The Project Gutenberg eBook of The sensitive plant, by Percy Bysshe Shelley This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: The sensitive plant Author: Percy Bysshe Shelley Illustrator: Laurence Housman Release Date: March 2, 2023 [eBook #70189] Language: English Produced by: Charlene Taylor and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) *** START OF THE PROJECT GUTENBERG EBOOK THE SENSITIVE PLANT *** Of this Special Edition on Japanese Paper only 50 copies have been printed for the Guild of Women-Binders, of which this is No. 38 [Illustration] THE SENSITIVE PLANT BY PERCY BYSSHE SHELLEY ILLUSTRATED BY LAURENCE HOUSMAN London: Printed for the Guild of Women-Binders. 61 Charing Cross Road. W.C. 1899 LIST OF ILLUSTRATIONS _Death in the garden_ (_page 42_) _Frontispiece_ _The winds ministering_ _To face page_ 19 _The dying narcissus_ ” 20 _The rose-nymph_ ” 22 _Pan covetous_ ” 26 _Night in the garden_ ” 30 _The ruling grace_ ” 34 _The garden enclosed_ ” 38 _The shadowed doorway_ ” 40 _The garden panic_ ” 46 _Pan paramount_ ” 48 _The garden entombed_ ” 52 THE SENSITIVE PLANT When Shelley wrote THE SENSITIVE PLANT he was drawing very near the end of his poetry. It was one of the poems belonging to the days at Pisa, whither the Shelleys had gone late in the January of 1820. In the next winter—a winter of many painful associations for him, and many discouragements and reminders of evil fortune—he wrote this mysterious song of beauty and death. The idea of it appears to have come to him from the flowers which Mrs. Shelley had collected round her in her own room at the house they occupied on the south side of the Arno. Their fragrance, as it exhaled on the wintry Italian sunshine, and the sense of their fading loveliness, added to certain graver influences of which we read,—the death of a dearly-loved child, the illness of a dear friend,—contributed, no doubt, to provide that “atmosphere of memorial dejection and very sorrowful delight,” of which an old Italian poet speaks, as being propitious for the working of the imagination. But a miracle is not less miraculous because we know the conditions under which it was worked, and something inexplicable remains about THE SENSITIVE PLANT after we have gathered together everything we can of its circumstances and the moods of its poet in the memorable Pisan days when it was written. All through this period, so far as we can gather, Shelley was extremely discouraged about his poetry and the reception it had attained hitherto. From Medwin and others we learn of the special resentment he felt at the continual hostilities of the powerful quarterly engines of critical opinion. In a letter to Ollier, he said, during 1820: “I doubt whether I shall write more. I could be content either with the hell or the paradise of poetry, but the torments of its purgatory vex me without exciting my powers sufficiently to put an end to the vexation.” However, when a poet of Shelley’s plenary inspiration decides not to write, he is likely to be impelled most strongly by his _dæmon_ to new flights. The “Ode to a Skylark,” the “Witch of Atlas,” the “Ode to Liberty,” among other poems, belong to this period; and with them we have the invincible declaration of the poet’s rights and inalienable liberties, to be found in his prose “Defence of Poetry.” One or two stanzas there are in the “Witch of Atlas,” and one or two passages in the “Defence,” which strike us as being more intimately connected with the occult imaginative origins of THE SENSITIVE PLANT than anything found elsewhere in his writings. Take the strange, melodious verses in which the radiant creature of the mountains is presented,—the lovely lady garmented in the light of her own beauty, to whom the camelopard and the brindled lioness, the herdsmen and the mountain maidens came: “_For she was beautiful: her beauty made_ _The bright world dim, and everything beside_ _Seemed like the fleeting image of a shade:_ _No thought of living spirit could abide_ _(Which to her looks had ever been betrayed)_ _On any object in the world so wide,_ _On any hope within the circling skies,_ _But in her form, and in her inmost eyes._ * * * * * “_The deep recesses of her odorous dwelling_ _Were stored with magic treasures—sounds of air,_ _Which had the power all spirits of compelling,_ _Folded in cells of crystal silence there._” * * * * * A few stanzas later, and we come to the idea of the strange seed, which was wrapt in mould, and watered all the summer with sweet dew. At length: “_The plant grew strong and green—the sunny flower_ _Fell, and the long and gourd-like fruit began_ _To turn the light and dew by inward power_ _To its own substance._” This brings us as near, I imagine, to the idea of THE SENSITIVE PLANT as we are likely to find ourselves in any other most Shelleyan region of his poetry. The lines recur persistently to the mind in reading the later poem; and almost as suggestively is it haunted by one passage at least in the “Defence,” which speaks with a sort of aerial eloquence of a Poetry whose art it is to arrest “the vanishing apparitions which haunt the interlunations of life, and veiling them, or in language or in form, sends them forth among mankind bearing sweet news of kindred joy to those with whom their sisters abide.” When one considers the rarity and the half-impalpable conditions of this chosen realm of his poetry, and turns to THE SENSITIVE PLANT as one of its most essential expressions, one is at first rendered half-incredulous of the power of a kindred art to interpret effectively such a poem. But, in fact, there is a much more concrete imagery—whether of flowers or weeds, directly presented or definitely symbolised; or of the Lady who haunts among them—than one at all remembers until one takes to conning its stanzas closely with an eye to such effects. THE SENSITIVE PLANT lends itself more readily to the art of the symbolist, in particular, than any other of Shelley’s poems. It would be quite possible for a critic with a turn for metaphysics, and a certain German patience of analytic ingenuity, to read into its exquisite fable of mortality a whole world of significance, which the poet himself had never suspected. But the symbolic artist, if he be too, as needs be, a symbolic poet, is saved by his art. The spirit of the poem is likely to obsess him, and compel from him only such an interpretation as is, allowing for the casual differences of kindred arts and sympathetic temperaments, truly and finely accordant with its own essential qualities and terms of expression. The true poets have that power of continuing to enlarge the original issues and influences of their song long after its immediate effect has died away. Shelley commands with a more than usual lyric enchantment a sphere that, like the magic house of Merlin, can go on enlarging itself; until one figures him, not as the sad spirit of the garden in this poem, but as the radiant spirit of his “Hymn of Apollo”: “_All harmony of instrument or verse,_ _All prophecy, all medicine are mine,_ _All light of art or nature—to my song_ _Victory and praise in their own right belong._” ERNEST RHYS. A NOTE UPON THE ILLUSTRATIONS In one sense a beautiful poem can never be illustrated: being beautiful it is already perfect, and, to intelligent minds, illustrates itself. Everything that it says it says in the best possible way; within the limits of the medium chosen, it is absolute. If, therefore, illustration is to be an attempt to say over again what the poet has already said perfectly, it is certain to prove itself superfluous, and to be nothing better than a labour of tautology. But there is a quality in all fine work which gives invitation into the charmed circle of its influence to whatever is freshly and sympathetically touched with the ideas it conveys. Great work tells so differently on different minds; not by contrary but by kindred ways it speaks freshly perhaps to each individual. Thus, to express accurately in another medium an appreciation, an individual sense of delight or emotion in work of finished and constructive beauty is the only way of illustration which seems to me profitable. The appreciation may be faulty; but in so far as it states a personal view of its subject, it has legitimate standing ground. I have endeavoured to make evident in my drawings the particular way in which this poem has appealed to me. The garden, fine and elaborate, full of artifice, opposing with an infinity of delicate labour the random overgrowth of the wilderness which seeks jealously to encroach on it, has perhaps this to hint concerning all forms of beauty of man’s devising,—that, in spite of the pains entailed in their cultivation, the fragile and conditional state of their constitution remains: over all such things at last comes the tread of Pan, effacing, and replacing with his own image and superscription, the parenthetic grace—so spiritual almost in some of its suggestions—of the garden deity. The lady of the garden, the charming sentimentalist, whom I can only excuse for not killing the slugs and snails by believing that she wore a crinoline and was altogether ignorant of natural laws, harmonises exquisitely for a while with her high-clipped hedges and garden statuary. It is an _ensemble_ to gaze into as into a picture: but the shadows of ruin and decay cross it; it is too graceful to last. Pan is stronger than any form of beauty that springs out of modes and fashions. So, when she dies, she is but the forerunner of the death of the whole garden: when she evaporates the _petite mort_ runs through all its bowers and alleys: its apparitions rise and follow her funeral with a sense that their own time of dissolution approaches; and the mode passes through a period of squalor and morbid abandonment back into the hands of the ultimate master of things earthly. It is an unpopular thing, may be, to assert that man’s sense of beauty is so conditional to himself and the uses he makes of it. Yet here we are shown how, with war to the death, unsightly overthrow follows his abandonment of his stolen pleasure-ground, and wipes out his trespassing footprints. Man’s sense of beauty is his own: it is not Nature’s. The aim of all art is to restrict Nature, and teach her that her place is not in the high places of men; and we only admire Nature because in the present strength of our civilisation we are strong enough to pet her. Hannibal was a better judge of the true unsightliness of Alpine scenery than we ourselves. I should have preferred to add nothing to what I have drawn: but an explanation of my unkind view of the rival claims of Pan and the Garden-god has been wrung from me. For the present the genius of civilisation, numerating duration into hours and years and centuries for man’s convenience, overrides the slow-crawling tortoise of Time: but it will not always be so; and earth will come at last to be altogether rid of us and that superfluous “sense of beauty” which has so long yoked her back, and hedged her wastes and furrowed her fields. LAURENCE HOUSMAN. [Illustration] THE SENSITIVE PLANT FIRST PART I A sensitive plant in a garden grew, And the young winds fed it with silver dew, And it opened its fan-like leaves to the light, And closed them beneath the kisses of night. II And the Spring arose on the garden fair, Like the Spirit of Love felt everywhere; And each flower and herb on Earth’s dark breast Rose from the dreams of its wintry rest. III But none ever trembled and panted with bliss In the garden, the field, and the wilderness, Like a doe in the noontide with love’s sweet want, As the companionless Sensitive Plant. [Illustration] IV The snowdrop, and then the violet, Arose from the ground with warm rain wet, And their breath was mixed with fresh odour, sent From the turf, like the voice and the instrument. V Then the pied windflowers and the tulip tall, And narcissi, the fairest among them all, Who gaze on their eyes in the stream’s recess, Till they die of their own dear loveliness; VI And the Naiad-like lily of the vale, Whom youth makes so fair and passion so pale, That the light of its tremulous bells is seen Through their pavilions of tender green; VII And the hyacinth purple, and white, and blue, Which flung from its bells a sweet peal anew Of music so delicate, soft, and intense, It was felt like an odour within the sense; [Illustration] VIII And the rose like a nymph to the bath addrest, Which unveiled the depth of her glowing breast, Till, fold after fold, to the fainting air The soul of her beauty and love lay bare: IX And the wand-like lily, which lifted up As a Mænad, its moonlight-coloured cup, Till the fiery star, which is its eye Gazed through clear dew on the tender sky; X And the jessamine faint, and the sweet tuberose, The sweetest flower for scent that blows; And all rare blossoms from every clime Grew in that garden in perfect prime. XI And on the stream whose inconstant bosom Was prankt under boughs of embowering blossom, With golden and green light, slanting through Their heaven of many a tangled hue, XII Broad water-lilies lay tremulously, And starry river-buds glimmered by, And around them the soft stream did glide and dance With a motion of sweet sound and radiance. XIII And the sinuous paths of lawn and moss, Which led through the garden along and across, Some open at once to the sun and the breeze, Some lost among bowers of blossoming trees, XIV Were all paved with daisies and delicate bells As fair as the fabulous asphodels, And flowrets which drooping as day drooped too, Fell into pavilions, white, purple, and blue, To roof the glow-worm from the evening dew. XV And from this undefiled Paradise The flowers (as an infant’s awakening eyes Smile on its mother, whose singing sweet Can first lull, and at last must awaken it), [Illustration] XVI When Heaven’s blithe winds had unfolded them, As mine-lamps enkindle a hidden gem, Shone smiling to Heaven, and every one Shared joy in the light of the gentle sun; XVII For each one was interpenetrated With the light and the odour its neighbour shed, Like young lovers whom youth and love make dear Wrapped and filled by their mutual atmosphere. XVIII But the Sensitive Plant which could give small fruit Of the love which it felt from the leaf to the root, Received more than all, it loved more than ever, Where none wanted but it, could belong to the giver, XIX For the Sensitive Plant has no bright flower; Radiance and odour are not its dower; It loves, even like Love, its deep heart is full, It desires what it has not, the beautiful! XX The light winds which from unsustaining wings Shed the music of many murmurings; The beams which dart from many a star Of the flowers whose hues they bear afar; XXI The plumèd insects swift and free, Like golden boats on a sunny sea, Laden with light and odour, which pass Over the gleam of the living grass; XXII The unseen clouds of the dew, which lie Like fire in the flowers till the sun rides high, Then wander like spirits among the spheres, Each cloud faint with the fragrance it bears; XXIII The quivering vapours of dim noontide, Which like a sea o’er the warm earth glide, In which every sound, and odour, and beam, Move, as reeds in a single stream; [Illustration] XXIV Each and all like ministering angels were For the Sensitive Plant sweet joy to bear, Whilst the lagging hours of the day went by Like windless clouds o’er a tender sky. XXV And when evening descended from Heaven above, And the Earth was all rest, and the air was all love, And delight, though less bright, was far more deep, And the day’s veil fell from the world of sleep, XXVI And the beasts, and the birds, and the insects were drowned In an ocean of dreams without a sound; Whose waves never mark, though they ever impress The light sand which paves it, consciousness; XXVII Only overhead the sweet nightingale Ever sang more sweet as the day might fail, And snatches of its Elysian chant Were mixed with the dreams of the Sensitive Plant. XXVIII The Sensitive Plant was the earliest Up-gathered into the bosom of rest; A sweet child weary of its delight, The feeblest and yet the favourite Cradled within the embrace of night. SECOND PART XXIX There was a Power in this sweet place, An Eve in this Eden; a ruling grace Which to the flowers, did they waken or dream, Was as God is to the starry scheme. [Illustration] XXX A Lady, the wonder of her kind, Whose form was upborne by a lovely mind Which, dilating, had moulded her mien and motion Like a sea-flower unfolded beneath the ocean, XXXI Tended the garden from morn to even: And the meteors of that sublunar Heaven, Like the lamps of the air when night walks forth, Laughed round her footsteps up from the Earth! XXXII She had no companion of mortal race, But her tremulous breath and her flushing face Told, whilst the morn kissed the sleep from her eyes, That her dreams were less slumber than Paradise: XXXIII As if some bright Spirit for her sweet sake Had deserted Heaven while the stars were awake, As if yet around her he lingering were, Though the veil of daylight concealed him from her. XXXIV Her step seemed to pity the grass it prest; You might hear by the heaving of her breast, That the coming and going of the wind Brought pleasure there and left passion behind. XXXV And wherever her airy footstep trod, Her trailing hair from the grassy sod Erased its light vestige, with shadowy sweep, Like a sunny storm o’er the dark green deep. XXXVI I doubt not the flowers of that garden sweet Rejoiced in the sound of her gentle feet; I doubt not they felt the spirit that came From her glowing fingers through all their frame. XXXVII She sprinkled bright water from the stream On those that were faint with the sunny beam; And out of the cups of the heavy flowers She emptied the rain of the thunder showers. [Illustration] XXXVIII She lifted their heads with her tender hands, And sustained them with rods and osier bands; If the flowers had been her own infants she Could never have nursed them more tenderly. XXXIX And all killing insects and gnawing worms, And things of obscene and unlovely forms, She bore in a basket of Indian woof, Into the rough woods far aloof, XL In a basket, of grasses and wild flowers full, The freshest her gentle hands could pull For the poor banished insects, whose intent, Although they did ill, was innocent. XLI But the bee and the beamlike ephemeris Whose path is the lightning’s, and soft moths that kiss The sweet lips of the flowers, and harm not, did she Make her attendant angels be. [Illustration] XLII And many an antenatal tomb, Where butterflies dream of the life to come, She left clinging round the smooth and dark Edge of the odorous cedar bark. XLIII This fairest creature from earliest spring Thus moved through the garden ministering All the sweet season of summer tide, And ere the first leaf looked brown—she died! THIRD PART XLIV Three days the flowers of the garden fair, Like stars when the moon is awakened, were, Or the waves of Baiæ, ere luminous She floats up through the smoke of Vesuvius. XLV And on the fourth, the Sensitive Plant Felt the sound of the funeral chant, And the steps of the bearers, heavy and slow, And the sobs of the mourners deep and low; XLVI The weary sound and the heavy breath, And the silent motions of passing death, And the smell, cold, oppressive, and dank, Sent through the pores of the coffin plank; XLVII The dark grass, and the flowers among the grass, Were bright with tears as the crowd did pass; From their sighs the wind caught a mournful tone, And sate in the pines, and gave groan for groan. XLVIII The garden, once fair, became cold and foul, Like the corpse of her who had been its soul; Which at first was lovely as if in sleep, Then slowly changed, till it grew a heap To make men tremble who never weep. XLIX Swift summer into the autumn flowed, And frost in the mist of the morning rode, Though the noonday sun looked clear and bright, Mocking the spoil of the secret night. L The rose leaves, like flakes of crimson snow, Paved the turf and the moss below. The lilies were drooping, and white, and wan, Like the head and the skin of a dying man. LI And Indian plants, of scent and hue The sweetest that ever were fed on dew, Leaf after leaf, day after day, Were massed into the common clay. LII And the leaves, brown, yellow, and grey, and red, And white with the whiteness of what is dead, Like troops of ghosts on the dry wind past; Their whistling noise made the birds aghast. [Illustration] LIII And the gusty winds waked the wingèd seeds Out of their birthplace of ugly weeds, Till they clung round many a sweet flower’s stem, Which rotted into the earth with them. LIV The water-blooms under the rivulet Fell from the stalks on which they were set; And the eddies drove them here and there, As the winds did those of the upper air. LV Then the rain came down, and the broken stalks Were bent and tangled across the walks; And the leafless network of parasite bowers Massed into ruin; and all sweet flowers. LVI Between the time of the wind and the snow, All loathliest weeds began to grow, Whose coarse leaves were splashed with many a speck Like the water-snake’s belly and the toad’s back. [Illustration] LVII And thistles, and nettles, and darnels rank, And the dock, and henbane, and hemlock dank, Stretched out its long and hollow shank, And stifled the air till the dead wind stank. LVIII And plants, at whose names the verse feels loath, Filled the place with a monstrous undergrowth, Prickly, and pulpous, and blistering, and blue, Livid, and starred with a lurid dew. LIX And agarics and fungi, with mildew and mould Started like mist from the wet ground cold; Pale, fleshy, as if the decaying dead With a spirit of growth had been animated! LX Their moss rotted off them, flake by flake, Till the thick stalk stuck like a murderer’s stake, Where rags of loose flesh yet tremble on high, Infecting the winds that wander by. LXI Spawn, weeds, and filth, a leprous scum, Made the running rivulet thick and dumb, And at its outlet flags huge as stakes Dammed it up with roots knotted like water-snakes. LXII And hour by hour, when the air was still, The vapours arose which have strength to kill: At morn they were seen, at noon they were felt, At night they were darkness no star could melt. LXIII And unctuous meteors from spray to spray Crept and flitted in broad noonday Unseen; every branch on which they alit By a venomous blight was burned and bit. LXIV The Sensitive Plant, like one forbid, Wept, and the tears within each lid Of its folded leaves which together grew Were changed to a blight of frozen glue. [Illustration] LXV For the leaves soon fell, and the branches soon By the heavy axe of the blast were hewn; The sap shrank to the root through every pore As blood to a heart that will beat no more. LXVI For Winter came: the wind was his whip: One choppy finger was on his lip: He had torn the cataracts from the hills And they clanked at his girdle like manacles. LXVII His breath was a chain which without a sound The earth, and the air, and the water bound; He came, fiercely driven, in his chariot-throne By the tenfold blasts of the arctic zone LXVIII Then the weeds which were forms of living death, Fled from the frost to the earth beneath: Their decay and sudden flight from frost Was but like the vanishing of a ghost! LXIX And under the roots of the Sensitive Plant The moles and the dormice died for want; The birds dropped stiff from the frozen air, And were caught in the branches naked and bare. LXX First there came down a thawing rain, And its dull drops froze on the boughs again, Then there steamed up a freezing dew Which to the drops of the thaw-rain grew; LXXI And a northern whirlwind, wandering about Like a wolf that had smelt a dead child out, Shook the boughs thus laden, and heavy and stiff, And snapped them off with his rigid griff. LXXII When winter had gone and spring came back The Sensitive Plant was a leafless wreck; But the mandrakes, and toadstools, and docks, and darnels, Rose like the dead from their ruined charnels. CONCLUSION LXXIII Whether the Sensitive Plant, or that Which within its boughs like a spirit sat Ere its outward form had known decay, Now felt this change, I cannot say. LXXIV Whether that lady’s gentle mind No longer with the form combined Which scattered love, as stars do light, Found sadness, where it left delight, LXXV I dare not guess; but in this life Of error, ignorance, and strife, Where nothing is, but all things seem, And we the shadows of the dream, LXXVI It is a modest creed, and yet Pleasant if one considers it, To own that death itself must be, Like all the rest, a mockery. LXXVII That garden sweet, that lady fair, And all sweet shapes and odours there, In truth have never past away: ’Tis we, ’tis ours, are changed; not they. LXXVIII For love, and beauty, and delight, There is no death nor change: their might Exceeds our organs, which endure No light, being themselves obscure. Printed by BALLANTYNE, HANSON & CO. London & Edinburgh *** END OF THE PROJECT GUTENBERG EBOOK THE SENSITIVE PLANT *** Updated editions will replace the previous one--the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away--you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ 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™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ 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™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ 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™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ 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™ 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™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than 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™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ 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™ 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™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 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™ 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™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (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™ 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™ 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™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ 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™ 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™ 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™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ 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™ trademark, and any other party distributing a Project Gutenberg™ 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™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ 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™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ 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™'s goals and ensuring that the Project Gutenberg™ 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™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws. The Foundation's business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation's website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org This website includes information about Project Gutenberg™, 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.