## The Project Gutenberg eBook of Sanctuary: A Bird Masque

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: Sanctuary: A Bird Masque

Author: Percy MacKaye

Contributor: Arvia MacKaye Ege

Photographer: Arnold Genthe

Release date: March 8, 2018 [eBook #56704]

Language: English

Credits: Produced by Richard Tonsing, Mary Glenn Krause, MFR and
the Online Distributed Proofreading Team at
http://www.pgdp.net (This file was produced from images
generously made available by The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK SANCTUARY: A BIRD MASQUE ***

Transcriber’s Note:

The cover image was created by the transcriber and is placed in the public domain.

SANCTUARY
A BIRD MASQUE
“Herkneth these blisful briddes how they singe;
Ful is mine herte of revel and solas!”
Chaucer

ORNIS
(Miss Eleanor Wilson)

# SANCTUARY
A Bird Masque

BY
PERCY MACKAYE
With a Prelude by
ARVIA MACKAYE
Illustrated with Photographs in Color and Monotone by
ARNOLD GENTHE
NEW YORK
FREDERICK A. STOKES COMPANY
PUBLISHERS
Copyright, 1913, 1914, by
Percy MacKaye
All rights reserved
THE·PLIMPTON·PRESS
NORWOOD·MASS·U·S·A
TO
ERNEST HAROLD BAYNES
‘WILD NATURE’S HUMAN SYMPATHIZER’
IN ADMIRATION OF HIS DAUNTLESS
SERVICE TO THE BIRDS

## NOTE
REGARDING PERFORMANCE AND PUBLIC READING

Requests for permission to perform or read publicly this Bird Masque having been received from a great many quarters, the following information is here given for those desiring such permission:

The Masque is copyrighted in the United States and countries of the Copyright Union, and all rights are reserved.

The purpose of the Masque is to be of public use, so that all adequate presentations of it are welcome. To this end the special conditions of performance or public reading should in each case be communicated direct to the author, in care of the publisher.

No performances may be given without such direct communication, and permission thus first obtained.

As the publication of this text is designed to serve the definite cause for which it was written, performances Imust be, in some degree at least, for the benefit of Wild Bird Conservation.

Music for the lyrics “The Hermit Thrush” and the three songs of Quercus has been composed by Frederick S. Converse, and is published by the H. W. Gray Company, 2 West 45th Street, New York.

A bird bath, specially designed for use in bird sanctuaries and gardens, with plastic groupings of characters in the original cast of this Masque, has been executed by Mrs. Louis Saint-Gaudens, Cornish, New Hampshire, post office Windsor, Vermont.

The four photographs in color, as well as those in black and white, which illustrate this volume were taken by Dr. Arnold Genthe of enactors in the Masque, as first performed by members of the Cornish Colony and the Meriden Bird Club at Meriden, New Hampshire, September 12, 1913.

ix

## FOREWORD

This Masque was written for the dedication of the bird sanctuary of the Meriden Bird Club of Meriden, New Hampshire, where it was first performed on the night of September twelfth, 1913. The text was composed, the lyrics set to music, the masque rehearsed, costumed and acted, within the brief space of a month. Its production came about by a spontaneous and glad cooperation of artists, neighbors, lovers of nature, imbued with a deep feeling in common—concern for the welfare of wild birds. In this important concern its enactors were happily encouraged by the sympathetic presence of the President of the United States and the participation of his family.

Swift and spontaneous as its production was, however, the masque in its reasons for being was not unpremeditated. It took its origin from two important sources, rarely, if ever, associated—nature study, and the art of the theatre.

The union of these was its raison d’etre.

However tentative its realization, it stands none the less as a pioneering suggestion of real moment xto those two potent influences upon our national life. As such it has seemed worth while to present to the public, and to make clear the suggestion which it illustrates, however sketchily.

From a recent volume by the writer on “The Civic Theatre, in Relation to the Redemption of Leisure,” I quote the following paragraphs upon “Nature Symbols,” as they apply directly to this subject:

“The relation of the theatre’s art to the naturalist’s vocation is probably not obvious to the man on the street. That is because the commercial theatre relates itself to so few of the pursuits of science outside of Broadway interests. The civic theatre would do otherwise.

“Aristophanes symbolized the birds for the purposes of Greek satire. The costuming of his play in Athens probably expressed no direct attribution to the science of ornithology. Yet its attribution to the Greek race’s intimate love of Nature was as spontaneous as the symbolizing of flowers in the capitals of their temple columns. The movement to-day for the conservation of our birds and their more intimate study might well take on significant, lovely forms of symbolic expression in pageants, festivals and the drama of the civic theatre.

“By the same art, the fascinating designs, embossings, xicolorings, of insect forms could be symbolized in spectacles of astonishing beauty, motivated dramatically to the real and tremendous human relation which that ignored but pestiferous race bears to human society and the state; as witness the movement, involving millions in taxes, for exterminating the gypsy moth and the boll weevil.

“Such implications for art may seem, at first, a far cry from actual possibilities of the theatre; yet thus may the civic theatre directly relate its activities not only to the enthusiasms of naturalists in the fields and woods, but to the inspiring studies of scholars in their laboratories: a cooperation which may soon stultify the popular notion that art and science are divorced in their special aims. The same relation of the theatre’s symbolic art to all the sciences—the discoveries of chemistry, the splendid imaginings of engineering—is implied in their common aim: the bringing of greater joy, beauty, understanding, to our fellow men and women, the people.

“Science represents idea, art its expression; theatrical art its expression in forms best adapted to convened numbers of the people. The forms of popular art, therefore, are limited only by the ideas of man.”

It is thus as an illustration of one of the multiform xii genres of the civic theatre’s potential art that this little masque has its main significance.

Before the actual establishment of the Civic Theatre among us, the opportunities of the working dramatist to make tangible contributions by his art to its repertory are, of course, very scant and at best groping and experimental. One such as the present may serve, however, to suggest certain immediate, practical possibilities.

If, for instance, every bird sanctuary were to possess its stage and auditorium for bird masques—if every Natural History Museum had its outdoor theatre, equipped to set forth the multitudinous human meanings of its nature exhibits to the crowds that frequent its doors in their hours of leisure—if the directors of every Zoölogical Park were to provide for it a scenic arena, and seek the civic cooperation of the dramatic poet and theatrical expert, to vivify by their art the tremendous life stories of wild nature to the receptive minds of the human thousands convened to listen and behold—by such means, would not the disciples of nature study not simply adopt for their own ends a means of education and publicity a thousandfold more dynamic, imaginative and popular than any of the static means of exhibits, lectures and published volumes on which they xiiinow rely: would they not also thereby splendidly assist in enlarging the civic scope of the theatre’s art, still cramped, as for generations, within the walls of speculation and commercialism?

These suggestions speak for themselves.

If this Bird Masque shall help, in the slightest degree, to illustrate them, it will do its ephemeral service in the only permanent sanctuary of men as of birds—imagination.

Percy MacKaye.
Cornish, New Hampshire,
October, 1913.
xv

## PERSONS OF THE MASQUE[1]
in the order of their appearance

QUERCUS, faun
ALWYN, poet
SHY, naturalist
TACITA, dryad
ORNIS, bird spirit
STARK, plume hunter

### PARTICIPANTS IN PANTOMIME

Hunter Attendants of Stark
Many species of birds—in human form, garbed symbolically

### SCENE

The sylvan glade of a bird sanctuary.

1. The complete programme of the original production of the masque, as first enacted at Meriden, New Hampshire, by members of the Cornish Colony and the Meriden Bird Club, is printed in the Afterword of this volume.

xvii
THE PRELUDE
xviii

THE LITTLE GIRL FALLS INTO REVERIE

xix

## THE PRELUDE

Wandering in the quiet of the bird sanctuary, a little girl hears the voice of a hermit thrush, and meditates this song:
THE SONG
While walking through a lonely wood
I heard a lovely voice:
A voice so fresh and true and good
It made my heart rejoice.
It sounded like a Sunday bell
Rung softly in a town,
Or like a stream that in a dell
Forever trickles down.
It seemed to be a voice of love
That always had loved me,
So softly it rang out above,
So wild and wanderingly.
O Voice, were you a golden dove,
Or just a plain gray bird?
O Voice, you are my wandering love
Lost, yet forever heard.
xx Passing on deeper into the wood, the little girl thinks dreamily of all wild birds and the wrongs done to them by their human brothers and sisters.
Out of her reverie grows the Masque which follows.
THE MASQUE
3

## THE MASQUE

### I

Dawn.
The woods are silent, save for bird pipings.
In the background, verdure of young pines and ancient boles of oaks form the dim-pillared entrance to a forest shrine.
Artfully placed on tree trunk and bough are nest boxes of bark.
On one side stands a low weathercock food-house; on the other, a tall martin-house pole.
In the shade of a great oak glimmers the shallow pool of a bird bath.
4 Peeping at this from behind the oak, appears, vanishes and appears again the horned head of Quercus, a faun.
Stealing forth, Quercus approaches the pool, bearing in one hand an enormous pitcher plant.
Peering upward among the boughs, he raises his voice in quaint falsetto, and sings.
QUERCUS
Veery, veery!—vireo!
Waxwing wild!—warbler wary!
Ori-ori-oriole!
Seek our sanctuary!
Robin rath,
Little tail-twitcher,
Drink from my pitcher,
Dip in my bath!
Dew’s in my bath,
Rain’s in my pitcher,
Dawn’s in the greenwood eerie:
Hither, highhole!
Redpoll!
Oriole!
Vireo!—veery!
[From his pitcher plant Quercus pours5 into the bird bath. Skipping then to a little swinging bird-house, he sprinkles its shelf with seed from a pouch. Here he pauses dreamily; furtively takes out and fingers a pipe; blows a few notes, pauses, starts, puts it quickly away, stoops his ear to the ground, springs away to the oak, and snatches an ivied staff which stands against the trunk. The staff is designed like a martin-house pole in miniature. Placing himself on guard where a foot-path enters the glade, he calls:]
Stand yonder! Hold! who treads beneath my trees?
A VOICE
[Outside.]
A friend.
QUERCUS
A friend to what?
THE VOICE
To Song, and Song’s melodious silences.
6QUERCUS
Still enter not.
The race of wings reigns in this solitude.
No foot may here intrude
Without fair passport. Tell me first your name
And cause of coming here.
7

### II

Quercus. Alwyn.
[A Young Man enters, pausing in the path.]
THE MAN
From hence even now a piping filled mine ear
With quaintish memory: familiar,
Yet old, it seemed. Long since, I heard the same
Lulling to paleness the white morning star
Among Sicilian oaks. So here I came
To spy upon the piper. Now, methinks,
I know him, by those horns and merry winks.
—Good morrow, Quercus, the faun!
QUERCUS
Now, by Lord Pan!
The poet’s ear and eye still spy me out.—
8Alwyn, maker of songs—hail to you, master!
You!—Can it really be?
ALWYN
It can,
And is—by Pan, our ancient pastor!
But you, slant shanks, what make you here at dawn?
QUERCUS
Newfangleness! The classic gout
Still crooks my knees with the old lyric wine,
But now they run new errands.
[Flourishing his staff.]
Lo, the sign
Of my new office!
ALWYN
New! What may that be?
QUERCUS
Wood warden of the wild birds’ sanctuary:
Janitor of their sylvan temple!—See,
My staff acclaims me. Poor Mercutius!
Old mythologic nature-faker,
He’s out of date with his caduceus.
Behold in me
A modern science-tutored fairy
9And practical care-taker—
Grand marshal of the martin-house!
ALWYN
[Pointing at Quercus’ staff.]
Of that?
QUERCUS
Nay, this, my bard, is but the breviat
And little pattern.
[Pointing toward a tall martin-house pole.]
Yonder, you behold
The real palace. Through those portals
We lure the feathered broods to fold
Their wings above the world of thievish mortals.
ALWYN
We—say you? Who are we?
QUERCUS
Myself and my lord master.
ALWYN
And what’s he?
QUERCUS
Nay, if I knew, I should be wiser.
He is the fellow of all friendless things,
10Wild nature’s human sympathizer:
In form a man, yet footed so with silence
The deer mistake him for their brother; so
Swift that, meseems, he borrows the birds’ wings;
An eye, that glows and twinks
Through noon like twilight’s vesper star; an ear
That harks a mile hence
The purring of a lynx!
I love him, follow, obey him, yet I know
Naught of him—but his love.
ALWYN
Not even his name?
QUERCUS
Yea, what men call him by;
And he is like the same.
Men call him Master Shy.
ALWYN
Ah, Shy, the naturalist.
Why, he is my good crony. If he wist
11To rhyme he’d be a better bard than I.
How do you serve him?
QUERCUS
I’m crew to his Jason!
I multiply myself for rare adventures,
And serve his Ship of Birds as carpenter,
Box-joiner, bath-cementer, mason,
Seed-storer, water-carrier,
Worm-steward, nest-ward, treehouse thatcher,
Man-chaser and mouse-catcher.
ALWYN
Nay, do you please in all?
QUERCUS
I carry to his call,
And never yet have earned his censures
For botch or shirk.
ALWYN
I prithee show me of your handiwork.
What’s here—this little box
With paddle wings?
12QUERCUS
One of our weather-cocks.
Look you, it swings:
So when, in winter, the white tempest blows,
Here sit the birds at breakfast ’mid the snows,
With porch turned ever to the cosy side.
In that cold time, my master Shy
Brings more devices to provide
Bird-comfort: Food-bells full of millet
We place in covert nooks, and tie
Our knitted suet bags on many a bough
Of pine and larch. And I must plough
Through many a drift, to crack the frozen rillet
For little beaks to drink.
ALWYN
By Phœbus, now
Is this in sooth mine old Sicilian faun,
That wont of yore to dally
On violet-scented lawn
With lily-crownéd nymphs in lovelorn valley!
What modern change is here? What magic—
13QUERCUS
Hush!
[With lowered voice, he looks around warily.]
I am not always quite so modern!
At times—at times—as when just now
You heard me pipe below this bough—
I slip my master’s traces,
And slink by paths untrodden
To lovelorn, lush
Arcadian places,
Where Philomel still lingers,
Plaining her ancient pity,
And there I fetch forth this
With idling fingers,
And, pouting on its lip my kiss,
I pipe some dulcet, old, bucolic ditty.
[Taking out his pipe, he plays again a few languorous strains, but breaks off abruptly.]
Whist! Here he comes.—It grates upon his ear.
14

“IS THIS IN SOOTH MINE OLD SICILIAN FAUN?”

15

### III

Shy. Quercus. Alwyn.
SHY
[Enters, carrying a nest-box.]
A hermit thrush is pleasanter to hear.
[He greets Alwyn.]
Good morning, friend! How comes it you are caught
Walking so early? Poets, I had thought,
Salute the sunrise only in their song.
ALWYN
[Smiling.]
Fie, then! You do us wrong:
We rhyming slugabeds
Walk with Aurora at our pillows’ heads,
For dreamers can see dawn rise in the dark.
Poets are owls that elegize the lark.
SHY
And now you’ll talk to me of nightingales!
16Three birds exhaust your bard’s vocabulary:
Larks, nightingales and owls! High time, you see,
To wean this fellow from your piper’s tales,
And teach him craftily
To build our hungry birds a homelike sanctuary.
ALWYN
[Patting Quercus’ shoulder.]
Good Shy, no schooling could so much relieve
My modern apprehensions: Tutor him,
Hoof, head and limb,
And let me humbly hearken. By your leave,
God shall provide the dawn,
And you the tutelage, and I—the faun.
QUERCUS
Waiting, my masters!
ALWYN
Give your pipe to me!
QUERCUS
[Holding it behind him.]
Must I give up my pipe? The sound is sweet.
17ALWYN
Truth is more sweet than melody,
And wisdom than melodious words.
When you have learned to greet
With their own mystic speech all living birds
And minister to their necessity,
This pipe shall be restored, and we will make
Together a new song, more sweet for knowledge’ sake.
[In pantomime, he demands and receives the pipe from Quercus. Shy then addresses Quercus.]
SHY
This nest-box: Nail it on the barest bough
Of that tall maple. Place it well,
Like yonder one.
QUERCUS
Right, master. Now!
SHY
Soft, soft! Not so pell-mell!
You’ll scare that nuthatch at her nesting.
First tell me of your other questing—
Those errands which I sent you yesterday.
18QUERCUS
That cowbird, master,—
SHY
Did she lay
Her egg?
QUERCUS
Indeed she did, the pest!
She laid it in a redstart’s nest;
But up I poked my nose in, nabbed it
And cracked it cursory:
Good Mama Redstart now can hatch her nursery
Without a big stepchild to smother her chicks.
SHY
Old Deacon Rathburne’s tom-cat, is he—dead?
QUERCUS
What, Tom, that dabbled in gore the wee goldfinches?
[He nods shrewdly.]
Wild huckleberries are growing at his head!
That almost got you in the fix:
Old Deacon saw me do it, blabbed it,
19And Missus sicked her dachshund at my heels.
[Grinning.]
Eh, master, it’s your shoe that pinches!
SHY
When cats invade bird-temples, boy, it feels
Good to be wicked.
But tell me of our forest planting ground:
What shrubs and creepers have you found
And marked, to make our shelter thicket?
QUERCUS
Why, sir, to give it
Birdblithesomeness, I’ve chose
Shad bush, blue cornel, withe rod, privet,
Red osier, raspberry, wild rose,
Black haw, and dangleberry.
SHY
A proper list!
What trees—deciduous?
QUERCUS
Box-elder and bird cherry,
White ash, gray birch and cockspur thorn.
20ALWYN
What make you thus?
Some sylvan pound, to stalk an unicorn?
SHY
Good poet, whist!
No more mythology.
Your faun is learning better. Truce!
ALWYN
Most humbly, my apology!
SHY
So, Quercus: and what evergreens?
QUERCUS
White spruce,
Red cedar, balsam fir, and Norway pine.
SHY
Good, fellow! Fine!
In such a shelter-tangle we can hatch
Ten thousand nestlings. Run, now! Catch
That squirrel there, before
He makes his call at your new nest-box door.
21QUERCUS
[Skipping to the maple tree.]
Right, master!—Heigh, Sir Alwyn—ho!
Just see now what a jack-o’-trades your Quercus is!
When Master Shy discharges me, I’ll go
And rent nine fairy-rings, and start three circuses!
[Climbing among the branches, he disappears, whistling bird-notes.]
22

ALWYN

23

### IV

Alwyn. Shy.
ALWYN
Shy—honest friend, your hand once more!
SHY
Heartily! Welcome to this wood.
ALWYN
Do you recall how once we stood
Here, and discoursed of songs I made of yore—
Dryads and poet’s dreams?
SHY
Yes, I recall
I wondered at them all.
ALWYN
First—as to-day—you smiled
Your incredulity of my quaint creed,
Till soon, in further converse, we agreed
24In nature’s heart our faiths are reconciled.
For both of us seek nature’s fellowship,
The common language of all living things:
I—more in music of the human lip,
You—in the whirr of beaks and wings.
So both—craving the beautiful—
Still worship the same shrine and oracle:
This temple, and its dryad—Tacita.
SHY
I will confess
Of all the nymphs in your Arcadia
I worship her
Alone.
ALWYN
Because her moods are numberless
I do the same. Between the heart of Man
And Nature’s heart, which I do name God Pan,
She stands and moves—divine interpreter,
Translating with her shy and pagan dances
Our world life and its trances.
SHY
She is, in truth,
The sylvan priestess of this sanctuary.
25ALWYN
[Eagerly.]
What if, through her as intermediary,
And after thousand ages of uncouth
Estrangement,—what, I say, if we
Might find through her the key
To comprehend the native speech of birds,
And hold communion with them in our human words!
Would not that be a modern consummation
Nobler than fable?
SHY
Almost, I would have said, we might be able,
If it were not for one who scorns this shrine
And violates the beauty of creation,
Marring all contemplative quietude.
ALWYN
Whom do you speak of?
SHY
One whom the red wine
Of slaughter has made drunk, and the false glister
Of dollars dazzled with blind arrogance.
26Close by this wood
He plies a bold, sinister
Traffic in wings and plumage. Not by chance
But calculated orgies, he commits
His venal murders, slits
The bridal plumes from backs of mating birds,
And leaves the nested broods
Unhatched or starveling. So he girds
His loins, and like the Patagonian
Displays his feathered trophies: not a man
Swayed by ecstatic moods,
Nor even to equip
A hardy sportsmanship;
Not so: he slaughters birds for stocks and bonds,
And when we challenge, smiling he responds:
“Mine is a lawful market, where fine ladies pay
For plumes, to wear on Sabbaths and Christ’s Easter day.”
ALWYN
What is this desecrator’s name?
27SHY
Stark, the plume-hunter.
ALWYN
Surely he dares not
Track his defenseless game
Here to this hallowed spot!
SHY
No place is holy to unhallowed minds:
He covets gain, and grasps it where he finds.
ALWYN
Still I have faith
That Tacita, in her serenity,
Is mightier than he.
SHY
Ah, nature’s quiet mood is delicate
And crushes like a flower.
ALWYN
Faith without works is vain, the Prophet saith.
So now, while nature muses in the thrush,
Here let us sit this hour,
28And meditate
On Tacita, till meditation shall create
Its own shy image.—Hush!
[They sit upon a log and listen.]
29

### V

Tacita. Alwyn. Shy.
[Dreamily, the fluting of birds sounds in
the forest. Dimly from the background
Tacita appears. With steps of reverie,
she approaches, and pauses before
them. Alwyn looks up and, touching
Shy’s arm, speaks low.]
Tacita! It is she!
SHY
Speak to her—you.
Alwyn
Dryad, and spirit of serenity,
Whose steps have fallen timeful as the dew
Upon our pathway, intervene
For us with that still-undiscovered queen—
Ornis, who reigns among your ancient boughs
30Spirit of birds and sister of our race,
Man. Stir your spell-enchanted feet,
And by their moods arouse
Her hidden grace
To heed us, and hold speech from realms unseen.
[To mysterious music, Tacita treads a dance of invocation, appealing in pantomime to the unseen spirit of wings, which flits and sings and broods in the boughs above her. Alwyn and Shy watch her, rapt and expectant.
Suddenly a sharp gun-shot sounds, shivering the music, which ceases. Through the boughs, a bird falls fluttering to the earth.]
31

### VI

Ornis. Alwyn. Shy.
[With a gesture of startled wildness, Tacita breaks abruptly from her rhythmic motions, and flees into the wood, while simultaneously from the other side there enters, swift but staggering, Ornis—a maiden, garbed symbolically as a bird. On one of her wing-like sleeves blood shows. With shrill, melodious cry, she flutters forward.]
ORNIS
Ee-ó-lee! O-rée-o! Sanctuary!
[Swaying, she falls to the ground. Alwyn and Shy spring toward her.]
ALWYN
Help, Shy! She falls!
SHY
[At Ornis’ side.]
Wing-struck! Here’s blood.
32ALWYN
That shot?
SHY
The gun of Stark.
[Seeking to lift her.]
Up, birdling! Here is Shy.
ORNIS
[Droops, moaning.]
O-rée-o!
SHY
Quick! Bring Quercus.
ALWYN
[Hastening off.]
In a jot.
SHY
[Soothingly strokes Ornis’ arm and shoulder.]
So—so! Dew water soon makes well. So—so!
ORNIS
[Moans dazedly.]
Ir-re-o! P’tee!
33QUERCUS
[Reëntering with Alwyn.]
Here, master!
SHY
[Pointing.]
Water!—There!
ALWYN
The bird bath!
QUERCUS
[Dipping his plant pitcher, hastens with it to Shy.]
Coming!
SHY
Sprinkle.
QUERCUS
[Sprinkling water upon Ornis, sings gaily.]
Ó-ree-o!
When shawes ben sheen and shraddes full fair,
And leaves both large and long,
’Tis merry walking in the fair forést
To hear the small birds’ song!
[Ornis revives.]
34SHY
[Assisting her.]
Now, gently!
ALWYN
[Bending over her, calls low.]
Ornis!—Sister!
ORNIS
Who calls? Where
Am I?
ALWYN
In sanctuary. Have no fear.
ORNIS
[Looking from one to the other.]
Ah, me! But what are these?
SHY
Your brothers, dear.
ORNIS
My brothers—they are birds. But you are Man.
ALWYN
Through Tacita you know us now; we can
Speak to each other. Ornis!—Hark.
35ORNIS
[Rising in glad wonder.]
At last!—
At last!
ALWYN
A thousand ages—they are past,
And dumbness, like a dream,
Sinks with them into sleep. We are awake,
And each to each
Can bid good-morning in our common speech.
ORNIS
How sweet and strange! Are we indeed awaking
From callous slumber and old wrong?
So sorrowfully long
The hand of Man has wrought my birds’ heartbreaking!—
Was it a savage dream?
Methought I sat on Morning’s golden beam
And sang of God’s wild gladness: High and higher
I showered His temple woods with ecstasy;
When suddenly
36The earth screamed thunder, and a singeing fire
Shattered my wing. I fell.—
Groping in flight, my feet stuck fast
In smear of lime; swift from below
A tangling net was cast
Where, panting upward, a black hell
Of bloody mouths barked under me;
And there beside them—oh,
There watched, with eyes of wanton cruelty,
A man—bright clothed in many-colored plumes
Of my dead sisters. “Save me from their dooms,”
I cried, “O Sanctuary!”
ALWYN
And you woke
With us, your brothers—healed.
ORNIS
[With wonder.]
Oh, have you heard
What now I spoke?
And can we answer truly, word for word?
[Curiously.]
Alwyn!
37ALWYN
You know my name?
ORNIS
[Turning eagerly from one to the other.]
Shy!
SHY
[Smiling.]
No mistake!
ORNIS
Quercus!
QUERCUS
[Skipping with a bow.]
Your birdship’s faun!
ORNIS
[Laughing joyously.]
Good-morning, brothers!
ALWYN
When have you known us?
ORNIS
Many an age and long!
No syllable has bubbled in your song
But I have blown it first from yonder trees:
38[To Shy.]
No brooding-place of yours—but I was in the breeze;
[To Quercus.]
And ever to your whistle
I pipe the last note from the nearest thistle.
[Tacita appears remotely.]
O beautiful my brothers!
O dryad dear, I thank you! In your dawn,
How brave it is to speak with Man and Faun
As mates and fellows. Quick! Fetch me still others.
[A crashing resounds in the thicket. Tacita disappears.]
Who’s coming now?
SHY
Still others—our fellow man.
ORNIS
I hear a breaking bough.
ALWYN
Kind hearts and cruel are one clan.
39ORNIS
Hark! Surely ’tis some strange distress.
Come, brothers, let us look:
It may be one who needs our friendliness.
Come with me!
ALWYN
[Calling off scene.]
Stand there! Stay beyond the brook.
QUERCUS
[With excited gestures.]
Back, ho!
ORNIS
[Suddenly recoiling with a cry.]
Ah, save me!
[She flies to their protection. Quercus also scampers back fearfully, and hides.]
40

### VII

Stark. Ornis. Alwyn. Shy.

[Enter Stark, in garb of a hunter. He
wears a tawny leopard’s skin, and his
head is gorgeously plumed. Behind
him, two panting dogs are held in leash
by attendants. Stark rushes toward
Ornis, passes her oblivious, and seizes
up the fallen bird.]
STARK
Bagged!—Hold off the dogs!
[The Attendants withdraw with the hounds.]
ORNIS
[As Stark grasps the bird, clutches her own side in pain.]
Ee-ó-lo!
STARK
A rare beauty!—Bah, one wing
Shot-torn! Well, well, we’ll patch the thing.
41

“Sir—Here is No Hunting”

43Madame La Mode’s a tricksy milliner.
[He thrusts the bird into his game pouch. Turning to leave, he sees Alwyn and Shy, and greets them gaily.]
Halloa! Fine hunting weather!
SHY
[Quietly.]
Sir,
Here is No Hunting.
STARK
[With a laugh.]
Pipe that to the frogs!
SHY
This ground is sanctuary.
STARK
And what’s that?
SHY
A place held sacred from the hunter’s trail.
44STARK
Why, man, I am no hunter, and that’s flat.
I only plume myself—to trim a hat.
Besides, I shot outside your pale;
And now
[Touching his pouch, he winks.]
the game is bagged.
SHY
You bag the spangle
And lose the spirit.—Sir, here is no place
To preach or wrangle
Our creeds. I am a student, not a teacher.
So I would only learn of you: what joy
Urges you to destroy
So gracious, fair
And innocent a fellow-creature
As yonder?
[He points at Ornis.]
STARK
[Looking.]
Where?
45ALWYN
Our sister, who stands there
And dumbly pleads for all her race—
And ours.
STARK
By Christ in Hades,
My eyes see nothing but a brace
Of popinjays, who pipe to me of ladies
And show me—no one.
ALWYN
Look more near.
Speak to him, Ornis!—Listen, now!
ORNIS
[Drawing back in dread.]
O-rée-o!
STARK
I am listening.
46ALWYN
Did you hear
No voice?
STARK
I heard a bird call from that bough.
QUERCUS
[Peeping toward Shy from the bushes.]
Have at him, master!
SHY
[To Stark.]
Did you spy
That fellow’s horns there, when he drew back
Into the bush?
STARK
I saw
A stirring in that staghorn sumach,
And caught a rabbit’s eye.—
What are these crazy quizzings? Pshaw!
Good day to you!
47ALWYN
Stay yet!
Once more look yonder, where my comrade stands,
Turning to take the gentle, outreached hands
Of our shy sister: Can you see
No timid form beside him?
STARK
Perfectly
My eyes discern
A man, who peers within the morning mist,
And murmurs to the air,
And smiles, as if he held sweet converse there.
In short, I see a sentimentalist.
I am not of that ilk.
[Calling]—Ho, there!—Holá!
Wait with my dogs: I’m coming.
ALWYN
Stay, and learn
What we ourselves have only learned through quiet
48Listening. So long, in rampant haste,
Your dizzy soul has chased
The spinning dollar sign which stars your zodiac,
That you have lost the track
Of paths serene, and pace God’s world in riot
Of blinding gold. Pause, for this little space!
Put off that blood-emblazed regalia
Gorgeous with death,
And draw with me one meditative breath
Here in the temple of cool Tacita.
STARK
[Who has listened with half-amused curiosity.]
Ah—Tacita? And who may that be, friend?
ALWYN
One lovelier than you have yet set eyes on.
SHY
Go, Quercus: Pray our mistress to attend.
[Quercus goes out.]
49STARK
Mistress! Is she a maid?—and lovely, too?
And may this wonder dawn on my horizon
If I remain?
ALWYN
Remain—to meditate!
STARK
Why, now, you stir my fancies.
In truth, ’tis early still, and little to do
This hour. Come, I will wait
And watch with you. But mind! The nymph must be
More lovely than my eyes did ever see!
ALWYN
With loveliness more deep than eyes discover.
STARK
So, ’tis a bargain, then?
ALWYN
Sit by me here;
And if your musings cause no fear,
You shall behold her in her secret dances.
50STARK
By Hercules! I’m half prepared to love her!
[He sits on the log beside Alwyn. Ornis still stands apart, under Shy’s protection. Quercus enters, beckoning backward into the wood.]
51

### VIII

Tacita. Alwyn. Ornis. Stark. (Shy. Quercus.)
ALWYN
Now, Tacita, shy pagan nymph, appear!
[Tacita enters from her shrine of greenery, and pauses before them.]
Spirit, unblind this man! Delusions blur
Inward his sight. He is a murderer,
Yet knows not he is such. Unseal
The fountains of his vision, and reveal
Yonder the sister spirit, whom so long
His blind heart strove to wrong—
Ornis: Reveal, and let him speak with her!
[Soft music sounds, various and elusive52 in its rhythmic themes. Tacita approaches Stark, and weaves about him a dance of revelation, lulling, charming, luring him by the appeal of numberless wing-swayings and bird-dartings, for which the music suggests the song-notes. During her dance, Stark rises, bewildered, and is gradually lured and led by her toward Ornis, before whom—at the consummation of the dance—he stands, staring.]
STARK
[Rising, speaks to the music.]
O twilight—holy dusk—dawn twitterings!
How far, how dim and hollow
You darkle over me:
Wings, wings! swift wings, shy wings, eternal wings!
Where shall I follow?
Ah, joy—jubilant melody—
And morning! Joy—I follow!
I dream, and drink from your immortal springs!
[Tacita disappears. Stark beholds Ornis.]
53

### IX

Stark. Ornis. (Alwyn. Quercus. Shy.)
STARK
What are you?
ORNIS
[Appealing with half-fearful affection.]
Brother!—brother!
STARK
[With sudden cry and gesture.]
Ha, my net!
The shy bird shall be captured ’live!
[From his shoulder he looses the net, and flings it over Ornis, seizing the meshes.]
Now, Joy,
I hold you fast!
ORNIS
[Struggling.]
Ee-ó-lee-o!
54SHY
[Extricating her.]
Not yet!
ALWYN
[Seizing Stark.]
Untamed, and still unshamed! Will you destroy
The wings that raise you? Sister, speak to him!
ORNIS
My brothers—all of you! Oh, wage not war
Because of me. I fear not. Stark, you dim
The brightness of our union, greeting so
Your sister.
STARK
[Dropping his net.]
Sister?
ORNIS
Hunt no more
With lime and net: Your love shall hold me faster;
For I am Ornis.
55STARK
[Fascinated.]
Ornis!
ORNIS
Dear my master!
Do you not know me? I am she
Whom first, beneath the dark, ancestral tree,
You rose upon your feet to hearken to.
By me you grew
To song and freedom. Round your olden feasts
You watched my circling flights, whereby your priests
Proclaimed their omens and their oracles;
My cranes announced your victories, my storks
Fed your hearth-fires, my silver-throated gulls
And golden hawks
Saved many your sea-towns from sore pestilence;
And my sweet night bird tuned your poets’ shells
To lull sad lovers in languorous asphodels;
56Yet all my influence
Shone dimmer than my beauty: my bright plumes
Lured you to squander them, till, in the fumes
Of greed, your heart forgot to cherish me,
And sold me unto death and slavery.—
Yet, master, as you will:
Lo, I am Ornis, and I love you still!
STARK
[With altered tone of yearning.]
Yet—yet it seems I never heard your voice
Till now; nor ever understood
Till now; nor paused, as now in this still wood,
To tremble and rejoice
At greeting you, my sister. I am stunned,
And wait to comprehend this wonder.
ORNIS
Ah,
You never prayed before to Tacita!
Your feet have shunned
Her gracious paths, yet only she
Can lead and show my brother Man to me.
57

“Lo, I am Ornis, and I love you still!”

59STARK
[Glancing at his gun.]
Why, then,—why have I brought this instrument
Of murder here? What black intent
Clouded my mind with blood?
[Flinging it from him.]
Out of my hands!—My sister, can it be
That still you soar above my sanguine flood
Of passion, and forgive? Though yet I kill,
Oh, is it true indeed—you love me still?
ORNIS
Ha, put me to the test!
Show me the field that breeds your harvest pest
Of chinch or weevil,
Where all the blossoms wither with strange evil,
Or where, in filmy tents,
The hairy creepers gorge in regiments
Your budding apple boughs;
Show your ancestral elms
60Gaunt limbed with leprosy, which overwhelms
Their green old age in death;
Or those swift locust clouds, whose breath
Blasts the ripe loveliness of Spring;
Show these, and more
Than these, and cry on Ornis! She shall bring—
From hill and shore
And plain—her wingèd flocks and warbling broods,
And swinge away their deadly multitudes.—
If service be true love, I love you, brother.
ALWYN
[Drawing near.]
And for her sake, so we will love each other.
[He takes Stark’s right hand.]
SHY
[Taking his left.]
A greenwood partnership!
STARK
[Pressing their hands.]
Thanks!
61SHY
[Whispering to the faun.]
Quercus, run!
QUERCUS
I skip,
I gambol, master. Ha!
I have a tale to tell to Tacita!
[He leaps away.]
ORNIS
[As Stark tears off his headdress of plumes.]
And those—?
STARK
For these my heart shall build a fire
Here at this shrine:
[He hangs the headdress on a tree.]
And here, as on a pyre,
I place them, with this pouch, which hides
The victims of my blind desire.
There, at sad cost,
I let them tell my pain—the votive part
Of one long lost,
62Who now has found himself in nature’s heart.—
Ornis, my trail divides:
There lie the ashes of the thing I was.
Henceforth, I walk with you—
[Turning to Alwyn and Shy.]
and these.
ALWYN
A compact, then, we three: that when we go
Forth from these gracious trees
Into the world, we go as witnesses
Before the men who make our country’s laws,
And by our witness show
In burning words
The meaning of these sylvan mysteries:
Freedom and sanctuary for the birds!
Say, is our compact sworn?
STARK
I swear.
SHY
And I.
[Enter Quercus and Tacita.]
63

### X

Tacita. Quercus. Stark. Ornis. Shy. Alwyn.
STARK
[To Ornis.]
Look, sister: friends are coming.
Now lead us to their shrine close by.
ORNIS
Oh, first let all make joy of this our union!
For now my glad heart, like a partridge drumming,
Calls for my mates to join us, all together,
In frolicsome communion.
Ho, Quercus, Quercus, call them!—Tacita,
Summon them with your fairy feet!
QUERCUS
[Bounding forward.]
Holá!
64ALWYN
[Taking from his pouch Quercus’ pipe.]
Call loud and long!
Here’s our old pipe, to carry a new song.
[Alwyn puts the pipe to his lips, while Quercus sings to it, calling to the birds. At the end, Quercus begs in pantomime for the pipe which Alwyn, smiling, restores to him.]
QUERCUS
Come here, come here, you little comrades coy,
From hill and swamp and heather:
Make joy, make joy
Together!—
Tawny beak and scarlet vest,
Slant wing and sleek feather,
Bulging bill and cocking crest,
Hither!
Tumble out of nest,
Topple out of windy weather
Here, holá!
With preenings quaint,
Purple dyes and crimson paint,
Here, holá, in merry state!
65Up from dew-grass, down from aerie,
Tacita—Tacita
Summons you to dedicate
Here her sanctuary!
[While Quercus calls, from all sides Birds of many species and colors—like Ornis human in form—gather, and peer from the edges of the scene. To these Tacita now beckons, and by her gesture summons to her dance, while Quercus plays joyously on his pipe.]
ORNIS
Bird and faun and man and fairy,
Gather now to sanctuary!
[Tacita first dances alone, then with Quercus; then, inviting and leading them all in pied procession, she marshals all away into her woodland shrine.]
FINIS
69

## AFTERWORD

In the original production of this masque, referred to in the Foreword, the sanctuary stage was devised by Mr. Joseph Lindon Smith in two planes—the natural and the supernatural, harmoniously blended.

The natural plane, in the foreground, was a leaf-strewn plot of earth; the supernatural, in the background, was a constructed stage some eighteen inches higher, sloping slightly upward toward the back, covered with smooth canvas, practical for dancing, so painted as to suggest a weathered outcropping of rock, overgrown in places by moss and greensward.

This constructed stage was divided from the foreground earth by the trunk of a felled maple tree, straight in line and inconspicuous in color.

In front of this dividing line, SHY and Alwyn remained always in the natural plane; behind it, Ornis and Tacita remained always in the supernatural. Their scenes 70together were enacted near or beside the fallen tree trunk.

In the scene of his conversion, Stark was lured into the higher plane by Tacita; while Quercus alone among the characters skipped back and forth from one plane to the other.

As audience, the non-participating spectators sat in dominoes of brown, flanked on either side by the bird-participants in their pied bird costumes. These latter watched the performance until, at the finale, they were summoned by Quercus upon the constructed stage.

There, when all had been marshalled, entered the Cardinal Bird [enacted by Mr. Herbert Adams, the sculptor], accompanied by two small scarlet-tanager acolytes [boys], bearing great candles, to light a crimson cushion held by the Cardinal. On the cushion lay an open scroll.

This scroll, itself a sheet of parchment-like paper from the original press of Benjamin Franklin, had been inscribed by Mr. Stephen Parrish with a Sonnet-Epilogue,

71

Cardinal Bird and Hummingbird

73composed by the author of the masque and signed by all of its participants, with their real names opposite the species of birds they severally impersonated.

Moving slowly forward to music till he stood before President and Mrs. Wilson, where they sat near the centre of the first row of the audience, the Cardinal Bird, with simple dignity, read from the scroll this

### EPILOGUE

Addressed to Mrs. Woodrow Wilson:
Lady, WHEREAS your gentle patronage
And presence have to-night so favored us
In this our ritual, that you have thus
Lent to our earnest cause a double gage:
One gracious daughter to make glad our stage
And one to make its theme harmonious
With song—whose sire now makes illustrious
The larger theatre of our living age:
Therefore, ere yet the privilege be spent
Which grants our thoughts the spell of human words,
74We vow by you, here in this tranquil wood,
Our loyal love to him—the President,
Whose heart has heard the call of the wild birds,

And sign ourselves

Your Servants, with gratitude.

Having thus presented the scroll, the Cardinal Bird with his Acolytes retired to the stage, where the final dance and procession of the bird-participants then took place.

The Programme of the performance [omitting that part of the Prelude already printed on pages xix and xx] was as follows:

UNDER THE PATRONAGE OF
MRS. WOODROW WILSON
AND THE FOLLOWING COMMITTEE
MRS. HERBERT ADAMS
MRS. C. C. BEAMAN
ERNEST HAROLD BAYNES
KENYON COX
PERCY MACKAYE
MAXFIELD PARRISH
CHARLES A. PLATT
MRS. GEORGE RUBLEE
LOUIS EVAN SHIPMAN
JOSEPH LINDON SMITH
MRS. AUGUSTUS SAINT-GAUDENS

MEMBERS OF THE MERIDEN BIRD CLUB JOIN WITH RESIDENTS OF CORNISH, NEW HAMPSHIRE, AND THEIR FRIENDS, TO PRESENT A MASQUE IN THE INTEREST OF AMERICAN WILD BIRD PROTECTION

75PRELUDE
SONG “THE HERMIT THRUSH”
SUNG BY MISS MARGARET WILSON
THE SONG COMPOSED BY FREDERICK S. CONVERSE TO WORDS BY ARVIA MACKAYE, WHO ENACTS THE PART OF THE LITTLE GIRL
MERIDEN, NEW HAMPSHIRE:
SEPTEMBER 12, 1913
SANCTUARY
A BIRD MASQUE
BY PERCY MACKAYE
PERFORMED UNDER THE FOLLOWING DIRECTION
STAGE PRODUCTION BY JOSEPH LINDON SMITH
DANCING BY JULIET BARRETT RUBLEE
ORIGINAL MUSIC BY FREDERICK S. CONVERSE
PROPERTIES BY WILLIAM HOWARD HART
PROGRAMME DESIGN BY KENYON COX
PERSONS IN THE MASQUE
IN THE ORDER OF THEIR APPEARANCE

QUERCUS | FAUN | JOSEPH LINDON SMITH
ALWYN | POET | PERCY MACKAYE
SHY | NATURALIST | ERNEST HAROLD BAYNES
TACITA | DRYAD | JULIET BARRETT RUBLEE
ORNIS | BIRD SPIRIT | ELEANOR WILSON
STARK | PLUME HUNTER | WITTER BYNNER
| ATTENDANT | LEONARD COX

76EPILOGUE

THE CARDINAL BIRD | HERBERT ADAMS
FIRST ACOLYTE | ROBIN MACKAYE
SECOND ACOLYTE | PAUL SAINT-GAUDENS

BIRD PARTICIPANTS IN PANTOMIME

BLUEBIRD | MRS. HERBERT ADAMS
CARDINAL GROSBEAK | MR. HERBERT ADAMS
OWL | MISS CHARLOTTE ARNOLD
BALTIMORE ORIOLE | MISS FRANCES ARNOLD
OWL | MISS GRACE ARNOLD
RED-WINGED BLACKBIRD | MR. LEROY BARNETT
GOLDFINCH | MISS BIGELOW
DOWNY WOODPECKER | MRS. ERNEST HAROLD BAYNES
DOWNY WOODPECKER | MRS. EDSON BEMIS
DOWNY WOODPECKER | MR. EDSON BEMIS
GOLDFINCH | MR. JOHN FARNUM CANN
BLUE JAY | MISS LOUISE CONVERSE
BLUE JAY | MISS VIRGINIA CONVERSE
KINGBIRD | MRS. KENYON COX
CROW | MR. KENYON COX
FLICKER | MISS CAROLINE COX
SCARLET TANAGER | MR. ALLYN COX
BLUEBIRD | MISS ANNIE H. DUNCAN
HOUSE WREN | MISS ELIZABETH EVARTS
RUBY-CROWNED KINGLET | MR. PRESCOTT EVARTS
OWL | MR. ELWIN FEY
SCARLET TANAGER | MR. CHARLES FULLER
GOLDFINCH | MRS. CONGER GOODYEAR
RUBY-CROWNED KINGLET | MISS LENA HARDY
WOOD THRUSH | MISS RUTH HALL
EVENING GROSBEAK | MR. WILLIAM HOWARD HART
HAWK | MR. GRISWOLD HAYWOOD
KINGBIRD | MISS KING
KINGBIRD | MISS CLARA KING
BLUEBIRD | MRS. HERBERT LAKIN
YELLOW WARBLER | MISS ELEANOR LAKIN
YELLOW WARBLER | MISS HETTY LAKIN
BLUEBIRD | MISS BELLE LAVERACK
SNOW BUNTING | MRS. PERCY MACKAYE
SWALLOW | MISS HAZEL MACKAYE
HUMMINGBIRD | MISS ARVIA MACKAYE
77 SCARLET TANAGER | MASTER ROBIN MACKAYE
GOLDFINCH | MISS ALICE MCCLARY
BLUEBIRD | MISS ANNE PARRISH
CARDINAL BIRD | MR. STEPHEN PARRISH
RED-WINGED BLACKBIRD | MISS MARIE PARKER
HERMIT THRUSH | MRS. MAXWELL PERKINS
GOLDFINCH | MR. ROGER PLATT
SCARLET TANAGER | MR. WILLIAM PLATT
RED-WINGED BLACKBIRD | MISS EDNA RAPALLO
GOLDFINCH | MISS HADLEY RICHARDSON
BLUE HERON | MR. GEORGE RUBLEE
LOVE BIRD | MRS. LOUIS SAINT-GAUDENS
SCARLET TANAGER | MR. PAUL SAINT-GAUDENS
WOOD THRUSH | MISS SCUDDER
BLUEBIRD | MISS ELLEN SHIPMAN
INDIGO BUNTING | MASTER EVAN SHIPMAN
WOODPECKER | MISS FRANCES SMITH
WOODPECKER | MISS REBECCA SMITH
BALTIMORE ORIOLE | MISS CORDELIA TOWNSEND

OFFICERS OF THE MERIDEN BIRD CLUB
PRESIDENT, DR. ERNEST L. HUSE
VICE PRESIDENTS
MRS. E. E. WHEELER
MR. NEIL CRONIN
PROF. FRANK M. HOWE
PROF. CHESTER H. SEARS
SECRETARY, MR. JOHN FARNUM CANN
TREASURER, MR. ERNEST HAROLD BAYNES
GENERAL MANAGER, MISS MARY L. CHELLIS
MASQUE COMMITTEE FOR THE MERIDEN BIRD CLUB
MR. ROBERT BARRETT
MRS. ERNEST HAROLD BAYNES
MR. JOHN FARNUM CANN
MISS ANNIE H. DUNCAN
MISS MARY A. FREEMAN
MR. ALBION E. LANG
MR. CHARLES ALDEN TRACY
MRS. E. E. WHEELER
COSTUMES
MRS. HERBERT ADAMS
MISS ELLEN SHIPMAN
MR. JOSEPH LINDON SMITH
PHOTOGRAPHS, DR. ARNOLD GENTHE
BIRD-NOTES, MISS KATHERINE MINAHAN
INVITATIONS, MISS ANNIE H. DUNCAN
AUTOMOBILES, MR. GRISWOLD HAYWOOD
STAGING AND SEATS
MR. WILLIAM HOWARD HART
MR. JOHN FARNUM CANN

BY PERCY MACKAYE
The Canterbury Pilgrims. A Comedy.
Jeanne d’Arc. A Tragedy.
Sappho and Phaon. A Tragedy.
Fenris the Wolf. A Tragedy.
A Garland to Sylvia. A Dramatic Reverie.
The Scarecrow. A Tragedy of the Ludicrous.
Yankee Fantasies. Five One-Act Plays.
Mater. An American Study in Comedy.
Anti-Matrimony. A Satirical Comedy.
To-morrow. A Play in Three Acts.
Sanctuary. A Bird Masque.
A Thousand Years Ago. A Romance of the Orient.
Poems.
Uriel, and Other Poems.
Lincoln: A Centenary Ode.
The Playhouse and the Play. Essays.
The Civic Theatre. Essays.
At all booksellers

## TRANSCRIBER’S NOTES

1. moved page 2 to end.
2. Silently corrected typographical errors.
3. Retained anachronistic and non-standard spellings as printed.

*** END OF THE PROJECT GUTENBERG EBOOK SANCTUARY: A BIRD MASQUE ***
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.