by T. S. Eliot
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 some of 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 discharge from sin and error.
The only hope, or else despair
Lies in the choice of pyre or 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 an 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, remembered 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 flame are in-folded
Into the crowned knot of fire
And the fire and the rose are one.
OCCASIONAL VERSES
Defence of the Islands
Defence of the Islands cannot pretend to be verse, but its date — just after the evacuation from Dunkirk — and occasion have for me a significance which makes me wish to preserve it. McKnight Kauffer was then working for the Ministry of Information. At his request I wrote these lines to accompany an exhibition in New York of photographs illustrating the war effort of Britain. They were subsequently published in Britain At War (the Museum of Modern Art, New York 1941). I now dedicate them to the memory of Edward McKnight Kauffer.
Let these memorials of built stone — music’s
enduring instrument, of many centuries of
patient cultivation of the earth, of English
verse
be joined with the memory of this defence of
the islands
and the memory of those appointed to the grey
ships — battleship, merchantman, trawler —
contributing their share to the ages’ pavement
of British bone on the sea floor
and of those who, in man’s newest form of gamble
with death, fight the power of darkness in air
and fire
and of those who have followed their forebears
to Flanders and France, those undefeated in de-
feat, unalterable in triumph, changing nothing
of their ancestors’ ways but the weapons
and those again for whom the paths of glory are
the lanes and the streets of Britain:
to say, to the past and the future generations
of our kin and of our speech, that we took up
our positions, in obedience to instructions.
A Note on War Poetry
A Note on War Poetry was written at the request of Miss Storm Jameson‚ to be included in a book entitled London Calling (Harper Brothers, New York, 1942).
Not the expression of collective emotion
Imperfectly reflected in the daily papers.
Where is the point at which the merely individual
Explosion breaks
In the path of an action merely typical
To create the universal, originate a symbol
Out of the impact? This is a meeting
On which we attend
Of forces beyond control by experiment —
Of Nature and the Spirit. Mostly the individual
Experience is too large, or too small. Our emotions
Are only ‘incidents’
In the effort to keep day and night together.
It seems just possible that a poem might happen
To a very young man: but a poem is not poetry —
That is a life.
War is not a life: it is a situation,
One which may neither be
ignored nor accepted,
A problem to be met with ambush and stratagem,
Enveloped or scattered.
The enduring is not a substitute for the transient,
Neither one for the other. But the abstract conception
Of private experience at its greatest intensity
Becoming universal, which we call ‘poetry’,
May be affirmed in verse.
To the Indians who Died in Africa
To the Indians who Died in Africa was written at the request of Miss Cornelia Sorabji for Queen Mary’s Book for India (Harrap & Co. Ltd., 1943). I dedicate it now to Bonamy Dobree, because he liked it and urged me to preserve it.
A man’s destination is his own village,
His own fire, and his wife’s cooking;
To sit in front of his own door at sunset
And see his grandson, and his neighbour’s grandson
Playing in the dust together.
Scarred but secure, he has many memories
Which return at the hour of conversation,
(The warm or the cool hour, according to the climate)
Of foreign men, who fought in foreign places,
Foreign to each other.
A man’s destination is not his destiny
Every country is home to one man
And exile to another. Where a man dies bravely
At one with his destiny, that soil is his.
Let his village remember.
This was not your land, or ours: but a village in the Midlands,
And one in the Five Rivers, may have the same graveyard.
Let those who go home tell the same story of you:
Of action with a common purpose, action
None the less fruitful if neither you nor we
Know, until the judgment after death,
What is the fruit of action.
To Walter de la Mare
To Walter de la Mare was written for inclusion in Tribute to Walter de la Mare (Faber & Faber Ltd., 1948), a book presented to him on his seventy-fifth birthday.
The children who explored the brook and found
A desert island with a sandy cove
(A hiding place, but very dangerous ground,
For here the water buffalo may rove,
The kinkajou, the mangabey, abound
In the dark jungle of a mango grove‚
And shadowy lemurs glide from tree to tree —
The guardians of some long-lost treasure-trove)
Recount their exploits at the nursery tea
And when the lamps are lit and curtains drawn
Demand some poetry, please. Whose shall it be,
At not quite time for bed? …
Or when the lawn
Is pressed by unseen feet, and ghosts return
Gently at twilight, gently go at dawn,
The sad intangible who grieve and yearn;
When the familiar scene is suddenly strange
Or the well known is what we have yet to learn,
And two worlds meet, and intersect, and change;
When cats are maddened in the moonlight dance,
Dogs cower, flitter bats, and owls range
At witches’ sabbath of the maiden aunts;
When the nocturnal traveller can arouse
No sleeper by his call; or when by chance
An empty face peers from an empty house;
By whom, and by what means, was this designed?
The whispered incantation which allows
Free passage to the phantoms of the mind?
By you; by those deceptive cadences
Wherewith the common measure is refined;
By conscious art practised with natural ease;
By the delicate, invisible web you wove —
The inexplicable mystery of sound.
A Dedication to my Wife
To whom I owe the leaping delight
That quickens my senses in our wakingtime
And the rhythm that governs the repose of our sleepingtime,
The breathing in unison
Of lovers whose bodies smell of each other
Who think the same thoughts without need of speech
And babble the same speech without need of meaning.
No peevish winter wind shall chill
No sullen tropic sun shall wither
The roses in the rose-garden which is ours and ours only
But this dedication is for others to read:
These are private words addressed to you in public.
OLD POSSUM’S BOOK
OF PRACTICAL CATS
The Naming of Cats
The Naming of Cats is a difficult matter,
It isn’t just one of your holiday games;
You may think at first I’m as mad as a hatter
When I tell you, a cat must have THREE DIFFERENT NAMES.
First of all, there’s the name that the family use daily,
Such as Peter, Augustus, Alonzo or James,
Such as Victor or Jonathan, George or Bill Bailey —
All of them sensible everyday names.
There are fancier names if you think they sound sweeter,
Some for the gentlemen, some for the dames:
Such as Plato, Admetus, Electra, Demeter —
But all of them sensible everyday names.
But I tell you, a cat needs a name that’s particular,
A name that’s peculiar, and more dignified,
Else how can he keep up his tail perpendicular,
Or spread out his whiskers, or cherish his pride?
Of names of this kind, I can give you a quorum,
Such as Munkustrap, Quaxo, or Coricopat,
Such as Bombalurina, or else Jellylorum —
Names that never belong to more than one cat.
But above and beyond there’s still one name left over,
And that is the name that you never will guess;
The name that no human research can discover —
But THE CAT HIMSELF KNOWS, and will never confess.
When you notice a cat in profound meditation,
The reason, I tell you, is always the same:
His mind is engaged in a rapt contemplation
Of the thought, of the thought, of the thought of his name:
