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【T.S. Eliot】

(2013-04-20 10:34:09)
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文化

The Love Song of J. Alfred Prufrock

S'io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma perciocche giammai di questo fondo
Non torno vivo alcun, s'i'odo il vero,
Senza tema d'infamia ti rispondo.
LET us go then, you and I,
When the evening is spread out against the sky
Like a patient etherised upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question. . .
Oh, do not ask, "What is it?"
Let us go and make our visit.


In the room the women come and go
Talking of Michelangelo.


The yellow fog that rubs its back upon the window-panes
The yellow smoke that rubs its muzzle on the window-panes
Licked its tongue into the corners of the evening
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.


And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions
And for a hundred visions and revisions,
Before the taking of a toast and tea.


In the room the women come and go
Talking of Michelangelo.


And indeed there will be time
To wonder, "Do I dare?" and, "Do I dare?"
Time to turn back and descend the stair,
With a bald spot in the middle of my hair --
[They will say: "How his hair is growing thin!"]
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin --
[They will say: "But how his arms and legs are thin!"]
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.


For I have known them all already, known them all: --
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?
And I have known the eyes already, known them all --
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?
And I have known the arms already, known them all --
Arms that are braceleted and white and bare
[But in the lamplight, downed with light brown hair!]
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?

. . . . .

Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? . . .


I should have been a pair of ragged claws
Scuttling across the floors of silent seas.

. . . . .

And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep . . tired . . or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head [grown slightly bald] brought in upon a
platter,
I am no prophet -- and here's no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.


And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it toward some overwhelming question,
To say: "I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all" --
If one, settling a pillow by her head,
Should say, "That is not what I meant at all.
That is not it, at all."
And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along
the floor --
And this, and so much more? --
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
"That is not it at all,
That is not what I meant, at all."

. . . . .

No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous --
Almost, at times, the Fool.


I grow old . . . I grow old . . .
I shall wear the bottoms of my trousers rolled.


Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.


I do not think they will sing to me.


I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.


We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.


T. S. Eliot
http://www.theotherpages.org/poems/line-201.gifEliot】" TITLE="【T.S. Eliot】" />

http://www.theotherpages.org/poems/marker2.gifEliot】" TITLE="【T.S. Eliot】" /> Preludes

          I
THE winter's evening settles down
With smells of steaks in passageways.
Six o'clock.
The burnt-out ends of smoky days.
And now a gusty shower wraps
The grimy scraps
Of withered leaves across your feet
And newpapers from vacant lots;
The showers beat
On empty blinds and chimney-pots,
And at the corner of the street
A lonely cab-horse steams and stamps.
And then the lighting of the lamps.


          II
The morning comes to consciousness
Of faint stale smells of beer
From the sawdust-trampled street
With all the muddy feet that press
To early coffee-stands.
With the other masquerades
That time resumes,
One thinks of all the hands
That are raising dingy shades
In a thousand furnished rooms.


          III
You tossed a blanket from the bed,
You lay upon your back, and waited;
You dozed, and watched the night revealing
The thousand sordid images
Of which your soul is constituted;
They flickered against the ceiling.
And when all the world came back
And the light crept up between the shutters
And you heard the sparrows in the gutters,
You had such a vision of the street
As the street hardly understands;
Sitting along the bed's edge, where
You curled the papers from your hair,
And clasped the yellowed soles of feet
In the palms of both soiled hands.


          IV
His soul stretched tight across the skies
That fade behind a city block,
Or trampled by insistent feet
At four and five and six o'clock,
And short square fingers stuffing pipes
And evening newspapers, and eyes
Assured of certain certainties,
The conscience of a blackened street
Impatient to assume the world.


I am moved by fancies that are curled
Around these images, and cling:
The notion of some infinitely gentle
Infinitely suffering thing.


Wipe your hand across your mouth and laugh;
The worlds revolve like ancient women
Gathering fuel in vacant lots.


T. S. Eliot
http://www.theotherpages.org/poems/line-201.gifEliot】" TITLE="【T.S. Eliot】" />

http://www.theotherpages.org/poems/marker2.gifEliot】" TITLE="【T.S. Eliot】" /> Rhapsody on a Windy Night

TWELVE o'clock.
Along the reaches of the street
Held in a lunar synthesis,
Whispering lunar incantations
Dissolve the floors of memory
And all its clear relations
Its divisions and precisions,
Every street lamp that I pass
Beats like a fatalistic drum,
And through the spaces of the dark
Midnight shakes the memory
As a madman shakes a dead geranium.


Half-past one,
The street-lamp sputtered,
The street-lamp muttered,
The street-lamp said, "Regard that woman
Who hesitates toward you in the light of the door
Which opens on her like a grin.
You see the border of her dress
Is torn and stained with sand,
And you see the corner of her eye
Twists like a crooked pin."


The memory throws up high and dry
A crowd of twisted things;
A twisted branch upon the beach
Eaten smooth, and polished
As if the world gave up
The secret of its skeleton,
Stiff and white.
A broken spring in a factory yard,
Rust that clings to the form that the strength has left
Hard and curled and ready to snap.


Half-past two,
The street-lamp said,
"Remark the cat which flattens itself in the gutter,
Slips out its tongue
And devours a morsel of rancid butter."
So the hand of the child, automatic,
Slipped out and pocketed a toy that was running along the quay.
I could see nothing behind that child's eye.
I have seen eyes in the street
Trying to peer through lighted shutters,
And a crab one afternoon in a pool,
An old crab with barnacles on his back,
Gripped the end of a stick which I held him.


Half-past three,
The lamp sputtered,
The lamp muttered in the dark.
The lamp hummed:
"Regard the moon,
La lune ne garde aucune rancune,
She winks a feeble eye,
She smiles into corners.
She smooths the hair of the grass.
The moon has lost her memory.
A washed-out smallpox cracks her face,
Her hand twists a paper rose,
That smells of dust and eau de Cologne,
She is alone
With all the old nocturnal smells
That cross and cross across her brain."
The reminiscence comes
Of sunless dry geraniums
And dust in crevices,
Smells of chestnuts in the streets,
And female smells in shuttered rooms,
And cigarettes in corridors
And cocktail smells in bars.


The lamp said,
"Four o'clock,
Here is the number on the door.
Memory!
You have the key,
The little lamp spreads a ring on the stair.
Mount.
The bed is open, the tooth-brush hangs on the wall,
Put your shoes at the door, sleep, prepare for life."


The last twist of the knife.


T. S. Eliot
http://www.theotherpages.org/poems/line-201.gifEliot】" TITLE="【T.S. Eliot】" />

http://www.theotherpages.org/poems/marker2.gifEliot】" TITLE="【T.S. Eliot】" /> Morning at the Window

THEY are rattling breakfast plates in basement kitchens,
And along the trampled edges of the street
I am aware of the damp souls of housemaids
Sprouting despondently at area gates.


The brown waves of fog toss up to me
Twisted faces from the bottom of the street,
And tear from a passer-by with muddy skirts
An aimless smile that hovers in the air
And vanishes along the level of the roofs.


T. S. Eliot
http://www.theotherpages.org/poems/line-201.gifEliot】" TITLE="【T.S. Eliot】" />

http://www.theotherpages.org/poems/marker2.gifEliot】" TITLE="【T.S. Eliot】" /> La Figlia Che Piange (The Weeping Girl)

O quam te memorem virgo . . .
STAND on the highest pavement of the stair --
Lean on a garden urn --
Weave, weave the sunlight in your hair --
Clasp your flowers to you with a pained suprise --
Fling them to the ground and turn
With a fugitive resentment in your eyes:
But weave, weave the sunlight in your hair.


So I would have had him leave,
So I would have had her stand and grieve,
So he would have left
As the soul leaves the body torn and bruised,
As the mind deserts the body it has used.
I should find
Some way incomparably light and deft,
Some way we both should understand,
Simple and faithless as a smile and a shake of the hand.


She turned away, but with the autumn weather
Compelled my imagination many days,
Many days and many hours:
Her hair over her arms and her arms full of flowers.
And I wonder how they should have been together!
I should have lost a gesture and a pose.
Sometimes these cogitations still amaze
The troubled midnight, and the noon's repose.


T. S. Eliot
http://www.theotherpages.org/poems/line-201.gifEliot】" TITLE="【T.S. Eliot】" />

http://www.theotherpages.org/poems/marker2.gifEliot】" TITLE="【T.S. Eliot】" /> Sweeney Among the Nightingales

"Alas, I am struck with a mortal blow within." [ -- Aeschylus, Agamemnon ]
APENECK Sweeney spreads his knees
Letting his arms hang down to laugh,
The zebra stripes along his jaw
Swelling to maculate giraffe.


The circles of the stormy moon
Slide westward toward the River Plate,
Death and the Raven drift above
And Sweeney guards the hornéd gate.


Gloomy Orion and the Dog
Are veiled; and hushed the shrunken seas;
The person in the Spanish cape
Tries to sit on Sweeney's knees


Slips and pulls the tablecloth
Overturns a coffee cup,
Reorganized upon the floor
She yawns and draws a stocking up;


The silent man in mocha brown
Sprawls at the window sill and gapes;
The waiter brings in oranges
Bananas figs and hothouse grapes;


The silent vertebrate in brown
Contracts and concentrates, withdraws;
Rachel née Rabinovitch
Tears at the grapes with murderous paws;


She and the lady in the cape
Are suspect, thought to be in league;
Therefore the man with heavy eyes
Declines the gambit, shows fatigue,


Leaves the room and reappears
Outside the window, leaning in,
Branches of wistaria
Circumscribe a golden grin;


The host with someone indistinct
Converses at the door apart,
The nightingales are singing near
The Convent of the Sacred Heart,


And sang within the bloody wood
When Agamemnon cried aloud,
And let their liquid siftings fall
To stain the stiff dishonored shroud.


T.S. Eliot

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