The Project Gutenberg eBook of Aesthetic Poetry

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: Aesthetic Poetry

Author: Walter Pater

Release date: July 1, 2003 [eBook #4207]

Most recently updated: December 27, 2020

Language: English

Credits: Produced by Alfred J. Drake. HTML version by Al Haines.

*** START OF THE PROJECT GUTENBERG EBOOK AESTHETIC POETRY ***

AESTHETIC POETRY+

WALTER HORATIO PATER

[213] THE "aesthetic" poetry is neither a mere reproduction of Greek or medieval poetry, nor only an idealisation of modern life and sentiment. The atmosphere on which its effect depends belongs to no simple form of poetry, no actual form of life. Greek poetry, medieval or modern poetry, projects, above the realities of its time, a world in which the forms of things are transfigured. Of that transfigured world this new poetry takes possession, and sublimates beyond it another still fainter and more spectral, which is literally an artificial or "earthly paradise." It is a finer ideal, extracted from what in relation to any actual world is already an ideal. Like some strange second flowering after date, it renews on a more delicate type the poetry of a past age, but must not be confounded with it. The secret of the enjoyment of it is that inversion of home-sickness known to some, that incurable thirst for the sense of escape, which no actual form of life [214] satisfies, no poetry even, if it be merely simple and spontaneous.

The writings of the "romantic school," of which the aesthetic poetry is an afterthought, mark a transition not so much from the pagan to the medieval ideal, as from a lower to a higher degree of passion in literature. The end of the eighteenth century, swept by vast disturbing currents, experienced an excitement of spirit of which one note was a reaction against an outworn classicism severed not more from nature than from the genuine motives of ancient art; and a return to true Hellenism was as much a part of this reaction as the sudden preoccupation with things medieval. The medieval tendency is in Goethe's Goetz von Berlichingen, the Hellenic in his Iphigenie. At first this medievalism was superficial, or at least external. Adventure, romance in the frankest sense, grotesque individualism—that is one element in medieval poetry, and with it alone Scott and Goethe dealt. Beyond them were the two other elements of the medieval spirit: its mystic religion at its apex in Dante and Saint Louis, and its mystic passion, passing here and there into the great romantic loves of rebellious flesh, of Lancelot and Abelard. That stricter, imaginative medievalism which re-creates the mind of the Middle Age, so that the form, the presentment grows outward [215] from within, came later with Victor Hugo in France, with Heine in Germany.

In the Defence of Guenevere: and Other Poems, published by Mr. William Morris now many years ago, the first typical specimen of aesthetic poetry, we have a refinement upon this later, profounder medievalism. The poem which gives its name to the volume is a thing tormented and awry with passion, like the body of Guenevere defending herself from the charge of adultery, and the accent falls in strange, unwonted places with the effect of a great cry. In truth these Arthurian legends, in their origin prior to Christianity, yield all their sweetness only in a Christian atmosphere. What is characteristic in them is the strange suggestion of a deliberate choice between Christ and a rival lover. That religion, monastic religion at any rate, has its sensuous side, a dangerously sensuous side, has been often seen: it is the experience of Rousseau as well as of the Christian mystics. The Christianity of the Middle Age made way among a people whose loss was in the life of the senses partly by its aesthetic beauty, a thing so profoundly felt by the Latin hymn-writers, who for one moral or spiritual sentiment have a hundred sensuous images. And so in those imaginative loves, in their highest expression, the Provencal poetry, it is a rival religion with a [216] new rival cultus that we see. Coloured through and through with Christian sentiment, they are rebels against it. The rejection of one worship for another is never lost sight of. The jealousy of that other lover, for whom these words and images and refined ways of sentiment were first devised, is the secret here of a borrowed, perhaps factitious colour and heat. It is the mood of the cloister taking a new direction, and winning so a later space of life it never anticipated.

Hereon, as before in the cloister, so now in the chateau, the reign of reverie set in. The devotion of the cloister knew that mood thoroughly, and had sounded all its stops. For the object of this devotion was absent or veiled, not limited to one supreme plastic form like Zeus at Olympia or Athena in the Acropolis, but distracted, as in a fever dream, into a thousand symbols and reflections. But then, the Church, that new Sibyl, had a thousand secrets to make the absent near. Into this kingdom of reverie, and with it into a paradise of ambitious refinements, the earthly love enters, and becomes a prolonged somnambulism. Of religion it learns the art of directing towards an unseen object sentiments whose natural direction is towards objects of sense. Hence a love defined by the absence of the beloved, choosing to be without hope, protesting [217] against all lower uses of love, barren, extravagant, antinomian. It is the love which is incompatible with marriage, for the chevalier who never comes, of the serf for the chatelaine, of the rose for the nightingale, of Rudel for the Lady of Tripoli. Another element of extravagance came in with the feudal spirit: Provencal love is full of the very forms of vassalage. To be the servant of love, to have offended, to taste the subtle luxury of chastisement, of reconciliation—the religious spirit, too, knows that, and meets just there, as in Rousseau, the delicacies of the earthly love. Here, under this strange complex of conditions, as in some medicated air, exotic flowers of sentiment expand, among people of a remote and unaccustomed beauty, somnambulistic, frail, androgynous, the light almost shining through them. Surely, such loves were too fragile and adventurous to last more than for a moment.

That monastic religion of the Middle Age was, in fact, in many of its bearings, like a beautiful disease or disorder of the senses: and a religion which is a disorder of the senses must always be subject to illusions. Reverie, illusion, delirium: they are the three stages of a fatal descent both in the religion and the loves of the Middle Age. Nowhere has the impression of this delirium been conveyed as by Victor Hugo in Notre Dame de Paris. The [218] strangest creations of sleep seem here, by some appalling licence, to cross the limit of the dawn. The English poet too has learned the secret. He has diffused through King Arthur's Tomb the maddening white glare of the sun, and tyranny of the moon, not tender and far-off, but close down—the sorcerer's moon, large and feverish. The colouring is intricate and delirious, as of "scarlet lilies." The influence of summer is like a poison in one's blood, with a sudden bewildered sickening of life and all things. In Galahad: a Mystery, the frost of Christmas night on the chapel stones acts as a strong narcotic: a sudden shrill ringing pierces through the numbness: a voice proclaims that the Grail has gone forth through the great forest. It is in the Blue Closet that this delirium reaches its height with a singular beauty, reserved perhaps for the enjoyment of the few.

A passion of which the outlets are sealed, begets a tension of nerve, in which the sensible world comes to one with a reinforced brilliancy and relief—all redness is turned into blood, all water into tears. Hence a wild, convulsed sensuousness in the poetry of the Middle Age, in which the things of nature begin to play a strange delirious part. Of the things of nature the medieval mind had a deep sense; but its sense of them was not objective, no real escape [219] to the world without us. The aspects and motions of nature only reinforced its prevailing mood, and were in conspiracy with one's own brain against one. A single sentiment invaded the world: everything was infused with a motive drawn from the soul. The amorous poetry of Provence, making the starling and the swallow its messengers, illustrates the whole attitude of nature in this electric atmosphere, bent as by miracle or magic to the service of human passion.

The most popular and gracious form of Provencal poetry was the nocturn, sung by the lover at night at the door or under the window of his mistress. These songs were of different kinds, according to the hour at which they were intended to be sung. Some were to be sung at midnight—songs inviting to sleep, the serena, or serenade; others at break of day—waking songs, the aube or aubade.* This waking-song is put sometimes into the mouth of a comrade of the lover, who plays sentinel during the night, to watch for and announce the dawn: sometimes into the mouth of one of the lovers, who are about to separate. A modification of it is familiar to us all in Romeo and Juliet, where the lovers debate whether the song they hear is of the nightingale or the lark; the aubade, with the two other great forms of love-poetry then floating in the world, the sonnet and the [220] epithalamium, being here refined, heightened, and inwoven into the structure of the play. Those, in whom what Rousseau calls les frayeurs nocturnes are constitutional, know what splendour they give to the things of the morning; and how there comes something of relief from physical pain with the first white film in the sky. The Middle Age knew those terrors in all their forms; and these songs of the morning win hence a strange tenderness and effect. The crown of the English poet's book is one of these appreciations of the dawn:—

"Pray but one prayer for me 'twixt thy closed lips,

Think but one thought of me up in the stars,

The summer-night waneth, the morning light slips,

Faint and gray 'twixt the leaves of the aspen,

betwixt the cloud-bars,

That are patiently waiting there for the dawn:

Patient and colourless, though Heaven's gold

Waits to float through them along with the sun.

Far out in the meadows, above the young corn,

The heavy elms wait, and restless and cold

The uneasy wind rises; the roses are dun;

Through the long twilight they pray for the dawn,

Round the lone house in the midst of the corn.

Speak but one word to me over the corn,

Over the tender, bow'd locks of the corn."

It is the very soul of the bridegroom which goes forth to the bride: inanimate things are longing with him: all the sweetness of the imaginative loves [221] of the Middle Age, with a superadded spirituality of touch all its own, is in that!

The Defence of Guenevere was published in 1858; the Life and Death of Jason in 1867; to be followed by The Earthly Paradise; and the change of manner wrought in the interval, entire, almost a revolt, is characteristic of the aesthetic poetry. Here there is no delirium or illusion, no experiences of mere soul while the body and the bodily senses sleep, or wake with convulsed intensity at the prompting of imaginative love; but rather the great primary passions under broad daylight as of the pagan Veronese. This simplification interests us, not merely for the sake of an individual poet—full of charm as he is—but chiefly because it explains through him a transition which, under many forms, is one law of the life of the human spirit, and of which what we call the Renaissance is only a supreme instance. Just so the monk in his cloister, through the "open vision," open only to the spirit, divined, aspired to, and at last apprehended, a better daylight, but earthly, open only to the senses. Complex and subtle interests, which the mind spins for itself may occupy art and poetry or our own spirits for a time; but sooner or later they come back with a sharp rebound to the simple elementary passions—anger, desire, regret, [222] pity, and fear: and what corresponds to them in the sensuous world—bare, abstract fire, water, air, tears, sleep, silence, and what De Quincey has called the "glory of motion."

This reaction from dreamlight to daylight gives, as always happens, a strange power in dealing with morning and the things of the morning. Not less is this Hellenist of the Middle Age master of dreams, of sleep and the desire of sleep—sleep in which no one walks, restorer of childhood to men—dreams, not like Galahad's or Guenevere's, but full of happy, childish wonder as in the earlier world. It is a world in which the centaur and the ram with the fleece of gold are conceivable. The song sung always claims to be sung for the first time. There are hints at a language common to birds and beasts and men. Everywhere there is an impression of surprise, as of people first waking from the golden age, at fire, snow, wine, the touch of water as one swims, the salt taste of the sea. And this simplicity at first hand is a strange contrast to the sought-out simplicity of Wordsworth. Desire here is towards the body of nature for its own sake, not because a soul is divined through it.

And yet it is one of the charming anachronisms of a poet, who, while he handles an ancient subject, never becomes an antiquarian, but animates his [223] subject by keeping it always close to himself, that betweenwhiles we have a sense of English scenery as from an eye well practised under Wordsworth's influence, as from "the casement half opened on summer-nights," with the song of the brown bird among the willows, the

"Noise of bells, such as in moonlit lanes

Rings from the grey team on the market night."

Nowhere but in England is there such a "paradise of birds," the fern-owl, the water-hen, the thrush in a hundred sweet variations, the ger-falcon, the kestrel, the starling, the pea-fowl; birds heard from the field by the townsman down in the streets at dawn; doves everywhere, pink-footed, grey-winged, flitting about the temple, troubled by the temple incense, trapped in the snow. The sea-touches are not less sharp and firm, surest of effect in places where river and sea, salt and fresh waves, conflict.

In handling a subject of Greek legend, anything in the way of an actual revival must always be impossible. Such vain antiquarianism in a waste of the poet's power. The composite experience of all the ages is part of each one of us: to deduct from that experience, to obliterate any part of it, to come face to face with the people of a past age, as if the Middle Age, the Renaissance, the eighteenth century had not been, is as impossible as to become a little [224] child, or enter again into the womb and be born. But though it is not possible to repress a single phase of that humanity, which, because we live and move and have our being in the life of humanity, makes us what we are, it is possible to isolate such a phase, to throw it into relief, to be divided against ourselves in zeal for it; as we may hark back to some choice space of our own individual life. We cannot truly conceive the age: we can conceive the element it has contributed to our culture: we can treat the subjects of the age bringing that into relief. Such an attitude towards Greece, aspiring to but never actually reaching its way of conceiving life, is what is possible for art.

The modern poet or artist who treats in this way a classical story comes very near, if not to the Hellenism of Homer, yet to the Hellenism of Chaucer, the Hellenism of the Middle Age, or rather of that exquisite first period of the Renaissance within it. Afterwards the Renaissance takes its side, becomes, perhaps, exaggerated or facile. But the choice life of the human spirit is always under mixed lights, and in mixed situations, when it is not too sure of itself, is still expectant, girt up to leap forward to the promise. Such a situation there was in that earliest return from the overwrought spiritualities of the Middle Age to the earlier, more ancient life of the senses; and for us the most attractive form of [225] classical story is the monk's conception of it, when he escapes from the sombre atmosphere of his cloister to natural light. The fruits of this mood, which, divining more than it understands, infuses into the scenery and figures of Christian history some subtle reminiscence of older gods, or into the story of Cupid and Psyche that passionate stress of spirit which the world owes to Christianity, constitute a peculiar vein of interest in the art of the fifteenth century.

And so, before we leave Jason and The Earthly Paradise, a word must be said about their medievalisms, delicate inconsistencies, which, coming in a poem of Greek subject, bring into this white dawn thoughts of the delirious night just over and make one's sense of relief deeper. The opening of the fourth book of Jason describes the embarkation of the Argonauts: as in a dream, the scene shifts and we go down from Iolchos to the sea through a pageant of the Middle Age in some French or Italian town. The gilded vanes on the spires, the bells ringing in the towers, the trellis of roses at the window, the close planted with apple-trees, the grotesque undercroft with its close-set pillars, change by a single touch the air of these Greek cities and we are at Glastonbury by the tomb of Arthur. The nymph in furred raiment who seduces Hylas is conceived frankly in the spirit of Teutonic romance; her song is of a garden [226] enclosed, such as that with which the old church glass-stainer surrounds the mystic bride of the song of songs. Medea herself has a hundred touches of the medieval sorceress, the sorceress of the Streckelberg or the Blocksberg: her mystic changes are Christabel's. It is precisely this effect, this grace of Hellenism relieved against the sorrow of the Middle Age, which forms the chief motives of The Earthly Paradise: with an exquisite dexterity the two threads of sentiment are here interwoven and contrasted. A band of adventurers sets out from Norway, most northerly of northern lands, where the plague is raging—the bell continually ringing as they carry the Sacrament to the sick. Even in Mr. Morris's earliest poems snatches of the sweet French tongue had always come with something of Hellenic blitheness and grace. And now it is below the very coast of France, through the fleet of Edward the Third, among the gaily painted medieval sails, that we pass to a reserved fragment of Greece, which by some divine good fortune lingers on in the western sea into the Middle Age. There the stories of The Earthly Paradise are told, Greek story and romantic alternating; and for the crew of the Rose Garland, coming across the sins of the earlier world with the sign of the cross, and drinking Rhine-wine in Greece, the two worlds of sentiment are confronted.

[227] One characteristic of the pagan spirit the aesthetic poetry has, which is on its surface—the continual suggestion, pensive or passionate, of the shortness of life. This is contrasted with the bloom of the world, and gives new seduction to it—the sense of death and the desire of beauty: the desire of beauty quickened by the sense of death. But that complexion of sentiment is at its height in another "aesthetic" poet of whom I have to speak next, Dante Gabriel Rossetti.

1868.

NOTES

213. +This essay appeared only in the 1889 edition of Appreciations.

219. *Fauriel's Histoire de la Poesie Provencale, tome ii. ch. xviii.

*** END OF THE PROJECT GUTENBERG EBOOK AESTHETIC POETRY ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

AESTHETIC POETRY+

WALTER HORATIO PATER

NOTES

THE FULL PROJECT GUTENBERG LICENSE