The Project Gutenberg eBook of The Dreamers

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 Dreamers

Author: Theodosia Pickering Garrison

Release date: January 15, 2007 [eBook #20373]

Language: English

Credits: Produced by Jeffrey Johnson and the Online Distributed

Proofreading Team at http://www.pgdp.net (This file was

produced from images generously made available by The

Internet Archive/American Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK THE DREAMERS ***

THE DREAMERS

AND OTHER POEMS

BY

THEODOSIA GARRISON

NEW YORK

GEORGE H. DORAN COMPANY

COPYRIGHT, 1917,

BY GEORGE H. DORAN COMPANY

TO

F. J. F.

September, 1917

For the privilege of reprinting the poems included in this volume the author thanks the Editors of Scribner's, Harper's Magazine, Harper's Bazar, McClure's, Collier's Weekly, The Delineator, The Designer, Ainslee's, Everybody's, The Smart Set, The Cosmopolitan, Lippincott's, Munsey's, The Rosary, The Pictorial Review, The Bookman, and the Newark Sunday Call.

CONTENTS

THE DREAMERS

THREE SONGS IN A GARDEN

THE RETURN

BLACK SHEEP

MONSEIGNEUR PLAYS

UNBELIEF

THE SILENT ONE

THE ROSE

THE SONG OF THE YOUNG PAGE

THE NEW SPRING

THE BURDEN

THE BRIDE

THE SEER OF HEARTS

THE UNSEEN MIRACLE

THE APRIL BOUGHS

TRANSIENTS

THE MOTHER

WHEN PIERROT PASSES

THE POET

MAGDALEN

A SALEM MOTHER

THE DAYS

THE CALL

THE PARASITE

YOUTH

THE EMPTY HOUSE

THE BROKEN LUTE

ORCHARDS

TWILIGHT

A LOVE SONG

OLD BOATS

BEAUTY

A SONG

MOTHERS OF MEN

LOVELACE GROWN OLD

SHADE

THE VAGABOND

DISTANCE

THE GYPSYING

GOOD-BYE, PIERRETTE

THE AWAKENING

THE WEDDING GOWN

THE DISCIPLES

THE UNKNOWING

HEART OF A HUNDRED SORROWS

THE RETURNING

THE INLANDER

AD FINEM

A SONG OF HELOISE

THE RETURN

THE POPLARS

THE LITTLE JOYS

SONGS OF HIMSELF

HIMSELF

THE FAIR

HIS DANCING DAYS

SHEILA

THE GRIEF

THE INTRODUCTION

THE STAY-AT-HOME

THE DREAMERS

The gypsies passed her little gate—

She stopped her wheel to see,—

A brown-faced pair who walked the road,

Free as the wind is free;

And suddenly her tidy room

A prison seemed to be.

Her shining plates against the walls,

Her sunlit, sanded floor,

The brass-bound wedding chest that held

Her linen's snowy store,

The very wheel whose humming died,—

Seemed only chains she bore.

She watched the foot-free gypsies pass;

She never knew or guessed

The wistful dream that drew them close—

The longing in each breast

Some day to know a home like hers,

Wherein their hearts might rest.

THREE SONGS IN A GARDEN

I

White rose-leaves in my hands,

I toss you all away;

The winds shall blow you through the world

To seek my wedding day.

Or East you go, or West you go

And fall on land or sea,

Find the one that I love best

And bring him here to me.

And if he finds me spinning

'Tis short I'll break my thread;

And if he finds me dancing

I'll dance with him instead;

If he finds me at the Mass—

(Ah, let this not be,

Lest I forget my sweetest saint

The while he kneels by me!)

II

My lilies are like nuns in white

That guard me well all day,

But the red, red rose that near them grows

Is wiser far than they.

Oh, red rose, wise rose,

Keep my secret well;

I kiss you twice, I kiss you thrice

To pray you not to tell.

My lilies sleep beneath the moon,

But wide awake are you,

And you have heard a certain word

And seen a dream come true.

Oh, red rose, wise rose,

Silence for my sake,

Nor drop to-night a petal light

Lest my white lilies wake.

III

Will the garden never forget

That it whispers over and over,

"Where is your lover, Nanette?

Where is your lover—your lover?"

Oh, roses I helped to grow,

Oh, lily and mignonette,

Must you always question me so,

"Where is your lover, Nanette?"

Since you looked on my joy one day,

Is my grief then a lesser thing?

Have you only this to say

When I pray you for comforting?

Now that I walk alone

Here where our hands were met,

Must you whisper me every one,

"Where is your lover, Nanette?"

I have mourned with you year and year,

When the Autumn has left you bare,

And now that my heart is sere

Does not one of your roses care?

Oh, help me forget—forget,

Nor question over and over,

"Where is your lover, Nanette?

Where is your lover—your lover?"

THE RETURN

I lost Young Love so long ago

I had forgot him quite,

Until a little lass and lad

Went by my door to-night.

Ah, hand in hand, but not alone,

They passed my open door,

For with them walked that other one

Who paused here Mays before.

And I, who had forgotten long,

Knew suddenly the grace

Of one who in an empty land

Beholds a kinsman's face.

Oh, Young Love, gone these many years,

'Twas you came back to-night,

And laid your hand on my two eyes

That they might see aright,

And took my listless hand in yours

(Your hands without a stain),

And touched me on my tired heart

That it might beat again.

BLACK SHEEP

"Black Sheep, Black Sheep,

Have you any wool?"

"That I have, my Master,

Three bags full."

One is for the mother who prays for me at night—

A gift of broken promises to count by candle-light.

One is for the tried friend who raised me when I fell—

A gift of weakling's tinsel oaths that strew the path to hell.

And one is for the true love—the heaviest of all—

That holds the pieces of a faith a careless hand let fall.

Black Sheep, Black Sheep,

Have you ought to say?

A word to each, my Master,

Ere I go my way.

A word unto my mother to bid her think o' me

Only as a little lad playing at her knee.

A word unto my tried friend to bid him see again

Two laughing lads in Springtime a-racing down the glen.

A word unto my true love—a single word—to pray

If one day I cross her path to turn her eyes away.

MONSEIGNEUR PLAYS

Monseigneur plays his new gavotte—

Within her gilded chair the Queen

Listens, her rustling maids between;

A very tulip-garden stirred

To hear the fluting of a bird;

Faint sunlight through the casement falls

On cupids painted on the walls

At play with doves. Precisely set

Awaits the slender legged spinet

Expectant of its happy lot,

The while the player stays to twist

The cobweb ruffle from his wrist.

A pause, and then—(Ah, whisper not)

Monseigneur plays his new gavotte.

Monseigneur plays his new gavotte—

Hark, 'tis the faintest dawn of Spring,

So still the dew drops whispering

Is loud upon the violets;

Here in this garden of Pierrettes'

Where Pierrot waits, ah, hasten Sweet,

And hear; on dainty, tripping feet

She comes—the little, glad coquette.

"Ah thou, Pierrot?" "Ah thou, Pierrette?"

A kiss, nay, hear—a bird wakes, then

A silence—and they kiss again,

"Ah, Mesdames, have you quite forgot—"

(So laughs his music.) "Love's first kiss?

Let this note lead you then, and this

Back to that fragrant garden-spot."

Monseigneur plays his new gavotte.

Monseigneur plays his new gavotte—

Ah, hear—in that last note they go

The little lovers laughing so;

Kissing their finger-tips, they dance

From out this gilded room of France.

Adieu! Monseigneur rises now

Ready for compliment and bow,

Playing about his mouth the while

Its cynical, accustomed smile,

Protests and, hand on heart, avers

The patience of his listeners.

"A masterpiece? Ah, surely not."

A grey-eyed maid of honour slips

A long stemmed rose across her lips

And drops it; does he guess her thought?

Monseigneur plays his new gavotte.

UNBELIEF

Your chosen grasp the torch of faith—the key

Of very certainty is theirs to hold.

They read Your word in messages of gold.

Lord, what of us who have no light to see

And in the darkness doubt, whose hands may be

Broken upon the door, who find but cold

Ashes of words where others see enscrolled,

The glorious promise of Life's victory.

Oh, well for those to whom You gave the light

(The light we may not see by) whose award

Is that sure key—that message luminous,

Yet we, your people stumbling in the night,

Doubting and dumb and disbelieving—Lord,

Is there no word for us—no word for us?

THE SILENT ONE

The moon to-night is like the sun

Through blossomed branches seen;

Come out with me, dear silent one,

And trip it on the green.

"Nay, Lad, go you within its light,

Nor stay to urge me so—

'Twas on another moonlit night

My heart broke long ago."

Oh loud and high the pipers play

To speed the dancers on;

Come out and be as glad as they,

Oh, little Silent one.

"Nay, Lad, where all your mates are met

Go you the selfsame way,

Another dance I would forget

Wherein I too was gay."

But here you sit long day by day

With those whose joys are done;

What mates these townfolk old and grey

For you dear Silent one.

"Nay, Lad, they're done with joys and fears.

Rare comrades should we prove,

For they are very old with years

And I am old with love."

THE ROSE

I took the love you gave, Ah, carelessly,

Counting it only as a rose to wear

A little moment on my heart no more,

So many roses had I worn before,

So lightly that I scarce believed them there.

But, Lo! this rose between the dusk and dawn

Hath turned to very flame upon my breast,

A flame that burns the day-long and the night,

A flame of very anguish and delight

That not for any moment yields me rest.

And I am troubled with a strange, new fear,

How would it be if even to your door

I came to cry your pitying one day,

And you should lightly laugh and lightly say,

"That was a rose I gave you—nothing more."

THE SONG OF THE YOUNG PAGE

All that I know of love I see

In eyes that never look at me;

All that I know of love I guess

But from another's happiness.

A beggar at the window I,

Who, famished, looks on revelry;

A slave who lifts his torch to guide

The happy bridegroom to his bride.

My granddam told me once of one

Whom all her village spat upon,

Seeing the church from out its breast

Had cast him cursed and unconfessed.

An outcast he who dared not take

The wafer that God's vicars break,

But dull-eyed watched his neighbours pass

With shining faces from the Mass.

Oh thou, my brother, take my hand,

More than one God hath blessed and banned

And hidden from man's anguished glance

The glory of his countenance.

All that I know of love I see

In eyes that never look at me;

All that I know of love I guess

But from another's happiness.

THE NEW SPRING

The long grief left her old—and then

Came love and made her young again

As though some newer, gentler Spring

Should start dead roses blossoming;

Old roses that have lain full long

In some forgotten book of song,

Brought from their darkness to be one

With lilting winds and rain and sun;

And as they too might bring away

From that dim volume where they lay

Some lyric hint, some song's perfume

To add its beauty to their bloom,

So love awakes her heart that lies

Shrouded in fragrant memories,

And bids it bloom again and wake

Sweeter for that old sorrow's sake.

THE BURDEN

The burden that I bear would be no less

Should I cry out against it; though I fill

The weary day with sound of my distress,

It were my burden still.

The burden that I bear may be no more

For all I bear it silently and stay

Sometimes to laugh and listen at a door

Where joy keeps holiday.

I ask no more save only this may be—

On life's long road, where many comrades fare,

One shall not guess, though he keep step with me,

The burden that I bear.

THE BRIDE

I

Though other eyes were turned to him,

He turned to look in mine;

Though others filled the cup abrim,

He might not taste the wine.

I am so glad my eyes were first

In which his own might sink;

I am so glad he went athirst

Until I bade him drink.

II

The Well-Belovèd took my hand

And led me to his fair abode,

The home that Love and he had planned.

(Strange that so well I knew the road.)

And through the open door we went,

And at our feet the hearth-light fell,

And I—I laughed in all content,

Seeing I knew the place so well.

Ah, to no stranger Love displayed

Its every nook, its every grace,

This was the House of Dreams I made

Long, long before I saw his face.

III

I jested over-much in days of old,

I looked on sorrow once and did not care,

Now Love hath crowned my head with very gold,

I will be worthy of the joy I wear.

There is not one a-hungered or a-cold

Shall seek my door but that he too shall share

Something of this vast happiness I hold;

I will be worthy of the joy I wear.

For I was hungered and Love spread the feast,

Cold—and He touched my heart and warmed it there,

Yea, crowned me Queen—I neediest of His least,

I will be worthy of the joy I wear.

THE SEER OF HEARTS

For mocking on men's faces

He only sees instead

The hidden, hundred traces

Of tears their eyes have shed.

Above their lips denying,

Through all their boasting dares,

He hears the anguished crying

Of old unanswered prayers.

And through the will's reliance

He only sees aright

A frightened child's defiance

Left lonely in the night.

THE UNSEEN MIRACLE

The Angel of the night when night was gone

High upon Heaven's ramparts, cried, "The Dawn!"

And wheeling worlds grew radiant with the one

And undiminished glory of the sun.

And Angel, Seraph, Saint and Cherubim

Raised to the morning their exultant hymn.

All Heaven thrilled anew to look upon

The great recurring miracle of dawn.

And in the little worlds beneath them—men

Rose, yawned and ate and turned to toil again.

THE APRIL BOUGHS

It was not then her heart broke—

That moment when she knew

That all her faith held holiest

Was utterly untrue.

It was not then her heart broke—

That night of prayer and tears

When first she dared the thought of life

Through all the empty years.

But when beneath the April boughs

She felt the blossoms stir,

The careless mirth of yesterday

Came near and smiled at her.

Old singing lingered in the wind,

Old joy came close again,

Oh, underneath the April boughs,

I think her heart broke then.

TRANSIENTS

They are ashamed who leave so soon

The Inn of Grief—who thought to stay

Through many a faithful sun and moon,

Yet tarry but a day.

Shame-faced I watch them pay the score,

Then straight with eager footsteps press

Where waits beyond its rose-wreathed door

The Inn of Happiness.

I wish I did not know that here,

Here too—where they have dreamed to stay

So many and many a golden year

They lodge but for a day.

THE MOTHER

So quietly I seem to sit apart;

I think she does not know or guess at all,

How dear this certain hour to my old heart,

When in our quiet street the shadows fall.

She leans and listens at the little gate.

I sit so still, not any eye might see

How watchfully before her there I wait

For that one step that brings my world to me.

She does not know that long before they meet

(So eagerly must go a love athirst),

My heart outstrips the flying of her feet,

And meets and greets him first—and greets him first.

WHEN PIERROT PASSES

High above his happy head

Little leaves of Spring were spread;

And adown the dewy lawn

Soft as moss the young green grass

Wooed his footsteps, and the dawn

Paused to watch him pass.

Even so he seemed in truth

Dancing between Love and Youth;

And his song as gay a thing

Still before him seemed to go

Light as any bird awing,

Blithe as jonquils in the Spring,

And we laughed and said, "Pierrot,

'Tis Pierrot."

"Oh," he sang, "Her hands are far

Sweeter than white roses are;

When I hold them to my lips,

Ere I dare a finer bliss,

Petal-like her finger-tips

Tremble 'neath my kiss.

And the mocking of her eyes

Lures me like blue butterflies

Falling—lifting—of their grace,

And her mouth—her mouth is wine."

And we laughed as though her face

Suddenly illumed the place,

And we said, "'Tis Columbine,

Columbine."

THE POET

He made him a love o' dreams—

He raised for his heart's delight—

(As the heart of June a crescent moon)

A frail, fair spirit of light.

He gave her the gift of joy—

The gift of the dancing feet—

He made her a thing of very Spring—

Virginal—wild and sweet.

But when he would draw her near

To his eager heart's content,

As a sunbeam slips from the finger-tips

She slipped from his hold and went.

Virginal—wild—and sweet—

So she eludes him still—

The love that he made of dawn and shade

Of dominant want and will.

For ever the dream of man

Is more than the dreamer is;

Though he form it whole of his inmost soul,

Yet never 'tis wholly his.

Only is given to him

The right to follow and yearn

The loveliness he may not possess,

The vision that may not turn.

Never to hold or to bind—

Only to know how fleet

The dream that is and yet is not his,—

Virginal—wild—and sweet.

MAGDALEN

My father took me by the hand

And led me home again;

(He brought me in from sorrow

As you'd bring a child from rain).

The child's place at the hearth-stone,

The child's place at the board,

And the picture at the bed's head

Of wee ones wi' the Lord.

It's just a child come home he sees

To nestle at his arm;

(He brought me in from sorrow

As you'd bring a child from harm).

And of the two of us who sit

By hearth and candle-light,

There's just one hears a woman's heart

Break—breaking in the night.

A SALEM MOTHER

I

They whisper at my very gate,

These clacking gossips every one,

"We saw them in the wood of late,

Her and the widow's son;

The horses at the forge may wait,

The wool may go unspun."

I spread the food he loves the best,

I light the lamp when day is done,

Yet still he stays another's guest—

Oh, my one son, my son.

I would it burned in mine own breast

The spell he may not shun.

She hath bewitched him with her eyes.

(No goodly maid hath eyes as bright.)

Pale in the morn I watch him rise,

As one who wanders far by night.

The gossips whisper and surmise—

I hide me from the light.

II

Her hair is yellow as the corn,

Her eyes are bluer than the sky;

Behind the casement yester-morn,

I watched her passing by.

My son not yet had broken bread,

Yet from the table did he rise,

She said no word nor turned her head,

What then the spell that bade him stir,

Nor heeding any word I said,

Put by my hands and follow her.

III

He was so strong and wise and good—

Was there no other she might take,

Nor other mothers' hearts to break?

What though she bade the harvest fail,

What though she willed the cattle die,

So my son's soul was spared thereby.

My cattle fill the pasture-land,

The ripe fruit thickens on the tree,

My son, my son is lost to me.

IV

They burned a witch in our town,

On hangman's hill to-day;

And black the ashes drifted down,

Ashes black and grey,

Not white like those o' martyred folk

Whose souls are clean as they.

They burned a witch in our town,

Upon a windy hill,

For that she made the wells sink down

And wrought a young man ill,

The smoke rose black against the sky,

And hangs before it still.

They burned a witch in our town,

And sure they did but right,

And yet I would the rain could drown

That blackened hill from sight,

And some great wind might drive that cloud

'Twixt God and me this night.

THE DAYS

I call my years back, I, grown old,

Recall them day by day;

And some are dressed in cloth o' gold

And some in humble grey.

And those in gold glance scornfully

Or pass me unawares;

But those in grey come close to me

And take my hands in theirs.

THE CALL

I must be off where the green boughs beckon—

Why should I linger to barter and reckon?

The mart may pay me—the mart may cheat me,

I have had enough of the huckster's din,

The calm of the deep woods waits to greet me,

(Heart of the high hills, take me in.)

I must be off where the brooks are waking,

Where birds are building and green leaves breaking.

Why should the hold of an old task bind me?

I know of an eyrie I fain would win

Where a wind of the West shall seek me and find me,

(Heart of my high hills, take me in.)

I must be off where the stars are nearer,

Where feet go swifter and eyes see clearer,

Little I heed what the toilers name me—

I have heard the call that to miss were sin,

The April voices that clamour and claim me,

(Heart of my high hills, take me in.)

THE PARASITE

They brought to the little Princess, from her earliest hour of birth,

The lovely things, the beautiful things, the soft things of earth.

They covered her floor with crimson, they wrapped her in eiderdown;

They hung the windows with cloth of gold, lest her eyes look down;

(Lest the highway show an unlovely thing

And her eyes look down.)

They brought rare toys to her cradle, rich gems to her maidenhood;

All that she saw was beautiful, all that she heard was good.

When tumult rose in the city they bade her minstrels sing;

They drowned with the sound of music a people's clamouring;

(Lest she turn and hark to the highway,

And hear an unlovely thing.)

But there came a day of terror, when a cry too sharp and long

Tore through the streets of the city, through the soft, sweet song.

She bade her singers be silent—silent they stood in awe;

She raised the gold from the window; she looked down and saw.

(She leaned and looked on the highway,

She looked down and saw.)

She saw men driven like cattle, she heard the woman's cry,

She saw the white-faced children toil, and the weaklings die.

She saw the bound and the beaten beneath her like shifting sands,

And—she dropped the cloth on her window with her own white hands,

(She shut out her people's crying

With her own white hands.)

As a child may turn from a picture that he may not understand,

She turned to fragrance and music,—to soft things and bland.

If the Princess is blind to anguish, if the Princess is deaf to woe,

If the streets of her city may run with blood, and she not know,

Now theirs is the blame who have closed her in ease as in folded wings,

Who have barred the doors and windows, what time her minstrel sings,

Lest her eyes look down on the highway,

And look on unlovely things.

YOUTH

What do they know of youth, who still are young?

They but the singers of a golden song

Who may not guess its worth or wonder—flung

Like largesse to the throng.

We only,—young no longer,—old so long

Before its harmonies, stand marvelling—

Oh! we who listen—never they who sing.

Not for itself is beauty, but for us

Who gaze upon it with all reverent eyes;

And youth which sheds its glory luminous,

Gives ever in this wise:—

Itself the joy it may not realise.

Only we know, who linger overlong

Youth that is made of beauty and of song.

THE EMPTY HOUSE

April will come to the quiet town

That I left long ago,

Scattering primroses up and down—

Row upon happy row.

(Oh, little green lane, will she come your way,

To a certain path I know?)

April will pause by cottage and gate

In the wild, sweet evening rain,

Where the garden borders run brown and straight,

To coax them to bloom again.

(Oh, little sad garden that once was gay,

Must she call to you all in vain?)

April will come to cottage and hill,

Laughing her lovers awake.

(Oh, little closed house, so cold and still,

Will she find you for old joy's sake,

And leave one primrose beside your door,

Lest the heart of your garden break?)

THE BROKEN LUTE

Good-bye, my song—I, who found words for sorrow,

Offer my joy to-day a useless lute.

In the deep night I sang me of the morrow;

The sun is on my face and I am mute.

Good-bye, my song, in you was all my yearning,

The prayer for this poor heart I wore so long.

Now love heaps roses where the wounds were burning;

What need have I for song?

Long since I sang of all one loves and misses;

How may I sing to-day who know no wrong?

My lips are all for laughter and for kisses.

Good-bye, my song.

ORCHARDS

Orchards in the Spring-time! Oh, I think and think of them,—

Filmy mists of pink and white above the fresh, young green,

Lifting and drifting,—how my eyes could drink of them,

I'm staring at a dirty wall beyond a big machine.

Orchards in the Spring-time! Deep in soft, cool shadows,—

Moving all together when the west wind blows

Fragrance upon fragrance over road and meadows—

I'm smelling heat and oil and sweat, and thick, black clothes.

Orchards in the Spring-time! The clean white and pink of them

Lifting and drifting with all the winds that blow.

Orchards in the Spring-time! Thank God I still can think of them!

You're not docked for thinking,—if the foreman doesn't know.

TWILIGHT

Below them in the twilight the quiet village lies,

And warm within its holding, the old folks and the wise,

But here within the open fields the paths of Eden show,

And, hand in hand, across them the little lovers go.

Below them in the village are peaceful folk and still,

They gossip of old yesterdays, of merry times or ill.

But here beyond the twilight stray two who only see

The promise of to-morrow—the dawn that is to be.

Below them in the village the quiet hearth-flames glow,

With friendly word and greeting the neighbours come and go,

But here the silence folds them together, each to each,

And lights within the mating eyes the dream beyond their speech.

Below them in the village stay honest toil and truth,—

They rest there who adventured the road of love and youth.

Smile out, old hearts, when once again two take the path you know,

And, hand in hand, at twilight the little lovers go.

A LOVE SONG

My love it should be silent, being deep—

And being very peaceful should be still—

Still as the utmost depths of ocean keep—

Serenely silent as some mighty hill.

Yet is my love so great it needs must fill

With very joy the inmost heart of me,

The joy of dancing branches on the hill,

The joy of leaping waves upon the sea.

OLD BOATS

I saw the old sea captain in his city daughter's house,

Shaved till his chin was pink, and brushed till his hair was flat,

In a broadcloth suit and varnished boots and a collar up to his ears.

(I'd seen him last with a slicker on and a tied down oilskin hat.)

And it happened that I went home last June, and saw in Mallory's yard

The old red dory that sprung a leak a couple of years ago,

Dragged out of good salt water and braced to stand in the grass

And be filled with dirt from stem to stern, where posies and such could grow.

Painted to beat the band, with vines strung over the sides

And red geraniums in the bow,—a boat that was built for water

Made into a flower garden. I looked, but I didn't laugh,

For I thought of the old sea captain living in town with his daughter.

BEAUTY

Sometimes, slow moving through unlovely days,

The need to look on beauty falls on me

As on the blind the anguished wish to see,

As on the dumb the urge to rage or praise;

Beauty of marble where the eyes may gaze

Till soothed to peace by white serenity,

Or canvas where one master hand sets free

Great colours that like angels blend and blaze.

O, there be many starved in this strange wise—

For this diviner food their days deny,

Knowing beyond their vision beauty stands

With pitying eyes—with tender, outstretched hands,

Eager to give to every passer-by

The loveliness that feeds a soul's demands.

A SONG

I am as weary as a child

That weeps upon its mother's breast

For joy of comforting. But I

Have no such place to rest.

I am as weary as a bird

Blown by wild winds far out to sea

When it regains its nest. But, Oh,

There waits no nest for me.

What think you may sustain the bird

That finds no housing after flight?

And what the little child console

Who weeps alone at night?

MOTHERS OF MEN

Mothers of men—the words are good indeed in the saying,

Pride in the very sound of them, strength in the sense of them, then

Why is it their faces haunt me, wistful faces as praying

Ever some dear thing vanished and ever a hope delaying,

Mothers of Men?

Mothers of Men, most patient, tenderly slow to discover

The loss of the old allegiance that may not return again.

You give a man to the world, you give a woman a lover—

Where is your solace then when the time of giving is over,

Mothers of Men?

Mothers of Men, but surely, the title is worth the earning.

You who are brave in feigning must I ever behold you then

By the door of an empty heart with the lamp of faith still burning,

Watching the ways of life for the sight of a child returning,

Mothers of Men?

LOVELACE GROWN OLD

I

My life has been like a bee that roves

Through a scented garden close,

And 'tis I who have kept the honey of love,

The hoarded sweetness and scent thereof,

For all I forget the rose.

Oh, exquisite gardens long forgot

That have made my store complete,

Though winter fall upon blossom and bee,

Yet the kisses I garnered remain with me

Forever and ever sweet.

II

The Priest hath had his word and said his say—

A word i' faith more honest than beguiling—

But now he turns upon his gloomy way—

Good soul, he leaves me smiling.

I may not ponder much on future wrath;

Of all those loves of mine, some six or seven,

Surely ere this have climbed that thorny path

That leads at last to Heaven.

My bold, brown beauties, eh, my delicate

And golden damsels with uncensuring eyes,

Not long once did you make your Lovelace wait

Outside of Paradise.

Much am I minded of a certain night—

A night of moon and drifting clouds that hid

The convent wall from overmuch of light

Whereby one watched forbid.

Watched, till he heard within the trembling sound

Of white, girl fingers on the rusting key

That turned her heart as well, till each unbound

Let in felicity.

Ah well, I have small fear—her eyes were blue;

Blue eyes remember though it cost them tears.

Who knows but that same hand shall lead me through

Another Gate of Fears.

In the same fashion, brave, yet most afraid,

Bold for her love yet trembling for her sin—

So, Saints were tricked before. My blue-eyed maid,

Be there to let me in.

III

Since I loved you for a day—Ah, a day, the fleetest—

Since I sighed and rode away when our love was sweetest,

So shall you remember me, now that youth is over,

Fairly, of your courtesy, as your fondest lover.

Since I turned and said good-bye when my heart was truest,

Since we parted, you and I, when our joy was newest,

Love might never turn to doubt and from doubt to scorning.

We but lived his sweetness out twixt a night and morning.

So shall you remember me, eager in pursuing,

Faithful as a man must be in his time o' wooing.

Greater loves but stay and pine so, now youth is over,

Smiling shall you think of mine—mine, your fondest lover.

SHADE

The kindliest thing God ever made,

His hand of very healing laid

Upon a fevered world, is shade.

His glorious company of trees

Throw out their mantles, and on these

The dust-stained wanderer finds ease.

Green temples, closed against the beat

Of noontime's blinding glare and heat,

Open to any pilgrim's feet.

The white road blisters in the sun;

Now, half the weary journey done,

Enter and rest, Oh weary one!

And feel the dew of dawn still wet

Beneath thy feet, and so forget

The burning highway's ache and fret.

This is God's hospitality,

And whoso rests beneath a tree

Hath cause to thank Him gratefully.

THE VAGABOND

The little dream she had forgot

Oh, long and long ago,

Came back across the April fields

And touched her garment so

(As might a wind-blown primrose cling

And one scarce guess or know.)

A little beggared outcast dream

Forgot of Love and men,

And all because a fiddler played

An old song in the glen,

And two Young Lovers hand in hand,

Sent back its tune again.

The little dream she had forgot

Crept near and clung and stayed—

A roving, ragged vagabond

Half daring, half afraid,

And all because young love went by

And one old fiddler played.

DISTANCE

A hundred miles between us

Could never part us more

Than that one step you took from me

What time my need was sore.

A hundred years between us

Might hold us less apart

Than that one dragging moment

Wherein I knew your heart.

Now what farewell is needed

To all I held most dear,

So far and far you are from me

I doubt if you could hear.

THE GYPSYING

I wish we might go gypsying one day the while we're young—

On a blue October morning

Beneath a cloudless sky,

When all the world's a vibrant harp

The winds o' God have strung,

And gay as tossing torches the maples light us by;

The rising sun before us—a golden bubble swung—

I wish we might go gypsying one day the while we're young.

I wish we might go gypsying one day before we're old—

To step it with the wild west wind

And sing the while we go,

Through far forgotten orchards

Hung with jewels red and gold;

Through cool and fragrant forests where never sun may show,

To stand upon a high hill and watch the mist unfold—

I wish we might go gypsying one day before we're old.

I wish we might go gypsying, dear lad, the while we care—

The while we've heart for hazarding,

The while we've will to sing,

The while we've wit to hear the call

And youth and mirth to spare,

Before a day may find us too sad for gypsying,

Before a day may find us too dull to dream and dare—

I wish we might go gypsying, dear lad, the while we care.

GOOD-BYE, PIERRETTE

Good-bye, Pierrette. The new moon waits

Like some shy maiden at the gates

Of rose and pearl, to watch us stand

This little moment, hand in hand—

Nor one red rose its watch abates.

The low wind through your garden prates

Of one this twilight desolates.

Ah, was it this your roses planned?

Good-bye, Pierrette.

Oh, merriest of little mates,

No sadder lover hesitates

Beneath this moon in any land;

Nor any roses, watchful, bland,

Look on a sadder jest of Fate's.

Good-bye, Pierrette.

THE AWAKENING

When the white dawn comes

I shall kneel to welcome it;

The dread that darkened on my eyes

Shall vanish and be gone.

I shall look upon it

As the parched on fountains,

Yet it was the blinding night

That taught the joy of dawn.

When the first bird sings,

Oh, I shall hear rejoicing,

And all my life shall thrill to it

And all my heart draw near.

I shall lean to listen

Lest a note elude me,

Yet it was the fearsome night

That taught me how to hear.

When the sun comes up

I shall lift my arms to it;

The fear of fear shall fall from me

As shackles from a slave.

I shall run to hail it,

Free and unbewildered,

Yet it was the silent night

That taught me to be brave.

THE WEDDING GOWN

She put her wedding-gown away

As tenderly as one might close,

With kissing lips and finger-tips,

The petals of a rose

Still held for the Belovèd's sake—

The loveliest that blows.

She put her wedding-gown away—

The quiet place was all astir

With vague perfume that filled the room,

Cedar and lavender,

Yet sweeter still about it clung

The fragrant thoughts of her.

She put her wedding-gown away—

Yet lingered where its whiteness gleamed

As one above a sleeping Love,

Oh, thus it was she seemed,

Reluctant still to turn and go

And leave him as he dreamed.

THE DISCIPLES

A great king made a feast for Love,

And golden was the board and gold

The hundred, wondrous gauds thereof;

Soft lights like roses fell above

Rare dishes exquisite and fine;

In jeweled goblets shone the wine—

A great king made a feast for Love.

Yet Love as gladly and full-fed hath fared

Upon a broken crust that two have shared;

And from scant wine as glorious dreams drawn up

Seeing two lovers kissed above the cup.

A great king made for Love's delight

A temple wonderful wherein

Served jeweled priest and acolyte;

There fell no darkness day or night

Since there his highest altar shone

With flaming gems as some white sun,

A temple made for Love's delight.

Yet Love hath found a temple as complete

In some bare attic where two lovers meet;

And made his altar by one candle's flame

Seeing two lovers burned it in his name.

THE UNKNOWING

They do not know the awful tears we shed,

The tender treasures that we keep and kiss;

They could not be so still—our quiet dead

In knowing this.

They do not know what time we turn to fill

Love's empty chalice with a cheaper bliss;

They could not be so still—so very still

In knowing this.

HEART OF A HUNDRED SORROWS

Oh, Heart of a Hundred Sorrows,

Whose pity is great therefore,

The gift that thy children bring thee

Is ever a sorrow more.

Sure of thy dear compassion,

Concerned for our own relief,

Ever and ever we seek thee,

And each with his gift of grief.

Oh, not to reprove my brothers,

Yet I, who am less than less,

Would bring thee my joy of being

The rose of my happiness.

The spirit that makes my singing

The gladness without alloy,

Oh, Heart of a Hundred Sorrows,

I bring thee a little joy.

THE RETURNING

I said I will go back again where we

Were glad together. But my dear, my dear,

Where are the roses we were wont to see

The songs we used to hear?

I said the hearth-flame that once burned for us

I will renew with all the cheer of old,

Yet here within the circle luminous

Our very hearts are cold.

That was a barren garden that we found,

This was an empty house we came to meet,

We, who for all our longing, hear no sound

Of Love's returning feet.

THE INLANDER

I never climb a high hill

Or gaze across the lea,

But, Oh, beyond the two of them,

Beyond the height and blue of them,

I'm looking for the sea.

A blue sea—a crooning sea—

A grey sea lashed with foam—

But, Oh, to take the drift of it,

To know the surge and lift of it,

And 'tis I am longing for it as the homeless long for home.

I never dream at night-time

Or close my eyes by day,

But there I have the might of it,

The wind-whipped, sun-drenched sight of it,

That calls my soul away.

Oh, deep dreams and happy dreams,

Its dreaming still I'd be,

For still the land I'm waking in,

'Tis that my heart is breaking in,

And 'tis far where I'd be sleeping with the blue waves over me.

AD FINEM

I like to think this friendship that we hold

As youth's high gift in our two hands to-day

Still shall we find as bright, untarnished gold

What time the fleeting years have left us grey.

I like to think we two shall watch the May

Dance down her happy hills and Autumn fold

The world in flame and beauty, we grown old

Staunch comrades on an undivided way.

I like to think of Winter nights made bright

By book and hearth-flame when we two shall smile

At memories of to-day—we two content

To count our vanished dawns by candle-light

Seeing we hold in our old hands the while

The gift of gold youth left us as she went.

A SONG OF HELOISE

God send thee peace, Oh, great unhappy heart—

A world away, I pray that thou mayst rest

Softly as on the Well-Belovèd's breast,

Where ever in her wistful dreams thou art.

At dawn my prayer is all for thee, at noon

My very heart and, Oh, at night my tears

For all we walk alone the empty years

Nor meet neath any sun—neath any moon.

Yet must my love go with thee—all apart

From this the life I lend to lesser things;

God send to thee this night beneath its wings,

A little peace, Oh, great unhappy heart.

THE RETURN

I come to you grown weary of much laughter,

From jangling mirth that once seemed over-sweet,

From all the mocking ghosts that follow after

A man's returning feet;

Give me no word of welcome or of greeting

Only in silence let me enter in,

Only in silence when our eyes are meeting,

Absolve me of my sin.

I come to you grown weary of much living,

Open your door and lift me of your grace,

I ask for no compassion, no forgiving,

Only your face, your face;

Only in that white peace that is your dwelling

To come again, before your feet to sink,

And of your quiet as of wine compelling

Drink as the thirsting drink.

Be kind to me as sleep is kind that closes

With tender hands men's fever-wearied eyes,

Your arms are as a garden of white roses

Where old remembrance lies,

I, who am bruised with words and pierced with chiding,

Give me your silence as a Saint might give

Her white cloak for some hunted creature's hiding,

That he might rest and live.

THE POPLARS

My poplars are like ladies trim,

Each conscious of her own estate;

In costume somewhat over prim,

In manner cordially sedate,

Like two old neighbours met to chat

Beside my garden gate.

My stately old aristocrats—

I fancy still their talk must be

Of rose-conserves and Persian cats,

And lavender and Indian tea;—

I wonder sometimes as I pass

If they approve of me.

I give them greeting night and morn,

I like to think they answer, too,

With that benign assurance born

When youth gives age the reverence due,

And bend their wise heads as I go

As courteous ladies do.

Long may you stand before my door,

Oh, kindly neighbours garbed in green,

And bend with rustling welcome o'er

The many friends who pass between;

And where the little children play

Look down with gracious mien.

THE LITTLE JOYS

My little joys went by me

As little children run

Across the fields at sunset

When playing time is done.

And now alone at twilight

What is there may content

The heart that loved their laughter

And frolic merriment?

Ah well, who knows but still may dawn

Another fairer day

Wherein my little joys may come

A-dancing out to play.

SONGS OF HIMSELF

HIMSELF

The houseful that we were then, you could count us by the dozens,

The wonder was that sometimes the old walls wouldn't burst:

Herself (the Lord be good to her!), the aunts and rafts of cousins,

The young folks and the children,—but Himself came first.

Master of the House he was, and well for them that knew it:

His cheeks like winter apples and his head like snow;

Eyes as blue as water when the sun of March shines through it.

And steppin' like a soldier with his stick held so.

Faith, but he could tell a tale would serve a man for wages,

Sing a song would put the joy of dancin' in two sticks;

But Saints between themselves and harm that saw him in his rages,

Blazin' and oratin' over chess and politics.

Master of the House he was, and that beyond all sayin',

Eh, the times I've heard him exhortin' from his chair

The like of any Bishop, yet snappin' off his prayin'

To put the curse on Phelan's dog for howlin' in the prayer.

The times I've seen him walkin' out like Solomon in glory,

Salutin' with great elegance the gentry he might meet;

An eye for every pretty girl, an ear for every story,

And takin' as his just deserts the middle of the street.

Master of the House, with much to love and be forgiven,—

Yet, thinkin' of Himself to-day—Himself—I see him go

With that old light step of his, across the Courts of Heaven,

His hat a little sideways and his stick held so.

THE FAIR

The pick o' seven counties, so they're tellin' me, was there,

Horses racin' on the track, and fiddles on the green,

Flyin' flags and blowin' horns and all that makes a fair,

I'm hearin' that the like of it was something never seen.

So it is they're tellin' me,

Girl dear, it may be true—

I only know the bonnet strings

Beneath your chin were blue.

I'm hearin' that the cattle came that thick they stood in rows,

And Doolan's Timmy caught the pig and Terry climbed the pole,

They're tellin' me they showed the cream of everything that grows,

And never man had eyes enough for takin' in the whole.

So it is they're tellin' me,

Girl dear, it may be so,

I only know your little gown

Was whiter than the snow.

They're tellin' me the gentry came from twenty miles about,

And him that came from Ballinsloe sang limpin' Jamesey down,

And 'twas Himself, no less, stood by to give the prizes out,

They're tellin' me you'd hear the noise from here to Dublin town.

So it is they're tellin' me,

Girl dear, the same may be,

I only know that comin' home

You gave your word to me.

HIS DANCING DAYS

Never did I find me mate for charmin' an' delightin',

Never one that had me bate for courtin' an' for fightin';—

(A white moon at the crossroads then, and Denny with the fiddle;

The parish round admirin', when I danced down the middle.)

Up the earth and down again, me like you'd not discover;

Arrah! for the times before me dancin' days were over!

Never was a moon so low it didn't find me courtin',

Never blade I couldn't show a wilder way of sportin'.

(Is it at the fair I'd be, the gentry'd troop to talk with me;

Leapin' with delight was she,—the girl I'd choose to walk with me.)

'Twas I could win the pick of them from any lad or lover;

Arrah! for the times before me dancin' days were over!

What's come to all the lads to-day,—these mournful ways they're keepin',

Grudgin' any hour to play and wastin' nights in sleepin'.

(Readin' be the chimney-place,—that dacent in their habits,

You'd sooner get a fight or song be callin' upon rabbits.)

Faith, I'd change the lot for one rejoicin', rantin' rover,

The like of me, myself, before me dancin' days were over.

SHEILA

Katie had the grand eyes and Delia had a way with her,

And Mary had the Saints' face and Maggie's waist was neat,

But Sheila had the merry heart that travelled all the day with her,

That put the laughing on her lips and dancing in her feet.

I've met with martyrs in my time, and Faith! they make the best of it,

But 'tis the uncomplaining ones that wear a sorrow long,

'Twas Sheila had the better way and that's to make a jest of it,

To call her trouble out to dance and step it with a song.

Eh, but Sheila had the laugh the like of drink to weary ones,

(I've never heard the beat of it for all I've wandered wide.)

And out of all the girls I knew the tender ones—the dreary ones,—

'Twas only Sheila of the laugh that broke her heart and died.

THE GRIEF

The heart of me's an empty thing, that never stirs at all

For Moon-shine or Spring-time, or a far bird's call.

I only know 'tis living by a grief that shakes it so,—

Like an East wind in Autumn, when the old nests blow.

Grey Eyes and Black Hair, 'tis never you I blame.

'Tis long years and easy years since last I spoke your name.

And I'm long past the knife-thrust I got at wake or fair.

Or looking past the lighted door and fancying you there.

Grey Eyes and Black Hair—the grief is never this;

I've long forgot the soft arms—the first, wild kiss.

But, Oh, girl that tore my youth,—'tis this I have to bear,—

If you were kneeling at my feet I'd neither stay nor care.

THE INTRODUCTION

I'm askin' you'll be easy for a bit, Sir,

The lad's had little but a thrush's schoolin',

The blue skies and the fields, the little whipster,

'Tis time enough for something more—(But whisper)

He'll go the better for an easy rulin'.

Herself was always for the bit of readin'

But Denny here, he's great for growin' things,

There's not a primrose that he'd not be heedin'

Herself is right 'tis graver things he's needin'

The thrush is tamer when you clip his wings.

I'd never have you spare him with the learnin',

(And, Faith, 'tis little that the lad has had),

But if above his task you'll see him turnin'

To watch the fields—'tis just the thrush's yearnin'—

I'm askin' you'll be easy with the lad.

THE STAY-AT-HOME

Comin' or goin' still they spread the news,

About America how grand it is,

The wonders that are waitin' you to choose

And gold that common that like sand it is.

"And here you stick," says they. "Like some old tree

Stuck in the bog belaboured by all seasons.

What's ailin' ye?" says they. Well, leave them be,

I have me reasons.

There's Cormac's Hugh come back with all his talk,

Spreadin' and spendin' like a king he is.

The people flockin' down the way he'll walk,

Till in the middle of a ring he is.

But where's that one whose face was like a rose

The day he went, betwixt her tears and teasin's?

Married these five years—gone where no man knows,

Faith, I've me reasons.

"A likely lad," they say. "What's ailin' you,

The gold and riches over there it is."

Sure, I'm not doubtin' what they say is true

They have me leave to hurry where it is.

'Tis I will hold the treasure that endures,

The while I'm listenin' to their talks and treasons.

Oh, Sheila girl, those two blue eyes of yours,

Faith, I've me reasons.

*** END OF THE PROJECT GUTENBERG EBOOK THE DREAMERS ***

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.

Table of Contents

THE DREAMERS

AND OTHER POEMS

THEODOSIA GARRISON

CONTENTS

SONGS OF HIMSELF

SONGS OF HIMSELF

THE FULL PROJECT GUTENBERG LICENSE