Hyperion

THE FULL PROJECT GUTENBERG™ LICENSE CHAPTER IX. THE LAST PANG. "Farewell to thee, Saint Gilgen!" said Flemming, as he turned on the brow of the hill, to take his last look at the lake and the village below, and felt that this was one of the few spots on the wide earth to which he could say farewell with regret. "Thy majestic hills have impressed themselves upon my soul, as a seal upon wax. The quiet beauty of thy lake shall be to me forever an image of peace and purity and stillness, and that inscription in thy little churchyard, a sentence of wisdom for my after life." Before the setting of the same sun, which then shone on that fair landscape, he was far on his way towards Munich. He had left far behind him the mountains of the Tyrol; and beheld themfor the last time in the soft evening twilight, their bases green with forest trees, and here and there, a sharp rocky spire, and a rounded summit capped with snow. There they lay, their backs, like the backs of camels; a mighty caravan, reposing at evening in its march across the desert. From Munich he passed through Augsburg and Ulm, on his way to Stuttgard. At the entrances of towns and villages, he saw large crucifixes; and on the fronts of many houses, coarse paintings and images of saints. In Gunzburg three priests in black were slowly passing down the street, and women fell on their knees to receive their blessing. There were many beggars, too, in the streets; and an old man who was making hay in a field by the road-side, when he saw the carriage approaching, threw down his rake, and came tumbling over the ditch, with his hat held out in both hands, uttering the most dismal wail. The next day, the bright yellow jackets of the postilions, and the two great tassels of their bugle-horns, dangling down their backs, like two cauliflowers, told him he was in Würtemberg; and, late in the evening, he stopped at a hotel in Stuttgard; and from his chamber-window, saw, in the bright moonlight, the old Gothic cathedral, with its narrow, lancet windows and jutting buttresses, right in front of him. Ere long he had forgotten all his cares and sorrows in sleep, and with them his hopes, and wishes, and good resolves. He was still sitting at breakfast in his chamber, the next morning, when the great bell of the cathedral opposite began to ring, and reminded him that it was Sunday. Ere long the organ answered from within, and from its golden lips breathed forth a psalm. The congregation began to assemble, and Flemming went up with them to the house of the Lord. In the body of the church he found the pews all filled or locked; they seemed to belong to families. He went up into the gallery, and looked over the psalm-book of a peasant, while the congregation sang the sublime old hymn of Martin Luther, "Our God, he is a tower of strength, A trusty shield and weapon." During the singing, a fat clergyman, clad in black, with a white surplice thrown loosely about him, came pacing along one of the aisles, from beneath the organ-loft and ascended the pulpit. After the hymn, he read a portion of Scripture, and then said; "Let us unite in silent prayer." And turning round, he knelt in the pulpit, while the congregation remained standing. For a while there was a breathless silence in the church, which to Flemming was more solemnly impressive than any audible prayer. The clergyman then arose, and began his sermon. His theme was the Reformation; and he attempted to prove how much easier it was to enter the kingdom of Heaven through the gateways of the Reformed Evangelical Dutch church, than by the aisles and penitential stair-cases of Saint Peter's. He then gave a history of the Reformation; and, when Flemming thought he was near the end, he heard him say, that he should divide his discourse into four heads. This reminded him of the sturdy old Puritan, Cotton Mather, who after preaching an hour, would coolly turn the hour-glass on the pulpit, and say; "Now, my beloved hearers, let us take another glass." He stole out into the silent, deserted street, and went to visit the veteran sculptor Dannecker. He found him in his parlour, sitting alone, with his psalm-book, and the reminiscences of a life of eighty years. As Flemming entered, he arose from the sofa, and tottered towards him; a venerable old man, of low stature, and dressed in a loose white jacket, with a face like Franklin's, his white hair flowing over his shoulders, and a pale, blue eye. "So you are from America," said he. "But you have a German name. Paul Flemming was one of our old poets. I have never been in America, and never shall go there. I am now too old. I have been in Paris and in Rome. But that was long ago. I am now eight and seventy years old." Here he took Flemming by the hand, and made him sit down by his side, on the sofa. And Flemmingfelt a mysterious awe creep over him, on touching the hand of the good old man, who sat so serenely amid the gathering shade of years, and listened to life's curfew-bell, telling, with eight and seventy solemn strokes, that the hour had come, when the fires of all earthly passion must be quenched within, and man must prepare to lie down and rest till the morning. "You see," he continued, in a melancholy tone, "my hands are cold; colder than yours. They were warmer once. I am now an old man." "Yet these are the hands," answered Flemming, "that sculptured the beauteous Ariadne and the Panther. The soul never grows old." "Nor does Nature," said the old man, pleased with this allusion to his great work, and pointing to the green trees before his window. "This pleasure I have left to me. My sight is still good. I can even distinguish objects on the side of yonder mountain. My hearing is also unimpaired. For all which, I thank God." Then, directing Flemming's attention to a fine engraving, which hung on the opposite wall of the room, he continued; "That is an engraving of Canova's Religion. I love to sit here and look at it, for hours together. It is beautiful. He made the statue for his native town, where they had no church, until he built them one. He placed the statue in it. This engraving he sent me as a present. Ah, he was a dear, good man. The name of his native town I have forgotten. My memory fails me. I cannot remember names." Fearful that he had disturbed the old man in his morning devotions, Flemming did not remain long, but took his leave with regret. There was something impressive in the scene he had witnessed;--this beautiful old age of the artist; sitting by the open window, in the bright summer morning,--the labor of life accomplished, the horizon reached, where heaven and earth meet,--thinking it was angel's music, when he heard the church-bells ring; himself too old to go. As he walked back to his chamber, he thought within himself, whether he likewise might not accomplish something, which should live after him;--might not bring something permanent out of this fast-fleeting life of man, and then sit down, like the artist, in serene old age, and fold his hands in silence. He wondered how a man felt when he grew so old, that he could no longer go to church, but must sit at home and read the bible in large print. His heart was full of indefinite longings, mingled with regrets; longings to accomplish something worthy of life; regret, that as yet he had accomplished nothing, but had felt and dreamed only. Thus the warm days in spring bring forth passion-flowers and forget-menots. It is only after mid-summer, when the days grow shorter and hotter, that fruit begins to appear. Then, the heat of the day brings forward the harvest, and after the harvest, the leaves fall, and there is a gray frost. Much meditating upon these things, Paul Flemming reached his hotel. At that moment a person clad in green came down the church-steps, and crossed the street. It was the German student, of Interlachen. Flemming started as if a green snake had suddenly crossed his path. He took refuge in his chamber. That night as he was sitting alone in his chamber, having made his preparation to depart the following morning, his attention was arrested by the sound of a female voice in the next room. A thin partition, with a door, separated it from his own. He had not before observed that the room was occupied. But, in the stillness of the night, the tones of that voice struck his ear. He listened. It was a lady, reading the prayers of the English Church. The tones were familiar; and awakened at once a thousand painfully sweet recollections. It was the voice of Mary Ashburton! His heart could not be deceived; and all its wounds began to bleed afresh, like those of a murdered man, when the murderer approaches. His first impulse was of affection only, boundless, irrepressible, delirious, as of old in the green valley of Interlachen. He waited for the voice to cease; that he might go to her, and behold her face once more. And then his pride rose up within him, and rebuked this weakness. He remembered his firm resolve; and blushed to find himself so feeble. And the voice ceased; and yet he did not go. Pride had so far gained the mastery over affection. He lay down upon his bed, like a child as he was. All about him was silence, and the silence was holy, for she was near; so near that he could almost hear the beating of her heart. He knew now for the first time how weak he was, and how strong his passion for that woman. His heart was like the altar of the Israelites of old; and, though drenched with tears, as with rain, it was kindled at once by the holy fire from heaven! Towards morning he fell asleep, exhausted with the strong excitement; and, in that hour when, sleep being "nigh unto the soul," visions are deemed prophetic, he dreamed. O blessed visionof the morning, stay! thou wert so fair! He stood again on the green sunny meadow, beneath the ruined towers; and she was by his side, with her pale, speaking countenance and holy eyes; and he kissed her fair forehead; and she turned her face towards him beaming with affection and said, "I confess it now; you are the Magician!" and pressed him in a meek embrace, that he, "might rather feel than see the swelling of her heart." And then she faded away from his arms, and her face became transfigured, and her voice like the voice of an angel in heaven;--and he awoke, and was alone! It was broad daylight; and he heard the postilion, and the stamping of horses' hoofs on the pavement at the door. At the same moment his servant came in, with coffee, and told him all was ready. He did not dare to stay. But, throwing himself into the carriage, he cast one look towards the window of the Dark Ladie, and a moment afterwards had left her forever! He had drunk thelast drop of the bitter cup, and now laid the golden goblet gently down, knowing that he should behold it no more! No more! O how majestically mournful are those words! They sound like the roar of the wind through a forest of pines! *** END OF THE PROJECT GUTENBERG EBOOK HYPERION *** 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.

Related documents

• Data to "Fine Tuning of Optical Properties by Selective Stopping of Energetic Heavy Ions#355622
• The Grey Wave#59850
• ETANCHEITE#329877
• MEDICOM#374763
• Eastern Shame Girl#36764