The Legend of Monte della Sibilla; or, Le paradis de la reine Sibille
Date: 2020-01-06T00:00:00+00:00
Keywords: English poetry -- 20th century

The Project Gutenberg eBook of The Legend of Monte della Sibilla; or, Le paradis de la reine Sibille

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: The Legend of Monte della Sibilla; or, Le paradis de la reine Sibille

Author: Clive Bell

Illustrator: Vanessa Bell

Duncan Grant

Release date: January 6, 2020 [eBook #61120]
Most recently updated: October 17, 2024

Language: English

Other information and formats: www.gutenberg.org/ebooks/61120

Credits: Produced by Laura Natal Rodrigues at Free Literature (Images
generously made available by Hathi Trust.)

*** START OF THE PROJECT GUTENBERG EBOOK THE LEGEND OF MONTE DELLA SIBILLA; OR, LE PARADIS DE LA REINE SIBILLE ***

THE LEGEND OF MONTE DELLA SIBILLA

OR "LE PARADIS DE LA REINE SIBILLE"

CLIVE BELL

PRINTED AND PUBLISHED BY

LEONARD AND VIRGINIA WOOLF

AT THE HOGARTH PRESS

HOGARTH HOUSE RICHMOND

1923

TO POLLY FLINDERS

If you will stop and take a drink
Where I did, late one afternoon
In April, you may see turn pink
A patch of snow, which very soon
Yellows to green: it seems quite near;
But is, in fact, up Norcia way
Or further: the effect's more queer
Than beautiful: and should you say
To the padrone, Gian Mannino,
"What peak is that which looks so odd?"
He'll answer, "Monte Sibillino—
But they've bunged up the hole, thank God."
Herr Hans Van Branbourg, 1310
To 1352 or so,—
(A period, it seems, when men
Not unlike us were apt to go
Five hundred miles to get a thrill
They might have had for sitting still),—
Branbourg, I say, having done the lakes
And all the sights of La Toscana,
(A jaunt which now a fortnight takes,
Less then, because one skipped Verona,
"The Tomb" not having found its owner[1]),
Came southward by the Val Chiana;
Heard of the Sybil, wouldn't wait,—no,
Not a moment, at Spoleto,
But set off promptly for the cave.
The natives told him he was brave,—
Thinking him mad. Had not a monk,
Il don Antonio Fumato,
There lost his wits, and, in a funk,
Five bold young bucks from near Fossato,
Who made the same attempt before,
At what they heard and what they saw,
(Or was that later?) quaked like jelly,
Shaming the sires of Gabrielle?
They had seen things to make saints curse,—
A gate that kept on clipping, clipping,
(Much like a storm-door only worse,)
And bound to give you such a nipping
As nips the persons, now and then,
Of thoughtless, shunting, railway-men.
They had felt strange and ghastly winds,
They had heard strange and sudden noises,
And what in Italy one finds
More rarely, gentle, whispering voices:
'Twas woman's doing—never doubt it—
A female influence ruled the air;
And what the coarser said about it
Was, that although when you got there
The place might seem an honest hovel,
Inside, they guessed, you'd find a brothel.

Indeed it was a dangerous place.
But Germans are a stubborn race,
Not to say obstinate, to boot
Are fond of ladies: Herr Van Bran
Swore that if anyone could do't
He, Hans Van Branbourg, was the man;
Pushed on to Norcia, then climbed higher,
And with him went a single squire,
Called Pons—they say an Englishman,
I hope he was, because I can
(As you I think will soon agree)
Pronounce him brave as brave can be,
Yet sensible as Sancho Panza,
Wherewith I neatly close the stanza.

The knight pushed on, the squire behind,
They cared not tuppence for the wind,
Nor for the strange and sudden noises,
Nor the discreetly whispering voices,
Nor all those signs which long ago
Did duty for a "numero".
They passed the gates of bronze. They came
To gates of crystal. Here they tapped.
A lady-porter asked their name:
Whereat the leader boldly rapped
Out that which you've already heard, viz:—
"Herr Hans Van Branbourg, at your service."
The doors flew wide, and to their eyes
Revealed the Sibyl's paradise.

What saw they? Antoine de la Sale,
Who wrote Les quinze joies and all
Les cent nouvelles nouvelles as well,
What I could not invent can tell;
Seeing he came in 1420
To hold an inquest on the spot,
And information got in plenty,—
Indeed he clambered to the grot,
But only peeped inside the cavern—
Later, however, at the tavern
He learnt the truth of what befell
Van Branbourg in the Sybil's hell.
They saw a crowd of pretty girls—
These were the Sybil's seneschals—
Who bade them change their dirty linen
And rigged them out "from the beginning"
(The text has ab initio);
Up strike the fiddles; off they go
Through pretty rooms and splendid halls
And gardens framed in sheltering walls,
The which were gay with flowers as well
As comely "dames et demoiselles".
Accompanied by knights and squires
In divers fashionable attires,
Much as our Longchamps beauties go
Surrounded by their gigolos.

Gaping they go; until they see
'La reine Sibylle', who from her throne
Welcomed the strangers graciously,
Observing she'd already known
Men of their race, which (vide Tacite)
Was honest, brave, but inficite,[2]
And only that for want of practice
In social arts and crafts. The fact is
She much admired the Teuton physique,
(I know some ladies can't abide it),
So murmured, "You're my guests for this week:
Later you'll tell me, when you've tried it,
If you'll become my pensionnaires.
I'll only add that we are here
Until the crack of doom. And then?"
Queried our cautious gentlemen.

"Then we shall see what we shall see,"
Answered the lady airily,
Fobbing them off with such old saws
As rarely fail to elicit roars
Of laughter from the House and Bar,
—As "Wait and see" and "Chi lo sa";
Then, sweetly added, "If you please,
Hear our conditions, which are these.
Who stays
Eight days
May go away the next.
On no pretext
Who stays more
May or durst
Go before
The thirty-first.
Who yet stays more
Must outstay
By one day
His fifteenth score.
Then or never:
For who stays
Further days
Stays for ever,[3]
"Further," said she, "if you will be
My guests, this Paradise of mine
Is at your service; what you see
Of fun and beauty, flowers and wine,
Is for your pleasure: also choose
Amongst my ladies who are free
(There're always plenty on the loose)
Her who most charms you. Certainly
You'll find them charming, trained to please,
To move with grace, converse with ease,
Well bred, well dressed, well read, well meant,
In all ways sweetly competent:"
Whereat squire Pons was "moult" content,
And, plucking at his master's jacket,
Said "Sir, let's stay and stand the racket."

They said they'd stay a week; but when
The week was up they stayed again;
Indeed "les plaisirs étaient tels"
Days seemed like hours in that hell:
So says La Sale, who ought to know
What pleasures seemed like years ago,
Seeing he wrote "Les quinze joies
De Mariage", but then, ma foi,
They took their pleasures[4] otherwise
Than husbands in that Paradise.

It was an abbey of Thelème,
Compounded with Arabian nights;
Where every sort of pretty game
And wit and wine and all delights
Were shared with pretty, clever girls,
Who never dreamed of being pals;
But were what girls should always be,
In manner prim, in fancy free.
Thus was there hope for everyone,
All were fastidious, none was prude,
Which means flirtation's ticklish fun
Supplanted dreary certitude.
There was the best of everything,
Of wine, of song, and all the rest,
The best to drink, to kiss, to sing,
And taste to know what is the best.
A match for every mood: to please
The thoughtful, cloisters; polished halls
For dancers; vines and olive trees
And rivers under ancient walls
Flowing, for every heart's delight,—
Were there: and there was rest by day and mirth by
night.

Music there was in every part;
And almost always you could hear
A song or septet by Mozart,
And not a note of Meyerbeer.
There story-tellers had a way
Of being neither dull nor long
But, like Voltaire or Mérimée,
Were rarely sweet and never strong.
Perrons, parterres and green pelouses
Abounded; walks of turf and sand;
And restaurants like La Pérouse;
Fiddles and horns, and no Jazz Band.
There were no bounders and no bores,
No reach-me-downs, no general stores,
No clubs, no colonels, not a hearty
Good fellow there to spoil a party,
No district-visitor or pastor,
And not a sign of Lady Astor.
There were no 'cinemas', no groups
Of shop boys, no colonial troops,
No one who hit straight from the shoulder,
And not a season-ticket holder;
There was nor creditor nor debtor,
There was not in that pleasant land
A soul who wished to make it better,
All were content to understand
Their happiness; nay, what is more,
No lady wanted for her lover
That kind of smutty, solemn bore,
Who sick with genius, must uncover
For our souls' good his nasty sore:
Believe me there did not exist
A single, small coprologist.
So simple-minded were the ladies
In that old-fashioned Sibyl's Hades.

Alas I pure joy the fates forbid.
Alas! that poet's not an ass
Who has it that an aliquid
Amari rises in the glass
Almost invariably when we
Suppose we've cheated destiny.

Van Branbourg, and his British pup too,
Observed that every Friday night,
No matter what they might be up to,
The partners of their dear delight
Slipped off at twelve, upon the stroke,
And left them puzzling out the joke,
As best they might, till Monday morning;
When back their ladies came more kind,
More sweet, than ever. But this warning
Served to unsettle Branbourg's mind.
He had a Lutheran soul. What malice,
What mischief might they be about?
He tracked them to the Sybil's palace,
And there it was he found them out.
From Friday night to Monday morning,
He found these artless, frolick gadders,
Who left their lovers without warning,
Lay with their queen, asleep like adders;
Not in a peaceful girlish doze,
But serpentlike and comatose.[5]
"Pish," said the squire, "here are no evils."
The German said, "These girls are devils."

His northern soul was deeply stirred,
He said—"My man, it's time we went,"
Which good squire Pons thought quite absurd,
And said so. "Pons, d'you know we've spent
Here," groaned his chief, "three hundred days,
Abounding in lascivious ways.
Pack up, and say 'good-bye' my man."
Thus spoke the Prussian Knight, Van Bran.

The ladies, as you may suppose,
Were navrées, marriées, quite upset.
They had to let them go because
Such was the formal bargain. Yet
They used all arts against all rules,
As Dido did. The gentlemen,
Much like Aenæas, looked like fools,
And acting now as he did then,
First sighed, then blustered, lastly went:
Such is the heroic temperament.

They went to see the Pope at Rome,
To beg his Holiness's pardon:
And though the Suisse said "Not at home",
They caught him reading in the garden:
Down furiously the book he slammed,
And bellowed "You may both be damned."

In this some hold the Pope was wrong,
And went by much beyond his brief:
But that's no matter to my song,
Nor can it give us great relief
That Lettenhove speaks of a stick
Which played the old Tannhäuser trick,
Bourgeoning into buds of pity,
After our friends had left the city.
The Pope, he adds, was quite upset,
And owned he'd spoken out of pet,
Was strangely troubled for their fate,
Sent absolution—all too late:
For which, he thinks, the Pope must go
To join his victims down below.
You may conceive the lamentation
Of our poor knight on this occasion.
He was, like others of his nation,
A damned good fellow—only flabby—
Who, on the slightest provocation,
Would fight or weep. A speech so shabby
As this, he took to heart, because
His sense of sin increased his fears;
So, on the Milvian Bridge it was
His squire found him, bathed in tears,
And gathered it was his intent
To jump from off that monument.

And here our Pons was at his best;
He turned the scene from tears to laughter,
Said "Cheer-i-o" and all the rest
The case demanded: "Since hereafter
Our lot is bound to be unpleasant,"
Said he "let's think about the present;
And, since the Pope declares us sinful,
By God, old bean, let's have a skinfull.
Seeing Old Nick is whom we're meant for
We'll wait at least until we're sent for;
I see no sort of use in hurry
Or going half-way to meet worry.
Since when we're dead we'll roast for lust
Let's put off dying till we must;
And since to roast foredoomed I am,
Why liefer for a sheep than lamb;
Before we reach the Christian hell,
There is another—you know well."
The knight deplored this shallow mood,
But let Pons lead him where he would.

"And they are gone: aye, ages long ago,"
(That is from Keats),—gone without absolution,
Or penitence; nor have we means to know
If they regret their hasty resolution.
Only La Sale, the encomiast of marriage,
(And author of a book still more surprising[6])
In 1420 coming in his carriage,
Or on his mule, here archaeologizing
In Umbria, heard this curious story:
And thinking that there might be more he,
As I have said, stopped at the tavern,
And even climbed up to the cavern,
Whereon, confirming what he'd heard,
He puzzled out this awful word—
I give it as the author gave it—
"Her Hans Wanbranbourg (sic) intravit":
I give it just as it was writ
HER HANS WANBRANBOURG
INTRAVIT.

Years later, Monsieur Gaston Paris,
That learned Frenchman, came this way.
It poured with rain. He could not tarry.
He gave the cave a single day.
He noticed that the mouth was blocked
And asked the peasants 'why', who, shocked,
Informed him how on summer nights
The Sybil and her horrid sprites
Came out and danced their hellish jigs,
And crushed the corn and scared the pigs.
On which unamiable narration
The savant made this observation—
That they were very simple fools
To put their trust in masons' tools,
Seeing that fiends, our souls' ill-wishers,
Slip slyly through the smallest fissures.
And, in effect, for all their skill,
The peasants owned, they dance there still.

O Hans Van Branbourg, I applaud
You first, remembering you're a lord;
And next the not-to-be-forgot,
Your squire and my compatriot,
Him, Pons. For since we're far from sure
If Heaven will prove a sinecure,
And seeing that it's quite uncertain
What fate awaits beyond the curtain;
Seeing you wanton down the years,
While we are in the vale of tears,
And even thus the odds are even
On waking up in Hell or Heaven,
While many hold the odds not small
Against our waking up at all;
I can't but think that you were wise
To choose the Sibyl's paradise:
I say it with a heavy heart,
I think you chose the better part.

For in man's dire perplexity,
The old and best philosophy
Holds that a woodcock in the shop is
Well worth a couple in the coppice,
And tons of may-be bliss don't measure
One ounce of certain, solid pleasure.
Whence, once in Anchiale's city
Aristobulus found this witty
Inscription cut with wise intent,
Upon an ancient monument,
ΕΣΘΙΕ ΠΙΝΕ ΠΑΙΖΕ, thus,
By good king Sardanapalus,
"Eat, drink, and—well, the rest's not worth a cuss."

And so, my friends, though your adventure
May get from others only censure,
Though curates and idealists
May call you 'rank materialists',
And pompous atheistic prigs,
'Blind-worms' and 'Hedonistic pigs';
Though other men, and wise ones too,
May hold that there is more to do
Than laugh and let the world go by
Saying "To-morrow we shall die";
Yet in a matter so obscure
Wise men may differ to be sure.
Myself, I never thought it clever
To fuss about the "grand forever",
And cultivate a soul with care for
That vast but vague hereafter; wherefore
In my opinion, you did well
To live for love, though love is hell.

[1]In my opinion it is time
To legalise the cockney rhyme.

[2]Not 'facete'? No, because in modern times
We're prouder of our Latin than our rhymes.

[3]Perhaps I ought to add a line
To say the verse is Sybilline;
It is portentously ill writ;
Scholars must make the best of it.

[4]Both Sale and Andrea Baberino say
"Le coeur ne saurait les imaginer".

[5]Sale says they "à la manière
De couleuvres et de serpents" were.

[6]From this strange book well named 'La Salade'
I draw the matter of my ballad.

*** END OF THE PROJECT GUTENBERG EBOOK THE LEGEND OF MONTE DELLA SIBILLA; OR, LE PARADIS DE LA REINE SIBILLE ***

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.

Table of Contents

- THE LEGEND OF MONTE DELLA SIBILLA OR "LE PARADIS DE LA REINE SIBILLE" CLIVE BELL

- PRINTED AND PUBLISHED BY LEONARD AND VIRGINIA WOOLF AT THE HOGARTH PRESS

- THE FULL PROJECT GUTENBERG™ LICENSE