Written by
T S (Thomas Stearns) Eliot |
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 electric 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 commodiois 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 imposes 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 rather 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 façade 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 ecstasy.
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 questions 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 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 wholly 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.
|
Written by
Walt Whitman |
ASHES of soldiers!
As I muse, retrospective, murmuring a chant in thought,
Lo! the war resumes—again to my sense your shapes,
And again the advance of armies.
Noiseless as mists and vapors,
From their graves in the trenches ascending,
From the cemeteries all through Virginia and Tennessee,
From every point of the compass, out of the countless unnamed graves,
In wafted clouds, in myraids large, or squads of twos or threes, or single ones, they
come,
And silently gather round me.
Now sound no note, O trumpeters!
Not at the head of my cavalry, parading on spirited horses,
With sabres drawn and glist’ning, and carbines by their thighs—(ah, my brave
horsemen!
My handsome, tan-faced horsemen! what life, what joy and pride,
With all the perils, were yours!)
Nor you drummers—neither at reveille, at dawn,
Nor the long roll alarming the camp—nor even the muffled beat for a burial;
Nothing from you, this time, O drummers, bearing my warlike drums.
But aside from these, and the marts of wealth, and the crowded promenade,
Admitting around me comrades close, unseen by the rest, and voiceless,
The slain elate and alive again—the dust and debris alive,
I chant this chant of my silent soul, in the name of all dead soldiers.
Faces so pale, with wondrous eyes, very dear, gather closer yet;
Draw close, but speak not.
Phantoms of countless lost!
Invisible to the rest, henceforth become my companions!
Follow me ever! desert me not, while I live.
Sweet are the blooming cheeks of the living! sweet are the musical voices sounding!
But sweet, ah sweet, are the dead, with their silent eyes.
Dearest comrades! all is over and long gone;
But love is not over—and what love, O comrades!
Perfume from battle-fields rising—up from foetor arising.
Perfume therefore my chant, O love! immortal Love!
Give me to bathe the memories of all dead soldiers,
Shroud them, embalm them, cover them all over with tender pride!
Perfume all! make all wholesome!
Make these ashes to nourish and blossom,
O love! O chant! solve all, fructify all with the last chemistry.
Give me exhaustless—make me a fountain,
That I exhale love from me wherever I go, like a moist perennial dew,
For the ashes of all dead soldiers.
|
Written by
Walt Whitman |
1
FIRST, O songs, for a prelude,
Lightly strike on the stretch’d tympanum, pride and joy in my city,
How she led the rest to arms—how she gave the cue,
How at once with lithe limbs, unwaiting a moment, she sprang;
(O superb! O Manhattan, my own, my peerless!
O strongest you in the hour of danger, in crisis! O truer than steel!)
How you sprang! how you threw off the costumes of peace with indifferent hand;
How your soft opera-music changed, and the drum and fife were heard in their stead;
How you led to the war, (that shall serve for our prelude, songs of soldiers,)
How Manhattan drum-taps led.
2
Forty years had I in my city seen soldiers parading;
Forty years as a pageant—till unawares, the Lady of this teeming and turbulent city,
Sleepless amid her ships, her houses, her incalculable wealth,
With her million children around her—suddenly,
At dead of night, at news from the south,
Incens’d, struck with clench’d hand the pavement.
A shock electric—the night sustain’d it;
Till with ominous hum, our hive at day-break pour’d out its myriads.
From the houses then, and the workshops, and through all the doorways,
Leapt they tumultuous—and lo! Manhattan arming.
3
To the drum-taps prompt,
The young men falling in and arming;
The mechanics arming, (the trowel, the jack-plane, the blacksmith’s hammer, tost
aside
with
precipitation;)
The lawyer leaving his office, and arming—the judge leaving the court;
The driver deserting his wagon in the street, jumping down, throwing the reins abruptly
down on
the
horses’ backs;
The salesman leaving the store—the boss, book-keeper, porter, all leaving;
Squads gather everywhere by common consent, and arm;
The new recruits, even boys—the old men show them how to wear their
accoutrements—they
buckle the straps carefully;
Outdoors arming—indoors arming—the flash of the musket-barrels;
The white tents cluster in camps—the arm’d sentries around—the sunrise
cannon,
and
again at sunset;
Arm’d regiments arrive every day, pass through the city, and embark from the wharves;
(How good they look, as they tramp down to the river, sweaty, with their guns on their
shoulders!
How I love them! how I could hug them, with their brown faces, and their clothes and
knapsacks
cover’d with dust!)
The blood of the city up—arm’d! arm’d! the cry everywhere;
The flags flung out from the steeples of churches, and from all the public buildings and
stores;
The tearful parting—the mother kisses her son—the son kisses his mother;
(Loth is the mother to part—yet not a word does she speak to detain him;)
The tumultuous escort—the ranks of policemen preceding, clearing the way;
The unpent enthusiasm—the wild cheers of the crowd for their favorites;
The artillery—the silent cannons, bright as gold, drawn along, rumble lightly over
the
stones;
(Silent cannons—soon to cease your silence!
Soon, unlimber’d, to begin the red business;)
All the mutter of preparation—all the determin’d arming;
The hospital service—the lint, bandages, and medicines;
The women volunteering for nurses—the work begun for, in earnest—no mere parade
now;
War! an arm’d race is advancing!—the welcome for battle—no turning away;
War! be it weeks, months, or years—an arm’d race is advancing to welcome it.
4
Mannahatta a-march!—and it’s O to sing it well!
It’s O for a manly life in the camp!
And the sturdy artillery!
The guns, bright as gold—the work for giants—to serve well the guns:
Unlimber them! no more, as the past forty years, for salutes for courtesies merely;
Put in something else now besides powder and wadding.
5
And you, Lady of Ships! you Mannahatta!
Old matron of this proud, friendly, turbulent city!
Often in peace and wealth you were pensive, or covertly frown’d amid all your
children;
But now you smile with joy, exulting old Mannahatta!
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