The Project Gutenberg eBook of The Wind Among The Reeds, by WILLIAM BUTLER YEATS.

	page
The Hosting of the Sidhe	1
The Everlasting Voices	3
The Moods	4
Aedh tells of the Rose in his Heart	5
The Host of the Air	7
Breasal the Fisherman	10
A Cradle Song	11
Into the Twilight	13
The Song of Wandering Aengus	15
The Song of the old Mother	17
The Fiddler of Dooney	18
The Heart of the Woman	20
Aedh Laments the Loss of Love	21
Mongan laments the Change that has come upon him and his Beloved	22
Michael Robartes bids his Beloved be at Peace	24 [vi]
Hanrahan reproves the Curlew	26
Michael Robartes remembers forgotten Beauty	27
A Poet to his Beloved	29
Aedh gives his Beloved certain Rhymes	30
To my Heart, bidding it have no Fear	31
The Cap and Bells	32
The Valley of the Black Pig	35
Michael Robartes asks Forgiveness because of his many Moods	37
Aedh tells of a Valley full of Lovers	40
Aedh tells of the perfect Beauty	42
Aedh hears the Cry of the Sedge	43
Aedh thinks of those who have spoken Evil of his Beloved	44
The Blessed	45
The Secret Rose	47
Hanrahan laments because of his Wanderings	51
The Travail of Passion	52
The Poet pleads with his Friend for old Friends	54 [vii]
Hanrahan speaks to the Lovers of his Songs in coming Days	55
Aedh pleads with the Elemental Powers	57
Aedh wishes his Beloved were Dead	59
Aedh wishes for the Cloths of Heaven	60
Mongan thinks of his past Greatness	61
Notes	65

THE HOSTING OF THE SIDHE

THE EVERLASTING VOICES

THE MOODS

AEDH TELLS OF THE ROSE IN HIS HEART

THE HOST OF THE AIR

O'Driscoll drove with a song,
The wild duck and the drake,
From the tall and the tufted reeds
Of the drear Hart Lake.

And he saw how the reeds grew dark
At the coming of night tide,
And dreamed of the long dim hair
Of Bridget his bride.

He heard while he sang and dreamed
A piper piping away,
And never was piping so sad,
And never was piping so gay.
[8]

And he saw young men and young girls
Who danced on a level place
And Bridget his bride among them,
With a sad and a gay face.

The dancers crowded about him,
And many a sweet thing said,
And a young man brought him red wine
And a young girl white bread.

But Bridget drew him by the sleeve,
Away from the merry bands,
To old men playing at cards
With a twinkling of ancient hands.

The bread and the wine had a doom,
For these were the host of the air;
He sat and played in a dream
Of her long dim hair.
[9]

He played with the merry old men
And thought not of evil chance,
Until one bore Bridget his bride
Away from the merry dance.

He bore her away in his arms,
The handsomest young man there,
And his neck and his breast and his arms
Were drowned in her long dim hair.

O'Driscoll scattered the cards
And out of his dream awoke:
Old men and young men and young girls
Were gone like a drifting smoke;

But he heard high up in the air
A piper piping away,
And never was piping so sad,
And never was piping so gay.

BREASAL THE FISHERMAN

A CRADLE SONG

INTO THE TWILIGHT

THE SONG OF WANDERING AENGUS

I went out to the hazel wood,
Because a fire was in my head,
And cut and peeled a hazel wand,
And hooked a berry to a thread;
And when white moths were on the wing,
And moth-like stars were flickering out,
I dropped the berry in a stream
And caught a little silver trout.

When I had laid it on the floor
I went to blow the fire a-flame,
But something rustled on the floor,
And someone called me by my name:
[16] It had become a glimmering girl
With apple blossom in her hair
Who called me by my name and ran
And faded through the brightening air.

Though I am old with wandering
Through hollow lands and hilly lands,
I will find out where she has gone,
And kiss her lips and take her hands;
And walk among long dappled grass,
And pluck till time and times are done,
The silver apples of the moon,
The golden apples of the sun.

THE SONG OF THE OLD MOTHER

THE FIDDLER OF DOONEY

THE HEART OF THE WOMAN

AEDH LAMENTS THE LOSS OF LOVE

MONGAN LAMENTS THE CHANGE THAT HAS COME UPON HIM AND HIS BELOVED

MICHAEL ROBARTES BIDS HIS BELOVED BE AT PEACE

HANRAHAN REPROVES THE CURLEW

MICHAEL ROBARTES REMEMBERS FORGOTTEN BEAUTY

When my arms wrap you round I press
My heart upon the loveliness
That has long faded from the world;
The jewelled crowns that kings have hurled
In shadowy pools, when armies fled;
The love-tales wove with silken thread
By dreaming ladies upon cloth
That has made fat the murderous moth;
The roses that of old time were
Woven by ladies in their hair,
The dew-cold lilies ladies bore
[28] Through many a sacred corridor
Where such gray clouds of incense rose
That only the gods' eyes did not close:
For that pale breast and lingering hand
Come from a more dream-heavy land,
A more dream-heavy hour than this;
And when you sigh from kiss to kiss
I hear white Beauty sighing, too,
For hours when all must fade like dew
But flame on flame, deep under deep,
Throne over throne, where in half sleep
Their swords upon their iron knees
Brood her high lonely mysteries.

A POET TO HIS BELOVED

AEDH GIVES HIS BELOVED CERTAIN RHYMES

TO MY HEART, BIDDING IT HAVE NO FEAR

THE CAP AND BELLS

The jester walked in the garden:
The garden had fallen still;
He bade his soul rise upward
And stand on her window-sill.

It rose in a straight blue garment,
When owls began to call:
It had grown wise-tongued by thinking
Of a quiet and light footfall;

But the young queen would not listen;
She rose in her pale night gown;
She drew in the heavy casement
And pushed the latches down.
[33]

He bade his heart go to her,
When the owls called out no more;
In a red and quivering garment
It sang to her through the door.

It had grown sweet-tongued by dreaming,
Of a flutter of flower-like hair;
But she took up her fan from the table
And waved it off on the air.

'I have cap and bells,' he pondered,
'I will send them to her and die;'
And when the morning whitened
He left them where she went by.

She laid them upon her bosom,
Under a cloud of her hair,
And her red lips sang them a love song:
Till stars grew out of the air.
[34]

She opened her door and her window,
And the heart and the soul came through,
To her right hand came the red one,
To her left hand came the blue.

They set up a noise like crickets,
A chattering wise and sweet,
And her hair was a folded flower
And the quiet of love in her feet.

THE VALLEY OF THE BLACK PIG

MICHAEL ROBARTES ASKS FORGIVENESS BECAUSE OF HIS MANY MOODS

If this importunate heart trouble your peace
With words lighter than air,
Or hopes that in mere hoping flicker and cease;
Crumple the rose in your hair;
And cover your lips with odorous twilight and say,
'O Hearts of wind-blown flame!
'O Winds, elder than changing of night and day,
[38] 'That murmuring and longing came,
'From marble cities loud with tabors of old
'In dove-gray faery lands;
'From battle banners fold upon purple fold,
'Queens wrought with glimmering hands;
'That saw young Niamh hover with love-lorn face
'Above the wandering tide;
'And lingered in the hidden desolate place,
'Where the last Phœnix died
'And wrapped the flames above his holy head;
'And still murmur and long:
'O Piteous Hearts, changing till change be dead
'In a tumultuous song:'
And cover the pale blossoms of your breast
[39] With your dim heavy hair,
And trouble with a sigh for all things longing for rest
The odorous twilight there.

AEDH TELLS OF A VALLEY FULL OF LOVERS

AEDH TELLS OF THE PERFECT BEAUTY

AEDH HEARS THE CRY OF THE SEDGE

AEDH THINKS OF THOSE WHO HAVE SPOKEN EVIL OF HIS BELOVED

THE BLESSED

Cumhal called out, bending his head,
Till Dathi came and stood,
With a blink in his eyes at the cave mouth,
Between the wind and the wood.

And Cumhal said, bending his knees,
'I have come by the windy way
'To gather the half of your blessedness
'And learn to pray when you pray.

'I can bring you salmon out of the streams
'And heron out of the skies.'
But Dathi folded his hands and smiled
With the secrets of God in his eyes.
[46]

And Cumhal saw like a drifting smoke
All manner of blessed souls,
Women and children, young men with books,
And old men with croziers and stoles.

'Praise God and God's mother,' Dathi said,
'For God and God's mother have sent
'The blessedest souls that walk in the world
'To fill your heart with content.'

'And which is the blessedest,' Cumhal said,
'Where all are comely and good?
'Is it these that with golden thuribles
'Are singing about the wood?'

'My eyes are blinking,' Dathi said,
'With the secrets of God half blind,
'But I can see where the wind goes
'And follow the way of the wind;
[47]

'And blessedness goes where the wind goes,
'And when it is gone we are dead;
'I see the blessedest soul in the world
'And he nods a drunken head.

'O blessedness comes in the night and the day
'And whither the wise heart knows;
'And one has seen in the redness of wine
'The Incorruptible Rose,

'That drowsily drops faint leaves on him
'And the sweetness of desire,
'While time and the world are ebbing away
'In twilights of dew and of fire.'

THE SECRET ROSE

Far off, most secret, and inviolate Rose,
Enfold me in my hour of hours; where those
Who sought thee in the Holy Sepulchre,
Or in the wine vat, dwell beyond the stir
And tumult of defeated dreams; and deep
Among pale eyelids, heavy with the sleep
Men have named beauty. Thy great leaves enfold
The ancient beards, the helms of ruby and gold
Of the crowned Magi; and the king whose eyes
[49] Saw the Pierced Hands and Rood of elder rise
In druid vapour and make the torches dim;
Till vain frenzy awoke and he died; and him
Who met Fand walking among flaming dew
By a gray shore where the wind never blew,
And lost the world and Emer for a kiss;
And him who drove the gods out of their liss,
And till a hundred morns had flowered red,
Feasted and wept the barrows of his dead;
And the proud dreaming king who flung the crown
And sorrow away, and calling bard and clown
Dwelt among wine-stained wanderers in deep woods;
[50] And him who sold tillage, and house, and goods,
And sought through lands and islands numberless years,
Until he found with laughter and with tears,
A woman, of so shining loveliness,
That men threshed corn at midnight by a tress,
A little stolen tress. I, too, await
The hour of thy great wind of love and hate.
When shall the stars be blown about the sky,
Like the sparks blown out of a smithy, and die?
Surely thine hour has come, thy great wind blows,
Far off, most secret, and inviolate Rose?

HANRAHAN LAMENTS BECAUSE OF HIS WANDERINGS

THE TRAVAIL OF PASSION

THE POET PLEADS WITH HIS FRIEND FOR OLD FRIENDS

HANRAHAN SPEAKS TO THE LOVERS OF HIS SONGS IN COMING DAYS

AEDH PLEADS WITH THE ELEMENTAL POWERS

The Powers whose name and shape no living creature knows
Have pulled the Immortal Rose;
And though the Seven Lights bowed in their dance and wept,
The Polar Dragon slept,
His heavy rings uncoiled from glimmering deep to deep:
When will he wake from sleep?

Great Powers of falling wave and wind and windy fire,
With your harmonious choir
[58] Encircle her I love and sing her into peace,
That my old care may cease;
Unfold your flaming wings and cover out of sight
The nets of day and night.

Dim Powers of drowsy thought, let her no longer be
Like the pale cup of the sea,
When winds have gathered and sun and moon burned dim
Above its cloudy rim;
But let a gentle silence wrought with music flow
Whither her footsteps go.

AEDH WISHES HIS BELOVED WERE DEAD

AEDH WISHES FOR THE CLOTHS OF HEAVEN

MONGAN THINKS OF HIS PAST GREATNESS

NOTES

The Hosting of the Sidhe.

The powerful and wealthy called the gods of ancient Ireland the Tuatha De Danaan, or the Tribes of the goddess Danu, but the poor called them, and still sometimes call them, the Sidhe, from Aes Sidhe or Sluagh Sidhe, the people of the Faery Hills, as these words are usually explained. Sidhe is also Gaelic for wind, and certainly the Sidhe have much to do with the wind. They journey in whirling winds, the winds that were called the dance of the daughters of Herodias in the Middle Ages, Herodias doubtless taking the place of some old goddess. When the country people see the [66] leaves whirling on the road they bless themselves, because they believe the Sidhe to be passing by. They are almost always said to wear no covering upon their heads, and to let their hair stream out; and the great among them, for they have great and simple, go much upon horseback. If any one becomes too much interested in them, and sees them over much, he loses all interest in ordinary things. I shall write a great deal elsewhere about such enchanted persons, and can give but an example or two now.

A woman near Gort, in Galway, says: 'There is a boy, now, of the Cloran's; but I wouldn't for the world let them think I spoke of him; it's two years since he came from America, and since that time he never went to Mass, or to church, or to fairs, or to market, or to stand on the cross roads, or to hurling, or to nothing. And if any one comes into the [67] house, it's into the room he'll slip, not to see them; and as to work, he has the garden dug to bits, and the whole place smeared with cow dung; and such a crop as was never seen; and the alders all plaited till they look grand. One day he went as far as the chapel; but as soon as he got to the door he turned straight round again, as if he hadn't power to pass it. I wonder he wouldn't get the priest to read a Mass for him, or something; but the crop he has is grand, and you may know well he has some to help him.' One hears many stories of the kind; and a man whose son is believed to go out riding among them at night tells me that he is careless about everything, and lies in bed until it is late in the day. A doctor believes this boy to be mad. Those that are at times 'away,' as it is called, know all things, but are afraid to speak. A countryman at Kiltartan says, 'There was one of the [68] Lydons—John—was away for seven years, lying in his bed, but brought away at nights, and he knew everything; and one, Kearney, up in the mountains, a cousin of his own, lost two hoggets, and came and told him, and he knew the very spot where they were, and told him, and he got them back again. But they were vexed at that, and took away the power, so that he never knew anything again, no more than another.' This wisdom is the wisdom of the fools of the Celtic stories, that was above all the wisdom of the wise. Lomna, the fool of Fiann, had so great wisdom that his head, cut from his body, was still able to sing and prophesy; and a writer in the 'Encyclopædia Britannica' writes that Tristram, in the oldest form of the tale of Tristram and Iseult, drank wisdom, and madness the shadow of wisdom, and not love, out of the magic cup.

The great of the old times are among the [69] Tribes of Danu, and are kings and queens among them. Caolte was a companion of Fiann; and years after his death he appeared to a king in a forest, and was a flaming man, that he might lead him in the darkness. When the king asked him who he was, he said, 'I am your candlestick.' I do not remember where I have read this story, and I have, maybe, half forgotten it. Niam was a beautiful woman of the Tribes of Danu, that led Oisin to the Country of the Young, as their country is called; I have written about her in 'The Wandering of Usheen;' and he came back, at last, to bitterness and weariness.

Knocknarea is in Sligo, and the country people say that Maeve, still a great queen of the western Sidhe, is buried in the cairn of stones upon it. I have written of Clooth-na-Bare in 'The Celtic Twilight.' She 'went all over the world, seeking a lake deep enough [70] to drown her faery life, of which she had grown weary, leaping from hill to hill, and setting up a cairn of stones wherever her feet lighted, until, at last, she found the deepest water in the world in little Lough Ia, on the top of the bird mountain, in Sligo.' I forget, now, where I heard this story, but it may have been from a priest at Collooney. Clooth-na-Bare would mean the old woman of Bare, but is evidently a corruption of Cailleac Bare, the old woman Bare, who, under the names Bare, and Berah, and Beri, and Verah, and Dera, and Dhira, appears in the legends of many places. Mr. O'Grady found her haunting Lough Liath high up on the top of a mountain of the Fews, the Slieve Fuadh, or Slieve G-Cullain of old times, under the name of the Cailleac Buillia. He describes Lough Liath as a desolate moon-shaped lake, with made wells and sunken passages upon its borders, and beset by marsh and [71] heather and gray boulders, and closes his 'Flight of the Eagle' with a long rhapsody upon mountain and lake, because of the heroic tales and beautiful old myths that have hung about them always. He identifies the Cailleac Buillia with that Meluchra who persuaded Fionn to go to her amid the waters of Lough Liath, and so changed him with her enchantments, that, though she had to free him because of the threats of the Fiana, his hair was ever afterwards as white as snow. To this day the Tribes of the Goddess Danu that are in the waters beckon to men, and drown them in the waters; and Bare, or Dhira, or Meluchra, or whatever name one likes the best, is, doubtless, the name of a mistress among them. Meluchra was daughter of Cullain; and Cullain Mr. O'Grady calls, upon I know not what authority, a form of Lir, the master of waters. The people of the waters have been in all ages [72] beautiful and changeable and lascivious, or beautiful and wise and lonely, for water is everywhere the signature of the fruitfulness of the body and of the fruitfulness of dreams. The white hair of Fionn may be but another of the troubles of those that come to unearthly wisdom and earthly trouble, and the threats and violence of the Fiana against her, a different form of the threats and violence the country people use, to make the Tribes of Danu give up those that are 'away.' Bare is now often called an ugly old woman; but Dr. Joyce says that one of her old names was Aebhin, which means beautiful. Aebhen was the goddess of the tribes of northern Leinster; and the lover she had made immortal, and who loved her perfectly, left her, and put on mortality, to fight among them against the stranger, and died on the strand of Clontarf. [73]

'Aedh,' 'Hanrahan' and 'Michael Robartes' in these Poems.

These are personages in 'The Secret Rose;' but, with the exception of some of Hanrahan's and one of Aedh's poems, the poems are not out of that book. I have used them in this book more as principles of the mind than as actual personages. It is probable that only students of the magical tradition will understand me when I say that 'Michael Robartes' is fire reflected in water, and that Hanrahan is fire blown by the wind, and that Aedh, whose name is not merely the Irish form of Hugh, but the Irish for fire, is fire burning by itself. To put it in a different way, Hanrahan is the simplicity of an imagination too changeable to gather permanent possessions, or the adoration of the shepherds; and Michael [74] Robartes is the pride of the imagination brooding upon the greatness of its possessions, or the adoration of the Magi; while Aedh is the myrrh and frankincense that the imagination offers continually before all that it loves.

Aedh pleads with the Elemental Powers.

Mongan thinks of his past Greatness.

Aedh hears the Cry of the Sedge.

The Rose has been for many centuries a symbol of spiritual love and supreme beauty. The Count Goblet D'Alviella thinks that it was once a symbol of the sun,—itself a principal symbol of the divine nature, and the symbolic heart of things. The lotus was in some Eastern countries imagined blossoming upon the Tree of Life, as the Flower of Life, and is thus represented in Assyrian bas-reliefs. [75] Because the Rose, the flower sacred to the Virgin Mary, and the flower that Apuleius' adventurer ate, when he was changed out of the ass's shape and received into the fellowship of Isis, is the western Flower of Life, I have imagined it growing upon the Tree of Life. I once stood beside a man in Ireland when he saw it growing there in a vision, that seemed to have rapt him out of his body. He saw the garden of Eden walled about, and on the top of a high mountain, as in certain mediæval diagrams, and after passing the Tree of Knowledge, on which grew fruit full of troubled faces, and through whose branches flowed, he was told, sap that was human souls, he came to a tall, dark tree, with little bitter fruits, and was shown a kind of stair or ladder going up through the tree, and told to go up; and near the top of the tree, a beautiful woman, like the Goddess of Life associated with the [76] tree in Assyria, gave him a rose that seemed to have been growing upon the tree. One finds the Rose in the Irish poets, sometimes as a religious symbol, as in the phrase, 'the Rose of Friday,' meaning the Rose of austerity, in a Gaelic poem in Dr. Hyde's 'Religious Songs of Connacht;' and, I think, as a symbol of woman's beauty in the Gaelic song, 'Roseen Dubh;' and a symbol of Ireland in Mangan's adaptation of 'Roseen Dubh,' 'My Dark Rosaleen,' and in Mr. Aubrey de Vere's 'The Little Black Rose.' I do not know any evidence to prove whether this symbol came to Ireland with mediæval Christianity, or whether it has come down from Celtic times. I have read somewhere that a stone engraved with a Celtic god, who holds what looks like a rose in one hand, has been found somewhere in England; but I cannot find the reference, though I certainly made a note of it. If the [77] Rose was really a symbol of Ireland among the Gaelic poets, and if 'Roseen Dubh' is really a political poem, as some think, one may feel pretty certain that the ancient Celts associated the Rose with Eire, or Fotla, or Banba—goddesses who gave their names to Ireland—or with some principal god or goddess, for such symbols are not suddenly adopted or invented, but come out of mythology.

I have made the Seven Lights, the constellation of the Bear, lament for the theft of the Rose, and I have made the Dragon, the constellation Draco, the guardian of the Rose, because these constellations move about the pole of the heavens, the ancient Tree of Life in many countries, and are often associated with the Tree of Life in mythology. It is this Tree of Life that I have put into the 'Song of Mongan' under its common Irish form of a hazel; and, because it had sometimes the [78] stars for fruit, I have hung upon it 'the Crooked Plough' and the 'Pilot' star, as Gaelic-speaking Irishmen sometimes call the Bear and the North star. I have made it an axle-tree in 'Aedh hears the Cry of the Sedge,' for this was another ancient way of representing it.

The Host of the Air.

Some writers distinguish between the Sluagh Gaoith, the host of the air, and Sluagh Sidhe, the host of the Sidhe, and describe the host of the air as of a peculiar malignancy. Dr. Joyce says, 'of all the different kinds of goblins ... air demons were most dreaded by the people. They lived among clouds, and mists, and rocks, and hated the human race with the utmost malignity.' A very old Arann charm, which contains the words 'Send God, by his strength, [79] between us and the host of the Sidhe, between us and the host of the air,' seems also to distinguish among them. I am inclined, however, to think that the distinction came in with Christianity and its belief about the prince of the air, for the host of the Sidhe, as I have already explained, are closely associated with the wind.

They are said to steal brides just after their marriage, and sometimes in a blast of wind. A man in Galway says, 'At Aughanish there were two couples came to the shore to be married, and one of the newly married women was in the boat with the priest, and they going back to the island; and a sudden blast of wind came, and the priest said some blessed words that were able to save himself, but the girl was swept.'

This woman was drowned; but more often the persons who are taken 'get the touch,' as it is called, and fall into a half dream, and grow [80] indifferent to all things, for their true life has gone out of the world, and is among the hills and the forts of the Sidhe. A faery doctor has told me that his wife 'got the touch' at her marriage because there was one of them wanted her; and the way he knew for certain was, that when he took a pitchfork out of the rafters, and told her it was a broom, she said, 'It is a broom.' She was, the truth is, in the magical sleep, to which people have given a new name lately, that makes the imagination so passive that it can be moulded by any voice in any world into any shape. A mere likeness of some old woman, or even old animal, some one or some thing the Sidhe have no longer a use for, is believed to be left instead of the person who is 'away;' this some one or some thing can, it is thought, be driven away by threats, or by violence (though I have heard country women say that violence is wrong), which [81] perhaps awakes the soul out of the magical sleep. The story in the poem is founded on an old Gaelic ballad that was sung and translated for me by a woman at Ballisodare in County Sligo; but in the ballad the husband found the keeners keening his wife when he got to his house. She was 'swept' at once; but the Sidhe are said to value those the most whom they but cast into a half dream, which may last for years, for they need the help of a living person in most of the things they do. There are many stories of people who seem to die and be buried—though the country people will tell you it is but some one or some thing put in their place that dies and is buried—and yet are brought back afterwards. These tales are perhaps memories of true awakenings out of the magical sleep, moulded by the imagination, under the influence of a mystical doctrine which it understands too literally, [82] into the shape of some well-known traditional tale. One does not hear them as one hears the others, from the persons who are 'away,' or from their wives or husbands; and one old man, who had often seen the Sidhe, began one of them with 'Maybe it is all vanity.'

Here is a tale that a friend of mine heard in the Burren hills, and it is a type of all:—

'There was a girl to be married, and she didn't like the man, and she cried when the day was coming, and said she wouldn't go along with him. And the mother said, "Get into the bed, then, and I'll say that you're sick." And so she did. And when the man came the mother said to him, "You can't get her, she's sick in the bed." And he looked in and said, "That's not my wife that's in the bed, it's some old hag." And the mother began to cry and to roar. And he went out and got two hampers of turf, and made a fire, [83] that they thought he was going to burn the house down. And when the fire was kindled, "Come out now," says he, "and we'll see who you are, when I'll put you on the fire." And when she heard that, she gave one leap, and was out of the house, and they saw, then, it was an old hag she was. Well, the man asked the advice of an old woman, and she bid him go to a faery-bush that was near, and he might get some word of her. So he went there at night, and saw all sorts of grand people, and they in carriages or riding on horses, and among them he could see the girl he came to look for. So he went again to the old woman, and she said, "If you can get the three bits of blackthorn out of her hair, you'll get her again." So that night he went again, and that time he only got hold of a bit of her hair. But the old woman told him that was no use, and that he was put back now, and it might be [84] twelve nights before he'd get her. But on the fourth night he got the third bit of blackthorn, and he took her, and she came away with him. He never told the mother he had got her; but one day she saw her at a fair, and, says she, "That's my daughter; I know her by the smile and by the laugh of her," and she with a shawl about her head. So the husband said, "You're right there, and hard I worked to get her." She spoke often of the grand things she saw underground, and how she used to have wine to drink, and to drive out in a carriage with four horses every night. And she used to be able to see her husband when he came to look for her, and she was greatly afraid he'd get a drop of the wine, for then he would have come underground and never left it again. And she was glad herself to come to earth again, and not to be left there.'

The old Gaelic literature is full of the ap [85] peals of the Tribes of the goddess Danu to mortals whom they would bring into their country; but the song of Midher to the beautiful Etain, the wife of the king who was called Echaid the ploughman, is the type of all.

'O beautiful woman, come with me to the marvellous land where one listens to a sweet music, where one has spring flowers in one's hair, where the body is like snow from head to foot, where no one is sad or silent, where teeth are white and eyebrows are black ... cheeks red like foxglove in flower.... Ireland is beautiful, but not so beautiful as the Great Plain I call you to. The beer of Ireland is heady, but the beer of the Great Plain is much more heady. How marvellous is the country I am speaking of! Youth does not grow old there. Streams with warm flood flow there; sometimes mead, sometimes wine. Men are [86] charming and without a blot there, and love is not forbidden there. O woman, when you come into my powerful country you will wear a crown of gold upon your head. I will give you the flesh of swine, and you will have beer and milk to drink, O beautiful woman. O beautiful woman, come with me!'

A Cradle Song.

Michael Robartes asks Forgiveness because of his many Moods.

I use the wind as a symbol of vague desires and hopes, not merely because the Sidhe are in the wind, or because the wind bloweth as it listeth, but because wind and spirit and vague desire have been associated everywhere. A highland scholar tells me that his country people use the wind in their talk and in their proverbs as I use it in my poem. [87]

The Song of Wandering Aengus.

The Tribes of the goddess Danu can take all shapes, and those that are in the waters take often the shape of fish. A woman of Burren, in Galway, says, 'There are more of them in the sea than on the land, and they sometimes try to come over the side of the boat in the form of fishes, for they can take their choice shape.' At other times they are beautiful women; and another Galway woman says, 'Surely those things are in the sea as well as on land. My father was out fishing one night off Tyrone. And something came beside the boat that had eyes shining like candles. And then a wave came in, and a storm rose all in a minute, and whatever was in the wave, the weight of it had like to sink the boat. And then they saw that it was a woman in the sea [88] that had the shining eyes. So my father went to the priest, and he bid him always to take a drop of holy water and a pinch of salt out in the boat with him, and nothing could harm him.'

The poem was suggested to me by a Greek folk song; but the folk belief of Greece is very like that of Ireland, and I certainly thought, when I wrote it, of Ireland, and of the spirits that are in Ireland. An old man who was cutting a quickset hedge near Gort, in Galway, said, only the other day, 'One time I was cutting timber over in Inchy, and about eight o'clock one morning, when I got there, I saw a girl picking nuts, with her hair hanging down over her shoulders; brown hair; and she had a good, clean face, and she was tall, and nothing on her head, and her dress no way gaudy, but simple. And when she felt me coming she gathered herself up, and was gone, as if [89] the earth had swallowed her up. And I followed her, and looked for her, but I never could see her again from that day to this, never again.'

The county Galway people use the word 'clean' in its old sense of fresh and comely.

Michael Robartes bids his Beloved be at Peace.

November, the old beginning of winter, or of the victory of the Fomor, or powers of death, and dismay, and cold, and darkness, is associated by the Irish people with the horse-shaped Púcas, who are now mischievous spirits, but were once Fomorian divinities. I think that they may have some connection with the horses of Mannannan, who reigned over the country of the dead, where the Fomorian Tethra reigned also; and the horses of Man [90] nannan, though they could cross the land as easily as the sea, are constantly associated with the waves. Some neo-platonist, I forget who, describes the sea as a symbol of the drifting indefinite bitterness of life, and I believe there is like symbolism intended in the many Irish voyages to the islands of enchantment, or that there was, at any rate, in the mythology out of which these stories have been shaped. I follow much Irish and other mythology, and the magical tradition, in associating the North with night and sleep, and the East, the place of sunrise, with hope, and the South, the place of the sun when at its height, with passion and desire, and the West, the place of sunset, with fading and dreaming things. [91]

Mongan laments the Change that has come upon him and his Beloved.

Hanrahan laments because of his Wanderings.

My deer and hound are properly related to the deer and hound that flicker in and out of the various tellings of the Arthurian legends, leading different knights upon adventures, and to the hounds and to the hornless deer at the beginning of, I think, all tellings of Oisin's journey to the country of the young. The hound is certainly related to the Hounds of Annwvyn or of Hades, who are white, and have red ears, and were heard, and are, perhaps, still heard by Welsh peasants following some flying thing in the night winds; and is probably related to the hounds that Irish country people believe will awake and seize the souls of the dead if you lament them too loudly or too soon, [92] and to the hound the son of Setanta killed, on what was certainly, in the first form of the tale, a visit to the Celtic Hades. An old woman told a friend and myself that she saw what she thought were white birds, flying over an enchanted place, but found, when she got near, that they had dog's heads; and I do not doubt that my hound and these dog-headed birds are of the same family. I got my hound and deer out of a last century Gaelic poem about Oisin's journey to the country of the young. After the hunting of the hornless deer, that leads him to the seashore, and while he is riding over the sea with Niam, he sees amid the waters—I have not the Gaelic poem by me, and describe it from memory—a young man following a girl who has a golden apple, and afterwards a hound with one red ear following a deer with no horns. This hound and this deer seem plain images of the desire of man [93] 'which is for the woman,' and 'the desire of the woman which is for the desire of the man,' and of all desires that are as these. I have read them in this way in 'The Wanderings of Usheen' or Oisin, and have made my lover sigh because he has seen in their faces 'the immortal desire of immortals.' A solar mythologist would perhaps say that the girl with the golden apple was once the winter, or night, carrying the sun away, and the deer without horns, like the boar without bristles, darkness flying the light. He would certainly, I think, say that when Cuchullain, whom Professor Rhys calls a solar hero, hunted the enchanted deer of Slieve Fuadh, because the battle fury was still on him, he was the sun pursuing clouds, or cold, or darkness. I have understood them in this sense in 'Hanrahan laments because of his wandering,' and made Hanrahan long for the [94] day when they, fragments of ancestral darkness, will overthrow the world. The desire of the woman, the flying darkness, it is all one! The image—a cross, a man preaching in the wilderness, a dancing Salome, a lily in a girl's hand, a flame leaping, a globe with wings, a pale sunset over still waters—is an eternal act; but our understandings are temporal and understand but a little at a time.

The man in my poem who has a hazel wand may have been Aengus, Master of Love; and I have made the boar without bristles come out of the West, because the place of sunset was in Ireland, as in other countries, a place of symbolic darkness and death.

The Cap and Bells.

I dreamed this story exactly as I have written it, and dreamed another long dream after [95] it, trying to make out its meaning, and whether I was to write it in prose or verse. The first dream was more a vision than a dream, for it was beautiful and coherent, and gave me the sense of illumination and exaltation that one gets from visions, while the second dream was confused and meaningless. The poem has always meant a great deal to me, though, as is the way with symbolic poems, it has not always meant quite the same thing. Blake would have said 'the authors are in eternity,' and I am quite sure they can only be questioned in dreams.

The Valley of the Black Pig.

All over Ireland there are prophecies of the coming rout of the enemies of Ireland, in a certain Valley of the Black Pig, and these prophecies are, no doubt, now, as they were in the [96] Fenian days, a political force. I have heard of one man who would not give any money to the Land League, because the Battle could not be until the close of the century; but, as a rule, periods of trouble bring prophecies of its near coming. A few years before my time, an old man who lived at Lisadell, in Sligo, used to fall down in a fit and rave out descriptions of the Battle; and a man in Sligo has told me that it will be so great a battle that the horses shall go up to their fetlocks in blood, and that their girths, when it is over, will rot from their bellies for lack of a hand to unbuckle them. The battle is a mythological battle, and the black pig is one with the bristleless boar, that killed Dearmod, in November, upon the western end of Ben Bulben; Misroide MacDatha's sow, whose carving brought on so great a battle; 'the croppy black sow,' and 'the cutty black sow' of Welsh [97] November rhymes ('Celtic Heathendom,' pages 509-516); the boar that killed Adonis; the boar that killed Attis; and the pig embodiment of Typhon ('Golden Bough,' II. pages 26, 31). The pig seems to have been originally a genius of the corn, and, seemingly because the too great power of their divinity makes divine things dangerous to mortals, its flesh was forbidden to many eastern nations; but as the meaning of the prohibition was forgotten, abhorrence took the place of reverence, pigs and boars grew into types of evil, and were described as the enemies of the very gods they once typified ('Golden Bough,' II. 26-31, 56-57). The Pig would, therefore, become the Black Pig, a type of cold and of winter that awake in November, the old beginning of winter, to do battle with the summer, and with the fruit and leaves, and finally, as I suggest; and as I believe, for the purposes of poetry; [98] of the darkness that will at last destroy the gods and the world. The country people say there is no shape for a spirit to take so dangerous as the shape of a pig; and a Galway blacksmith—and blacksmiths are thought to be especially protected—says he would be afraid to meet a pig on the road at night; and another Galway man tells this story: 'There was a man coming the road from Gort to Garryland one night, and he had a drop taken; and before him, on the road, he saw a pig walking; and having a drop in, he gave a shout, and made a kick at it, and bid it get out of that. And by the time he got home, his arm was swelled from the shoulder to be as big as a bag, and he couldn't use his hand with the pain of it. And his wife brought him, after a few days, to a woman that used to do cures at Rahasane. And on the road all she could do would hardly keep him from lying down to sleep on the grass. [99] And when they got to the woman she knew all that happened; and, says she, it's well for you that your wife didn't let you fall asleep on the grass, for if you had done that but even for one instant, you'd be a lost man.'

It is possible that bristles were associated with fertility, as the tail certainly was, for a pig's tail is stuck into the ground in Courland, that the corn may grow abundantly, and the tails of pigs, and other animal embodiments of the corn genius, are dragged over the ground to make it fertile in different countries. Professor Rhys, who considers the bristleless boar a symbol of darkness and cold, rather than of winter and cold, thinks it was without bristles because the darkness is shorn away by the sun. It may have had different meanings, just as the scourging of the man-god has had different though not contradictory meanings in different epochs of the world. [100]

The Battle should, I believe, be compared with three other battles; a battle the Sidhe are said to fight when a person is being taken away by them; a battle they are said to fight in November for the harvest; the great battle the Tribes of the goddess Danu fought, according to the Gaelic chroniclers, with the Fomor at Moy Tura, or the Towery Plain.

I have heard of the battle over the dying both in County Galway and in the Isles of Arann, an old Arann fisherman having told me that it was fought over two of his children, and that he found blood in a box he had for keeping fish, when it was over; and I have written about it, and given examples elsewhere. A faery doctor, on the borders of Galway and Clare, explained it as a battle between the friends and enemies of the dying, the one party trying to take them, the other trying to save them from being taken. It may once, when the land of the Sidhe was [101] the only other world, and when every man who died was carried thither, have always accompanied death. I suggest that the battle between the Tribes of the goddess Danu, the powers of light, and warmth, and fruitfulness, and goodness, and the Fomor, the powers of darkness, and cold, and barrenness, and badness upon the Towery Plain, was the establishment of the habitable world, the rout of the ancestral darkness; that the battle among the Sidhe for the harvest is the annual battle of summer and winter; that the battle among the Sidhe at a man's death is the battle of life and death; and that the battle of the Black Pig is the battle between the manifest world and the ancestral darkness at the end of all things; and that all these battles are one, the battle of all things with shadowy decay. Once a symbolism has possessed the imagination of large numbers of men, it becomes, as I believe, [102] an embodiment of disembodied powers, and repeats itself in dreams and visions, age after age.

The Secret Rose.

I find that I have unintentionally changed the old story of Conchobar's death. He did not see the crucifixion in a vision, but was told about it. He had been struck by a ball, made of the dried brain of a dead enemy, and hurled out of a sling; and this ball had been left in his head, and his head had been mended, the Book of Leinster says, with thread of gold because his hair was like gold. Keating, a writer of the time of Elizabeth, says, 'In that state did he remain seven years, until the Friday on which Christ was crucified, according to some historians; and when he saw the unusual changes of the creation and the eclipse of the sun and the moon at its full, he asked of [103] Bucrach, a Leinster Druid, who was along with him, what was it that brought that unusual change upon the planets of Heaven and Earth. "Jesus Christ, the son of God," said the Druid, "who is now being crucified by the Jews." "That is a pity," said Conchobar; "were I in his presence I would kill those who were putting him to death." And with that he brought out his sword, and rushed at a woody grove which was convenient to him, and began to cut and fell it; and what he said was, that if he were among the Jews that was the usage he would give them, and from the excessiveness of his fury which seized upon him, the ball started out of his head, and some of the brain came after it, and in that way he died. The wood of Lanshraigh, in Feara Rois, is the name by which that shrubby wood is called.'

I have imagined Cuchullain meeting Fand 'walking among flaming dew.' The story of [104] their love is one of the most beautiful of our old tales. Two birds, bound one to another with a chain of gold, came to a lake side where Cuchullain and the host of Uladh was encamped, and sang so sweetly that all the host fell into a magic sleep. Presently they took the shape of two beautiful women, and cast a magical weakness upon Cuchullain, in which he lay for a year. At the year's end an Aengus, who was probably Aengus the master of love, one of the greatest of the children of the goddess Danu, came and sat upon his bedside, and sang how Fand, the wife of Mannannan, the master of the sea, and of the islands of the dead, loved him; and that if he would come into the country of the gods, where there was wine and gold and silver, Fand, and Laban her sister, would heal him of his magical weakness. Cuchullain went to the country of the gods, and, after being for a [105] month the lover of Fand, made her a promise to meet her at a place called 'the Yew at the Strand's End,' and came back to the earth. Emer, his mortal wife, won his love again, and Mannannan came to 'the Yew at the Strand's End,' and carried Fand away. When Cuchullain saw her going, his love for her fell upon him again, and he went mad, and wandered among the mountains without food or drink, until he was at last cured by a Druid drink of forgetfulness.

I have founded the man 'who drove the gods out of their Liss,' or fort, upon something I have read about Caolte after the battle of Gabra, when almost all his companions were killed, driving the gods out of their Liss, either at Osraighe, now Ossory, or at Eas Ruaidh, now Asseroe, a waterfall at Ballyshannon, where Ilbreac, one of the children of the goddess Danu, had a Liss. I am writ [106] ing away from most of my books, and have not been able to find the passage; but I certainly read it somewhere.

I have founded 'the proud dreaming king' upon Fergus, the son of Roigh, the legendary poet of 'the quest of the bull of Cualge,' as he is in the ancient story of Deirdre, and in modern poems by Ferguson. He married Nessa, and Ferguson makes him tell how she took him 'captive in a single look.'

Presently, because of his great love, he gave up his throne to Conchobar, her son by another, and lived out his days feasting, and fighting, and hunting. His promise never to refuse a feast from a certain comrade, and the mischief that came by his promise, and the vengeance [107] he took afterwards, are a principal theme of the poets. I have explained my imagination of him in 'Fergus and the Druid,' and in a little song in the second act of 'The Countess Kathleen.'

I have founded him 'who sold tillage, and house, and goods,' upon something in 'The Red Pony,' a folk tale in Mr. Larminie's 'West Irish Folk Tales.' A young man 'saw a light before him on the high road. When he came as far, there was an open box on the road, and a light coming up out of it. He took up the box. There was a lock of hair in it. Presently he had to go to become the servant of a king for his living. There were eleven boys. When they were going out into the stable at ten o'clock, each of them took a light but he. He took no candle at all with him. Each of them went into his own stable. When he went into his stable he opened the box. [108] He left it in a hole in the wall. The light was great. It was twice as much as in the other stables.' The king hears of it, and makes him show him the box. The king says, 'You must go and bring me the woman to whom the hair belongs.' In the end, the young man, and not the king, marries the woman.

*** END OF THE PROJECT GUTENBERG EBOOK THE WIND AMONG THE REEDS ***

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

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.