Four Quartets: Little Gidding III - T. S. Eliot

As Eliot continues to meditate on redemption as well as on the town of Little Gidding, he references the English Civil War and King Charles I, who went to this town after his defeat in the war (but before his execution, of course).  This section contains references to the medieval mystic Julian of Norwich; according to Julian, "the ground of our beseeching" in the final line is love.

Little Gidding
Part 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 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 no 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.

Four Quartets: Little Gidding II - T. S. Eliot

I think I'll continue to share portions from this poem, perhaps till we've gone through all of it.  In this one, the speaker is wandering the streets of the town after a Nazi air raid.  The "ghost" he meets is, according to my edition's notes, a "compound" of Yeats and Swift.  There are apparently numerous references to the works of both in his speech (as well as references to Dante), though I certainly don't know either of them well enough to pick these all up on my own.

Four Quartets: Little Gidding
Part 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 friction of expiring sense
Without enchantment, offering no promise
     But bitter tastelessness of shadow fruit
     As body and soul 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 motives late revealed, and the awareness
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.

Four Quartets: Little Gidding I - T. S. Eliot

I suppose the entirety of the poem is too long to post in one day, so we'll have to revisit it later for parts 2-5!  In the meantime, Part I is super cool!  The Four Quartets are themed on the elements; this one addresses fire (and a lot of other things).

Little Gidding
Part I

Midwinter spring is its own season
Sempiternal though sodden towards sundown,
Suspended in time, between pole and tropic.
When 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.

To a Waterfowl - William Cullen Bryant

To a Waterfowl

Whither, midst falling dew,
While glow the heavens with the last steps of day,
Far, through their rosy depths, dost thou pursue
Thy solitary way?

Vainly the fowler's eye
Might mark thy distant flight to do thee wrong,
As, darkly seen against the crimson sky,
Thy figure floats along.

Seek'st thou the plashy brink
Of weedy lake, or marge of river wide,
Or where the rocking billows rise and sink
On the chafed ocean-side?

There is a Power whose care
Teaches thy way along that pathless coast --
The desert and illimlitable air --
Lone wandering, but not lost.

All day thy wings have fanned,
At that far height, the cold, thin atmosphere,
Yet stoop not, weary, to the welcome land,
Though the dark night is near.

And soon that toil shall end;
Soon shalt thou find a summer home, and rest,
And scream among thy fellows; reeds shall bend,
Soon, o'er thy sheltered nest.

Thou'rt gone, the abyss of heaven
Hath swallowed up thy form; yet, on my heart
Deeply hath sunk the lesson thou hast given,
And shall not soon depart.

He who, from zone to zone,
Guides through the boundless sky thy certain flight,
In the long way that I must tread alone,
Will lead my steps aright.

Whoso List to Hunt - Sir Thomas Wyatt

On Monday, my girls and I were reading about the beginnings of the English sonnet in their literature book.  The book described Sir Thomas Wyatt's journey to Italy and his discovery of Petrarch.  It then went on to summarize sonnet structure.  Since the girls already know all about rhyme scheme notation, this was elementary to them.  I then realized: my girls know what a metaphor is.  They know what a sonnet is.  They know what "courtly love" was (the G-rated version).  They know all about Anne Boleyn (we just finished studying about Henry VIII).  So why not teach them Wyatt's "Whoso List to Hunt" this week?  They have all the pieces already; they'll understand it just fine!

And they did.  Did I mention that they're 10-year-olds?  :)

Note: "noli me tangere" = "don't touch me" (Latin).

Whoso List to Hunt

Whoso list to hunt, I know where is an hind,

But as for me, alas, I may no more;

The vain travail hath wearied me so sore,

I am of them that furthest come behind.

Yet may I by no means my wearied mind

Draw from the deer, but as she fleeth afore

Fainting I follow; I leave off therefore,

Since in a net I seek to hold the wind.

Who list her hunt, I put him out of doubt,

As well as I, may spend his time in vain.

And graven with diamonds in letters plain,

There is written her fair neck round about,

"Noli me tangere, for Caesar's I am,

And wild for to hold, though I seem tame."

When I Have Fears - John Keats

One hundred and ninety years ago today, John Keats died at the age of 25.  Seven years ago today, I laid violets on his grave.

Remembering how young Keats was at his death, this poem is tragic in a way.  But it is also so beautiful!

When I Have Fears

When I have fears that I may cease to be

   Before my pen has gleaned my teeming brain,

Before high-pilèd books, in charactery,

   Hold like rich garners the full ripened grain;

When I behold, upon the night’s starred face,

   Huge cloudy symbols of a high romance,

And think that I may never live to trace

   Their shadows with the magic hand of chance;

And when I feel, fair creature of an hour,

   That I shall never look upon thee more,

Never have relish in the fairy power

   Of unreflecting love—then on the shore

Of the wide world I stand alone, and think

Till love and fame to nothingness do sink.

Gypsies - John Clare

John Clare's usage is a bit odd here and there.  You can blame it on the fact that he was institutionalized in an asylum if you wish, or maybe he was just creative.  But since it's chilly and snowy outside here this evening, I liked the imagery in this one.

Gypsies

The snow falls deep; the forest lies alone;
The boy goes hasty for his load of brakes,
Then thinks upon the fire and hurries back;
The gypsy knocks his hands and tucks them up,
And seeks his squalid camp, half hid in snow,
Beneath the oak which breaks away the wind,
And bushes close in snow like hovel warm;
There tainted mutton wastes upon the coals,
And the half-wasted dog squats close and rubs,
Then feels the heat too strong, and goes aloof;
He watches well, but none a bit can spare,
And vainly waits the morsel thrown away.
'Tis thus they life -- a picture to the place,
A quiet, pilfering, unprotected race.

O Captain, My Captain - Walt Whitman

I realize that Presidents' Day is meant to commemorate the lives of the presidents rather than their deaths, but as this is one of the most famous presidential poems out there, I felt it was appropriate to share it today.  Anyhow, the devotion and love that the poem expresses for President Lincoln is a fitting tribute on the day meant in part to memorialize him.

With its adherence to fairly regular meter and rhyme, his poem is so unlike most of Whitman's rather obnoxious fare, yet, with delightful irony, it is also one of his best-known works!

O Captain, My Captain

O Captain my Captain! our fearful trip is done,
The ship has weathered every rack, the prize we sought is won,
The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring;
   But O heart! heart! heart!
     O the bleeding drops of red,
       Where on the deck my Captain lies,
         Fallen cold and dead.

O Captain! my Captain! rise up and hear the bells;
Rise up--for you the flag is flung, for you the bugle trills,
For you bouquets and ribboned wreaths, for you the shores a-crowding,
For you they call, the swaying mass, their eager faces turning;
   Here Captain! dear father!
     This arm beneath your head!
       It is some dream that on the deck,
         You've fallen cold and dead.

My Captain does not answer, his lips are pale and still;
My father does not feel my arm, he has no pulse nor will;
The ship is anchored safe and sound, its voyage closed and done;
From fearful trip the victor ship comes in with object won;
   Exult O shores, and ring O bells!
     But I, with mournful tread,
       Walk the deck my Captain lies,
         Fallen cold and dead.

To My Rival - Thomas Carew

To My Rival

Hence, vain intruder, haste away,

Wash not with thy unhallowed brine

The footsteps of my Celia’s shrine;

Nor on her purer altars lay

Thy empty words, accents that may

Some looser dame to love incline;

She must have offerings more divine;

Such pearly drops, as youthful may

Scatters before the rising day;

Such smooth soft language, as each line

Might stroke an angry god, or stay

Jove’s thunder, make the hearers pine

With envy; do this, thou shalt be

Servant to her, rival with me.