

VERSES OF A V.A.D.

{4}

{5}

VERSES OF A V.A.D

BY
VERA   M.   BRITTAIN
(V.A.D. London/268, B.R.C.S.)


Foreword by MARIE CONNOR LEIGHTON


ERSKINE MACDONALD, LTD.
LONDON, W.C.1
{6}
All Rights Reserved
First published August 1918

{7} 

DEDICATED

TO THE MEMORY OF

ROLAND   AUBREY   LEIGHTON

Lieutenant, Worcestershire Regiment

DIED OF WOUNDS NEAR HÉBUTERNE

December 23rd, 1915

“Good-bye, sweet friend. What matters it that you
 Have found Love’s death in joy, and I in sorrow?
 For hand in hand, just as we used to do,
 We two shall live our passionate poem through
 On God’s serene to-morrow.”
 R. A. L.

{8} 

{9}

FOREWORD

These poems, by a writer for whom I have literary hopes, belong very clearly to that new and vigorous type of poetry which has sprung from the stress of the last few years and has its root in things done and suffered rather than in things merely imagined.

Until lately our very belief in the saying that the poet is born and not made proved that we had completely accepted poetry as coming only from within, spun, as it were, out of our inner consciousness, and either quite unhelped, or else only partially helped, by active experiences from without. We have always understood, of course, that such an experience as, for instance, the sudden flashing upon us of a magnetic face as a stranger passes in the street might set aglow a train of thought that would quicken and melt into feeling, and the feeling would, in turn, need—and find—expression in poetry.{10}

So far as this we have admitted that outward occurrences in the course of our quickly flying days can become a source of poetical inspiration. But, in spite of the pointing finger of Kipling, most of us clung desperately to the verse that had its sole origin in imaginative emotion until the blaze of war in the world illumined our souls and showed all of us that out of our simplest practical work can be struck sparks of real and great and rare divine fire.

All the poems in this little book are the outcome of things very deeply felt. It is very difficult for me to write of them because where there is pain uttered in them, it has almost always been my pain as well as the author’s. One or two of the sonnets condense the expression of losses that have meant a life’s upheaval. One or two, again, are practically a concrete record of simple human things observed and suffered and of duty strenuously done. Here there is no leisured dreaming, but sheer experience, solid and stored up, like the honey that a bee’s labour has stored.

But this practical quality, while it has so much that makes it rich and valuable, has also the one conspicuous disadvantage that the{11} work is often done under conditions of strain and turmoil that tell against perfection of method. Some of these Verses of a V.A.D. were written in almost breathless intervals of severe and devoted duty. The poem entitled “The German Ward” is especially an example of this. In such circumstances, it is difficult to achieve any literary ornamentation and least of all that particular kind of simpleness which is the highest form of finished art. In the case of several of the poems, both these qualities have been achieved; yet, because of the difficulties, I make an appeal for considerateness and tender sympathy in judging these first shy flowers of the heart and mind of a young girl who has worked unceasingly and self-forgettingly for the good of others since the days of stress began, and who in her personal destiny has suffered as, I hope, very few have suffered.

Marie Connor Leighton.

{12} 

{13}

CONTENTS

 PAGE
August 191415
St. Pancras Station, August 191516
To a Fallen Idol17
To Monseigneur18
The Only Son19
Perhaps——20
A Military Hospital21
Looking Westward22
Then and Now24
May Morning25
The Two Travellers27
Roundel28
The Sisters buried at Lemnos{14}29
In Memoriam: G.R.Y.T.31
A Parting Word32
To My Brother33
Sic Transit——34
To Them35
Oxford revisited36
That which Remaineth37
The German Ward38
The Troop-train40
To my Ward-sister41
To another Sister42
“Vengeance is Mine”43
War44
The Last Post45
The Aspirant46

Acknowledgments are due to the Editor of The Oxford Magazine, in which “May Morning” and “The Sisters buried at Lemnos” were first published.{15}

AUGUST 1914

God said, “Men have forgotten Me;
 The souls that sleep shall wake again,
 And blinded eyes must learn to see.”
So since redemption comes through pain
 He smote the earth with chastening rod,
 And brought Destruction’s lurid reign;
But where His desolation trod
 The people in their agony
 Despairing cried, “There is no God.”
Somerville College,
 Oxford.
 {16}

ST. PANCRAS STATION, AUGUST 1915

One long, sweet kiss pressed close upon my lips,
 One moment’s rest on your swift-beating heart,
 And all was over, for the hour had come
 For us to part.
A sudden forward motion of the train,
 The world grown dark although the sun still shone,
 One last blurred look through aching tear-dimmed eyes—
 And you were gone.
 {17}

TO A FALLEN IDOL

O you who sought to rend the stars from Heaven
 But rent instead your too-ambitious heart,
 Know that with those to whom Love’s joy is given
 You have not, nor can ever have, a part.
A nation’s loyalty might have been your glory,
 And men have blessed your name from shore to shore,
 But you have set the seal upon your story,
 And must go hence, alone for evermore.
 {18}

TO MONSEIGNEUR

(R.A.L., Lieutenant, Worcesters)

None shall dispute Your kingship, nor declare
 Another could have held the place You hold,
 For though he brought me finer gifts than gold,
 And laid before my feet his heart made bare
 Of all but love for me, and sighed despair
 If I but feigned my favours to withhold,
 And would repudiate as sadly cold
 The proud and lofty manner that You wear,
He would not be my pure and stainless knight
 Of heart without reproach or hint of fear,
 Who walks unscathed amid War’s sordid ways
 By base desire or bloodshed’s grim delight,
 But ever holds his hero’s honour dear—
 Roland of Roncesvalles in modern days.
1st London General Hospital,
 November 1915.
 {19}

THE ONLY SON

The storm beats loud, and you are far away,
 The night is wild,
 On distant fields of battle breaks the day,
 My little child?
I sought to shield you from the least of ills
 In bygone years,
 I soothed with dreams of manhood’s far-off hills
 Your baby fears,
But could not save you from the shock of strife;
 With radiant eyes
 You seized the sword and in the path of Life
 You sought your prize.
The tempests rage, but you are fast asleep;
 Though winds be wild
 They cannot break your endless slumbers deep,
 My little child.
 {20}

PERHAPS——

(To R.A.L. Died of Wounds in France, December 23rd, 1915)

Perhaps some day the sun will shine again,
 And I shall see that still the skies are blue,
 And feel once more I do not live in vain,
 Although bereft of You.
Perhaps the golden meadows at my feet
 Will make the sunny hours of Spring seem gay,
 And I shall find the white May blossoms sweet,
 Though You have passed away.
Perhaps the summer woods will shimmer bright,
 And crimson roses once again be fair,
 And autumn harvest fields a rich delight,
 Although You are not there.
Perhaps some day I shall not shrink in pain
 To see the passing of the dying year,
 And listen to the Christmas songs again,
 Although You cannot hear.{21}
But, though kind Time may many joys renew,
 There is one greatest joy I shall not know
 Again, because my heart for loss of You
 Was broken, long ago.
1st London General Hospital,
 February 1916.

A MILITARY HOSPITAL

A mass of human wreckage, drifting in
 Borne on a blood-red tide,
 Some never more to brave the stormy sea
 Laid reverently aside,
 And some with love restored to sail again
 For regions far and wide.
1st London General Hospital, 1916.
 {22}

LOOKING WESTWARD

“For a while the quiet body
 Lies with feet toward the Morn.”
 Hymn 499, A. & M.
When I am dead, lay me not looking East,
 But towards the verge where daylight sinks to rest,
 For my Beloved, who fell in War’s dark year,
 Lies in a foreign meadow, facing West.
He does not see the Heavens flushed with dawn,
 But flaming through the sunset’s dying gleam;
 He is not dazzled by the Morning Star,
 But Hesper soothes him with her gentle beam.
He faces not the guns he thrilled to hear,
 Nor sees the skyline red with fires of Hell;
 He looks for ever towards that dear home land
 He loved, but bade a resolute farewell.{23}
So would I, when my hour has come for sleep,
 Lie watching where the twilight shades grow grey;
 Far sooner would I share with him the Night
 Than pass without him to the Splendid Day.
 {24}

THEN AND NOW

“πάντα ῤει καἰ ούδένα μένει”

Once the black pine-trees on the mountain side,
 The river dancing down the valley blue,
 And strange brown grasses swaying with the tide,
 All spoke to me of you.
But now the sullen streamlet creeping slow,
 The moaning tree-tops dark above my head,
 The weeds where once the grasses used to grow
 Tell me that you are dead.
 {25}

MAY MORNING

(Note.—At Oxford on May 1st a Latin hymn is sung at sunrise by the Magdalen choristers from the top of the tower.)

The rising sun shone warmly on the tower,
 Into the clear pure Heaven the hymn aspired
 Piercingly sweet. This was the morning hour
 When life awoke with Spring’s creative power,
 And the old City’s grey to gold was fired.
Silently reverent stood the noisy throng;
 Under the bridge the boats in long array
 Lay motionless. The choristers’ far song
 Faded upon the breeze in echoes long.
 Swiftly I left the bridge and rode away.
Straight to a little wood’s green heart I sped,
 Where cowslips grew, beneath whose gold withdrawn
 The fragrant earth peeped warm and richly red;
 All trace of Winter’s chilling touch had fled,
 And song-birds ushered in the year’s bright morn.{26}
I had met Love not many days before,
 And as in blissful mood I listening lay
 None ever had of joy so full a store.
 I thought that Spring must last for evermore,
 For I was young and loved, and it was May.
 . . . . . . . . . .
Now it is May again, and sweetly clear
 Perhaps once more aspires the Latin hymn
 From Magdalen tower, but not for me to hear.
 I toil far distant, for a darker year
 Shadows the century with menace grim.
I walk in ways where pain and sorrow dwell,
 And ruin such as only War can bring,
 Where each lives through his individual hell,
 Fraught with remembered horror none can tell,
 And no more is there glory in the Spring.
And I am worn with tears, for he I loved
 Lies cold beneath the stricken sod of France;
 Hope has forsaken me, by Death removed,
 And Love that seemed so strong and gay has proved
 A poor crushed thing, the toy of cruel Chance.{27}
Often I wonder, as I grieve in vain,
 If when the long, long future years creep slow,
 And War and tears alike have ceased to reign,
 I ever shall recapture, once again,
 The mood of that May morning, long ago.
1st London General Hospital,
 May 1916.

THE TWO TRAVELLERS

Beware!
 You met two travellers in the town
 Who promised you that they would take you down
 The valley far away
 To some strange carnival this Summer’s day.
 Take care,
 Lest in the crowded street
 They hurry past you with forgetting feet,
 And leave you standing there.
 {28}

ROUNDEL

(“Died of Wounds”)

Because you died, I shall not rest again,
 But wander ever through the lone world wide,
 Seeking the shadow of a dream grown vain
 Because you died.
I shall spend brief and idle hours beside
 The many lesser loves that still remain,
 But find in none my triumph and my pride;
And Disillusion’s slow corroding stain
 Will creep upon each quest but newly tried,
 For every striving now shall nothing gain
 Because you died.
France,
 February 1918.
 {29}

THE SISTERS BURIED AT LEMNOS

(“Fidelis ad Extremum”)

O golden Isle set in the deep blue Ocean,
 With purple shadows flitting o’er thy crest,
 I kneel to thee in reverent devotion
 Of some who on thy bosom lie at rest!
Seldom they enter into song or story;
 Poets praise the soldier’s might and deeds of War,
 But few exalt the Sisters, and the glory
 Of women dead beneath a distant star.
No armies threatened in that lonely station,
 They fought not fire or steel or ruthless foe,
 But heat and hunger, sickness and privation,
 And Winter’s deathly chill and blinding snow.
Till mortal frailty could endure no longer
 Disease’s ravages and climate’s power,
 In body weak, but spirit ever stronger,
 Courageously they stayed to meet their hour.{30}
No blazing tribute through the wide world flying,
 No rich reward of sacrifice they craved,
 The only meed of their victorious dying
 Lives in the hearts of humble men they saved.
Who when in light the Final Dawn is breaking,
 Still faithful, though the world’s regard may cease,
 Will honour, splendid in triumphant waking,
 The souls of women, lonely here at peace.
O golden Isle with purple shadows falling
 Across thy rocky shore and sapphire sea,
 I shall not picture these without recalling
 The Sisters sleeping on the heart of thee!
H.M.H.S. “Britannic,” Mudros,
 October 1916.
 {31}

IN MEMORIAM: G.R.Y.T.

(Killed in Action, April 23rd, 1917)

I spoke with you but seldom, yet there lay
 Some nameless glamour in your written word,
 And thoughts of you rose often—longings stirred
 By dear remembrance of the sad blue-grey
 That dwelt within your eyes, the even sway
 Of your young god-like gait, the rarely heard
 But frank bright laughter, hallowed by a Day
 That made of Youth Right’s offering to the sword.
So now I ponder, since your day is done,
 Ere dawn was past, on all you meant to me,
 And all the more you might have come to be,
 And wonder if some state, beyond the sun
 And shadows here, may yet completion see
 Of intimacy sweet though scarce begun.
Malta,
 May 1917.
 {32}

A PARTING WORD

(To a Fortunate Friend)

If you should be too happy in your days
 And never know an hour of vain regret,
 Do not forget
 That still the shadows darken all my ways.
If sunshine sweeter still should light your years,
 And you lose nought of all you dearly prize,
 Turn not your eyes
 From my steep track of anguish and of tears.
And if perhaps your love of me is less
 Than I with all my need of you would choose,
 Do not refuse
 To love enough to lighten my distress.
And if the future days should parting see
 Of our so different paths that lately met,
 Remember yet
 Those days of storm you weathered through with me.
Malta,
 May 1917.
 {33}

TO MY BROTHER[A]

(In memory of July 1st, 1916)

Your battle-wounds are scars upon my heart,
 Received when in that grand and tragic “show”
 You played your part
 Two years ago,
And silver in the summer morning sun
 I see the symbol of your courage glow—
 That Cross you won
 Two years ago.
Though now again you watch the shrapnel fly,
 And hear the guns that daily louder grow,
 As in July
 Two years ago,
May you endure to lead the Last Advance
 And with your men pursue the flying foe
 As once in France
 Two years ago.

[A] Captain E. H. Brittain, M.C. Written four days before his death in action in the Austrian offensive on the Italian Front, June 15th, 1918.

{34}

SIC TRANSIT——

(V.R., Died of Wounds, 2nd London General Hospital, Chelsea, June 9th, 1917)

I am so tired.
 The dying sun incarnadines the West,
 And every window with its gold is fired,
 And all I loved the best
 Is gone, and every good that I desired
 Passes away, an idle hopeless quest;
 Even the Highest whereto I aspired
 Has vanished with the rest.
 I am so tired.
London,
 June 1917.
 {35}

TO THEM

I hear your voices in the whispering trees,
 I see your footprints on each grassy track,
 Your laughter echoes gaily down the breeze—
 But you will not come back.
The twilight skies are tender with your smile,
 The stars look down with eyes for which I yearn,
 I dream that you are with me all the while—
 But you will not return.
The flowers are gay in gardens that you knew,
 The woods you loved are sweet with summer rain,
 The fields you trod are empty now, but you
 Will never come again.
June 1917.
 {36}

OXFORD REVISITED

There’s a gleam of sun on the grey old street
 Where we used to walk in the Oxford days,
 And dream that the world lay beneath our feet
 In the dawn of a summer morning.
Now the years have passed, and it’s we who lie
 Crushed under the burden of world-wide woe,
 But the misty magic will never die
 From the dawn of an Oxford morning.
And the end delays, and perhaps no more
 I shall see the spires of my youth’s delight,
 But they’ll gladden my eyes as in days of yore
 At the dawn of Eternal Morning.
June 1917.
 {37}

THAT WHICH REMAINETH

(In Memory of Captain E. H. Brittain, M.C.)

Only the thought of a merry smile,
 The wistful dreaming of sad brown eyes—
 A brave young warrior, face aglow
 With the light of a lofty enterprise.
Only the hope of a gallant heart,
 The steady strife for a deathless crown,
 In Memory’s treasures, radiant now
 With the gleam of a goal beyond renown.
Only the tale of a dream fulfilled,
 A strenuous day and a well-fought fight,
 A fearless leader who laughed at Death,
 And the fitting end of a gentle knight.
Only a Cross on a mountain side,
 The close of a journey short and rough,
 A sword laid down and a stainless shield—
 No more—and yet, is it not enough?
 {38}

THE GERMAN WARD

(“Inter arma caritas”)

When the years of strife are over and my recollection fades
 Of the wards wherein I worked the weeks away,
 I shall still see, as a vision rising ’mid the War-time shades,
 The ward in France where German wounded lay.
I shall see the pallid faces and the half-suspicious eyes,
 I shall hear the bitter groans and laboured breath,
 And recall the loud complaining and the weary tedious cries,
 And sights and smells of blood and wounds and death.
I shall see the convoy cases, blanket-covered on the floor,
 And watch the heavy stretcher-work begin,{39}
 And the gleam of knives and bottles through the open theatre door,
 And the operation patients carried in.
I shall see the Sister standing, with her form of youthful grace,
 And the humour and the wisdom of her smile,
 And the tale of three years’ warfare on her thin expressive face—
 The weariness of many a toil-filled while.
I shall think of how I worked for her with nerve and heart and mind,
 And marvelled at her courage and her skill,
 And how the dying enemy her tenderness would find
 Beneath her scornful energy of will.
And I learnt that human mercy turns alike to friend or foe
 When the darkest hour of all is creeping nigh,
 And those who slew our dearest, when their lamps were burning low,
 Found help and pity ere they came to die.
So, though much will be forgotten when the sound of War’s alarms
 And the days of death and strife have passed away,{40}
 I shall always see the vision of Love working amidst arms
 In the ward wherein the wounded prisoners lay.
France,
 September 1917.

THE TROOP-TRAIN

(France, 1917)

As we came down from Amiens,
 And they went up the line,
 They waved their careless hands to us,
 And cheered the Red Cross sign.
And often I have wondered since,
 Repicturing that train,
 How many of those laughing souls
 Came down the line again.
 {41}

TO MY WARD-SISTER

Night Duty, December 1917

Through the night-watches of our House of Sighs
 In capable serenity of mind
 You steadily achieve the tasks designed
 With calm, half-smiling, interested eyes;
 Though all-unknowing, confidently wise
 Concerning pain you never felt, you find
 Content from uneventful years arise
 As you toil on, mechanically kind.
So thus far have your smooth days passed, but when
 The tempest none escape shall cloud your sky,
 And Life grow dark around you, through your pain
 You’ll learn the meaning of your mercy then
 To those who blessed you as you passed them by,
 Nor seek to tread the untroubled road again.
France.
 {42}

TO ANOTHER SISTER

I knew that you had suffered many things,
 For I could see your eyes would often weep
 Through bitter midnight hours when others sleep;
 And in your smile the lurking scorn that springs
 From cruel knowledge of a love, once deep,
 Grown gradually cold, until the stings
 Pierce mercilessly of a past that clings
 Undying to your lonely path and steep.
So, loved and honoured leader, I would pray
 That hidden future days may hold in store
 Some solace for your yearning even yet,
 And in some joy to come you may forget
 The burdened toil you will not suffer more,
 And see the War-time shadows fade away.
France, 1918.
 {43}

“VENGEANCE IS MINE”

(In Memory of the Sisters who died in the Great Air Raid upon Hospitals at Étaples)

Who shall avenge us for anguish unnamable,
 Rivers of scarlet and crosses of grey,
 Terror of night-time and blood-lust untamable,
 Hate without pity where broken we lay?
How could we help them, in agony calling us,
 Those whom we laboured to comfort and save,
 How still their moaning, whose hour was befalling us,
 Crushed in a horror more dark than the grave?
Burning of canvas and smashing of wood above—
 Havoc of Mercy’s toil—shall He forget
 Us that have fallen, Who numbers in gracious love
 Each tiny creature whose life is man’s debt?{44}
Will He not hear us, though speech is now failing us—
 Voices too feeble to utter a cry?
 Shall they not answer, the foemen assailing us,
 Women who suffer and women who die?
Who shall avenge us for anguish unnamable,
 Rivers of scarlet and crosses of grey,
 Terror of night-time and blood-lust untamable,
 Hate without pity where broken we lay?

WAR

(The Great German Offensive, March—May 1918)

A night of storm and thunder crashing by,
 A bitter night of tempest and of rain—
 Then calm at dawn beneath a wind-swept sky,
 And broken flowers that will not bloom again.
An age of Death and Agony and Tears,
 A cruel age of woe unguessed before—
 Then peace to close the weary storm-wrecked years,
 And broken hearts that bleed for evermore.
France.
 {45}

THE LAST POST

The stars are shining bright above the camps,
 The bugle calls float skyward, faintly clear;
 Over the hill the mist-veiled motor lamps
 Dwindle and disappear.
The notes of day’s good-bye arise and blend
 With the low murmurous hum from tree and sod,
 And swell into that question at the end
 They ask each night of God—
Whether the dead within the burial ground
 Will ever overthrow their crosses grey,
 And rise triumphant from each lowly mound
 To greet the dawning day.
Whether the eyes which battle sealed in sleep
 Will open to reveillé once again,
 And forms, once mangled, into rapture leap,
 Forgetful of their pain.{46}
But still the stars above the camp shine on,
 Giving no answer for our sorrow’s ease,
 And one more day with the Last Post has gone
 Dying upon the breeze.
Étaples, 1918.

THE ASPIRANT

(A Plea)

Because I dare to stand outside the gate
 Of that high temple wherein Fame abides,
 And loudly knock, too eager to await
 Whate’er betides,
May God forgive, since He alone can see
 The joys that others have but I must miss,
 For how shall Compensation come to me
 If not through this?

 

Printed by Hazell, Watson & Viney, Ld., London and Aylesbury.






End of Project Gutenberg's Verses of a V.A.D., by Vera Mary Brittain

*** END OF THIS PROJECT GUTENBERG EBOOK VERSES OF A V.A.D. ***

***** This file should be named 51907-h.htm or 51907-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/5/1/9/0/51907/

Produced by MWS, Chuck Greif and the Online Distributed
Proofreading Team at http://www.pgdp.net (This file was
produced from images generously made available by The
Internet Archive/American Libraries.)


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
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.