Puella mea
Date: 2022-02-12T00:00:00+00:00
Keywords: American poetry -- 20th century; Love poetry

The Project Gutenberg eBook of Puella mea

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: Puella mea

Author: E. E. Cummings

Artist: Paul Klee

Amedeo Modigliani

Pablo Picasso

Kurt Roesch

Release date: February 12, 2022 [eBook #67384]
Most recently updated: October 18, 2024

Language: English

Original publication: United States: The Golden Eagle Press, 1923

Credits: Charlene Taylor, Linda Cantoni, and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK PUELLA MEA ***

Transcriber's Note: Idiosyncrasies of spelling, punctuation, and capitalization have been retained as they appear in the original.

PUELLA MEA

BY E.E. CUMMINGS

COPYRIGHT MCMXXIII BY E E CUMMINGS PRINTED IN THE UNITED STATES OF AMERICA

Harun Omar and Master Hafiz
keep your dead beautiful ladies.

Mine is a little lovelier
than any of your ladies were.

In her perfectest array
my lady, moving in the day,
is a little stranger thing
than crisp Sheba with her king
in the morning wandering.

Through the young and awkward hours
my lady perfectly moving,
through the new world scarce astir
my fragile lady wandering
in whose perishable poise
is the mystery of Spring
(with her beauty more than snow
dexterous and fugitive
my very frail lady drifting
distinctly, moving like a myth
in the uncertain morning, with
April feet like sudden flowers

and all her body filled with May)
—moving in the unskilful day
my lady utterly alive,
to me is a more curious thing
(a thing more nimble and complete)
than ever to Judea’s king
were the shapely sharp cunning
and withal delirious feet
of the Princess Salome
carefully dancing in the noise
of Herod’s silence, long ago.

If she a little turn her head
i know that i am wholly dead:
nor ever did on such a throat
the lips of Tristram slowly dote,
La beale Isoud whose leman was.
And if my lady look at me
(with her eyes which like two elves
incredibly amuse themselves)
with a look of færie,
perhaps a little suddenly
(as sometimes the improbable
beauty of my lady will)
—at her glance my spirit shies
rearing (as in the miracle
of a lady who had eyes
which the king’s horses might not kill.)

But should my lady smile, it were
a flower of so pure surprise
(it were so very new a flower,
a flower so frail, a flower so glad)
as trembling used to yield with dew
when the world was young and new
(a flower such as the world had
in Springtime when the world was mad
and Launcelot spoke to Guenever,
a flower which most heavy hung
with silence when the world was young
and Diarmid looked in Grania’s eyes.)
But should my lady’s beauty play
at not speaking (somtimes as
it will) the silence of her face
doth immediately make
in my heart so great a noise,
as in the sharp and thirsty blood
of Paris would not all the Troys
of Helen’s beauty: never did
Lord Jason (in impossible things
victorious impossibly)
so wholly burn, to undertake
Medea’s rescuing eyes; nor he
when swooned the white egyptian day
who with Egypt’s body lay.

Lovely as those ladies were
mine is a little lovelier.

And if she speak in her frail way,
it is wholly to bewitch
my smallest thought with a most swift
radiance wherein slowly drift
murmurous things divinely bright;
it is foolingly to smite
my spirit with the lithe free twitch
of scintillant space, with the cool writhe
of gloom truly which syncopate
some sunbeam’s skilful fingerings;
it is utterly to lull
with foliate inscrutable
sweetness my soul obedient;
it is to stroke my being with
numbing forests frolicsome,
fleetly mystical, aroam
with keen creatures of idiom
(beings alert and innocent
very deftly upon which
indolent miracles impinge)
—it is distinctly to confute
my reason with the deep caress
of every most shy thing and mute,
it is to quell me with the twinge
of all living intense things.

Never my soul so fortunate
is (past the luck of all dead men
and loving) as invisibly when
upon her palpable solitude
a furtive occult fragrance steals,
a gesture of immaculate
perfume—whereby (with fear aglow)
my soul is wont wholly to know
the poignant instantaneous fern
whose scrupulous enchanted fronds
toward all things intrinsic yearn,
the immanent subliminal
fern of her delicious voice
(of her voice which always dwells
beside the vivid magical
impetuous and utter ponds
of dream; and very secret food
its leaves inimitable find
beyond the white authentic springs,
beyond the sweet instinctive wells,
which make to flourish the minute
spontaneous meadow of her mind)
—the vocal fern, always which feels
the keen ecstatic actual tread
(and thereto perfectly responds)
of all things exquisite and dead,
all living things and beautiful.

(Caliph and king their ladies had
to love them and to make them glad,
when the world was young and mad,
in the city of Bagdad—
mine is a little lovelier
than any of those ladies were.)

Her body is most beauteous,
being for all things amorous
fashioned very curiously
of roses and of ivory.
The immaculate crisp head
is such as only certain dead
and careful painters love to use
for their youngest angels (whose
praising bodies in a row
between slow glories fleetly go.)
Upon a keen and lovely throat
the strangeness of her face doth float,
which in eyes and lips consists
—always upon the mouth there trysts
curvingly a fragile smile
which like a flower lieth (while
within the eyes is dimly heard
a wistful and precarious bird.)

Springing from fragrant shoulders small,
ardent, and perfectly withal
smooth to stroke and sweet to see
as a supple and young tree,
her slim lascivious arms alight
in skilful wrists which hint at flight
—my lady’s very singular
and slenderest hands moreover are
(which as lilies smile and quail)
of all things perfect the most frail.

(Whoso rideth in the tale
of Chaucer knoweth many a pair
of companions blithe and fair;
who to walk with Master Gower
in Confessio doth prefer
shall not lack for beauty there,
nor he that will amaying go
with my lord Boccaccio—
whoso knocketh at the door
of Marie and of Maleore
findeth of ladies goodly store
whose beauty did in nothing err.
If to me there shall appear
than a rose more sweetly known,
more silently than a flower,
my lady naked in her hair—
i for those ladies nothing care
nor any lady dead and gone.)

Each tapering breast is firm and smooth
that in a lovely fashion doth
from my lady’s body grow;
as morning may a lily know,
her petaled flesh doth entertain
the adroit blood’s mysterious skein
(but like some passionate earlier
flower, the snow will oft utter,
whereof the year has perfect bliss—
for each breast a blossom is,
which being a little while caressed
its fragrance makes the lover blest.)
Her waist is a most tiny hinge
of flesh, a winsome thing and strange;
apt in my hand warmly to lie
it is a throbbing neck whereby
to grasp the belly’s ample vase
(that urgent urn which doth amass
for whoso drinks, a dizzier wine
than should the grapes of heaven combine
with earth’s madness)—’tis a gate
unto a palace intricate
(whereof the luscious pillars rise
which are her large and shapely thighs)
in whose dome the trembling bliss
of a kingdom wholly is.

Beneath her thighs such legs are seen
as were the pride of the world’s queen:
each is a verb, miraculous
inflected oral devious,
beneath the body’s breathing noun
(moreover the delicious frown
of the grave great sensual knees
well might any monarch please.)
Each ankle is divinely shy;
as if for fear you would espy
the little distinct foot (if whose
very minuteness doth abuse
reason, why then the artificer
did most exquisitely err.)

When the world was like a song
heard behind a golden door,
poet and sage and caliph had
to love them and to make them glad
ladies with lithe eyes and long
(when the world was like a flower
Omar Hafiz and Harun
loved their ladies in the moon)
—fashioned very curiously
of roses and of ivory
if naked she appear to me
my flesh is an enchanted tree;
with her lips’ most frail parting
my body hears the cry of Spring,
and with their frailest syllable
its leaves go crisp with miracle.

Love!—maker of my lady,
in that alway beyond this
poem or any poem she
of whose body words are afraid
perfectly beautiful is,
forgive these words which i have made.

And never boast your dead beauties,
you greatest lovers in the world!
who with Grania strangely fled,
who with Egypt went to bed,
whom white-thighed Semiramis
put up her mouth to wholly kiss—
never boast your dead beauties,
mine being unto me sweeter
(of whose shy delicious glance
things which never more shall be,
perfect things of færie,
are intense inhabitants;
in whose warm superlative
body do distinctly live
all sweet cities passed away—
in her flesh at break of day
are the smells of Nineveh,
in her eyes when day is gone
are the cries of Babylon.)
Diarmid Paris and Solomon,
Omar Harun and Master Hafiz,
to me your ladies are all one—
keep your dead beautiful ladies.

Eater of all things lovely—Time!
upon whose watering lips the world
poises a moment (futile, proud,
a costly morsel of sweet tears)
gesticulates, and disappears—
of all dainties which do crowd
gaily upon oblivion
sweeter than any there is one;
to touch it is the fear of rhyme—
in life’s very fragile hour
(when the world was like a tale
made of laughter and of dew,
was a flight, a flower, a flame,
was a tendril fleetly curled
upon frailness) used to stroll
(very slowly) one or two
ladies like flowers made,
softly used to wholly move
slender ladies made of dream
(in the lazy world and new
sweetly used to laugh and love
ladies with crisp eyes and frail,
in the city of Bagdad.)

Keep your dead beautiful ladies

Harun Omar and Master Hafiz.

This edition of E.E. Cummings’ Puella Mea with reproductions of drawings and paintings by Klee is made possible through the kind permission of Curt Valentin of Buchholz Gallery. The Modigliani drawing is used by the courtesy of his publishers, in Milan, Italy. For the drawing by Picasso thanks are due to Mary Callery, who consented to its use. Kurt Roesch contributed his drawing which is the only illustration expressly made for this book when it was decided to have work by other modern masters in addition to the one drawing by the author himself, which appears on the first text page of his poem.

S.A. JACOBS, THE GOLDEN EAGLE PRESS

*** END OF THE PROJECT GUTENBERG EBOOK PUELLA MEA ***

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

- PUELLA MEA

- THE FULL PROJECT GUTENBERG LICENSE