## The Project Gutenberg eBook of God's drum, and other cycles from Indian lore

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: God's drum, and other cycles from Indian lore

Author: Hartley Burr Alexander

Illustrator: Anders John Haugseth

Release date: December 13, 2025 [eBook #77455]

Language: English

Original publication: New York: E. P. Dutton & Company, 1927

Other information and formats: www.gutenberg.org/ebooks/77455

Credits: Aaron Adrignola, Tim Lindell, Joeri de Ruiter and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK GOD'S DRUM, AND OTHER CYCLES FROM INDIAN LORE ***

# God’s Drum

## Transcriber’s Notes

Click on the illustrations to open a version in higher resolution.

New original cover art included with this eBook is granted to the public domain.

Misspellings in the text, and inconsistent or archaic usage, have been retained.

This book has been printed from type, and the type distributed.

The edition is limited to 750 copies, numbered and signed by the author and the illustrator.

This copy is No. 395

(i)

GOD’S DRUM

(ii)

By the Same Author
MANITO MASKS

E. P. Dutton & Company

(iv)

Tonatiuh

(v)

GOD’S DRUM
And Other Cycles From Indian Lore

Poems by
HARTLEY ALEXANDER

Illustrations by
ANDERS JOHN HAUGSETH

NEW YORK
E. P. DUTTON & COMPANY
681 Fifth Avenue

(vi)

Copyright, 1927
By E. P. DUTTON & COMPANY

All rights reserved

PRINTED IN THE UNITED STATES OF AMERICA

(vii)

## CONTENTS

(ix)

## LIST OF ILLUSTRATIONS

Tonatiuh | Frontispiece
The Sun’s First Ray | 7
Day and Night | 13
The Sun’s Last Ray | 21
Mirage | 33
The Trail | 41
The Bird of War | 51
The Last Song | 61
The Mummy (Estes Park) | 71
The Priests (Estes Park) | 77
Palingenesis | 83
To a Child’s Moccasin | 91
The Only Good Indian Is a Dead Indian | 97
Earth’s Terraced Bowl—I | 107
Earth’s Terraced Bowl—II | 119
The Corn Maidens | 131
Saint Dominic’s Day—I | 143
Saint Dominic’s Day—II | 151
Flower Alone | 157
The Pottery Peddler | 165
The Dead Pueblo—I | 171
The Dead Pueblo—II | 181
The Dead Pueblo—III | 187
The Dead Pueblo—IV | 193
The Dead Pueblo—V | 199
Tezcatlipoca | 209
Xochiquetzal | 215
Quetzalcoatl | 221
Xiuhtecutli | 229

(1)

## I
THE CHANTING EARTH

(3)

## GOD’S DRUM

### THE SUN’S FIRST RAY

This early Morning,
This earliest Dawning,
Behold the Youth,
Streaked with flaming red,
Wearing in his hair a waving feather,
Into the Sky ascending!
Upon me,
Standing alone where the World is—
Upon me comes the shining of his Ray.
I, too, shall be ruddy with new life!
I, too, shall wear in my hair the eagle’s plume!
This day shall be fulfilled with accomplishment;
Valiantly I shall ascend into the Sky!

(4)

### THE WET GRASS OF MORNING

In the spring when I bathe my feet in the wet grass of morning,
I see many smiles upon the meadows....
There are drops of shining dew clinging to the blue harebells,
And the little white starflowers sparkle with dew, shining....
Old Woman Spider has beaded many beautiful patterns,
Spreading them where the Sun’s ray falls....
He also is smiling as he catches the red of the blackbird’s opening wing,
As he harkens to the mocking-bird inventing new songs....
I was an old man as I sat by the evening fire;
When I bathe my feet in the wet grass of morning I am young again.

The Sun’s First Ray
Upon me, standing alone where the World is—
Upon me comes the shining of his Ray!

(9)

### BIRDS AND FROGS

The birds that sing in the morning,
Them I can understand:
They call to one another proudly;
Proudly they descant their songs;
Proudly they look about, eager for response.
But the frogs that sing when it is evening;
I cannot understand them:
They sing all at once, each one attentive to himself;
They stop all at once, none gives an answer;
The frogs have voices, they have not ears.
Some men are like the birds;
Some women are like the frogs.

(10)

### THE PINES ARE THINKING

The cottonwood trees,
growing in clumps,
They are very loquacious,
conversing with one another.
But the tall pines
are like men in meditation,
They seldom have anything to say.
In winter the leaves of the cottonwoods
are fallen,
Their branches are shelterless;
But the pine-trees are always green.

(15)

Day and Night
The Day is a blue Man, with a burning heart...
The Night is a Woman, with a changing heart...

### DAY AND NIGHT

The Day is a blue Man with a burning heart;
The bright clouds are his feather ornaments;
The dark clouds are his spacious robes;
The whole world is his rich possession,
And the shining birds are the choirs that praise him:
He is the Chieftain of all that live,
And men call him ‘Father’....
The Night is a Woman with a changing heart,
Which sometimes she reveals and sometimes she hides,
And sometimes she sends palely, palely, after the Day;
But her stars she keeps with her, always upon her bosom,
For her stars are her little children that must be carried:
Her stars are the spirits of all that die,
And men call her ‘Mother’....

(16)

### WHEN WE DANCE

When we dance all together,
We men:
The drummers beat their drums,
The singers sing....
In the midst of the vast prairie
We are very small.
Feathers are waving
in the bright sunlight:
Colors are flashing
in the bright sunlight:
A thin dust is floating upward
where our feet are beating the brown earth.
We are dancing because we do not know what to do
about our lives:
All together we are dancing
because we wish to live....
In the midst of the vast prairie
We are a very small nation,
We men.

(17)

### GOD’S DRUM

The circle of the Earth is the head of a great drum;
With the day, it moves upward—booming;
With the night, it moves downward—booming;
The day and the night are its song.
I am very small, as I dance upon the drum-head;
I am like a particle of dust, as I dance upon the drum-head;
Above me in the sky is the shining ball of the drum-stick.
I dance upward with the day;
I dance downward with the night;
Some day I shall dance afar into space like a particle of dust.
Who is the Drummer who beats upon the earth-drum?
Who is the Drummer who makes me to dance his song?

(18)

### THE CITIES OF WHITE MEN

Those men build many houses:
They dig the earth, and they build;
They cut down the trees, and they build;
They work always—building.
From the elevation of the mountain-side
I behold the clouds:
The clouds build many beautiful houses in the sky:
They build, and they tear down;
They build, and they dissolve....
The cities of white men,
They are not beautiful, like the cloud cities;
They are not vast, like the cloud cities....
A wind-swept teepee
Is all the house I own....

The Sun’s Last Ray
Thou dost touch the World with many reflections,
With parting injunctions many,—
Thy thought thou hast given us.

(23)

### THE SUN’S LAST RAY

Upon the blue mountain I stood,
Upon the mountain as he sank into the Rivers of Night:
The camps of the clouds in the heavens were shining with evening fires, many-colored,
And the pools on the plain below gleamed with many reflections:
All things were made precious with the Day’s last ray.
Farewell, my Father, the Shining One!
Farewell, whither thou goest,
Like an aged chieftain adorned with the splendors of many deeds!
Thou dost touch the world with many reflections,
With parting injunctions many——
Thy thought thou hast given us.

(25)

## II
ON THE PRAIRIE

(27)

### THE WINDS

The wind is coming to me,
Coming to me with coolness,
Coming to me with fullness,
Breathing upon me——
The Spirit Wind.
Fanned onward by wings cloud-feathered,
Soft with white snow, gray with misty rain,
Fragrant and freshening, come the winds——
The Spirit Winds.
They breathe upon my body,
They lave me in their coolness,
With their fullness they obliterate me....
Death, too, is a Spirit;
Death, too, is a Wind.

(28)

### DUST EDDIES

Whirling dust-clouds dance on the prairies——
Whirling the dust-clouds dance!
Her loosened hair swirls like a dust-cloud!
Her lithe brown arms are tossing aloft!
I see her white teeth flash as she smiles!
Ah, ah! I am a dust-cloud whirling!
Ah, ah! I am a dancing warrior!
I dance, dance, dance, on the prairies!
I dissolve....
Into dust....

(29)

### TUMBLEWEEDS

Great Heads, rolling over the lands....
Giant Heads, tumbling, leaping, pursuing!
Tangled and shaggy, gnashing their cannibal jaws,
Bellowing with the winds, they come....
The lightning reveals them, eyeless, infuriated,
Leaping over the lands—Great Heads, pursuing!
Are they the Race of the Shamefully Dead?
Forever dishonored, forever enraged?
Great Heads, tumbling, leaping, gnashing....
The place of their rest no man hath discovered.

(30)

### THE THUNDER

I am the Thunder,
I am the Thunder,——
Sometimes I go
Pitying myself....
Sometimes in wonder
Grieving through the skies....
Many Thunders are gone,
Many Thunders are flown
In the old days,——
Great Birds of Night,
Rain-laden Birds
With flame-blinking eyes....
I am the Thunder,
I am the Thunder,——
Oft-times alone,
Oft-times in wonder
Pitying myself....
Oft-times in fright
Of mine own sounding words,
Grieving through the night,——
I, the winged Thunder....

(35)

Mirage
Are they men who come out of the silence to walk beside me?
Are they gods who flit with invisible wings?

### MIRAGE

The footfalls of many feet are on the prairies,
Treading softly, like the rustling of shaken grasses;
In the air about me is a sound scarce audible,
As of the wings of silent birds, low-flying....
What are they that move in the luminous mid-day,
Invisibly, intangibly?...
It is hot and whisperingly still;
I see only the quivering air there on the far horizon,
And beyond it a lake of cool water lifted into the sky:
Pleasant groves are growing beside it,
Very distant I see them....
Are these men come out of the silence to walk beside me?
Are these gods who flit with invisible wings?

(36)

### THE BLIZZARD

Whipped onwards by the North Wind
The air is filled with the dust of driven snow:
The earth is hidden,
The sky is hidden,
All things are hidden,——
The air is filled with stinging,
Before, behind, above, below,——
Who can turn his face from it?...
All the animals drift mourning, mourning....
Only the Gray Wolf laughs.
Who are ye who wallow in the winds?
Who are ye who strike with stinging blows?...
Man-beings out of the North?
Beast-beings out of the North?
Shadow-beings with fingers of thin ice?...
I am a Daughter of the South:
My lips are soft, my breath is warm,
My heart is beating wildly,——
I cannot live in the cold....
All my animals drift mourning, mourning....
Only the gaunt Gray Wolf is laughing.
(37)
Tomorrow three suns will rise, side by side;
All the earth will be covered with dazzling snow,——
Cold, cold, and very quiet....
The animals will lie buried in snow,——
Cold, and very quiet....
But the gaunt Gray Wolf will break a new trail,
Running, with three shadows, blue upon the snow.

(38)

### THE EAGLE, ALSO, DIES

With his hooked beak,
With his hooked talons,
With battle-plumes outspread,——
His beak is a driven lance-head;
His talons are scarlet arrows,
His voice is a war-cry!
When he circles the sky
The birds suddenly cease their singing,
The rabbit becomes rigid.
“The hurricane is my horse,
“The black tornado is my charger,
“Earth trembles where I strike!”
Wherefore do you fear, O Warrior?
For the strongest there is a Fate:
The Eagle, also, dies.

(43)

The Trail
Wide is the trail of many buffalo.

### THE TRAIL

Very pleasant are the prairies, oh!
Wide is the trail of many buffalo;
Here it was our fathers wandered through the moons of long ago,
Following on the trails that lead to and fro....
Very pleasant are the grassy prairies, oh!
Following on the trail of many buffalo....
Ah, where went our elders, thither all must go.

(45)

## III
SPIRIT SONGS

(47)

### EACH TIME I BEHOLD HER

Each time I behold her again I am lost in wonder....
Is her beauty but for a season, like that of the rose?
Are we men but as the drunken butterflies?
A hundred comely women are in her eyes,
Where she stands in the midst of life....
She is the daughter of many tribes,
She is the mother of many tribes....
Of what use to me are eyes?
Ears only I need——
For her voice I am listening.

(48)

### SUNSTRUCK

Now he wears sunflowers in his hair,
And dances all day long toward the Sun, nodding....
They say that he was a brave youth, and sensible,
Until he dreamed about the Sun.
My mind is like a fitful wind among the fallen leaves....
It gathers them ... and lets them drop....
It turns them ... and lets them drop....

The Bird of War

I cannot forget how it was when I died.

(53)

### THE BIRD OF WAR

On mighty pinions flying,
The Bird of War, the Bird of War!
I shout to the skies!
In triumph I shout!...
The hollow sky answers me back....
Men live not forever,
Men battle and die....
Like eagles their souls ascend the hollow sky.

The warriors pass,
The young men pass....
In his place I cannot see him....
In the night I hear him crying,
In the night I hear him pleading....
The spirit stars are rising....

When they dug up my bones they painted them red....
Red was upon my body when I died;
I cannot forget how it was when I died.

(54)

### THE PLAYTHINGS OF CHILDREN

The playthings of children....
they laugh and they pretend,
their voices are unconcerned and happy....
The fallen feathers of birds amuse them,——
even to the slightest touch
the caterpillar is very sensitive....
They amuse themselves, too,
with the round smooth object
which they roll over the ground, pretending....
There is a scar upon it,
where the knife struck
when the hair was torn away....
The playthings of children....
they talk unconcernedly,
they laugh, they pretend....

(55)

### A LOCK OF HAIR

It is only crying about myself
that comes to me in song,
It is only tears....
When the young men go by, happy,
When the young girls go by, happy,
I seem to see someone with them....
How lifelike is a lock of hair
when all the body is decayed!

(56)

### HER ROBE IS BROIDERED

Her robe is broidered with white daisies;
Her hair is braided with blue feathers;
On her little feet are new moccasins.
Ah, she was near to me!
Ah, she was dear to me!
On her little feet are new moccasins.
The grass is broidered with white daisies;
Bluebirds in the air are hovering low;
Between earth and sky, the burial scaffold.
On her little feet are new moccasins.

(57)

### RAIN-IN-THE-FACE

Rain in the face——
Rain in the face——
The world is gray with falling waters,
The world is sad with falling tears....
Alone I walked,
questioning Father Sky,——
Alone——
seeking to divine the cause of Sorrow....
They named me
Rain-in-the-Face....

(58)

### I AM RUNNING

I am running a swift race:
My body is painted with the symbols of swiftness;
In my hair are the plumes of swift-flying birds;
Tight-clasped, I hold in my hand a charm.
Who is he who is running beside me?
His shadow is purple and very angry;
His shadow is very swift;
I dare not look about.
Something scarlet is bobbing before my eyes——
Something which I should remember....
Is it a beautiful flower?
Or is it ... something which I should remember?
The goal is a gleaming mountain:
Before I can touch it
I must cross a dark canyon,
I must cross the purple shadows of deep earth.

(63)

The Last Song
I would look upward, with open eyes, singing!

### THE LAST SONG

Let it be beautiful
when I sing the last song——
Let it be day!
I would stand upon my two feet,
singing!
I would look upward with open eyes,
singing!
I would have the winds to envelope my body;
I would have the sun to shine upon my body;
The whole world I would have to make music with me!
Let it be beautiful
when thou wouldst slay me, O Shining One!
Let it be day
when I sing the last song!

(64)

### THE DREAMS ARE WALKING

The Dreams are walking, walking,
The Dreams are walking beside me——
Ah hay ay, hay ay ay ay ay....
I hear them rustling the withered grasses,
I hear them stirring the fallen leaves——
Ah hay ay, ay ay ay ay....
Very faint are their footfalls,
Very soft are their whispering voices——
Ah hay ay, hay ay ay ay ay....
All their touches are caresses——
Ah hay ay, ay ay ay ay....
O come to me, touch me with tenderness!
O come to me when my heart is desolate!
Ah hay ay, hay ay ay ay ay....
Come walking beside me,
Come walking in beauty——
Ah hay ay, ay ay ay ay....

(65)

## IV
THE RED APOCALYPSE

(67)

### THE SERRIED ROCKIES

Great Shields brunting the plain, motionless:
The red Warriors peer over them stonily.
The lances of Morning are flung aloft!
The Plains rise up with a fierce cry——
The Tribes of the Dawn are exultant!
Great Shields brunting the plain, purple after the day:
The dark Warriors peer over them grimly.

(68)

### THE MUMMY (Estes Park)

In the time of the First Race,
In the time of the Giants,
In the time of the Earth-Shapers,——
Their axes were flakes of cliffs,
Their mallets were the knobs of mountains,
The great rocks roared with the sound of their handiwork,——
He was a Chieftain among them,
He was their First Counsellor,
He was the Master Builder when they upreared mighty hills and clave the deep valleys....
For the place of his Mummy they hewed the crested Earth,
For the sarcophagus of his Mummy they established a Mountain,
In the days when his work was completed, he, the First Counsellor!
Above the changing clouds they raised him high;
They set his face to the eternal blue;
His eyes they set to the westering Sun....
(73)
What is it that thou dost behold, O Chieftain of the Earth-Shapers?
What is it that thou dost look upon within the mirror of the skies?
With thy stony eyes, what is it that thou dost see—forever?
Men are, and they are not;
Tribes are, and they are not;
Nations are, and they are not,——
Beyond the cycles of the years,
Beyond the portals of time,
What is it that thou dost behold, with stony eyes, with unchanging heart?
Immutable, thou gazest into the blue——
Maker to Maker!
Imperturbable, thou facest the westering Sun——
Chieftain to Chieftain!

(74)

The Mummy (Estes Park)
Immutable, thou gazest into the blue—
Maker to Maker!
Imperturbable, thou facest the Westering Sun—
Chieftain to Chieftain!

### THE PRIESTS (Estes Park)

Holy, holy, holy!
The high hills, the Great Mystery!...
The procession of the mountains is eternal,
The great mountains, each in his station abiding....
The crests of the mountains are exalted,
In the glories of the heavens they are transfigured!
Holy, holy, holy!
The high hills, the Great Mystery!...
The mountains lift up their heads——
Into the azure they lift them up;
Their bodies are swathed in silver light,
Their bodies are made luminous with splendors!
Holy, holy, holy!
They are the Priests of God,
They are the Processional of the Great Mystery!...
Their deep-toned voices are a singing hymn,
Their deep-toned voices are chanting the anthem of God;
In the House of Heaven they sing an eternal song!

(79)

The Priests (Estes Park)
The Procession of the Mountains is eternal,
The great Mountains, each in his station abiding.

### PALINGENESIS

The lodge of Olelbis is very great and beautiful:
Its pillars are the trunks of acorned oak-trees, upward growing;
Its walls are interwoven with all the flowers of the world;
In its midst there is a limpid pool
Formed from the dews that glide downward from the laden petals——
Who drinks thereof, he lives forever.
In the days of the First People
Fire was under the wing of the Swift;
Thence Flint stole it,
And the World was enkindled.
From his lodge in the sky Olelbis gazed downwards:
The hills were smoking,
The tops of the trees were blazing,
The rocks were consumed as burning brush
And the earth, bursting, flew upward in furious sparks which clung to the vault of the sky,——
The stars that glow by night are the embers of them.
(80)
Then Olelbis saw that the flames assailed the foundations of the heavens;
The pillars of his lodge were shaking,
The pillars of his lodge were burning,——
And his voice sounded around the World.
The Woman of the Waters was the first to hear:
Her hair is like the kelp which the waves spew forth in their tumult;
Her hands are like the fins of huge whales;
Her feet are like the tail-flukes of huge whales;
When she thrashes amid the sea the foam of the billows washes the sky-floor.
The Man of the North Wind was the first to hear:
His wings are like the wings of enormous bats,
They are blacker than night is black;
When he blows furiously his cheek feathers move up and down,
Sweeping earth and sky.
Against mountains of fire arose mountains of water;
They fought with one another,
They consumed one another;
Red smoke hung over all things;
Black smoke hung over all things.
(85)
Then Olelbis, gazing downward, beheld only ashes;
There was no earth where the earth had been;
There was no sea where the sea had been;
There was nought save the dusk of floating ashes.
From the walls of the lodge of Olelbis
The flowers descended like a many-colored snow;
From the Pool of Life
The round drops descended in a shining mist:
Life was renewed where Life had been.

(86)

Palingenesis
Then Olelbis saw that the flames assailed the foundations of the heavens;
The pillars of his lodge were burning,—
And his voice sounded around the world.

### ESCHATOLOGY

The Sick-Man-of-the-North,
He lies upon a litter;
There are four stars which are four Doctors who carry him;
There are three stars which are three Doctors who follow singing;
About the Star-which-Never-Moves they circle——
So it has been,
So it shall be, while the World lasts.
The Spirit-Star-of-the-South,
He was not so high in the heavens when Life was created;
His station was appointed him,
It was lower in the heavens:
He steals upward,
He steals northward, as the World grows older.
The White-Pathway-of-Souls,
It is like a bow laid athwart the night;
The souls of the departed journey southward over it....
(87)
When the Doctors cease their singing,
When the Spirit Star has reached a certain height, stealthily,
Will not He-of-the-North journey as they have journeyed——
Southward?
Then the Star-that-Never-Moves will be seen no more;
Then men will be seen no more.

(88)

### THE ORIGIN OF DEATH

In the Day ere Man came,
In the Morning of Life,
They came together,
The Father, the Mother,
Debating.
“Forever they shall live,
“Our Children,
“When they are born Men
“Forever they shall live,”
Said the Father,
Said the Mother.
But the little Bird cried,
Ah, the little Bird cried:
“How shall I nest me——
“How shall I nest me
“In their warm graves
“If men live forever?”

(93)

To a Child’s Moccasin
Death, you have taught me to mother!
Death, I will mother well!
With red, red blood I will nourish!
I will lull with the rifle’s spell!

### TO A CHILD’S MOCCASIN

Looted from the body of an Indian child killed at Wounded Knee.
’Twas complained that Indian women—some were slain—fought with the braves; which, indeed, they did.

#### I

A wild mother’s patterned fancy—white beads, green and blue,
With here, like heart-stained arrows, scarlet zigzagged through,
Thy lining furry rabbit, little shoe!
How joyously she wrought thee, the long blue sunny day,
On the wind-stroked grass of the prairie, ’neath the willows’ shady sway,
Singing the old song mothers sing alway:
Chaske, my little Chaske, Chaske my brave to be!
Fleet shall he run as the stallion, stand tall as the tall pine tree,
As the storm be mighty and valiant—Chaske, my chief to be!
Stringing the beads in patterns, zigzag red and blue;
Sewing with thread of tendon the furry edges true;
Singing the song of mothers the blue day through.

(94)

#### II

A hill-slope, a desolation; yonder the cordoned crest
Of glinting gun and sabre—here, like mole in nest,
Trapped in the hill-crest’s hollow, the huntsmen’s quest.
A solitude of heaven, high and sunny still
Above a breadth of desert—sudden the locust shrill
Of bullets, then death, and sudden the war-whoop’s thrill.
And here a wild squaw-mother—something dead at the breast,
Something live at the shoulder, spitting lead with the best——
Singing a song of wild-heart’s cradle-rest:
Death, you have taught me to mother! Death, I will mother well!
With red, red blood I will nourish, I will lull with the rifle’s spell!
For O you have taught me to suckle and I will suckle them well!
Only a wild squaw-mother, bullet-stung at the start,
Quiet out there in the desert, something dead nigh the heart.
See! her quaint fancy’s beading, zigzag art.

(99)

The Only Good Indian Is a Dead Indian

(An old saying of the Plains)

### “THE ONLY GOOD INDIAN IS A DEAD INDIAN”

So there he lies, redeemed at last!
His knees drawn tense, just as he fell
And shrieked out his soul in a battle-yell;
One hand with the rifle still clutched fast;
One stretched straight out, the fingers clenched
In the knotted roots of the sun-bleached grass;
His head flung back on the tangled mass
Of raven mane, the war-plume wrenched
Awry and torn; the painted face
Still foe-wards turned, the white teeth bare
’Twixt the livid lips, the wide-eyed glare,
The bronze cheek gaped by battle-trace
In dying rage rent fresh apart:—
A strange expression for one all good!—
On his naked breast a splotch of blood
Where the lead Evangel cleft his heart.
So there he lies at last made whole,
Regenerate! Christ rest his soul!

(101)

## V
POEMS OF PUEBLO LAND

(103)

### EARTH’S TERRACED BOWL

The art of the Pueblo Indians is so intimately woven into the pattern and fabric of their lives that it can hardly be called an art. It is never merely ornamental, and therefore dispensable; it is the intrinsic and indispensable mode of performing the essential acts of living, and its technique is an immediate reflection of the conditions of life. The forms which adorn the painted olla are those cloud, vegetation, and life forms which are spontaneously associated with the thought of water—a thought which is ever-present among these agriculturists in an arid country. The beads which trick out festal costumes are talismans, emblematic in the very nature of their materials and hues; and the colors which are ceremonially significant are the colors which Nature makes so varied and vivid in the soil and sky and vegetation of the Southwest. Dances themselves are as much in the character of agricultural operations and political duties as of festal holidays; and the Powers and Forces which to us are superstitions or personifications are for them normal presences. We speak of art and symbolism in connection with their modes of aesthetic expression because these are the terms with(104) which we most nearly describe them; but it is always important in interpreting such an art to bear in mind that it has little in common, spiritually, with what in our own culture is analogous to it.

Earth’s Terraced Bowl is an interpretation of the imagery of this Pueblo art-in-life. Its purpose is to aid in our comprehension of a beautiful and ancient culture, setting the coloristic and symbolic elements into relationship with the life which they express. The site described is the plateau above the Rio Grande, at the foot of the Sangre de Cristo range, where Santa Fé is built over the ruins of an ancient pueblo, and in its modern development is bringing into new expression the art and architecture of the ancient peoples. The images chosen are, first, the Pueblo woman potter, fashioning her ceremonial bowl, of which the terraced rim is emblem of the cloud-terraces that rise above the mountains in ever-changing variety; second, the man drilling emblematic beads of shell and turquoise, of jet and abalone, such as these Indians have used from beyond the dawn of history; third, the great mid-summer dance, now devoted to the mystery of the union of heaven and earth as it appears in vegetation and in the life which is dependent upon vegetation; and fourth, the festivals of fertility and of harvest, which complete, as it were, the definition of the life of man in this simple setting.

(106)

Earth’s Terraced Bowl—I
The Woman who dwells in the Place of Mists,
The Woman who appears in dissolvent skies,
Her body is very slender and luminous,
Her hands touch the extremity of the Earth,
Her feet touch softly upon the Earth!

(109)

### EARTH’S TERRACED BOWL

#### I

Four are the terraced Mountains that uphold the Heaven in that Land and Four are the Colors that pattern the Life of Man.

In that land where the stars of the night are ever near and burning,
—eyes of spirit watchers through the Black pine forest;
In that land where the azures of day are quivering and intense,
—precious the blue turquoise in the womb of the treasure hill;
In that land where the red-scarred mesas sunder and canyon the earth,
—walls of jasper and sard ribboned with malachite;
In that land whose corners are keyed by heaven-locking mountains,——
Glorieta, the Herald of Morn,
Sandia, who purpleth the South,
Jemez, the hearth-fire of Evening,
And fourth, the Hills of the North,
The cloud-gloomed and crimson-flared Mountains of Bleeding Christ....
(110)
In that land doth the white cumulus froth unto the blue summit of Day,
and the ochres and beryls of earth fade into violet Night;
In that land do the terraced hills uphold the terracing clouds;
In that land do the Weavers of Rain spin filaments many and delicate,
silvering horizons many,
veiling with luminous veils,
baptismal with blessing....
There also marcheth the Sun in the splendor of Beauty;
There also wandereth the Moon in the softness of Beauty;
There all the colors unite, patterned in Beauty;
There all the cloud-forms assemble, vestured in Beauty;
Daily in that land man walketh in Beauty;
Nightly in that land man dreameth in Beauty.

(111)

#### II

There the Indian Woman adorneth her potter’s work with symbols of the life that falleth from Heaven and of the life of Earth that ariseth responsive thereto.

Behold, where the Indian Woman fashioneth her Bowl of red clay!
Ceremonial water it shall contain,
Ceremonial meal it shall contain;
It shall contain the Water and the Bread of Life,
Even as holdeth this Earth the Water and the Bread of Life!
Behold, earthen-red is the Bowl,
smooth-rounded and rising rimmed,
bordered with terraces four,——
Yea, as riseth this Earth four-terraced into the Heaven!
Behold, fair-painted is the Bowl, with the forms of Heaven painted,——
cloud-terraces thereon painted,
filaments of spun rain thereon painted,
the wayward-darting lightning thereon painted,——
With curves many, with angles many, with lacings of thin lines,
painteth she them, cunning-handed....
(112)
Who are they who give answer unto the rains, save the leaf and the flower?
Who are they who joy in the freshness of sweet dews, save the bird and the butterfly?
To whom shall the moisture be more precious than unto the Seeds of Life?
Wherefore these also, cunning of hand, she painteth fair upon the Bowl.
Therewith, painteth him who sitteth upon the margin of the high cloud, fluting,——
Him with the rain-pack humped upon his back, him the Cloud-Musician, flower-garlanded, fluting,——
Him also she painteth, cunning-handed,
singing as she fashioneth her earthen Bowl,
singing as she painteth thereon the forms of Heaven,
singing the Song of the Cloud-Musician,
singing the Song of the Beautiful Sky!

And this is her Song of the Beautiful Sky and of the Spirit Mother whose abode is in the Pool of Heaven.

“Beautiful Sky!
The mountains are dark behind me;
The sun is low beyond them.
To the billowing cloud blown over the plain, the mountains are bidding farewell,
The sun is touching it in farewell....
(113)
“Underneath, it is of the deepest blue, like the waters of soundless pools;
Underneath, it is fringed with fringes of light-falling rain.
But above, its face is sunward;
Above, it is filmed with pale gold, as of the day-seen moon....
“Beautiful Sky!
In the heart of the cloud is a perfect Rainbow, seven-hued with beauty;
Over her is a perfect Rainbow——
Her spirit mother!”

(114)

#### III

There the Indian Man maketh him beads that are symbols of Earth’s Quarters and of the Place of Man’s Life, central in the World.

Behold, the Indian Man, where he drilleth and polisheth——
Where he maketh him beads of four significant colors,
Talismans shapeth him, singing the Song of his Central Life!
White shell beads——
Are not the disks of Dawn faint-lustrous, as on the Eastern crests fall the earliest footfalls of Morning?
Turquoise beads——
Broken are the shapes, irregular spaces of azure, where the white clouds part, to mottle and pattern the sky....
Talismans of crystal——
Clear is the bubble of Day, zenith-high it is blown when all things are perfect!
So the Father and the Mother
In their Night of Meditation
First the lustre of the Dawn laid,
Then the azure light of Morning,
Touched them with translucent crystal,
Touched, and lighted perfect Day!
(115)
Talismans of black stone——
Jet as the starless Night, as the cloud-enfolded Night....
Talismans of abalone——
Opalled as is Evening on the Western Sea, many-reflecting,——
These also shapeth he him, remembering....
For whither shall they pass, whose sun is in the West?
And whither shall they pass, whose lodge is in the deep Earth?
Theirs are the many reflections of the Sunset land!
Theirs is the black unfathomed Night!
Behold, the Indian, where he sitteth beside his hearth,
Making him beads of four significant colors;
Singing the Song of his Central Life,
Singing the Song of this Middle Place!

The four colors of the Wheel of Day and the four colors of the Circle of the Earth unite in the Middle Place, this is the song of the Indian Man, as the winds of his mind are singing it.

“White light of Dawn,
Blue light of Day,
Saffrons of Sunset,
Thereafter swooning Night:
(116)
“In the Middle Place all are gathered together——
Morning and the East,
Nooning and the South,
The vanishing Eve of the West,
And Northering Night:
“In the Middle Place all colors meet,
To the Middle Place the Four Winds blow:
The Circle of the Earth,
The Wheel of Day,
In the Middle Place they are united:
“I am the Middle Place!
I am the Central Man!
The life of the Four Winds is my breathing life,
All colors unite to illuminate me!”

(121)

Earth’s Terraced Bowl—II
I am the Middle Place!
I am the Central Man!
The Life of the Four Winds is my breathing life,
All colors unite to illuminate me!

#### IV

There, also, the tribes of the Red Men dance the images of man’s life: the Fertilization of the Fields, they dance; the upgrowing of the Corn; and the Summer, and the Winter, which are the seasons of life.

Behold, the Musicians of Summer, the Indian Musicians, chanting!
Yellow and blue are the colors of the drums, whereto the dancers dance——
The Dancers of Summer, crested with iridescent feathers, like the many colors of flowers,
Crested with wisps of featherdown, like the cloud-breaths of summer winds in the blue bowl of Heaven....
Is not blue the color of the South, whence the Summer cometh?
Is not the resplendent Sun robed in shining yellow?
Twain are the Seasons of the Year, as they dance alternating:
The Summer advances dancing, and it recedes;
The Winter advances dancing, and it recedes....
Twain also are the divisions of men, as they dance in alternation.
(122)
Behold, the Musicians of Winter, the Indian Musicians, chanting!
Red and green are the colors of their drums, whereto their dancers dance——
The Dancers of Winter, their bodies with red earth many-symboled,
in their hands the cypress-green rhythmically waving....
Is not the bare earth red, where it gleams between the snows?
Are not the snow-bent brows of the cypress Wintergreen?
Twain are the Great Seasons, as they dance the Year, alternating;
Twain also are the divisions of men where they dance the Life of the World——
Male and female they dance, twofold in each division,——
verily, as the Year is twofold in each division....
Particolored their drums, where they dance, particolored their festal costumes;
Their voices they uplift in song, in the Song of the Color Mixer,
singing Him who apportioneth all,
who adorneth the World in Beauty,
who maketh all perfect in Beauty!

(123)

Here followeth the Song of the Color Mixer, who createth the World with the music of his drum, who painteth the Year with his light.

“Shining in four Times,
Shining in four Directions,——
Thus the Color Mixer hath created it!
“First is the blue——
The little clouds that float up from the South,
These are the breaths of Spring!
“Thereafter, the green——
All the Earth waveth with green-verdant feathers
Where the Summer Sun cometh forth, radiant in the East!
“Red-yellow is the third color——
In the West the mountains of Autumn are variegated,——
Red earth and yellow, red berries and yellow!
“White also is a color——
Many times it is shadowed with blue,
As if the Wintry North were remembering Spring!
“These make up the Year,
These make up the World,——
Thus the Color Mixer hath created it!”

(124)

#### V

The Tribes of the Red Men rejoice in their fields, thinking with thankfulness of the Cloud Spirits which have caused the Goodness of Life to descend, and of the Rainbow Woman who hath woven the colors of her body into the several-colored maize, and of the Corn Maidens, with the pollen-hued butterflies at their lips.

Behold, the Tribes, where they rejoice in the bounties of the harvest!
Men and women are there, and youths, laughter-loving;
Mothers are there, and children merry of limb;
The friendly animals are there, the sport-eager dog, the burro, burden-bearing.
Many songs are sung in the midst of the maize-fields;
Many colors gleam where the people move to and fro,
Where they gather the sheathéd ears, the ears hard-ripened,
Where they gather the crispéd maize, gleaning the several colors.
Many the songs that are sung, and many the altars made precious
With gift of well-drilled bead, with polished talisman,
(125)
With fields of waving feathers bearing the plume-winged prayers,
Where from the terraced Bowl the sacred meal is scattered....
While the harvesters bethink them,
Singing, where the maize they gather,
Of the dancing Cloud-born Women,
Of the Maidens of the Mist-Foam,
Of the Daughters of the Sunbeams,
Of the shining Rainbow-Mother
In her stripes of many colors,
Like the corn of many colors....

The Song of the Rainbow Woman, whose body archeth the Fields of Life, is on the lips of the Harvesters.

“The Woman who dwells in the Place of Mists,
The Woman who appears in dissolvent skies,
Her body is very slender and luminous,
Her hands touch the extremity of the Earth,
Her feet touch softly upon the Earth!
“Adorned is her body with many and beautiful colors,
With the green of tender grass it is adorned,
With the blue of feathery lupine it is adorned,
With the red of glowing cactus,
With the yellow of bright pollen....
(126)
“Daughter Corn is likewise adorned with colors,
Blue corn there is and red corn,
Yellow corn there is and white corn:
All corn grows upon the bladed green,
Touched by the luminous sunlight, watered by crystal dews....
“The Woman who dwells in the Place of Mists,
Arching the caverns of the clouds,
Arching the Earth with Beauty!
Bride she is of the luminous Sun,——
Their offspring is corn of all colors!”

(127)

#### VI

The colors of the World’s Quarters and the colors of the Year are united in the Land itself, to paint the walks of Man’s Life with beauty.

Thus speaketh that Land where the colors are gathered together,
Thus singeth the Heart of Man in the shining land of the mesas,
Where he watcheth the Weavers of Rain spin and pattern their fabrics,
Where Earth lifteth terraced hills and the Heavens are terraced with glories!
Four are the Hills of the Life of Man,
Four are the steps of Earth’s terraced Bowl,
Its corners are keyed with Heaven above,
Its Pattern of old was made whole—
in that Land where man walketh in Beauty,
in that Land where man dreameth in Beauty!

(128)

### THE CORN MAIDENS

(A Pueblo Cycle)

The Chief Singer remembereth the Powers of Life:

Five are the Beings which alone are necessary——
Five are the Great Beings which man must know if he would live.
Whereof the first is the Shining Sun, father of all things illumined with life;
Whereof the second is Earth, Mother of Men;
Whereof the third is Water, who is Elder of All;
And the fourth whereof is Fire, who is Elder of All.
Central is the fifth——
Central are our Brothers and Sisters of the Fields of Corn,
Central are our Brothers and Sisters the Seeds of Growing Things.
Five are the Beings which alone are necessary——
Five are the Beings whereby men live.

(133)

The Corn Maidens
All, all is beautiful!
The Seeds of Life are beautiful!
The Gifts of Life are beautiful!
Men walk in beauty!
The Children walk in beauty!

The Warriors of Light issue from Sipapú:

Hail to the Light!
Hail to the Light!
The Sun of our Day is arisen,
The glory of Dawn fills our eyes!
Forth from the gloom of our prison,
Greeting the azuring skies!
Led on by the Warriors of Morning,
Led forth by the Archers of Light,
New splendors our bodies adorning,
We come from the mothering Night!
Our hearts are as dancers upleaping!
Our spirits a jubilant song!
Like summer-winged birds we come sweeping,
Throng within luminous throng!
Hailing the Light in its wonder!
Hailing the Heaven in its blaze!
Where the Dawning hath burst it asunder,
Filling with glory our days!
Hail to the Light!
Hail to the Light!

(134)

The Earth is like a great drum beneath their feet:

The Earth is throbbing like a drum——
Booming, reverberating,
Throbbing with deep pulsation....
So my heart is beating deeply,
So my heart is reverberating....

The Corn Maidens are greeted with choric song:

O ye Maidens! O ye Maidens!
O ye Maidens of the Corn!
Treasure bringing,
Pleasure singing,
Joy with you is yearly born!
With beauty ye our lives adorn!
Ye are the Sisters of the singing Trees;
Ye are the Daughters of the sighing Fields;
O’er your silks and tassels throng the humming bees
Gathering the honeys which your pollen yields!
Round your grateful roots the nursing waters run,
Under leafy shelters the swelling corn-ears form,
With their precious kernels growing one by one,
Ripening for the harvest-day, sheathéd from all harm!
(135)
Earth with fields a-dancing ye make beautiful!
Earth with hues entrancing ever ye make fair!
The vessel of rejoicing ye keep forever full!
The singing of your voices fills the singing air!
O ye Maidens! O ye Maidens!
O ye Maidens of the Corn!
Planting, tilling,
Baskets filling——
Joy with you is yearly born,
Where with beauty, where with beauty
Yearly ye our lives adorn!

The Flute Musician summoneth to cool slumber:

Cool wells of water,
Clear wells of sweet water,
I slumber beside them....
Star phantoms in water,
Dream phantoms in water,
I gaze on them slumbering....
Echoing voices of women,
Echoing from the still water,
I harken them slumbering....
Liquid melodies lingering,
Floating faint o’er the water,
Soothe my soul in its slumber....
(136)
Where the pools lie silent,
Deep and placid the water,
I sink into slumber....
Where life’s wanderings vanish,
Sunk in the shadowless water,
Fade the dim phantoms of slumber....

The Morning Star summoneth the Corn Maidens:

Come away! Come away! Come away!
Over the crest of the Southland,
Over the marge of the Year!
Into the Gardens of Summer,
Into Fields ever green, ever dear!
Unto the Land of Rejoicing,
Unto the Dancers of Cheer!
Where the Sons of Morning waken through the circles of the Sky,
And the zonéd World refreshened turneth with exultant cry,
While the flaming Sun ascendant leapeth shouting zenith-high!
(137)
There the fields in glowing colors down the bright horizons throng;
There the minstrel winds beguiling mellow music bear along,
And the heart of life upspringeth in a jubilance of song!
Come away! Come away! Come away!
Into the Gardens of Summer,
Over the marge of the Year!
Fleet to the Land of Rejoicing——
Fleet with the Dancers of Cheer!

The Corn Maidens linger in the Place of Mist and Dew:

Mists of Morning dreamily ascending——
Earth and Heaven in one being blending....
Upcoming corn,
Tender-green corn....
Breaths of Summer balmy-fragrant blowing——
Crystal dews upon the corn-leaves glowing....
Silkening corn,
Tasseling corn....
Butterflies from honey-cups sweet sipping——
Pollen-dews upon the corn low-dripping....
Ear-forming corn,
Kernelling corn....
(138)
Feathered wings of birds the blue sky covering——
Golden haze o’er all the cornfields hovering....
Ripening corn,
Hardening corn....
Many colors through the wide fields dancing——
Laughing sunlight o’er the cornlands glancing....
Crisp-sheathéd corn,
Harvest-ripe corn....

Sun’s Gleam parteth the mists and revealeth the Rainbow Woman:

Sun Gleam! Sun Gleam!
Part thou the Mists of their Concealment!
Cleave thou the clouds that do them veil!
Sun Gleam! Sun Gleam!
Bare thou the way to their revealment!
Blaze to their biding-place swift trail!

The Choir watcheth with eagerness:

Lo, now she cometh glory-vestured——
Daughter of Joy! Daughter of Day!
Lo, now she cometh beauty-splendored,
Crested with Sun-Father’s ray!
(139)
She bursteth the seals of the Night,
The lair of the hidden layeth bare!
She scattereth with lances of light
The demons of Earth and of Air!
She maketh still places to shout,
The caverns of silence to sing!
The choirs of the hills wide about
With joy of her radiance ring!
Lo, she darteth her arrows flame-feathered!
The fog-hidden bursteth aglow!
Up, up, from the arches of crystal
Springeth the Mist-Mother’s Bow!

The Rainbow Woman approacheth the Zenith:

O Woman of the Rainbow, we hail thee!
Daughter of Sun Gleam, we hail thee!
The Place of Concealment is found!
Abode of the precious Corn Maidens!

The Choir chanteth the beauty of the World:

All, all is beautiful!
Once again all is beautiful!
(140)
The Fathering Sun,
The Mothering Earth,
Yearn unto one another,
Warm unto one another,
Where all is beautiful!
The rain-fringéd clouds,
The light-gleaming dew,——
Crystal of Heaven,
Crystal of Earth,——
In their freshness all is beautiful!
Fair blossoms of flowers,
Fair pollens of corn,——
The meadows rejoice in them,
The fields rejoice in them,——
In their fragrance all is beautiful!
Colored plumes of the World,
Colored kernels of corn,——
Day they make precious,
Life they make precious,——
In their fruitfulness all is beautiful!
Yea, all, all is beautiful!
The Seeds of Life are beautiful!
The Gifts of Life are beautiful!
Men walk in beauty!
The Children walk in beauty!

(145)

Saint Dominic’s Day—I
They gather at the mud-walled church,
A crew of motlied folk,
In gala dress their saint to bless,
In striped and fringéd cloak....

### SAINT DOMINIC’S DAY

August 4, Pueblo of Santo Domingo

A blessed Saint is Dominic
And blessed folk are they,
In many a land, ’neath many a sun,
Who keep his holy day——
Who gift of waxen tapers bring
And kneel them down to pray:
Who kneel before his image bright
With golden-bearded face
And gilded robe and coronet
And beg of him a grace——
Where they keep the dear Saint’s festival
In many an outland place.
’Tis in the time of the tasseled maize
When the fields are plumed with green
And the mesas of the terraced land
Red-wall them in between,
While overhead the cloud-flecked sky
Is lazily serene,——
’Tis in this time men dance the corn
That the harvest be not lean.
(146)
They gather at the mud-walled church,
A crew of motlied folk,
In gala dress their Saint to bless,
In striped and fringéd cloak,
In beaded shirt and blanket gay,
Answering the bellman’s stroke:
They heed them well the chiméd bell,
They go within to pray
Where golden-bearded Dominic
In festival array——
The blessed Saint in festal paint——
Smiles pleasantly that day:
He smiles upon each worshipper
Who enters at the door
And makes the sign of Christian faith
From the bowl that stands before——
The bowl with olden pagan things
Obscurely patterned o’er,——
Who kneels before the sanguined rail,
The Virgin in her blue,
The Christ upon his painted Cross,——
And nigh them, bright of hue,
A pony and a buffalo
Some dark-skinned artist drew,
With cock and stag and butterfly,
And maize just as it grew
(147)
All greened and bannered in the fields
Long ages ere the day
The foreign priest had brought the feast
Of Dominic that way——
The long-robed priest had taught the feast
And taught the words to say
When in the time of tasseled maize
For plenty men must pray:
And so they gather at the church,
As now for many a year,
Within its old adobe walls
Holy mass to hear
While they kneel where dear Saint Dominic
Sits smiling pleasant cheer,——
For corn will grow as all men know
If Dominic be near.
With beating drum and rattling shell,
With gunshot and with shout,
Beneath a flaunting canopy
They bring the bright Saint out,——
The priest with gold-rimmed spectacles,
The friar gowned and stout,
The squaw, the chief, the blanket-man,——
Color a-flame in the motlied clan,——
The lanky long-haired scout
(148)
Nigh a bronzen, earringed Navaho
Lingering thereabout.
They march them down the earthen street,——
Each house must Dominic grace;
They chant a hymn in the Latin tongue
Which Old World centuries have sung;
They come to the village place,
Where in his shrine made blanket-gay,
They set the Saint to face
The motlied throng that march with song
Into the sunny space——
White, golden-bearded Dominic
Sainting a dark-skin race.
Oh, skies are blue where all day through
The painted dancers come
With plumes a-flare in their dusky hair,
With rattle and with drum——
In bright array with bannered display,
All timed to the rhythmic drum!
Oh, earth is fair in the sunny air,
With her fields of flowing green,
Where the mesas of the terraced land
Red-wall them in between——
And the folk are gay as they dance the day
That the harvest be not lean!

(153)

Saint Dominic’s Day—II
They kneel before the sanguined rail,
The Virgin in her blue,
The Christ upon his painted cross,—
And nigh them, bright of hue,
A pony and a buffalo
Some dark-skinned artist drew.

With naked bodies striped and daubed,
With flaming parrot crest,
Bright necklaces, and terraced crowns
Adorned with floating featherdowns——
Earth with the sunlight blest!
And ghostly white Koshare clowns,
Like souls that know no rest——
Like living souls with ancient things
Uncannily possessed!
To rattle and drum the dancers come,
The dust-brown earth they beat,
While the singers intone an heathen drone
Where they follow with rhythmic feet——
An heathen drone which their sires had known
Would make the harvest sweet!
They come before Saint Dominic,
They dance the growing maize,
Its planting and its tasseling,
Full-bladed summer days,
And the dews and rains that fill the grains,
And the purple harvest haze——
The life that lies in Mother Earth
And in bright Sun-Father’s rays:
(154)
Dancing they sing the antique song
That made the maize to grow
Or ever Christian priest or saint
Their sires had come to know——
Dancing they sing an heathen thing
Out of the long ago——
That brought fair yield to the tilléd field
Dim centuries ago.
Yes, a blessed Saint is Dominic
And blessed folk are they
Who come with dancing feet to meet
Upon his holy day——
Who tapers bring and old songs sing
And reverently pray
Kneeling before his image bright
With its golden-bearded face,
As the priests had taught when first they brought
Their Saint to the dark-skin race,——
Who should keep each year his festival
In their ancient dancing-place.

(159)

Flower Alone
They mocked her for her outland ways,
They jeered her kin and clan.

### FLOWER ALONE

A Santa Clara woman
In Sant’ Domingo town,
Her rights were less than human
That day at red sundown,——
They made her less than dogs are made
Within the stranger town.
Oh, she was wicked merry
On Santa Clara street!
Red-brown as a berry,
Hale as ripened wheat;
And he who came to woo her,
He came on dancing feet.
Round his raven locks a kerchief gay,
His belt of the silver wrought,——
From Sant’ Domingo all the way
With none but her in thought:
A braided scarf, a turquoise ring,
These were the gifts he brought.
(160)
Why should she heed the old wives’ saw?
“A bride should seek her bed
“Within the pale of the village law
“Wherein she hath been bred.”
At old wives’ tales and old wives’ wails
She shook a saucy head.
And so in Sant’ Domingo town
She ground her daily corn;
She drew her water at the well,
And there her babe was born;
And earthen pots she made to sell
And quaintly did adorn.
A Santa Clara woman
Within a stranger town,
Its folk were more than human
To hold her as their own:
A saucy-head she had been bred,
Should they not bring her down?
They mocked her for her outland ways,
They jeered her kin and clan;
They whispered evil of her days,
They won away her man,——
A saucy-head she had been bred,
But, oh, her heart grew wan!
(161)
They babbled evil of her days
And evil of her art;
They mocked, they jeered, they came to gaze
Where she bode with aching heart,——
Where moody-eyed in her alien pride
With her babe she sat apart.
A Santa Clara woman
In Sant’ Domingo town,
They made her less than human,
And the hour was red sundown
When from cut and gash of the plaited lash
Crimson her blood ran down.
Crimson her blood as the setting sun,
But never to blow or curse
Did she open her lips till their work was done
And they left her for better or worse,——
Till they dragged her tied to a horse’s tail
And left her for a corse.
She lay beside the beasts’ corral,
Her body as the dead,
And dimly she heard the tiny call
Of her babe that would be fed,——
Dimly she heard, and she did crawl
To nurse it, while she bled.
(162)
A Santa Clara woman
Within a stranger town;
Her rights were less than human
When redly the sun went down,——
But the babe that was born of her body
She nursed while the blood ran down.
With curious eyes I watched her at work
Where she plied her potter’s art
And creatures drew with cunning hand,
Bright for the white man’s mart,——
I wondered at the blood-red band
Limned to each crimsoned heart.

(167)

The Pottery Peddler
His step was soundless and he seemed
A phantom in the land.

### THE POTTERY PEDDLER

I saw him with his pack of wares,
Spoil of an ancient craft,——
His body supple as the bow
After the true-sped shaft:
I liked the weave of banded wool
That girt him at the thighs;
I liked the glint of gaudy things
That filled me with surmise:
The abalone at his ears,
His beaded turquoise string;
The kerchief round his glossy hair——
Red on a blackbird’s wing:
I liked the silver where its hue
Shone on his earth-brown skin,
And, oh, his patient eyes I liked,
All smouldering within.
I saw him loping up the road
Made by the white man’s hand:
His step was soundless, and he seemed
A phantom in the land.
(168)
I saw him on a white man’s street——
And, lo, the street was gone
A century of centuries
While still mine eyes looked on!
And I beheld him, lithe and proud,
Chief upon plain and hill,——
The eagle was his panoply,
The mountain lion his kill:
About him thronged his earth-brown kin,
Rhythmic with the drum,——
I saw their gleaming feathers
And their bright musicians come:
I saw them with their patterned robes,
Their glint of gaudy things,
Their greens, their reds, their silver whites,
Their dangles and their rings:
A century of centuries
While still mine eyes looked on:
An Indian—and the white man’s street
Ten thousand years agone!

The Dead Pueblo—I
But yesterday its people passed
Into their silence and their night,
Leaving their broken walls to glow
Encrimsoned by the shafted light.

(173)

### THE DEAD PUEBLO

In 1838 the dozen or so of Indians, who comprised at that time the fading population of Pecos, abandoned their ancient pueblo and took refuge with their kinfolk of Jemez from the unceasing Comanche raids, which for more than a century had been diminishing the tribe. This closed a period of continuous occupation estimated by archaeologists at more than fifteen hundred years, during which the pueblo had become the most powerful in the Rio Grande region. A veritable fortress on its final site,—for it had been removed to the mesa top from an earlier location across the arroyo,—it is believed that Pecos had been founded as a result of the growing attacks of the wild tribes of the Plains and Desert upon the scattered farming communities of the fertile valleys and uplands of the vicinity. For many centuries and through many shifts of the local culture (by no means primitive when Pecos was founded) the community grew in strength—an eastern outpost of the Pueblo civilization. When in 1540 Coronado entered New Mexico in quest of the “seven cities of Cibola,” the people of Cicuyé (a Tewa name by which Pecos became known to the Spaniards) sent a delegation with presents, offering their friendship. Hernando de Alvarado was despatched to the town, where, says the chronicler Castañeda, “the people came out with(174) signs of joy, and brought them into the town with drums and pipes and something like flutes, of which they had a great many; they made many presents of cloth and turquoises, of which there are quantities in that region; and the Spaniards enjoyed themselves for several days.” Of the village Castañeda says: “The houses are all alike, four stories high. One can go over the top of the whole village without there being a street to hinder. There are corridors going all around it at the first two stories, by which one can go around the whole village.... The people of this village boast that no one has been able to conquer them and that they can conquer whatever villages they wish.” It was at Pecos that the Spaniards found the Plains Indian “El Turco,” who told of the wonderful Quivera and lured them on into the expedition toward the Missouri River. When finally Coronado returned to Mexico, Friar Luis, a lay brother, remained at Pecos, one of the two first missionaries of the region. Castañeda writes: “Nothing more has been heard about him; but before the army left Tiguex some men who went to take him a number of sheep met him as he was on his way to visit some other villages.... He felt very hopeful that he was liked at the village [Pecos] and that his teaching would bear fruit, although he complained that the old men were falling away from him. I, for my part, believe that they finally killed him.” Later the Franciscans built at Pecos one of their largest establishments, now a massive ruin.

(175)

### THE DEAD PUEBLO

#### I

A valley with its ancient hills
Deep-founded in earth’s adamant
And crested dark with driven cloud,
Like warrior’s trophies blown aslant:
With zenith-high a riven space,
Whence royal from his azured zones
The golden sun strikes sheer where lie
The dead pueblo’s fallen stones:
A ruin upon the mesa top
Above the scarred arroyo’s sands,
Its ochres crimsoned by the glow,
Mid rock-strewn solitudes it stands:
Where citadelled as now with light
Its ramparts stood a thousand years,
The valley’s strong Acropolis
Against the gathering murk of fears:
(176)
When Caesars held imperial sway
Its dusky warriors manned their wall;
Round council-fires its chieftains sate
When Roland fell at Roncevalles:
What time the looms of Flanders wove,
Its women spun their fleecy thread;
They fashioned earthen burial jars
While wailing mere mourned Arthur dead:
The dancers gathered to its feasts
The while Columbus sailed the seas;
At Coronado curious gazed
Its children from their mothers’ knees:
And there where now is grass-grown nave,
Walls summer-breached and winter-rent,
To pray before a Christian saint
Came many a dark-hued penitent:
But yesterday its people passed
Into their silence and their night,
Leaving their broken walls to glow
Encrimsoned by the shafted light:
Leaving their valley’s purpled hills
To gather glamours and to brood,
Scornful of man and his phantom years,
In vast and patient solitude.

(177)

#### II

In the days of the Sires of the People
Came the First-remembered of Men
Forth from the wombs of mothering Night,
To seek their Sign and to find their Light,
And to hew them homes mid the virgin loams,
Then, as ever again.
Out of the mists of the past they marched,
Children of Earth and of Sky,——
The red-soil land was theirs to claim,
The hill-born torrent their flood to tame,
And avalanche-thrown was the quarry-stone
For their houses builded high.
They gathered them where the valleys smiled,
They gathered them, tribe and clan,——
They laid their walls through the sunny days;
They broke their fields and they tilled their maize,
And they sang them airs and chanted them prayers
That come with the joy of man.
Till up from the glowing desert,
And up from the wandering plain,
The greased and painted warriors crept
With sudden whoop on them that slept——
Like wolves in bands from the famished lands,——
And they left a bloody stain.
(178)
They ravaged the peaceful farmsteads,
They shattered and scattered the folk,
And they filled the land with a deathly spell,
Where Apache stealth and Comanche yell
And the treacherous blow of the Navaho
Their nightly terrors woke.
Till the chieftains counselled in sorrow
Mid the sound of women’s woe,
And they swore to build them a fortress-keep,
And to hold their lands, and to sow and reap
Where Sacred Earth had given them birth,
Whatso might be their foe!
And they set the rocks of their citadel
On the mesa’s granite crest,
And their terraces rose till the barren space
Became a nation’s gathering place,
And the red light shone from the stubborn stone
Where the People dwelt at rest.
And a new Age dawned and their troubled Morn
Passed into the splendid Day;
And they sang from their roofs when their work was done
High-chanted hymns to the Fathering Sun;
And their bows were strong and the arrow’s prong
Kept the carrion tribes at bay.

The Dead Pueblo—II
With their cornfields and their beanfields,
With their vines of squash and pumpkin,
With their sunflowers and tobacco,
Dwelt the olden folk of Pecos.

(183)

#### III

Time was kindly with this people
In the ancient Vale of Pecos,
In their citadel enseated
High above the scarred arroyo,
High upon the brunting mesa.
There within the storeyed houses
Built about their dancing plaza,
Walled against the foeman’s onslaught,
Walled and towered and ever watchful,
Safe and happy dwelt the people:
With their cornfields round about them
In the pleasant watered valleys,
Fair with corn of many colors
Sacred to the Guardian Mothers——
White of Morn and blue of Zenith,
Yellow for the burning Sunset,
Speckled for the cloudy Northland:
Earth and Sky have many colors,
So the corn has colors many
Sacred to the Guardian Mothers:
With their cornfields and their beanfields,
With their vines of squash and pumpkin,
With their sunflowers and tobacco,
(184)
Dwelt the olden folk of Pecos
Rich and happy in their valley:
And the fires upon their hearth-stones
Glowed at dawn and glowed at twilight,
And the wavering smoke ascended
Quiet into quiet heavens——
Till the city seemed reflected
In the vaporous blue of noonday,
In the gleaming stars of night-time:
And the women at their grinding
Sang the Song of Fruitful Pollen;
And the maidens at their spinning
Sang the Breath-song of the Cotton;
And they wove their baskets singing,
Singing modelled earthen vessels,
Painted brown and black and yellow
With the symbols of the Cloud-Folk,
Of the Mist-Folk and the Rain-Folk,
And the sudden zig-zag Lightning——
And they left the life-line broken
For the spirit of the vessel
That it might not be imprisoned
In the moulded clay forever:
And the menfolk in the cornfields
Sang the Song of Winter Breaking,
(189)
Sang the Springtime and the Seeding,
Sang the Tasseling and Summer,
Sang the Fruitfulness of Harvest,
And the Life that stirs in all things:
And within their sacred Kivas,
Where the Priests and Elders gathered
Round their Totems and their Altars,
Underneath the painted symbol
Of the Plumed and Crested Serpent,
There they sang their Spirit Ancients
And the deeds of mighty Heroes,
Of the Brothers armed with sunbeams
Where they slew the hateful monsters
When the Primal People wandered
And the World was in its making:
And within the sacred Kivas
Said the prayers their sires had taught them,
That the tribe might live forever
Fathered by the Shining Heaven,
Mothered on Earth’s fruitful bosom,
With the Winds forever breathing
Fourfold Life from out the Quarters
Of the fourfold World man dwells in:
And the men and women gathered,
And the young men and the maidens,
(190)
And the children and the strangers,
When above the Kivas flaunted
Banners brilliant with bright feathers
Telling of the coming feast-day
With the dancing and the chanting
And the altars set with prayer-plumes,
Where the grave-faced Priests and Elders
Smoked before the sacred emblems
Of the Powers that watched the nation:
In the ancient Vale of Pecos,
In its days of peace and plenty,
When the people lived securely
In their citadel enseated
High above the scarred arroyo,
High upon their granite mesa.

The Dead Pueblo—III
And within their sacred Kivas,
Where the Priests and chieftains gathered,
Painted with the Serpent Symbol,
With their totems and their altars,
Sang the days of Spirit Ancients.

The Dead Pueblo—IV
The Cross of Christus crucified,
With thorn-pressed brow and piercéd side,
And body wounded sore.

#### IV

Blessed is the martyr’s crown
And valiant were they who wore
In Francis’ name the corded gown
And to the heathen bore
The Cross of Christus crucified,
With thorn-pressed brow and piercéd side
And body wounded sore:
(195)
Like valiant soldiers they did come
To preach their Gospel mild
And find them sweetest martyrdom
Within an heathen wild——
St. Francis’ men, who turned to kiss
The Crucifix, and met their bliss,
And on their murderers smiled.
Bruit had come to the Pecos folk
Of warrior-men from Heaven,
Who strid strange beasts and in thunders spoke
And armed them with red levin——
Who bannered their hosts with new gods and dread
And shook the land with a terrible tread
Where they searched for the Cities Seven:
And the Priests and the Elders wafted high
The smoke of their questioning prayer,
And they asked of Earth and they asked of the Sky
And they asked of the Lords of the Air——
And the signs breathed peace, and they were content,
And unto the strangers their captains they sent
With gifts and with covenants fair.
For why should they fear the stranger’s face
When the Powers whom their sires had known
Had boded them well from the Sacred Place
With its ancient divining stone?
(196)
Why should men fear who through perilous past
By their strong gods warded were mighty at last
Into a nation grown?
So with flute and with drum and with gala cheer
Forth they thronged them to greet
The steeled and glittering Cavalier
And the Friar with way-worn feet——
And the men of Spain found pleasant rest,
And the ovens glowed, and each grateful guest
Warm-scented the odors sweet:
Oh, the men of Spain in Pecos town
Were welcomed with joyous array,
Whose folk little dreamed as the dusk closed down
That their Sun had ended that day——
That an Age of the Red Man’s World was past,
And down from their altars his gods were cast
To silently vanish away!
Oh, who could the bitterness and the blood
Of their lurid morrow know?
Where the aged shaman sat grim with his brood
Of the Spirits of long ago,
And the lonely friar with his lifted sign
Stood watching the riders in drifting line
Pass out to the morning glow:
(201)
And who should rue his martyr’s crown
To the valiant soul who wore
In Francis’ name the corded gown
And to the heathen bore
The Cross of Christus crucified,
With thorn-pressed brow and piercéd side
And body wounded sore?
In after years they came again
In corded robe and cowl,
The army of St. Francis’ men,
With book and adz and trowel——
And they builded their church and their masses said,
And they pastored the living and prayed for the dead,
And succored them many a soul:
And the folk of the ancient citadel
To Christian rites were born,
And they harkened to a Christian bell,
And they prayed to Christ each morn——
And sometimes in the fading day
Their olden altars, in decay,
With plumes they did adorn.

The Dead Pueblo—V
And the lonely friar with his lifted sign
Stood watching the riders in drifting line
Pass out to the morning glow.

(202)

#### V

Still do the valley’s ancient hills,
Oblivious of man’s passing years,
Renew their bloom with the summer sun
And gloam with gray cloud-fallen tears:
Above their purple crests still climb
The storm’s dark streamers ’thwart the heaven——
Like ghosts of old marauders come
Bright-arrowed with the jagged levin:
And still upon the mesa top
The dead pueblo’s ruined walls
Flare back defiance where the light
In crimson splendor o’er them falls:
About the plaza strewn with shards
Like phantom footsteps fitful go
The phantom winds and idly shift
The downs of thistles to and fro:
And sway the purple huaco’s spires,
And bend the sunflower’s yellow head
O’er wild verbenas lavender
And Indian paintbrush saffron-red:
(203)
And ruffle faint the placid pool
That gathers on the kiva’s floor
To mirror still the cloudy forms
Pictured upon its walls of yore:
While in the chambers long untrod
The broken vigas and the clay
Imprinted with the builder’s hand
Yet crumble in their slow decay:
And underneath the mounded stones
That mark the ancient wall and keep,
With gaud and trinket nigh their bones,
Do they that builded sleep their sleep:
There, warded by the broken church
And tumulus that bears the Rood,
Rememberless the ruins lie,
Dead, mid the valley’s solitude:
Above them, with his pinions spread
Majestic in his noiseless flight,
The Eagle wheels; then soars him far
To vanish in the western night.

(205)

## VI
AZTEC GODS

(208)

(211)

Tezcatlipoca
O Lord, very mighty!
On the day that I honor thee I shall ascend a terraced temple;
Bright flowers will adorn my head, dancing maidens will accompany me;
To the music of pulsing flutes I shall sing thee with triumphant voice!

### TEZCATLIPOCA

Puissant Lord!
Invisible, impalpable, inescapable!
Men see thee not, and thou art with them;
Men touch thee not, and thou art with them;
Men know thee not, and thou knowest them.
The dense rocks are as crystal before thee;
The hearts of the quaking mountains are as crystal before thee;
As crystal is my heart—naught therein is hidden from before thee.
Thy mind doth reflect all secret things, O Tezcatlipoca!
Thou art as a fume-dark mirror of polished obsidian, deep with reflection.
All things remote thy body doth envelop; none withstay thee, who art the blown breath of the spacious world!
Whistlings and flutings and the rumblings of many drums are thine,
And the Night Winds are thy hounds, that bay thy relentless Ways;
(212)
Thou art the Sweeper-up of the Realms of Silence—they also are of thee.
O Lord very mighty!
On the day that I honor thee I shall ascend a terraced temple;
Bright flowers will adorn my head, dancing maidens will accompany me;
To the music of pulsing flutes I shall sing thee with triumphant voice!
O Lord very terrible!
On the day that I honor thee I shall mount upon the Dragon of Stone;
I shall break my singing flute, the flowers of my chaplet I shall scatter to the winds:
On the day that I honor thee my heart I shall cast before thee!
Let it be pellucid as crystal, on that day when thou shalt pierce me!
Let it be as bodiless light, when thou comest with unstaying feet!
Let my heart be altogether pure, when as a fleet wind thou takest me hence!
O Tezcatlipoca!
Lord ever terrible! Lord inescapable!

(217)

Xochiquetzal
Radiant Lily, there where thou standest
Exhaling fragrance,
A Butterfly to thy lips clinging,—
Radiant Lily,
I thank thee!

### XOCHIQUETZAL

Radiant Lily, there where thou standest
Exhaling fragrance,
A Butterfly to thy lips clinging,——
Radiant Lily,
I thank thee.
Upon the lips of the Goddess of Flowers
A Butterfly is clinging——
Upon the lips of the Goddess of Life
An iridescent Butterfly,
Sipping the sweets,
Fanning its wings in her breath.
Is she not beautiful——
The Lily of Life?
Exhaling her fragrance,
With golden pollen fruitful,
Summoning the Winged Spirits?

(218)

### QUETZALCOATL

Thou green-feathered Sky-Snake,
Thou crested Serpent,
Thy body is the undulating cloud, the rolling cloud,
Boiling white above,
Black-bellied.
Forked lightnings are thy tongues,
Thine eyes flash forked lightnings;
Thy great drums boom
From mountain to mountain, thundering——
Whither thou goest bearded with black rain,
Shedding beneath thee a reek of black rain.
He was an old man when he sailed away to Tlapallan:
Bright was his countenance as the silver-crested cloud;
Like a descending rain was his streaming beard;
His wind-blown robe was as the blue rain hiding the hill-tops.
Upon the azure lake he was wafted,
Serpent-treading——
Wafted beyond the horizons of day and night,
Wafted unto Tlapallan,
Quetzalcoatl departing.
(223)
He was an old man when he sailed afar to Tlapallan:
Venerable was his streaming beard.
Shall he not come again unto his children?
Shall he not once more be wafted upon the azure lake,
Serpent-treading,
In vaporous robes resplendent?
Shall he not strike forth with staves of sunbeam,
Making earth fruitful,
Making beautiful the feathered fields——
With corn of all colors,
With flowers of all colors?
Lo, where his hand is uplifted——
Quetzalcoatl of the East, Quetzalcoatl of the West!
Lo, where he hurleth into the heaven his Fire-Snakes——
Great Serpents, like undulating clouds,
Crested, rain-reeking.
Their bellies blacken the sky;
Their fierce rains flood earth’s hill-rimmed vale;
Their drumming is from mountain to mountain;
From horizon to horizon is their thunder.
Wonderful are the green plumes of the quetzal, flowing:
They bend in gracious curves, aslant in the sunlight;
They glow like fields of bladed maize, aslant in the sunlight;
All precious jewels shine within them——
(224)
Green fire-opals and blue turquoise,
The colors of all flowers,
The rich tasselings of bearded corn....
How beautiful are the dews dropt from the Sky-Serpent!
How precious are thy gifts, O Quetzalcoatl!
My offering is corn of seven hues;
My offering is blue smoke of tobacco;
My offering is a precious plume of the green-feathered quetzal;
A rich jewel is my offering, green, with fire in its heart!
Answer me from the two horizons,
O Quetzalcoatl!
From the rims of night and day return unto me,
O Quetzalcoatl, Lord very grateful!

(225)

Quetzalcoatl
Thou green-feathered Sky Snake,
Thou crested Serpent,
Thy body is the undulating cloud, the rolling cloud,

### TONATIUH

There is a valorous cry when he mounts with the Morning——
Tonatiuh! Tonatiuh!
Golden plumes shining, emerald plumes shining,
Bannerets of scarlet, and tawny skins of lions,——
There is a valorous cry like the shouting of many armies
When the souls of the Battle-Slain mount with their Chieftain Sun!
At the Place of the Zenith they lay down their arms——
Tonatiuh! Tonatiuh!
At the Place of the Zenith the Warriors are defeated;
From the Place of the Zenith the Sun descends mid wailing.
There is wailing and woe when he descends to the House of Evening——
Alas, for Tonatiuh!
They drag him down—their hair is disheveled with mourning,
(226)
Their fingers are many and sharp—they, the Dark Mothers,
Whose breasts are heavy for the children they died in bearing:
Wailing they drag him down, the Vengeful Mothers——
Alas, for Tonatiuh!
Alas, for Tonatiuh!

Xiuhtecutli
Lord Fire!
Thou who art the Central Burning,
Who art armed with a spear-thrower,
Who art armed with many spears—
The Gaping Jaws of Earth are beneath thee,
Whereof the teeth are obsidian blades....

(231)

### XIUHTECUTLI

Lord Fire!
Thou who art the Central Burning,
Who art armed with a spear-thrower,
Who art armed with many spears——
The Gaping Jaws of Earth are beneath thee,
Whereof the teeth are obsidian blades,
Whereof the maw is Mictlan,
Whereof the belly is the House of Bones....
Lord Fire!
Thou dost give a little light,
Thou dost give a little warmth,
With thy spears thou dost give a little defense
Against the day and the hour when I must descend....
I will make thee an offering of blood,
I will make thee an offering of a man’s heart——
My heart I will give thee,
That thou mayest burn a little longer,
That the Jaws close not so soon upon me....
Lord Fire! Lord Fire!

(232)

The End

*** END OF THE PROJECT GUTENBERG EBOOK GOD'S DRUM, AND OTHER CYCLES FROM INDIAN LORE ***
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 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. 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.