by T. S. Eliot
33 again,] again ts1
34] not ms Signet down] down, Ariel proof 1st reading
36 Death] death Valerie’s Own Book 1st reading
38 different; this] different. This ms Signet ‖ different: this Valerie’s Own Book Birth] birth ms Signet 1st reading
A Song for Simeon
Published as Ariel Poem 16, with Drawing by E. McKnight Kauffer, 24 Sept 1928 (and 500 signed large-paper copies, 24 Oct). Reprinted in The Modern Muse: Poems of To-day British and American (English Association, 1934). Then 1936+ and Penguin / Sel Poems.
ms1 (King’s): “earliest draft, written at Chester Terrace SW1” (Hayward note); 1–18 only, in pencil. Three large boxes are pencilled over the poem (possibly representing sub-divisions, or pre-existing on the leaf before the poem was begun). With list on verso by TSE: “Moore | Bank [?] | Walden | presents [?] | office [?]”
ts1: two versions of a typing on two leaves, with “T. S. ELIOT” typed at foot.
ts1a (Texas): ribbon copy, with “2 copies” pencilled alongside 3–5 in TSE’s hand and then del. On the verso of fol. 2, another hand has written in blue crayon: “An old Jew who after having seen the Messiah in the temple intoned the a canticle:” This is probably the ts sent to McKnight Kauffer on 30 May 1928.
[Poems I 101–104 · Commentary I 763–66]
ts1b (Houghton): carbon with ms revisions, apparently sent to his mother, with note at head: “‘Ariel Poems’ for 1928”. This was pencilled beside the title evidently at the same time as the note at the head of Ash-Wednesday tsIa (the position and angle both matching). The two, apparently pinned together, were probably sent in May or June 1928 (see ts1a).
Valerie’s Own Book: fair copy, with two-line spaces 7 ^ 8, 16 ^ 17 (with 16 being at the foot of a page), 24 ^ 25.
Title] not ms1 ‖ spread across the two pages on which the poem appears Ariel
1 Lord,] Lord ms1
2] not ms1 1st reading ‖ joined by loop to 4 ms1 2nd reading creeps by] halts on ms1 hills;] hills ms1
3 stubborn] bitter ms1 has made stand.] is at a stand ms1 ‖ had made stand. 1969, 1974
4 light] very light ms1 2nd reading waiting for] upon ms1 1st reading death] dead ms1 wind,] wind ms1, ts1
5] not ms1
6] Light dead ms1 1st reading Dust in sunlight] With dust ms1 2nd reading
6 ^ 7] Waiting for the ms1 1st reading
7] Blooming at this season toward the dead land. ms1
8] not ms1
9 walked] walked the ms1 city,] City ms1
10 poor,] poor ms1
11] Enjoyed respect honour among the people ms1 ease.] ease; ts1
12 door.] door ms1
13 remember] inhabit ms1 house] over c ms1 shall live] not ms1 live] final “e” over illegible letter Valerie’s Own Book
14] After the destruction of the City ms1 come?] come ts1
15 to] not ms1 goat’s] goats ms1 and the fox’s home,] into rocky places ms1 home,] home ts1
16 from] not ms1 swords.] swords ms1
16 ^ 17] two-line space ms1
17 Before the time of] There will be ms1 Before] written over A Valerie’s Own Book (perhaps for “After”)
19–37] not ms1
19 desolation,] desolation ts1
20 sorrow,] sorrow ts1
21 Now] written over B Valerie’s Own Book (presumably for “Before”) decease,] decease ts1
22 Word,] Word ts1
24 to-morrow] tomorrow ts1
25] new leaf ts1, with “> space” pencilled at head in ts1b
27 derision,] derision ts1 ‖ derision. Valerie’s Own Book
29 ecstasy] exstasy ts1 1st reading prayer,] prayer ts1
[Poem I 103–104 · Commentary I 766–67]
32 heart,] heart ts1
33] indented one space ts1 also.)] Ariel, Later Poems (“inside” endorsed by TSE in response to a proof query, Faber archive), US 1936, US 1952 ‖ also). ts1, Later Poems proof, 1936, Penguin, 1963+, Valerie’s Own Book
34 me,] me ts1
35 me.] me, Valerie’s Own Book
36 depart,] depart ts1
Animula
Published as Ariel Poem 23, with engravings by Gertrude Hermes, 9 Oct 1929 (and 400 signed large-paper copies, 28 Oct). First printed in US in Modern Things, ed. Parker Tyler (1934). Then 1936+ and Penguin and Sel Poems.
ts1 (Faber archive): two leaves with ms corrections. The first thirty-one lines are double-spaced, then after a line of space, the last six are single-spaced.
ts2 (Faber archive): carbon of secretarial typescript, sent to Gertrude Hermes. The first thirty-one lines are double-spaced then after a line of space, the last six are single-spaced.
Ariel proof (Pierpont Morgan): proof copy with four leaves (as opposed to two in finished copies). Frontispiece uncoloured and with one variant (35).
ms Abernethy (untraced): TSE to Milton Abernethy, 18 Nov 1936: “I have only one copy of Animula by me, but when I can get the time I will copy it out for you as it is very short.”
Valerie’s Own Book: fair copy (two pages).
14] Content with playing cards and with Kings and Queens, Modern Things
19 “is and seems”] “is” and “seems” Valerie’s Own Book
20] ts1:
And may and may not, fear of ridicule and shame,
Of real and unreal, desire and control.
may and may not,] “may” and “may not”, Valerie’s Own Book
22 window seat] leather chair ts1 1st reading
23] all roman tss Encyclopaedia] 1936+ ‖ Encyclopædia Ariel, US 1936 (as titlepage of Encyclopædia Britannica)
26 fare forward] resign ts1 1st reading retreat,] to insist, ts1 1st reading
29 in] of Modern Things
31 ^ 32] two-line space Valerie’s Own Book
34 fortune,] fortune tss
35 one] one, tss, Ariel proof
[Poems I 104–106 · Commentary I 767–72]
Marina
Published as Ariel Poem 29, with drawings by E. McKnight Kauffer, 25 Sept 1930 (and 400 signed large-paper copies, 6 Oct). In proof copies, the words “DATTA | DAYADHVAM | DAMYATA” (penultimate line of The Waste Land) appear in light blue across the torso of McKnight Kauffer’s illustration. In Gallup’s proof copy (Yale), Kauffer has noted that the words were deleted at TSE’s request. TSE to Kauffer, 8 Aug 1930: “My criticism was not of the drawing at all, but merely meant that I don’t want what I write now to have The Waste Land stamped upon it.” First printed in the US in The New Poetry: An Anthology of Twentieth-Century Verse in English ed. Harriet Monroe and Alice Corbin Henderson (rev. ed. 1932). Reprinted in the US in An “Objectivists” Anthology, ed. Louis Zukofsky (1932), where the editor takes TSE to task: “The point, however, would be not to proffer solemnly or whiningly confusions to the confused, but to indicate by energetic behavior how certain information may be useful to other information* [footnote: Mr. Eliot’s poetic use of facts about ships, in Marina, is, it cannot be said an elementary but a good example].” Marina was reprinted in Britain in The Modern Muse: Poems of To-day British and American (English Association, 1934). Then 1936+ and Penguin / Sel Poems.
To Michael Sadler (Master of University College, Oxford), 9 May 1930, enclosing ms1, ts1 and the carbon of ts2: “I have not forgotten that I promised to fake for you a manuscript copy of Ash Wednesday. So, as earnest, and as something which I think has relatively more interest, I am sending you herewith, meanwhile, the genuine manuscript, (2) my own altered typescript (3) final typescript, of my ‘Ariel’ poem for next autumn (Marina). If I make alterations in the proof (and I have an uneasy feeling that the poem is still only half baked) I will send you that too to complete the document.”
ms1 (Bodleian): two leaves, in pencil on lined paper.
ts1 (Bodleian): two leaves, with pencil corrections. “2 copies” pencilled at head in unknown hand, perhaps a direction to a typist.
ts2 (Faber archive): two leaves, with “T. S. Eliot ? Kauffer” in pencil at
head. Probably the ts given to Richard de la Mare, Faber’s production editor. Bodleian has an unannotated carbon of this.
ts3: two versions of a third typing, on two leaves. Probably a secretarial copy of ts2, apparently made to send to the poem’s illustrator, E. McKnight Kauffer.
ts3a (Texas): ribbon copy on two leaves formerly pinned together, signed by TSE at foot.
ts3b (Faber archive): carbon of ts3a. Accompanied by a letter from Richard de la Mare to Kauffer, 29 July 1930, praising his drawings for the poem and expressing a wish to buy them.
ts Brace (untraced): post-publication ts. To Donald Brace, 31 Dec 1935: “I can’t send a printed copy of Marina because it is out of print, so I am sending a typed copy instead.”
[Poem I 107–108 · Commentary I 772–75]
Ariel proof (identical copies, Beinecke and Texas): the text appearing on fols. 1v. and 2r. (facing pages), rather than 2r. and 2v. (as published). As Ariel except where noted.
Title] not ms1
Epigraph] as one line (being a single line of Seneca) tss, Ariel, New Poetry, Modern Muse, “Objectivists” Anth, Faber Bk Mod V, US 1936, Sesame, Later Poems ‖ not ms1 ‖ above title ts1 1st reading ‖ as two lines (“· · · quae | regio · · ·”) not centred but equally indented 1936+. (In 1936, where the poem began on a recto, the page fell short, with the line space 21 ^ 22 at the foot. Presumably to fill the page and prevent the poem from appearing to end with 21, the compositor set the epigraph as two lines.) quae · · · quae] quæ · · · quæ New Poetry, “Objectivists” Anth ‖ qual · · · qual 1936 proof, corrected TSE plaga?] plaga. 1963 proof
1 seas] seas, ms1 shores] shores, ms1 rocks] rocks, ms1 islands] islands, ms1
2] indent ms1 the] not ts3
3 pine] pine, ms1 woodthrush] wood thrush ms1
3 ^ 4] (Off Roque Island) ms1
4 images] old forgotten images ms1 ‖ image ts3a 1st reading, ts3b
5] And form themselves around— O my daughter (with extra space) ms1 ‖ And reform around— O my daughter. (with extra space) ts1, ts2 ‖ And reform around—O my daughter. ts3, Ariel proof daughter] written over r (uncertain) ms1
5 ^ 6] line space ts2, ts3 ‖ two-line space ms1 ‖ one and a half line space ts1 ‖ new page so line space indeterminate New Poetry
6–13] ms1 1st reading:
Those who sharpen the tooth of the dog,
Death
Those who suffer the ecstasy of the animals,
Death
Those who glitter with the glory of the peacock,
Death
Those who fail in the stye of contentment,
Death
with meaning then added to 6, 8, 10 and 12
8 hummingbird] humming-|bird (turned across line) US 1936 ‖ humming bird Faber Bk Mod V
10 sty] 1963 ‖ stye ms1, tss, Modern Muse, 1936 (emended in TSE’s 1949), Sesame, Penguin ‖ style New Poetry ‖ eye Sel Poems 1954, Sel Poems 1961 pbk (corrected to sty in later printings)
14 Are become] These are now ms1 unsubstantial] unsubstancial ts3
15 pine,] pine ms1 woodsong] wood song ms1
16] The world in chase diminished from place ms1
16 ^ 17] no line space ts3 ‖ new page so line spacing indeterminate Sesame
17–19] ms1:
[Poem I 107 · Commentary I 778]
What is this, less firm and firmer
Where the pulse beats, less strong stronger
with pulse over an indecipherable false start
17 face,] face Faber Bk Mod V
19 eye] hand tss, Ariel proof
19 ^ 20] new page so line spacing indeterminate ts2, ts3, Ariel ‖ no line space New Poetry, “Objectivists” Anth, Faber Bk Mod V
20–21] ms1:
The whispers and the lap of waves and small laughter and running feet
Under sleep, where the many ways waters meet
The old forms reform, in a new world
with new leaf after first line and line spaces after second and third
21] tss, Ariel proof:
Under sleep, where all the waters meet
The forms reform.
(“no space here” after first line in ts1, where the second line begins a new leaf)
before 22] line space ms1, tss, Ariel, Faber Bk Mod V ‖ new page so line spacing indeterminate “Objectivists” Anth, 1936, 1963 ‖ no line space Sesame, Later Poems, Penguin, Sel Poems 1954
22] indent Penguin, US 1952, 1963 (not 1963 proof, US 1963), 1969 Bowsprit] Bow ms1 1st reading cracked with ice] broken with ice ms1 paint] sides ts1 1st reading with heat.] by heat. ms1 ‖ with heat Modern Muse
23 made] have made ms1
24] And have remembered ms1 1st reading ‖ And now remember ms1 final reading
25 rigging] cording ms1 1st reading
26 September.] September ms1
27 half conscious,] not ms1 own.] own; ms1
28 strake] streak ms1, ts1 1st reading leaks, the] leaks and the ms1, ts1 1st reading seams] seems ts3 need caulking.] uncaulked ms1 1st reading ‖ wide open ms1 2nd reading ‖ are open. ts1 1st reading
30] Living beyond me; let me ms1
31 Resign] Rev ms1 1st reading (uncertain) ‖ Lose ts1 1st reading speech] word ms1, tss, Ariel proof that] the ms1 unspoken,] unspoken ms1
32 awakened] just awaked ms1 1st reading ‖ just awakened ms1 2nd reading ships.] ships ms1
32 ^ 33] two-line space ms1
33 towards my timbers] not ms1
35] O my daughter. ms1
[Poem I 107–108 · Commentary I 778–80]
The Cultivation of Christmas Trees
Published as an Ariel Poem (new series), illustrated by David Jones, 26 Oct 1954, and in a US edition with “typography, binding, and decorations” by Enrico Arno, 8 Oct 1956 (the envelope stating: “A new poem by T. S. Eliot”). Then 1963+.
VARIANT READINGS IN PRINT
galley (Pierpont Morgan, call no. 128379): galley proof on which Faber’s production manager, David Bland, has written “Miss Fletcher Will you please show to Mr Eliot? DB”; then endorsed “Corrected | TSE 3. 6. 54”. Facsimile in Bloomsbury Book Auctions catalogue 145 (6 Sept 1990).
11 pretext;] pretext. galley 1st reading (following ts8–ts9)
26 ^ 27] line space galley (following tss) ‖ new page so line spacing indeterminate Ariel, US 1956 ‖ no line space 1963
VARIANT READINGS IN DRAFTS
Drafts at King’s:
ms1: initial outline, in pencil on single ruled leaf.
ms2: initial draft, in pencil on two ruled leaves, heavily worked over.
ts1: ribbon copy; double-spaced on two leaves with ink corrections.
ts2: ribbon copy; double-spaced on two leaves, corrected in pencil.
ts3: ribbon copy apparently from an electric typewriter; double-spaced on two leaves of India paper, corrected in pencil.
ts4: ribbon copy apparently from an electric typewriter; single-spaced on a leaf of India paper
ts5a: ribbon copy; single-spaced on two leaves with a few pencil notes and queries, responding to comments on ts5b
ts5b: carbon of ts5a (bound preceding it), with pencil comments by Hayward.
ts6: ribbon copy; single-spaced on single leaf, repaired with tape.
ts7a: ribbon copy; single-spaced on single leaf, with two lines revised in ink
ts7b: carbon of ts7a with one line revised in ink. A second carbon, with the same revision, was sent to Geoffrey Curtis with a letter of 28 Dec 1953 (see notes).
Typescripts in Valerie Eliot collection:
ts8: single leaf with ink corrections.
ts9: single leaf, probably a carbon of the ts sent to printer. The text reaches its final form, except for the full stop at end of 11. With an identical carbon.
Title] not mss The Cultivation of] A Preamble to ts1 ‖ A Comment upon ts2 ‖
[Poem I 109–10 · Commentary I 780–81]
A Note on the Cultivation of ts3 1st reading ‖ How to Cultivate ts3 2nd reading ‖ The Cultiv
ation of ts3 final reading (uncertain, trimmed by binder leaving only traces of the tails of letters)
ms1 (the initial outline):
I am again bidden to write a poem
for this season
It is over 20 yrs since I have attempted
such a task.
[5]
There are several attitudes towards the
Xmas season
Ones attitude shd be dift. every year.
Let us approach it with fear etc.
Remembering St. Lucy etc.
[10]
Is this the kind of Xmas card you
hate to receive?
The final version is so different from the early drafts that to use it to collate them would be impracticable. So the earliest continuous version of the first full draft, ms2, is here reproduced with a collation of subsequent typescripts (ts1–ts9), with line numbers in bold (1–41). Corresponding line numbers in the published poem are in square brackets:
Since I am bidden to compose these verses
Twenty years after—suitable to the season
Or at least not wholly inappropriate, at Xmas,
For an unknown giver to an unknown recipient,
5
20 yrs more after, when the images are fainter
And the mind more discursive, let me say how I feel about it.
For a point of attention, take the Xmas tree.
[1]
There are several responses to the Xmas season
Some of which may be disregarded
10
For my present purpose, the childish,
[5]
(Not to be confused with the childlike:
Which is one of wonder, when the gilded angel
Spreading its wings over the tree
Is not merely a toy, but also an angel)
15
The childish, I say, as well as the rowdy,
The sodden, and the patently commercial.
But, of the genuine responses
