Daily Archives: December 4, 2019

Horoscope♉: 12/04/2019


You feel romantic and sexy today, but you won’t have the opportunity to do anything about it. You may be temporarily separated from the special someone in your life, or a potential romantic partner might not be available. Cheer yourself up by shopping or reading or watching movies. The separation will pass and then you can make up for lost time.: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Today’s Holiday: Faunalia Rustica

Today’s Holiday:
Faunalia Rustica

In Roman mythology Faunus was a god of the forest who was also associated with fertility. It was believed that eerie noises in the woods came from Faunus. The Faunalia was mostly celebrated by farmers and other rural workers on December 5 with feasting and games. For a time, city-dwellers adopted the festival and observed it on February 13. Faunus was known as the brother, father, or husband of Bona Dea. The Fauni, or fauns, were spirits of the forest who resembled the satyrs of Greek legend. More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Today’s Birthday: Paul Painlevé (1863)

Today’s Birthday:
Paul Painlevé (1863)

A mathematical prodigy, Painlevé embarked on a career devoted to science, but he turned to politics after the Dreyfus Affair sparked his interest. In World War I, he held several French cabinet posts and was briefly premier in 1917. He was premier again in 1925 and was later minister of war and minister of aviation. In mathematics, Painlevé ranked among the best minds of his time, and he made important contributions in the field of differential equations. What are the Painlevé transcendents? More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

This Day in History: Flight 19 Is Lost in the Bermuda Triangle (1945)

This Day in History:
Flight 19 Is Lost in the Bermuda Triangle (1945)

Flight 19 was the designation of five US Navy bombers that disappeared over the Bermuda Triangle during a navigation training flight from a naval air station in Florida. All 14 airmen involved in the exercise were lost. The search-and-rescue flight that went after them also disappeared, along with its 13-man crew, and is assumed to have exploded in midair. No wreckage from any of the six aircraft has ever been positively identified. What did Navy investigators conclude happened to Flight 19? More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Quote of the Day: Ambrose Bierce

Quote of the Day:
Ambrose Bierce

The soldier never becomes wholly familiar with the conception of his foes as men like himself; he cannot divest himself of the feeling that they are another order of beings, differently conditioned, in an environment not altogether of the earth. More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Article of the Day: Deindustrialization

Article of the Day:

Deindustrialization is a process of social and economic change brought about by the reduction or removal of industrial production. It represents an economic shift that usually occurs in mature economies, such as that of the US. Although it can be beneficial to some sectors, deindustrialization can cause widespread joblessness and poverty in industrial cities like Detroit, Michigan, the onetime “automobile capital of the world.” What percent of the city’s population lives below the poverty line? More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Idiom of the Day: after a while

Idiom of the Day:
after a while

Following a certain period of time, usually one that is relatively short. Watch the video…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Word of the Day: fracas

Word of the Day:

Definition: (noun) Noisy quarrel.

Synonyms: affray, altercation

Usage: A loud and violent fracas took place between the infantry Colonel and his lady, who were dining at the Cafe de Paris.: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Quote: Nikita Gill (Everyone Deals with Unimaginable Pain in Their Own Way)

Quote:  Nikita Gill (everyone deals with unimaginable pain on their own way)

Quote: Nikita Gill (Everyone Deals with Unimaginable Pain in Their Own Way)


Powerful thoughts from Anonymous

Powerful thoughts from Anonymous

Powerful thoughts from Anonymous


www.gutenberg.org/files/22330/22330-8.txt ( EBook of Clepsydra, by Camilo Pessanha) translation in English by Google Translate


EBook of Clepsydra, by Camilo Pessanha

The Project Gutenberg EBook of Clepsydra, by Camilo Pessanha

This eBook is for use by anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
reuse it under the terms of the Project Gutenberg License included
with this eBook or online at http://www.gutenberg.net

Title: Clepsydra
Camillo Pessanha’s Poems

Author: Camilo Pessanha

Release Date: August 16, 2007 [EBook # 22330]

Language: Portuguese

Character set encoding: ISO-8859-1


Produced by Tiago Tejo






All rights reserved

Composite and Printed: Tip. from T. da Espera, 26





LISBON – 1920


I saw the light in a lost country.
My soul is languid and defenseless.
Oh! Who could slide without noise!
On the ground disappear like a worm …


Complicated tattoos of my chest:
–Trophéos, emblems, two winged lions …
More, among wreathed hearts,
A huge, superb, pansy …

And my big guy … You have to gold in a barracks
Red, a lys; there is a maiden in the other,
In blue field, silver the body, that one
Which is on my arm like a buckler.

Timbre: breaking, the megalomania …
Motto: ouch, – that insists night and day
Remembering ruins, shallow graves …

Among battling mountain castles,
And eagles in black, unfurling the waters,
What a gold necklace of besantes!


I struggled to try your secret:
In your colorless look, – cold escalpello, –
My gaze broke, debating it,
Like the wave on the crest of a rock.

Segrêdo of that soul and my degraded
And my obsession! To drink it
I was your oscular lip, in a nightmare,
For nights of dread, full of fear.

And my fiery, allucinated oscule,
Chilled over the right marble
From this parted cold lip …

From that discrete marble lip,
Severe as a closed grave,
Serene as a quiet pelago.


He is declaiming a deceased comic,
A platea laughs, madly,
Of the good hock … And there is a smell in the environment
Crypta and dust, – from the anachronic assumption.

Change the record, here’s a barcarola:
Lilies, lilies, river waters, the moon …
Before Your body the dream my fluctua
About a country, – ecstatic corolla.

Change again: gorgeios, refrain
D’a gold bugle – the smell of jonquil,
Lively and agro! – touching the dawn …

Ceased. And, loving, the soul of the horns
It was now dewy and veiled.
Spring. Morning. What an effluvium of violets!

It descends in tender leafs to collina:
–In glaucos, loose sleeping tones,
That they were fresh, my eyes stinging,
In which the rage’s flame declines …

Oh come, in white, – from the foliage immo!
The branches, take your hand away.
Oh come on! My eyes want to marry you
Reflect you virgin to the serene image.

From crazy bush a slippery stem
How delicate she danced on a finger
With a bright pink quiver! …

Slight skirt … Sweet breeze impelle her …
Oh come on! In white! From the end of the grove …
Soul of sylpho, camellia meat …

Slum arises! It comes from the waters, naked,
By throbbing an alvinitente shell!
The flexible kidneys and the chilling breast …
My mouth dies for kissing yours.

Without vile shame! What should be ashamed of?
Here I am beautiful, young and chaste, strong.
So white the chest! – to expose it to Death …
But now — the infamous one! —Don’t stand before you.

The clumsy hydra! … What a strangle …
Against the rock where your head is,
With the hair dripping water,

Go bend over, faint in love,
Under the fervor of my virginity
And my young gladiator pulse.

After the lucta and after the conquest
I was alone! It was an anthipathic act!
Deserted Island, and on the water table
All green, green, – out of sight.

Because you were, my caravels,
Loaded up with all my thesoiro?
–Long webs of golden llama moonlight,
Diamond subtitles of the stars!

Who undid you, inconsistent forms,
For whose love I climbed the wall,
“Armed lion, a sword in your teeth?”

Happy are you, O battle slain!
Dreams, back to back, eyes open
Reflecting the stars, gaping …

Who polluted, who tore my linen cloths,
Where I expected to die, my chaste scarves?
From my garden I demand the high turns
Who ripped them off and threw them on the way?

Who broke (what a cruel and simian fury!)
The table of me supper, – pine board?
And spread me the wood? And spilled my wine?
–From my vineyard the acidified and fresh wine …

O my poor mother! … Do not rise from the grave,
Look at the night, look at the wind. In ruin the new house …
From my bones the fire is going out soon.

Don’t come home anymore. Don’t tramp anymore.
My mother’s soul … Don’t walk in the snow anymore,
At night begging at the doors of the houses.

O my heart goes back
Where are you running from, crazy?
My burning eyes that the sinned
Burned … Return hours of peace.

Bend the elms of the roads from the snow,
The ash cooled on the solid.
Nights of the mountains, the shack …
“Look at my eyes like two old men …”

Extensive springtime evokes them:
“Already will blossom the apple orchard,
We have to decorate the Mayan hats–

Socegae, cool, feverish eyes.
–And we will go sing in the last
Litany … Sweet senile voices …–

The wild roses bloomed by mistake
In winter: the wind came to defolate them …
What scismas, honey? Why do you call me
The voices you just fooled me with?

Crazy Castellos! So early cahistes! …
Where we go, oblivious to the thought,
Holding hands? Your eyes, what a moment
They scrutinized mine, how sad they are!

And upon us the snow falls,
Deaf, triumpho, petal, slightly
Putting the floor together on the ice acropolis …

Around your figure is like a video!
Who sprinkles them – how much flower– from the CEO,
About us, about our hair?

And here is what remains of the finished idyllio,
“It will last a moment …”
How far the convent mornings go!
“From the cheerful abandoned little convent …”

It’s all over … Anemones, hydrangeas.
Silindras, – flowers so our friends!
In the cloister now the ortigas beat,
Snakes roam the old ponds.

About the registration of your deldo name!
“That my eyes can barely spell,”
Cançados … And the withered aroma

May it evolve from your common name!
The silence of oblivion ennobled him.
O sweet, naive, grave inscription.

Singra the ship. Under clear water
You see the seabed of fine sand …
–Imprecable pilgrim figure,
The endless distance that separates us!

Pebbles of the lighter porcelain,
Faintly pink shells,
In cold luminous transparency
They lie deep under the flat water.

And the sight probe, reconstructs, compares.
So many wrecks, wrecks, wrecks!
–O gleaming vision, beautiful lie!

Little roses that the tide had gone …
Teeth that reciprocate it will wear …
Shells, pebbles, pieces of bones …

It was a day of useless agonies.
Sunny day, flooded with sunshine! …
The cold swords flashed naked …
Sunny day, flooded with sunshine! …

It was a day of false joy.
Dahlia flaying, – his molle smile …
The ranches of the pilgrimages returned.
Dahlia flaying, – his molle smile …

More impressionable day than the other days.
So lucid … So pallido … So lucid! …
Diffuse of theoremas, of theorias …

The day futil more than the other days!
Minute of discreet ironies …
So lucid … So pallido … So lucid! …

The autumn has passed, already makes the cold …
“Fall from your hurt laugh.”
Winter algid! I oblique the sun, cold …
“The sun, and the clear waters of the river.”

Clear waters of the river! River waters,
Fleeing under my tired gaze,
Where do you take me my care?
Where are you going, my empty heart?

Ficae cabellos d’ella, floating,
And under the fleeting waters,
Your eyes open and scisendo …

Where are you going to run, melancholy?
–And, refracted, long waving,
Your translucent cold hands …

When I came back I found my steps
Still fresh on the damp sand,
The fugitive hour, recalls,
“So redivative!” in my dull eyes …

Bleary eyes from contained tears.
–Little steps, because you screwed
Thus misled, and afterwards you have become
To the point of the first goodbyes?

Where you went without a wind, in the wind,
Around, like birds in an avian,
Until the azita is gone …

All this long track – for what?
If the tide will come to you,
Like the new track that starts …

Retinal images
Why do you not stare from my eyes?
What are you passing like crystalline water
For a source never again! …

Or to the dark lake where it ends
Your course, silent of junctions,
And the vague anguished fear rules,
“Because you’re going without me, won’t you take me?”

Without you, what are my eyes open?
“The useless mirror, my pagan eyes!”
Aridity of successive deserts …

It is even a shadow of my hands,
Casual flexing of my uncertain fingers,
Weird shadow in vain movements.


When will the upright rise,
Again, from the ruined castello,
And there will be shouts and flags
In the cold morning breeze?

Will you hear the rebate play
About the abandoned plain?
And we will go to combat
With a coat and helmet and the long sword?

When will we go, sad and serious,
In the long and vain strife,
Letting oaths, improper,
By the currency and subtitles?

And we’ll be back, the old ones
And purissimos handlers,
(How many jobs and dangers!)
Almost dead and winners?

. . . . . . . . . . . . .
. . . . . . . . . . . . .
. . . . . . . . . . . . .
. . . . . . . . . . . . .

And when, O Doc Infanta Real,
Will you smile at the belveder?
–Magra stained glass figure,
For whom we went to fight …

I don’t know if this is love. I look for your look,
If any pain hurts me, seeking a shelter;
And in spite of that, believe! I never thought of a home
Where you were happy, and I happy with you.

For you I never cried any broken ideal.
And I never wrote you any romantic verses.
Not even after waking up I looked for you in bed
As the sensual wife of Cantico of canticos.

If it’s loving you, I don’t know. I don’t know if I idealized you
Your healthy color, your tender smile,
But I feel smile to see that smile
That penetrates me well, like this winter sun.

I spend with you the afternoon and always without fear
Of the twilight light, which unnerves, that provokes.
I do not take long to look at the curve of your breast
I didn’t even remember kissing you in the mouth anymore.

I don’t know if it’s love. It will be maybe start …
I don’t know what change my present soul …
Love, I don’t know if it is, but I know I shudder,
Maybe I got sick of knowing you were sick.

Drumming in a hurry,
And wobbly.
Bonet next door,

Garboso the drum
Advance around
From the field of love …

Hard, soldier!
The bent step!
Well wobbled!

Loves puff you.
May the girls kiss you.
May the boys envy you.

But there, O soldier!
O sad alienated!
However exalted

May the touch complain,
No one to call you …
No one who loves you …

To my heart an iron weight
I will arrest on the turn of the sea.
To my heart an iron weight …
Throw it overboard.

Who goes on board, who goes offended …
The feathers of love do not want to carry …
Sailors, I lifted the heavy vault,
Throw it overboard.

And I will sell a silver clasp.
My heart is the sealed vault.
The seven keys: there is a letter inside …
“The last one, before your engagement.”

The seven keys, – the enchanted letter!
And an embroidered handkerchief … I’ll take it,
Which is for wetting it in saltwater
The day I finally stop crying …


There is a murmur of complain in the room,
Of love desires, of these pills …
A sparse tenderness of bleating,
It feels like a fading perfume.

Honeysuckle withers in the brush
And the aroma that they exhale through space,
Has delusions of fat and tiredness
Nervous, feminine, sweet.

They feel spasms, agonias d’ave,
Inaprehensiveis, minimal, serene …
“I have your small hands in my hands.”
My gaze on your soft gaze.

Your hands so white with anemia …
Your eyes so sweet with sadness …
–This is the languishing of nature,
This vague suffer from the end of the day.

If you walked in the garden,
What a smell of jasmine!
So white in the moonlight!

. . . . . . . . . . . . .
. . . . . . . . . . . . .
. . . . . . . . . . . . .

. . . . . . . . . . . . .
. . . . . . . . . . . . .
. . . . . . . . . . . . .

Behold, I have it with me.
Overdue, it’s mine anyway
After so much dreaming …

Why do I grieve like this?
It wasn’t her, but
(What I wanted to hug),

Garden time …
The aroma of jasmine …
The moonlight wave …

After the golden wedding,
From the promised time,
I don’t know how bad it is now
It made my life late …

I have to return …
And it misses me …
“But to remind me
I don’t know that pain invades me.

I don’t even want to go on,
Walk new paths,
My poor feet, dorir,
Already purple of thorns.

Neither stay … and die …
Lose you, vague image …
Cease … No more seeing you …
As a light goes out …

My heart goes down,
An extinguished balloon …
–Best it burned,
In the dark, set on fire.

In the fastidient mist,
Like a grave coffin …
–Because it doesn’t blow before
Of violent pain and new ?!

What apprehension still holds him?
Atom wretched …
–If the train smashed
D’a train panting! …

The inane, vile spoil
From the selfish and weak soul!
Brought him the sea of red
Take him in the hangover.

Chorae Arcades
From the video player!
Winged Bridges
Nightmare …

From which they fly,
Whites, the bows …
Fall apart,
In the river, the boats.

Slings, hiccups
Weeping Tails …
What ruins, (listen)!
If they look,
What a sink!

Wobbly stars …
Lacustrine solids …
–Mails and masts …
And the alabaster
From the balusters!

Broken ballot boxes!
Ice blocks …
–Chorae arcades,
From the viôloncello.


Only, incessantly, a flute sound cries,
Widow, gracile, in the quiet darkness,
–Perfect voice that exiles from among the most,
“Sound parties masking the time.”

In the orgy, far away, that in scintilla flares
And the white lips of the carmine deflate …
Only, incessantly, a flute sound cries,
She was gracious in the quiet darkness.

And the orchestra? And the kisses? All night out,
Caution, stop. Only modulated track
The flute flute … Who’s going to do it?
Who knows why you regret it without reason?

Only, incessantly, a flute sound cries …


From under the square quadrangle
From the fresh land that will swell me,

And after much rain,
When the herb spreads with the oblong,

Still, friend, the same look of mine
He will go humble across the sea,

Wrap you up in tender price,
Like that of a poor grateful dog.

Weak voice that you pass,
What a humbling moan
I don’t know what misfortunes …

It would be said that you ask.
One would say that you tremble,
United to the walls,

If you come in the dark,
Trust me in the ear
I don’t know what bitterness …

Sighs or fallas?
Because it’s the moan,
The breath you exhale?

One would say that you pray.
Murmurs softly
I don’t know what sadness …

“Being your mate?”
I do not know the way.
I’m foreign.

“Past love?”
Cheer up, say
I don’t know what terrors …

Finhainha, delirious.
–Happy projects? –
Sighs. Expires.

In jail the bandits arrested!
Your air of contemplatives!
What’s the beasts with burning eyes ?!
Poor of your captivating eyes.

They walk dumb between the bars,
They look like fish in an aquarium.
–Florid Field of Saudades
Why tumultuous shoots?

Serene … Serene … Serene …
Brought them handcuffed to escort.
–Extreme bowl of poisons
My heart always in revolt.

Heart, quiet … quiet …
Why do you rise up and blaspheme?
Pschiu … Don’t hit … Slowly …
Look at the soldiers, the handcuffs!


O virtuous colors that lie underground,
–Blue, red hemoptyse flares,
Glow dams, vesanias chromatic–,
In the limbo where you await the light that baptizes you,

The eyelashes are cerrae, anxious not veiled.

Aborts that overhang the cider fronts,
So serious to scismar, in the mouths of museums,
And listening to the water running in the clepsydra,
Vaguely smile, resigned and atheus,

Cease to think, the abyss do not probe.

Moaning coo from unreached dreams,
That all night long, sweet souls pining,
And the lacerations on the edge of the roofs,
And in the wind exhales in a soft whine,

Fall asleep. Do not sigh. Do not breathe.

End of the Gutenberg Project EBook of Clepsydra, by Camilo Pessanha


***** This file should be named 22330-8.txt or 22330-8.zip *****
This and all associated files of various formats will be found in:

Produced by Tiago Tejo

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

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, only 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-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away – you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to trademark license, especially commercial



To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated with any way with the phrase “Project
Gutenberg “), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at

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

1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all 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-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may get 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 you can do with most Project Gutenberg-tm 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-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation
or PGLAF), owns a compilation copyright in the Project collection
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain 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 you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm 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-tm License when you share it without charge with others.

1.D. The copyright laws of the place where you are also located 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-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United

1 AND. 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-tm License must appear prominently
any copy of a Project Gutenberg-tm 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 use by anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
reuse it under the terms of the Project Gutenberg License included
with this eBook or online at http://www.gutenberg.net

1 AND 2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (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 cartoons. 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 get permission to use the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or

1.E.3. If an individual Project Gutenberg-tm 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-tm 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-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

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-tm License.

1.E.6. You may convert 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-tm work in a format other than
“Plain Vanilla ASCII” or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.net),
you must, at no additional cost, fee or expense for the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of work in its original “Plain Vanilla ASCII” or other
form Any alternate format must include the full Project Gutenberg-tm
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-tm 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-tm electronic works provided

  • You pay a royalty fee of 20% of the gross profits you derive from
    the use of Project Gutenberg-tm works calculated using the method
    you already use to calculate your applicable taxes. The fee is
    owed to the owner of the Project Gutenberg-tm 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 of each date on which you
    prepare (or are legally required to prepare) your periodic tax
    returns. 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 email) within 30 days of receipt that s / he
    does not agree to the terms of the full Project Gutenberg-tm
    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-tm 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-tm works.

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


1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm 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, 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.

of Replacement or Refund “described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal

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

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-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm 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-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm’s
goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at http://www.pglaf.org.

Section 3. Information about the Project Gutenberg Literary Archive

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 status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Its 501 (c) (3) letter is posted at
http://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
allowed by US federal laws and your state’s laws.

The Foundation’s main office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org. Email contact links and up to date contact
information can be found at the Foundation’s web site and official
page at http://pglaf.org

For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director

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

Project Gutenberg-tm depends upon and cannot survive without wide
spread 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
private state visit http://pglaf.org

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. US 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 including checks, online payments and credit card
Donations To donate, please visit: http://pglaf.org/donate

Section 5. General Information About Project Gutenberg-tm electronic

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

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility:


This Web site includes information about Project Gutenberg-tm,
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.

Haiku: The Labyrinth (© poetic thought by GeorgeB @ euzicasa)

Haiku: The Labyrinth

(© poetic thought by GeorgeB @ euzicasa)


In this Labyrinth I’m lost-

Till the End of time.

Haiku: “In the Beginning” (© poetic thought by GeorgeB @ euzicasa)

Haiku: “In the Beginning”

(© poetic thought by GeorgeB @ euzicasa)

In the Beginning

There were nothing but darkness:

Just as in the End.

Watch “Woody Allen on The Meaninglessness of Life & The Role of The Artist” on YouTube

Watch “Busy hands create beauty, regardless of their size” on YouTube” on YouTube

Watch “Antonín Dvořák CZECH SUITE in D major Op.39, Jakub Hrůša” on YouTube