The Project Gutenberg eBook of The Choise of Valentines; Or the Merie Ballad of Nash His Dildo 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 Choise of Valentines; Or the Merie Ballad of Nash His Dildo Author: Thomas Nash Editor: John Stephen Farmer Release date: February 16, 2006 [eBook #17779] Language: English Credits: Produced by Charlene Taylor 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 CHOISE OF VALENTINES; OR THE MERIE BALLAD OF NASH HIS DILDO *** Produced by Charlene Taylor 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) [Transcriber's Note: Line notes have been moved to the end of each poem from their places on the individual pages to aid in the flow of the poems] The Choise of Valentines OR THE MERIE BALLAD OF NASH HIS DILDO [BY THOMAS NASH] [_From MSS. Copies in the Inner Temple (Petyt MS. 538, Vol. 43, f. viii., 295 b, circa 1680) and Bodleian (Rawl. MS. Poet 216, leaves 96-106, circa 1610-20) Libraries_] Edited by JOHN S. FARMER LONDON [_PRIVATELY PRINTED FOR SUBSCRIBERS ONLY_] MDCCCXCIX [Illustration] INTRODUCTION. Nash's "CHOISE OF VALENTINES" has apparently come down to us only in manuscript form. It is extremely doubtful (Oldys notwithstanding[a]), whether the poem was ever before accorded the dignity of print. Nor would it now be deemed worthy of such were the only considerations those of literary merit or intrinsic value: truth to tell there is little of either to recommend it. But, as it has been repeatedly said, and well insisted on, the world cannot afford to lose any "document" whatsoever which bears, or _may_ bear, in the slightest degree, on the story of its own growth and development, and out of which its true life has to be written. Especially is even the meanest Elizabethan of importance and value in relation to the re-construction--still far from complete--of the life and times of the immortal bard of Avon. In the most unlikely quarters a quarry may yet be found from which the social historian may obtain a valuable sidelight on manners and customs, the philologist a new lection or gloss, or the antiquary a solution to some, as yet, unsolved problem. "The Choise of Valentines" claims attention, and is of value principally on two grounds, either of which, it is held, should amply justify the more permanent preservation now accorded this otherwise insignificant production. In the first place, it appears to have been dedicated to the Earl of Southampton, the generous patron of letters, and friend of Shakspeare; and second, it is probably the only example extant of the kind of hackwork to which Nash was frequently reduced by "the keenest pangs of poverty."[b] He confesses he was often obliged "to pen unedifying toys for gentlemen." When Harvey denounced him for "emulating Aretino's licentiousness" he admitted that poverty had occasionally forced him to prostitute his pen "in hope of gain" by penning "amorous Villanellos and Quipasses for new-fangled galiards and newer Fantisticos." In fact, he seems rarely to have known what it was to be otherwise than the subject of distress and need. As an example of these "unedifying toys" the present poem may, without much doubt, be cited, and an instance in penning which his "hope of gain" was realised. It is a matter of history that Nash sought, and succeeded in obtaining for a time, the patronage of the Earl of Southampton, one of the most liberal men of his day, and a prominent figure in the declining years of Elizabeth. "I once tasted," Nash writes in 1593,[c] "the full spring of the Earl's liberality." Record is also made of a visit paid by him to Lord Southampton and Sir George Carey, while the former was Governor, and the latter Captain-General, of the Isle of Wight. From internal evidence it would seem that this poem was called forth by the Earl's bounty to its author. "My muse devorst from deeper (the _Rawl. MS._ reads _deepest_) care, presents thee with a wanton elegie;" and further on, the dedication promises "better lines" which should "ere long" be penned in "honour" of his noble patron. This promise is renewed in the epilogue:-- "My mynde once purg'd of such lascivious witt, With purifide words and hallowed verse, Thy praises in large volumes shall rehearse, That better maie thy grauer view befitt." Does this refer to "The Unfortunate Traveller; or, The Life of Jack Wilton," generally regarded as Nash's most ambitious work, and which he dedicated to Lord Southampton in 1593? If so, and there is no evidence to gainsay the conclusion, we can fix the date of the present poem as, at all events, prior to 17th September of that year, when "The Unfortunate Traveller" was entered on the Stationers' Register.[d] This would make Nash contemporaneous, if not prior to, Shakspeare in offering a tribute to the merits of the young patron (Southampton at that time was barely twenty years old) of the Muses. _Venus and Adonis_ was entered on the Register of the Stationers' Company about five months earlier, on the 18th April, 1593, and barely more than two months prior to the registration of "The Terrors of the Night." It is curious to note that while Shakspeare and Nash both promise "graver work" and "better lines," they alike select amatory themes for their first offerings. The promise in Shakspeare's case was redeemed by the dedication to Southampton of "The Rape of Lucreece," while it may be assumed, as aforesaid, that Nash followed suit with "The Unfortunate Traveller." Nash, however, for some cause or other failed to retain the Earl's interest; "indeed," says Mr. Sidney Lee, "he did not retain the favour of any patron long." It is only fair to state, however, that the withdrawal of Lord Southampton's patronage may not have been due to any fault or shortcoming on the part of Nash, for there is likewise no evidence whatever to show that any close intimacy existed between Southampton and Shakspeare after 1594. Probably there was much else to claim Lord Southampton's attention--his marriage, and the Essex rebellion to wit. This, however, leads somewhat wide of the present work. So much for the circumstances which appear to have called forth "The Choise of Valentines." The next consideration is, Has it ever appeared in print before? Oldys, in his MS. notes to Langbaine's _English Dramatic Poets_ (_c_. 1738) says:--"Tom Nash certainly wrote and published a pamphlet upon Dildos. He is accused of it by his antagonist, Harvey." But he was writing nearly 150 years after the event, and it is certainly very strange that a production which it can be shown was well known should, if printed, have so entirely disappeared. At all events, no copy is at present known to exist.[e] John Davies of Hereford alludes to it, but leaves it uncertain whether its destruction occurred in MS. or in print. In his "Papers Complaint"[f] he writes:-- But O! my soule is vext to thinke how euill It is abus'd to beare suits to the Deuill. _Pierse-Pennilesse_ (a _Pies_ eat such a patch) Made me (agree) that business once dispatch. And having made me vndergo the shame, Abusde me further, in the Deuills name: And made [me] _Dildo_ (dampned Dildo) beare, Till good men's hate did me in peeces teare. As regards the manuscript copies there are one or two points worthy of note. At present we know of two, more or less incomplete, but each of which supplements, in some degree, the other. These MSS. are respectively in the Bodleian (Rawl. MS. Poet, 216) and the Inner Temple (Petyt MS. 538, vol. 43, p. viii., 295b.) libraries. Both texts are obviously corrupt, the Rawlinson abominably so. Probably the former was written out from memory alone, while the Petyt, if not a transcript direct from the original is, at any rate, very near to it. The Bodleian version is written on paper in a small oblong leather-covered book, originally with clasps. The penmanship is early 17th century, probably about 1610-20. It is thus catalogued:-- ..."_E libris_ Matt. Postlethwayt, Aug. 1, 1697. Perhaps (earlier) Henry Price owned the book." The volume contains besides an English transcript of Ovid's "Arte Amandis" and some amatory poems.[g] The date of the Petyt text may be about.... It is written in a miscellaneous, folio, commonplace-book, and in the catalogue it is described as "an obscene poem, entitled 'The Choosing of Valentines,' by Thomas Nash. The first 17 lines are printed at p. lx. of the Preface to vol i. of Mr. Grosart's edition of Nash's works, as if they formed the whole piece."[h] Nothing is known of Postlethwayt and Price, who at one time owned the Rawlinson copy, that throws light on its source. In the Petyt, however, we get a suppositional explanation of its manifestly purer text. Petyt, subsequent to his call to the Bar, in 1670, was for many years Keeper of the Records in the Tower of London. Now we know that Lord Essex, an intimate friend and connection of the Earl of Southampton, and like Southampton a generous and discerning patron of letters, was for some time in the "free custody" of the Lord Keeper of the Tower. Further, Southampton, who had joined Essex in his rebellion, had been tried and convicted with his friend, and though the Queen spared his life, he was not released from the Tower until the ascension of James I. It is not unlikely, therefore, that a copy of Nash's manuscript made for Lord Essex passed, on the execution of the latter, with other papers and documents, into the official custody of the Lord Keeper, to be subsequently unearthed by his successor, Petyt, who, with a taste for the "curious," had it copied for his own edification. This supposition is further borne out as follows: The particular commonplace book in which this poem occurs has been written by various hands. In the same handwriting as, and immediately preceding "The Choise of Valentines," are two poetical effusions dedicated "To the Earl of Essex," both apparently written when he was in prison and under sentence of death. The other contents of the volume are likewise contemporaneous. All things considered, then, the Petyt text, although transcribed about fifty years later, has weightier claims to attention than the version in the Rawlinson MSS. I have, therefore, adopted the former as a basis, giving the Rawlinson variations in the form of notes. A few of these are obviously better readings than those of the Petyt text: the reader cannot fail to distinguish these. In the main, however, the Inner Temple version will be found consistent with its particular dedication, whilst the Rawlinson variations appear due to an attempt, signally unsuccessful, to adapt the poem for general use. For the rest I have faithfully adhered to the original in the basic text, and in the variorum readings, except in one particular. The Rawlinson _MS._ is altogether guiltless of punctuation, while the Petyt copy has been carelessly "stopped" by the scribe: I have therefore given modern punctuation. J. S. F. FOOTNOTES [a] See page x. [Transcriber's note: starting "It is curious to note"] [b] _Have with you to Saffron Walden_, iii., 44. [c] _Terrors of the Night._ [d] It is true that Nash, in his dedication of the "Unfortunate Traveller," speaks of it as his "first offering." This, however, must be taken rather as meaning his first _serious_ effort in acknowledgment of his patron's bounty, for in "The Terrors of the Night" (registered on the 30th June, 1593), he somewhat effusively acknowledges his indebtedness to Lord Southampton:--"Through him my tender wainscot studie doore is delivered from much assault and battrie: through him I looke into, and am looked on in the world: from whence otherwise I were a wretched banished exile. Through him all my good is conueighed vnto me; and to him all my endeavours shall be contributed as to the ocean." Again, as evidence that Nash had addressed himself to Southampton prior to his dedication of "The Unfortunate Traveller," we glean from his promise ("Terrors of the Night") "to embroyder the rich store of his eternal renoune" in "some longer Tractate." [e] At the same time it must be stated that the scandal of the controversy between Nash and Harvey became so notorious that in 1599 it was ordered by authority "that all Nashes books and Dr. Harvey's books be taken wheresoever they may be found and that none of the said books be ever printed hereafter" (COOPER, _Athenæ Cant._ ii. 306). [f] Davies [Grosart, _Works_ (1888) 1-75, lines 64-72.] [g] These have been incorporated in "National Ballad and Song" (Section 2, _Merry Songs and Ballads_, Series 1). [h] This is not quite correct. The title in the MS. runs "The Choise of Valentines," and Dr. Grosart purports to give the first eighteen lines, but in transcription he has omitted line 4. [Illustration] TO THE RIGHT honorable the Lord S.[i] Pardon, _sweete flower of Matchles poetrie, And fairest bud the red rose euer bare; Although my Muse, devorst from deeper care, Presents thee with a wanton Elegie. 4 Ne blame my verse of loose unchastitie For painting forth the things that hidden are, Since all men acte what I in speache declare, Onlie induced with varietie. 8 Complants and praises euery one can write, And passion out their pangu's in statlie rimes; But of loues pleasures none did euer write, That have succeeded in theis latter times. 12 Accept of it, Deare Lord, in gentle gree, And better lynes, ere long, shall honor thee._ * * * * * FOOT- AND LINE NOTES: [i] Henry Wriothesley, the Earl of Southampton, and Baron of Titchfield. The dedication is absent in the Rawlinson text: _cf._ variorum reading in line 13. 1 _Matchles_, machles. 2 _the red rose euer bare_, that euer red rose bare. 3 _devorst from deeper care_, diuert from deepest care. Nash was notoriously impecunious all through his life, and probably reference is here made to some bounty received at the hands of Lord Southampton (_see_ Introduction). What patronage meant at times is gleaned from Florio's dedication of _The Worlde of Wordes_ in 1598 to the same nobleman. He says:--"In truth I acknowledge an entire debt, not only of my best knowledge, but of all; yea, of more than I know, or care, to your bounteous lordship, in whose pay and patronage I have lived some years.... But, as to me, and many more, the glorious and gracious sunshine of your honour hath infused light and life." Rowe also tells a story of Lord Southampton's munificence to Shakspeare. It is said that he gave the poet £1,000 (equal to £12,000 now-a-days) to complete a special purchase. Whether this story be true or not, it is certain that Lord Southampton was a most liberal patron of letters. 4 _Presents thee with_, Presentes you with. 5 "Ne" = Nor, A.S.; _unchastitie_, inchastitye. 6 _painting_, paynting; _things_, thinges; _hidden are_, hidden be. 7 & 8 In Rawl. MS. these lines are transposed. _Since all men act_, sith most men marke; _speache declare_, speech descrie; _Onlie_, only; _varietie_, varyetye. 9 _Complants and praises euery one_, Complayntes & prayses every man. 10 _passion out_, passion forth; _their pangu's_, there loue; _statlie rimes_, statly rime. 11 _pleasures none_, pleasure non; _euer write_, e're indite. 12 _theis latter times_, this latter time. 13 _Deare Lord_, deare loue. A significant reading in view of the absence of the dedication in the Rawl. MS. "_Accept ... in gentle gree_," to take kindly. 14 _And better lynes ere long_, And better farr, ere long (_see_ Introduction). [Illustration] THE CHOOSING OF VALENTINES. It was the merie moneth of Februarie, When yong men, in their iollie roguerie, Rose earelie in the morne fore breake of daie, To seeke them valentines soe trimme and gaie; 4 With whom they maie consorte in summer sheene, And dance the haidegaies on our toune-greene, As alas at Easter, or at Pentecost, Perambulate the fields that flourish most; 8 And goe to som village abbordring neere, To taste the creame and cakes and such good cheere; Or see a playe of strange moralitie, Shewen by Bachelrie of Maningtree. 12 Where to, the contrie franklins flock-meale swarme, And Jhon and Jone com marching arme in arme. Euen on the hallowes of that blessed Saint That doeth true louers with those ioyes acquaint, 16 I went, poore pilgrime, to my ladies shrine, To see if she would be my valentine; But woe, alass, she was not to be found, For she was shifted to an upper ground: 20 Good Justice Dudgeon-haft, and crab-tree face, With bills and staues had scar'd hir from the place; And now she was compel'd, for Sanctuarie, To flye unto a house of venerie. 24 Thither went I, and bouldlie made enquire If they had hackneis to lett-out to hire, And what they crau'd, by order of their trade, To lett one ride a iournie on a iade. 28 Therwith out stept a foggy three-chinnd dame, That us'd to take yong wenches for to tame, And ask't me if I ment as I profest, Or onelie ask't a question but in iest. 32 "In iest?" quoth I; "that terme it as you will; I com for game, therefore give me my Jill." "Why Sir," quoth shee, "if that be your demande, Com, laye me a Gods-pennie in my hand; 36 For, in our oratorie siccarlie, None enters heere, to doe his nicarie, But he must paye his offertorie first, And then, perhaps, wee'le ease him of his thirst." 40 I, hearing hir so ernest for the box, Gave hir hir due, and she the dore unlocks. In am I entered: "venus be my speede! But where's this female that must do this deed"? 44 By blinde meanders, and by crankled wayes, Shee leades me onward, (as my Aucthor saies), Vntill we came within a shadie loft Where venus bounsing vestalls skirmish oft; 48 And there shee sett me in a leather chaire, And brought me forth, of prettie Trulls, a paire, To chuse of them which might content myne eye; But hir I sought, I could nowhere espie. 52 I spake them faire, and wisht them well to fare-- "Yet soe yt is, I must haue fresher ware; Wherefore, dame Bawde, as daintie as you bee, Fetch gentle mistris Francis forth to me." 56 "By Halliedame," quoth she, "and Gods oune mother, I well perceaue you are a wylie brother; For if there be a morsell of more price, You'll smell it out, though I be nare so nice. 60 As you desire, so shall you swiue with hir, But think, your purse-strings shall abye-it deare; For, he that will eate quailes must lauish crounes, And Mistris Francis, in her veluett gounes, 64 And ruffs and perwigs as fresh as Maye, Can not be kept with half a croune a daye." "Of price, good hostess, we will not debate, Though you assize me at the highest rate; 68 Onelie conduct me to this bonnie bell. And tenne good gobbs I will unto thee tell, Of golde or siluer, which shall lyke thee best, So much doe I hir companie request." 72 Awaie she went: so sweete a thing is golde, That (mauger) will inuade the strongest holde. "Hey-ho! she coms, that hath my hearte in keepe Sing Lullabie, my cares, and falle a-sleepe." 76 Sweeping she coms, as she would brush the ground; Hir ratling silkes my sences doe confound. "Oh, I am rauisht: voide the chamber streight; For I must neede's upon hir with my weight." 80 "My Tomalin," quoth shee, and then she smilde. "I, I," quoth I, "soe more men are beguild With smiles, with flatt'ring wordes, and fained cheere, When in their deedes their falsehood doeth appeare." 84 "As how, my lambkin," blushing, she replide, "Because I in this dancing schoole abide? If that it be, that breede's this discontent, We will remoue the camp incontinent: 88 For shelter onelie, sweete heart, came I hither, And to auoide the troblous stormie weather; But now the coaste is cleare, we will be gonne, Since, but thy self, true louer I haue none." 92 With that she sprung full lightlie to my lips, And fast about the neck me colle's, and clips; She wanton faints, and falle's vpon hir bedd, And often tosseth too and fro hir head; 96 She shutts hir eyes, and waggles with her tongue: "Oh, who is able to abstaine so long?" "I com! I com! sweete lyning be thy leaue:" Softlie my fingers up theis curtaine heaue, 100 And make me happie, stealing by degreese. First bare hir leggs, then creepe up to hir kneese; From thence ascend unto her mannely thigh-- (A pox on lingring when I am so nighe!). 104 Smock, climbe a-pace, that I maie see my ioyes; Oh heauen and paradize are all but toyes Compar'd with this sight I now behould, Which well might keepe a man from being olde. 108 A prettie rysing wombe without a weame, That shone as bright as anie siluer streame; And bare out like the bending of an hill, At whose decline a fountaine dwelleth still; 112 That hath his mouth besett with uglie bryers, Resembling much a duskie nett of wyres; A loftie buttock, barrd with azure veines, Whose comelie swelling, when my hand distreines, 116 Or wanton checketh with a harmlesse stype, It makes the fruites of loue oftsoone be rype, And pleasure pluckt too tymelie from the stemme To dye ere it hath seene Jerusalem. 120 O Gods! that euer anie thing so sweete, So suddenlie should fade awaie, and fleete! Hir armes are spread, and I am all unarm'd, Lyke one with Ouid's cursed hemlocke charm'd; 124 So are my Limms unwealdlie for the fight That spend their strength in thought of hir delight. What shall I doe to shewe my self a man? It will not be for ought that beawtie can. 128 I kisse, I clap, I feele, I view at will, Yett dead he lyes, not thinking good or ill. "Unhappie me," quoth shee, "and wilt' not stand? Com, lett me rubb and chafe it with my hand! 132 Perhaps the sillie worme is labour'd sore, And wearied that it can doe noe more; If it be so, as I am greate a-dread, I wish tenne thousand times that I were dead. 136 How ere it is, no meanes shall want in me, That maie auaile to his recouerie." Which saide, she tooke and rould it on hir thigh, And when she look't on't, she would weepe and sighe; 140 She dandled it, and dancet it up and doune, Not ceasing till she rais'd it from his swoune. And then he flue on hir as he were wood, And on hir breeche did hack and foyne a-good; 144 He rub'd, and prickt, and pierst her to the bones, Digging as farre as eath he might for stones; Now high, now lowe, now stryking shorte and thicke; Now dyuing deepe, he toucht hir to the quicke; 148 Now with a gird he would his course rebate, Straite would he take him to a statlie gate; Plaie while him list, and thrust he neare so hard, Poore pacient Grissill lyeth at hir warde, 152 And giue's, and takes, as blythe and free as Maye, And ere-more meete's him in the midle waye. On him hir eyes continualy were fixt; With hir eye-beames his melting looke's were mixt, 156 Which, like the Sunne, that twixt two glasses plaies, From one to th' other cast's rebounding rayes. He, lyke a starre that, to reguild his beames Sucks-in the influence of Phebus streames, 160 Imbathes the lynes of his descending light In the bright fountaines of hir clearest sight. She, faire as fairest Planet in the skye, Hir puritie to noe man doeth denye; 164 The verie chamber that enclouds her shine Lookes lyke the pallace of that God deuine, Who leades the daie about the Zodiake, And euerie euen discends to th'oceane lake; 168 So fierce and feruent is her radiance, Such fyrie stakes she darts at euerie glance As might enflame the icie limmes of age, And make pale death his seignedrie to aswage; 172 To stand and gaze upon her orient lamps, Where Cupid all his chiefest ioyes encamps, And sitts, and playes with euery atomie That in hir Sunne-beames swarme aboundantlie. 176 Thus gazing, and thus striuing, we perseuer: But what so firme that maie continue euer? "Oh not so fast," my rauisht Mistriss cryes, "Leaste my content, that on thy life relyes, 180 Be brought too-soone from his delightfull seate, And me unwares of hoped bliss defeate. Together lett us marche unto content, And be consumed with one blandishment." 184 As she prescrib'd so kept we crotchet-time, And euerie stroake in ordre lyke a chyme, Whilst she, that had preseru'd me by hir pittie, Unto our musike fram'd a groaning dittie. 188 "Alass! alass! that loue should be a sinne! Euen now my blisse and sorrowe doeth beginne. Hould wyde thy lapp, my louelie Danae, And entretaine the golden shoure so free, 192 That trikling falles into thy treasurie. As Aprill-drops not half so pleasant be, Nor Nilus overflowe to Ægipt plaines As this sweet-streames that all hir ioints imbaynes. 196 With "Oh!" and "Oh!" she itching moues hir hipps, And to and fro full lightlie starts and skips: She ierkes hir leggs, and sprauleth with hir heeles; No tongue maie tell the solace that she feeles, 200 "I faint! I yeald! Oh, death! rock me a-sleepe! Sleepe! sleepe desire! entombed in the deepe!" "Not so, my deare," my dearest saint replyde, "For, from us yett, thy spirit maie not glide 204 Untill the sinnowie channels of our blood Without their source from this imprisoned flood; And then will we (that then will com too soone), Dissolued lye, as though our dayes were donne." 208 The whilst I speake, my soule is fleeting hence, And life forsakes his fleshie residence. Staie, staie sweete ioye, and leaue me not forlorne Why shouldst thou fade that art but newelie borne? 212 "Staie but an houre, an houre is not so much: But half an houre; if that thy haste is such, Naie, but a quarter--I will aske no more-- That thy departure (which torments me sore), 216 Maie be alightned with a little pause, And take awaie this passions sudden cause." He heare's me not; hard-harted as he is, He is the sonne of Time, and hates my blisse. 220 Time nere looke's backe, the riuers nere returne; A second springe must help me or I burne. No, no, the well is drye that should refresh me, The glasse is runne of all my destinie: 224 Nature of winter learneth nigardize Who, as he ouer-beares the streame with ice That man nor beaste maie of their pleasance taste, So shutts she up hir conduit all in haste, 228 And will not let hir Nectar ouer-flowe, Least mortall man immortall ioyes should knowe. Adieu! unconstant loue, to thy disporte Adieu! false mirth, and melodie too short; 232 Adieu! faint-hearted instrument of lust; That falselie hath betrayde our equale trust. Hence-forth no more will I implore thine ayde, Or thee, or man of cowardize upbrayde. 236 My little dilldo shall suply their kinde: A knaue, that moues as light as leaues by winde; That bendeth not, nor fouldeth anie deale, But stands as stiff as he were made of steele; 240 And playes at peacock twixt my leggs right blythe, And doeth my tickling swage with manie a sighe. For, by saint Runnion! he'le refresh me well; And neuer make my tender bellie swell. 244 Poore Priapus! whose triumph now must falle, Except thou thrust this weakeling to the walle. Behould! how he usurps, in bed and bowre And undermines thy kingdom euerie howre; 248 How slye he creepes betwixt the barke and tree, And sucks the sap, whilst sleepe detaineth thee. He is my Mistris page at euerie stound, And soone will tent a deepe intrenched wound. 252 He wayte's on Courtlie Nimphs that be so coye, And bids them skorne the blynd-alluring boye. He giues yong guirls their gamesome sustenance, And euerie gaping mouth his full sufficeance. 256 He fortifies disdaine with forraine artes, And wanton-chaste deludes all loving hartes. If anie wight a cruell mistris serue's, Or, in dispaire, (unhappie) pines and staru's, 260 Curse Eunuke dilldo, senceless counterfet Who sooth maie fill, but never can begett. But, if revenge enraged with dispaire, That such a dwarf his wellfare should empaire, 264 Would faine this womans secretarie knowe, Lett him attend the markes that I shall showe: He is a youth almost two handfulls highe, Streight, round, and plumb, yett hauing but one eye, 268 Wherein the rhewme so feruentlie doeth raigne, That Stigian gulph maie scarce his teares containe; Attired in white veluet, or in silk, And nourisht with whott water, or with milk, 272 Arm'd otherwhile in thick congealed glasse, When he, more glib, to hell be lowe would passe. Vpon a charriot of five wheeles he rydes, The which an arme strong driuer stedfast guides, 276 And often alters pace as wayes growe deepe, (For who, in pathes unknowne, one gate can keepe?) Sometimes he smoothlie slideth doune the hill; Another while, the stones his feete doe kill; 280 In clammie waies he treaddeth by and by, And plasheth and sprayeth all that be him nye. So fares this iollie rider in his race, Plunging and sousing forward in lyke case, 284 He dasht, and spurted, and he plodded foule, God giue thee shame, thou blinde mischapen owle! Fy-fy, for grief: a ladies chamberlaine, And canst not thou thy tatling tongue refraine? 288 I reade thee beardles blab, beware of stripes, And be aduised what thou vainelie pipes; Thou wilt be whipt with nettles for this geare If Cicelie shewe but of thy knauerie heere. 292 Saint Denis shield me from such female sprites! Regarde not, Dames, what Cupids Poete writes: I pennd this storie onelie for my selfe, Who, giuing suck unto a childish Elfe, 296 And quitte discourag'd in my nurserie, Since all my store seemes to hir penurie. I am not as was Hercules the stout, That to the seaventh iournie could hould out; 300 I want those hearbe's and rootes of Indian soile, That strengthen wearie members in their toile-- Druggs and Electuaries of new devise, Doe shunne my purse, that trembles at the price. 304 Sufficeth all I haue, I yeald hir hole Which, for a poore man, is a princelie dole, I paie our hostess scott and lott at moste, And looke as leane and lank as anie ghoste; 308 What can be added more to my renowne? She lyeth breathlesse; I am taken doune; The waves doe swell, the tydes climbe or'e the banks; Judge, gentlemen! if I deserue not thanks? 312 And so, good night! unto you euer'ie one; For loe, our thread is spunne, our plaie is donne. _Claudito iam vinos Priapa, sat prata biberunt_ [sic[j]]. Tho. Nash. [Illustration] _Thus[k] hath my penne presum'd to please my friend-- Oh mightst thou lykewise please Apollo's eye. No, Honor brooke's no such impietie, Yett Ouids wanton Muse did not offend. He is the fountaine whence my streames doe flowe-- Forgive me if I speake as I was taught, A lyke to women, utter all I knowe, As longing to unlade so bad a fraught. My mynde once purg'd of such lasciuious witt, With purifide words and hallowed verse, Thy praises in large volumes shall rehearce, That better maie thy grauer view befitt. Meanewhile yett rests, you smile at what I write; Or, for attempting, banish me your sight._ Thomas Nash. FOOT- AND LINE NOTES [k] Quite detached, on page 94 of the Rawl. MS. (the text commences on page 96), are a few lines entitled "The Epilogue," which are obviously part of the above, albeit more than usually imperfectly copied. Why so placed does not appear, especially as several blank pages immediately follow the conclusion of the Bodleian copy. Title, _The Choosing of Valentines_, Nashes Dildo. 2 _yong_, younge; _their iollie roguerie_, their brauery; _iollie_, Fr. _joli_, pretty, fine. _Bravery_, finery; _Cf_. Holinshed's _Chron. of Eng., 55_--The ancient Britons painted their bodies "which they esteemed a great braverie." 3 _Rose earelie in the morne fore_, Rose in the morning before; _daie_, daye. 4 _soe trimme and gaie_, soe fresh and gaye. 5 _summer sheene_, somers shene. 6 _haidegaies on_, high degree in. 7 _alas at Easter, or_, allso at Ester and. 8 _Perambulate_, preambulate. 9 _to som_, into some; _abbordring_, bordering. 10 _taste the creame and cakes_, tast the cakes and creame. 11 _Or_, To. 12 _by Bachelrie of Maningtree_, by the bachelours of magnanimity. "Manningtree, in Essex, formerly enjoyed the privilege of fairs, by the tenure of exhibiting a certain number of stage plays yearly. It appears also, from other intimations, that there were great festivities there, and much good eating, at Whitsun ales, and other times."--_Nares._ 13 _Where to, the contrie franklins_, Whether our Country Franklins. 14 _Jhon and Jone com_, John and Joane come. 15 _Euen_, Even; _hallowes_, Hallowes; _Saint_, Sainct. 16 _doeth_, doth; _louers_, lovers; _those_, omitted in Rawlinson. 17 _ladies_, Ladyes. 18 _she_, shee; _valentine_, valentyne. 19 _woe, alass_, out, alas. 20 _an upper_, another. 21 _-haft and crab-tree face_, with his crabbed face. 22 _scar'd hir_, scard her; _the_, that. 23 _And now she was compel'd for Sanctuarie_, And she, poore wench, compeld for Sanctuary. 24 _unto_, into; _venery_, Venery. 25 _bouldlie,_, bouldly; _enquire_, inquire. 26 _hackneis_, hackneyes. Hackney, a person or thing let out for promiscuous use, _e.g._, a horse, a whore, a literary drudge. _Cf_. "The hobby-horse is but a colt, and your love perhaps a hackney."--_Love's Labour Lost_, iii., 1. 27 _crau'd_, craud. 29 _Therwith out stept_, With that, stept forth; _three chinnd_, three-chinde. Foggie = fat, bloated, having hanging flesh. _Cf_. "Some three chind foggie dame."--Dolarney, _Primrose_. 30 _us'd_, vsd; _yong_, younge. 31 _ask't_, askt; _I ment as I profest_, soothe were my request. 32 _onelie ask't_, onely moud. 33 _it_, yt. 34 _com_, come; _give_, giue; _Jill_, Gill. 35 _"Why, Sir." quoth shee, "if that be your demande,"_ "If that yt be," quoth she, "that you demaunde." 36 _Com laye me a God's-pennie_, then giue me first a godes peny. "God's-pennie, an earnest-pennie."--Florio, p. 36. 37 _oratorie siccarlie_, oratory, siccarly. "Oratory," properly a private chapel or closet for prayer; here a canting term for brothel: cf. abbess = bawd; nun = whore, and so forth. "Siccarly," certainly, surely "Thou art here, sykerlye, Thys churche to robb with felonye," MS. Cantab Ff. ii., 38, f. 240. 38 _heere_, in; _nicarie_, deuory. "Nick," female _pudendum_: hence nickery, copulation. Deuory may either be Fr. _devoir_, duty; or devoure, to ravish, to deflower. 39 _offertorie_, affidavit. 40 _wee'le_, Ile. 41 _hearing hir so ernest_, seeing her soe earnest. 42 _Gave hir hir_, I gaue her her; _and she the dore unlocks_, and she the doare vnlockes. 43 _In am I entered_, Nowe I am entered; _venus_, sweet Venus. 44 _where's this female_, where's the female; _do this_, do the. 45 _By_, through; _meanders and by crankled_, meander and through crooked. 46 _Shee leades_, Shee leads; _Aucthor saies_, author sayes. 47 _we came within_, I came vnto; _shadie_, shady. 48 _bounsing vestalls_, bouncing vestures; _skirmish_, skyrmish; _oft_, omitted. 49 _shee_, she; _leather chaire_, Lether chayre. 50 _prettie Trulls_, wenches straight. 51 _To chuse of them_, And bad me choose; _myne_, my. 52 _hir_, she; _no where espie_, noe waye espye. 53 _them_, her; _them_ her. 54 _Yet_, But. 55 _Bawde_, baud; _as daintie_, soe dainty; _bee_, be. 56 _forth to_, vnto. 57 _Halliedame_, Holy Dame; _she_, shee; _Gods oune_, gods one. 58 _wylie_, wyly. 59 _more_, better. 60 _You'l smell_, youle find; _nare so_, now soe. 61 _hir_, her. 62 _think_, look; _purse-strings_, purse-stringes; _abye it deare_, abide yt deere. 63 _that will eate quailes_, whoole feed on quayles; _crounes_, crownes. 64 _Mistris Francis_, Mistres Fraunces; _veluett gounes_, velvett gownes. 65 _And ruffs_, Her ruffe; _perwigs_, perriwigge; _as_, soe; _Maye_, May. 66 _with half a croune_, for half a crowne. 67 _hostess_, hostes; _we_, wee. 68 _Though_, although. 69 _bonnie_, bonny. 70 _tenne_, tenn; _gobbs I will unto thee tell_, goblets vnto thee Ile tell. "Gob, a portion" (H). 71 _lyke thee_, like you. 72 _doe I hir companie_, I doe her company. 73 _Awaie_, Awaye; _thing_, worde. 74 _That (mauger) will inuade_, it makes invasion in. 75 _Hey-ho_, Loe! here; _hearte_, harte; _keepe_, keeping. 76 _Lullabie_, lullaby; _and falle a sleepe_, fall a sleeping. 77 _coms_, comes; _ground_, ground. 78 _Hir_, her; _silkes_, silcke; _confound_, Confound. 79 _Oh_, Awaye; _rauisht_, ravisht; _voide_, voyd; _chamber_, Chamber; _streight_, straight. 80 _For I must neede's be on hir_, I must be straight vppon her. 81 _smilde_, smiled. 82 _beguilde_, beguiled. 83 _With smiles, with flatt'ring wordes, and fained cheere_, With sighes and flattering woordes and teares. 84 _their_, your; _their_, much; _doeth appeare_, still apeares. 85 _how_, How; _lambkin_, Tomalyn; _replide_, replied. 86 _dancing_, dauncing. 87 _it be_, be it; _this_, thy. 88 _camp_, campe. 89 _onelie_, only; _sweete heart_, sweete harte; _came_, cam. 90 _auoide_, avoyd; _troblous and stormie_, troublesome, stormye. 91 _But now_, And since; _coaste_, coast; _we wil_, I will. 92 _Since_, for; _louer_, louers. 93 _sprung_, sprunge; _lips_, lippes. 94 _And fast about the neck me colle's and clips_, and about my neck she hugges, she calles, she clippes. "Coll" or "cull," to kiss, to embrace; so also "clip." 95 _faints_, faynes; _vpon hir_, vppon the. 96 _tosseth_, tosses; _and fro hir_, and froe her. 97 _shutts hir eyes_, shakes her feete. 98 _who_, whoe; _abstaine_, forbeare; _long_, longe. 99 _I com, I com_, I come, I come; _lyning_, Ladye; _be_, by. 100 _Softlie my fingers up this curtaine heaue_, softly my curtaines lett my fingers heaue. 101 _make_, send; _happie_, happye; _stealing_, sailing; _degreese_, degrees. 102 _First bare hir leggs, then creepe up to hir kneese_, First vnto the feete, and then vnto the kneese. 103 _From thence_, And soe; _unto_, vnto; _mannely_, manly. 104 _lingring_, lingering; _am so_, come soe. 105 _Smock_, Smocke; _climbe_, clime. 106 _Oh heaven and paradise are all_, all earthly pleasures seeme to this. 107 _Compar'd with this sight I now_, Compard be these delightes which I. 109 _prettie rysing_, prettye rising; _weame_, wenne. "Wem," spot or blemish. 110 _shone_, shine(s); _anie siluer streame_, any christall gemme. 111 _bare_, beares; _bending_, riseing; _an_, a. 112 _a fountaine dwelleth still_, the(r) runnes a fountayne still. 113 _his_, her; _uglie bryers_, rugged briers. 114 _duskie_, duskye; _wyres_, wires. 115 _loftie_, lusty; _veines_, vaines. 116 _comelie_, comely; _distreines_, restraines. "Distreines," to seize, to touch. 117 _wanton_, harmles; _harmlesse stype_, wanton gripe. 118 _fruites of loue oftsoone_, fruite thereof too soone 119 _And_, A; _too tymelie_, to tymely; _the stemme_, his springe. 120 _To dye ere it hath seene Jerusalem_, it is, dyes ere it can enioye the vsed thinge. 121 _Gods_, Godes; _euer anie_, ever any; _so_, soe. 122 _So suddenlie_, soe suddenly; _awaie_, awaye. 123 _Hir_, Her; _are spread and I am all unarm'd_, and legges and all were spredd, But I was all vnarmed. 124 _Lyke_, like; _with_, that; _charm'd_, charmd. 125 Omitted in Rawl. MS. 126 _spend their_, spent there; _hir_, your. 128 _It_, Yt; _beawtie cann_, beauty can. 129 _clap_, clipp; _I feele, I view_, I wincke, I feele. 130 _dead he lyes_, lyes he dead; _thinking_, feeling. 131 _Unhappie me_, By Holly dame; _stand_, staund. 132 _Com_, now; _rubb_, roule; _chafe_, rub; _with_, in. 133 _Perhaps_, perhapps; _sillie_, seely; _is labour'd_, hath laboured. 134 _wearied that it can_, worked soe that it cann. 135 _If it be so_, Which if it be; _am greate a-dread_, doe greately dread. 136 _tenne_, ten; _were_, weare. 137 _How ere it is_, What ere it be; _no_, noe; _want_, lacke. 138 _maie auaile to_, maye avayle for; _recouerie_, recoverye. 139 _saide_, said; _and rould_, & rowld; _hir thigh_, her thighe. 140 _And when she look't on't she would weepe and sighe_, and looking downe on it, did groane and sighe. 141 _dandled_, haundled; _dancet_, daunced; _up_, vpp; _doune_, downe. 142 _she rais'd_, shee raisd; _his swoune_, her sound. 143 _he flue_, it flewe; _hir_, her; _he_, it. 144 _hir breeche did hack and fayne_, her breech laboured & foam'd. 145 _prickt, and pierst her_, peirct her euer. 146 _farre_, deepe; _might_, could digg; "eath," easy. 147 _stryking_, stricking; _and_, &. 148 _Now dyuing deepe he toucht hir_, And diving deeper, peircte her. 149 _gird_, girde. 150 _Straite_, then; _statlie_, stately. 151 _him_, he; _so_, soe. 152 _pacient Grissill_, patient Grissell; _hir warde_, his ward. 153 _blythe_, blith; _free_, fresh. 154 _ere-more_, euer; _midle_, middle of the. 155 _him hir eyes continualy_, her his eyes Continually. 156 _hir eye-beames his_, his eye-browes her; _looke's_, eyes. 157 _twixt_, betwixt; _plaies_, playes. 158 _one_, the one; _th'other cast's rebounding_, the other casting redounding. 159 _He lyke_, She like; _reguild_, requite. 160 _Sucks-in_, suckes; _of Phebus_, of sweete Phebus. 161 _lynes_, beames: _descending_, discending. 162 _bright_, deepest; _hir dearest sight_, the purest light. 163 _Planet_, plannet. 164 _Hir puritie_, her puritye. 165 _verie chamber_, verye Chamber; _enclouds_, includes. 166 _Lookes lyke_, seemes as; _that God deuine_, the gods devine. 167 _Who_, Whoe; _daie_, daye; _Zodiake_, Zodiacke. 168 _euerie euen discends to th'oceane_, in the even, settes of the ocean. 169 _So fierce_, soe feirce; _is hir radiance_, in her radiaunce. 170 _fyrie stakes_, flyeing breath; _darts_, dartes; _euerie glance_, every glaunce. 171 _enflame_, inflame; _icie limmes_, verry mappe. 172 _make_, cause; _his seignedrie to aswage_, him suddenly tasswage. 173 _To_, and; _upon her_, vppon those; _lamps_, lampes. 174 _his chiefest ioyes encamps_, his ioyes incampes. 175-6 Omitted in Rawl. MS. 177 _Thus gazing, and thus striuing, we perseuer_, Thus striking, thus gazeing, we perseuere. 178 _what so firme_, nought soe sure; _maie_, will; _euer_, ever. 179 _Oh!_ Fleete; _rauisht Mistris cryes_, ravisht senses cries. 180 _Leaste_, sith; _content that on_, Content vppon. 181 _Be_, Which; _too_, soe; _seat_, seates. 182 _And me unwares of hoped bliss defeat_, me vnawares of blissefull hope defeates. Here occur two lines in the Rawl. MS. which do not appear in the Petyt MS., as follows: Togeather lett our equall motions stirr, Togeather lett vs liue and dye, my deare; 183 _Together lett us marche unto content_, Togeather let vs march with one contente. 184 _consumed with one blandishment_, Consum(e)d without languishmente. 185 _prescrib'd, so kept we crochet_, prescribed so keepe we clocke and. 186 _lyke_, like; _chyme_, chime. 187 _Whilst she_, soe shee; _had preseru'd_, here preferd; _pittie_, pittye. 188 _Unto_, vnto; _musike_, musicke; _dittie_, dittye. 190 _Euen_, even; _blisse and sorrowe doeth_, ioyes and sorrowes doe. 191 _lapp_, lappe; _louelie_, louely. 192 _entretaine the_, entertaine this; _shoure so free_, showry see. 193 _trikling falles_, drisling fall(es); _treasurie_, treasurye. 194 _As Aprill-drops_, Sweete Aprill flowers; _half so_, halfe soe. 195 _overflowe to Ægipt-plaines_, overfloweinge Egipt playne. 196 _As this sweet-streames_, as is the balme; _hir ioints imbaynes_, her woombe destreynes. 197 _With Oh! and Oh! she itching moues hir hipps_, Now! oh now! she trickling moues her lippes. 198 _And_, and often; _full lightlie starts and skips_, she lightly startes and skippes. 199 _ierkes_, yerkes; _leggs_, legges; _sprauleth_, fresketh. 200 _No_, noe; _maie_, can; _solace_, pleasures. 201 _I faint! I yeald! Oh death, rock me_, I come! I come! sweete death, rocke mee. 202 _entombed_, intombe me. 203 _my deare, my dearest saint_, my deare, and dearest she. 204 _For, from us yett, thy spirit maie_, from us two (yett) this pleasure must. 205 _Untill_, Vntill; _channels_, Chambers. 206 _Without their source_, Withould themselues; _imprisoned_, newe prisoned. 207 _will we_, we will; _com too_, come soe. 209 _whilst_, whilest; _speake_, speke; _is fleeting_, in stealing. 210 _fleshie_, earthly. 213 _but an houre_, but one houre; _an houre is_, one houre is; _so_, soe 214 _But_, nay; _if that_, and if. 217 _Maie be alightned with a little pause_, Maye now be lengthened by a litle pawse. 218 _awaie_, awaye; _sudden_, suddaine. 221 _riuers nere returne_, riuer nere returnes. 222 _springe_, spring; _must helpe me or_, must helpe, or elles. 223-34 Omitted in Rawl. MS. 235 _Hence-forth no more will I implore thine_, Hensforth I will noe more implore thine. 236 _or man of cowardize upbrayde_, for ever of Cowardise shall vpprayd. 237 _dilldo_, dildoe; _suply their_, supplye your. 238 _knaue_, youth; _moues_, is; _by_, in. 239 _That_, He; _anie_, any. 241-42 Omitted in Rawl. MS. 243 _For, by saint Runnion, he'le_, And when I will he doth. 244 _make_, makes; _bellie_, belly. 245 _whose triumph now_, thy kingdome needes; _falle_, fall. 246 _Except_, eccept; _walle_, wall. 247 _usurps_, vsurpes; _boure_, bower. 248 _undermines_, vndermines; _euerie howre_, euery hower. 249 _sly he_, slyly; _betwixt_, betwene. 250 _sucks_, suckes; _whilst_, while; _detaineth_, deteyneth. 251 _page_, lake; _stound_, sound. "Stound," a moment. 252 "tent," to search out. 253 _Courtlie Nimphs_, courtly nimphs; _be so_, are full. 254 _blynd-alluring_, blind-alluring. 255-6 Omitted in Rawl. MS. 257 _fortifies disdaine_, fortifyes disdayne; _forraine_, foraigne. 258 _And wanton-chaste deludes_, while wantons chast delude. 259 _anie_, any; _Mistris serue's_, Mistres serve. 260 _Or_, and; _(unhappie) pines and staru's_, full deeply pyne and sterue. 261-64 Omitted in Rawl. MS. 265 _womans secretarie_, woemans secretary. 266 _Lett_, let. 267 _handfulls highe_, handfulles high. 268 _plumb_, plump; _yett hauing_, and having. 269 _rhewme so feruentlie doeth raigne_, rheume soe fervently doth raine. 270 _That_, the; _gulph maie_, gulfe can; _containe_, conteyne. Here follow, in the Rawl. MS., lines 290-93 of the Petyt; lines 292-3 being also reversed in the Rawl. text. 271 _Attired_, attird; _veluet_, velvet. 272 _nourisht_, norisht; _hott_, warme; _milk_, milke. "Whott," hot. 273 _Arm'd otherwhile_, Running sometymes. 274 _more glib_, more like; _to hell be lowe_, downe into hell. 275 _charriot_, chariot; _rydes_, rides. 276 _The which an arme strong driuer stedfast_, An arme strong guider steadfastly him. 278 _who_, whoe; _pathes unknowne_, places vnknowne; _gate_, pace. 279 _Sometimes_, sometymes; _smoothlie slideth doune a_, smoothly slippeth downe a. 280 _Another while_, some other tymes. 281 _clammie waies_, clayey wayes; _treaddeth_, treadeth. 282 _plasheth and sprayeth_, placeth himself &; _be him nye_, standeth by. 283 _So_, soe; _iollie rider_, royall rider. 284 _Plunging and sousing_, Plungeing & sowsing; _lyke_, like. 285 _He dasht, and spurted, and he plodded_, Bedasht, bespotted, and beplotted. 286 _blinde_, foule. 287 _Fy-fy, for grief_, But free from greife; _ladies chamberlaine_, ladyes chamberlayne. 288 _not thou_, thou not: _refraine_, refrayne. 289 _reade thee_, tell the; _blab_, blabb. "Reade," warn. 290 _aduised_, advisd; _thou vainelie_, thou soe vainely. 291 Transposed in Rawl. MS. with line 292; _wilt_, shouldst. 292 _Cicelie shewe but_, Illian queene knowe; _knauerie_, bravery. 293 _Denis shield_, Dennis sheild; _female sprites_, femall sprightes. 294 _Dames_, dames; _Cupid's Poet_, Cupid's poett. 295 _pennd_, pen; _storie onelie_, story onely. 296 _Who giuing suck unto a childish Elfe_, And, giving yt to such an actuall Elfe. 297 _And_, am; _discourag'd_, discoraged; _nurserie_, mistery. 298 _hir_, her; _penurie_, misery. 300 _seaventh iournie_, seauenth Iourny. 301 _want_, wantes; _hearbe's_, omitted; _and_, &; _soile_, soyle. 302 _wearie_, weary; _toile_, toyle. 303 _Druggs or Electuaries of new devise_, Or drugges or electuaryes of newe devises. 304 _Doe shunne_, that shame; _that trembles_, & tremble; _the_, thie; _price_, prices. In the Rawl. MS., lines 307-8 of the Petyt MS. follow here. 305 _Sufficeth all I haue, I yeald hir hole_, For that I allwayes had, I payd the wole. 307 _I paie our hostess_, I paid of both the; _and_, &; _at moste_, allmost. 308 _And_, yet; _and_, &; _anie_, any. 309 _can_, cann. 310 _doune_, downe. 311 _climbe_, clims; _banks_, bankes. 312 _gentlemen, if I_, gentleweomen doth this; _not thanks_, no thankes. 313 _so_, soe: _unto_, vnto. 314 _thread_, thred; _plaie is donne_, playes done. *** END OF THE PROJECT GUTENBERG EBOOK THE CHOISE OF VALENTINES; OR THE MERIE BALLAD OF NASH HIS DILDO *** 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.