Project Gutenberg's The Adventures of Seumas Beg, by James Stephens This eBook is for the use of anyone anywhere 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.net Title: The Adventures of Seumas Beg The Rocky Road to Dublin Author: James Stephens Release Date: August 25, 2011 [EBook #37214] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK THE ADVENTURES OF SEUMAS BEG *** Produced by Al Haines
THE ADVENTURES OF SEUMAS BEG
THE ROCKY ROAD TO DUBLIN
BY
JAMES STEPHENS
AUTHOR OF
'THE CHARWOMAN'S DAUGHTER,' 'THE HILL OF VISION,'
'THE CROCK OF GOLD,' ETC.
MACMILLAN AND CO., LIMITED
ST. MARTIN'S STREET, LONDON
1915
COPYRIGHT
CONTENTS
THE ADVENTURES OF SEUMAS BEG
The Cherry Tree
Breakfast Time
In the Orchard
Day and Night
The Devil's Bag
A Visit from Abroad
The Wood of Flowers
The White Window
Midnight
Behind the Hill
The Secret
April Showers
The Turn of the Road
The Coral Island
The Cow
The Old Man
What the Snake saw
The Horse
The Apple Tree
The Appointment
Check
When I was Young
THE ROCKY ROAD TO DUBLIN
The Patriot's Bed
Grafton Street
Portobello Bridge
York Street
The Fifteen Acres
College Green
Mount Street
Westland Row
The College of Science
The Canal Bank
By Ana Liffey
From Hawk and Kite
The Gombeen-man
Beresford Place
At the Fair
The Fur Coat
Dublin Men
O'Connell Bridge
Charlotte Street
George's Street
Holles Street
Katty Gollagher
Cork Hill
The Piper
The Shadow
Custom House Quay
Stephen's Green
The College of Surgeons
Merrion Square
The Bare Trees
Dunphy's Corner
The Dodder Bank
White Fields
The Paps of Dana
Donnelly's Orchard
Donnybrook
THE ADVENTURES OF SEUMAS BEG
Come from your bed my drowsy gentleman!
And you, fair lady, rise and braid your hair,
And let the children wash, if wash they can;
If not, assist you them, and make them fair
As is the morning and the morning sky,
And every tree and bush and bird in air.
The sun climbed on the heights three hours ago,
He laughed above the hills and they were glad;
With bubbled pearl he made the rivers flow
And laced their mists in silver, and he clad
The meads in fragrant pomp of green and gold,
And bade the world forget it had been sad.
So lift yourself, good sir! and you, sweet dame,
Unlash your evening eyes of pious grey;
Call on the children by each loved name,
And set them on the grass and let them play;
And play with them a while, and sing with them
Beneath the cherry bush a roundelay.
The sun is always in the sky
Whenever I get out of bed,
And I often wonder why
It's never late.—My sister said
She did not know who did the trick,
And that she did not care a bit,
And I should eat my porridge quick.
... I think it's mother wakens it.
There was a giant by the Orchard Wall
Peeping about on this side and on that,
And feeling in the trees: he was as tall
As the big apple tree, and twice as fat:
His beard was long, and bristly-black, and there
Were leaves and bits of grass stuck in his hair.
He held a great big club in his right hand,
And with the other felt in every tree
For something that he wanted. You could stand
Beside him and not reach up to his knee
So mighty big he was—I feared he would
Turn round, and trample down to where I stood.
I tried to get away, but, as I slid
Under a bush, he saw me, and he bent
Far down and said, "Where is the Princess hid?"
I pointed to a place, and off he went—
But while he searched I turned and simply flew
Round by the lilac bushes back to you.
When the bright eyes of the day
Open on the dusk, to see
Mist and shadow fade away
And the sun shine merrily,
Then I leave my bed and run
Out to frolic in the sun.
Through the sunny hours I play
Where the stream is wandering,
Plucking daisies by the way;
And I laugh and dance and sing,
While the birds fly here and there
Singing on the sunny air.
When the night comes, cold and slow,
And the sad moon walks the sky,
When the whispering wind says "Boh,
Little boy!" and makes me cry,
By my mother I am led
Home again and put to bed.
I saw the Devil walking down the lane
Behind our house.—There was a heavy bag
Strapped tightly on his shoulders, and the rain
Sizzled when it hit him. He picked a rag
Up from the ground and put it in his sack,
And grinned and rubbed his hands.
There was a thing
Moving inside the bag upon his back—
It must have been a soul! I saw it fling
And twist about inside, and not a hole
Or cranny for escape! Oh, it was sad!
I cried, and shouted out, "Let out that soul!"
But he turned round, and, sure, his face went mad,
And twisted up and down, and he said "Hell!"
And ran away.... Oh, mammy! I'm not well.
A speck went blowing up against the sky
As little as a leaf: then it drew near
And broadened.—"It's a bird," said I,
And fetched my bow and arrows. It was queer!
It grew up from a speck into a blot,
And squattered past a cloud; then it flew down
All crumply, and waggled such a lot
I thought the thing would fall.—It was a brown
Old carpet where a man was sitting snug
Who, when he reached the ground, began to sew
A big hole in the middle of the rug,
And kept on peeping everywhere to know
Who might be coming—then he gave a twist
And flew away.... I fired at him but missed.
I went to the Wood of Flowers
(No one was with me);
I was there alone for hours.
I was happy as could be
In the Wood of Flowers.
There was grass on the ground,
There were buds on the tree,
And the wind had a sound
Of such gaiety,
That I was as happy
As happy could be,
In the Wood of Flowers.
The moon comes every night to peep
Through the window where I lie,
And I pretend to be asleep;
But I watch the moon as it goes by,
And it never makes a sound.
It stands and stares, and then it goes
To the house that's next to me,
Stealing on its tippy-toes,
To peep at folk asleep maybe;
And it never makes a sound.
And then I wakened up in such a fright;
I thought I heard a movement in the room
But did not dare to look; I snuggled right
Down underneath the bedclothes—then the boom
Of a tremendous voice said, "Sit up, lad,
And let me see your face." So up I sat,
Although I didn't want to. I was glad
I did though, for it was an angel that
Had called me, and he said, he'd come to know
Was I the boy who wouldn't say his prayers
Nor do his sums, and that I'd have to go
Straight down to hell because of such affairs.
... I said I'd be converted and do good
If he would let me off—he said he would.
Behind the hill I met a man in green
Who asked me if my mother had gone out?
I said she had. He asked me had I seen
His castle where the people sing and shout
From dawn to dark, and told me that he had
A crock of gold inside a hollow tree,
And I could have it.—I wanted money bad
To buy a sword with, and I thought that he
Would keep his solemn word; so, off we went.
He said he had a pound hid in the crock,
And owned the castle too, and paid no rent
To any one, and that you had to knock
Five hundred times. I asked, "Who reckoned up?"
And he said, "You insulting little pup!"
I was frightened, for a wind
Crept along the grass to say
Something that was in my mind
Yesterday—
Something that I did not know
Could be found out by the wind,
I had buried it so low
In my mind.
The leaves are fresh after the rain,
The air is cool and clear,
The sun is shining warm again,
The sparrows hopping in the lane
Are brisk and full of cheer.
And that is why we dance and play,
And that is why we sing,
Calling out in voices gay,
We will not go to school to-day
Or learn anything:
It is a happy thing, I say,
To be alive on such a day.
I was playing with my hoop along the road
Just where the bushes are, when, suddenly,
There came a shout.—I ran away and stowed
Myself beneath a bush, and watched to see
What made the noise, and then, around the bend,
I saw a woman running. She was old
And wrinkle-faced, and had big teeth.—The end
Of her red shawl caught on a bush and rolled
Right off her, and her hair fell down.—Her face
Was awful white, and both her eyes looked sick,
And she was talking queer. "O God of Grace!"
Said she, "where is the child?" and flew back quick
The way she came, and screamed, and shook her hands;
... Maybe she was a witch from foreign lands.
His arms were round a chest of oaken wood,
It was clamped with brass and iron studs, and seemed
An awful weight. After a while he stood
And I stole near to him.—His white eyes gleamed
As he peeped secretly about; he laid
The oaken chest upon the ground, then drew
A great knife from his belt, and stuck the blade
Into the ground and dug. The clay soon flew
In all directions underneath a tree,
And when the hole was deep he put the box
Down there, and threw the clay back cunningly,
Stamping the ground quite flat; then like a fox
He crept among the trees.... I went next day
To dig the treasure up, but I lost my way.
Cow, Cow!
I and thou
Are looking at each other's eyes
You are lying on the grass
Eating every time I pass,
And you do not seem to be
Ever in perplexity:
You are good I'm sure, and not
Fit for nothing but the pot:
For your bearing is so kind,
And your quietness so wise:
Cow, Cow!
I and thou
Are looking at each other's eyes.
An old man sat beneath a tree
Alone;
So still was he
That, if he had been carved in stone,
He could not be
More quiet or more cold:
He was an ancient man
More than
A thousand ages old.
A little girl and a big ugly man
Went down the road. The girl was crying
And asking to go home, but when she ran
He hit her on the head and sent her flying,
And called her a young imp, and said he'd break
Her neck unless she went with him, and then
He smacked her on the cheek.—I was a snake
At that time crawling through a robber's den,
And diamonds were sticking to my tongue—
(That's the best dodge), but when I saw the way
He beat the little girl I up and flung
A stone at him. My aim was bad that day
Because I hit the girl ... and she did sing!
But he jumped round and cursed like anything.
A sparrow hopped about the street,
And he was not a bit afraid;
He flew between a horse's feet,
And ate his supper undismayed:
I think myself the horse knew well
The bird came for the grains that fell.
For his eye was looking down,
And he danced the corn about
In his nose-bag, till the brown
Grains of corn were tumbled out;
And I fancy that he said,
"Eat it up, young Speckle-Head!"
The driver then came back again,
He climbed into the heavy dray;
And he tightened up the rein,
Cracked his whip and drove away.
But when the horse's ribs were hit,
The sparrow did not care a bit.
I was hiding in the crooked apple tree,
Scouting for Indians, when a man came;
I thought it was an Indian, for he
Was running like the wind.—There was a flame
Of sunlight on his hand as he drew near,
And then I saw a knife gripped in his fist.
He panted like a horse; his eyes were queer,
Wide-open, staring frightfully, and, hist!
His mouth stared open like another eye,
And all his hair was matted down with sweat.
I crouched among the leaves for fear he'd spy
Where I was hiding, so he did not get
His awful eyes on me, but like the wind
He fled as if he heard something behind.
Tree! you are years standing there,
Gripping tight to the side of the hill,
And your branches are spread on the air,
While you stand so sad and so still,
And you do not complain
When you're wet with the rain,
Though I think you have often been ill.
I would like (but it could not be done,
So you must not keep me to my word)
To take you away when the sun
Goes down, and the breezes are stirred,
And hug you in bed
With myself, till you said
That to sleep on a hill was absurd.
O beautiful tree! when the night
Is dark, and the winds come and scold,
I would love then to cuddle you tight,
For I fear you will die of the cold;
But you are so tall,
And my bed is so small,
That it could not be done, I am told.
My mother is calling for me,
And the baby is wanting to play,
I shall have to go home now, you see,
But I'll give you a kiss if I may:
I would stay if I could,
But a child must be good,
So I must, darling tree, go away.
I will leave you my pencil and slate,
And this little pin from my frock;
But now I must go, for it's late,
And my mother is rattling the lock:
So good-bye, darling dear,
I'll come back, never fear,
In the morning at seven o'clock.
The night was creeping on the ground;
She crept and did not make a sound
Until she reached the tree, and then
She covered it, and stole again
Along the grass beside the wall.
I heard the rustle of her shawl
As she threw blackness everywhere
Upon the sky and ground and air,
And in the room where I was hid:
But no matter what she did
To everything that was without,
She could not put my candle out.
So I stared at the night, and she
Stared back solemnly at me.
I will not know when I am dead
If sun or moon is overhead;
I'll stretch out flat without a sound
Inside a box beneath the ground,
And never rise again to see
Branches lifting on a tree,
Nor hear the song the finches sing
In the spring.
I'll not, while sunny ages go,
Lift a hand or wag a toe;
But in a wooden box will be
Hidden for eternity
From sea and sun, from sight and sound,
From touch of people, voice of friend,
From all that makes my heart to bound,
Denying such an end:
It is so strange—I wonder why
People die!
THE ROCKY ROAD TO DUBLIN
When a son you shall desire,
Pray to water and to fire;
But when you would have a daughter,
Pray to fire and then to water.
At four o'clock, in dainty talk,
Lords and lovely ladies walk,
With a gentle dignity,
From the Green to Trinity.
And at five o'clock they take,
In a Café, tea and cake,
Then they call a carriage, and
Drive back into fairyland.
Silver stars shine peacefully,
The Canal is silver, the
Poplars bear with modest grace
Gossamers of silver lace,
And the turf bank wears with glee
Black and silver filigree.
If in winter you shall drive
Birds from crumbs, you shall not thrive;
But if you feed them, they will fly
To sing it sweetly on the sky.
So throw up the window, and
Scatter with a lavish hand,
Taking care you do not spill
Flower-pots from the window-sill,
Singing, "Ireland shall be free
From the centre to the sea";
Singing bravely once again,
"We are Dan O'Connell's Men."
I cling and swing
On a branch, or sing
Through the cool, clear hush of Morning, O:
Or fling my wing
On the air, and bring
To sleepier birds a warning, O:
That the night's in flight,
And the sun's in sight,
And the dew is the grass adorning, O:
And the green leaves swing
As I sing, sing, sing,
Up by the river,
Down the dell,
To the little wee nest,
Where the big tree fell,
So early in the morning, O.
I flit and twit
In the sun for a bit
When his light so bright is shining, O:
Or sit and fit
My plumes, or knit
Straw plaits for the nest's nice lining, O:
And she with glee
Shows unto me
Underneath her wings reclining, O:
And I sing that Peg
Has an egg, egg, egg,
Up by the oat-field,
Round the mill,
Past the meadow,
Down the hill,
So early in the morning, O.
I stoop and swoop
On the air, or loop
Through the trees, and then go soaring, O
To group with a troop
On the gusty poop
While the wind behind is roaring, O:
I skim and swim
By a cloud's red rim
And up to the azure flooring, O:
And my wide wings drip
As I slip, slip, slip
Down through the rain-drops,
Back where Peg
Broods in the nest
On the little white egg,
So early in the morning, O.
When you meet an ancient man,
Be as silent as you can;
So when old age comes to you,
Courtesies shall gather too.
And King Billy's horse will start
From our street and from our heart,
When each Irishman shall be
Perfected in courtesy.
Here and there on the wings of night
A fleck of blue and purple light,
A scrap of cloud, a bird, a star,
A comet hurrying afar
On the abyss, and the moon
Standing in her silver shoon.
On the summit of the sky,
Delicate and proud and high,
The silver moon on a silver sea
Spins her silver broidery
While the stars send down a light
Here and there on the wings of night.
Every Sunday there's a throng
Of pretty girls, who trot along
In a pious, breathless state
(They are nearly always late)
To the Chapel, where they pray
For the sins of Saturday.
They have frocks of white and blue,
Yellow sashes they have too,
And red ribbons show each head
Tenderly is ringleted;
And the bell rings loud, and the
Railway whistles urgently.
After Chapel they will go,
Walking delicately slow,
Telling still how Father John
Is so good to look upon,
And such other grave affairs
As they thought of during prayers.
Who knows a thing and will not tell
Shall spend eternity in hell;
But he who learns and teaches free
In heaven spends eternity.
Around the Leinster Lawn we go
Into Molesworth Street, and so
To Saint Stephen's Green, where we
Hang a banner on a tree.
I know a girl,
And a girl knows me,
And the owl says, what?
And the owl says, who?
But what we know
We both agree
That nobody else
Shall hear or see,
It's all between
Herself and me:
To wit? said the owl,
To woo, said I,
To-what, to-wit, to-woo!
If you come to live with me,
I will sing so heartily
In your honour that you will
Stay to wonder at my skill.
In your honour I will fill
The world with songs of triumph, till
You and I and Time are old
Pipers of the Age of Gold.
Time and you and I will hold,
Everywhere by field and fold,
Concerts of content, and be
Known afar for jollity.
Everywhere by fold and field
We will wander well-agreed;
So I sing right heartily,
Come along and live with me.
Poor, frightened, fluttered, silent one!
If we had seen your nest of clay
We would have passed it by, and gone,
Nor frightened you away.
For there are others guard a nest
From hawk and kite and lurking foe,
And more despair is in their breast
Than you can ever know.
Shield the nests where'er they be,
On the ground or on the tree;
Guard the poor from treachery.
I put the sky into my pocket,
And the sea into my locket,
And into my breeches-band
I put the land.
So I was trotting off to share,
Among my comrades in the lair,
Our profits, when a peeler came
And took my name.
And now I'm in the County Gaol!
Will anybody be my bail?
Will anybody be my bail
And take me from the County Gaol?
The man who has and does not give
Shall break his neck, and cease to live;
But he who gives without a care
Shall gather rubies from the air.
The lark shall never come to say
To a gombeen-man, "Good day,"
And the lark shall never cry
To a kindly man, "Good-bye."
See the greedy gombeen-man
Taking everything he can
From man and woman, dog and cat—
And the lark does not like that.
I walked out in my Coat of Pride,
I looked about on every side,
And said the mountains should not be
Just where they were, and that the sea
Was badly placed, and that the beech
Should be an oak—and then from each
I turned in dignity as if
They were not there: I sniffed a sniff,
And climbed upon my sunny shelf,
And sneezed a while, and scratched myself.
A Dublin man will frown when he
Hears a tale of villainy;
But when a kindness you relate,
He swings and whistles on the gate.
In Dublin town the people see
Gorgeous clouds sail gorgeously,
They are finer, I declare,
Than the clouds of anywhere.
A swirl of blue and red and green,
A stream of blinding gold, a sheen
From silver hill and pearly ridge
Comes each evening on the bridge.
So when you walk in a field, look down,
Lest you tramp on a daisy's crown,
But in a city look always high
And watch the beautiful clouds go by.
Inside a soap shop, down a lane,
A big bee buzzed on a window-pane,
Climbing the cold glass up and down;
Bee, what brought you into town?
You are tired and hungry and scarce alive,
Poor old Shaggy-Tail! where's your hive?
Listen! if but women were
Half as kind as they are fair,
There would be an end to all
Miseries that do befall.
Cloud and wind would run together
In a dance of sunny weather,
And the happy trees would throw
Gifts to travellers below.
Then the lion, meek and mild,
With the lamb would, side by side,
Couch him friendly, and would be
Innocent of enmity.
Then the Frozen Pole would go,
Tossing off his fields of snow,
And would shake delighted feet
With the girls of George's Street.
These, if women only were
Half as kind as they are fair.
Through the air,
Everywhere, the rain is falling;
Brawling on house and tree:
On every place that you can see
The rain drops go;
The roofs are wet, the walls, the ground below.
Midnight has come;
Now all the people stretch them blind and dumb
Each in a bed
Save I, who sit and listen overhead
Unto the rain
Splashing upon the roof and window-pane.
Midnight! and I
Can get no sleep, nor can the sky.
The hill is bare: I only find
The grass, the sky, and one small tree
Tossing wildly on the wind;
And that is all there is to see:
A tree, a hill, a wind, a sky
Where nothing ever passes by.
Come all ye happy children, and
Gather round me hand in hand,
Dancing to the merry cry,
"See the Robbers Passing By."
Past the Castle we will dance
To the Mansion House, and prance
Back by George's Street and cry,
"See the Robbers Passing By."
Gather then ye children all
Into ranks processional,
Marching to the merry cry,
"See the Robbers Passing By."
Shepherd! while the lambs do feed,
And you rest beneath a tree,
Pipe upon an oaten reed
Merrily and merrily.
Should it rain do not forbear—
Rain comes from the happy sky—
Tune us now a quiet air
Till the shower passes by.
Back the sun will come in gold!
Pipe away, my dear, until
Evening brings the lambs to fold—
You may weep then if you will.
Silence comes upon the night,
Gone is all the cheerful day,
The moon has disappeared from sight,
Every star has gone away.
Sinking through the void, and thence
Disappearing, star and sky,
In the stern and black immense
That has blinded every eye.
Silence crouches on the land,
In the street a shadow lies
Cloaked in velvet wrappings, and
With a mask upon her eyes.
Anonymous and terrible
Mother of the primal ray,
Only night because thou art
In thyself excess of day.
When a Dublin man shall say,
"Give me a little bread, I pray,"
If you do not give him bread
You will be hungry when he is fed.
And let no priest or magistrate
Scowl upon the poor man's plate,
Asking him the question sly
To which no one can reply.
The wind stood up and gave a shout;
He whistled on his fingers, and
Kicked the withered leaves about
And thumped the branches with his hand,
And said he'd kill, and kill, and kill,
And so he will, and so he will.
As I stood at the door
Sheltered out of the wind,
Something flew in
Which I hardly could find.
In the dim, gloomy doorway
I searched till I found
A dry withered leaf
Lying down on the ground.
With thin, pointed claws
And a dry dusty skin,—
Sure a hall is no place
For a leaf to be in!
Oh where is your tree,
And your summer and all,
Poor dusty leaf
Whistled into a hall?
Grey clouds on the tinted sky,
A drifting moon, a quiet breeze
Drooping mournfully to cry
In the branches of the trees.
The crying wind, the sighing trees,
The ruffled stars, the darkness falling
Down the sky, and on the breeze
A belated linnet calling.
Unfortunates, on the bare tree!
I mourn for ye
That have no place to house,
But on those winter-white cold boughs
To sit,
(How far apart ye sit)
And brood
In this wide, wintry solitude
That has no song at all to hearten it.
Fly away, little birds!
Fly away to Spain,
Stay there all the winter
Then come back again;
Come back in the summer
When the leaves are thick;
Little weeny cold birds
Fly away quick.
Pacing slowly down the road
Black horses go, with load on load
Of Dublin people dead, and they
Will be covered up in clay.
Ere their friends go home, each man
Will shake his head, and drain a can
To Dublin people we will meet
Not again in Grafton Street.
When no flower is nigh, you might
Spy a weed with deep delight;
So, when far from saints and bliss,
God might give a sin a kiss.
In the winter children go
Walking in the fields of snow
Where there is no grass at all,
And the top of every wall,
Every fence, and every tree
Is as white as white can be.
Pointing out the way they came,
(Every one of them the same)
All across the fields there be
Prints in silver filigree;
And their mothers find them so
By the footprints in the snow.
The mountains stand and stare around,
They are far too proud to speak;
Altho' they're rooted in the ground,
Up they go, peak after peak,
Beyond the tallest tree, and still
Soaring over house and hill
Until you'd think they'd never stop
Going up, top over top,
Into the clouds—
Still I mark
That a sparrow or a lark
Flying just as high, can sing
As if he'd not done anything.
I think the mountains ought to be
Taught a little modesty.
He who locks a gate doth close
Pity's heart against his woes;
But who opens one shall find
God is standing just behind.
I saw the moon so broad and bright
Sailing high on a frosty night:
And the air swung far and far between
The silver disc and the orb of green:
While here and there a wisp of white
Cloud-film swam on the misty light:
And crusted thickly on the sky,
High and higher and yet more high,
Were golden star-points dusted through
The great, wide, silent vault of blue:
Then I said to me—God is good
And the world is fair—and where I stood
I knelt me down and bent my head,
And said my prayers, and went to bed.
THE END
Printed by R. & R. CLARK, LIMITED, Edinburgh.
BY THE SAME AUTHOR.
THE CROCK OF GOLD. Crown 8vo. 5s. net.
THE PALL MALL GAZETTE.—"A wise, beautiful, and humorous book.... If you could have given Sterne a soul and made him a poet he might have produced The Crock of Gold."
THE DEMI-GODS. Crown 8vo. 5s. net.
STANDARD.—"The book is full of fine knowledge and fantasies in every shade of gaiety and gravity, and we would call its author a magician did we not feel that everything he writes is perfectly natural to him.... This book would prove, if proof were needed, that Mr. Stephens's Crock of Gold was not a mere tour de force, but a real ebullition of genius and a token of all the good work that was to come."
HERE ARE LADIES. Crown 8vo. 5s. net.
THE TIMES.—"A story may have many and diverse effects upon its reader. It may leave him smiling, laughing, frowning (perhaps weeping), angry, perplexed, exalted, afraid. The bits of stories in Here are Ladies, the sketches, essays, snapshots, call them what you will, will leave him for the most part happy and hungry—for more."
THE CHARWOMAN'S DAUGHTER. Crown 8vo. 3s. 6d. net.
PUNCH.—"A little gem.... It is a very long time indeed since we read such a human, satisfying book. Every page contains some happy phrase or illuminating piece of character drawing."
SONGS FROM THE CLAY. Crown 8vo. 3s. 6d. net.
EVENING STANDARD.—"They have the sense of elfin mischief and keen spiritual sympathy with inarticulate nature which is so recognisable a feature of all Mr. Stephens's writings, prose and verse. Many of the poems are models of that simplicity which is the supreme art of poesy, and in all may be found an underlying verity, masked may be with smiles or tears."
MACMILLAN AND CO., LTD., LONDON.
End of Project Gutenberg's The Adventures of Seumas Beg, by James Stephens *** END OF THIS PROJECT GUTENBERG EBOOK THE ADVENTURES OF SEUMAS BEG *** ***** This file should be named 37214-h.htm or 37214-h.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/3/7/2/1/37214/ Produced by Al Haines Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, 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-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to 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-tm 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-tm License (available with this file or online at http://gutenberg.net/license). Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all 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-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may 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-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the place where you are 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-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside 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-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere 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.net 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from the public domain (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or 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-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License. 1.E.6. You may convert 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-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.net), you must, at no additional cost, fee or expense 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-tm License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days 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-tm License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg-tm works. - You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. - You comply with all other terms of this agreement for free distribution of Project Gutenberg-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread public domain works in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, 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-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal 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 MERCHANTIBILITY 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-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation web page at http://www.pglaf.org. Section 3. Information about the Project Gutenberg Literary Archive 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. Its 501(c)(3) letter is posted at http://pglaf.org/fundraising. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws. The Foundation's principal office is located at 4557 Melan Dr. S. Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email business@pglaf.org. Email contact links and up to date contact information can be found at the Foundation's web site and official page at http://pglaf.org For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit http://pglaf.org While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. 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 including checks, online payments and credit card donations. To donate, please visit: http://pglaf.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart is the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For thirty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our Web site which has the main PG search facility: http://www.gutenberg.net This Web site includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.