This poem read by the author, T.S. Eliot (click below):




































































































































TO BROOKLYN BRIDGE is the first of fifteen sections of this epic poem, THE BRIDGE, and is the most popular of the sections.

A seagull takes flight from its perch on the water. It flies past the "chained" shadow of the Brooklyn Bridge and on into the distance past the Statue of Liberty. It flies out of sight like a boat sailing out of a harbor, or like a page of sales figures that an office clerk files away.

The sea gull's disappearing flight reminds the speaker of the ghostlike flickers of movies. Movies are like a prophecy or the promise of some truth that is never told. He's not too keen on them.

The speaker admires the bridge from across the harbor: the way the sun hits it, the way the bridge embodies potential energy, the way it hangs free in the air.

A insane person runs to the top of the bridge, stands for a moment, then jumps off, committing suicide. The person is anonymous and seen only from a distance.

On Wall Street, bright light passes down through the girders of high buildings on to the street below. Clouds are flying by and tall structures called derricks seem to be turning. The wind from the North Atlantic passes through the cables of the bridge.

The bridge offers the promise of a reward as mysterious as the heaven described in Jewish scriptures. It also seems to praise the anonymity of people. It makes them feel small and anonymous, even more than the passage of time. Like a king, it pardons people.

The bridge is described as a fusion of religious and artistic symbols. It's a refuge for extraordinary and marginal figures like prophets, pariahs, and lovers.

As night falls, the speaker watches the traffic lights go over the bridge. The lights remind him of eternity, and the bridge seems to hold the sky up on its towers.

The speaker stands by the piers in Manhattan, looking at the shadow of the bridge in the light of the city. The lights in the windows of office buildings and apartments have already gone out. It's winter and another year is passing.

But, like the river beneath it, the bridge never sleeps. Not only does it connect one side of the river with another, it seems to connect one side of America with another. It connects Americans.

In the final two lines, the speaker asks the bridge to descend to the level of mere mortals and to help fill the space that God has left empty.








   (per Lee Edelman)...

"AVE MARIA" reinterprets Whitman’s "Passage to India" and "Prayer of Columbus"; but it is Whitman himself whose presence Crane acknowledges in his address to the power that sleeps upon itself [lines 57-58: "O Thou who sleepest on Thyself, apart / Like ocean athwart lanes of death and birth"]. For the rhetoric of Crane’s prayer invokes the language with which Whitman, in "Passage to India," appropriates the authority of deity to himself:

O Thou transcendent,
Nameless, the fibre and the breath,
Light of the light, shedding forth universes, thou centre of them,
Thou pulse – thou motive of the stars, suns, systems,
That, circling, move in order, safe. Harmonious,
Athwart the shapeless vastnesses of space,
How should I think, how breathe a single breath, how speak if, out of myself,
I could not launch. To those, superior universes? (lines 193-95, 201-5)

Crane’s recasting of these lines in "Ave Maria" appeals to a "transcendent" deity only on the level of narrative myth; in a deeper sense, as I will argue, Crane’s prayer is addressed to Whitman himself. And embedded further in the subtext of that prayer lies, as [R. W. B.] Lewis has also noted, an allusion to these lines from Keats’s "Sleep and Poetry" … Just as Keats declares poetry "the supreme of power," so Whitman, who begins by acclaiming the creative abilities of a "nameless" and "transcendent" presence, ends by internalizing the power of that entity, claiming it as his own.

This claim provides the basis for Crane’s audacious apostrophe to a Whitman cunningly elevated to the status of a deity. That implicit apotheosis of Whitman can be clarified by referring to a passage in "Cape Hatteras" where Crane, with a modesty that belies the will to power of his text, ascribes to Whitman the construction of the very bridge that Crane figures as the source of poetic energy itself:

Our Meistersinger, thou set breath in steel;
And it was thou who on the boldest heel
Stood up and flung the span on even wing
Of that great Bridge, our Myth, whereof I sing!

These lines echo the language and imagery of Columbus’s prayer in "Ave Maria" in the same way that the prayer alludes to Whitman’s phraseology in "Passage to India." The verbal parallels between these two passages from Crane’s poem point to the conflation of Whitman with the deity addressed in "Ave Maria."…

Yet if he conflates Whitman with the deity addressed by Columbus, Crane subsequently attempts to internalize Whitman just as Whitman internalized the "transcendent" power that his own poem addressed. … Where Whitman multiplies himself to undertake this dangerous voyage, Crane insists on isolation: "Utter to loneliness the sail is true." This solitude or "loneliness: achieves for the poet a freedom from the companion whose presence he would deny by successfully internalizing. Indeed, this "utter loneliness" signifies the loneliness of utterance he desires, the solitary eminance he

(Per Edward Brunner)...

The dramatic monologue of "AVA MARIA" opens with Columbus crowing like a braggart, congratulating himself on his own superiority. Though he is in the midst of a pounding storm, his concentration is turned toward the accolades he expects at his triumphant return to Spain. He is eager to sweep into the king’s court and rout all those experts and critics who had scorned him, and he invokes his two staunchest advocates: "Be with me, Luis de San Angel, now—"

For I have seen now what no perjured breath
Of clown nor sage can riddle or gainsay;—
To you, too, Juan Perez, whose counsel fear
And greed adjourned,—I bring you back Cathay!

The note of defiance here is unmistakable, but it masks a profound misunderstanding: Columbus’s error, as he will realize in the course of his monologue, is that be believes that "Cathay" is his to bring "back." As long as he is convinced that he possesses Cathay, then he will be truly lost, assailed by a fierce storm that is a parallel to the tempest within him. In truth, his vindictive boasting and his determination to clutch Cathay is a form of greed that should be more alarming to him than death by water. In the beginning, however, the storm he is enduring only prods him into greater boastfulness; he does not yet know that the storm outside and the storm inside are one and the same thing.

To convince himself of the rightness of his mission and to assuage the fear that he may lose all in his storm, he clings to a vision that assigns him a central role of the highest importance. There is a desperate shrillness in his assertions, swathed as they in an unmistakable pride: "I thought of Genoa; and this truth, now proved, / That made me exile in her streets, stood me / More absolute than ever." The emphasis is on the fatal flaw of an unyielding pride. If his truth has been vindicated, then why is he subject to this "tempest-lash"? This is the question that gnaws at him throughout the storm and leads him to rehearse his moments of triumph, both those of the past in the discovery of Cathay and those to come in the future in his return to the court. To steady himself he relives again his moment of glory, the instant when the natives, seeing his boats and men for the first time, addressed them as gods: "And they came out to us crying, / ‘The Great White Birds!’"

With this memory, Columbus is suddenly abashed; he turns at once to address "Madre Maria," as though he had indeed stepped over the marl. He hears the boastful note in his own voice. And from his own shock of realizing that he had been thinking of himself as a god, he understands that his own word has been tested and found wanting. He is, in reality, "between two worlds" where another, harsh, // This third of water, tests the word." The awed praise he had received from the natives had been exactly what he had been anticipating from those contemptible "clowns" and "sages" on his return home, when he could state dramatically and unequivocally: "I bring you back Cathay!"

Cathay is not his to possess. Chastened by the gulf that has opened between his perilous actual position in the waters and his pompous, vainglorious ambition, he experiences the storm dying down (for the storm had been inside him from the start): "Some inmost sob, half-heard, dissuades the abyss, / Merges the wind in measure to the waves, // Series on series, infinite." To Columbus, the amerlioration of the tempest appears as divine intervention; to the modern reader, it is the new confession of humility, that "inmost sob, half-heard," that calms the waters. The abrupt shift in Colkumbus’s fortunes originates in his ability to take the measure of his own vanity, to recoil from it, then rise above it. The reason, then, that his prophecy suddenly seems to carry such undeniable authority—

                                    this crescent ring
Sun-cusped and zoned with modulated fire
Like pearls that whisper through the Doge’s hands
—Yet no delirium of jewels! O Fernando,
Take of that eastern shore, this western sea,
Yet yield thy God’s, thy Virgin’s charity!

—Rush down the plenitude and you shall see
Isaiah counting famine on this lee!

—is that we sense it is his own previous greed and possessiveness and ambition, not simply Fernando’s, that he is pushing away from in these climactic lines. The passage is not simply a condemnation of Fernando but a condemnation of what he himself had become. …

The end result of Columbus’s increased self-awareness is a total sense of the dynamic harmony of the universe, a universe in which he plays a small but crucial part. The concluding stanzas, which to him appear as a vision of the presence of Elohim, to the modern reader appear as a reflection of his new magnanimity. His own assertive ego has been set aside, and he relives with a new understanding his passage westward; it is a test in which God "Cruelly with love" sounds the "parable of man." Like Job he is beset by trials, but he can rise above them by his refusal to yield to pride or ambition. The parable of man is that he has the freedom to fall or, if he takes the courage to face himself, the freedom to soar. The endlessness of such testing is only to be welcomed, for to be challenged, to be brought up short, is to be made aware of one’s own frailty and falsity, and to be given the opportunity to rise to even grater heights. Though the poem ends with no land in sight but "still one shore beyond desire," the conclusion is an affirmative cry. The testing "Hand of Fire" offers the hope of a joyful self-renewal.would attain as he sails toward the "incognizable Word" that "Atlantis" will reformulate in a catachresis that designates the bridge itself as "steeled Cognizance."

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                                                  Contents

THE WASTE LAND by T.S. Eliot



FOUR QUARTETS by T.S. Eliot



THE BRIDGE by Hart Crane




THE CANTOS of Ezra Pound







T.S. Eliot (1888–1965).  The Waste Land.  1922.

The Waste Land





I. THE BURIAL OF THE DEAD
APRIL is the cruellest month, breeding  
Lilacs out of the dead land, mixing  
Memory and desire, stirring  
Dull roots with spring rain.  
Winter kept us warm, covering          5
Earth in forgetful snow, feeding  
A little life with dried tubers.  
Summer surprised us, coming over the Starnbergersee  
With a shower of rain; we stopped in the colonnade,  
And went on in sunlight, into the Hofgarten,   10
And drank coffee, and talked for an hour.  
Bin gar keine Russin, stamm’ aus Litauen, echt deutsch.  
And when we were children, staying at the archduke’s,  
My cousin’s, he took me out on a sled,  
And I was frightened. He said, Marie,   15
Marie, hold on tight. And down we went.  
In the mountains, there you feel free.  
I read, much of the night, and go south in the winter.  
 
What are the roots that clutch, what branches grow  
Out of this stony rubbish? Son of man,   20
You cannot say, or guess, for you know only  
A heap of broken images, where the sun beats,  
And the dead tree gives no shelter, the cricket no relief,  
And the dry stone no sound of water. Only  
There is shadow under this red rock,   25
(Come in under the shadow of this red rock),  
And I will show you something different from either  
Your shadow at morning striding behind you  
Or your shadow at evening rising to meet you;  
I will show you fear in a handful of dust.   30
        Frisch weht der Wind  
        Der Heimat zu,  
        Mein Irisch Kind,  
        Wo weilest du?  
“You gave me hyacinths first a year ago;   35
They called me the hyacinth girl.”  
—Yet when we came back, late, from the Hyacinth garden,  
Your arms full, and your hair wet, I could not  
Speak, and my eyes failed, I was neither  
Living nor dead, and I knew nothing,   40
Looking into the heart of light, the silence.  
Öd’ und leer das Meer.  
 
Madame Sosostris, famous clairvoyante,  
Had a bad cold, nevertheless  
Is known to be the wisest woman in Europe,   45
With a wicked pack of cards. Here, said she,  
Is your card, the drowned Phoenician Sailor,  
(Those are pearls that were his eyes. Look!)  
Here is Belladonna, the Lady of the Rocks,  
The lady of situations.   50
Here is the man with three staves, and here the Wheel,  
And here is the one-eyed merchant, and this card,  
Which is blank, is something he carries on his back,  
Which I am forbidden to see. I do not find  
The Hanged Man. Fear death by water.   55
I see crowds of people, walking round in a ring.  
Thank you. If you see dear Mrs. Equitone,  
Tell her I bring the horoscope myself:  
One must be so careful these days.  
 
Unreal City,   60
Under the brown fog of a winter dawn,  
A crowd flowed over London Bridge, so many,  
I had not thought death had undone so many.  
Sighs, short and infrequent, were exhaled,  
And each man fixed his eyes before his feet.   65
Flowed up the hill and down King William Street,  
To where Saint Mary Woolnoth kept the hours  
With a dead sound on the final stroke of nine.  
There I saw one I knew, and stopped him, crying “Stetson!  
You who were with me in the ships at Mylae!   70
That corpse you planted last year in your garden,  
Has it begun to sprout? Will it bloom this year?  
Or has the sudden frost disturbed its bed?  
Oh keep the Dog far hence, that’s friend to men,  
Or with his nails he’ll dig it up again!   75
You! hypocrite lecteur!—mon semblable,—mon frère!”  
 
II. A GAME OF CHESS
The Chair she sat in, like a burnished throne,  
Glowed on the marble, where the glass  
Held up by standards wrought with fruited vines  
From which a golden Cupidon peeped out   80
(Another hid his eyes behind his wing)  
Doubled the flames of sevenbranched candelabra  
Reflecting light upon the table as  
The glitter of her jewels rose to meet it,  
From satin cases poured in rich profusion;   85
In vials of ivory and coloured glass  
Unstoppered, lurked her strange synthetic perfumes,  
Unguent, powdered, or liquid—troubled, confused  
And drowned the sense in odours; stirred by the air  
That freshened from the window, these ascended   90
In fattening the prolonged candle-flames,  
Flung their smoke into the laquearia,  
Stirring the pattern on the coffered ceiling.  
Huge sea-wood fed with copper  
Burned green and orange, framed by the coloured stone,   95
In which sad light a carvèd dolphin swam.  
Above the antique mantel was displayed  
As though a window gave upon the sylvan scene  
The change of Philomel, by the barbarous king  
So rudely forced; yet there the nightingale  100
Filled all the desert with inviolable voice  
And still she cried, and still the world pursues,  
“Jug Jug” to dirty ears.  
And other withered stumps of time  
Were told upon the walls; staring forms  105
Leaned out, leaning, hushing the room enclosed.  
Footsteps shuffled on the stair,  
Under the firelight, under the brush, her hair  
Spread out in fiery points  
Glowed into words, then would be savagely still.  110
 
“My nerves are bad to-night. Yes, bad. Stay with me.  
Speak to me. Why do you never speak? Speak.  
What are you thinking of? What thinking? What?  
I never know what you are thinking. Think.”  
 
I think we are in rats’ alley  115
Where the dead men lost their bones.  
 
“What is that noise?”  
                      The wind under the door.  
“What is that noise now? What is the wind doing?”  
                      Nothing again nothing.  120
                                              “Do  
You know nothing? Do you see nothing? Do you remember  
Nothing?”  
        I remember  
                Those are pearls that were his eyes.  125
“Are you alive, or not? Is there nothing in your head?”  
                                                         But  
O O O O that Shakespeherian Rag—  
It’s so elegant  
So intelligent  130
 
“What shall I do now? What shall I do?  
I shall rush out as I am, and walk the street  
With my hair down, so. What shall we do to-morrow?  
What shall we ever do?”  
                          The hot water at ten.  135
And if it rains, a closed car at four.  
And we shall play a game of chess,  
Pressing lidless eyes and waiting for a knock upon the door.  
 
When Lil’s husband got demobbed, I said,  
I didn’t mince my words, I said to her myself,  140
HURRY UP PLEASE ITS TIME  
Now Albert’s coming back, make yourself a bit smart.  
He’ll want to know what you done with that money he gave you  
To get yourself some teeth. He did, I was there.  
You have them all out, Lil, and get a nice set,  145
He said, I swear, I can’t bear to look at you.  
And no more can’t I, I said, and think of poor Albert,  
He’s been in the army four years, he wants a good time,  
And if you don’t give it him, there’s others will, I said.  
Oh is there, she said. Something o’ that, I said.  150
Then I’ll know who to thank, she said, and give me a straight look.  
HURRY UP PLEASE ITS TIME  
If you don’t like it you can get on with it, I said,  
Others can pick and choose if you can’t.  
But if Albert makes off, it won’t be for lack of telling.  155
You ought to be ashamed, I said, to look so antique.  
(And her only thirty-one.)  
I can’t help it, she said, pulling a long face,  
It’s them pills I took, to bring it off, she said.  
(She’s had five already, and nearly died of young George.)  160
The chemist said it would be alright, but I’ve never been the same.  
You are a proper fool, I said.  
Well, if Albert won’t leave you alone, there it is, I said,  
What you get married for if you don’t want children?  
HURRY UP PLEASE ITS TIME  165
Well, that Sunday Albert was home, they had a hot gammon,  
And they asked me in to dinner, to get the beauty of it hot—  
HURRY UP PLEASE ITS TIME  
HURRY UP PLEASE ITS TIME  
Goonight Bill. Goonight Lou. Goonight May. Goonight.  170
Ta ta. Goonight. Goonight.  
Good night, ladies, good night, sweet ladies, good night, good night.  
 
III. THE FIRE SERMON
The river’s tent is broken: the last fingers of leaf  
Clutch and sink into the wet bank. The wind  
Crosses the brown land, unheard. The nymphs are departed.  175
Sweet Thames, run softly, till I end my song.  
The river bears no empty bottles, sandwich papers,  
Silk handkerchiefs, cardboard boxes, cigarette ends  
Or other testimony of summer nights. The nymphs are departed.  
And their friends, the loitering heirs of city directors;  180
Departed, have left no addresses.  
By the waters of Leman I sat down and wept…  
Sweet Thames, run softly till I end my song,  
Sweet Thames, run softly, for I speak not loud or long.  
But at my back in a cold blast I hear  185
The rattle of the bones, and chuckle spread from ear to ear.  
 
A rat crept softly through the vegetation  
Dragging its slimy belly on the bank  
While I was fishing in the dull canal  
On a winter evening round behind the gashouse.  190
Musing upon the king my brother’s wreck  
And on the king my father’s death before him.  
White bodies naked on the low damp ground  
And bones cast in a little low dry garret,  
Rattled by the rat’s foot only, year to year.  195
But at my back from time to time I hear  
The sound of horns and motors, which shall bring  
Sweeney to Mrs. Porter in the spring.  
O the moon shone bright on Mrs. Porter  
And on her daughter  200
They wash their feet in soda water  
Et, O ces voix d’enfants, chantant dans la coupole!  
 
Twit twit twit  
Jug jug jug jug jug jug  
So rudely forc’d.  205
Tereu  
 
Unreal City  
Under the brown fog of a winter noon  
Mr Eugenides, the Smyrna merchant  
Unshaven, with a pocket full of currants  210
C. i. f. London: documents at sight,  
Asked me in demotic French  
To luncheon at the Cannon Street Hotel  
Followed by a week-end at the Metropole.  
 
At the violet hour, when the eyes and back  215
Turn upward from the desk, when the human engine waits  
Like a taxi throbbing waiting,  
I Tiresias, though blind, throbbing between two lives,  
Old man with wrinkled female breasts, can see  
At the violet hour, the evening hour that strives  220
Homeward, and brings the sailor home from sea,  
The typist home at tea-time, clears her breakfast, lights  
Her stove, and lays out food in tins.  
Out of the window perilously spread  
Her drying combinations touched by the sun’s last rays,  225
On the divan are piled (at night her bed)  
Stockings, slippers, camisoles, and stays.  
I Tiresias, old man with wrinkled dugs  
Perceived the scene, and foretold the rest—  
I too awaited the expected guest.  230
He, the young man carbuncular, arrives,  
A small house-agent’s clerk, with one bold stare,  
One of the low on whom assurance sits  
As a silk hat on a Bradford millionaire.  
The time is now propitious, as he guesses,  235
The meal is ended, she is bored and tired,  
Endeavours to engage her in caresses  
Which still are unreproved, if undesired.  
Flushed and decided, he assaults at once;  
Exploring hands encounter no defence;  240
His vanity requires no response,  
And makes a welcome of indifference.  
(And I Tiresias have foresuffered all  
Enacted on this same divan or bed;  
I who have sat by Thebes below the wall  245
And walked among the lowest of the dead.)  
Bestows one final patronizing kiss,  
And gropes his way, finding the stairs unlit…  
 
She turns and looks a moment in the glass,  
Hardly aware of her departed lover;  250
Her brain allows one half-formed thought to pass:  
“Well now that’s done: and I’m glad it’s over.”  
When lovely woman stoops to folly and  
Paces about her room again, alone,  
She smoothes her hair with automatic hand,  255
And puts a record on the gramophone.  
 
“This music crept by me upon the waters”  
And along the Strand, up Queen Victoria Street.  
O City City, I can sometimes hear  
Beside a public bar in Lower Thames Street,  260
The pleasant whining of a mandoline  
And a clatter and a chatter from within  
Where fishmen lounge at noon: where the walls  
Of Magnus Martyr hold  
Inexplicable splendour of Ionian white and gold.  265
 
The river sweats  
Oil and tar  
The barges drift  
With the turning tide  
Red sails  270
Wide  
To leeward, swing on the heavy spar.  
The barges wash  
Drifting logs  
Down Greenwich reach  275
Past the Isle of Dogs.  
            Weialala leia  
            Wallala leialala  
Elizabeth and Leicester  
Beating oars  280
The stern was formed  
A gilded shell  
Red and gold  
The brisk swell  
Rippled both shores  285
South-west wind  
Carried down stream  
The peal of bells  
White towers  
            Weialala leia  290
            Wallala leialala  
 
“Trams and dusty trees.  
Highbury bore me. Richmond and Kew  
Undid me. By Richmond I raised my knees  
Supine on the floor of a narrow canoe.“  295
 
“My feet are at Moorgate, and my heart  
Under my feet. After the event  
He wept. He promised ‘a new start.’  
I made no comment. What should I resent?”  
 
“On Margate Sands.  300
I can connect  
Nothing with nothing.  
The broken finger-nails of dirty hands.  
My people humble people who expect  
Nothing.”  305
 
      la la  
 
To Carthage then I came  
 
Burning burning burning burning  
O Lord Thou pluckest me out  
O Lord Thou pluckest  310
 
burning  
 
IV. DEATH BY WATER
Phlebas the Phoenician, a fortnight dead,  
Forgot the cry of gulls, and the deep seas swell  
And the profit and loss.  
                          A current under sea  315
Picked his bones in whispers. As he rose and fell  
He passed the stages of his age and youth  
Entering the whirlpool.  
                          Gentile or Jew  
O you who turn the wheel and look to windward,  320
Consider Phlebas, who was once handsome and tall as you.  
 
V. WHAT THE THUNDER SAID
After the torch-light red on sweaty faces  
After the frosty silence in the gardens  
After the agony in stony places  
The shouting and the crying  325
Prison and place and reverberation  
Of thunder of spring over distant mountains  
He who was living is now dead  
We who were living are now dying  
With a little patience  330
 
Here is no water but only rock  
Rock and no water and the sandy road  
The road winding above among the mountains  
Which are mountains of rock without water  
If there were water we should stop and drink  335
Amongst the rock one cannot stop or think  
Sweat is dry and feet are in the sand  
If there were only water amongst the rock  
Dead mountain mouth of carious teeth that cannot spit  
Here one can neither stand nor lie nor sit  340
There is not even silence in the mountains  
But dry sterile thunder without rain  
There is not even solitude in the mountains  
But red sullen faces sneer and snarl  
From doors of mud-cracked houses
                                If there were water  345
And no rock  
If there were rock  
And also water  
And water  
A spring  350
A pool among the rock  
If there were the sound of water only  
Not the cicada  
And dry grass singing  
But sound of water over a rock  355
Where the hermit-thrush sings in the pine trees  
Drip drop drip drop drop drop drop  
But there is no water  
 
Who is the third who walks always beside you?  
When I count, there are only you and I together  360
But when I look ahead up the white road  
There is always another one walking beside you  
Gliding wrapt in a brown mantle, hooded  
I do not know whether a man or a woman  
—But who is that on the other side of you?  365
 
What is that sound high in the air  
Murmur of maternal lamentation  
Who are those hooded hordes swarming  
Over endless plains, stumbling in cracked earth  
Ringed by the flat horizon only  370
What is the city over the mountains  
Cracks and reforms and bursts in the violet air  
Falling towers  
Jerusalem Athens Alexandria  
Vienna London  375
Unreal  
 
A woman drew her long black hair out tight  
And fiddled whisper music on those strings  
And bats with baby faces in the violet light  
Whistled, and beat their wings  380
And crawled head downward down a blackened wall  
And upside down in air were towers  
Tolling reminiscent bells, that kept the hours  
And voices singing out of empty cisterns and exhausted wells.  
 
In this decayed hole among the mountains  385
In the faint moonlight, the grass is singing  
Over the tumbled graves, about the chapel  
There is the empty chapel, only the wind’s home.  
It has no windows, and the door swings,  
Dry bones can harm no one.  390
Only a cock stood on the roof-tree  
Co co rico co co rico  
In a flash of lightning. Then a damp gust  
Bringing rain  
Ganga was sunken, and the limp leaves  395
Waited for rain, while the black clouds  
Gathered far distant, over Himavant.  
The jungle crouched, humped in silence.  
Then spoke the thunder  
DA  400
Datta: what have we given?  
My friend, blood shaking my heart  
The awful daring of a moment’s surrender  
Which an age of prudence can never retract  
By this, and this only, we have existed  405
Which is not to be found in our obituaries  
Or in memories draped by the beneficent spider  
Or under seals broken by the lean solicitor  
In our empty rooms  
DA  410
Dayadhvam: I have heard the key  
Turn in the door once and turn once only  
We think of the key, each in his prison  
Thinking of the key, each confirms a prison  
Only at nightfall, aetherial rumours  415
Revive for a moment a broken Coriolanus  
DA  
Damyata: The boat responded  
Gaily, to the hand expert with sail and oar  
The sea was calm, your heart would have responded  420
Gaily, when invited, beating obedient  
To controlling hands  
 
                      I sat upon the shore  
Fishing, with the arid plain behind me  
Shall I at least set my lands in order?  425
 
London Bridge is falling down falling down falling down  
 
Poi s’ascose nel foco che gli affina  
Quando fiam ceu chelidon—O swallow swallow  
Le Prince d’Aquitaine à la tour abolie  
These fragments I have shored against my ruins  430
Why then Ile fit you. Hieronymo’s mad againe.  
Datta. Dayadhvam. Damyata.  
 
      Shantih    shantih    shantih  





NOTES

Not only the title, but the plan and a good deal of the incidental symbolism of the poem were suggested by Miss Jessie L. Weston’s book on the Grail legend: From Ritual to Romance (Macmillan). Indeed, so deeply am I indebted, Miss Weston’s book will elucidate the difficulties of the poem much better than my notes can do; and I recommend it (apart from the great interest of the book itself) to any who think such elucidation of the poem worth the trouble. To another work of anthropology I am indebted in general, one which has influenced our generation profoundly; I mean The Golden Bough; I have used especially the two volumes Attis Adonis Osiris. Anyone who is acquainted with these works will immediately recognise in the poem certain references to vegetation ceremonies.

I. THE BURIAL OF THE DEAD
Line 20 Cf. Ezekiel II, i.

23. Cf. Ecclesiastes XII, v.

31. V. Tristan und Isolde, I, verses 5–8.

42. Id. III, verse 24.

46. I am not familiar with the exact constitution of the Tarot pack of cards, from which I have obviously departed to suit my own convenience. The Hanged Man, a member of the traditional pack, fits my purpose in two ways: because he is associated in my mind with the Hanged God of Frazer, and because I associate him with the hooded figure in the passage of the disciples to Emmaus in Part V. The Phoenician Sailor and the Merchant appear later; also the “crowds of people,” and Death by Water is executed in Part IV. The Man with Three Staves (an authentic member of the Tarot pack) I associate, quite arbitrarily, with the Fisher King himself.

60. Cf. Baudelaire:
“Fourmillante cité, cité pleine de rèves,
Où le spectre en plein jour raccroche le passant.”

63. Cf. Inferno, III. 55–57:
                      “si lunga tratta
di gente, ch’io non avrei mai creduto
che morte tanta n’avesse disfatta.”

64. Cf. Inferno, IV. 25–27:
“Quivi, secondo che per ascoltare,
“non avea pianto, ma’ che di sospiri,
“che l’aura eterna facevan tremare.”

68. A phenomenon which I have often noticed.

74. Cf. the Dirge in Webster’s White Devil.

76. V. Baudelaire, Preface to Fleurs du Mal.

II. A GAME OF CHESS
77. Cf. Antony and Cleopatra, II., ii. l. 190.

92. Laquearia. V. Aeneid, I, 726:
      dependent lychni laquearibus aureis
incensi, et noctem flammis funalia vincunt.

98. Sylvan scene. V. Milton, Paradise Lost, IV. 140.

99. V. Ovid, Metamorphoses, VI, Philomela.

100. Cf. Part III, l. 204.

115. Cf. Part III, l. 195.

118. Cf. Webster: “Is the wind in that door still?”

126. Cf. Part I, l. 37, 48.

138. Cf. the game of chess in Middleton’s Women beware Women.

III. THE FIRE SERMON
176. V. Spenser, Prothalamion.

192. Cf. The Tempest, I, ii.

196. Cf. Day, Parliament of Bees:
“When of the sudden, listening, you shall hear,
“A noise of horns and hunting, which shall bring
“Actaeon to Diana in the spring,
“Where all shall see her naked skin…“

197. Cf. Marvell, To His Coy Mistress.

199. I do not know the origin of the ballad from which these lines are taken; it was reported to me from Sydney, Australia.

202. V. Verlaine, Parsifal.

210. The currants were quoted at a price “carriage and insurance free to London”; and the Bill of Lading, etc. were to be handed to the buyer upon payment of the sight draft.

218. Tiresias, although a mere spectator and not indeed a “character,” is yet the most important personage in the poem, uniting all the rest. Just as the one-eyed merchant, seller of currants, melts into the Phoenician Sailor, and the latter is not wholly distinct from Ferdinand Prince of Naples, so all the women are one woman, and the two sexes meet in Tiresias. What Tiresias sees, in fact, is the substance of the poem. The whole passage from Ovid is of great anthropological interest:
…Cum Iunone iocos et maior vestra profecto est
Quam, quae contingit maribus’, dixisse, ‘voluptas.’
Illa negat; placuit quae sit sententia docti
Quaerere Tiresiae: venus huic erat utraque nota.
Nam duo magnorum viridi coeuntia silva
Corpora serpentum baculi violaverat ictu
Deque viro factus, mirabile, femina septem
Egerat autumnos; octavo rursus eosdem
Vidit et ‘est vestrae si tanta potentia plagae,’
Dixit ‘ut auctoris sortem in contraria mutet,
Nunc quoque vos feriam!’ percussis anguibus isdem
Forma prior rediit genetivaque venit imago.
Arbiter hic igitur sumptus de lite iocosa
Dicta Iovis firmat; gravius Saturnia iusto
Nec pro materia fertur doluisse suique
Iudicis aeterna damnavit lumina nocte,
At pater omnipotens (neque enim licet inrita cuiquam
Facta dei fecisse deo) pro lumine adempto
Scire futura dedit poenamque levavit honore.

221. This may not appear as exact as Sappho’s lines, but I had in mind the “longshore” or “dory” fisherman, who returns at nightfall.

253. V. Goldsmith, the song in The Vicar of Wakefield.

257. V. The Tempest, as above.

264. The interior of St. Magnus Martyr is to my mind one of the finest among Wren’s interiors. See The Proposed Demolition of Nineteen City Churches: (P. S. King & Son, Ltd.).

266. The Song of the (three) Thames-daughters begins here. From line 292 to 306 inclusive they speak in turn. V. Götterdämmerung, III, i: The Rhinedaughters.

279. V. Froude, Elizabeth, Vol. I, ch. iv, letter of De Quadra to Philip of Spain:
“In the afternoon we were in a barge, watching the games on the river. (The queen) was alone with Lord Robert and myself on the poop, when they began to talk nonsense, and went so far that Lord Robert at last said, as I was on the spot there was no reason why they should not be married if the queen pleased.”

293. Cf. Purgatorio, V. 133:
    “Ricorditi di me, che son la Pia;
    “Siena mi fe’, disfecemi Maremma.”

307. V. St. Augustine’s Confessions: “to Carthage then I came, where a cauldron of unholy loves sang all about mine ears.”

308. The complete text of the Buddha’s Fire Sermon (which corresponds in importance to the Sermon on the Mount) from which these words are taken, will be found translated in the late Henry Clarke Warren’s Buddhism in Translation (Harvard Oriental Series). Mr. Warren was one of the great pioneers of Buddhist studies in the occident.

309. From St. Augustine’s Confessions again. The collocation of these two representatives of eastern and western asceticism, as the culmination of this part of the poem, is not an accident.

V. WHAT THE THUNDER SAID
In the first part of Part V three themes are employed: the journey to Emmaus, the approach to the Chapel Perilous (see Miss Weston’s book), and the present decay of eastern Europe.

357. This is Turdus aonalaschkae pallasii, the hermit-thrush which I have heard in Quebec County. Chapman says (Handbook of Birds in Eastern North America) “it is most at home in secluded woodland and thickety retreats.… Its notes are not remarkable for variety or volume, but in purity and sweetness of tone and exquisite modulation they are unequaled.” Its “water-dripping song” is justly celebrated.

360. The following lines were stimulated by the account of one of the Antarctic expeditions (I forget which, but I think one of Shackleton’s): it was related that the party of explorers, at the extremity of their strength, had the constant delusion that there was one more member than could actually be counted.

366–76. Cf. Hermann Hesse, Blick ins Chaos: “Schon ist halb Europa, schon ist zumindest der halbe Osten Europas auf dem Wege zum Chaos, fährt betrunken im heiligem Wahn am Abgrund entlang und singt dazu, singt betrunken und hymnisch wie Dmitri Karamasoff sang. Ueber diese Lieder lacht der Bürger beleidigt, der Heilige und Seher hört sie mit Tränen.”

401. “Datta, dayadhvam, damyata” (Give, sympathise, control). The fable of the meaning of the Thunder is found in the Brihadaranyaka—Upanishad, 5, 1. A translation is found in Deussen’s Sechzig Upanishads des Veda, p. 489.

407. Cf. Webster, The White Devil, V, vi:
            “…they’ll remarry
Ere the worm pierce your winding-sheet, ere the spider
Make a thin curtain for your epitaphs.”

411. Cf. Inferno, XXXIII, 46:
“ed io sentii chiavar l’uscio di sotto
all’orribile torre.”
  Also F. H. Bradley, Appearance and Reality, p. 346.
“My external sensations are no less private to myself than are my thoughts or my feelings. In either case my experience falls within my own circle, a circle closed on the outside; and, with all its elements alike, every sphere is opaque to the others which surround it.… In brief, regarded as an existence which appears in a soul, the whole world for each is peculiar and private to that soul.”

424. V. Weston, From Ritual to Romance; chapter on the Fisher King.

427. V. Purgatorio, XXVI, 148.
“‘Ara vos prec, per aquella valor
‘que vos guida al som de l’escalina,
‘sovegna vos a temps de ma dolor.’
Poi s’ascose nel foco che gli affina.”

428. V. Pervigilium Veneris. Cf. Philomela in Parts II and III.

429. V. Gerard de Nerval, Sonnet El Desdichado.

431. V. Kyd’s Spanish Tragedy.

433. Shantih. Repeated as here, a formal ending to an Upanishad. “The Peace which passeth understanding” is a feeble translation of the content of this word.



T. S. Eliot Poems
The Four Quartets




Burnt Norton

τοῦ λόγου δὲ ἐόντος ξυνοῦ ζώουσιν οἱ πολλοί
I. p. 77. Fr. 2.
Although logos [reason] is common, the many
live as if they had a wisdom of their own

ὡς ἰδίαν ἔχοντες φρόνησιν
I. p. 89 Fr. 60.
The way upward and the way downward
is one and the same

H. A. Diels: Die Fragmente der Vorsokratiker (Herakleitos)
The Fragments of the Presocratics (Heraclitus)

I

Time present and time past
Are both perhaps present in time future
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden. My words echo
Thus, in your mind.
                                   But to what purpose
Disturbing the dust on a bowl of rose-leaves
I do not know.
                                   Other echoes
Inhabit the garden. Shall we follow?
Quick, said the bird, find them, find them,
Round the corner. Through the first gate,
Into our first world, shall we follow
The deception of the thrush? Into our first world.
There they were, dignified, invisible,
Moving without pressure, over the dead leaves,
In the autumn heat, through the vibrant air,
And the bird called, in response to
The unheard music hidden in the shrubbery,
And the unseen eyebeam crossed, for the roses
Had the look of flowers that are looked at.
There they were as our guests, accepted and accepting.
So we moved, and they, in a formal pattern,
Along the empty alley, into the box circle,
To look down into the drained pool.
Dry the pool, dry concrete, brown edged,
And the pool was filled with water out of sunlight,
And the lotos rose, quietly, quietly,
The surface glittered out of heart of light,
And they were behind us, reflected in the pool.
Then a cloud passed, and the pool was empty.
Go, said the bird, for the leaves were full of children,
Hidden excitedly, containing laughter.
Go, go, go, said the bird: human kind
Cannot bear very much reality.
Time past and time future
What might have been and what has been
Point to one end, which is always present.

II

Garlic and sapphires in the mud
Clot the bedded axle-tree.
The trilling wire in the blood
Sings below inveterate scars
Appeasing long forgotten wars.
The dance along the artery
The circulation of the lymph
Are figured in the drift of stars
Ascend to summer in the tree
We move above the moving tree
In light upon the figured leaf
And hear upon the sodden floor
Below, the boarhound and the boar
Pursue their pattern as before
But reconciled among the stars.

At the still point of the turning world. Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement. And do not call it fixity,
Where past and future are gathered. Neither movement from nor towards,
Neither ascent nor decline. Except for the point, the still point,
There would be no dance, and there is only the dance.
I can only say, there we have been: but I cannot say where.
And I cannot say, how long, for that is to place it in time.
The inner freedom from the practical desire,
The release from action and suffering, release from the inner
And the outer compulsion, yet surrounded
By a grace of sense, a white light still and moving,
Erhebung without motion, concentration
Without elimination, both a new world
And the old made explicit, understood
In the completion of its partial ecstasy,
The resolution of its partial horror.
Yet the enchainment of past and future
Woven in the weakness of the changing body,
Protects mankind from heaven and damnation
Which flesh cannot endure.
                                                    Time past and time future
Allow but a little consciousness.
To be conscious is not to be in time
But only in time can the moment in the rose-garden,
The moment in the arbour where the rain beat,
The moment in the draughty church at smokefall
Be remembered; involved with past and future.
Only through time time is conquered.

III

Here is a place of disaffection
Time before and time after
In a dim light: neither daylight
Investing form with lucid stillness
Turning shadow into transient beauty
Wtih slow rotation suggesting permanence
Nor darkness to purify the soul
Emptying the sensual with deprivation
Cleansing affection from the temporal.
Neither plentitude nor vacancy. Only a flicker
Over the strained time-ridden faces
Distracted from distraction by distraction
Filled with fancies and empty of meaning
Tumid apathy with no concentration
Men and bits of paper, whirled by the cold wind
That blows before and after time,
Wind in and out of unwholesome lungs
Time before and time after.
Eructation of unhealthy souls
Into the faded air, the torpid
Driven on the wind that sweeps the gloomy hills of London,
Hampstead and Clerkenwell, Campden and Putney,
Highgate, Primrose and Ludgate. Not here
Not here the darkness, in this twittering world.

      Descend lower, descend only
Into the world of perpetual solitude,
World not world, but that which is not world,
Internal darkness, deprivation
And destitution of all property,
Dessication of the world of sense,
Evacuation of the world of fancy,
Inoperancy of the world of spirit;
This is the one way, and the other
Is the same, not in movement
But abstention from movememnt; while the world moves
In appetency, on its metalled ways
Of time past and time future.

IV

Time and the bell have buried the day,
the black cloud carries the sun away.
Will the sunflower turn to us, will the clematis
Stray down, bend to us; tendril and spray
Clutch and cling?
Chill
Fingers of yew be curled
Down on us? After the kingfisher's wing
Has answered light to light, and is silent, the light is still
At the still point of the turning world.

V

Words move, music moves
Only in time; but that which is only living
Can only die. Words, after speech, reach
Into the silence. Only by the form, the pattern,
Can words or music reach
The stillness, as a Chinese jar still
Moves perpetually in its stillness.
Not the stillness of the violin, while the note lasts,
Not that only, but the co-existence,
Or say that the end precedes the beginning,
And the end and the beginning were always there
Before the beginning and after the end.
And all is always now. Words strain,
Crack and sometimes break, under the burden,
Under the tension, slip, slide, perish,
Will not stay still. Shrieking voices
Scolding, mocking, or merely chattering,
Always assail them. The Word in the desert
Is most attacked by voices of temptation,
The crying shadow in the funeral dance,
The loud lament of the disconsolate chimera.

      The detail of the pattern is movement,
As in the figure of the ten stairs.
Desire itself is movement
Not in itself desirable;
Love is itself unmoving,
Only the cause and end of movement,
Timeless, and undesiring
Except in the aspect of time
Caught in the form of limitation
Between un-being and being.
Sudden in a shaft of sunlight
Even while the dust moves
There rises the hidden laughter
Of children in the foliage
Quick now, here, now, always-
Ridiculous the waste sad time
Stretching before and after.

East Coker



I

       In my beginning is my end. In succession
Houses rise and fall, crumble, are extended,
Are removed, destroyed, restored, or in their place
Is an open field, or a factory, or a by-pass.
Old stone to new building, old timber to new fires,
Old fires to ashes, and ashes to the earth
Which is already flesh, fur and faeces,
Bone of man and beast, cornstalk and leaf.
Houses live and die: there is a time for building
And a time for living and for generation
And a time for the wind to break the loosened pane
And to shake the wainscot where the field-mouse trots
And to shake the tattered arras woven with a silent motto.

       In my beginning is my end. Now the light falls
Across the open field,, leaving the deep lane
Shuttered with branches, dark in the afternoon,
Where you lean against a bank while a van passes,
And the deep lane insists on the direction
Into the village, in the elctric heat
Hypnotised. In a warm haze the sultry light
Is absorbed, not refracted, by grey stone.
The dahlias sleep in the empty silence.
Wait for the early owl.

                                             In that open field
If you do not come too close, if you do not come too close,
On a summer midnight, you can hear the music
Of the weak pipe and the little drum
And see them dancing around the bonfire
the association of man and woman
In daunsinge, signifying matrimonie˜
A dignified and commodious sacrament.
Two and two, necessarye coniunction,
Holding eche other by the hand or the arm
Whiche betokeneth concorde. Round and round the fire
Leaping through the flames, or joined in circles,
Rustically solemn or in rustic laughter
Lifting heavy feet in clumsy shoes,
Earth feet, loam feet, lifted in country mirth
Mirth of those long since under earth
Nourishing the corn. Keeping time,
Keeping the rhythm in their dancing
As in their living in the living seasons
The time of the seasons and the constellations
The time of milking and the time of harvest
The time of the coupling of man and woman
And that of beasts. Feet rising and falling.
Eating and drinking. Dung and death.

       Dawn points, and another day
Prepares for heat and silence. Out at sea the dawn wind
Wrinkles and slides. I am here
Or there, or elsewhere. In my beginning.

II

What is the late November doing
With the disturbance of the spring
And creatures of the summer heat,
And snowdrops writhing under feet
And hollyhocks that aim too high
Red into grey and tumble down
Late roses filled with early snow?
Thunder rolled by the rolling stars
Simulates triumphal cars
Deployed in constellated wars
Scorpion fights against the Sun
Until the Sun and Moon go down
Comets weep and Leonids fly
Hunt the heavens and the plains
Whirled in a vortex that shall bring
The world to that destructive fire
Which burns before the ice-cap reigns.

       That was a way of putting it - not very satisfactory:
A periphrastic study in a worn-out poetical fashion,
Leaving one still with the intolerable wrestle
With words and meanings. The poetry does not matter.
It was not (to start again) what one had expected.
What was to be the value of the long looked forward to,
Long hoped for calm, the autumnal serenity
And the wisdom of age? Had they deceived us,
Or deceived themselves, the quiet-voiced elders,
Bequeathing us merely a receipt for deceit?
The serenity only a deliberate hebetude,
The wisdom only the knowledge of dead secrets
Useless in the darkness into which they peered
Or from which they turned their eyes. There is, it seems to us,
At best, only a limited value
In the knowledge derived from experience.
The knowledge inposes a pattern, and falsifies,
For the pattern is new in every moment
And every moment is a new and shocking
Valuation of all we have been. We are only undeceived
Of that which, deceiving, could no longer harm.
In the middle, not only in the middle of the way
but all the way, in a dark wood, in a bramble,
On the edge of a grimpen, where is no secure foothold,
And menaced by monsters, fancy lights,
Risking enchantment. Do not let me hear
Of the wisdom of old men, but rahter of their folly,
Their fear of fear and frenzy, their fear of possession,
Of belonging to another, or to others, or to God.
The only wisdom we can hope to acquire
Is the wisdom of humility: humility is endless.

The houses are all gone under the sea.

The dancers are all gone under the hill.

III

O dark dark dark. They all go into the dark,
The vacant interstellar spaces, the vacant into the vacant,
The captains, merchant bankers, eminent men of letters,
The generous patrons of art, the statesmen and the rulers,
Distinguished civil servants, chairmen of many committees,
Industrial lords and petty contractors, all go into the dark,
And dark the Sun and Moon, and the Almanach de Gotha
And the Stock Exchange Gazette, the Directory of Directors,
And cold the sense and lost the motive of action.
And we all go with them, into the silent funeral,
Nobody's funeral, for there is no one to bury.
I said to my soul, be still, and let the dark come upon you
Which shall be the darkness of God. As, in a theatre,
The lights are extinguished, for the scene to be changed
With a hollow rumble of wings, with a movement of darkness on darkness,
And we know that the hills and the trees, the distant panorama
And the bold imposing facade are all being rolled away-
Or as, when an underground train, in the tube, stops too long between stations
And the conversation rises and slowly fades into silence
And you see behind every face the mental emptiness deepen
Leaving only the growing terror of nothing to think about;
Or when, under ether, the mind is conscious but conscious of nothing-
I said to my soul, be still, and wait without hope
For hope would be hope for the wrong thing; wait without love,
For love would be love of the wrong thing; there is yet faith
But the faith and the love and the hope are all in the waiting.
Wait without thought, for you are not ready for thought:
So the darkness shall be the light, and the stillness the dancing.
Whisper of running streams, and winter lightning.
The wild thyme unseen and the wild strawberry,
The laughter in the garden, echoed ecstasy
Not lost, but requiring, pointing to the agony
Of death and birth.

                                             You say I am repeating
Something I have said before. I shall say it again.
Shall I say it again? In order to arrive there,
To arrive where you are, to get from where you are not,
       You must go by a way wherein there is no ecstacy.
In order to arrive at what you do not know
       You must go by a way which is the way of ignorance.
In order to possess what you do not possess
       You must go by the way of dispossession.
In order to arrive at what you are not
       You must go through the way in which you are not.
And what you do not know is the only thing you know
And what you own is what you do not own
And where you are is where you are not.

IV

The wounded surgeon plies the steel
That quesions the distempered part;
Beneath the bleeding hands we feel
The sharp compassion of the healer's art
Resolving the enigma of the fever chart.

Our only health is the disease
If we obey the dying nurse
Whose constant care is not to please
But to remind us of our, and Adam's curse,
And that, to be restored, our sickness must grow worse.

The whole earth is our hospital
Endowed by the ruined millionaire,
Wherein, if we do well, we shall
Die of the absolute paternal care
That will not leave us, but prevents us everywhere.

The chill ascends from feet to knees,
The fever sings in mental wires.
If to be warmed, then I must freeze
And quake in frigid purgatorial fires
Of which the flame is roses, and the smoke is briars.

The dripping blood our only drink,
The bloody flesh our only food:
In spite of which we like to think
That we are sound, substantial flesh and blood-
Again, in spite of that, we call this Friday good.

V

So here I am, in the middle way, having had twenty years-
Twenty years largely wasted, the years of l'entre deux guerres-
Trying to use words, and every attempt
Is a wholy new start, and a different kind of failure
Because one has only learnt to get the better of words
For the thing one no longer has to say, or the way in which
One is no longer disposed to say it. And so each venture
Is a new beginning, a raid on the inarticulate,
With shabby equipment always deteriorating
In the general mess of imprecision of feeling,
Undisciplined squads of emotion. And what there is to conquer
By strength and submission, has already been discovered
Once or twice, or several times, by men whom one cannot hope
To emulate - but there is no competition -
There is only the fight to recover what has been lost
And found and lost again and again: and now, under conditions
That seem unpropitious. But perhaps neither gain nor loss.
For us, there is only the trying. The rest is not our business.


Home is where one starts from. As we grow older
the world becomes stranger, the pattern more complicated
Of dead and living. Not the intense moment
Isolated, with no before and after,
But a lifetime burning in every moment
And not the lifetime of one man only
But of old stones that cannot be deciphered.
There is a time for the evening under starlight,
A time for the evening under lamplight
(The evening with the photograph album).
Love is most nearly itself
When here and now cease to matter.
Old men ought to be explorers
Here or there does not matter
We must be still and still moving
Into another intensity
For a further union, a deeper communion
Through the dark cold and the empty desolation,
The wave cry, the wind cry, the vast waters
Of the petrel and the porpoise. In my end is my beginning.

The Dry Salvages

(The Dry Salvages - presumably les trois sauvages - is a small
group of rocks, with a beacon, off the N.E. coast of Cape Ann,
Massachusetts. Salvages is pronounced to rhyme with assuages.
Groaner: a whistling buoy.)

I

       I do not know much about gods; but I think that the river
Is a strong brown god - sullen, untamed and intractable,
Patient to some degree, at first recognised as a frontier;
Useful, untrustworthy, as a conveyor of commerce;
Then only a problem confronting the builder of bridges.
The problem once solved, the brown god is almost forgotten
By the dwellers in cities - ever, however, implacable.
Keeping his seasons, and rages, destroyer, reminder
Of what men choose to forget. Unhonoured, unpropitiated
By worshippers of the machine, but waiting, watching and waiting.
His rhythm was present in the nursery bedroom,
In the rank ailanthus of the April dooryard,
In the smell of grapes on the autumn table,
And the evening circle in the winter gaslight.

       The river is within us, the sea is all about us;
The sea is the land's edge also, the granite,
Into which it reaches, the beaches where it tosses
Its hints of earlier and other creation:
The starfish, the horseshoe crab, the whale's backbone;
The pools where it offers to our curiosity
The more delicate algae and the sea anemone.
It tosses up our losses, the torn seine,
The shattered lobsterpot, the broken oar
And the gear of foreign dead men. The sea has many voices,
Many gods and many voices.
                                                  The salt is on the briar rose,
The fog is in the fir trees.
                                                  The sea howl
And the sea yelp, are different voices
Often together heard: the whine in the rigging,
The menace and caress of wave that breaks on water,
The distant rote in the granite teeth,
And the wailing warning form the approaching headland
Are all sea voices, and the heaving groaner
Rounded homewards, and the seagull:
And under the oppression of the silent fog
The tolling bell
Measures time not our time, rung by the unhurried
Ground swell, a time
Older than the time of chronometers, older
Than time counted by anxious worried women
Lying awake, calculating the future,
Trying to unweave, unwind, unravel
And piece together the past and the future,
Between midnight and dawn, when the past is all deception,
The future futureless, before the morning watch
Whem time stops and time is never ending;
And the ground swell, that is and was from the beginning,
Clangs
The bell.

II

       Where is there an end of it, the soundless wailing,
The silent withering of autumn flowers
Dropping their petals and remaining motionless;
Where is there and end to the drifting wreckage,
The prayer of the bone on the beach, the unprayable
Prayer at the calamitous annunciation?

       There is no end, but addition: the trailing
Consequence of further days and hours,
While emotion takes to itself the emotionless
Years of living among the breakage
Of what was believed in as the most reliable-
And therefore the fittest for renunciation.

       There is the final addition, the failing
Pride or resentment at failing powers,
The unattached devotion which might pass for devotionless,
In a drifting boat with a slow leakage,
The silent listening to the undeniable
Clamour of the bell of the last annunciation.

       Where is the end of them, the fishermen sailing
Into the wind's tail, where the fog cowers?
We cannot think of a time that is oceanless
Or of an ocean not littered with wastage
Or of a future that is not liable
Like the past, to have no destination.

       We have to think of them as forever bailing,
Setting and hauling, while the North East lowers
Over shallow banks unchanging and erosionless
Or drawing their money, drying sails at dockage;
Not as making a trip that will be unpayable
For a haul that will not bear examination.

       There is no end of it, the voiceless wailing,
No end to the withering of withered flowers,
To the movement of pain that is painless and motionless,
To the drift of the sea and the drifting wreckage,
The bone's prayer to Death its God. Only the hardly, barely prayable
Prayer of the one Annunciation.

       It seems, as one becomes older,
That the past has another pattern, and ceases to be a mere sequence-
Or even development: the latter a partial fallacy
Encouraged by superficial notions of evolution,
Which becomes, in the popular mind, a means of disowning the past.
The moments of happiness - not the sense of well-being,
Fruition, fulfilment, security or affecton,
Or even a very good dinner, but the sudden illumination—
We had the experience but missed the meaning,
And approach to the meaning restores the experience
In a different form, beyond any meaning
We can assign to happiness. I have said before
That the past experience revived in the meaning
Is not the experience of one life only
But of many generations - not forgetting
Something that is probably quite ineffable:
The backward look behind the assurance
Of recorded history, the backward half-look
Over the shoulder, towards the primitive terror.
Now, we come to discover that the moments of agony
(Whether, or not, due to misunderstanding,
Having hoped for the wrong things or dreaded the wrong things,
Is not in question) are likewise permanent
With such permanence as time has. We appreciate this better
In the agony of others, nearly experienced,
Involving ourselves, than in our own.
For our own past is covered by the currents of action,
But the torment of others remains an experience
Unqualified, unworn by subsequent attrition.
People change, and smile: but the agony abides.
Time the destroyer is time the preserver,
Like the river with its cargo of dead negroes, cows and chicken coops,
The bitter apple, and the bite in the apple.
And the ragged rock in the restless waters,
Waves wash over it, fogs conceal it;
On a halcyon day it is merely a monument,
In navigable weather it is always a seamark
To lay a course by, but in the sombre season
Or the sudden fury, is what it always was.

III

I sometimes wonder if that is what Krishna meant-
Among other things - or one way of putting the same thing:
That the future is a faded song, a Royal Rose or a lavender spray
Of wistful regret for those who are not yet here to regret,
Pressed between yellow leaves of a book that has never been opened.
And the way up is the way down, the way forward is the way back.
You cannot face it steadily, but this thing is sure,
That time is no healer: the patient is no longer here.
When the train starts, and the passengers are settled
To fruit, periodicals and business letters
(And those who saw them off have left the platform)
Their faces relax from grief into relief,
To the sleepy rhythm of a hundred hours.
Fare forward, travellers! not escaping from the past
Into different lives, or into any future;
You are not the same people who left that station
Or who will arrive at any terminus,
While the narrowing rails slide together behind you;
Watching the furrow that widens behind you,
You shall not think "the past is finished"
Or "the future is before us".
At nightfall, in the rigging and the aerial,
Is a voice descanting (though not to the ear,
The murmuring shell of time, and not in any language)
"Fare forward, you who think that you are voyaging;
You are not those who saw the harbour
Receding, or those who will disembark.
Here between the hither and the farther shore
While time is withdrawn, consider the future
And the past with an equal mind.
At the moment which is not of action or inaction
You can receive this: 'on whatever sphere of being
The mind of a man may be intent
At the time of death' - that is the one action
(And the time of death is every moment)
Which shall fructify in the lives of others:
And do not think of the fruit of action.
Fare forward.
                        O voyagers, O seamen,
You who came to port, and you whose bodies
Will suffer the trial and judgement of the sea,
Or whatever event, this is your real destination."
So Krishna, as when he admonished Arjuna
On the field of battle.
                                            Not fare well,
But fare forward, voyagers.

IV

       Lady, whose shrine stands on the promontory,
Pray for all those who are in ships, those
Whose business has to do with fish, and
Those concerned with every lawful traffic
And those who conduct them.

       Repeat a prayer also on behalf of
Women who have seen their sons or husbands
Setting forth, and not returning:
Figlia del tuo figlio,
Queen of Heaven.

       Also pray for those who were in ships, and
Ended their voyage on the sand, in the sea's lips
Or in the dark throat which will not reject them
Or wherever cannot reach them the sound of the sea bell's
Perpetual angelus.

V

To communicate with Mars, converse with spirits,
To report the behaviour of the sea monster,
Describe the horoscope, haruspicate or scry,
Observe disease in signatures, evoke
Biography from the wrinkles of the palm
And tragedy from fingers; release omens
By sortilege, or tea leaves, riddle the inevitable
With playing cards, fiddle with pentagrams
Or barbituric acids, or dissect
The recurrent image into pre-conscious terrors-
To explore the womb, or tomb, or dreams; all these are usual
Pastimes and drugs, and features of the press:
And always will be, some of them especially
Whether on the shores of Asia, or in the Edgware Road,
Men's curiosity searches past and future
And clings to that dimension. But to apprehend
The point of intersection of the timeless
With time, is an occupation for the saint—
No occupation either, but something given
And taken, in a lifetime's death in love,
Ardour and selflessness and self-surrender.
For most of us, there is only the unattended
Moment, the moment in and out of time,
The distraction fit, lost in a shaft of sunlight,
The wild thyme unseen, or the winter lightning
Or the waterfall, or music heard so deeply
That it is not heard at all, but you are the music
While the music lasts. These are only hints and guesses,
Hints followed by guesses; and the rest
Is prayer, observance, discipline, thought and action.
The hint half guessed, the gift half understood, is Incarnation.
Here the impossible union
Of spheres of evidence is actual,
Here the past and future
Are conquered, and reconciled,
Where action were otherwise movement
Of that which is only moved
And has in it no source of movement—
Driven by daemonic, chthonic
Powers. And right action is freedom
From past and future also.
For most of us, this is the aim
Never here to be realised;
Who are only undefeated
Because we have gone on trying;
We, content at the last
If our temporal reversion nourish
(Not too far from the yew-tree)
The life of significant soil.

Little Gidding



I

Midwinter spring is its own season
Sempiternal though sodden towards sundown,
Suspended in time, between pole and tropic.
Whem the short day is brightest, with frost and fire,
The brief sun flames the ice, on pond and ditches,
In windless cold that is the heart's heat,
Reflecting in a watery mirror
A glare that is blindness in the early afternoon.
And glow more intense than blaze of branch, or brazier,
Stirs the dumb spirit: no wind, but pentecostal fire
In the dark time of the year. Between melting and freezing
The soul's sap quivers. There is no earth smell
Or smell of living thing. This is the spring time
But not in time's covenant. Now the hedgerow
Is blanched for an hour with transitory blossom
Of snow, a bloom more sudden
Than that of summer, neither budding nor fading,
Not in the scheme of generation.
Where is the summer, the unimaginable
Zero summer?

                        If you came this way,
Taking the route you would be likely to take
From the place you would be likely to come from,
If you came this way in may time, you would find the hedges
White again, in May, with voluptuary sweetness.
It would be the same at the end of the journey,
If you came at night like a broken king,
If you came by day not knowing what you came for,
It would be the same, when you leave the rough road
And turn behind the pig-sty to the dull facade
And the tombstone. And what you thought you came for
Is only a shell, a husk of meaning
From which the purpose breaks only when it is fulfilled
If at all. Either you had no purpose
Or the purpose is beyond the end you figured
And is altered in fulfilment. There are other places
Which also are the world's end, some at the sea jaws,
Or over a dark lake, in a desert or a city—
But this is the nearest, in place and time,
Now and in England.

                                      If you came this way,
Taking any route, starting from anywhere,
At any time or at any season,
It would always be the same: you would have to put off
Sense and notion. You are not here to verify,
Instruct yourself, or inform curiosity
Or carry report. You are here to kneel
Where prayer has been valid. And prayer is more
Than an order of words, the conscious occupation
Of the praying mind, or the sound of the voice praying.
And what the dead had no speech for, when living,
They can tell you, being dead: the communication
Of the dead is tongued with fire beyond the language of the living.
Here, the intersection of the timeless moment
Is England and nowhere. Never and always.

II

Ash on an old man's sleeve
Is all the ash the burnt roses leave.
Dust in the air suspended
Marks the place where a story ended.
Dust inbreathed was a house-
The walls, the wainscot and the mouse,
The death of hope and despair,
         This is the death of air.

There are flood and drouth
Over the eyes and in the mouth,
Dead water and dead sand
Contending for the upper hand.
The parched eviscerate soil
Gapes at the vanity of toil,
Laughs without mirth.
         This is the death of earth.

Water and fire succeed
The town, the pasture and the weed.
Water and fire deride
The sacrifice that we denied.
Water and fire shall rot
The marred foundations we forgot,
Of sanctuary and choir.
         This is the death of water and fire.

In the uncertain hour before the morning
    Near the ending of interminable night
    At the recurrent end of the unending
After the dark dove with the flickering tongue
    Had passed below the horizon of his homing
    While the dead leaves still rattled on like tin
Over the asphalt where no other sound was
    Between three districts whence the smoke arose
    I met one walking, loitering and hurried
As if blown towards me like the metal leaves
    Before the urban dawn wind unresisting.
    And as I fixed upon the down-turned face
That pointed scrutiny with which we challenge
    The first-met stranger in the waning dusk
    I caught the sudden look of some dead master
Whom I had known, forgotten, half recalled
    Both one and many; in the brown baked features
    The eyes of a familiar compound ghost
Both intimate and unidentifiable.
    So I assumed a double part, and cried
    And heard another's voice cry: "What! are you here?"
Although we were not. I was still the same,
    Knowing myself yet being someone other—
    And he a face still forming; yet the words sufficed
To compel the recognition they preceded.
    And so, compliant to the common wind,
    Too strange to each other for misunderstanding,
In concord at this intersection time
    Of meeting nowhere, no before and after,
    We trod the pavement in a dead patrol.
I said: "The wonder that I feel is easy,
    Yet ease is cause of wonder. Therefore speak:
    I may not comprehend, may not remember."
And he: "I am not eager to rehearse
    My thoughts and theory which you have forgotten.
    These things have served their purpose: let them be.
So with your own, and pray they be forgiven
    By others, as I pray you to forgive
    Both bad and good. Last season's fruit is eaten
And the fullfed beast shall kick the empty pail.
    For last year's words belong to last year's language
    And next year's words await another voice.
But, as the passage now presents no hindrance
    To the spirit unappeased and peregrine
    Between two worlds become much like each other,
So I find words I never thought to speak
    In streets I never thought I should revisit
    When I left my body on a distant shore.
Since our concern was speech, and speech impelled us
    To purify the dialect of the tribe
    And urge the mind to aftersight and foresight,
Let me disclose the gifts reserved for age
    To set a crown upon your lifetime's effort.
    First, the cold fricton of expiring sense
Without enchantment, offering no promise
    But bitter tastelessness of shadow fruit
    As body and sould begin to fall asunder.
Second, the conscious impotence of rage
    At human folly, and the laceration
    Of laughter at what ceases to amuse.
And last, the rending pain of re-enactment
    Of all that you have done, and been; the shame
Of things ill done and done to others' harm
    Which once you took for exercise of virtue.
    Then fools' approval stings, and honour stains.
From wrong to wrong the exasperated spirit
    Proceeds, unless restored by that refining fire
    Where you must move in measure, like a dancer."
The day was breaking. In the disfigured street
    He left me, with a kind of valediction,
    And faded on the blowing of the horn.

III

There are three conditions which often look alike
Yet differ completely, flourish in the same hedgerow:
Attachment to self and to things and to persons, detachment
From self and from things and from persons; and, growing between them, indifference
Which resembles the others as death resembles life,
Being between two lives - unflowering, between
The live and the dead nettle. This is the use of memory:
For liberation - not less of love but expanding
Of love beyond desire, and so liberation
From the future as well as the past. Thus, love of a country
Begins as an attachment to our own field of action
And comes to find that action of little importance
Though never indifferent. History may be servitude,
History may be freedom. See, now they vanish,
The faces and places, with the self which, as it could, loved them,
To become renewed, transfigured, in another pattern.
Sin is Behovely, but
All shall be well, and
All manner of thing shall be well.
If I think, again, of this place,
And of people, not wholly commendable,
Of not immediate kin or kindness,
But of some peculiar genius,
All touched by a common genius,
United in the strife which divided them;
If I think of a king at nightfall,
Of three men, and more, on the scaffold
And a few who died forgotten
In other places, here and abroad,
And of one who died blind and quiet,
Why should we celebrate
These dead men more than the dying?
It is not to ring the bell backward
Nor is it an incantation
To summon the spectre of a Rose.
We cannot revive old factions
We cannot restore old policies
Or follow an antique drum.
These men, and those who opposed them
And those whom they opposed
Accept the constitution of silence
And are folded in a single party.
Whatever we inherit from the fortunate
We have taken from the defeated
What they had to leave us - a symbol:
A symbol perfected in death.
And all shall be well and
All manner of thing shall be well
By the purification of the motive
In the ground of our beseeching.

IV

The dove descending breaks the air
With flame of incandescent terror
Of which the tongues declare
The one dischage from sin and error.
The only hope, or else despair
    Lies in the choice of pyre of pyre-
    To be redeemed from fire by fire.

Who then devised the torment? Love.
Love is the unfamiliar Name
Behind the hands that wove
The intolerable shirt of flame
Which human power cannot remove.
    We only live, only suspire
    Consumed by either fire or fire.

V

What we call the beginning is often the end
And to make and end is to make a beginning.
The end is where we start from. And every phrase
And sentence that is right (where every word is at home,
Taking its place to support the others,
The word neither diffident nor ostentatious,
An easy commerce of the old and the new,
The common word exact without vulgarity,
The formal word precise but not pedantic,
The complete consort dancing together)
Every phrase and every sentence is an end and a beginning,
Every poem an epitaph. And any action
Is a step to the block, to the fire, down the sea's throat
Or to an illegible stone: and that is where we start.
We die with the dying:
See, they depart, and we go with them.
We are born with the dead:
See, they return, and bring us with them.
The moment of the rose and the moment of the yew-tree
Are of equal duration. A people without history
Is not redeemed from time, for history is a pattern
Of timeless moments. So, while the light fails
On a winter's afternoon, in a secluded chapel
History is now and England.

With the drawing of this Love and the voice of this Calling

We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
Through the unknown, unremembered gate
When the last of earth left to discover
Is that which was the beginning;
At the source of the longest river
The voice of the hidden waterfall
And the children in the apple-tree
Not known, because not looked for
But heard, half-heard, in the stillness
Between two waves of the sea.
Quick now, here, now, always—
A condition of complete simplicity
(Costing not less than everything)
And all shall be well and
All manner of thing shall be well
When the tongues of flames are in-folded
Into the crowned knot of fire
And the fire and the rose are one.





THE BRIDGE by Hart Crane

The Bridge Copyright © 1933, 1958, 1966 by Liverlight Publishing Corp. All rights reserved.




THE BRIDGE
==========================
From going to and fro in the earth,
And from walking up and down in it.
-The Book of Job



TO BROOKLYN BRIDGE


How many dawns, chill from his rippling rest
The seagull’s wings shall dip and pivot him,
Shedding white rings of tumult, building high
Over the chained bay waters Liberty—

Then, with inviolate curve, forsake our eyes   
As apparitional as sails that cross
Some page of figures to be filed away;
—Till elevators drop us from our day ...

I think of cinemas, panoramic sleights
With multitudes bent toward some flashing scene
Never disclosed, but hastened to again,
Foretold to other eyes on the same screen;

And Thee, across the harbor, silver paced
As though the sun took step of thee yet left
Some motion ever unspent in thy stride,—
Implicitly thy freedom staying thee!

Out of some subway scuttle, cell or loft
A bedlamite speeds to thy parapets,
Tilting there momently, shrill shirt ballooning,
A jest falls from the speechless caravan.

Down Wall, from girder into street noon leaks,
A rip-tooth of the sky’s acetylene;
All afternoon the cloud flown derricks turn ...
Thy cables breathe the North Atlantic still.

And obscure as that heaven of the Jews,
Thy guerdon ... Accolade thou dost bestow
Of anonymity time cannot raise:
Vibrant reprieve and pardon thou dost show.

O harp and altar, of the fury fused,
(How could mere toil align thy choiring strings!)
Terrific threshold of the prophet’s pledge,
Prayer of pariah, and the lover’s cry,

Again the traffic lights that skim thy swift
Unfractioned idiom, immaculate sigh of stars,
Beading thy path—condense eternity:
And we have seen night lifted in thine arms.

Under thy shadow by the piers I waited
Only in darkness is thy shadow clear.
The City’s fiery parcels all undone,
Already snow submerges an iron year ...

O Sleepless as the river under thee,
Vaulting the sea, the prairies’ dreaming sod,         
Unto us lowliest sometime sweep, descend
And of the curveship lend a myth to God.


I. AVA MARIA
==========================
Venient annis, saecula seris,
Quibus Oceanus vincula rerum
Laxet et ingens pateat tellus
Tethysque novos detegat orbes
Nec sit terris ultima Thule.
-Seneca


Be with me, Luis de San Angel, now—
Witness before the tides can wrest away
The word I bring, O you who reined my suit
Into the Queen's great heart that doubtful day;
For I have seen now what no perjured breath
Of clown nor sage can riddle or gainsay;—
To you, too, Juan Perez, whose counsel fear
And greed adjourned,— I bring you back Cathay!

Here waves climb into dusk on gleaming mail;
Invisible valves of the sea,— locks, tendons
Crested and creeping, troughing corridors
That fall back yawning to another plunge.
Slowly the sun's red caravel drops light
Once more behind us. . . . It is morning there—
O where our Indian emperies lie revealed,
Yet lost, all, let this keel one instant yield!

I thought of Genoa; and this truth, now proved,
That made me exile on her streets, stood me
More absolute than ever — biding the moon
Till dawn should clear that dim frontier, first seen
—The Chan's great continent . . . . Then faith, not fear
Nigh surged me witless . . . . Hearing the surf near—
I, wonder-breathing, kept the watch,— saw
The first palm chevron the first lighted hill.

And lowered. And they came out to us crying,
"The Great White Birds!" (O Madre Maria, still
One ship of these thou grantest safe returning;
Assure us through thy mantle's ageless blue! )
And record of more, floating in a casque,
Was tumbled from us under bare poles scudding;
And later hurricanes may claim more pawn. . . .
For here between two worlds, another, harsh,

This third, of water, tests the word; lo, here
Bewilderment and mutiny heap whelming
Laughter, and shadow cuts sleep from the heart
Almost as though the Moor's flung scimitar
Found more than flesh to fathom in its fall.
Yet under tempest-lash and surfeitings
Some inmost sob, half-heard, dissuades the abyss,
Merges the wind in measure to the waves,

Series on series, infinite, — till eyes
Starved wide on blackened tides, accrete — enclose
This turning rondure whole, this crescent ring
Sun-cusped and zoned with modulated fire
Like pearls that whisper through the Doge's hands
—Yet no delirium of jewels! O Fernando,
Take of that eastern shore, this western sea,
Yet yield thy God's, thy Virgin's charity!

—Rush down the plenitude, and you shall see
Isaiah counting famine on this lee!

* * *

An herb, a stray branch among salty teeth,
The jellied weeds that drag the shore, — perhaps
Tomorrow's moon will grant us Saltes Bar—
Palos again,— a land cleared of long war.
Some Angelus environs the cordage tree;
Dark waters onward shake the dark prow free.

O Thou who sleepest on Thyself, apart
Like ocean athwart lanes of death and birth,
And all the eddying breath between dost search
Cruelly with love thy parable of man,—
Inquisitor! incognizable Word
Of Eden and the enchained Sepulchre,
Into thy steep savannahs, burning blue,
Utter to loneliness the sail is true.

Who grindest oar, and arguing the mast
Subscribest holocaust of ships, O Thou
Within whose primal scan consummately
The glistening seignories of Ganges swim; —
Who sendest greeting by the corposant,
And Teneriffe's garnet — flamed it in a cloud,
Urging through night our passage to the Chan;—
Te Deum laudamus, for thy teeming span!

Of all that amplitude that time explores,
A needle in the sight, suspended north,—
Yielding by inference and discard, faith
And true appointment from the hidden shoal:
This disposition that thy night relates
From Moon to Saturn in one sapphire wheel:
The orbic wake of thy once whirling feet,
Elohim, still I hear thy sounding heel!

White toil of heaven's cordons, mustering
In holy rings all sails charged to the far
Hushed gleaming fields and pendant seething wheat
Of knowledge,— round thy brows unhooded now
—The kindled Crown! acceded of the poles
And biassed by full sails, meridians reel
Thy purpose — still one shore beyond desire!
The sea's green crying towers a-sway, Beyond

And kingdoms
naked in the
trembling heart—
Te Deum laudamus
O Thou Hand of Fire



II. POWHATAN'S DAUGHTER
...



THE HARBOR DAWN



Insistently through sleep — a tide of voices —
They meet you listening midway in your dream,
The long, tired sounds, fog-insulated noises:
Gongs in white surplices, beshrouded wails,
Far strum of fog horns ... signals dispersed in veils.

And then a truck will lumber past the wharves
As winch engines begin throbbing on some deck;
Or a drunken stevedore's howl and thud below
Comes echoing alley-upward through dim snow.

And if they take your sleep away sometimes
They give it back again. Soft sleeves of sound
Attend the darkling harbor, the pillowed bay;
Somewhere out there in blankness steam

Spills into steam, and wanders, washed away
— Flurried by keen fifings, eddied
Among distant chiming buoys — adrift. The sky,

Cool feathery fold, suspends, distills
This wavering slumber. ... Slowly —
Immemorially the window, the half-covered chair
Ask nothing but this sheath of pallid air.

And you beside me, blessed now while sirens
Sing to us, stealthily weave us into day —
Serenely now, before day claims our eyes
Your cool arms murmurously about me lay.

While myriad snowy hands are clustering at the panes —

            your hands within my hands are deeds;
            my tongue upon your throat — singing

            arms close; eyes wide, undoubtful
                             dark
                                             drink the dawn —
            a forest shudders in your hair!



The window goes blond slowly. Frostily clears.
From Cyclopean towers across Manhattan waters
— Two — three bright window-eyes aglitter, disk
The sun, released — aloft with cold gulls hither.

The fog leans one last moment on the sill.
Under the mistletoe of dreams, a star —
As though to join us at some distant hill —
Turns in the waking west and goes to sleep.


VAN WINKLE

Macadam, gun-grey as the tunny's belt,
Leaps from Far Rockaway to Golden Gate:
Listen! the miles a hurdy-gurdy grinds —
Down gold arpeggios mile on mile unwinds.

Times earlier, when you hurried off to school,
— It is the same hour though a later day —
You walked with Pizarro in a copybook,
And Cortes rode up, reining tautly in —
Firmly as coffee grips the taste, — and away!

There was Priscilla's cheek close in the wind,
And Captain Smith, all beard and certainty,
And Rip Van Winkle bowing by the way, —
" Is this Sleepy Hollow, friend — ? " And he —

And Rip forgot the office hours,
                          and he forgot the pay;
           Van Winkle sweeps a tenement
                                way down on Avenue A , —

The grind-organ says ... Remember, remember
The cinder pile at the end of the backyard
Where we stoned the family of young
Garter snakes under ... And the monoplanes
We launched — with paper wings and twisted
Rubber bands ... Recall — recall

                                                                           the rapid tongues
That flittered from under the ash heap day
After day whenever your stick discovered
Some sunning inch of unsuspecting fibre —
It flashed back at your thrust, as clean as fire.

And Rip was slowly made aware
         that he, Van Winkle, was not here
nor there. He woke and swore he'd seen Broadway
                a Catskill daisy chain in May —


So memory, that strikes a rhyme out of a box,
Or splits a random smell of flowers through glass —
Is it the whip stripped from the lilac tree
One day in spring my father took to me,
Or is it the Sabbatical, unconscious smile
My mother almost brought me once from church
And once only, as I recall — ?

It flickered through the snow screen, blindly
It forsook her at the doorway, it was gone
Before I had left the window. It
Did not return with the kiss in the hall.
Macadam, gun-grey as the tunny's belt,
Leaps from Far Rockaway to Golden Gate. . . .
Keep hold of that nickel for car-change, Rip, —
Have you got your " Times " — ?
And hurry along, Van Winkle — it's getting late!


THE RIVER

Stick your patent name on a signboard
brother — all over — going west — young man
Tintex — Japalac — Certain-teed Overalls ads
and lands sakes! under the new playbill ripped
in the guaranteed corner — see Bert Williams what?
Minstrels when you steal a chicken just
save me the wing for if it isn't
Erie it ain't for miles around a
Mazda — and the telegraphic night coming on Thomas

a Ediford — and whistling down the tracks
a headlight rushing with the sound — can you
imagine — while an Express makes time like
SCIENCE — COMMERCE and the HOLYGHOST
RADIO ROARS IN EVERY HOME WE HAVE THE NORTHPOLE
WALLSTREET AND VIRGINBIRTH WITHOUT STONES OR
WIRES OR EVEN RUN ning brooks connecting ears
and no more sermons windows flashing roar
breathtaking — as you like it ... eh?

                                       So the 20th Century — so
whizzed the Limited — roared by and left
three men, still hungry on the tracks, ploddingly
watching the tail lights wizen and converge, slip-
ping gimleted and neatly out of sight.

* * * * * * * * * * * * * * * * * * * * * * * * *
The last bear, shot drinking in the Dakotas
Loped under wires that span the mountain stream.
Keen instruments, strung to a vast precision
Blind town to town and dream to ticking dream.
But some men take their liquor slow — and count
— Though they'll confess no rosary nor clue —
The river's minute by the far brook's year.
Under a world of whistles, wires and steam
Caboose-like they go ruminating through
Ohio, Indiana — blind baggage —
To Cheyenne tagging ... Maybe Kalamazoo.

Time's rendings, time's blendings they construe
As final reckonings of fire and snow;
Strange bird-wit, like the elemental gist
Of unwalled winds they offer, singing low
My Old Kentucky Home and Casey Jones,
Some Sunny Day. I heard a road-gang chanting so.
And afterwards, who had a colt's eyes — one said,
" Jesus! Oh I remember watermelon days! " And sped
High in a cloud of merriment, recalled
" — And when my Aunt Sally Simpson smiled, " he drawled —
" It was almost Louisiana, long ago. "
" There's no place like Booneville though, Buddy, "
One said, excising a last burr from his vest,
" — For early trouting. " Then peering in the can,
" — But I kept on the tracks. " Possessed, resigned,
He trod the fire down pensively and grinned,
Spreading dry shingles of a beard. . . .

                                                      Behind
My father's cannery works I used to see
Rail-squatters ranged in nomad raillery,
The ancient men — wifeless or runaway
Hobo-trekkers that forever search
An empire wilderness of freight and rails.
Each seemed a child, like me, on a loose perch,
Holding to childhood like some termless play.
John, Jake or Charley, hopping the slow freight
— Memphis to Tallahassee — riding the rods,
Blind fists of nothing, humpty-dumpty clods.

Yet they touch something like a key perhaps.
From pole to pole across the hills, the states
— They know a body under the wide rain;
Youngsters with eyes like fjords, old reprobates
With racetrack jargon, — dotting immensity
They lurk across her, knowing her yonder breast
Snow-silvered, sumac-stained or smoky blue —
Is past the valley-sleepers, south or west.
— As I have trod the rumorous midnights, too,

And past the circuit of the lamp's thin flame
(O Nights that brought me to her body bare!)
Have dreamed beyond the print that bound her name.
Trains sounding the long blizzards out — I heard
Wail into distances I knew were hers.
Papooses crying on the wind's long mane
Screamed redskin dynasties that fled the brain,
— Dead echoes! But I knew her body there,
Time like a serpent down her shoulder, dark,
And space, an eaglet's wing, laid on her hair.

Under the Ozarks, domed by Iron Mountain,
The old gods of the rain lie wrapped in pools
Where eyeless fish curvet a sunken fountain
And re-descend with corn from querulous crows.
Such pilferings make up their timeless eatage,
Propitiate them for their timber torn
By iron, iron — always the iron dealt cleavage!
They doze now, below axe and powder horn.

And Pullman breakfasters glide glistening steel
From tunnel into field — iron strides the dew —
Straddles the hill, a dance of wheel on wheel.
You have a half-hour's wait at Siskiyou,
Or stay the night and take the next train through.
Southward, near Cairo passing, you can see
The Ohio merging, — borne down Tennessee;
And if it's summer and the sun's in dusk
Maybe the breeze will lift the River's musk
— As though the waters breathed that you might know
Memphis Johnny, Steamboat Bill, Missouri Joe.
Oh, lean from the window, if the train slows down,
As though you touched hands with some ancient clown,
— A little while gaze absently below
And hum Deep River with them while they go.

Yes, turn again and sniff once more — look see,
O Sheriff, Brakeman and Authority —
Hitch up your pants and crunch another quid,
For you, too, feed the River timelessly.
And few evade full measure of their fate;
Always they smile out eerily what they seem.
I could believe he joked at heaven's gate —
Dan Midland — jolted from the cold brake-beam.

Down, down — born pioneers in time's despite,
Grimed tributaries to an ancient flow —
They win no frontier by their wayward plight,
But drift in stillness, as from Jordan's brow.

You will not hear it as the sea; even stone
Is not more hushed by gravity ... But slow,
As loth to take more tribute — sliding prone
Like one whose eyes were buried long ago

The River, spreading, flows — and spends your dream.
What are you, lost within this tideless spell?
You are your father's father, and the stream —
A liquid theme that floating niggers swell.

Damp tonnage and alluvial march of days —
Nights turbid, vascular with silted shale
And roots surrendered down of moraine clays:
The Mississippi drinks the farthest dale.

O quarrying passion, undertowed sunlight!
The basalt surface drags a jungle grace
Ochreous and lynx-barred in lengthening might;
Patience! and you shall reach the biding place!

Over De Soto's bones the freighted floors
Throb past the City storied of three thrones.
Down two more turns the Mississippi pours
(Anon tall ironsides up from salt lagoons)

And flows within itself, heaps itself free.
All fades but one thin skyline 'round ... Ahead
No embrace opens but the stinging sea;
The River lifts itself from its long bed,

Poised wholly on its dream, a mustard glow
Tortured with history, its one will — flow!
— The Passion spreads in wide tongues, choked and slow,
Meeting the Gulf, hosannas silently below.


THE DANCE

The swift red flesh, a winter king —
Who squired the glacier woman down the sky?
She ran the neighing canyons all the spring;
She spouted arms; she rose with maize — to die.

And in the autumn drouth, whose burnished hands
With mineral wariness found out the stone
Where prayers, forgotten, streamed the mesa sands?
He holds the twilight's dim, perpetual throne.

Mythical brows we saw retiring — loth,
Disturbed and destined, into denser green.
Greeting they sped us, on the arrow's oath:
Now lie incorrigibly what years between ...

There was a bed of leaves, and broken play;
There was a veil upon you, Pocahontas, bride —
O Princess whose brown lap was virgin May;
And bridal flanks and eyes hid tawny pride.

I left the village for dogwood. By the canoe
Tugging below the mill-race, I could see
Your hair's keen crescent running, and the blue
First moth of evening take wing stealthily.

What laughing chains the water wove and threw!
I learned to catch the trout's moon whisper; I
Drifted how many hours I never knew,
But, watching, saw that fleet young crescent die, —

And one star, swinging, take its place, alone,
Cupped in the larches of the mountain pass —
Until, immortally, it bled into the dawn.
I left my sleek boat nibbling margin grass ...

I took the portage climb, then chose
A further valley-shed; I could not stop.
Feet nozzled wat'ry webs of upper flows;
One white veil gusted from the very top.

O Appalachian Spring! I gained the ledge;
Steep, inaccessible smile that eastward bends
And northward reaches in that violet wedge
Of Adirondacks! — wisped of azure wands,

Over how many bluffs, tarns, streams I sped!
— And knew myself within some boding shade: —
Grey tepees tufting the blue knolls ahead,
Smoke swirling through the yellow chestnut glade ...

A distant cloud, a thunder-bud — it grew,
That blanket of the skies: the padded foot
Within, — I heard it; 'til its rhythm drew,
— Siphoned the black pool from the heart's hot root!

A cyclone threshes in the turbine crest,
Swooping in eagle feathers down your back;
Know, Maquokeeta, greeting; know death's best;
— Fall, Sachem, strictly as the tamarack!

A birch kneels. All her whistling fingers fly
The oak grove circles in a crash of leaves;
The long moan of a dance is in the sky.
Dance, Maquokeeta: Pocahontas grieves ...

And every tendon scurries toward the twangs
Of lightning deltaed down your saber hair.
Now snaps the flint in every tooth; red fangs
And splay tongues thinly busy the blue air ...

Dance, Maquokeeta! snake that lives before,
That casts his pelt, and lives beyond! Sprout, horn!
Spark, tooth! Medicine-man, relent, restore —
Lie to us, — dance us back the tribal morn!

Spears and assemblies: black drums thrusting on —
O yelling battlements, — I, too, was liege
To rainbows currying each pulsant bone:
Surpassed the circumstance, danced out the siege!

And buzzard-circleted, screamed from the stake;
I could not pick the arrows from my side.
Wrapped in that fire, I saw more escorts wake —
Flickering, sprint up the hill groins like a tide.

I heard the hush of lava wrestling your arms,
And stag teeth foam about the raven throat;
Flame cataracts of heaven in seething swarms
Fed down your anklets to the sunset's moat.

O, like the lizard in the furious noon,
That drops his legs and colors in the sun,
— And laughs, pure serpent, Time itself, and moon
Of his own fate, I saw thy change begun!

And saw thee dive to kiss that destiny
Like one white meteor, sacrosanct and blent
At last with all that's consummate and free
There, where the first and last gods keep thy tent.

* * *

Thewed of the levin, thunder-shod and lean,
Lo, through what infinite seasons dost thou gaze —
Across what bivouacs of thine angered slain,
And see'st thy bride immortal in the maize!

Totem and fire-gall, slumbering pyramid —
Though other calendars now stack the sky,
Thy freedom is her largesse, Prince, and hid
On paths thou knewest best to claim her by.

High unto Labrador the sun strikes free
Her speechless dream of snow, and stirred again,
She is the torrent and the singing tree;
And she is virgin to the last of men ...

West, west and south! winds over Cumberland
And winds across the llano grass resume
Her hair's warm sibilance. Her breasts are fanned
O stream by slope and vineyard — into bloom!

And when the caribou slant down for salt
Do arrows thirst and leap? Do antlers shine
Alert, star-triggered in the listening vault
Of dusk? — And are her perfect brows to thine?

We danced, O Brave, we danced beyond their farms,
In cobalt desert closures made our vows ...
Now is the strong prayer folded in thine arms,
The serpent with the eagle in the boughs.


INDIANA

The morning glory, climbing the morning long
   Over the lintel on its wiry vine,
Closes before the dusk, furls in its song
        As I close mine ...

And bison thunder rends my dreams no more
As once my womb was torn, my boy, when you
Yielded your first cry at the prairie's door ...
Your father knew

Then, though we'd buried him behind us, far
Back on the gold trail — then his lost bones stirred ...
But you who drop the scythe to grasp the oar
Knew not, nor heard

How we, too, Prodigal, once rode off, too —
Waved Seminary Hill a gay good-bye ...
We found God lavish there in Colorado
But passing sly.

The pebbles sang, the firecat slunk away
And glistening through the sluggard freshets came
In golden syllables loosed from the clay
His gleaming name.

A dream called Eldorado was his town,
It rose up shambling in the nuggets' wake,
It had no charter but a promised crown
Of claims to stake.

But we, — too late, too early, howsoever —
Won nothing out of fifty-nine — those years —
But gilded promise, yielded to us never,
And barren tears ...

The long trail back! I huddled in the shade
Of wagon-tenting looked out once and saw
Bent westward, passing on a stumbling jade
A homeless squaw —

Perhaps a halfbreed. On her slender back
She cradled a babe's body, riding without rein.
Her eyes, strange for an Indian's, were not black
But sharp with pain

And like twin stars. They seemed to shun the gaze
Of all our silent men — the long team line —
Until she saw me — when their violet haze
Lit with love shine ...

I held you up — I suddenly the bolder,
Knew that mere words could not have brought us nearer
She nodded — and that smile across her shoulder
Will still endear her

As long as Jim, your father's memory, is warm.
Yes, Larry, now you're going to sea, remember
You were the first — before Ned and this farm, —
First-born, remember —

And since then — all that's left to me of Jim
Whose folks, like mine, came out of Arrowhead.
And you're the only one with eyes like him —
Kentucky bred!

I'm standing still, I'm old, I'm half of stone!
Oh, hold me in those eyes' engaging blue;
There's where the stubborn years gleam and atone, —
Where gold is true!

Down the dim turnpike to the river's edge —
Perhaps I'll hear the mare's hoofs to the ford ...
Write me from Rio ... and you'll keep your pledge;
I know your word!

Come back to Indiana — not too late!
(Or will you be a ranger to the end?)
Good-bye ... Good-bye ... oh, I shall always wait
You, Larry, traveller —
stranger,
son,
— my friend —


 {{to complete  poem, remaining from

CUTTY SARK to ATLANTIS is needed}}

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