The Project Gutenberg eBook of The Defeat of Youth, and Other Poems

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 Defeat of Youth, and Other Poems

Author: Aldous Huxley

Release date: January 20, 2008 [eBook #24364]

Language: English

Credits: Produced by Tamise Totterdell and the Online Distributed
Proofreading Team at http://www.pgdp.net (This file was
produced from images generously made available by The
Internet Archive/Canadian Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK THE DEFEAT OF YOUTH, AND OTHER POEMS ***

T HE DEFEAT OF YOUTH AND OTHER POEMS BY ALDOUS HUXLEY, AUTHOR OF "THE BURNING WHEEL."

CONTENTS

Page
The Defeat of Youth | 5
Song of Poplars | 16
The Reef | 17
Winter Dream | 19
The Flowers | 20
The Elms | 21
Out of the Window | 21
Inspiration | 22
Summer Stillness | 23
Anniversaries | 23
Italy | 25
The Alien | 26
A Little Memory | 27
Waking | 28
By the Fire | 29
Valedictory | 31
Love Song | 32
Private Property | 33
Revelation | 34
Minoan Porcelain | 34
The Decameron | 35
In Uncertainty to a Lady | 35
Crapulous Impression | 36
The Life Theoretic | 37
Complaint of a Poet Manqué | 37
Social Amenities | 38
Topiary | 38
On the Bus | 39
Points and Lines | 39
Panic | 40
Return from Business | 40
Stanzas | 41
Poem | 42
Scenes of the Mind | 43
L'Après-Midi D'un Faune | 44
The Louse-Hunters | 48

THE DEFEAT OF YOUTH

I. UNDER THE TREES.

T here had been phantoms, pale-remembered shapes
Of this and this occasion, sisterly
In their resemblances, each effigy
Crowned with the same bright hair above the nape's
White rounded firmness, and each body alert
With such swift loveliness, that very rest
Seemed a poised movement: ... phantoms that impressed
But a faint influence and could bless or hurt
No more than dreams. And these ghost things were she;
For formless still, without identity,
Not one she seemed, not clear, but many and dim.
One face among the legions of the street,
Indifferent mystery, she was for him
Something still uncreated, incomplete.

II.

Bright windy sunshine and the shadow of cloud
Quicken the heavy summer to new birth
Of life and motion on the drowsing earth;
The huge elms stir, till all the air is loud
With their awakening from the muffled sleep
Of long hot days. And on the wavering line
That marks the alternate ebb of shade and shine,
Under the trees, a little group is deep
In laughing talk. The shadow as it flows
Across them dims the lustre of a rose,
Quenches the bright clear gold of hair, the green
Of a girl's dress, and life seems faint. The light
Swings back, and in the rose a fire is seen,
Gold hair's aflame and green grows emerald bright.

III.

She leans, and there is laughter in the face
She turns towards him; and it seems a door
Suddenly opened on some desolate place
With a burst of light and music. What before
Was hidden shines in loveliness revealed.
Now first he sees her beautiful, and knows
That he must love her; and the doom is sealed
Of all his happiness and all the woes
That shall be born of pregnant years hereafter.
The swift poise of a head, a flutter of laughter—
And love flows in on him, its vastness pent
Within his narrow life: the pain it brings,
Boundless; for love is infinite discontent
With the poor lonely life of transient things.

IV.

Men see their god, an immanence divine,
Smile through the curve of flesh or moulded clay,
In bare ploughed lands that go sloping away
To meet the sky in one clean exquisite line.
Out of the short-seen dawns of ecstasy
They draw new beauty, whence new thoughts are born
And in their turn conceive, as grains of corn
Germ and create new life and endlessly
Shall live creating. Out of earthly seeds
Springs the aerial flower. One spirit proceeds
Through change, the same in body and in soul—
The spirit of life and love that triumphs still
In its slow struggle towards some far-off goal
Through lust and death and the bitterness of will.

V.

One spirit it is that stirs the fathomless deep
Of human minds, that shakes the elms in storm,
That sings in passionate music, or on warm
Still evenings bosoms forth the tufted sleep
Of thistle-seeds that wait a travelling wind.
One spirit shapes the subtle rhythms of thought
And the long thundering seas; the soul is wrought
Of one stuff with the body—matter and mind
Woven together in so close a mesh
That flowers may blossom into a song, that flesh
May strangely teach the loveliest holiest things
To watching spirits. Truth is brought to birth
Not in some vacant heaven: its beauty springs
From the dear bosom of material earth.

VI. IN THE HAY-LOFT.

The darkness in the loft is sweet and warm
With the stored hay ... darkness intensified
By one bright shaft that enters through the wide
Tall doors from under fringes of a storm
Which makes the doomed sun brighter. On the hay,
Perched mountain-high they sit, and silently
Watch the motes dance and look at the dark sky
And mark how heartbreakingly far away
And yet how close and clear the distance seems,
While all at hand is cloud—brightness of dreams
Unrealisable, yet seen so clear,
So only just beyond the dark. They wait,
Scarce knowing what they wait for, half in fear;
Expectance draws the curtain from their fate.

VII.

The silence of the storm weighs heavily
On their strained spirits: sometimes one will say
Some trivial thing as though to ward away
Mysterious powers, that imminently lie
In wait, with the strong exorcising grace
Of everyday's futility. Desire
Becomes upon a sudden a crystal fire,
Defined and hard:—If he could kiss her face,
Could kiss her hair! As if by chance, her hand
Brushes on his ... Ah, can she understand?
Or is she pedestalled above the touch
Of his desire? He wonders: dare he seek
From her that little, that infinitely much?
And suddenly she kissed him on the cheek.

VIII. MOUNTAINS.

A stronger gust catches the cloud and twists
A spindle of rifted darkness through its heart,
A gash in the damp grey, which, thrust apart,
Reveals black depths a moment. Then the mists
Shut down again; a white uneasy sea
Heaves round the climbers and beneath their feet.
He strains on upwards through the wind and sleet,
Poised, or swift moving, or laboriously
Lifting his weight. And if he should let go,
What would he find down there, down there below
The curtain of the mist? What would he find
Beyond the dim and stifling now and here,
Beneath the unsettled turmoil of his mind?
Oh, there were nameless depths: he shrank with fear.

IX.

The hills more glorious in their coat of snow
Rise all around him, in the valleys run
Bright streams, and there are lakes that catch the sun,
And sunlit fields of emerald far below
That seem alive with inward light. In smoke
The far horizons fade; and there is peace
On everything, a sense of blessed release
From wilful strife. Like some prophetic cloak
The spirit of the mountains has descended
On all the world, and its unrest is ended.
Even the sea, glimpsed far away, seems still,
Hushed to a silver peace its storm and strife.
Mountains of vision, calm above fate and will,
You hold the promise of the freer life.

X. IN THE LITTLE ROOM.

London unfurls its incense-coloured dusk
Before the panes, rich but a while ago
With the charred gold and the red ember-glow
Of dying sunset. Houses quit the husk
Of secrecy, which, through the day, returns
A blank to all enquiry: but at nights
The cheerfulness of fire and lamp invites
The darkness inward, curious of what burns
With such a coloured life when all is dead—
The daylight world outside, with overhead
White clouds, and where we walk, the blaze
Of wet and sunlit streets, shops and the stream
Of glittering traffic—all that the nights erase,
Colour and speed, surviving but in dream.

XI.

Outside the dusk, but in the little room
All is alive with light, which brightly glints
On curving cup or the stiff folds of chintz,
Evoking its own whiteness. Shadows loom,
Bulging and black, upon the walls, where hang
Rich coloured plates of beauties that appeal
Less to the sense of sight than to the feel,
So moistly satin are their breasts. A pang,
Almost of pain, runs through him when he sees
Hanging, a homeless marvel, next to these,
The silken breastplate of a mandarin,
Centuries dead, which he had given her.
Exquisite miracle, when men could spin
Jay's wing and belly of the kingfisher!

XII.

In silence and as though expectantly
She crouches at his feet, while he caresses
His light-drawn fingers with the touch of tresses
Sleeked round her head, close-banded lustrously,
Save where at nape and temple the smooth brown
Sleaves out into a pale transparent mist
Of hair and tangled light. So to exist,
Poised 'twixt the deep of thought where spirits drown
Life in a void impalpable nothingness,
And, on the other side, the pain and stress
Of clamorous action and the gnawing fire
Of will, focal upon a point of earth—even thus
To sit, eternally without desire
And yet self-known, were happiness for us.

XIII.

She turns her head and in a flash of laughter
Looks up at him: and helplessly he feels
That life has circled with returning wheels
Back to a starting-point. Before and after
Merge in this instant, momently the same:
For it was thus she leaned and laughing turned
When, manifest, the spirit of beauty burned
In her young body with an inward flame,
And first he knew and loved her. In full tide
Life halts within him, suddenly stupefied.
Sight blackness, lightning-struck; but blindly tender
He draws her up to meet him, and she lies
Close folded by his arms in glad surrender,
Smiling, and with drooped head and half closed eyes.

XIV.

"I give you all; would that I might give more."
He sees the colour dawn across her cheeks
And die again to white; marks as she speaks
The trembling of her lips, as though she bore
Some sudden pain and hardly mastered it.
Within his arms he feels her shuddering,
Piteously trembling like some wild wood-thing
Caught unawares. Compassion infinite
Mounts up within him. Thus to hold and keep
And comfort her distressed, lull her to sleep
And gently kiss her brow and hair and eyes
Seems love perfected—templed high and white
Against the calm of golden autumn skies,
And shining quenchlessly with vestal light.

XV.

But passion ambushed by the aerial shrine
Comes forth to dance, a hoofed obscenity,
His satyr's dance, with laughter in his eye,
And cruelty along the scarlet line
Of his bright smiling mouth. All uncontrolled,
Love's rebel servant, he delights to beat
The maddening quick dry rhythm of goatish feet
Even in the sanctuary, and makes bold
To mime himself the godhead of the place.
He turns in terror from her trance-calmed face,
From the white-lidded languor of her eyes,
From lips that passion never shook before,
But glad in the promise of her sacrifice:
"I give you all; would that I might give more."

XVI.

He is afraid, seeing her lie so still,
So utterly his own; afraid lest she
Should open wide her eyes and let him see
The passionate conquest of her virgin will
Shine there in triumph, starry-bright with tears.
He thrusts her from him: face and hair and breast,
Hands he had touched, lips that his lips had pressed,
Seem things deadly to be desired. He fears
Lest she should body forth in palpable shame
Those dreams and longings that his blood, aflame
Through the hot dark of summer nights, had dreamed
And longed. Must all his love, then, turn to this?
Was lust the end of what so pure had seemed?
He must escape, ah God! her touch, her kiss.

XVII. IN THE PARK.

Laughing, "To-night," I said to him, "the Park
Has turned the garden of a symbolist.
Those old great trees that rise above the mist,
Gold with the light of evening, and the dark
Still water, where the dying sun evokes
An echoed glory—here I recognize
Those ancient gardens mirrored by the eyes
Of poets that hate the world of common folks,
Like you and me and that thin pious crowd,
Which yonder sings its hymns, so humbly proud
Of holiness. The garden of escape
Lies here; a small green world, and still the bride
Of quietness, although an imminent rape
Roars ceaselessly about on every side."

XVIII.

I had forgotten what I had lightly said,
And without speech, without a thought I went,
Steeped in that golden quiet, all content
To drink the transient beauty as it sped
Out of eternal darkness into time
To light and burn and know itself a fire;
Yet doomed—ah, fate of the fulfilled desire!—
To fade, a meteor, paying for the crime
Of living glorious in the denser air
Of our material earth. A strange despair,
An agony, yet strangely, subtly sweet
And tender as an unpassionate caress,
Filled me ... Oh laughter! youth's conceit
Grown almost conscious of youth's feebleness!

XIX.

He spoke abrupt across my dream: "Dear Garden,
A stranger to your magic peace, I stand
Beyond your walls, lost in a fevered land
Of stones and fire. Would that the gods would harden
My soul against its torment, or would blind
Those yearning glimpses of a life at rest
In perfect beauty—glimpses at the best
Through unpassed bars. And here, without, the wind
Of scattering passion blows: and women pass
Glitter-eyed down putrid alleys where the glass
Of some grimed window suddenly parades—
Ah, sickening heart-beat of desire!—the grace
Of bare and milk-warm flesh: the vision fades,
And at the pane shows a blind tortured face."

XX. SELF-TORMENT.

The days pass by, empty of thought and will:
His thought grows stagnant at its very springs,
With every channel on the world of things
Dammed up, and thus, by its long standing still,
Poisons itself and sickens to decay.
All his high love for her, his fair desire,
Loses its light; and a dull rancorous fire,
Burning darkness and bitterness that prey
Upon his heart are left. His spirit burns
Sometimes with hatred, or the hatred turns
To a fierce lust for her, more cruel than hate,
Till he is weary wrestling with its force:
And evermore she haunts him, early and late,
As pitilessly as an old remorse.

XXI.

Streets and the solitude of country places
Were once his friends. But as a man born blind,
Opening his eyes from lovely dreams, might find
The world a desert and men's larval faces
So hateful, he would wish to seek again
The darkness and his old chimeric sight
Of beauties inward—so, that fresh delight,
Vision of bright fields and angelic men,
That love which made him all the world, is gone.
Hating and hated now, he stands alone,
An island-point, measureless gulfs apart
From other lives, from the old happiness
Of being more than self, when heart to heart
Gave all, yet grew the greater, not the less.

XXII. THE QUARRY IN THE WOOD.

Swiftly deliberate, he seeks the place.
A small wind stirs, the copse is bright in the sun:
Like quicksilver the shine and shadow run
Across the leaves. A bramble whips his face,
The tears spring fast, and through the rainbow mist
He sees a world that wavers like the flame
Of a blown candle. Tears of pain and shame,
And lips that once had laughed and sung and kissed
Trembling in the passion of his sobbing breath!
The world a candle shuddering to its death,
And life a darkness, blind and utterly void
Of any love or goodness: all deceit,
This friendship and this God: all shams destroyed,
And truth seen now.
Earth fails beneath his feet.

SONG OF POPLARS

S hepherd, to yon tall poplars tune your flute:
Let them pierce, keenly, subtly shrill,
The slow blue rumour of the hill;
Let the grass cry with an anguish of evening gold,
And the great sky be mute.

Then hearken how the poplar trees unfold
Their buds, yet close and gummed and blind,
In airy leafage of the mind,
Rustling in silvery whispers the twin-hued scales
That fade not nor grow old.

"Poplars and fountains and you cypress spires
Springing in dark and rusty flame,
Seek you aught that hath a name?
Or say, say: Are you all an upward agony
Of undefined desires?

"Say, are you happy in the golden march
Of sunlight all across the day?
Or do you watch the uncertain way
That leads the withering moon on cloudy stairs
Over the heaven's wide arch?

"Is it towards sorrow or towards joy you lift
The sharpness of your trembling spears?
Or do you seek, through the grey tears
That blur the sky, in the heart of the triumphing blue,
A deeper, calmer rift?"

So; I have tuned my music to the trees,
And there were voices, dim below
Their shrillness, voices swelling slow
In the blue murmur of hills, and a golden cry
And then vast silences.

THE REEF

M y green aquarium of phantom fish,
Goggling in on me through the misty panes;
My rotting leaves and fields spongy with rains;
My few clear quiet autumn days—I wish

I could leave all, clearness and mistiness;
Sodden or goldenly crystal, all too still.
Yes, and I too rot with the leaves that fill
The hollows in the woods; I am grown less

Than human, listless, aimless as the green
Idiot fishes of my aquarium,
Who loiter down their dim tunnels and come
And look at me and drift away, nought seen

Or understood, but only glazedly
Reflected. Upwards, upwards through the shadows,
Through the lush sponginess of deep-sea meadows
Where hare-lipped monsters batten, let me ply

Winged fins, bursting this matrix dark to find
Jewels and movement, mintage of sunlight
Scattered largely by the profuse wind,
And gulfs of blue brightness, too deep for sight.

Free, newly born, on roads of music and air
Speeding and singing, I shall seek the place
Where all the shining threads of water race,
Drawn in green ropes and foamy meshes. There,

On the red fretted ramparts of a tower
Of coral rooted in the depths, shall break
An endless sequence of joy and speed and power:
Green shall shatter to foam; flake with white flake

Shall create an instant's shining constellation
Upon the blue; and all the air shall be
Full of a million wings that swift and free
Laugh in the sun, all power and strong elation.

Yes, I shall seek that reef, which is beyond
All isles however magically sleeping
In tideless seas, uncharted and unconned
Save by blind eyes; beyond the laughter and weeping

That brood like a cloud over the lands of men.
Movement, passion of colour and pure wings,
Curving to cut like knives—these are the things
I search for:—passion beyond the ken

Of our foiled violences, and, more swift
Than any blow which man aims against time,
The invulnerable, motion that shall rift
All dimness with the lightning of a rhyme,

Or note, or colour. And the body shall be
Quick as the mind; and will shall find release
From bondage to brute things; and joyously
Soul, will and body, in the strength of triune peace,

Shall live the perfect grace of power unwasted.
And love consummate, marvellously blending
Passion and reverence in a single spring
Of quickening force, till now never yet tasted,

But ever ceaselessly thirsted for, shall crown
The new life with its ageless starry fire.
I go to seek that reef, far down, far down
Below the edge of everyday's desire,

Beyond the magical islands, where of old
I was content, dreaming, to give the lie
To misery. They were all strong and bold
That thither came; and shall I dare to try?

WINTER DREAM

O h wind-swept towers,
Oh endlessly blossoming trees,
White clouds and lucid eyes,
And pools in the rocks whose unplumbed blue is pregnant
With who knows what of subtlety
And magical curves and limbs—
White Anadyomene and her shallow breasts
Mother-of-pearled with light.

And oh the April, April of straight soft hair,
Falling smooth as the mountain water and brown;
The April of little leaves unblinded,
Of rosy nipples and innocence
And the blue languor of weary eyelids.

Across a huge gulf I fling my voice
And my desires together:
Across a huge gulf ... on the other bank
Crouches April with her hair as smooth and straight and brown
As falling waters.
Oh brave curve upwards and outwards.
Oh despair of the downward tilting—
Despair still beautiful
As a great star one has watched all night
Wheeling down under the hills.
Silence widens and darkens;
Voice and desires have dropped out of sight.
I am all alone, dreaming she would come and kiss me.

THE FLOWERS

D ay after day,
At spring's return,
I watch my flowers, how they burn
Their lives away.

The candle crocus
And daffodil gold
Drink fire of the sunshine—
Quickly cold.

And the proud tulip—
How red he glows!—
Is quenched ere summer
Can kindle the rose.

Purple as the innermost
Core of a sinking flame,
Deep in the leaves the violets smoulder
To the dust whence they came.

Day after day
At spring's return,
I watch my flowers, how they burn
Their lives away,
Day after day ...

THE ELMS

F ine as the dust of plumy fountains blowing
Across the lanterns of a revelling night,
The tiny leaves of April's earliest growing
Powder the trees—so vaporously light,
They seem to float, billows of emerald foam
Blown by the South on its bright airy tide,
Seeming less trees than things beatified,
Come from the world of thought which was their home.

For a while only. Rooted strong and fast,
Soon will they lift towards the summer sky
Their mountain-mass of clotted greenery.
Their immaterial season quickly past,
They grow opaque, and therefore needs must die,
Since every earth to earth returns at last.

OUT OF THE WINDOW

I n the middle of countries, far from hills and sea,
Are the little places one passes by in trains
And never stops at; where the skies extend
Uninterrupted, and the level plains
Stretch green and yellow and green without an end.
And behind the glass of their Grand Express
Folk yawn away a province through,
With nothing to think of, nothing to do,
Nothing even to look at—never a "view"
In this damned wilderness.
But I look out of the window and find
Much to satisfy the mind.
Mark how the furrows, formed and wheeled
In a motion orderly and staid,
Sweep, as we pass, across the field
Like a drilled army on parade.
And here's a market-garden, barred
With stripe on stripe of varied greens ...
Bright potatoes, flower starred,
And the opacous colour of beans.
Each line deliberately swings
Towards me, till I see a straight
Green avenue to the heart of things,
The glimpse of a sudden opened gate
Piercing the adverse walls of fate ...
A moment only, and then, fast, fast,
The gate swings to, the avenue closes;
Fate laughs, and once more interposes
Its barriers.
The train has passed.

INSPIRATION

N oonday upon the Alpine meadows
Pours its avalanche of Light
And blazing flowers: the very shadows
Translucent are and bright.
It seems a glory that nought surpasses—
Passion of angels in form and hue—
When, lo! from the jewelled heaven of the grasses
Leaps a lightning of sudden blue.
Dimming the sun-drunk petals,
Bright even unto pain,
The grasshopper flashes, settles,
And then is quenched again.

SUMMER STILLNESS

T he stars are golden instants in the deep
Flawless expanse of night: the moon is set:
The river sleeps, entranced, a smooth cool sleep
Seeming so motionless that I forget
The hollow booming bridges, where it slides,
Dark with the sad looks that it bears along,
Towards a sea whose unreturning tides
Ravish the sighted ships and the sailors' song.

ANNIVERSARIES

O nce more the windless days are here,
Quiet of autumn, when the year
Halts and looks backward and draws breath
Before it plunges into death.
Silver of mist and gossamers,
Through-shine of noonday's glassy gold,
Pale blue of skies, where nothing stirs
Save one blanched leaf, weary and old,
That over and over slowly falls
From the mute elm-trees, hanging on air
Like tattered flags along the walls
Of chapels deep in sunlit prayer.
Once more ... Within its flawless glass
To-day reflects that other day,
When, under the bracken, on the grass,
We who were lovers happily lay
And hardly spoke, or framed a thought
That was not one with the calm hills
And crystal sky. Ourselves were nought,
Our gusty passions, our burning wills
Dissolved in boundlessness, and we
Were almost bodiless, almost free.

The wind has shattered silver and gold.
Night after night of sparkling cold,
Orion lifts his tangled feet
From where the tossing branches beat
In a fine surf against the sky.
So the trance ended, and we grew
Restless, we knew not how or why;
And there were sudden gusts that blew
Our dreaming banners into storm;
We wore the uncertain crumbling form
Of a brown swirl of windy leaves,
A phantom shape that stirs and heaves
Shuddering from earth, to fall again
With a dry whisper of withered rain.

Last, from the dead and shrunken days
We conjured spring, lighting the blaze
Of burnished tulips in the dark;
And from black frost we struck a spark
Of blue delight and fragrance new,
A little world of flowers and dew.
Winter for us was over and done:
The drought of fluttering leaves had grown
Emerald shining in the sun,
As light as glass, as firm as stone.
Real once more: for we had passed
Through passion into thought again;
Shaped our desires and made that fast
Which was before a cloudy pain;
Moulded the dimness, fixed, defined
In a fair statue, strong and free,
Twin bodies flaming into mind,
Poised on the brink of ecstasy.

ITALY

T here is a country in my mind,
Lovelier than a poet blind
Could dream of, who had never known
This world of drought and dust and stone
In all its ugliness: a place
Full of an all but human grace;
Whose dells retain the printed form
Of heavenly sleep, and seem yet warm
From some pure body newly risen;
Where matter is no more a prison,
But freedom for the soul to know
Its native beauty. For things glow
There with an inward truth and are
All fire and colour like a star.
And in that land are domes and towers
That hang as light and bright as flowers
Upon the sky, and seem a birth
Rather of air than solid earth.

Sometimes I dream that walking there
In the green shade, all unaware
At a new turn of the golden glade,
I shall see her, and as though afraid
Shall halt a moment and almost fall
For passing faintness, like a man
Who feels the sudden spirit of Pan
Brimming his narrow soul with all
The illimitable world. And she,
Turning her head, will let me see
The first sharp dawn of her surprise
Turning to welcome in her eyes.
And I shall come and take my lover
And looking on her re-discover
All her beauty:—her dark hair
And the little ears beneath it, where
Roses of lucid shadow sleep;
Her brooding mouth, and in the deep
Wells of her eyes reflected stars ...

Oh, the imperishable things
That hands and lips as well as words
Shall speak! Oh movement of white wings,
Oh wheeling galaxies of birds ...!

THE ALIEN

A petal drifted loose
From a great magnolia bloom,
Your face hung in the gloom,
Floating, white and close.

We seemed alone: but another
Bent o'er you with lips of flame,
Unknown, without a name,
Hated, and yet my brother.

Your one short moan of pain
Was an exorcising spell:
The devil flew back to hell;
We were alone again.

A LITTLE MEMORY

W hite in the moonlight,
Wet with dew,
We have known the languor
Of being two.

We have been weary
As children are,
When over them, radiant,
A stooping star,

Bends their Good-Night,
Kissed and smiled:—
Each was mother,
Each was child.

Child, from your forehead
I kissed the hair,
Gently, ah, gently:
And you were

Mistress and mother
When on your breast
I lay so safely
And could rest.

WAKING

D arkness had stretched its colour,
Deep blue across the pane:
No cloud to make night duller,
No moon with its tarnish stain;
But only here and there a star,
One sharp point of frosty fire,
Hanging infinitely far
In mockery of our life and death
And all our small desire.

Now in this hour of waking
From under brows of stone,
A new pale day is breaking
And the deep night is gone.
Sordid now, and mean and small
The daylight world is seen again,
With only the veils of mist that fall
Deaf and muffling over all
To hide its ugliness and pain.

But to-day this dawn of meanness
Shines in my eyes, as when
The new world's brightness and cleanness
Broke on the first of men.
For the light that shows the huddled things
Of this close-pressing earth,
Shines also on your face and brings
All its dear beauty back to me
In a new miracle of birth.

I see you asleep and unpassioned,
White-faced in the dusk of your hair—
Your beauty so fleetingly fashioned
That it filled me once with despair
To look on its exquisite transience
And think that our love and thought and laughter
Puff out with the death of our flickering sense,
While we pass ever on and away
Towards some blank hereafter.

But now I am happy, knowing
That swift time is our friend,
And that our love's passionate glowing,
Though it turn ash in the end,
Is a rose of fire that must blossom its way
Through temporal stuff, nor else could be
More than a nothing. Into day
The boundless spaces of night contract
And in your opening eyes I see
Night born in day, in time eternity.

BY THE FIRE

W e who are lovers sit by the fire,
Cradled warm 'twixt thought and will,
Sit and drowse like sleeping dogs
In the equipoise of all desire,
Sit and listen to the still
Small hiss and whisper of green logs
That burn away, that burn away
With the sound of a far-off falling stream
Of threaded water blown to steam,
Grey ghost in the mountain world of grey.
Vapours blue as distance rise
Between the hissing logs that show
A glimpse of rosy heat below;
And candles watch with tireless eyes
While we sit drowsing here. I know,
Dimly, that there exists a world,
That there is time perhaps, and space
Other and wider than this place,
Where at the fireside drowsily curled
We hear the whisper and watch the flame
Burn blinkless and inscrutable.
And then I know those other names
That through my brain from cell to cell
Echo—reverberated shout
Of waiters mournful along corridors:
But nobody carries the orders out,
And the names (dear friends, your name and yours)
Evoke no sign. But here I sit
On the wide hearth, and there are you:
That is enough and only true.
The world and the friends that lived in it
Are shadows: you alone remain
Real in this drowsing room,
Full of the whispers of distant rain
And candles staring into the gloom.

VALEDICTORY

I had remarked—how sharply one observes
When life is disappearing round the curves
Of yet another corner, out of sight!—
I had remarked when it was "good luck" and "good night"
And "a good journey to you," on her face
Certain enigmas penned in the hieroglyphs
Of that half frown and queer fixed smile and trace
Of clouded thought in those brown eyes,
Always so happily clear of hows and ifs—
My poor bleared mind!—and haunting whys.

There I stood, holding her farewell hand,
(Pressing my life and soul and all
The world to one good-bye, till, small
And smaller pressed, why there I'd stand
Dead when they vanished with the sight of her).
And I saw that she had grown aware,
Queer puzzled face! of other things
Beyond the present and her own young speed,
Of yesterday and what new days might breed
Monstrously when the future brings
A charger with your late-lamented head:
Aware of other people's lives and will,
Aware, perhaps, aware even of me ...
The joyous hope of it! But still
I pitied her; for it was sad to see
A goddess shorn of her divinity.
In the midst of her speed she had made pause,
And doubts with all their threat of claws,
Outstripped till now by her unconsciousness,
Had seized on her; she was proved mortal now.
"Live, only live! For you were meant
Never to know a thought's distress,
But a long glad astonishment
At the world's beauty and your own.
The pity of you, goddess, grown
Perplexed and mortal."
Yet ... yet ... can it be
That she is aware, perhaps, even of me?

And life recedes, recedes; the curve is bare,
My handkerchief flutters blankly in the air;
And the question rumbles in the void:
Was she aware, was she after all aware?

LOVE SONG

D ear absurd child—too dear to my cost I've found—
God made your soul for pleasure, not for use:
It cleaves no way, but angled broad obtuse,
Impinges with a slabby-bellied sound
Full upon life, and on the rind of things
Rubs its sleek self and utters purr and snore
And all the gamut of satisfied murmurings,
Content with that, nor wishes anything more.

A happy infant, daubed to the eyes in juice
Of peaches that flush bloody at the core,
Naked you bask upon a south-sea shore,
While o'er your tumbling bosom the hair floats loose.

The wild flowers bloom and die; the heavens go round
With the song of wheeling planetary rings:
You wriggle in the sun; each moment brings
Its freight for you; in all things pleasures abound.

You taste and smile, then this for the next pass over;
And there's no future for you and no past,
And when, absurdly, death arrives at last,
'Twill please you awhile to kiss your latest lover.

PRIVATE PROPERTY

A ll fly—yet who is misanthrope?—
The actual men and things that pass
Jostling, to wither as the grass
So soon: and (be it heaven's hope,
Or poetry's kaleidoscope,
Or love or wine, at feast, at mass)
Each owns a paradise of glass
Where never a yearning heliotrope
Pursues the sun's ascent or slope;
For the sun dreams there, and no time is or was.

Like fauns embossed in our domain,
We look abroad, and our calm eyes
Mark how the goatish gods of pain
Revel; and if by grim surprise
They break into our paradise,
Patient we build its beauty up again.

REVELATION

A t your mouth, white and milk-warm sphinx,
I taste a strange apocalypse:
Your subtle taper finger-tips
Weave me new heavens, yet, methinks,
I know the wiles and each iynx
That brought me passionate to your lips:
I know you bare as laughter strips
Your charnel beauty; yet my spirit drinks

Pure knowledge from this tainted well,
And now hears voices yet unheard
Within it, and without it sees
That world of which the poets tell
Their vision in the stammered word
Of those that wake from piercing ecstasies.

MINOAN PORCELAIN

H er eyes of bright unwinking glaze
All imperturbable do not
Even make pretences to regard
The justing absence of her stays,
Where many a Tyrian gallipot
Excites desire with spilth of nard.
The bistred rims above the fard
Of cheeks as red as bergamot
Attest that no shamefaced delays
Will clog fulfilment, nor retard
Full payment of the Cyprian's praise
Down to the last remorseful jot.
Hail priestess of we know not what
Strange cult of Mycenean days!

THE DECAMERON

N oon with a depth of shadow beneath the trees
Shakes in the heat, quivers to the sound of lutes:
Half shaded, half sunlit, a great bowl of fruits
Glistens purple and golden: the flasks of wine
Cool in their panniers of snow: silks muffle and shine:
Dim velvet, where through the leaves a sunbeam shoots,
Rifts in a pane of scarlet: fingers tapping the roots
Keep languid time to the music's soft slow decline.

Suddenly from the gate rises up a cry,
Hideous broken laughter, scarce human in sound;
Gaunt clawed hands, thrust through the bars despairingly,
Clutch fast at the scented air, while on the ground
Lie the poor plague-stricken carrions, who have found
Strength to crawl forth and curse the sunshine and die.

IN UNCERTAINTY TO A LADY

I am not one of those who sip,
Like a quotidian bock,
Cheap idylls from a languid lip
Prepared to yawn or mock.

I wait the indubitable word,
The great Unconscious Cue.
Has it been spoken and unheard?
Spoken, perhaps, by you ...?

CRAPULOUS IMPRESSION
(To J.S.)

S till life, still life ... the high-lights shine
Hard and sharp on the bottles: the wine
Stands firmly solid in the glasses,
Smooth yellow ice, through which there passes
The lamp's bright pencil of down-struck light.
The fruits metallically gleam,
Globey in their heaped-up bowl,
And there are faces against the night
Of the outer room—faces that seem
Part of this still, still life ... they've lost their soul.

And amongst these frozen faces you smiled,
Surprised, surprisingly, like a child:
And out of the frozen welter of sound
Your voice came quietly, quietly.
"What about God?" you said. "I have found
Much to be said for Totality.
All, I take it, is God: God's all—
This bottle, for instance ..." I recall,
Dimly, that you took God by the neck—
God-in-the-bottle—and pushed Him across:
But I, without a moment's loss
Moved God-in-the-salt in front and shouted: "Check!"

THE LIFE THEORETIC

W hile I have been fumbling over books
And thinking about God and the Devil and all,
Other young men have been battling with the days
And others have been kissing the beautiful women.
They have brazen faces like battering-rams.
But I who think about books and such—
I crumble to impotent dust before the struggling,
And the women palsy me with fear.
But when it comes to fumbling over books
And thinking about God and the Devil and all,
Why, there I am.
But perhaps the battering-rams are in the right of it,
Perhaps, perhaps ... God knows.

COMPLAINT OF A POET MANQUÉ

W e judge by appearance merely:
If I can't think strangely, I can at least look queerly.
So I grew the hair so long on my head
That my mother wouldn't know me,
Till a woman in a night-club said,
As I was passing by,
"Hullo, here comes Salome ..."

I looked in the dirty gilt-edged glass,
And, oh Salome; there I was—
Positively jewelled, half a vampire,
With the soul in my eyes hanging dizzily
Like the gatherer of proverbial samphire
Over the brink of the crag of sense,
Looking down from perilous eminence
Into a gulf of windy night.
And there's straw in my tempestuous hair,
And I'm not a poet: but never despair!
I'll madly live the poems I shall never write.

SOCIAL AMENITIES

I am getting on well with this anecdote,
When suddenly I recall
The many times I have told it of old,
And all the worked-up phrases, and the dying fall
Of voice, well timed in the crisis, the note
Of mock-heroic ingeniously struck—
The whole thing sticks in my throat,
And my face all tingles and pricks with shame
For myself and my hearers.
These are the social pleasures, my God!
But I finish the story triumphantly all the same.

TOPIARY

F ailing sometimes to understand
Why there are folk whose flesh should seem
Like carrion puffed with noisome steam,
Fly-blown to the eye that looks on it,
Fly-blown to the touch of a hand;
Why there are men without any legs,
Whizzing along on little trollies
With long long arms like apes':
Failing to see why God the Topiarist
Should train and carve and twist
Men's bodies into such fantastic shapes:
Yes, failing to see the point of it all, I sometimes wish
That I were a fabulous thing in a fool's mind,
Or, at the ocean bottom, in a world that is deaf and blind,
Very remote and happy, a great goggling fish.

ON THE BUS

S itting on the top of the 'bus,
I bite my pipe and look at the sky.
Over my shoulder the smoke streams out
And my life with it.
"Conservation of energy," you say.
But I burn, I tell you, I burn;
And the smoke of me streams out
In a vanishing skein of grey.
Crash and bump ... my poor bruised body!
I am a harp of twittering strings,
An elegant instrument, but infinitely second-hand,
And if I have not got phthisis it is only an accident.
Droll phenomena!

POINTS AND LINES

I nstants in the quiet, small sharp stars,
Pierce my spirit with a thrust whose speed
Baffles even the grasp of time.
Oh that I might reflect them
As swiftly, as keenly as they shine.
But I am a pool of waters, summer-still,
And the stars are mirrored across me;
Those stabbing points of the sky
Turned to a thread of shaken silver,
A long fine thread.

PANIC

T he eyes of the portraits on the wall
Look at me, follow me,
Stare incessantly:
I take it their glance means nothing at all?
—Clearly, oh clearly! Nothing at all ...

Out in the gardens by the lake
The sleeping peacocks suddenly wake;
Out in the gardens, moonlit and forlorn,
Each of them sounds his mournful horn:
Shrill peals that waver and crack and break.
What can have made the peacocks wake?

RETURN FROM BUSINESS

E venings in trains,
When the little black twittering ghosts
Along the brims of cuttings,
Against the luminous sky,
Interrupt with their hurrying rumour every thought
Save that one is young and setting,
Headlong westering,
And there is no recapture.

STANZAS

T hought is an unseen net wherein our mind
Is taken and vainly struggles to be free:
Words, that should loose our spirit, do but bind
New fetters on our hoped-for liberty:
And action bears us onward like a stream
Past fabulous shores, scarce seen in our swift course;
Glorious—and yet its headlong currents seem
Backwaters of some nobler purer force.

There are slow curves, more subtle far than thought,
That stoop to carry the grace of a girl's breast;
And hanging flowers, so exquisitely wrought
In airy metal, that they seem possessed
Of souls; and there are distant hills that lift
The shoulder of a goddess towards the light;
And arrowy trees, sudden and sharp and swift,
Piercing the spirit deeply with delight.

Would I might make these miracles my own!
Like a pure angel, thinking colour and form,
Hardening to rage in a flame of chiselled stone,
Spilling my love like sunlight, golden and warm
On noonday flowers, speaking the song of birds
Among the branches, whispering the fall of rain,
Beyond all thought, past action and past words,
I would live in beauty, free from self and pain.

POEM

B ooks and a coloured skein of thoughts were mine;
And magic words lay ripening in my soul
Till their much-whispered music turned a wine
Whose subtlest power was all in my control.

These things were mine, and they were real for me
As lips and darling eyes and a warm breast:
For I could love a phrase, a melody,
Like a fair woman, worshipped and possessed.

I scorned all fire that outward of the eyes
Could kindle passion; scorned, yet was afraid;
Feared, and yet envied those more deeply wise
Who saw the bright earth beckon and obeyed.

But a time came when, turning full of hate
And weariness from my remembered themes,
I wished my poet's pipe could modulate
Beauty more palpable than words and dreams.

All loveliness with which an act informs
The dim uncertain chaos of desire
Is mine to-day; it touches me, it warms
Body and spirit with its outward fire.

I am mine no more: I have become a part
Of that great earth that draws a breath and stirs
To meet the spring. But I could wish my heart
Were still a winter of frosty gossamers.

SCENES OF THE MIND

I have run where festival was loud
With drum and brass among the crowd
Of panic revellers, whose cries
Affront the quiet of the skies;
Whose dancing lights contract the deep
Infinity of night and sleep
To a narrow turmoil of troubled fire.
And I have found my heart's desire
In beechen caverns that autumn fills
With the blue shadowiness of distant hills;
Whose luminous grey pillars bear
The stooping sky: calm is the air,
Nor any sound is heard to mar
That crystal silence—as from far,
Far off a man may see
The busy world all utterly
Hushed as an old memorial scene.
Long evenings I have sat and been
Strangely content, while in my hands
I held a wealth of coloured strands,
Shimmering plaits of silk and skeins
Of soft bright wool. Each colour drains
New life at the lamp's round pool of gold;
Each sinks again when I withhold
The quickening radiance, to a wan
And shadowy oblivion
Of what it was. And in my mind
Beauty or sudden love has shined
And wakened colour in what was dead
And turned to gold the sullen lead
Of mean desires and everyday's
Poor thoughts and customary ways.
Sometimes in lands where mountains throw
Their silent spell on all below,
Drawing a magic circle wide
About their feet on every side,
Robbed of all speech and thought and act,
I have seen God in the cataract.
In falling water and in flame,
Never at rest, yet still the same,
God shows himself. And I have known
The swift fire frozen into stone,
And water frozen changelessly
Into the death of gems. And I
Long sitting by the thunderous mill
Have seen the headlong wheel made still,
And in the silence that ensued
Have known the endless solitude
Of being dead and utterly nought.
Inhabitant of mine own thought,
I look abroad, and all I see
Is my creation, made for me:
Along my thread of life are pearled
The moments that make up the world.

L'APRÈS-MIDI D'UN FAUNE
(From the French of Stéphane Mallarmé.)

I would immortalize these nymphs: so bright
Their sunlit colouring, so airy light,
It floats like drowsing down. Loved I a dream?
My doubts, born of oblivious darkness, seem
A subtle tracery of branches grown
The tree's true self—proving that I have known
No triumph, but the shadow of a rose.
But think. These nymphs, their loveliness ... suppose
They bodied forth your senses' fabulous thirst?
Illusion! which the blue eyes of the first,
As cold and chaste as is the weeping spring,
Beget: the other, sighing, passioning,
Is she the wind, warm in your fleece at noon?
No, through this quiet, when a weary swoon
Crushes and chokes the latest faint essay
Of morning, cool against the encroaching day,
There is no murmuring water, save the gush
Of my clear fluted notes; and in the hush
Blows never a wind, save that which through my reed
Puffs out before the rain of notes can speed
Upon the air, with that calm breath of art
That mounts the unwrinkled zenith visibly,
Where inspiration seeks its native sky.
You fringes of a calm Sicilian lake,
The sun's own mirror which I love to take,
Silent beneath your starry flowers, tell
How here I cut the hollow rushes, well
Tamed by my skill, when on the glaucous gold
Of distant lawns about their fountain cold
A living whiteness stirs like a lazy wave;
And at the first slow notes my panpipes gave
These flocking swans, these naiads, rather, fly
Or dive. Noon burns inert and tawny dry,
Nor marks how clean that Hymen slipped away
From me who seek in song the real A.
Wake, then, to the first ardour and the sight,
O lonely faun, of the old fierce white light,
With, lilies, one of you for innocence.
Other than their lips' delicate pretence,
The light caress that quiets treacherous lovers,
My breast, I know not how to tell, discovers
The bitten print of some immortal's kiss.
But hush! a mystery so great as this
I dare not tell, save to my double reed,
Which, sharer of my every joy and need,
Dreams down its cadenced monologues that we
Falsely confuse the beauties that we see
With the bright palpable shapes our song creates:
My flute, as loud as passion modulates,
Purges the common dream of flank and breast,
Seen through closed eyes and inwardly caressed,
Of every empty and monotonous line.

Bloom then, O Syrinx, in thy flight malign,
A reed once more beside our trysting-lake.
Proud of my music, let me often make
A song of goddesses and see their rape
Profanely done on many a painted shape.
So when the grape's transparent juice I drain,
I quell regret for pleasures past and feign
A new real grape. For holding towards the sky
The empty skin, I blow it tight and lie
Dream-drunk till evening, eyeing it.
Tell o'er
Remembered joys and plump the grape once more.
Between the reeds I saw their bodies gleam
Who cool no mortal fever in the stream
Crying to the woods the rage of their desire:
And their bright hair went down in jewelled fire
Where crystal broke and dazzled shudderingly.
I check my swift pursuit: for see where lie,
Bruised, being twins in love, by languor sweet,
Two sleeping girls, clasped at my very feet.
I seize and run with them, nor part the pair,
Breaking this covert of frail petals, where
Roses drink scent of the sun and our light play
'Mid tumbled flowers shall match the death of day.
I love that virginal fury—ah, the wild
Thrill when a maiden body shrinks, defiled,
Shuddering like arctic light, from lips that sear
Its nakedness ... the flesh in secret fear!
Contagiously through my linked pair it flies
Where innocence in either, struggling, dies,
Wet with fond tears or some less piteous dew.
Gay in the conquest of these fears, I grew
So rash that I must needs the sheaf divide
Of ruffled kisses heaven itself had tied.
For as I leaned to stifle in the hair
Of one my passionate laughter (taking care
With a stretched finger, that her innocence
Might stain with her companion's kindling sense
To touch the younger little one, who lay
Child-like unblushing) my ungrateful prey
Slips from me, freed by passion's sudden death,
Nor heeds the frenzy of my sobbing breath.

Let it pass! others of their hair shall twist
A rope to drag me to those joys I missed.
See how the ripe pomegranates bursting red
To quench the thirst of the mumbling bees have bled;
So too our blood, kindled by some chance fire,
Flows for the swarming legions of desire.
At evening, when the woodland green turns gold
And ashen grey, 'mid the quenched leaves, behold!
Red Etna glows, by Venus visited,
Walking the lava with her snowy tread
Whene'er the flames in thunderous slumber die.
I hold the goddess!
Ah, sure penalty!

But the unthinking soul and body swoon
At last beneath the heavy hush of noon.
Forgetful let me lie where summer's drouth
Sifts fine the sand and then with gaping mouth
Dream planet-struck by the grape's round wine-red star.

Nymphs, I shall see the shade that now you are.

THE LOUSE-HUNTERS
(From the French of Rimbaud).

W hen the child's forehead, full of torments red,
Cries out for sleep and its pale host of dreams,
His two big sisters come unto his bed,
Having long fingers, tipped with silvery gleams.

They set him at a casement, open wide
On seas of flowers that stir in the blue airs,
And through his curls, all wet with dew, they slide
Those terrible searching finger-tips of theirs.

He hears them breathing, softly, fearfully,
Honey-sweet ruminations, slow respired:
Then a sharp hiss breaks time and melody—
Spittle indrawn, old kisses new-desired.

Down through the perfumed silences he hears
Their eyelids fluttering: long fingers thrill,
Probing a lassitude bedimmed with tears,
While the nails crunch at every louse they kill.

He is drunk with Languor—soft accordion-sigh,
Delirious wine of Love in Idleness;
Longings for tears come welling up and die,
As slow or swift he feels their magical caress.

THIS THIRD OF THE INITIATES SERIES OF POETRY BY PROVED HANDS, WAS PRINTED IN OXFORD AT THE VINCENT WORKS, AND FINISHED IN JUNE, MCMXVIII. PUBLISHED BY B. H. BLACKWELL, BROAD STREET, OXFORD, AND SOLD IN AMERICA BY LONGMANS, GREEN & CO., NEW YORK.

I NITIATES A SERIES OF POETRY BY PROVED HANDS UNIFORM VOLUMES IN DOLPHIN OLD STYLE TYPE ART, BOARDS, THREE SHILLINGS NET.

NOW READY

IN THE VALLEY OF VISION BY GEOFFREY FABER, AUTHOR OF "INTERFLOW."

SONNETS AND POEMS BY ELEANOR FARJEON, AUTHOR OF "NURSERY RHYMES OF LONDON TOWN."

THE DEFEAT OF YOUTH, AND OTHER POEMS BY ALDOUS HUXLEY, AUTHOR OF "THE BURNING WHEEL."

IN PREPARATION

SONGS FOR SALE AN ANTHOLOGY OF VERSE, EDITED BY E. B. C. JONES FROM BOOKS ISSUED RECENTLY BY B. H. BLACKWELL.

CLOWNS' HOUSES BY EDITH SITWELL, EDITOR OF "WHEELS."

T HE SHELDONIAN SERIES OF REPRINTS AND RENDERINGS OF MASTERPIECES IN ALL LANGUAGES EDITED BY REGINALD HEWITT, M.A.

FIRST THREE BOOKS

SONGS AND SAYINGS OF WALTHER VON DER VOGELWEIDE, MINNESAENGER ENGLISHED BY FRANK BETTS.

THE FUNERAL ORATION OF PERICLES ENGLISHED BY THOMAS HOBBES OF MALMESBURY.

BALLADES OF FRANCOIS VILLON INTERPRETED INTO ENGLISH VERSE BY PAUL HOOKHAM.

¶ The series is limited in the case of each volume to an edition of five hundred copies on hand-made paper, printed in two colours in Dolphin old style type, and published at two shillings and sixpence net.

OXFORD B. H. BLACKWELL, BROAD ST.

A DVENTURERS ALL A SERIES OF YOUNG POETS UNKNOWN TO FAME UNIFORM VOLUMES IN DOLPHIN OLD STYLE TYPE IN ART WRAPPERS TWO SHILLINGS AND SIXPENCE NET EACH.

¶ "Beautiful little books ... containing poetry, real poetry."—The New Witness.

I., II., III. and IV. [Out of print.]

THE IRON AGE BY FRANK BETTS. WITH AN INTRODUCTION BY GILBERT MURRAY.

THE TWO WORLDS BY SHERARD VINES.

THE BURNING WHEEL BY A. L. HUXLEY.

A VAGABOND'S WALLET BY STEPHEN REID-HEYMAN.

OP. I. BY DOROTHY L. SAYERS. [Out of print.]

LYRICAL POEMS BY DOROTHY PLOWMAN.

THE WITCHES' SABBATH BY E. H. W. MEYERSTEIN.

A SCALLOP SHELL OF QUIET POEMS BY FOUR WOMEN. INTRODUCED BY MARGARET L. WOODS.

AT A VENTURE POEMS BY EIGHT YOUNG WRITERS.

ALDEBARAN BY M. ST. CLARE BYRNE.

LIADAIN AND CURITHIR BY MOIREEN FOX.

LINNETS IN THE SLUMS BY MARION PRYCE.

OUT OF THE EAST BY VERA AND MARGARET LARMINIE.

DUNCH BY SUSAN MILES.

DEMETER AND OTHER POEMS BY ELEANOR HILL.

CARGO BY S. BARRINGTON GATES.

DREAMS AND JOURNEYS BY FREDEGOND SHOVE.

THE PEOPLE'S PALACE BY SACHEVERELL SITWELL.

GALLEYS LADEN POEMS BY FOUR WRITERS.

OXFORD B. H. BLACKWELL, BROAD ST.

*** END OF THE PROJECT GUTENBERG EBOOK THE DEFEAT OF YOUTH, AND OTHER POEMS ***

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.