Written by
T S (Thomas Stearns) Eliot |
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
With slow rotation suggesting permanence
Nor darkness to purify the soul
Emptying the sensual with deprivation
Cleansing affection from the temporal.
Neither plenitude 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,
Desiccation 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 movement; 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,
Decay with imprecision, will not stay in place,
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.
|
Written by
Amy Lowell |
I
The Trumpet-Vine Arbour
The throats of the little red trumpet-flowers are
wide open,
And the clangour of brass beats against the hot sunlight.
They bray and blare at the burning sky.
Red! Red! Coarse notes of red,
Trumpeted at the blue sky.
In long streaks of sound, molten metal,
The vine declares itself.
Clang! -- from its red and yellow trumpets.
Clang! -- from its long, nasal trumpets,
Splitting the sunlight into ribbons, tattered and shot with noise.
I sit in the cool arbour, in a green-and-gold twilight.
It is very still, for I cannot hear the trumpets,
I only know that they are red and open,
And that the sun above the arbour shakes with heat.
My quill is newly mended,
And makes fine-drawn lines with its point.
Down the long, white paper it makes little lines,
Just lines -- up -- down -- criss-cross.
My heart is strained out at the pin-point of my quill;
It is thin and writhing like the marks of the pen.
My hand marches to a squeaky tune,
It marches down the paper to a squealing of fifes.
My pen and the trumpet-flowers,
And Washington's armies away over the smoke-tree to the Southwest.
"Yankee Doodle," my Darling! It is you against the British,
Marching in your ragged shoes to batter down King George.
What have you got in your hat? Not a feather, I wager.
Just a hay-straw, for it is the harvest you are fighting for.
Hay in your hat, and the whites of their eyes for a target!
Like Bunker Hill, two years ago, when I watched all day from the
house-top
Through Father's spy-glass.
The red city, and the blue, bright water,
And puffs of smoke which you made.
Twenty miles away,
Round by Cambridge, or over the Neck,
But the smoke was white -- white!
To-day the trumpet-flowers are red -- red --
And I cannot see you fighting,
But old Mr. Dimond has fled to Canada,
And Myra sings "Yankee Doodle" at her milking.
The red throats of the trumpets bray and clang in the sunshine,
And the smoke-tree puffs dun blossoms into the blue air.
II
The City of Falling Leaves
Leaves fall,
Brown leaves,
Yellow leaves streaked with brown.
They fall,
Flutter,
Fall again.
The brown leaves,
And the streaked yellow leaves,
Loosen on their branches
And drift slowly downwards.
One,
One, two, three,
One, two, five.
All Venice is a falling of Autumn leaves --
Brown,
And yellow streaked with brown.
"That sonnet, Abate,
Beautiful,
I am quite exhausted by it.
Your phrases turn about my heart
And stifle me to swooning.
Open the window, I beg.
Lord! What a strumming of fiddles and mandolins!
'Tis really a shame to stop indoors.
Call my maid, or I will make you lace me yourself.
Fie, how hot it is, not a breath of air!
See how straight the leaves are falling.
Marianna, I will have the yellow satin caught up with silver fringe,
It peeps out delightfully from under a mantle.
Am I well painted to-day, `caro Abate mio'?
You will be proud of me at the `Ridotto', hey?
Proud of being `Cavalier Servente' to such a lady?"
"Can you doubt it, `Bellissima Contessa'?
A pinch more rouge on the right cheek,
And Venus herself shines less . . ."
"You bore me, Abate,
I vow I must change you!
A letter, Achmet?
Run and look out of the window, Abate.
I will read my letter in peace."
The little black slave with the yellow satin turban
Gazes at his mistress with strained eyes.
His yellow turban and black skin
Are gorgeous -- barbaric.
The yellow satin dress with its silver flashings
Lies on a chair
Beside a black mantle and a black mask.
Yellow and black,
Gorgeous -- barbaric.
The lady reads her letter,
And the leaves drift slowly
Past the long windows.
"How silly you look, my dear Abate,
With that great brown leaf in your wig.
Pluck it off, I beg you,
Or I shall die of laughing."
A yellow wall
Aflare in the sunlight,
Chequered with shadows,
Shadows of vine leaves,
Shadows of masks.
Masks coming, printing themselves for an instant,
Then passing on,
More masks always replacing them.
Masks with tricorns and rapiers sticking out behind
Pursuing masks with plumes and high heels,
The sunlight shining under their insteps.
One,
One, two,
One, two, three,
There is a thronging of shadows on the hot wall,
Filigreed at the top with moving leaves.
Yellow sunlight and black shadows,
Yellow and black,
Gorgeous -- barbaric.
Two masks stand together,
And the shadow of a leaf falls through them,
Marking the wall where they are not.
From hat-tip to shoulder-tip,
From elbow to sword-hilt,
The leaf falls.
The shadows mingle,
Blur together,
Slide along the wall and disappear.
Gold of mosaics and candles,
And night blackness lurking in the ceiling beams.
Saint Mark's glitters with flames and reflections.
A cloak brushes aside,
And the yellow of satin
Licks out over the coloured inlays of the pavement.
Under the gold crucifixes
There is a meeting of hands
Reaching from black mantles.
Sighing embraces, bold investigations,
Hide in confessionals,
Sheltered by the shuffling of feet.
Gorgeous -- barbaric
In its mail of jewels and gold,
Saint Mark's looks down at the swarm of black masks;
And outside in the palace gardens brown leaves fall,
Flutter,
Fall.
Brown,
And yellow streaked with brown.
Blue-black, the sky over Venice,
With a pricking of yellow stars.
There is no moon,
And the waves push darkly against the prow
Of the gondola,
Coming from Malamocco
And streaming toward Venice.
It is black under the gondola hood,
But the yellow of a satin dress
Glares out like the eye of a watching tiger.
Yellow compassed about with darkness,
Yellow and black,
Gorgeous -- barbaric.
The boatman sings,
It is Tasso that he sings;
The lovers seek each other beneath their mantles,
And the gondola drifts over the lagoon, aslant to the coming dawn.
But at Malamocco in front,
In Venice behind,
Fall the leaves,
Brown,
And yellow streaked with brown.
They fall,
Flutter,
Fall.
|
Written by
Anne Bronte |
I'll rest me in this sheltered bower,
And look upon the clear blue sky
That smiles upon me through the trees,
Which stand so thickly clustering by;
And view their green and glossy leaves,
All glistening in the sunshine fair;
And list the rustling of their boughs,
So softly whispering through the air.
And while my ear drinks in the sound,
My winged soul shall fly away;
Reviewing long departed years
As one mild, beaming, autumn day;
And soaring on to future scenes,
Like hills and woods, and valleys green,
All basking in the summer's sun,
But distant still, and dimly seen.
Oh, list! 'tis summer's very breath
That gently shakes the rustling trees -
But look! the snow is on the ground -
How can I think of scenes like these?
'Tis but the frost that clears the air,
And gives the sky that lovely blue;
They're smiling in a winter's sun,
Those evergreens of sombre hue.
And winter's chill is on my heart -
How can I dream of future bliss?
How can my spirit soar away,
Confined by such a chain as this?
|
Written by
John Betjeman |
Hark, I hear the bells of Westgate,
I will tell you what they sigh,
Where those minarets and steeples
Prick the open Thanet sky.
Happy bells of eighteen-ninety,
Bursting from your freestone tower!
Recalling laurel, shrubs and privet,
Red geraniums in flower.
Feet that scamper on the asphalt
Through the Borough Council grass,
Till they hide inside the shelter
Bright with ironwork and glass,
Striving chains of ordered children
Purple by the sea-breeze made,
Striving on to prunes and suet
Past the shops on the Parade.
Some with wire around their glasses,
Some with wire across their teeth,
Writhing frames for running noses
And the drooping lip beneath.
Church of England bells of Westgate!
On this balcony I stand,
White the woodwork wriggles round me,
Clocktowers rise on either hand.
For me in my timber arbour
You have one more message yet,
"Plimsolls, plimsolls in the summer,
Oh galoshes in the wet!"
|
Written by
Robert Louis Stevenson |
Birds all the summer day
Flutter and quarrel
Here in the arbour-like
Tent of the laurel.
Here in the fork
The brown nest is seated;
For little blue eggs
The mother keeps heated.
While we stand watching her
Staring like gabies,
Safe in each egg are the
Bird's little babies.
Soon the frail eggs they shall
Chip, and upspringing
Make all the April woods
Merry with singing.
Younger than we are,
O children, and frailer,
Soon in the blue air they'll be,
Singer and sailor.
We, so much older,
Taller and stronger,
We shall look down on the
Birdies no longer.
They shall go flying
With musical speeches
High overhead in the
Tops of the beeches.
In spite of our wisdom
And sensible talking,
We on our feet must go
Plodding and walking.
|
Written by
George Herbert |
Blest be the God of love,
Who gave me eyes, and light, and power this day,
Both to be busy, and to play.
But much more blest be God above,
Who gave me sight alone,
Which to himself he did deny:
For when he sees my ways, I die:
But I have got his son, and he hath none.
What have I brought thee home
For this thy love? have I discharg'd the debt,
Which this day's favour did beget?
I ran; but all I brought, was foam.
Thy diet, care and cost
Do end in bubbles, balls of wind;
Of wind to thee whom I have crost,
But balls of wild-fire to my troubled mind.
Yet still thou goest on,
And now with darkness closest weary eyes,
Saying to man, 'It doth suffice:
Henceforth repose; your work is done.'
Thus in thy Ebony box
Thou dost enclose us, till the day
Put our amendment in our way,
And give new wheels to our disorder'd clocks.
I muse, which shows more love,
The day or night: that is the gale, this th' harbour;
That is the walk, and this the arbour;
Or that is the garden, this the grove.
My God, thou art all love.
Not one poor minute scapes thy breast,
But brings a favour from above;
And in this love, more than in bed, I rest.
|
Written by
Robert William Service |
Should you preserve white mice in honey
Don't use imported ones from China,
For though they cost you less in money
You'll find the Japanese ones finer.
But if Chinese, stuff them with spice,
Which certainly improves their savour,
And though the Canton mice are nice,
The Pekinese have finer flavour.
If you should pickle bracken shoots
The way the wily Japanese do,
Be sure to pluck then young - what suits
Our Eastern taste may fail to please you.
And as for nettles, cook them well;
To eat them raw may give you skin-itch;
But if you boil them for a spell
They taste almost as good as spinach.
So Reader, if you chance to be
Of Oriental food a lover,
And care to share a meal with me,
I'll add the addled eggs of plover;
And gaily I will welcome you
To lunch within an arbour sunny,
On nettle broth and bracken stew.
And nice white mice, conserved in honey.
|
Written by
Anne Bronte |
I'll rest me in this sheltered bower,
And look upon the clear blue sky
That smiles upon me through the trees,
Which stand so thickly clustering by;
And view their green and glossy leaves,
All glistening in the sunshine fair;
And list the rustling of their boughs,
So softly whispering through the air.
And while my ear drinks in the sound,
My winged soul shall fly away;
Reviewing long departed years
As one mild, beaming, autumn day;
And soaring on to future scenes,
Like hills and woods, and valleys green,
All basking in the summer's sun,
But distant still, and dimly seen.
Oh, list! 'tis summer's very breath
That gently shakes the rustling trees -
But look! the snow is on the ground -
How can I think of scenes like these?
'Tis but the frost that clears the air,
And gives the sky that lovely blue;
They're smiling in a winter's sun,
Those evergreens of sombre hue.
And winter's chill is on my heart -
How can I dream of future bliss?
How can my spirit soar away,
Confined by such a chain as this?
|
Written by
Johann Wolfgang von Goethe |
OH thou cruel deadly-lovely maiden,
Tell me what great sin have I committed,
That thou keep'st me to the rack thus fasten'd,
That thou hast thy solemn promise broken?
'Twas but yestere'en that thou with fondness
Press'd my hand, and these sweet accents murmured:
"Yes, I'll come, I'll come when morn approacheth,
Come, my friend, full surely to thy chamber."
On the latch I left my doors, unfasten'd,
Having first with care tried all the hinges,
And rejoic'd right well to find they creak'd not.
What a night of expectation pass'd I!
For I watch'd, and ev'ry chime I number'd;
If perchance I slept a few short moments,
Still my heart remain'd awake forever,
And awoke me from my gentle slumbers.
Yes, then bless'd I night's o'erhanging darkness,
That so calmly cover'd all things round me;
I enjoy'd the universal silence,
While I listen'd ever in the silence,
If perchance the slightest sounds were stirring.
"Had she only thoughts, my thoughts resembling,
Had she only feelings, like my feelings,
She would not await the dawn of morning.
But, ere this, would surely have been with me."
Skipp'd a kitten on the floor above me,
Scratch'd a mouse a panel in the corner,
Was there in the house the slightest motion,
Ever hoped I that I heard thy footstep,
Ever thought I that I heard thee coming.
And so lay I long, and ever longer,
And already was the daylight dawning,
And both here and there were signs of movement.
"Is it yon door? Were it my door only!"
In my bed I lean'd upon my elbow,
Looking tow'rd the door, now half-apparent,
If perchance it might not be in motion.
Both the wings upon the latch continued,
On the quiet hinges calmly hanging.
And the day grew bright and brighter ever;
And I heard my neighbour's door unbolted,
As he went to earn his daily wages,
And ere long I heard the waggons rumbling,
And the city gates were also open'd,
While the market-place, in ev'ry corner,
Teem'd with life and bustle and confusion.
In the house was going now and coming
Up and down the stairs, and doors were creaking
Backwards now, now forwards,--footsteps clatter'd
Yet, as though it were a thing all-living,
From my cherish'd hope I could not tear me.
When at length the sun, in hated splendour.
Fell upon my walls, upon my windows,
Up I sprang, and hasten'd to the garden,
There to blend my breath, so hot and yearning,
With the cool refreshing morning breezes,
And, it might be, even there to meet thee:
But I cannot find thee in the arbour,
Or the avenue of lofty lindens.
1789.*
|
Written by
Rudyard Kipling |
Troopin', troopin', troopin' to the sea:
'Ere's September come again -- the six-year men are free.
O leave the dead be'ind us, for they cannot come away
To where the ship's a-coalin' up that takes us 'ome to-day.
We're goin' 'ome, we're goin' 'ome,
Our ship is at the shore,
An' you must pack your 'aversack,
For we won't come back no more.
Ho, don't you grieve for me,
My lovely Mary-Ann,
For I'll marry you yit on a fourp'ny bit
As a time-expired man.
The Malabar's in 'arbour with the ~Jumner~ at 'er tail,
An' the time-expired's waitin' of 'is orders for to sail.
Ho! the weary waitin' when on Khyber 'ills we lay,
But the time-expired's waitin' of 'is orders 'ome to-day.
They'll turn us out at Portsmouth wharf in cold an' wet an' rain,
All wearin' Injian cotton kit, but we will not complain;
They'll kill us of pneumonia -- for that's their little way --
But damn the chills and fever, men, we're goin' 'ome to-day!
Troopin', troopin', winter's round again!
See the new draf's pourin' in for the old campaign;
Ho, you poor recruities, but you've got to earn your pay --
What's the last from Lunnon, lads? We're goin' there to-day.
Troopin', troopin', give another cheer --
'Ere's to English women an' a quart of English beer.
The Colonel an' the regiment an' all who've got to stay,
Gawd's mercy strike 'em gentle -- Whoop! we're goin' 'ome to-day.
We're goin' 'ome, we're goin' 'ome,
Our ship is at the shore,
An' you must pack your 'aversack,
For we won't come back no more.
Ho, don't you grieve for me,
My lovely Mary-Ann,
For I'll marry you yit on a fourp'ny bit
As a time-expired man.
|