The Project Gutenberg eBook of Horæ Nauseæ 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: Horæ Nauseæ Author: Sir Lawrence Peel Contributor: Horace Release date: September 14, 2021 [eBook #66301] Most recently updated: October 18, 2024 Language: English Credits: Mark C. Orton 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 HORÆ NAUSEÆ *** HORÆ NAUSEÆ. BY LAWRENCE PEEL. LONDON: PRINTED BY BRADBURY AND EVANS, WHITEFRIARS. MDCCCXLI. CONTENTS. PAGE TRANSLATIONS FROM THE SPANISH. GIL POLO 3 QUEVEDO 5 QUEVEDO 7 ARGENSOLA 9 ON THE PROOFS OF A DEITY (_Original_) 11 VILLEGAS 13 MELENDEZ 17 MELENDEZ 21 A FABLE 25 TRANSLATIONS FROM HORACE. BOOK I.—ODE III. 35 BOOK I.—ODE V. 41 BOOK I.—ODE IX. 43 BOOK III.—ODE XXIX. 47 ORIGINAL PIECES. ODE TO HARRIS 59 THE DOCTOR WITHOUT A SOUL; OR, THE CREATURES OF ROMANCE 63 A MATRIMONIAL DIALOGUE AND MARINE ECLOGUE 73 THE PILOT IN SIGHT 83 THE ARRIVAL; OR, THE LAND-LUBBER’S SONG 87 TRANSLATIONS FROM THE SPANISH. GIL POLO. Love is not blind, but I alone, who steer My wishes headlong unto death: Love is no child, but I; who in a breath Laugh and lament, and hope and fear: What folly then to speak of “flames of Love!” Love’s fire from untamed passion springs, High and presumptuous thoughts are Cupid’s wings, Or hopes as vain on which he soars above. Love has no chains, Love bears no bow To take, or strike the sound, and free: No power has he save that which we bestow; A poet’s fiction gave him birth, The dream of fools, adored on earth By none except the sons of vanity. QUEVEDO. No more shall custom dash my coward heart, Nor shadowy forms nor gloomy fears o’erpower My soul, that waits the cold, dark, final hour: Soul! be thyself, arm, courage is thy part. If Death, though clad in sorrow’s sable weeds, Bring peace, a stranger to my troubled breast, I’ll give him welcome so he give me rest, And thank him as his brandish’d dart he speeds. Forgive me that I harbour’d childish fears Of thee, the struggling soul who comest to aid, As now the disentangled mesh it clears, Mortality’s frail snare: no more afraid I welcome thee with smiles, not greet with tears, For well I know my Ransom hath been paid. QUEVEDO. I saw, its lofty ramparts undermined, Crumbling to earth, my native town decay; I saw my fathers’ house, nor saw resign’d, Alike assail’d Time’s not disdained prey: Upon its black and Time-dishonour’d wall My sword ancestral eager I survey’d; Devouring Time, triumphant over all, Had eaten into its corroded blade: My shorten’d staff still yielded as I prest The prop on which my age must yet rely, And all on which my hand or eye could rest Gave sad and solemn warning that we die. ARGENSOLA. Father of all! unfold, since thou art just, Why does thy providence all coldly see Pale innocence enchain’d that would be free, Whilst fraud ascends the judgment-seat august. Who nerves the arm of power which dares oppose An impious resistance to thy will? Shall holy zeal and timid reverence still Groan at the feet of thy obdurate foes? See! impious hands victorious banners wave! Hark! virtue moans scarce heard amid the shout Of insolent triumph, and its boisterous mirth! Thus I complaining spoke: A form shone out, Gravely it spoke: “Is thy soul’s centre earth? Oh blind one! not to _see beyond_ the grave!” ON THE PROOFS OF A DEITY. ORIGINAL. Talk not of proofs: God must be seen, and felt, And known by meditation; not deduced Like some hard problem, or a riddle spelt By frequent guessing. Proofs on proofs adduced, Speak they so plainly as the wailing cry Of her first infant tells the mother’s heart A mother’s love doth well from God on high? Who hath not heard, in solitude apart, God’s voice upon the wind? Who hath not seen And felt Him present? seen Him earth pervade? Each spring, their wither’d crowns renew with green In aged trees? seen Him in depths of shade? And glorious sunshine? and reveal’d in light Of stars? and in the sea’s resistless might? VILLEGAS. I. Now, Spring the year’s contracted brow Unknits, and robes in brightest green The trees; and, victims to the plough, Fresh flowers are strew’d where snows were seen. The honours of the time complete, Come forth, and welcome in the spring, Which spreads a carpet for thy feet, A verdant broider’d offering For thee, whom, honour’d as her queen, She mourns away, and welcomes seen. II. Here in this flowing mirror see, Worthy of thy reflected face, Exulting in its waters free, Charms which art’s rivalry disgrace. The bygone waters would return, The waters present stay their course; The coming waters from their urn A passage prematurely force; All jealous, striving to possess The image of thy loveliness. III. Nature is eloquent to teach: Her lessons do not thou disdain: The birds, though unendow’d with speech, Can carol love, in song complain. Come, seek their school: their love-taught notes The text of nature will expound; The thrilling music of their throats Teach us what bliss in love is found; And all their pretty wanton ways, Mutely reprove our dull delays. MELENDEZ. CUPID A BUTTERFLY. Observing once, with secret spite, The rustic maidens, wild with fright, Fly from him when his arms he bore, Revenge the wily Cupid swore; And straight a stratagem design’d, For Cupid’s malice is refined. He seems a butterfly complete, With down upon his baby feet; His little arms are changed to wings; And sportive into air he springs. Now through the meadows he meanders, And now from flower to flower he wanders; Hovers o’er this, on that alights, Whose honied cup his lip invites. The maidens think him what he seems, Not one of aught deceptive dreams, And eager in the chase they strive: One stoops to take him up alive, As on the ground fatigue he feigns; Again he flies and mocks her pains; A second calls with accents kind; Another panting lags behind. He sees them in the contest warm, Then starts into his proper form, And sets their simple hearts on fire, To gratify his childish ire. But from that time, in love we see The butterfly’s inconstancy. Love tarries not, but onward springs; Alas! the urchin kept his wings. MELENDEZ. I. When I was yet a little boy, And Dorila as young, Forth to the fields we went with joy, Where the first violets sprung. II. Her hands arranged, with natural grace, For each a garland gay; And thus, midst childish sports, apace The moments danced away. III. Our age advanced, as they withdrew, Unwatch’d by us the while; By slow degrees our knowledge grew, Till innocence seem’d guile. IV. The sight of me would now provoke A smile, I scarce knew why, From Dorila; and if I spoke, A laugh was the reply. V. The flowers I pluck’d she swiftly twined, Her own had little care; It took her twice as long to bind My chaplet in my hair. VI. One summer’s eve two doves we spied; Their trembling bills were cross’d; Then first we knew for what we sigh’d: The lesson was not lost. A FABLE. ALTERED FROM THE SPANISH OF YRIARTE. A Piedmontese, from fair to fair, Display’d a Vestris in a bear; An ape likewise, whose tricks self-taught The grinning crowd’s approval caught, (Judgment as that of critics sound, Who think all’s wit where mischief’s found): And last it was his luck to own, A treasure in itself alone; A pig, to letters train’d, polite Of course, the beast was erudite. With open mouth, each wondering lout Would view its orthographic snout Choose letters, and hard words compose, Without the due didactic blows. Then, if some rude unletter’d hind, Impell’d by generous shame, repined, Felt his own ignorance, and thought That letters might, though late, be taught; How would the burly shaven priest Exorcise the sleek, learned beast; Judge it possess’d, a hog of hell, Whose devil-directed nose could spell, Pointing to knowledge, and to sin; Whilst secretly he’d grieve within O’er spelling true, ah! not his own! And think the pig, their rival grown, Might shake their intellectual throne; And force his convent, fond of rule, Once more to put themselves to school! The bear, first favourite no more, Surly, as though his ears were sore, The fickle public to regain, And give the “pas” to dance again, Tries and retries his steps with care, Since to be perfect’s not in bear. The pig and ape, spectators mute, Observe the labours of the brute Shuffling, and struggling hard for ease, And ever labouring to please. At length Sir Bruin thinks he spies Derision in pig’s watchful eyes; And criticism seems to sneak In that dry tongue-distended cheek. “Good! Eh?” he daring asks; “my style Is all my own, it’s new.” “It’s vile,” The Ape cries, midst the Hog’s dissent, Who finds the dancing excellent; Praises the grace of hams and paws, Applauded, (he could spare applause,) So natural! and owns that pigs Shine less in minuets and jigs; And even the critic he defies To equal that which he decries. Then Bruin, with a thoughtful air, Cries, “Friend, your panegyric spare; A censuring Ape I might distrust, His blame’s too general to be just; But, oh! preserve me from my friends! I must dance ill—a Hog commends.” TRANSLATIONS FROM HORACE. BOOK I.—ODE III. I. Thee, may the Cyprian queen divine, And Helen’s brethren, glittering sign, And Æolus, the winds’ stern sire, (Save Iapyx all his subjects bound,) Ship! prosperous guide; that safe ashore Our Virgil, to the Attic ground Thou mayst, thy trusted freight, give o’er, And save one half my soul entire. II. His bosom fenced brass triply stout, Who first in fragile bark put out, Braving the ocean; undeterr’d By south-west winds, in contest dire With north-east blasts; sad Hyades, Or by the south wind’s fiercer ire, Lord o’er the Adriatic seas Calm’d at its sovereign will, or stirr’d. III. What shapes of death could him affright, Who view’d those ill-famed summits, hight Acroceraunia, and the swell And swimming monsters of the main With steadfast eye? God’s wise decree Disjoins the lands remote in vain, If impious, o’er the severing sea The bark contemptuous sails propel. IV. Man, bold to endure where gain’s the cause, Bursts through divine and human laws. When bold Prometheus, for our race, Plunder’d of fire the mansions blest By wicked fraud, o’er earth new bands Of fevers brooded; forward prest The pestilence, and new commands Quicken’d death’s first retarded pace. V. On pinions, unto man denied, Once Dædalus void æther tried. By force hell’s bounds Alcides past. Nought is too arduous for man: We foolish, heaven itself invade, Our desperate crimes fresh outbreaks plan; And force Jove’s hand, by mercy stay’d, The angry bolts to launch at last. BOOK I.—ODE V. What slender youth, whom many roses crown, Whose hair rich liquid unguents steal adown, Wooes thee, coy Pyrrha, in some pleasant grot? For whom dost thou thy golden tresses knot Neat in thine elegance? How oft he’ll weep Thy faith and gods as mutable! The deep How oft, poor simple novice, he’ll admire Blackening beneath the savage tempest’s ire, Who now enjoys thee in thy golden days, Unconscious how the changing wind betrays; Ah, credulous! and fondly hopes to find Thee his for ever, and for ever kind. Woe unto whom thou glitterest untried! My votive picture, in his temple, tells I’ve hung my garments, reeking from the tide, Before the God, whose power the ocean quells. BOOK I.—ODE IX. I. How white Soracte stands, behold, With lofty snows! Its labouring trees Groan ’neath the weight. The rivers freeze And flow no more, congeal’d by cold. II. Replenish largely from your store The fire with logs, dispel the chill; And wine, the cherish’d four-year old, From Sabine cask more freely fill. III. Leave to the gods the rest: whose word, Soon as it lulls the boiling seas Battling with winds, the cypress trees, And aged elms, no more are stirr’d. IV. Ask not, to-morrow what may chance, Count it for gain whate’er betide: Nor spurn, to peevish age denied, Soft loves, my boy, nor yet the dance: V. Whilst hoary age, morose and sour, Spares thy green spring, youth’s pastimes light By day, soft whisperings by night, Be thine, at the appointed hour, VI. The hiding maid’s forced laugh, dear sound, From secret nook, love’s fond alarm; The pledge, which beauty’s plunder’d arm, On irretentive finger bound. BOOK III.—ODE XXIX. I. Sprung from the Etrurian kingly line Mecænas, thee my choicest wine Stored in a cask ne’er broach’d, my best Of unguents for thy hair exprest, With roses fresh, invite to stay; Come, snatch thyself from dull delay. View not for aye moist Tibur’s glade, With Æsula’s inclining side, And rocks where erst his refuge made Telegonus, the parricide. II. Leave loathed plenty, and retire From piles which to the clouds aspire; Leave wealthy Rome for humbler joys, Its smoke, its riches, and its noise. Vicissitudes delight the great Well pleased sometimes to quit their state: Beneath the poor man’s humble roof, A frugal supper neatly dress’d Oft smooths the brow, keeps care aloof, Though there no purple couch be prest. III. Above, Andromeda’s fierce sire Glows in the skies with splendid fire; Now Procyon rages, and the star Of the mad Lion seen afar; The sun brings back the time of drought, The wearied hind his flocks hath brought Languid with heat to shade and stream There; where secure in tangled brake The rough Sylvanus shuns day’s gleam, And winds the silent bank forsake. IV. Thy task it is to guide the state, Solicitous the city’s fate To learn, what eastern hordes design, What Bactra, ruled by Cyrus’ line, Or China; or why discord reigns Where Tanais flows through sandy plains. God knows, alone, what is to be, Prudent, the future veils in night, And laughs when ills blind mortals see Foreboded, with extreme affright. V. Use what the present moment brings; Like to some stream are future things, Which in mid channel calmly glides, To mix in the Etrurian tides: Anon, adown its waters borne Trees, cattle, houses, stones half worn Together roll, whilst loud is heard The clamour in the mountain caves Of neighbouring woods; and tempest-stirr’d, The calmest rivers swell with waves. VI. That man is blest who thus can say Lord of himself, “I’ve lived to day; To-morrow let the gods obscure The sky with clouds, or sunshine pure Pour forth, come brightness, or come gloom, The past is acted, and its doom Pronounced; and to revoke the past, Annul the joys I _have_ possess’d, Darken the light past hours have cast, Is not in fate: I have been blest.” VII. Fortune still plies her savage trade, Laughs at the bankrupts she hath made; And insolent enjoys the game As shuffling honours, wealth, and fame, To others, now to me, she’ll deal The prizes of her fickle wheel. Mine she’s adored: her gifts resign’d Soon as her rapid pinions sound, Meek dow’rless poverty, more kind, I woo, whilst virtue wraps me round. VIII. ’Tis not for me, when, strain’d and weak, The labouring mast is heard to creak, To fall to wretched trading prayers, Lest Cyprian or lest Tyrian wares With rarest spoils, unwonted gain, Enrich the avaricious main. Me favour’d by a gentle breeze, And safe within my light bireme, Shall light along the Ægean seas Leda’s fair twins, my constant theme. ORIGINAL PIECES. ODE TO HARRIS[1]. Always I hated civic[2] entertainments: Mutton disgusts me simulating[3] ven’son, Catch[4] me no fish hermetically fasten’d, Harris, or oysters. _Still_[5] I could feast on watery[6] potatoes. Fill my friend’s lap[7] soups derelict[8], abandon’d Sauces, rich gifts of charitable ocean Cheaply benignant[9]. [1] Who this Harris was, is a point about which the commentators are at variance. Some say, but erroneously as I think, that he was the “puer,” the “minister,” of the poet. But this is not probable, for to such persons odes were not then commonly addressed. No! Harris was no servant, he was the friend, the “commensalis,” the fellow-messman of the author at the cuddy table; whom he may be supposed to be inviting to the erratic fish, which, under the influence of a gale, has become as locomotive as ever it was in its own native element. [2] Why civic, since the entertainment was nautical? ask some matter-of-fact critics. Do not these blunderers perceive the delicately-veiled compliment to the owners of the vessel upon the richness and profusion of the viands? [3] “Simulating ven’son.” This process is, unfortunately, in some degree lost to us. Some say that mutton was made to resemble venison, by being roasted with the wool on. Others, that it was the flesh of a seven-year old male, _not a wether_. But neither of these conjectures is correct. The meat was probably steeped in a brine compounded of wine, salt, spices, sugar, and other condiments, and sprinkled with Irish blackguard and brickdust. [4] “Catch.” Some critics would substitute “reach” for “catch.” But who does not see the witty allusion to the unsteadiness of the table, to which these dull dogs are blind? [5] “Still.” Free from motion. [6] “Watery potatoes.” This expression is very enigmatical. Some understand by it “dressed in, or by means of water,” as potatoes boiled or steamed, in opposition to roasted, baked, or fried potatoes, his preference for which the author is supposed to insinuate. But in my opinion this reading, though ingenious, is not correct; the true sense of the expression is potatoes carried by water, that is, potatoes eaten at sea. Murphyius, however, that intemperate though erudite Hibernian critic, declares that it means any potato not Irish, which last alone, as he says, were free when dressed from superfluous moisture. He contends, that the potato esteemed by epicures was a mealy potato. But he offers nothing in proof of his assertion. [7] “Lap.” This is plainly a misreading for “plate.” It would have been an unfriendly and unamiable wish had the author prayed that liquids, as soups and sauces were, should fall into the lap of his friend, of which it would naturally have been irretentive. It is easy to trace the corruption of the text. “Plate” has been written with an elision, “pla,” by a copyist studious of his ease. The now final vowel has slipped into the middle place and formed “pal;” which a careless scribe, putting the cart before the horse, has changed into “lap.” [8] “Derelict.” This implies the departure from the table of some squeamish person without the “animus revertendi.” [9] “Cheaply benignant,” that is, dispensing things not its own, liberal at the expense of others; as a generous churchwarden, a chairman distributing prizes, a prime minister filling up a pension-list, a House of Commons voting supplies, or an attorney marking undelivered briefs for a son. THE DOCTOR WITHOUT A SOUL; OR, THE CREATURES OF ROMANCE. I. His studies o’er, his next discourse Impromptu learnt by rote, The rector rose, and doff’d a coarse To don a finer coat. II. His silken hose with shining clocks Which clothed each portly calf, His shovel hat right orthodox, And golden-headed staff, III. All spoke the doctor. On he strode: Soon splash’d, he vow’d irate, The sinner who survey’d the road He’d excommunicate. IV. No! he’d indict his stubborn flock, And shear their golden fleece. Who, heeding _much_ the parish stock, _Little_ Victoria’s peace, V. Rebellious lieges! mended not The errors of their ways, (Upon their pastor’s shoes a spot Would shorten not their days!) VI. Thus he resolved; but cries invade His Reverence’s ear! Is it some damsel, who, afraid, Sees men disguised in beer? VII. Or one the milky mothers meet Emerging from the byre? Who sees a snake beneath her feet? Or waddling toad retire? VIII. Perplex’d, he hurries on the while, But soon is seen to stand Amazed: two ladies on a stile Were seated hand in hand: IX. Young were they both, and fair to view, Yet sorrow from their eyes Tears, so the doctor fancied, drew: He spoke, in grave surprise: X. “Issued those cries from ladies’ throats? And what’s the reason? say.” “How canst thou ask, when all denotes The cause? this glorious day!” XI. “Thank God,” he cried, “the day is fine, Yet why should that distress? The glass is rising; to repine Seems rude unthankfulness.” XII. “We are not understood, we see With optics not like thine, What canst thou know of poesy, A middle-aged divine? XIII. “Was ever yet a poet known To wear a white cravat? A soul did ever mortal own In a three-corner’d hat? XIV. “We could sit here and cry for hours, Or shriek with sad delight; The earth, sea, sky, sun, shade, and flowers, Are agonising quite. XV. “To weep’s enjoyment half divine: Unsavoury appears To thee, a bibber of port wine, The luxury of tears. XVI. “Farewell, farewell! we grieve for thee;” (They cast a pitying glance,) Doctor, thou hast no sympathy With Creatures of Romance.” A MATRIMONIAL DIALOGUE AND MARINE ECLOGUE. MR. ADIPOCIRE, an eminent and _reflecting_ Tallow Chandler. MRS. ADIPOCIRE, an every-day sort of Woman. TIME—_Evening. The Sea-shore._ MR. A. How harden’d is the man who has not felt His heart ’neath Nature’s influences _melt_! MRS. A. You promised all these terms of art to drop; Indeed, my dear, you savour of the shop. MR. A. ’Tis sweet to see the lazy clouds decamp, ’Tis sweet to see Night hang her silver _lamp_. MRS. A. Lamp! MR. A. And with telescope, or naked eye, To view the lesser _tapers_ of the sky. MRS. A. Tapers, for shame! MR. A. ’Tis pleasing to discern Planet from star, and know the orbs which _burn_. MRS. A. Burn! there again. MR. A. Ah! wherefore do they _blaze_? Who _lights_ the sunbeams, and the lunar rays? MRS. A. Oh! MR. A. When, as our immortal Shakespear sings, “Night’s _candles_ are burnt out,” who daylight brings? MRS. A. Ah! MR. A. He whose steady eye to his _concerns_ Forces the comets to make due _returns_. MRS. A. I’m quite worn out. MR. A. Who bounteous made the whales Common and Spermaceti? MRS. A. Odious tales! MR. A. ’Twas that First Cause which, for our nightly use, Filleth the cocoa-nuts with unctuous juice, Which bids the wether fatten to supply A light to tantalise, not satisfy: Which gives us fatty wax from bodies dead Of Lamberts damp within their “narrow bed,” Which stores the laden thighs of bees with wax, (Its lustre hence no dining-table lacks By footmen rubb’d, who burnish and blaspheme.) Wax which illumes when urns emit their steam: Wax which inspired the genius of Argand, When lamps, despised till then, at his command A radiance mild o’er dinner-tables shed, Soft’ning on cheeks the artificial red. Paling each pimply nose with chasten’d light: MRS. A. A—! you are quite incorrigible, quite; When shall I ever tutor you to feel The moral fitness of the “true genteel!” MR. A. Well, well, I’ll not offend, love, with my tongue. Oh! with what art those _lustres_ bright are _hung_! MRS. A. You keep indeed a guard upon your lips. MR. A. Observe that bird, how prettily it _dips_; Its plumage and its graceful shape behold, And see how Nature works in Beauty’s _mould_. MRS. A. I see my temper you’re disposed to try, Yet I may be lamented when I die; Speak as you please, you’re safe from my complaints, But you’re enough to vex a saint of saints. MR. A. My dear, you’re _waxing_ wroth. MRS. A. (_going_.) Provoking! MR. A. Stay, I hear our children’s voices at their play; I love to see them sporting on the rocks, MRS. A. Wetting their feet, and dirtying their frocks. My dear, come in. MR. A. My darling, I’ll stay out. MRS. A. Don’t expect me to nurse you in the gout. [_Exit._ THE PILOT IN SIGHT. I. And are you sure the news is true? And is the pilot seen? I see the waters changed in hue, Old Neptune’s deck’d in green. II. ’Tis true; I see the glistening sail Far o’er the watery space, White as a floating bridal veil Thrown off a blushing face. III. All eyes are straining for the shore, I long to climb above, And shall I touch the land once more, And hear of those I love? IV. Before this wearying glass has spent Its sand, he’ll he aboard; I’ll ask not if we’ve pitch’d the tent, Or sheath’d the bloody sword; V. If Dost Mahomed captive pine, Or if the Tartar bend, I’ll trembling ask for one dear line From some familiar friend. VI. The pilot on the deck has sprung, He’s hail’d on every side, Shame on my false, rebellious tongue! Oh! why is speech denied? THE ARRIVAL; OR, THE LAND-LUBBER’S SONG. I. The joys of the ocean let others discuss, A ship is to me a marine omnibus, Or an ark where man, beast, bird, and insect convene, And each living creature on board is unclean. II. Should slumber miraculous seal up your eyes, No chanticleer issues a summons to rise, You’ve the music of hounds, and should that fail to vex, It gives place to the sound of men swobbing the decks. III. In the stillness of night some fond fancies invade, Perchance you may dream that some fair, favour’d maid With delicate fingers is twining your hair, And you wake to find cockroaches, not fingers, there. IV. ’Tis a Babel of sounds; you’ve the lowing of cows, Sheep bleating, and squeaks of parturient sows, Geese cackling, ducks quacking, curs yelping, ne’er mute, And the wheeze of some plaintive, asthmatical flute. V. Around you what various odours arise! How blest is the man to whom nature denies The olfactory nerve, to whose nonchalant nose The stalest bilgewater is fragrant as rose! VI. To dine in the cuddy tames pleasures of sense, Proves life but a lottery; its prizes pretence, Its blanks dark realities, there ’twill be seen ’Twixt the cup and the lip what sad slips intervene. VII. You drink to a fair one: how blest her escape, Whose bosom’s not red with the juice of the grape; Each flagon may Tantalus serve for a stoup, And envious Neptune upsets your pea-soup. VIII. What pleasure to walk with a staggering gait, With dimness of sight, and confusion of pate; Like a drunkard to reel when the ship gives a lurch, And balance see-saw, like a duck forced to perch! IX. The city of palaces bursts on my sight! Its mosques and its temples I hail with delight; A palace in every building I see, For a pigsty ashore is a palace to me. THE END. LONDON: BRADBURY AND EVANS, PRINTERS, WHITEFRIARS *** END OF THE PROJECT GUTENBERG EBOOK HORÆ NAUSEÆ *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.