XSLT mastering XML transformations 2nd Edition

Doug Tidwell pdf download

https://ebookfinal.com/download/xslt-mastering-xml-
transformations-2nd-edition-doug-tidwell/

Explore and download more ebooks or textbooks

at ebookfinal.com
 We believe these products will be a great fit for you. Click
the link to download now, or visit ebookfinal
to discover even more!

XML XSLT Java and JSP A Case Study in Developing a Web

Application 1st ed Edition Rockwell

https://ebookfinal.com/download/xml-xslt-java-and-jsp-a-case-study-in-
developing-a-web-application-1st-ed-edition-rockwell/

Beginning XSLT and XPath Transforming XML Documents and

Data Wrox Programmer to Programmer 1st Edition Ian
Williams
https://ebookfinal.com/download/beginning-xslt-and-xpath-transforming-
xml-documents-and-data-wrox-programmer-to-programmer-1st-edition-ian-
williams/

Mastering C 2nd Edition Venugopal

https://ebookfinal.com/download/mastering-c-2nd-edition-venugopal/

Mastering Leadership 2nd Edition Michael Williams

https://ebookfinal.com/download/mastering-leadership-2nd-edition-
michael-williams/
Mastering Linux 2nd Edition Arman Danesh

https://ebookfinal.com/download/mastering-linux-2nd-edition-arman-
danesh/

Mastering Metasploit 2nd Edition Nipun Jaswal

https://ebookfinal.com/download/mastering-metasploit-2nd-edition-
nipun-jaswal/

Special event production The resources 2nd Edition Doug

Matthews

https://ebookfinal.com/download/special-event-production-the-
resources-2nd-edition-doug-matthews/

Mastering Blender 2nd edition Edition Tony Mullen

https://ebookfinal.com/download/mastering-blender-2nd-edition-edition-
tony-mullen/

Sams Teach Yourself XML in 21 Days 2nd Edition Devan

Shepherd

https://ebookfinal.com/download/sams-teach-yourself-xml-
in-21-days-2nd-edition-devan-shepherd/
XSLT mastering XML transformations 2nd Edition Doug
Tidwell Digital Instant Download
Author(s): Doug Tidwell
ISBN(s): 9780596527211, 0596527217
Edition: 2
File Details: PDF, 6.20 MB
Year: 2008
Language: english
XSLT
 Other resources from O’Reilly
Related titles XSLT Cookbook XML Hacks
XQuery XSLT 1.0 Pocket Reference
Learning XSLT Relax NG
Java & XML Unicode Explained
Schematron XML in a Nutshell
Developing Feeds with RSS Learning XML
and Atom

oreilly.com oreilly.com is more than a complete catalog of O’Reilly books.

You'll also find links to news, events, articles, weblogs, sample
chapters, and code examples.

oreillynet.com is the essential portal for developers interested in

open and emerging technologies, including new platforms, pro-
gramming languages, and operating systems.

Conferences O’Reilly Media, Inc. brings diverse innovators together to nur-

ture the ideas that spark revolutionary industries. We specialize
in documenting the latest tools and systems, translating the in-
novator’s knowledge into useful skills for those in the trenches.
Visit conferences.oreilly.com for our upcoming events.

Safari Bookshelf (safari.oreilly.com) is the premier online refer-

ence library for programmers and IT professionals. Conduct
searches across more than 1,000 books. Subscribers can zero in
on answers to time-critical questions in a matter of seconds.
Read the books on your Bookshelf from cover to cover or sim-
ply flip to the page you need. Try it today for free.
 SECOND EDITION

XSLT
Tomcat
™

The Definitive Guide

Doug
Jason Brittain and Ian Tidwell
F. Darwin

Beijing • Cambridge • Farnham • Köln • Sebastopol • Taipei • Tokyo

XSLT, Second Edition
by Doug Tidwell

Copyright © 2008 O’Reilly Media, Inc. All rights reserved.

Printed in the United States of America.

Published by O’Reilly Media, Inc., 1005 Gravenstein Highway North, Sebastopol, CA 95472.

O’Reilly books may be purchased for educational, business, or sales promotional use. Online editions
are also available for most titles (http://safari.oreilly.com). For more information, contact our corporate/
institutional sales department: 800-998-9938 or [email protected].

Editor: Simon St.Laurent Indexer: Fred Brown

Production Editor: Sarah Schneider Cover Designer: Karen Montgomery
Proofreader: Mary Brady Interior Designer: David Futato
Illustrator: Robert Romano

Printing History:
June 2008: Second Edition.
August 2001: First Edition.

Nutshell Handbook, the Nutshell Handbook logo, and the O’Reilly logo are registered trademarks of
O’Reilly Media, Inc. XSLT, the image of a Jabiru, and related trade dress are trademarks of O’Reilly
Media, Inc.
Many of the designations uses by manufacturers and sellers to distinguish their products are claimed as
trademarks. Where those designations appear in this book, and O’Reilly Media, Inc. was aware of a
trademark claim, the designations have been printed in caps or initial caps.

While every precaution has been taken in the preparation of this book, the publisher and author assume
no responsibility for errors or omissions, or for damages resulting from the use of the information
contained herein.

ISBN: 978-0-596-52721-1

[C]

1213384691
To my family—my wonderful wife, Sheri Castle,
and our amazing daughter, Lily—for their love,
support, and understanding. Nothing I do would
be possible or meaningful without them.
...and a special thanks to our dog, Domino, who
frequently and selflessly pushed his fuzzy head
between my hands and keyboard to protect me
from carpal tunnel syndrome. Good boy!
 Table of Contents

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi

1. Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
The Design of XSLT 1
XML Basics 4
Installing XSLT Processors 20
Summary 24

2. The Obligatory Hello World Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Goals of This Chapter 25
Transforming Hello World 25
How a Stylesheet Is Processed 27
Stylesheet Structure 30
Sample Gallery 36
Summary 44

3. XPath: A Syntax for Describing Needles and Haystacks . . . . . . . . . . . . . . . . . . . . . . . . 45

The XPath Data Model 46
Location Paths 55
Attribute Value Templates 66
Datatypes 67
XPath Operators 71
[2.0] Comments in XPath Expressions 102
[2.0] Types of XSLT 2.0 Processors 104
The XPath View of an XML Document 104
Summary 112

4. Creating Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Goals of This Chapter 113
Generating Text 113
Numbering Things 118
Formatting Decimal Numbers 127

vii
 [2.0] Formatting Dates and Times 130
Using <xsl:copy> and <xsl:copy-of> 132
Dealing with Whitespace 139
Summary 144

5. Branching and Control Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Goals of This Chapter 145
Branching Elements of XSLT 145
Invoking Templates by Name 151
Parameters 152
Variables 167
Using Recursion to Do Most Anything 169
A Stylesheet That Emulates a for Loop 174
Summary 179

6. Creating Links and Cross-References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Using the XML ID, IDREF, and IDREFS Datatypes 181
XSLT’s Key Facility 194
Generating Links in Unstructured Documents 198
Summary 204

7. Sorting and Grouping Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Sorting Data with <xsl:sort> 205
[2.0] The <xsl:perform-sort> Element 215
Grouping Nodes 219
[2.0] New Grouping Syntax in XSLT 2.0 228
Summary 243

8. Combining Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

The document( ) Function 245
The document( ) Function and Sorting 254
Implementing Lookup Tables 254
Grouping Across Multiple Documents 257
[2.0] Using XSLT 2.0 to Simplify Things 260
[2.0] The doc( ) and doc-available( ) Functions 269
[2.0] The collection( ) Function 271
[2.0] The unparsed-text( ) and unparsed-text-available( ) Functions 272
Summary 275

9. Extending XSLT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

The XSLT Extension Mechanism 277
[2.0] Creating New Functions with <xsl:function> 279
Example: Generating Multiple Output Files 281

viii | Table of Contents

 Creating Custom Collations 287
Generating Hidden Word Graphics 293
Example: Generating an SVG Pie Chart 303
Writing Extensions in Other Languages 326
Using Extension Functions from the EXSLT Library 330
Accessing a Database with an Extension Element 333
Creating a Photo Album with an Extension Element 339
Summary 360

A. XSLT Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

B. XPath Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545

C. XSLT, XPath, and XQuery Function Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563

D. XML Schema Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 871

E. [2.0] Regular Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 897

F. XSLT Formatting Codes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 919

G. XSLT 2.0 Migration Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 925

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 933

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 943

Table of Contents | ix
 Preface

About This Book

The goal of this book is to help you make the most of XSLT, the Extensible Stylesheet
Language for Transformations. It covers both XSLT 1.0 and XSLT 2.0, along with
versions 1.0 and 2.0 of XPath, the XML Path Language. The two languages are designed
to work together: XPath identifies the parts of an XML document that should be trans-
formed, and XSLT says how the transformation should be done.
The first few chapters of the book cover the features of XSLT by solving common
problems using the language. Once you’ve mastered those techniques, the last section
of the book contains a complete set of examples for all the features of XSLT and XPath.
The book is designed as a tutorial for learning the language as you’re getting started.
Once you’re comfortable with XSLT, the book can be used as a dictionary-style refer-
ence for the features and functions of the language.

Where I’m Coming From

Before we begin, it’s only fair that I tell you my biases.

I Believe in Open, Platform-Neutral, Standards-Based Computing

If any part of your business life ties you down to anything closed, proprietary, or
platform-specific, I encourage you to make some changes. This book shows you how
to take charge of your data and move it from one place to another on your terms, and
not your software vendor’s. XML is shifting the balance of power from vendors to
software users. If your tools force you to work in unnatural ways or refuse to let you
have your data when and where you want it, you don’t have to take it anymore.

I Assume You’re Busy

The best review I received for the first edition of this book began, “I will never read this
book.” This was actually a positive review, as the reviewer went on to explain. “When

xi
I have a problem, I grab this book off the shelf, go to the index, and within five minutes
I’ve found the answer to my problem. Then I toss it back on the shelf.”
That’s exactly the kind of book I’ve tried to write. There are hundreds of stylesheets in
this book, including examples for every XSLT element, function, and operator defined
by XSLT and XPath. The first chapters of the book are prose that explain how style-
sheets work and what you need to learn to be productive with XSLT. Once you’re
comfortable with that material, you can use the rest of the book as a dictionary-style
reference.

I Don’t Care Which Standards-Compliant Tools You Use

My job as an author and a teacher is to show you how to use standards-compliant tools
to simplify your life. I’m not here to sell you a parser, an XSLT processor, a toaster, or
anything else, so please use whatever tools you like. I encourage you to take a look at
all of the tools out there and find your own preferences. As I wrote this edition of the
book, I used four processors to test the examples:
• Almost all of the examples were tested with Michael Kay’s excellent Saxon XSLT
processor. The open source edition of Saxon supports all of the XSLT 2.0, XPath
2.0 and XQuery 1.0 specs except for the schema-specific functions. As the editor
of the XSLT 2.0 specification, Dr. Kay’s processor is currently the most complete
implementation of XSLT 2.0.
Saxon-B (the basic processor without schema support) is available here: http://
saxon.sourceforge.net/. The SourceForge project page is at http://sourceforge.net/
projects/saxon. Saxon is available in Java and .NET versions.
There is also a commercial version of Saxon that includes full schema support. For
more information on Saxon-SA, which is the schema-aware version, visit http://
www.saxonica.com/.
• The XSLT engine from Altova XML Spy was also used for all of the XSLT 2.0
examples. The Altova XSLT engine, although not open source, does provide com-
plete schema support in a no-cost product. The license for the Altova engine cur-
rently allows you to redistribute it with your own code. To get the engine and the
license terms, visit http://www.altova.com/altovaxml.html.
• Apache’s Xalan XSLT engine supports almost all of the XSLT 1.0 examples in the
book. (The XSLT 1.0 stylesheets that it doesn’t support are ones that use extensions
written for other processors.) It’s also a forwards-compatible XSLT processor, so
it can work with XSLT 2.0 stylesheets.
The Java version of the processor, Xalan-J, is available at http://xml.apache.org/
xalan-j/. There’s also a C++ version at http://xml.apache.org/xalan-c/.
• Microsoft’s .NET framework supports XSLT 1.0, as does the MSXSL utility. One
significant addition to this edition is more focus on the Microsoft platform. In

xii | Preface
 addition to testing all of the XSLT 1.0 samples with the Microsoft tools, there are
also XSLT extensions written in C# and EcmaScript.
The MSXSL XSLT processor is available from the Microsoft XML downloads page,
http://msdn.microsoft.com/XML/XMLDownloads/default.aspx. There is also an
XSLT processor embedded in the .NET framework; it’s part of the
System.Xml.Xsl namespace.

XSLT Is a Tool, Not a Religion

An old adage says that to a person with a hammer, everything looks like a nail. I don’t
claim that XSLT is the solution to every business problem you’ll encounter. Chap-
ter 1 discusses reasons why XML and XSLT were created and the design decisions
behind XSLT, and it tries to identify the kinds of problems XSLT is designed to solve.
All chapters in this book illustrate common scenarios in which XSLT is extremely
powerful and useful.
That being said, if a particular tool does something better than XSLT does, then by all
means, use that other tool. For example, XSLT has functions for sorting and grouping.
If the data you’re transforming comes from a relational database, it’s probably far more
efficient to use the ORDER BY and GROUP BY features of your database instead of sorting
and grouping with XSLT. XSLT is a powerful addition to your tool box, but that doesn’t
mean you should throw out all your other tools.

You Shouldn’t Migrate All of Your Stylesheets Just Because There’s a New
Version of XSLT
Anytime a new version of a language, standard, or software package comes along, de-
ciding when or if to migrate to the new features depends on your application. If you’ve
built a web application in which you use a web browser to process XSLT stylesheets
on the client side, you can’t migrate to XSLT 2.0 until all the major browsers support
XSLT 2.0. That’s going to be a while. On the other hand, if you use XSLT to transform
your data and then send the transformed data to the client, you can use XSLT 2.0 right
away. With very few exceptions, anything that worked in XSLT 1.0 works in XSLT 2.0.
We cover migration in Appendix G.
XSLT 2.0 and XPath 2.0 have many new features that make your stylesheets easier to
write, easier to maintain, and much more powerful. It’s definitely worth your time to
investigate the new features to see how many of them you can use.

How This Book Is Organized

XSLT 2.0 has added significant new features to the language, many of which are related
to the changes in XPath 2.0. The biggest challenge I had as an author was figuring out
how to organize the book. One approach would have been to make this an XSLT 2.0

Preface | xiii
book, writing under the assumption that everyone would migrate to XSLT 2.0 as soon
as possible. I don’t believe that will happen, so I didn’t go that way. Instead, I tried to
cover everything in terms of common tasks, things you’ll probably have to do with
XSLT. If there are new features in XSLT 2.0 that apply to those tasks, I mention them
after explaining the concepts behind the stylesheets. Usually XSLT 2.0 makes your life
much easier, so I begin the discussion by pointing out that if you’re using XSLT 2.0,
you’ve got a simpler option.
As with the first edition, this book has two parts: a series of prose chapters that cover
concepts and tasks, followed by a series of appendixes that form a reference to all of
the elements, functions, operators, and other details you’ll need as you write style-
sheets. Once you’re comfortable with XSLT, you can use the appendixes as a dictionary
of all things related to XSLT and XPath.
The book contains the following chapters:
Chapter 1, Getting Started
Covers the basics of XML and discusses how to install the stylesheet engines used
in this book.
Chapter 2, The Obligatory Hello World Example
Takes a look at an XML-tagged “Hello World” document, then examines style-
sheets that transform it into other things.
Chapter 3, XPath: A Syntax for Describing Needles and Haystacks
Covers the basics of XPath, the language used to describe parts of an XML
document. This chapter includes an in-depth discussion of the many changes
introduced in XPath 2.0.
Chapter 4, Creating Output
Discusses the basics of creating output, including extracting text, copying infor-
mation, and numbering things.
Chapter 5, Branching and Control Elements
Discusses the logic elements of XSLT (<xsl:if> and <xsl:choose>) and how they
work. Also covers the new if operator in XPath 2.0.
Chapter 6, Creating Links and Cross-References
Covers the different ways to build links between elements in XML documents.
Using XPath to describe relationships between related elements is also covered.
Chapter 7, Sorting and Grouping Elements
Goes over the <xsl:sort> element and discusses various ways to sort elements in
an XML document. It also talks about how to do grouping with various XSLT
elements and functions. Grouping is much simpler in XSLT 2.0; the new grouping
features are covered in this chapter as well.

xiv | Preface
Chapter 8, Combining Documents
Discusses the document( ) function, which allows you to combine several XML
documents, then write a stylesheet that works against the collection of documents.
Related functions from XSLT 2.0 are also featured.
Chapter 9, Extending XSLT
Explains how to write extension elements and extension functions. Although XSLT
and XPath are extremely powerful and flexible, there are still times when you need
to do something that isn’t provided by the language itself.
The last section of the book contains reference information:
Appendix A
An alphabetical listing of all the elements defined by XSLT, with examples for those
elements and how they were designed to be used.
Appendix B
A listing of various aspects of XPath, including datatypes, axes, node types, and
operators.
Appendix C
An alphabetical listing of all the functions defined by XPath and XSLT.
Appendix D
Provides a brief overview of XML Schema. One of the additions to XSLT 2.0 is the
ability to use XML Schemas to define datatypes and validate XML structures
against them.
Appendix E
Covers the syntax and features of the regular expression language used by XPath
2.0 and XSLT 2.0.
Appendix F
Provides a handy listing of all the formatting codes used in XSLT and XPath.
Appendix G
Lists a number of considerations and approaches for migrating to XSLT 2.0.
Glossary
A glossary of terms used in XSLT, XPath, and XML in general.

Conventions Used in This Book

Items appearing in this book are sometimes given a special appearance to set them apart
from the regular text. Here’s how they look:
Italic
Used for citations of books and articles, commands, email addresses, introduction
of terms, and URLs

Preface | xv
Constant width
Used for literals, constant values, code listings, and XML markup
Constant-width bold
Used to indicate user input
Constant-width italic
Used for replaceable parameter and variable names

This icon represents a tip, suggestion, or general note.

This icon represents a warning or caution.

[1.0]
This text represents information that applies only to XSLT 1.0 and XPath 1.0.
[2.0]
This text represents information that is new in XSLT 2.0 and XPath 2.0.
[2.0 – Schema]
This text represents information that applies to schema-aware XSLT 2.0
processors.

How to Contact Us
We have tested and verified the information in this book to the best of our ability, but
you may find that features have changed (or even that we have made mistakes!). Please
let us know about any errors you find, as well as your suggestions for future editions,
by writing to:
O’Reilly Media, Inc.
1005 Gravenstein Highway North
Sebastopol, CA 95472
800-998-9938 (in the United States or Canada)
707-829-0515 (international or local)
707-829-0104 (fax)
To ask technical questions or comment on the book, send email to:
[email protected]
The web site for this book lists examples, errata, and plans for future editions. You can
access this page at:

xvi | Preface
 http://www.oreilly.com/catalog/9780596527211
For more information about our books, conferences, software, resource centers, and
the O’Reilly Network, see our web site:
http://www.oreilly.com

Safari® Enabled
When you see a Safari® Enabled icon on the cover of your favorite tech-
nology book, that means the book is available online through the O’Reilly
Network Safari Bookshelf.
Safari offers a solution that’s better than e-books. It’s a virtual library that lets you easily
search thousands of top tech books, cut and paste code samples, download chapters,
and find quick answers when you need the most accurate, current information. Try it
for free at http://safari.oreilly.com.

Acknowledgments for the Second Edition

I want to thank Jeni Tennison for being the lead reviewer of this edition. Her ability to
see through to the essence of a problem and point out the simplest and most elegant
way to solve it is astounding. I have blisters from smacking my forehead as I read her
review comments, thinking at the time, “Of course! I should have seen that right away.”
Jeni, thank you.
I also benefited from Patricia Walmsley’s excellent review, especially in the appendixes
that cover all the elements and functions in XSLT, XPath, and XQuery. The examples
and terminology in those sections are far more useful and correct as a result.
A big thanks to Michael Kay for providing a copy of Saxon-SA to test the schema ex-
amples in the book. The entire XSLT community owes him an enormous debt for
making the XSLT 2.0 spec robust, readable, and complete, and for writing the Saxon
XSLT engine.
This book was written entirely in DocBook, a very powerful XML vocabulary for pub-
lishing. Two books have been invaluable as I’ve worked with DocBook. The first is
O’Reilly’s DocBook: The Definitive Guide, written by Norm Walsh and Leonard
Mueller (available online at http://www.oreilly.com/catalog/docbook/chapter/book/doc
book.html). If you want to know anything about DocBook, this is the place to look.
The open source community also maintains an extremely sophisticated set of XSLT
stylesheets that transform DocBook into a variety of other formats. For help in using
the DocBook XSL, Bob Stayton’s DocBook XSL: The Complete Guide (Sagehill Enter-
prises; available online at http://sagehill.net/book-description.html) was invaluable.
Thanks to all three of these great authors.

Preface | xvii
I also want to thank the people I’ve worked with over the last few years. The IBM
developerWorks team is still a great influence on me. I’ll always think of myself as part
of the developerWorks family. During my time with IBM’s Developer Skills organiza-
tion, I had the great pleasure of working with an incredibly talented team. That group
is paid to give away as much knowledge as possible, along with free software to pro-
fessors and students around the world. Finally, I want to thank the members of my
current team in IBM’s Software Group Strategy organization. I’m very happy to be
working again for Dirk Nicol, the father of developerWorks.
I will resist the temptation to name names here in fear of forgetting someone. I hope
all of you know how much you mean to me, and how much I’ve learned from all of you.
Finally, I want to thank Simon St.Laurent for his guidance on the second edition. Both
of us were nervous about figuring out how to add XSLT 2.0 and XPath 2.0 to this book
without creating a 5,000 page tome. Unfortunately, I also relied on Simon’s patience
as portions of the book took far longer than either of us had hoped. Simon, you’re the
best.

Acknowledgments from the First Edition

First and foremost, I’d like to thank the reviewers of this book. David Marston of Lotus
was the lead reviewer; David, thank you so much for your comments, wisdom, and
knowledge. Along the way, I also got a lot of good feedback and encouragement from
Tony Colle, Slavko Malesvic, Dr. Joe Molitoris, Shane O’Donnell, Andy Piper, Sree-
nivas Ramarao, Mike Riley, and Willie Wheeler. This book is significantly better be-
cause of your comments and other efforts.
I’d also like to thank my teammates at developerWorks for encouraging me to under-
take this project. Taking on an additional full-time job hasn’t been easy, but their ad-
vice, flexibility, and understanding as I’ve tried to balance my responsibilities has been
invaluable. Even more valuable is the fact that I’m surrounded by some of the most
interesting, creative, and remarkable people I’ve ever known. You guys rule.
For the times I’ve been at home (in Raleigh, North Carolina), I’ve depended on my
nutritional advisors at Schiano’s Pizza: “Hey, you want your usual?” (Slight pause.)
“Yeah, that’d be great, thanks.” Nothing’s as comforting as a couple of slices. If you’re
within a day’s drive of Raleigh, I strongly encourage you to visit.
Finally, I’d like to thank the staff at O’Reilly, especially Laurie Petrycki and Simon
St.Laurent. Laurie, thank you for convincing me to take on this project and for sticking
with me when my ability to find the time to write was in doubt. Simon, I’ve enjoyed
reading your books for years; it’s been an honor to work with you. Your guidance,
technical insight, patience, and suggestions were invaluable.
Thanks so much to all of you!

xviii | Preface
Discovering Diverse Content Through
Random Scribd Documents
mystical message; and some time afterwards, leaving school, he
became a landscape-painter.
With a man like Mr. Watts the world of desire would have burst
differently. He was the greatest figure-painter England has ever
produced. With the exception of Blake, who hardly counts, I may say
he was the one painter who worked in the grand manner and on
great subjects. Years ago, by a happy accident, I met him in my
studio. I remember his handsome face and a certain air, as it
seemed to me, of imperious detachment; in his voice also there was
a touch of austerity. He looked at my pictures without a word, till I
asked him for his opinion. It then came clear, frank, and to the point.
I did not tell him what, nevertheless, was the fact—that, though I
had never seen him before, I had been his diligent pupil for years,
and that from him first I learned the true meaning of painting, and
why I, or indeed anyone else, had been induced to take up the craft.
All his days Watts was a hermit and a recluse; had he loved life
and enjoyed it, he would have lived in it and painted it, as Hogarth
lived and painted; yet he loved his fellow-man, and sought
unweariedly whatever made for his happiness: indeed it might be
said that he painted because he loved his fellow-man. With such a
man the world of desire must have burst in some scene that excited
his indignation or his pity, or his moral admiration and love, and from
that moment he would become a dreamer who incessantly re-builds
life, according to the dictates of a kindled imagination; for since the
eye finds what it looks for, the world of desire becomes in the self-
same moment the world of creation; the desiring eye is the creating
eye: the world itself is neither beautiful nor ugly; it is a formless vast
out of which we create, according to our desires, new worlds; the
madman and the poet look out on the same scene, but where the
one finds ugliness the other finds beauty; and the world Watts
looked out on was the world of men when they suffer or when they
strive together in serious purpose.
In speaking about Watts, I would begin with his portraits. As
regards these, there is no controversy; some people harden their
hearts against his pictures, but no one denies his portraits. Now it
seems to me that the genius of portrait-painting is largely a genius
for friendship; at any rate, I am quite sure that the best portraits will
be painted where the relation of the sitter and the painter is one of
friendship; and it considerably helps my argument to know that in
Watts’ case he mostly painted people whom he had himself invited
to sit.
The technique of portrait-painting is mainly a technique of
interpretation; to get the colour, to model the face adequately, this
to the practised hand is comparatively easy; to so paint that people
should, perforce, see the particular curve, the particular shadow, and
the particular shape of brow or eye that interest the painter; here is
the true difficulty, here the true enjoyment and exquisite triumph of
the painter.
In his early portraits there is little attempt at this interpretation.
There is, indeed, the charm of atmosphere never absent from Watts’
work at any time, and there is a very obvious decorative purpose;
but these early portraits do not grip the attention as the later
portraits do, because the technique of interpretation is lacking.
I have heard people say they liked his male portraits better than
his portraits of women, but I cannot share this preference; each in
its degree is perfect. Watts will paint a young lady in fashionable
evening attire—surely the most modern and up-to-date arrangement
possible—and he will so paint her, so gild her with the heavenly
alchemy of his art, that she shall appear like a Venetian beauty
gazing at us from the page of history.
Indeed, over all his portraits, whether of men or women, he
spreads a sort of dim religious light; so that while painted with Dutch
realism, they yet seem to come to us out of the mists of memory
and romance.
Before speaking of his pictures of imagination, I will discuss a little
the whole purpose of art and artists.
 The moralist says: I teach morality, without which society would
not hold together.
The trader says: I teach trade, without which there would be no
wealth, and life would not be worth living.
The religious teacher: I teach religion, without which people would
forget that there was another world or a judgment to come.
And the scientist says: I teach truth, which is the basis of
everything.
What can the artist say for himself in presence of this congress of
teachers, before whom we stand silent with hats off in age-long
reverence?
First, what is his record?
He works only to please himself, and regards it as the most
egregious folly—indeed, a kind of wickedness—to try and please
anybody else; he admires wrong as often as right; at one time he
occupies himself with the things of the spirit, and again he turns just
as eagerly to the things of sense; without conscience and without
scruple he flatters in turn every passion and every instinct, good or
bad; he will make the unhappy more unhappy, and the wicked he
will make worse; he inculcates no lessons, and preaches no dogma;
yet often the noble will become nobler for his companionship.
He is to be found in every community; among the sinners he is a
sort of father confessor, whose absolution is light, so that you may
confess all your sins to him, and you may still go on sinning; he will
laugh at the faces of the good, finding them guilty of self-
complacency, of formalism, of insincerity, of prudence, of cowardice,
of half-heartedness; indeed he is often much more respectful to
sinners than he is to good people of the earth; and withal is it not
from the hands of the painter and the poet that, as in some royal
caprice, the hero receives his crown?
This strange creature with the dubious record; what use is he in
the scheme of things? He seems to stand outside the whole circle of
the utilities.
Why there is morality, why there is commerce, and why there is
science, and why there is religion; these questions are easy to
answer. But why there are painters, and sculptors, and poets, and
musicians, is another mystery; it is as if you asked me why there are
billions of suns rolling through illimitable space.
Among these august teachers the mere artist stands like another
Lucifer among the angels. And yet all these teachers, high and
mighty though they be, pay to the artist continual court, and would
fain make him one of themselves: would indeed rescue him as a
very wanton from his bad surroundings, and persuade him to live
with them always; and this partly because human nature is strong
within them, and they love the craft we practise, and partly because
they recognize that where men are gathered together the artist—
that is, the poet, the painter, the musician, and the sculptor—wields,
for good or evil, the mightiest power on earth. Where is the
theologian that the poet does not help? Where is the moralist? At
the present moment, here in this exhibition, it seems to me that, in
their astute way, the theologian, the moralist, and even the
metaphysician, all think that they have patched up an admirable
working arrangement with one of the greatest of our artists.
The titles “Love and Death,” “Time, Death, and Judgment,” “The
Temptation of Eve,” “The Penitence of Eve,” “The Contrition of Cain,”
etc., do perhaps explain the facts that in Scotland Presbyterian
ministers crowded the Watts’ Gallery; and also that here in Dublin,
for the first time in the history of our animated city, a splendid
collection of pictures has been shown, and the voice of detraction
and malignant criticism remains silent.
Well! do these pictures teach anything? Has Mr. Watts been
captured? Is he a theologian or a moralist, or a metaphysician? Or is
he merely a highly-gifted man, working out his salvation by way of
art?
 Take his two pictures of Eve. In all this collection there are none
more poetical.
In the first of these, “The Temptation,” what have we? A woman in
the fulness of her magnificent animalism, and we have this
animalism in the moment of its highest provocation. She seems to
curl herself and to quiver with delight as she listens to the whispers
of the subtle serpent; how voluptuously she leans over to the
tempter, her body elastic with health and vitality. It is womanhood; it
is splendid animalism, as yet untouched by conscience or doubt, and
unchilled by the thoughts of death; all about her summer flowers
and rich perfumes. At her feet a leopard rolls, itself a faint echo or
reverberation of her vast personality.
It is the merest sophistry to call this moral teaching; it celebrates
the deliciousness of temptation as Pindar, the ancient poet,
celebrates the wine-cup. In both these pictures Watts celebrates the
beauty of the nude and the beauty of the flesh. Leighton would have
painted Eve grand and statuesque—a figure out of the penumbra of
that decorative world where nothing is quite real. But this woman,
colossal and demi-god though she be, is as real as one of his
portraits—that of J. S. Mill, for instance, or the Earl of Ripon. She is
so real, that you feel almost that you could touch her golden flesh,
and hear her cries and murmurs of delight; while the other Eve is so
realistically painted that it might be said she weeps audibly.
Next take his picture of Paolo and Francesca. Of all pictures in this
gallery it is the most complete, possibly because his friends liked it,
and gave him the encouragement all artists need. It is at once
beautifully imaginative and a piece of charming decoration. But
these poor guilty lovers, these wrecks of humanity, these fragments
of tenuity, afloat on the winds like dead leaves, like lightest
gossamer, teach no moral lesson. This picture illustrates afresh the
sad fate of true lovers, and makes their punishment tender and
beautiful. I should like to have had John Knox’s opinion of this
picture. There was a certain grimness, a certain severity in the
painter. A meeting between these two champions would have been
interesting.
Yet we are so hemmed about with difficulty, and so bewildered by
a multitude of counsellors, and have got so much into the pestilent
habit of seeking guidance everywhere, that one must needs find a
moral even in the bosom of a rose.
Therefore—although it be quite unnecessary to the true
appreciation of art—I will, reluctantly as it were, entirely on my own
responsibility, pluck some moral guidance from imaginative art.
If morality frames for our guidance rules of conduct which, if we
do not obey, we are to be punished—if it bids us shun temptation
and remove temptation from our path and from the paths of all the
world—Art, on the contrary, seems to say, with all its strength and
with all its voices: “Seek temptation; run to meet it; we are here to
be tempted.” Art does not say—“Be happy, or be miserable, or be
wise, or be prudent”; but it says—“Live, have it out with fortune,
don’t spare yourself, be no laggard or coward, have no fear.” And
this also is part of the message: “Abide where Watts lived, and
where the true artist always lived—on the high table-lands, in the
unshaded sunshine of intellectual happiness—never descending into
the valleys, where hang, mist-like, the languors and lethargies, the
low miseries, sensualities, and adulteries which afflict human nature
when it is defeated, discouraged, disintegrated.”
At the end of this room there is a large picture enormously
impressive—“Time, Death and Judgment.” To be impressive is itself a
great artistic merit; yet I do not think this a great picture; there is,
indeed, a fine arrangement of colour, and mass, and line, yet behind
it all there is no energy of conviction.
Time moves forward, a striding figure, carrying a scythe; beside
him walks Death, his wife, a weary woman, tenderly gathering into
her lap the flowers of life; above these two figures is Judgment.
These figures are vague and conventional as regards any meaning or
intention they might convey. If this picture has any meaning, it is as
if Watts had said to himself: “I am a figure-painter and will, by my
craft of figure-painting, translate into a picture the kind of pleasing
terror which is excited by watching a fine sunset or listening to an
oratorio.” This is not art, as Michael Angelo gave it. Blake said a
picture should be like a lawyer presenting a writ.
“Love and Death” seems much finer—it grips the attention at
once. Before the other picture we stand idly pensive; but here we
want to get at the root of the matter—to grope our way into the
very heart of the picture. There is the naked figure of Love,
wavering, falling backwards; and then Death, this huge bulk;
draped, and hooded, and horrid. Is it man? Is it woman? and its face
is hidden; and is this because it was in the thought of the painter
that no one has ever seen the face of Death except the piteous
dead, who carry their knowledge into the grave?
As regards a famous picture not in this collection—the picture
called “Hope”—I would say that pleasing though it be, it owes its
success mainly to its faults; and that people like it because no one
can say exactly what it means. A man who really lived by hope—a
Krapotkin or a William Morris—would find its vagueness utterly
displeasing.
England likes her artists to preserve a soft, indefinite touch,
because in her world of action and practical effort ideas must not be
pushed too far, and compromise rules. Art, on the contrary, does not
like half thoughts—she will have a positive yea or nay. If thought is
not pursued to its furthest bourne and limit, the picture lacks energy,
and is without effect. In Art, as in everything else, energy is the true
solvent.
In my mind, pictures of this kind are meant to hang in the rooms
of the idle rich—because intended for people who wish, without
effort, to indulge themselves—and see all things past, present, and
to come, rosily and smilingly, however falsely. There are artists,
poets, and painters—and in this case Watts is among them—who
seem to keep in stock a sort of pharmacopœia of drugs and opiates
and soothing mixtures to be served out as required. Michael Angelo
owed his terribleness, his black melancholy, to the fact that in his
pride he would not accept any soothing mixtures; he faced all the
facts of life.
Now, let me say a word in reply to those who are so ready to
point out defects in Watts’ technique. To find fault is easy—is at all
times easy. In this vivacious city it is a special accomplishment,
where, indeed, everyone has learned logic, but no one has learned
enthusiasm, and few care for the ideal or for poetry.
In answer to these people I would enter a plea of confession and
avoidance.
Granted all they say about these faults, I would ask, in all the roll
of English painters, is there one who would have given us that
magnificent Eve of the Temptation? How royally she leans forward as
she stoops to her fate: what swing and what pose in her movement.
In the strain, in the ecstacy of her sinning, every nerve and every
muscle seems to tremble. Not Millais, nor Leighton, nor Alma
Tadema—far more accomplished artists than Watts—could have
done it; nor Reynolds, nor Gainsborough, nor Vandyke. None of
these men had the technique to do what Watts has here done. Watts
triumphs by his technique.
But it has not been always so in Watts’ work. When not roused to
great exertion by his theme, he fell away into carelessness and into
haste. You see, this man who lived so long a life had such a teeming
mind that his hands could not work fast enough.
And here let me allude for a moment to Watts the man. All
accounts that have reached us represent him as singularly humble
and modest. It was so with Michael Angelo, and it is so with all men
who work among great ideas. When The Last Judgment was
finished, and all Italy burst into praise, and princes, cardinals, and
poets, vied with each other in presenting homage, Michael Angelo
waved them off with scorn. “If,” he said, “I carried Paradise in my
bosom, these words would be too much”; and he wrote in reply to
one of them: “I am merely a poor man, working in the Art God has
given me, and trying to lengthen out my life.” When an artist or poet
gives himself airs, puts on side, as we say, it is because, like Lord
Byron, he is working away from great ideas, and because in all
simplicity and good faith he finds nothing which asks his reverence,
nothing greater than his own fortunes and his own sensations. Art
for Art’s sake is for those who hate life, as many poets do, or who
hate ideas, as again many poets do. The great artist is also a man
like unto ourselves, and great personality is the material out of
which is woven all his Art.
Now, let me offer most respectfully a startling opinion. I think that
as a religious painter Watts failed; and that he failed because he was
bound to fail.
The spiritual world is as much with us as it was with the people of
the fifteenth and sixteenth centuries; but we seek to explore its
recesses, by tabulated observation, by sequences of thought, by
scientific guesses, and carefully planned experiments: things not to
be expressed in pictorial or plastic forms, even though Michael
Angelo has said everything might be expressed as sculpture.
Is it that Nature never repeats herself? She has produced her
religious painter; his day is over; and Watts was trying to do what
was impossible.
In those far-off days people believed—and actually, with the most
vivid realisation, believed—at one and the same time in angels,
archangels, and saints, and gods, and goddesses, and prophets, and
sybils, and fiends of the under-world, and all the machinery of the
supernatural, including angels, such as that which Watts has painted
in the picture “Love and Life”; and the painter who painted those
images worked under the exacting criticism of an alert and
expectant people. Now, in place of these beautiful or terrible
personages, we have substituted the forces of nature.
Examine his picture called “Love and Life.” It is a vast subject. The
whole mind of the civilized world is groping a way among its
problems. But this picture is wholly inadequate. Life is represented
as a feeble mendicant sort of creature, blindly stumbling up rocky
stairs. This is a poor image of life. Milton would have scorned it.
Watts should have remembered his own “Eve.” And “Love” is
represented as a strong angel. It is precisely because Love is not a
strong angel that all the trouble is upon us. If his picture of “Hope”
should be placed in a lady’s boudoir, this picture should hang in the
cabinets of those who think life is to be saved merely by the clasping
of hands and turning eyes heavenward.
In “Eve’s Repentance” there is a cold light bursting through the
blue clouds, and shining over the back and shoulders. We have here
the old Venetian harmony of blue and yellow and white; and
because of it, in some subtle way, we have an enhanced sense of
the warmth of the palpitating, naked flesh. But, bless you! this is not
all. By this light breaking through the clouds, Watts symbolizes that
there is redemption for sinners. And who is interested? Compare this
symbolism with that in Michael Angelo’s picture, where the just-
created and half-awakened Adam raises his arm in superb languor to
receive Divine knowledge by the touching of God’s forefinger. I do
not here include the picture “Love and Death,” because it does not
seem to me in any sense a religious picture. It suggests no dogma
nor mystical theory, nor is there any kind of sentiment. The artist, by
his labour, has placed before us in monumental effectiveness certain
facts now and always with us. It is a great picture, but it is not a
religious picture.
Watts is a portrait-painter beyond all praise; he is singular among
all painters for the interest he imparts to his subject. Before most
portraits people stand and say, “What dull things portraits are! why
are they ever exhibited?” or perhaps they say, “What a clever
painter! but what an ugly man to paint!” In presence of a Watts we
are interested in a face; we feel liking or aversion, or a tantalizing
curiosity.
In Watts’ portraits craftsmanship attains its perfection, because
here he worked in an atmosphere of exacting criticism; everyone
understands a portrait, and the stupidest is interested when it is his
own portrait.
When Watts painted his imaginative work, it was done in an
atmosphere of polite indifference. It is a strange paradox that Watts
lived surrounded by the most distinguished and intellectual society of
his time, and yet he worked in solitude. When he went wrong, there
was no one to tell him; and when he was right, equally there was no
response. They were interested in the artist, but not in his art. This
lofty-minded recluse, who laboured by his painting to give the world
great thoughts, impressed these cultivated worldlings: they were
interested in the man, but neither in his thoughts nor in his pictures.
At a private view in the Grosvenor Gallery a friend of mine overheard
Watts saying to a lady: “Everyone is interested in my velvet coat, but
no one asks me about my pictures.”
It was not so in ancient Italy. When Michael Angelo, at the
imperious command of the impetuous Pope Julius, uncovered half
his work on the ceiling of the Sistine Chapel, he stood to receive the
judgment of a people who were superstitious, ignorant men of
violence, men of war, homicidal, but each one of them impassioned
for Art.
“Italy,” said the Spanish painter to Michael Angelo, “produces the
best Art, because Italians hate mediocrity.” We are clay in the hands
of the potter. We may affect to be proud and solitary as Lucifer, but
in vain; the artist gives that he may receive; to seek sympathy and
desire companionship is as instinctive as hunger and thirst. To the
true artist exacting criticism is comforting as mother’s love; and,
wanting this exacting criticism, Watts fell away into slackness of
work and of thought.
We can only say that had he lived in Dublin his fate would have
been worse. Indifference, however polite and respectful, is bad: but
destructive criticism kills.
There was once a small but mighty nation, now numerous as the
sands of the seashore, and no longer so interesting. To this nation
was born a poet, and they made him the poet of all time. They took
him and taught him all they knew—and they had great things to
teach; and when, at their command, he made great dramas, they
stood at his elbow; and everything they gave him he gave back to
them tenfold.
England was then Shakespeare’s land.
The poet is always amongst us: the difficulty is how to find him;
he is like the proverbial needle in a bundle of hay.
But one thing is certain—logicians without love will not find him;
they leave a desolation, and call it peace—nay, they call it culture.
Critics of this sort will allow nothing to exist except themselves. No; I
am wrong. There is one thing they admire more even than
themselves—the fait accompli, a mundane success. Had Watts been
born in Dublin, he would have read for the “Indian Civil,” and
perhaps—passed.
J. B. Yeats, r.h.a.
1907.
 FOOTNOTE:

[1] A report of a lecture delivered in the spring of 1907 at the

Hibernian Academy, Dublin.
 Printed by The
Educational Company
of Ireland Limited
at The Talbot Press
Dublin
 A Selection from the Publications
of THE TALBOT PRESS, Ltd.
The Talbot Literary Studies.

APPRECIATIONS AND DEPRECIATIONS. Irish Literary Studies.

By Ernest A. Boyd. Imperial 16mo.; cloth bound. 4s. 6d. net.
“Mr. Boyd has applied himself not merely with painstaking diligence to the
consideration of his subjects, but has joined to the honesty of the craftsman an
alert and critical insight, and an uprightness of judgment which confer on the
essays an accent of authority.”—The Nation.
“Ernest Boyd’s ‘Appreciations and Depreciations’ are admirable examples of the
critical and biographical essay.”—The Bookman.

ANGLO-IRISH ESSAYS. By John Eglinton. Imperial 16mo.; cloth

bound. 4s. 6d. net.
“He has very independent individual views and delivers
them in noble language and in a style of diction as rare as it
is strong, subtle and beautiful.”
—Irish Independent.
“John Eglinton’s Essays have a charm of perfect sanity and a style
which is a model of elegant erudition.”—The Morning Post.
FRENCH LITERARY STUDIES. By Professor T. B. Rudmose-Brown,
D.Litt. Imperial 16mo.; cloth bound. 4s. 6d. net.
“They have all a fine literary flavour and will be recognised as the work of a
keen and an appreciative authority.”—Irish Independent.
ESSAYS: IRISH AND AMERICAN. By John Butler Yeats. Imperial
16mo.; cloth. 4s. 6d. net.
BYE-WAYS OF STUDY. By Darrell Figgis. Imperial 16mo.; cloth.
4s. 6d. net.

Every Irishman’s Library.

Edited by A. P. Graves, M.A.; Douglas Hyde, LL.D.; and W.

Magennis, M.A. Complete in 12 volumes; crown 8vo;
handsomely bound and beautifully printed. 3s. 6d. net each
volume.

THE BOOK OF IRISH POETRY. Edited by Alfred Perceval Graves,

M.A.
WILD SPORTS OF THE WEST. By W. H. Maxwell. Edited by the
Earl of Dunraven.
LEGENDS OF SAINTS AND SINNERS. (From the Irish). Edited by
Douglas Hyde, LL.D.
HUMOURS OF IRISH LIFE. Edited by Charles L. Graves, M.A.
(Oxon.).
IRISH ORATORS AND ORATORY. Edited by Professor T. M.
Kettle, National University of Ireland.
THOMAS DAVIS. Selections from his Prose and Poetry. Edited by T.
W. Rolleston, M.A.
STANDISH O’GRADY. Selected Essays and Passages. Edited with
an Introduction by Ernest A. Boyd.
POEMS OF SIR SAMUEL FERGUSON. Edited with an Introduction
by Alfred Perceval Graves.
RECOLLECTIONS OF JONAH BARRINGTON. Edited with an
Introduction by George Birmingham.
CARLETON’S STORIES OF IRISH LIFE. With an Introduction by
Darrell Figgis.
MARIA EDGEWORTH. Selections from her Works. With an
Introduction by M. C. Seton, C.B.
THE COLLEGIANS. By Gerald Griffin. With Introduction by Padraic
Colum.
“The idea of ‘Every Irishman’s Library’ is excellent, and it has only to maintain
the standard of its first six volumes to be found on the book-shelves of men and
women of the other three nationalities.”—The Morning Post.

Poetry.

FROM THE LAND OF DREAMS. By John Todhunter. With a

photogravure portrait of the author, and an Introduction by T.
W. Rolleston, M.A. Imperial 16mo.; cloth. 4s. 6d. net.
A representative collection of the poems of the late John
Todhunter, which includes, in addition to previously published work,
many poems now published for the first time. The book records the
achievement of a distinguished pioneer of the Irish Literary Revival.

Fiction.

ORIEL. By Bernard Duffy. Extra crown 8vo.; cloth. 7s. net.

A story of youth and love, ideals and friendship, filled with the
sunshine and happiness of the joyful years. Oriel Bartley will appeal
to you whether you are young or old. His adventures lead him
through many delightful and curious experiences in the Ireland of to-
day and yesterday which is the scene of Mr. Duffy’s story. No politics!
No recriminations! Just a romance of the golden land of youth.

DINNY OF THE DOORSTEP. By K. F. Purdon. Extra crown 8vo. 6s.

net.
 Miss Purdon here tells the story of one of the little street urchins
who swarm and play on the steps of the tenements in the faded
Georgian thoroughfares of Dublin. Realism and sentiment combine
to make this novel one which will move and interest every reader
who has felt the pathos and humour of the city waif.
WRACK AND OTHER STORIES. By Dermot O’Byrne. Crown 8vo.
3s. 6d. net.
These half-dozen tales of Ireland, ancient and modern, are in that
peculiar vein of historic realism which set the author’s “Children of
the Hills” apart from the average book of Irish short stories. The
Syngesque vigour and raciness of Mr. O’Byrne’s idiom gives a quality
to his writings which is absent from that of his contemporaries.
A GARDEN BY THE SEA. By Forrest Reid. Crown 8vo. 3s. 6d. net.
The author of “The Bracknels” and “Following Darkness” has
brought together a volume of short stories marked by the distinction
which has characterised his previous novels of Irish life.
 Transcriber’s Notes

1. The cover image was created by the transcriber and is placed in the public
domain.
2. Except for those changes noted below, all misspellings in the text, and
inconsistent or archaic usage, have been retained.
3. Front Matter “The thanks The Talbot Press, Limited” changed to “The
thanks of The Talbot Press, Limited”.
4. Page 13 Period at end of “make-up as men” changed to comma.
*** END OF THE PROJECT GUTENBERG EBOOK ESSAYS IRISH AND
AMERICAN ***

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
Welcome to our website – the ideal destination for book lovers and
knowledge seekers. With a mission to inspire endlessly, we offer a
vast collection of books, ranging from classic literary works to
specialized publications, self-development books, and children's
literature. Each book is a new journey of discovery, expanding
knowledge and enriching the soul of the reade

Our website is not just a platform for buying books, but a bridge
connecting readers to the timeless values of culture and wisdom. With
an elegant, user-friendly interface and an intelligent search system,
we are committed to providing a quick and convenient shopping
experience. Additionally, our special promotions and home delivery
services ensure that you save time and fully enjoy the joy of reading.

Let us accompany you on the journey of exploring knowledge and

personal growth!

ebookfinal.com