The Project Gutenberg EBook of The Battle of the Bays, by Owen Seaman

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org


Title: The Battle of the Bays

Author: Owen Seaman

Release Date: July 27, 2009 [EBook #29515]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK THE BATTLE OF THE BAYS ***




Produced by Juliet Sutherland, Katherine Ward, and the
Online Distributed Proofreading Team at https://www.pgdp.net






The Battle of the Bays.

By the same Author

IN CAP AND BELLS

HORACE AT CAMBRIDGE

TILLERS OF THE SAND


THE BATTLE
OF
THE BAYS


BY OWEN SEAMAN

JOHN LANE
THE BODLEY HEAD
LONDON & NEW YORK
1902


Copyright in the United States.
All Rights Reserved.

Eighth Edition


CONTENTS.

PAGE

I. The Battle of the Bays 1
1.A Song of Renunciation1
2.For the Albums of Crowned Heads Only5
3.Marsyas in Hades11
4.The Rhyme of the Kipperling15
5.A Ballad of a Bun22
6.A Vigo-Street Eclogue27
7.An Ode to Spring in the Metropolis37
8.Yet42
9.Elegi Musarum44
II. To Mr. William Watson 49
III. England’s Alfred Abroad 53
IV. Lilith Libifera 57
V. Ars Postera 58
VI. A New Blue Book 61
VII. To a Boy-Poet of the Decadence 64
VIII. To Julia in Shooting Togs 66
IX. The Links of Love 69
X. Swords and Ploughshares 71
XI. To the Lord of Potsdam 76
XII. From the Lord of Potsdam 80
XIII. ‘The Spacious Times’ 83

1

I. THE BATTLE OF THE BAYS.

1.

A SONG OF RENUNCIATION.

(AFTER A. C. S.)

In the days of my season of salad,

 When the down was as dew on my cheek,

And for French I was bred on the ballad,

 For Greek on the writers of Greek,––

Then I sang of the rose that is ruddy,

 Of ‘pleasure that winces and stings,’

Of white women and wine that is bloody,

 And similar things.

Of Delight that is dear as Desi-er,

 And Desire that is dear as Delight;

Of the fangs of the flame that is fi-er,

 Of the bruises of kisses that bite;

2

Of embraces that clasp and that sever,

 Of blushes that flutter and flee

Round the limbs of Dolores, whoever

 Dolores may be.

I sang of false faith that is fleeting

 As froth of the swallowing seas,

Time’s curse that is fatal as Keating

 Is fatal to amorous fleas;

Of the wanness of woe that is whelp of

 The lust that is blind as a bat––

By the help of my Muse and the help of

 The relative THAT.

Panatheist, bruiser and breaker

 Of kings and the creatures of kings,

I shouted on Freedom to shake her

 Feet loose of the fetter that clings;

Far rolling my ravenous red eye,

 And lifting a mutinous lid,

To all monarchs and matrons I said I

 Would shock them––and did.

3

Thee I sang, and thy loves, O Thalassian,

 O ‘noble and nude and antique!’

Unashamed in the ‘fearless old fashion’

 Ere washing was done by the week;

When the ‘roses and rapture’ that girt you

 Were visions of delicate vice,

And the ‘lilies and languors of virtue’

 Not nearly so nice.

O delights of the time of my teething,

 Félise, Fragoletta, Yolande!

Foam-yeast of a youth in its seething

 On blasted and blithering sand!

Snake-crowned on your tresses and belted

 With blossoms that coil and decay,

Ye are gone; ye are lost; ye are melted

 Like ices in May.

Hushed now is the bibulous bubble

 Of ‘lithe and lascivious’ throats;

Long stript and extinct is the stubble

 Of hoary and harvested oats;

4

From the sweets that are sour as the sorrel’s

 The bees have abortively swarmed;

And Algernon’s earlier morals

 Are fairly reformed.

I have written a loyal Armada,

 And posed in a Jubilee pose;

I have babbled of babies and played a

 New tune on the turn of their toes;

Washed white from the stain of Astarte,

 My books any virgin may buy;

And I hear I am praised by a party

 Called Something Mackay!

When erased are the records, and rotten

 The meshes of memory’s net;

When the grace that forgives has forgotten

 The things that are good to forget;

When the trill of my juvenile trumpet

 Is dead and its echoes are dead;

Then the laurel shall lie on the crumpet

 And crown of my head!

5

2.

FOR THE ALBUMS OF CROWNED HEADS ONLY.

(AFTER SIR E. A.)

1. From the third Sa’dine Box of the eighth Gazelle of Ghazal.

Yá Yá! Best-Belovéd! I look to thy dimples and drink;

Tiddlihî! to thy cheek-pits and chin-pit, my Tulip, my Pink!

See my heart rises up like a bubble, and bursts in my throat,

And the dimples that draw it are Three, like the Men in a Boat.

Thrice Three are the Muses, and I that begat her should guess

That the Tenth is the Tēle-Ephēmera, Pride of the PRESS!

6

And the Graces were triplets till lately the fruitful Dîtî

Propagated a Fourth, and the infant was W. G.

From my post of Propinquity prone on my languorous knees

My tears slither down like the Gum of Arabia’s trees.

“Am I drunk?” Heart-Entangler! By Hafiz, the Blender of Squish!

’Tis the camel that sits on the prayer-mat is drunk as a fish.

As I hope for the future Uprising, deny it who can,

Two years I have worn the Blue Ribbon, come next Ramadan!

7

Chest-Preserver! thou knowest thine eyes, they alone, are my drink,

Blue-black as the sloes of the Garden or Stephens his Ink.

On thy sugar-sweet liplets, my Cypress! I browse like a bee,

And am aching, as after a surfeit of Melon, for thee!

Low laid at thy feet––little feet––in the dust like a worm,

Round the train of thy skirt, O my Peacock, I fitfully squirm.

By Allah! I swoon, I rotate, I am sickly of hue!

And the Infidel swore that Jam-Jam was a Temperance brew!

Heart-Punisher! Surely I think it was jalapped with gin!

Aha! Paradise! I am passing! So be it! Amin!

8

2. From a little thing by the Princess Onono Goawaī.

The bulbul hummeth like a book

 Upon the pooh-pooh tree,

And now and then he takes a look

 At you and me,

 At me and you.

 Kuchi!

 Kuchoo!

3. From the Sanskrit of Matabîlîwaijo.

Wind! a word with thee! thou goest where my Well-Preservéd lies

On her bed of bonny briers keeping off the wicked flies.

Thou shalt know her by th’ aroma of her bosom, which is musk,

And her ivories that glisten like an elephantine tusk.

9

Seek her coral-guarded tympanum and whisper “Poppinjai!”

And (referring to her lover) kindly add “A-lal-lal-lai!”

Breeze! thou knowest my condition; state it broadly, if you please,

In a smattering of Indo-Turco-Perso-Japanese.

Say my youth is flitting freely, and before the season goes

From the garden of my Tûtsi I am fain to pluck a rose.

Tell her I’m a wanton Sufí (what a Sufí really is

She may know, perhaps––I count it one of Allah’s mysteries).

Fly, O blessed Breeze, and hither bring me back the net result;

Fly as flies the rude mosquito from Abdullah’s catapult.

10

Fly as flies the rusty rickshaw of the Kurumayasan,

When he scents a Hippopotam down the groves of Gulistan.

Fly and cull, O cull, a section of my Pipkin’s purple tress;

Thou shalt find me drinking deeply with the Lords that rule the Mess;

Quaffing mead and mighty sodas with the Johnís, Lords of War,

Talking ‘jungle in the gun-room,’ underneath the deodar.

Hoo Tawâ! I go to join them; he that cometh late is curst,

For the Lords of War (by Akbar) have a most amazing thirst!

11

3.

MARSYAS IN HADES.

(AFTER SIR L. M.)

 Next I saw

A pensive gentleman of middle age,

That leaned against a Druid oak, his pipe

Pendent beneath his chin––a double one––

(Meaning the pipe); reluctant was his breath,

For he had mingled in the Morris dance

And rested blown; but damsels in their teens,

All decorous and decorously clad,

Their very ankles hardly visible,

Recalled his motions; while, for chaperon,

Good Mrs. Grundy up against the wall

Beamed approbation.

 On his face I read

Signs of high sadness such as poets wear,

Being divinely discontented with

The praise of jeunes filles. Even as I looked,

He touched the portion of his pipe reserved

12

For minor poetry of solemn tone,

Checking the humorous stops intended for

Electioneering posters and the like;

And therewithal he made the following

Addition to his Songs Unsung, or else

His Unremarked Remarks:

 “Dear Sir,” he said,

“Excuse my saying ‘Sir’ like that; it is

Our way in Hades here among the damned;

For you must know that some of us are damned

Not only by faint praise but full applause

Of simple critics. Take my case. In me

Behold the good knight Marsyas, M.A.,

Three times a candidate for Parliament,

And twice retired; a Justice of the Peace;

Master of Arts (I said), and better known

In literary spheres as Master of

The Mediocre-Obvious; and read

By boarding-misses in their myriads.

These dote upon me. Sweetly have I sung

The commonplaces of philosophy

In common parlance.

13

 You have read perhaps

The Cymric Triads? Poetry, they say,

Excels alone by sheer simplicity

Of language, subject, and invention. Sir!

The excellence of mine lay that way too.

But fate is partial. Heaven’s fulgour moulds

‘To happiness some, some to unhappiness!’

(Look you, the harp was Welsh that figured forth

That excellent last line.) I ask you, Sir,

What would you? Ill content with mortal praise,

And haply somewhat overbold, I sought

To be as gods be; sought, in fact, to filch

Apollo’s bays!

 Ah me! Dear me! I fain

Would use a stronger phrase, but hardly dare,

Being, whatever else, respectable.

I say I tired of vulgar homage, gift

Of ignorance. ‘High failure overleaps

The bounds of low successes’ (there, again,

The harp that twanged was Welsh, but with an echo

Of Browning). Godlike it must be, I thought,

14

To climb the giddy brink; to pen, for instance,

An Ode to the Imperial Institute,

And fall, if bound to, from a decent height.

 I did and missed the laurel; still I go

On writing; what you hear just now is blank,

Distinctly blank, and might be measured by

The kilomètre; yet I rhyme as well

A little; but it takes a lot of time,

And checks the lapse of my pellucid stream

Not all conveniently.”

 Thereat he paused,

And wrung the moisture from his pipe; but I,

As one that was intolerably bored,

Took even this occasion to be gone;

And, going, marked him how he took his stile,

Polished the waxen tablets, and began

To make a Royal Pæan by request,

Or so he said.

15

4.

THE RHYME OF THE KIPPERLING.

(AFTER R. K.)

[N.B.––No nautical terms or statements guaranteed.]

Away by the haunts of the Yang-tse-boo,

 Where the Yuletide runs cold gin,

And the rollicking sign of the Lord Knows Who

 Sees mariners drink like sin;

Where the Jolly Roger tips his quart

 To the luck of the Union Jack;

And some are screwed on the foreign port,

 And some on the starboard tack;––

Ever they tell the tale anew

 Of the chase for the kipperling swag;

How the smack Tommy This and the smack Tommy That

They broached each other like a whiskey-vat,

 And the Fuzzy-Wuz took the bag.

16

Now this is the law of the herring fleet that harries the northern main,

Tattooed in scars on the chests of the tars with a brand like the brand of Cain:

That none may woo the sea-born shrew save such as pay their way

With a kipperling netted at noon of night and cured ere the crack of day.

It was the woman Sal o’ the Dune, and the men were three to one,

Bill the Skipper and Ned the Nipper and Sam that was Son of a Gun;

Bill was a Skipper and Ned was a Nipper and Sam was the Son of a Gun,

And the woman was Sal o’ the Dune, as I said, and the men were three to one.

There was never a light in the sky that night of the soft midsummer gales,

But the great man-bloaters snorted low, and the young ’uns sang like whales;

17

And out laughed Sal (like a dog-toothed wheel was the laugh that Sal laughed she):

“Now who’s for a bride on the shady side of up’ards of forty-three?”

And Neddy he swore by butt and bend, and Billy by bend and bitt,

And nautical names that no man frames but your amateur nautical wit;

And Sam said, “Shiver my topping-lifts and scuttle my foc’s’le yarn,

And may I be curst, if I’m not in first with a kipperling slued astarn!”

Now the smack Tommy This and the smack Tommy That and the Fuzzy-Wuz smack, all three,

Their captains bold, they were Bill and Ned and Sam respectivelee.

And it’s writ in the rules that the primary schools of kippers should get off cheap

For a two mile reach off Foulness beach when the July tide’s at neap;

18

And the lawless lubbers that lust for loot and filch the yearling stock

They get smart raps from the coastguard chaps with their blunderbuss fixed half-cock.

Now Bill the Skipper and Ned the Nipper could tell green cheese from blue,

And Bill knew a trick and Ned knew a trick, but Sam knew a trick worth two.

So Bill he sneaks a corporal’s breeks and a belt of pipeclayed hide,

And splices them on to the jibsail-boom like a troopship on the tide.

And likewise Ned to his masthead he runs a rag of the Queen’s,

With a rusty sword and a moke on board to bray like the Horse Marines.

But Sam sniffs gore and he keeps off-shore and he waits for things to stir,

Then he tracks for the deep with a long fog-horn rigged up like a bowchasér.

19

Now scarce had Ned dropped line and lead when he spots the pipeclayed hide,

And the corporal’s breeks on the jibsail-boom like a troopship on the tide;

And Bill likewise, when he ups and spies the slip of a rag of the Queen’s,

And the rusty sword, and he sniffs aboard the moke of the Horse Marines.

So they each luffed sail, and they each turned tail, and they whipped their wheels like mad,

When the one he said “By the Lord, it’s Ned!” and the other, “It’s Bill, by Gad!”

Then about and about, and nozzle to snout, they rammed through breach and brace,

And the splinters flew as they mostly do when a Government test takes place.

Then up stole Sam with his little ram and the nautical talk flowed free,

And in good bold type might have covered the two front sheets of the P. M. G.

20

But the fog-horn bluff was safe enough, where all was weed and weft,

And the conger-eels were a-making meals, and the pick of the tackle left

Was a binnacle-lid and a leak in the bilge and the chip of a cracked sheerstrake

And the corporal’s belt and the moke’s cool pelt and a portrait of Francis Drake.

So Sam he hauls the dead men’s trawls and he booms for the harbour-bar,

And the splitten fry are salted dry by the blink of the morning star.

And Sal o’ the Dune was wed next moon by the man that paid his way

With a kipperling netted at noon of night and cured ere the crack of day;

For such is the law of the herring fleet that bloats on the northern main,

Tattooed in scars on the chests of the tars with a brand like the brand of Cain.

21

And still in the haunts of the Yang-tse-boo

Ever they tell the tale anew

 Of the chase for the kipperling swag;

How the smack Tommy This and the smack Tommy That

They broached each other like a whiskey-vat,

 And the Fuzzy-Wuz took the bag.

22

5.

A BALLAD OF A BUN.

(AFTER J. D.)

‘I am sister to the mountains now,

 And sister to the sun and moon.’

‘Heed not belletrist jargon.’

 John Davidson.

From Whitsuntide to Whitsuntide––

 That is to say, all through the year––

Her patient pen was occupied

 With songs and tales of pleasant cheer.

But still her talent went to waste

 Like flotsam on an open sea;

She never hit the public taste,

 Or knew the knack of Bellettrie.

Across the sounding City’s fogs

 There hurtled round her weary head

The thunder of the rolling logs;

 “The Critics’ Carnival!” she said.

23

Immortal prigs took heaven by storm,

 Prigs scattered largesses of praise;

The work of both was rather warm;

 “This is,” she said, “the thing that pays!”

Sharp envy turned her wine to blood––

 I mean it turned her blood to wine;

And this resolve came like a flood––

 “The cake of knowledge must be mine!

“I am in Eve’s predicament––

 I sha’n’t be happy till I’ve sinned;

Away!” She lightly rose, and sent

 Her scruples sailing down the wind.

She did not tear her open breast,

 Nor leave behind a track of gore,

But carried flannel next her chest,

 And wore the boots she always wore.

Across the sounding City’s din

 She wandered, looking indiscreet,

And ultimately landed in

 The neighbourhood of Regent Street.

24

She ran against a resolute

 Policeman standing like a wall;

She kissed his feet and asked the route

 To where they held the Carnival.

Her strange behaviour caused remark;

 They said, “Her reason has been lost;”

Beside her eyes the gas was dark,

 But that was owing to the frost.

A Decadent was dribbling by;

 “Lady,” he said, “you seem undone;

You need a panacea; try

 This sample of the Bodley bun.

“It is fulfilled of precious spice,

 Whereof I give the recipe;––

Take common dripping, stew in vice,

 And serve with vertu; taste and see!

“And lo! I brand you on the brow

 As kin to Nature’s lowest germ;

You are sister to the microbe now,

 And second-cousin to the worm.”

25

He gave her of his golden store,

 Such hunger hovered in her look;

She took the bun, and asked for more,

 And went away and wrote a book.

To put the matter shortly, she

 Became the topic of the town;

In all the lists of Bellettrie

 Her name was regularly down.

“We recognise,” the critics wrote,

 “Maupassant’s verve and Heine’s wit;”

Some even made a verbal note

 Of Shakespeare being out of it.

The seasons went and came again;

 At length the languid Public cried:

“It is a sorry sort of Lane

 That hardly ever turns aside.

“We want a little change of air;

 On that,” they said, “we must insist;

We cannot any longer bear

 The seedy sex-impressionist.”

26

Across the sounding City’s din

 This rumour smote her on the ear:

“The publishers are going in

 For songs and tales of pleasant cheer!”

“Alack!” she said, “I lost the art,

 And left my womanhood foredone,

When first I trafficked in the mart

 All for a mess of Bodley bun.

“I cannot cut my kin at will,

 Or jilt the protoplastic germ;

I am sister to the microbe still,

 And second-cousin to the worm!”

27

6.

A VIGO-STREET ECLOGUE.

(AFTER THE SAME)

Mæcenas. John. George. Arthur. Grant. Richard.


MÆCENAS.

What ho! a merry Christmas! Pff!

Sharp blows the frosty blizzard’s whff!

Pile on more logs and let them roll,

And pass the humming wassail-bowl!

JOHN.

The wassail-bowl! the wind is snell!

Drinc hael! and warm the poet’s pell!

MÆCENAS.

Richard! say something rustic.

RICHARD.

 Lo!

The customary mistletoe,

Prehensile on the apple-bough,

Invites the usual kiss.

28

GEORGE.

 And now

Cathartic hellebore should be

A cure for imbecility.

GRANT.

Now holly-berries have begun

To blush for Women That Have Done.

ARTHUR.

The farmer sticks his stuffy goose!

MÆCENAS.

Come, come, you grow a little loose;

That’s Michaelmas; you must remember

That Michaelmas is in September!

ARTHUR.

Northward the swallow sweeps his wing.

MÆCENAS.

No, no! the bird arrives in spring!

29

ARTHUR.

Such knowledge fits the country clown;

We’ve better things to note in town.

What’s Nature’s lore compared with women’s?

JOHN.

For this enigma go to S-m-ns;

He is the–––

ARTHUR.

 Yes, I am, I know,

The devil of a Romeo!

JOHN.

Hark! hark! the waits, the precious waits!

Their music beats at Heaven’s gates.

MÆCENAS.

What Bodley wight will sing a stave

To match their strumming? I would have

The manly bass of Hobbes’s voice;

But Unwin’s house is Hobbes’s choice.

George! you’ve a baritone at need.

30

GEORGE.

Alas! my famous Keynotes lead

To Discords.

JOHN.

 I’ve a little thing

Of Resurrection. Shall I sing?

ARTHUR.

Please do; but à propos of what?

JOHN.

I cannot say, unless de bottes.

 [Proceeds to sing a Ballad of Resurrection.

A letter-card from my dear love!

 O folded page of blessed blue!

She burst her many-buttoned glove,

 And ripped the perforation through.

“My love, to-night, about eleven,

 With never a priest or passing-bell,

We die! and meet, with luck, in Heaven,

 But anyhow at least in Hell!”

31

Her courage very nearly failed,

 In fact she swooned along the floor;

But curiosity prevailed,

 She came again and read some more.

“There is no way but this to choose;

 My people fain would have us wed;

But you and I have later views,

 And scorn the vulgar marriage-bed.

“Far be it from me to dictate

 How best to break the mortal bond,

But personally I may state

 That I shall use the village pond.

“Be punctual, love, and let us meet

 For weal or woe!

This line has lost a pair of feet;

 The post is now about to go.”

Ay, ay, she thought, to meet were well,

 But if we found each other out?

You, say, in Heaven, I in Hell,

 Or else the other way about!

32

Nay, there be heavy odds, she said,

 One fate shall save us both or damn;

We surely shall be bracketed!

 She ceased and sent a telegram.

To Guy le Preux de Balthazar––

 Here followed his address, and then

This pregnant message––“Right you are!”

 She wrote it with the office pen.

She flashed the phrase along the wires,

 Then, passing by a dagger-shop,

Bought one and wiped it on her sire’s

 Best graduated razor-strop.

On second thoughts, she said, I lean

 To poison; true, a knife like this

Looks pretty, rib and rib between,

 But people very often miss.

She sought the chemist in his place;

 He sampled her with searching eye;

She looked him frankly in the face,

 And told a wicked, wicked lie.

33

“My hen,” she said,––“a bantam blend––

 Has hatched a poor demented chick;

To ease the gentle creature’s end

 I want a pint of arsenic.”

The chemist deemed the order large,

 But said no thing and drew the drug;

She seized and bore the sacred charge

 Before her in a pewter mug.

At tea she faced her fell intent;

 Dressing, she lightly laughed at doom;

Dined with the family, and spent

 The evening in the drawing-room.

At ten the early rooster crowed;

 Ten-thirty struck and she was gone;

She crossed alone the naked road;

 The road had really nothing on.

Her golden braids hung down her back;

 Within her side she felt a stitch;

And once the moon behind the wrack

 Came out and caught her in a ditch.

34

Once ere she reached the trysting-pear

 She broke the slumber of the rooks;

She wrung her hands, she tore her hair,

 And did as people do in books.

From out her cloak she fetched the drug––

 “Thy health, my love, in Heaven or Hell!”

Deep to the dregs she drained the mug

 And dropped it, feeling far from well.

Upon the punctual stroke her fond

 True lover kept the oath he swore;

Plunged softly in the village pond,

 But feeling chilly swam ashore.

Next morning in the judgment-place

 Two pallid prisoners were tried;

Their guilt was plain; it was a case

 Of ineffective suicide.

Yestreen a member of the Force

 Had found a woman deadly sick,

Lamenting, with sincere remorse,

 An overdose of arsenic.

35

Another heard upon his beat

 One darkly muttering, “This is Hell!”

His weed was wet from head to feet;

 He put him in a common cell.

The Justice chewed the evidence;

 His eyes were soft, his lips were bland;

It was, he said, a first offence;

 He merely gave a reprimand.

“Go free, my poppets, keep the laws,

 And get ye wed at once,” said he;

The court indulged in rude applause;

 The usher cleared the gallery.

The prison-warder, deeply stirred,

 Approached the culprits at the bar;

Then haled them forth without a word

 Towards the nearest Registrar.

RICHARD.

John, you surpass yourself. Next week

Expect a flattering critique!

36

JOHN.

The waits are whining in the cold

With clavicorn and clarigold;

They play them like a crumpled horn,

The clarigold and clavicorn.

37

7.

AN ODE TO SPRING IN THE METROPOLIS.

(AFTER R. LE G.)

Is this the Seine?

And am I altogether wrong

About the brain,

Dreaming I hear the British tongue?

Dear Heaven! what a rhyme!

And yet ’tis all as good

As some that I have fashioned in my time,

Like bud and wood;

And on the other hand you couldn’t have a more precise or neater

Metre.

Is this, I ask, the Seine?

And yonder sylvan lane,

Is it the Bois?

Ma foi!

Comme elle est chic, my Paris, my grisette!

Yet may I not forget

38

That London still remains the missus

Of this Narcissus.

No, no! ’tis not the Seine!

It is the artificial mere

That permeates St. James’s Park.

The air is bosom-shaped and clear;

And, Himmel! do I hear the lark,

The good old Shelley-Wordsworth lark?

Even now, I prithee,

Hark

Him hammer

On Heaven’s harmonious stithy,

Dew-drunken––like my grammar!

And O the trees!

Beneath their shade the hairless coot

Waddles at ease,

Hushing the magic of his gurgling beak;

Or haply in Tree-worship leans his cheek

Against their blind

And hoary rind,

39

Observing how the sap

Comes humming upwards from the tap-

Root!

Thrice happy, hairless coot!

And O the sun!

See, see, he shakes

His big red hands at me in wanton fun!

A glorious image that! it might be Blake’s;

As in my critical capacity I took occasion to remark elsewhere,

When heaping praise

On this exceptionally happy phrase,

Although I made it up myself.

But I and Blake, we really constitute a pair,

Each being rather like an artless woodland elf.

And O the stars! I cannot say

I see a star just now,

Not at this time of day;

But anyhow

The stars are all my brothers;

(This verse is shorter than the others).

40

O Constitution Hill!

(This verse is shorter still).

Ah! London, London in the Spring!

You are, you know you are,

So full of curious sights,

Especially by nights.

From gilded bar to gilded bar

Youth goes his giddy whirl,

His heart fulfilled of Music-Hall,

His arm fulfilled of girl!

I frankly call

That last effect a perfect pearl!

I know it’s

Not given to many poets

To frame so fair a thing

As this of mine, of Spring.

Indeed, the world grows Lilliput

All but

A precious few, the heirs of utter godlihead,

Who wear the yellow flower of blameless bodlihead!

41

And they, with Laureates dead, look down

On smaller fry unworthy of the crown,

Mere mushroom men, puff-balls that advertise

And bravely think to brush the skies.

Great is advertisement with little men!

Moi, qui vous parle, L- G-ll--nn-,

Have told them so;

I ought to know!

42

8.

YET.

(AFTER F. E. W.)

Sing me a drawing-room song, darling!

 Sing by the sunset’s glow;

Now while the shadows are long, darling;

 Now while the lights are low;

Something so chaste and so coy, darling!

 Something that melts the chest;

Milder than even Molloy, darling!

 Better than Bingham’s best.

Sing me a drawing-room song, darling!

 Sing as you sang of yore,

Lisping of love that is strong, darling!

 Strong as a big barn-door;

Let the true knight be bold, darling!

 Let him arrive too late;

Stick in a bower of gold, darling!

 Stick in a golden gate.

43

Sing me a drawing-room song, darling!

 Bear on the angels’ wings

Children that know no wrong, darling!

 Little cherubic things!

Sing of their sunny hair, darling!

 Get them to die in June;

Wake, if you can, on the stair, darling!

 Echoes of tiny shoon.

Sing me a drawing-room song, darling!

 Sentiment may be false,

Yet it will worry along, darling!

 Set to a tum-tum valse;

See that the verses are few, darling!

 Keep to the rule of three;

That will be better for you, darling!

 Certainly better for me.

44

9.

ELEGI MUSARUM.

(AFTER W. W.)

[To Mr. St. Loe Strachey.]

Dawn of the year that emerges, a fine and ebullient Phœnix,

 Forth from the cinders of Self, out of the ash of the Past;

Year that discovers my Muse in the thick of purpureal sonnets,

 Slating diplomacy’s sloth, blushing for ‘Abdul the d----d’;

Year that in guise of a herald declaring the close of the tourney

 Clears the redoubtable lists hot with the Battle of Bays;

Binds on the brows of the Tory, the highly respectable Austin,

Laurels that Phœbus of old wore on the top of his tuft;

45

Leaving the locks of the hydra, of Bodley the numerous-headed,

 Clean as the chin of a boy, bare as a babe in a bath;

Year that––I see in the vista the principal verb of the sentence

 Loom as a deeply-desired bride that is late at the post––

Year that has painfully tickled the lachrymal nerves of the Muses,

 Giving Another the gift due to Respectfully Theirs;––

Hinc illæ lacrimæ! Ah, reader! I grossly misled you;

 See, it was false; there is no principal verb after all!

His likewise is the anguish, who followed with soft serenading

 Me as the tremulous tide tracks the meandering moon;

Climbing as Romeo clomb, peradventure by help of a flower-pot,

46

 Where in her balconied bower lay, inexpressibly coy,

Juliet, not as the others, supinely, insanely erotic,

 Pallid and yellow of hue, very degenerate souls,

Rioting round with the rapture of palpitant ichorous ardour,

 But an immaculate maid, ‘one,’ you may say, ‘of the best’!

His, I repeat, is the anguish––my journalist, eulogist critic,

 Strachey, the generous judge, Saintly unlimited Loe!

Vainly the stolid Spectator, bewildered with fabulous bow-wows,

 Sick with a surfeit of dog, ran me for all it was worth!

Vainly––if I may recur to a metaphor drawn from the ocean,

 Long (in a figure of speech) tied to the tail of the moon––

Vainly, O excellent organ! with ample and aqueous unction

47

 Once, as a rule, in a week, ‘cleansing the Earth of her stain’;

(Here you will possibly pardon the natural scion of poets,

 Proud with humility’s pride, spoiling a passage from Keats)––

Vainly your voice on the ears of impregnable Laureate-makers,

 Rang as the sinuous sea rings on a petrified coast;

Vainly your voice with a subtle and slightly indelicate largess,

 Broke on an obdurate world hymning the advent of Me;

When from the ‘commune of air,’ from ‘the exquisite fabric of Silence,’

 I, a superior orb, burst into exquisite print!

What shall we say for your greeting, O good horticultural Alfred!

 Royalty’s darling and pride, crown of the Salisbury Press?

Now when the negligent Public, in search of a subject for dinner,

48

 Asks for the names of your books, Lord! what a boom there will be!

Hoarse in Penbryn are the howlings that rise for the hope of the Cymri;

 Over her Algernon’s head Putney composes a dirge;

Edwin anathematises politely in various lingos;

 Davidson ruminates hard over a Ballad of Hell;

Fondly Le Gallienne fancies how pretty the Delphian laurels

 Would have appeared on his own hairy and passionate poll;

I, imperturbably careless, untainted of jealousy’s jaundice,

 Simply regret the profane contumely done to the Muse;

Done to the Muse in the person of Me, her patron, that never

 Licked Ministerial lips, dusted the boots of the Court!

Surely I hear through the noisy and nauseous clamour of Carlton

 Sobs of the sensitive Nine heave upon Helicon’s hump!


49

II. TO MR. WILLIAM WATSON.

[On writing the first instalment of The Purple East, a ‘fine sonnet which it is our privilege to publish.’––Westminster Gazette, Dec. 16, 1895.]

Dear Mr. Watson, we have heard with wonder,

 Not all unmingled with a sad regret,

That little penny blast of purple thunder,

 You issued in the Westminster Gazette;

The Editor describes it as a sonnet;

I wish to make a few remarks upon it.

Never, O craven England, nevermore

 Prate thou of generous effort, righteous aim!

So ran the lines, and left me very sore,

 For you may guess my heart was hot with shame:

Even thus early in your ample song

I felt that something must be really wrong.

50

But when I learned that our ignoble nation

 Lay sleeping like a log, and lay alone,

Propping, according to your information,

 Abdul the Damned on his infernal throne,

O then I scattered to the wind my fears,

And nearly went and joined the Volunteers.

But just in time the thought occurred to me

 That England commonly commits her course

To men as good at heart as even we

 And possibly much richer in resource;

That we had better mind our own affairs

And leave these gentlemen to manage theirs.

It further seemed a work uncommon light

 For one like you, a casual civilian,

To order half a hemisphere to fight

 And slaughter one another by the million,

While you yourself, a paper Galahad,

Spilt ink for blood upon a blotting-pad.

51

The days are gone when sword and poet’s pen

 One gallant gifted hand was wont to wield;

When Taillefer in face of Harold’s men

 Rode foremost on to Senlac’s fatal field,

And tossed his sword in air, and sang a spell

Of Roland’s battle-song, and, singing, fell.

The days are gone when troubadours by dozens

 Polished their steel and joined the stout crusade,

Strumming, in memory of pretty cousins,

 The Girl I left behind Me, on parade;

They often used to rattle off a ballad in

The intervals of punishing the Saladin.

In later times, of course I know there’s Byron,

 Who by his own report could play the man;

I seem to see him with his Lesbian lyre on,

 And brandishing a useful yataghan;

Though never going altogether strong, he

Managed at least to die at Missolonghi.

52

No more the trades of lute and lance are linked,

 Though doubtless under many martial bonnets

Brave heads there be that harbour the distinct

 Belief that they can manufacture sonnets;

But on the other hand a bard is not

Supposed to run the risk of being shot.

Then since your courage lacks a crucial test,

 And politics were never your profession,

Dear Mr. Watson, won’t you find it best

 To temper valour with a due discretion?

That so, despite the fond Spectator’s booming,

Above your brow the bays may yet be blooming.


53

III. ENGLAND’S ALFRED ABROAD.

[M. Alfred Austin, poète-lauréat d’Angleterre, vient d’arriver à Nice, où il a devancé la Reine. Il était, hier, dans les jardins de Monte-Carlo. Sera-ce sous notre ciel qu’il écrira son premier poème?––Menton-Mondain.]

Wrong? are they wrong? Of course they are,

 I venture to reply;

For I bore ‘my first’ (and, I hope, my worst)

 A month or so gone by;

And I can’t repeat it under this

 Or any other sky.

What! has the public never heard

 In these benighted climes

That nascent note of my Laureate throat,

 That fluty fitte of rhymes

Which occupied about a half

 A column of the Times?

54

They little know what they have lost,

 Nor what a carnal beano

They might have spent in the thick of Lent

 If only Daniel Leno

Had sung them Jameson’s Ride and knocked

 The Monaco Casino.

Some day the croupiers’ furtive eyes

 Will all be wringing wet;

Even the Prince will hardly mince

 The language of regret

At entertaining unawares

 The famed Alhambra Pet.

But still not quite incognito

 I mark the moving scene,

In a tepid zone where (like my own)

 The palms are ever green,

And find myself reported as

 A herald of the Queen.

55

Here where aloft the heavens are blue,

 And blue the seas below,

I roll my eye and fondly try

 To get the rhymes to go,

As I pace The Garden that I love,

 Composing all I know.

But when my poet-pinions droop,

 And all the air is wan,

I enter in to the courts of sin

 And put a louis on,

And hold my heart and look again,

 And lo! the thing is gone!

Wrong? is it wrong? To baser crafts

 Has England’s Alfred pandered,

Who once to the sign of Phœbus’ shrine

 With awesome gait meandered,

And ever wrote in the cause of right

 According to his Standard?

56

Nay! this is life! to take a turn

 On Fortune’s captious crust;

To pluck the day in a human way

 Like men of common dust;

But O! if England’s only bard

 Should absolutely bust!

A laureate never borrows on

 His coming quarter’s pay;

And I mean to stop or ever I pop

 My crown of peerless bay;

So I’ll take the next rapide to Nice,

 And the ’bus to Cimiez.

Mentone, Feb., 1896.


57

IV. LILITH LIBIFERA.

Exhumed from out the inner cirque of Hell

 By kind permission of the Evil One,

 Behold her devilish presentment, done

By Master Aubrey’s weird unearthly spell!

This is that Lady known as Jezebel,

 Or Lilith, Eden’s woman-scorpion,

 Libifera, that is, that takes the bun,

Borgia, Vivien, Cussed Damosel.

Hers are the bulging lips that fairly break

 The pumpkin’s heart; and hers the eyes that shame

 The wanton ape that culls the cocoa-nuts.

Even such the yellow-bellied toads that slake

 Nocturnally their amorous-ardent flame

 In the wan waste of weary water-butts.


58

V. ARS POSTERA.

[On an advertisement of A Comedy of Sighs.]

Mr. Aubrey Beer de Beers,

 You’re getting quite a high renown;

Your Comedy of Leers, you know,

 Is posted all about the town;

This sort of stuff I cannot puff,

 As Boston says, it makes me ‘tired’;

Your Japanee-Rossetti girl

 Is not a thing to be desired.

Mr. Aubrey Beer de Beers,

 New English Art (excuse the chaff)

Is like the Newest Humour style,

 It’s not a thing at which to laugh;

But all the same, you need not maim

 A beauty reared on Nature’s rules;

A simple maid au naturel

 Is worth a dozen spotted ghouls.

59

Mr. Aubrey Beer de Beers,

 You put strange phantoms on our walls,

If not so daring as To-day’s,

 Nor quite so Hardy as St. Paul’s;

Her sidelong eyes, her giddy guise,––

 Grande Dame Sans Merci she may be;

But there is that about her throat

 Which I myself don’t care to see.

Mr. Aubrey Beer de Beers,

 The Philistines across the way,

They say her lips––well, never mind

 Precisely what it is they say;

But I have heard a drastic word

 That scarce is fit for dainty ears;

But then their taste is not the kind

 Of taste to flatter Beer de Beers.

Bless me, Aubrey Beer de Beers,

 On fair Elysian lawns apart

Burd Helen of the Trojan time

 Smiles at the latest mode of Art;

60

Howe’er it be, it seems to me,

 It’s not important to be New;

New Art would better Nature’s best,

 But Nature knows a thing or two.

Aubrey, Aubrey Beer de Beers,

 Are there no models at your gate,

Live, shapely, possible and clean?

 Or won’t they do to ‘decorate’?

Then by all means bestrew your scenes

 With half the lotuses that blow,

Pothooks and fishing-lines and things,

 But let the human woman go!


61

VI. A NEW BLUE BOOK.

[It was hardly to be supposed that the young decadents who once rioted ... in the Yellow Book would be content to remain in obscurity after the metamorphosis of that periodical and the consequent exclusion of themselves. The Savoy, we learn, to be edited by Mr. Arthur Symons and Mr. Aubrey Beardsley, will appear early in December.––Globe.]

‘The world’s great age begins anew,’

 Cold virtue’s weeds are cast;

Our heads are light, our tales are blue,

 And things are moving fast;

And no one any longer quarrels

With anybody else’s morals.

A racier journal stamps its pages

 With Beardsleys braver far;

A bolder Editor engages

 To shame the morning star,

On London Nights, not near so chilly,

Sampling a shadier Piccadilly.

62

Satyr and Faun their late repose

 Now burst like anything;

New Mænads, turning sprightlier toes,

 Enjoy a jauntier fling;

With lustier lips old Pan shall play

Drain-pipes along the sewer’s way.

Priapus, wrongly left for dead,

 Is dead no more than Pan;

Silenus rises from his bed

 And hiccups like a man;

There’s something rather chaste (between us)

About Priapus and Silenus.

O cease to brew your Bodley pap

 Whence all the spice is spent!

The splendour of its primal tap

 Was gone when Aubrey went;

Behold that subtle Sphinx prepare

Fresh liquors fit to lift your hair.

63

Another Magazine shall rise

 And paint the palsied town,

Of humbler hue, of simpler size,

 And sold at half a crown;

Please note the pregnant brand––Savoy,

And don’t confuse with saveloy.[*]

FOOTNOTES:

[*]

Saveloy, a kind of sausage; French cervelas, from its containing brains.––Skeat.


64

VII. TO A BOY-POET OF THE DECADENCE.

[Showing curious reversal of epigram––‘La nature l’a fait sanglier; la civilisation l’a réduit à l’état de cochon.’]

But my good little man, you have made a mistake

 If you really are pleased to suppose

That the Thames is alight with the lyrics you make;

 We could all do the same if we chose.

From Solomon down, we may read, as we run,

 Of the ways of a man and a maid;

There is nothing that’s new to us under the sun,

 And certainly not in the shade.

The erotic affairs that you fiddle aloud

 Are as vulgar as coin of the mint;

And you merely distinguish yourself from the crowd

 By the fact that you put ’em in print.

65

You’re a ’prentice, my boy, in the primitive stage,

 And you itch, like a boy, to confess:

When you know a bit more of the arts of the age

 You will probably talk a bit less.

For your dull little vices we don’t care a fig,

 It is this that we deeply deplore;

You were cast for a common or usual pig,

 But you play the invincible bore.


66

VIII. TO JULIA IN SHOOTING TOGS

and a Herrickose vein.

Whenas to shoot my Julia goes,

Then, then, (methinks) how bravely shows

That rare arrangement of her clothes!

So shod as when the Huntress Maid

With thumping buskin bruised the glade,

She moveth, making earth afraid.

Against the sting of random chaff

Her leathern gaiters circle half

The arduous crescent of her calf.

Unto th’ occasion timely fit,

My love’s attire doth show her wit,

And of her legs a little bit.

67

Sorely it sticketh in my throat,

She having nowhere to bestow’t,

To name the absent petticoat.

In lieu whereof a wanton pair

Of knickerbockers she doth wear,

Full windy and with space to spare.

Enlargéd by the bellying breeze,

Lord! how they playfully do ease

The urgent knocking of her knees!

Lengthways curtailéd to her taste

A tunic circumvents her waist,

And soothly it is passing chaste.

Upon her head she hath a gear

Even such as wights of ruddy cheer

Do use in stalking of the deer.

Haply her truant tresses mock

Some coronal of shapelier block,

To wit, the bounding billy-cock.

68

Withal she hath a loaded gun,

Whereat the pheasants, as they run,

Do make a fair diversión.

For very awe, if so she shoots,

My hair upriseth from the roots,

And lo! I tremble in my boots!


69

IX. THE LINKS OF LOVE.

My heart is like a driver-club,

 That heaves the pellet hard and straight,

That carries every let and rub,

 The whole performance really great;

My heart is like a bulger-head,

 That whiffles on the wily tee,

Because my love has kindly said

 She’ll halve the round of life with me.

My heart is also like a cleek,

 Resembling most the mashie sort,

That spanks the object, so to speak,

 Across the sandy bar to port;

And hers is like a putting-green,

 The haven where I boast to be,

For she assures me she is keen

 To halve the round of life with me.

70

Raise me a bunker, if you can,

 That beetles o’er a deadly ditch,

Where any but the bogey-man

 Is practically bound to pitch;

Plant me beneath a hedge of thorn,

 Or up a figurative tree,

What matter, when my love has sworn

 To halve the round of life with me?


71

X. SWORDS AND PLOUGHSHARES.

Part I. Presto Furioso.

Spontaneous Us!

O my Camarados! I have no delicatesse as a diplomat, but I go blind on Libertad!

Give me the flap-flap of the soaring Eagle’s pinions!

Give me the tail of the British lion tied in a knot inextricable, not to be solved anyhow!

Give me a standing army (I say ‘give me,’ because just at present we want one badly, armies being often useful in time of war).

I see our superb fleet (I take it that we are to have a superb fleet built almost immediately);

I observe the crews prospectively; they are constituted of various nationalities, not necessarily American;

I see them sling the slug and chew the plug;

I hear the drum begin to hum;

72

Both the above rhymes are purely accidental and contrary to my principles.

We shall wipe the floor of the mill-pond with the scalps of able-bodied British tars!

I see Professor Edison about to arrange for us a torpedo-hose on wheels, likewise an infernal electro-semaphore;

I see Henry Irving dead-sick and declining to play Corporal Brewster;

Cornell, I yell! I yell Cornell!

I note the Manhattan boss leaving his dry-goods store and investing in a small Gatling-gun and a ten-cent banner;

I further note the Identity evolved out of forty-four spacious and thoughtful States;

I note Canada as shortly to be merged in that Identity; similarly Van Diemen’s Land, Gibraltar and Stratford-on-Avon;

Briefly, I see Creation whipped!

O ye Colonels! I am with you (I too am a Colonel and on the pension-list);

73

I drink to the lot of you; to Colonels Cleveland, Hitt, Vanderbilt, Chauncey M. Depew, O’Donovan Rossa and the late Colonel Monroe;

I drink an egg-flip, a morning-caress, an eye-opener, a maiden-bosom, a vermuth-cocktail, three sherry-cobblers and a gin-sling!

Good old Eagle!

Part II. Intermezzo Doloroso.

[Allowing time for the fall of American securities to the extent of some odd hundred millions sterling; also for the Day of Rest.]


Part III. Andante Amabile.

 Who breathed a word of war?

Why, surely we are men and Plymouth brothers!

Pray, what in thunder should we cut each other’s

 Carotids for?

 Merciful powers forefend!

For we by gold-edged bonds are bound alway,

Besides a lot of things that never pay

 A dividend!

74

 Christmas! we cry thee Ave!

At such a time, when hearts with love are filled,

It seems inopportune for us to build

 The needful navy.

 In fact in many a church

Uprise the prayer and supplicating psalm

That Heaven would keep our spreading Eagle calm

 Upon his perch.

 Goodwill and peace and plenty!

Our leading congregations here agree

To vote for this arrangement, nemine

 Contradicente.

 Greatly be they extolléd

Who occupied the tabernacle-chair

And put it to the meeting then and there

 And passed it solid!

 That print has also played

A useful part that sent an invitation

To Redmond to relieve the situation

 (Answer prepaid).

75

 Say, Sirs, and shall we sever?

And mar the fair exchange of fatted steers,

Chicago pig, and eligible peers?

 No! never, never!

 Shall gore be made to flow?

Like kindred Sohrabs shall we knock our Rustums,

And blast our beautiful McKinley customs?

 Lord love us! no!

 Then, burst the sundering bar!

Our punctured pockets yearn across the ocean;

Till now we never had the faintest notion

 How dear you are!

 O love of other years!

Wall Street, aweary for her broken bliss,

Waits like a loving crocodile to kiss

 Again with tears!


76

XI. TO THE LORD OF POTSDAM.

[On sending a certain telegram.]

Majestic Monarch! whom the other gods,

 For fear of their immediate removal,

Consulting hourly, seek your awful nod’s

 Approval;

Lift but your little finger up to strike,

 And lo! ‘the massy earth is riven’ (Shelley),

The habitable globe is shaken like

 A jelly.

By your express permission for the last

 Eight years the sun has regularly risen;

And editors, that questioned this, have passed

 To prison.

In Art you simply have to say, “I shall!”

 Beethoven’s fame is rendered transitory;

And Titian cloys beside your clever all-

 -egory.

77

We hailed you Admiral: your eagle sight

 Foresaw Her Majesty’s benign intentions;

A uniform was ready of the right

 Dimensions.

Your wardrobe shines with all the shapes and shades,

 That genius can fix in fancy suitings;

For levées, false alarums, full parades

 And shootings.

But save the habit marks the man of gore

 Your spurs are yet to win, my callow Kaiser!

Of fighting in the field you know no more

 Than I, Sir!

When Grandpapa was thanking God with hymns

 For gallant Frenchmen dying in the ditches,

Your nurse had barely braced your little limbs

 In breeches.

78

And doubtless, where he roosts beside his bock,

 The Game Old Bird that played the leading fiddle

Smiles grimly as he hears your perky cock-

 -a-diddle.

Be well advised, my youthful friend, abjure

 These tricks that smack of Cleon and the tanners;

And let the Dutch instruct a German Boor

 In manners.

Nor were you meant to solve the nations’ knots,

 Or be the Earth’s Protector, willy-nilly;

You only make yourself and royal Pots-

 -dam silly.

Our racing yachts are not at present dressed

 In bravery of bunting to amuse you,

Nor can the licence of an honoured guest

 Excuse you.

79

But if your words are more than wanton play

 And you would like to meet the old sea-rover,

Name any course from Delagoa Bay

 To Dover.

Meanwhile observe a proper reticence;

 We ask no more; there never was a rumour

Of asking Hohenzollerns for a sense

 Of humour!


80

XII. FROM THE LORD OF POTSDAM.

We, William, Kaiser, planted on Our throne

By heaven’s grace, but chiefly by Our own,

Do deign to speak. Then let the earth be dumb,

And other nations cease their senseless hum!

 Seldom, if ever, does a chance arise

For Us to pose before Our people’s eyes;

But this is one of them, this natal day

Whereon Our Ancient and Imperial sway,

Which to the battle’s death-defying trump

Welded the States in one confounded lump,

(As many tasty meats are blent within

The German sausage’s encircling skin)

By Our decree is twenty-five precisely,

And, under Us (and God) still doing nicely.

 Therefore ye Princelings, Plenipotentates,

And Representatives of various States,

A cool Imperial pint your Kaiser drains,

Both to Our ‘more immediate’ domains,

And to Our lands, Our isles beyond the sea,

Our World-embracing Greater Germany!

81

Let loose the breathings of Our Royal Band,

We give a rouse––hoch! hoch!––to Helgoland!

[Kaiserliche Kapelle plays: O Helgoland! mein Helgoland! Air––Die Wacht am Rhein.]

William, Kaiser, continues:––

There are that languish on this festal day

Damned and impounded for lèse-majesté;

We, William, in Our plentitude of grace,

Propose to pardon every hundredth case;

And though their sentence was no more than just

We offer each a copy of Our bust,

With option of a fine; but, be it known,

Whoso again shall deem his life his own,

Or find in Ours the faintest flaw or fleck,

God helping, We will hang him by the neck.

Yea, he shall surely curse his impious star

That dares to question Who or where We are!

Worship your Cæsar, and (C.V.) your God;

Who spares the child may haply spoil the rod.

 Many Our uniforms, but We are one,

And one Our empire over which the sun,

Careering on his cloud-compulsive way,

Sets once, but never more than once, a day.

82

The seas are Ours: world-wide upon the oceans

Our fleet commands the liveliest emotions;

Go where you will, you find Our German manners

Prevailing under other people’s banners;

Go where you will, you cannot but remark

The cheap, but never nasty, German clerk;

Observe Our exports; do you ever see

Things made as they are made in Germany?

Always at home on Earth’s remotest shores

E.g., among Our loved, low-German Boers,

Freely Our folk expectorate, and there

Our German bands inflame the balmy air;

Likewise again Our passionate bassoons

Tickle the niggers of the Cameroons;

Or others over whom Our Eagle flaps

In places not at present on the maps.

 One more Imperial pint! your Kaiser drinks

To German intercourse with missing links!

Let loose the breathings of Our Royal Band,

We give––hoch! hoch!––Our glorious Hinterland!

[Kaiserliche Kapelle plays: O Hinterland! mein Hinterland! (Air as before); during which William, Kaiser, resumes his throne.]


83

XIII. ‘THE SPACIOUS TIMES.’

[On Drake’s return from his filibustering expedition of 1580 the Queen went on board his ship at Deptford, and after partaking of a banquet conferred on him the honour of knighthood, at the same time declaring herself mightily pleased with all that he had done.]

I wish that I had flourished then,

 When ruffs and raids were in the fashion,

When Shakespeare’s art and Raleigh’s pen

 Encouraged patriotic passion;

For though I draw my happy breath

 Beneath a Queen as good and gracious,

The times of Great Elizabeth

 Were more conveniently spacious.

Large-hearted age of cakes and ale!

 When, undeterred by nice conditions,

Good Master Drake would lightly sail

 On little privateer commissions;

Careering round with sword and flame

 And no pretence of polished manners,

He planted out in England’s name

 A most refreshing lot of banners.

84

Blest era, when the reckless tar,

 Elated by a sense of duty,

Feared not to face his country’s Bar

 But freely helped himself to booty;

Returning home with bulging hold

 The Queen would meet him, much excited,

Pronounce him worth his weight in gold

 And promptly have the hero knighted.

No Extra Special, piping hot,

 Broke out in unexpected Pyrrhics;

No Poet Laureate on the spot

 Composed apologetic lyrics;

Transpiring slowly by-and-by,

 The act was voted one of loyalty;

The nation winked the other eye,

 And pocketed the usual royalty.

Ere Reuter yet had found his range,

 These trifles done across the ocean

Produced upon the Stock Exchange

 No preternatural emotion;

85

Not yet the Kaiserlich I AM

 Made wingéd words and then repented;

He wrote as yet no telegram,

 Nor was, in fact, himself invented.

No Justice Hawkins gauged the fault

 Of irresponsible incursions;

The early Hawkins, gallant salt,

 Knew well the charm of such diversions;

Men never saw that moving sight

 When legal luminaries muster,

And very solemnly indict

 A well-conducted filibuster.

No Member had the hardy nerve

 To criticise our depredations

As unadapted to preserve

 The perfect comity of nations;

No High Commissioner would doubt

 If brigandage was quite judicial;

Indeed we mostly did without

 This rather eminent Official.

86

No Ministry would care a rap

 For theoretic arbitration;

They simply modified the map

 To meet the latest annexation;

And so without appeal to law,

 Or other needless waste of tissue,

The Lion, where he put his paw,

 Remained and propagated issue.

To-day we wax exceeding fat

 On lands our roving fathers raided;

And blush with holy horror at

 Their lawless sons who do as they did;

No doubt the age improves a lot,

 It grows more honest, more veracious;

But, as I said, the times are not

 Quite so conveniently spacious.


NOTE

To the Editors of The World and The National Observer, and to the Proprietors of Punch, I wish to express my thanks for their courtesy in permitting me to republish these verses.

O. S.


The Battle of the Bays.

Eighth Edition.

Price 3s. 6d. net. Fcap. 8vo. Price $1.25.

SOME PRESS OPINIONS.

“The new ‘Rejected Addresses’ of Mr. Owen Seaman are quite worthy to be ranked with the classic volumes of Horace and James.... The thing is done as well as it could be.... This little volume is merum sal.”––The Spectator.

“Mr. Kipling has never been so nimbly caught before, for Mr. Seaman has the art to reproduce his flute-notes as well as his big drum.... Several of the miscellaneous pieces are among the very best humourous poetry of this generation. We have laughed at nothing lately more than at ‘Ars Postera,’ at ‘A New Blue Book,’ at ‘To a Boy-Poet of the Decadence,’ and at ‘To Julia in Shooting Togs.’ But, after all, Mr. Seaman’s masterpiece up to date is certainly ‘To the Lord of Potsdam.’ ... This will live, or we are greatly mistaken, among the most effective examples of historical satire-lyric.”––The Saturday Review.

“It is certainly remarkable, in our dearth of great poetry, how good of its sort the satiric verse of our day is––so good, in fact, that nothing but the best will serve, and even the best, like Mr. Seaman’s, which in the day when Sir George Trevelyan was a wit would have taken people’s breath away, is apt to be treated as mere journalism.... But really it is the most characteristic expression of our time, using the accustomed forms of verse to point the neatest criticisms and the slyest of epigrams.... Mr. Seaman’s humourous imitation of Mr. Swinburne, Sir Edwin Arnold, Sir Lewis Morris, Mr. Kipling, and the rest, is in every case very funny.”––St. James’s Gazette.

“The book abounds in excellent fooling and really wholesome satire, the ingenuity and felicity of verse and expression giving it likewise a high artistic value.... Quips and cranks of audacious wit, strokes of a humour always sane and healthy, waylay the reader incessantly, and leave him no peace for laughter.”––The Westminster Gazette.

“Mr. Seaman must be tired of being compared to Calverley and J. K. S., but he is of their company, and, what is more, on their level. ‘The Battle of the Bays’ ... bristles with points; it is brilliant, ... and it has that easy conversational flow which is the one absolutely necessary characteristic of good humourous poetry.... One charm of writing such as Mr. Seaman’s is that it makes us feel quite obliged to poets whom we have never admired for being so good to parody.”––Pall Mall Gazette.

“Mr. Owen Seaman has a very neat talent for parody.... The ‘Ballad of a Bun’ is exceedingly funny, and ought to make even Mr. John Davidson laugh.... All the imitations are good.”––The Times.

“His versatility and bright and ready wit are conspicuous in all his work. As a parodist he is second to none, not even to Mr. Calverley, if we may take the word of the reviewers.... Mr. Seaman cracks the whip with consummate skill, and applies it with such naughty precision, that even his victims must find it difficult to withhold their admiration.”––The National Observer.


BY THE SAME AUTHOR.

Horace at Cambridge

New and Revised Edition.
Price 3s. 6d. net. Fcap. 8vo. Price $1.25.

“To every university man ... this book will be a rare treat. But in virtue of its humour, its extreme and felicitous dexterity of workmanship both in rhyme and metre ... it will appeal to a far wider public.”––Punch.

“We very cordially recommend Mr. Seaman’s book ... to all who are likely to care for verse which is not unworthy to be ranked with the efforts of Calverley the immortal.”––The World.

“Mr. Seaman manages his ingenious metres with unfailing skill.”––The Athenæum.

“A genial cynic with a genuine smack of Bon Gaultier.”––St. James’s Gazette.

“The humour is bright and spontaneous.”––The Times.

“Mr. Seaman’s book is never slipshod; it has the neatness, the precision, the sparkle of its Latin namesake.”––The Spectator.

Tillers of the Sand

Smith, Elder & Co., London. 3s. 6d.

“In the political sphere Mr. Seaman is at present without a rival.”––The Globe.

“Taken as a whole, we are much mistaken if any better volume of political verse has made its appearance since the days of the Rolliad and the Anti-Jacobin.”––The World.

“The best of the satirists on the other side is Mr. Owen Seaman, who has touched off some of the weaknesses of the late government with very happy and caustic humour.”––The Spectator.

“Mr. Seaman is own brother to Calverley, and in modern times there has been nothing so good of its sort as ‘Tillers of the Sand.’... Mr. Seaman proves himself so brilliant a jester that it needs must be he takes the jester’s privilege of offending no one.”––The Speaker.

“One of the most accomplished writers of occasional verse to-day.”––Bookman.

“It is all so good that passages are hard to choose.”––Scotsman.

“The author’s rare quality––a capacity for satirizing one’s political opponents with a wit that leaves no wound.”––Mr. James Payn in The Illustrated London News.

“Brilliant and inimitable.”––Chicago Daily News.

In Cap and Bells

Fifth Edition.
Price 3s. 6d. net. Fcap. 8vo. Price $1.25.

“Here is no shouting, no banging of the bauble. The form of phrase, the inflexion of voice, the dancing light of humour, make up the motley which is the true jester’s ‘only wear’; and under his flashes of merriment is a sober, sound philosophy. This, after all, is the only kind of humour that lasts ... it is easy to appreciate, difficult to acquire; and Mr. Owen Seaman, having acquired it with all the felicity of good humour and art, stands practically alone among the humourists of the hour.... His technical quality seems to strengthen with every new volume.”––Mr. Arthur Waugh in The St. James’ Gazette.

“Clean laughter, and scholarly wit; polished metre, and humorous phrase––these are to me the essential characteristics for which I am invariably glad to read Mr. Owen Seaman.”––Mr. Theodore Cook in Literature.

“The brilliant author of ‘Cap and Bells’ assumes, before the eyes of a later generation, the mantle of Crawley, and does the same sort of work more felicitously still.”––The Speaker.

“At the end of the volume Mr. Seaman gives agreeable evidence that, in the domain of memorial and complimentary verse, he has the knack of combining felicity of phrase with a wholesome avoidance alike of adulation and excess. The ‘In Memoriam’ lines to Lewis Carroll, with the graceful reference to Sir John Tenniel, are particularly happy.”––The Spectator.

“Calverley had not, or did not show in his verses, Mr. Seaman’s critical acuteness and depth.... As a critic in the form of parody, Mr. Seaman is without a rival.... Of his serious poems an ode to Queen Wilhelmina is a very graceful accomplishment of a difficult task.”––Mr. G. S. Street in The Pall Mall Magazine.

“Mr. Seaman is what we may call a critic of mannerisms, and a very keen critic to boot. His is a useful, not a merely destructive, function. He is no wanton debaser of the poetic currency. One might rather call him a touchstone of true merit in poetry.”––Daily Chronicle.

“A new volume from the pen of Mr. Owen Seaman must needs be welcome. He is the most accomplished versifier among all our jesters.”––The Globe.

“The parodies in Mr. Seaman’s new volume are wonderful examples of this difficult art; the Stephen Phillips, the Alfred Austin, the Watts-Dunton, and the George Meredith are faultless.”––Academy.

“Mr. Owen Seaman has already made his reputation as, perhaps, the surest modern poet to make you laugh, and the nature of his new collection of copies of verse cannot be better described than by saying that it is well worthy of his hand.... The book is heartsome and delightful all through.”––The Scotsman.

“The present vogue of Mr. Owen Seaman’s delightful parodies is very great.”––Liverpool Courier.

JOHN LANE: The Bodley Head, London & New York.


Transcriber Notes

Typographical inconsistencies have been changed and are highlighted and listed below.

Hyphenation standardized and is also listed below.

Archaic and variable spelling is preserved.

Author’s punctuation style is preserved, including some hyphenated words that are integral to a poem.


Transcriber Changes

The following changes were made to the original text:

Page 22: Was ’bellettrist’ (‘Heed not belletrist jargon.’)

Page 45: Was ’lachrimal’ (Year that has painfully tickled the lachrymal nerves of the Muses)

Page 84: Added semi-colon after ’Pyrrhics’ (Broke out in unexpected Pyrrhics;)

Page 88: Was ’applys’ and ’precison’ (Mr. Seaman cracks the whip with consummate skill, and applies it with such naughty precision, that even his victims must find it difficult to withhold their admiration.)

Page 89: Changed to single quotes (in modern times there has been nothing so good of its sort as ‘Tillers of the Sand.’)

Advertisements: Changed to single quotes (the dancing light of humour, make up the motley which is the true jester’s ‘only wear’; and under his flashes of merriment is a sober, sound philosophy.)

Advertisements: Was ’Arthuh’ (His technical quality seems to strengthen with every new volume.”––Mr. Arthur Waugh in The St. James’ Gazette.)






End of the Project Gutenberg EBook of The Battle of the Bays, by Owen Seaman

*** END OF THIS PROJECT GUTENBERG EBOOK THE BATTLE OF THE BAYS ***

***** This file should be named 29515-h.htm or 29515-h.zip *****
This and all associated files of various formats will be found in:
        https://www.gutenberg.org/2/9/5/1/29515/

Produced by Juliet Sutherland, Katherine Ward, and the
Online Distributed Proofreading Team at https://www.pgdp.net


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

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



*** START: FULL LICENSE ***

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

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


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at https://www.pglaf.org.


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at
https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected].  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     [email protected]


Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit https://pglaf.org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations.  To donate, please visit: https://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.


Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.


Most people start at our Web site which has the main PG search facility:

     https://www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.