T. S. Eliot the Poems, Volume 2
Page 71
5 an action] something ms1 1st reading underlined ‖ an action ms1 alt with “?” merely] not only ms1 1st reading
6 To create the] But ms1 1st reading originate a symbol] to generate a symbolism ms
7 impact] contact ms1 1st reading (the emendation to impact is followed by an illegible erasure) This] this ms, ts1, ts2
9 forces] force ms1 alt with “?” control by experiment—] ms1 alt ‖ direction, the intersection ms1 1st reading ‖ control by experiment: ts1 (where by is typed over of), ts2, London Calling
10 Mostly] not ms1 1st reading ‖ Here, ms1 2nd reading ‖ Now, / Mostly ms1 alt 3rd readings, each with “?” ‖ Mostly, ts1, ts2, London Calling the] The ms1 1st reading
11 large] great ms1 Our] The ms1 1st reading
13 In] With ms1 1st reading effort] struggle ms1 alt with “?” day and night] two lives ms1 1st reading
17] This is both too large too small a pattern, ms1 1st reading with War alt first word, undel but with “?” ‖ And war is not a life. It is one problem, ms1 2nd reading with final two words changed to a situation,
18 may] can ms1 accepted,] accepted: ms1 1st reading ‖ be accepted; ms1 2nd reading
20 scattered.] ms1 alt+‖ dispersed ms1 1st reading
21–25] ms1 1st draft:
The true resolution is not yet possible
And would not be acceptable. Meanwhile the effort
To maintain the standard of universality
In the particular, which we call “poetry”
[5]
Can be affirmed in verse.
[1] The eternal is no substitute for the transient, 2nd reading with eternal changed to enduring
[2] And would not be acceptable] And cannot do that job / Neither one for the other alt 2nd readings
[3] standard] 1st and final reading ‖ highest standard 2nd reading del ms1 2nd draft:
The true resolution is not yet possible
And wd not be acceptable. Meanwhile the standard
Of particular experience at its highest intensity
Becoming universal, wh. we call “poetry”,
[5]
Can be affirmed in verse.
[1] yet] here 2nd reading
[2] acceptable] accepted 2nd reading Meanwhile the standard] The abstract notion 2nd reading ‖ But the abstract notion 3rd reading ‖ Meanwhile the notion alt 3rd reading
[3] particular] private 2nd reading
[Poem I 215 · Commentary I 1052–54]
[5] Can] May 2nd reading affirmed] found uncertain 1st reading
21 not a] no ts1, ts2, London Calling
after last line] 1942. ts Occasional Verses del
To the Indians who Died in Africa
Published in Queen Mary’s Book for India (1943). Reprinted in The Tiger Triumphs: The Story of Three Great Divisions in Italy (1946).
ts1 (King’s): carbon on pink leaf, sent to John Hayward, with “for favour of censure” pencilled at head.
ts2 (Valerie Eliot collection): ribbon copy, pinned to the letter from Lady Richmond of 13 Mar 1942 quoted in Commentary, headnote to this poem.
ms Clodd: manuscript in unknown hand, omitting third stanza. Three capitals added in final stanza by TSE, who noted: “Written for Miss Cornelia Sorabji for the Indian Red Cross Book (for the benefit of the Indian Red Cross).” Alan Clodd collection, sold Maggs 2004 (catalogue item 858).
Valerie’s Own Book: fair copy (two pages). Probably following ts1, with subsequent emendations (in another ink) from another source.
Title] For the Indian Soldiers who Died in Africa ts Occasional Verses, after which TSE pencilled and then erased the date (1943), Valerie’s Own Book ‖ not Tiger Triumphs To] For ts1, Of Books and Humankind
Note] not ts1, QMB, Tiger Triumphs, Valerie’s Own Book Died] died ts Occasional Verses, 1963 (not US 1963, 1969, 1974) Ltd., 1943).] Ltd.). ts Occasional Verses 1st reading Dobrée] Dobree ts Occasional Verses, 1963
2 fire,] fire Tiger Triumphs cooking;] cooking, Tiger Triumphs
4 neighbour’s grandson,] dog’s great-grandson ts1, ts2 1st reading, Valerie’s Own Book ‖ neighbours’ grandson Tiger Triumphs. On the facing page in Valerie’s Own Book, TSE added: “Or And see his grandson, and his neighbour’s grandson”.
5, 10, 15] no indent ts1, ts2, QMB, Tiger Triumphs
5 Playing] Play ts2, QMB
6 secure,] secure Tiger Triumphs memories] narratives ts2 2nd reading, QMB
7 Which return] (Which return ts1, Valerie’s Own Book 1st reading ‖ To relate ts2 2nd reading ‖ To repeat QMB conversation,] conversation ts2, QMB
8 (The warm] The warm, ts1 ‖ (The warm, ts2, QMB ‖ The warm Valerie’s Own Book 1st reading climate)] Tiger Triumphs, 1963+ ‖ climate)— ts2 ‖ climate), QMB, Of Books and Humankind
11–15] not Tiger Triumphs
11 destiny,] destiny. ts1, ts2, QMB
14 soil] land ts1 1st reading
[Poems I 215–16 · Commentary I 1054–56]
16 your] our ts1 1st reading land,] land Tiger Triumphs or] nor ts1, ts2 1st reading, Valerie’s Own Book 1st reading ours] yours ts1 1st reading Midlands,] Midlands ts1, ts2, QMB, Valerie’s Own Book
17 graveyard] memories ts2 2nd reading, QMB
18 you:] you— Tiger Triumphs
20 we] I ts1, ts2, QMB, Of Books and Humankind, ts Occasional Verses 1st reading emended in pencil
21 Know,] Know Tiger Triumphs judgment] QMB, 1969, 1963 4th and 5th imps. (1968, 1970) ‖ moment ts1, ts2 1st reading, 1963 1st–3rd imps. (to 1966), US 1963 and later US printings, Valerie’s Own Book ‖ judgement ts2 2nd reading, Tiger Triumphs, 1974+ (see Commentary)
22] no indent ts1, ts2, QMB, Tiger Triumphs
To Walter de la Mare
Printed first in Tribute to Walter de la Mare on his Seventy-fifth Birthday (ed. W. R. Bett, 1948). Reprinted in Tiger’s Eye (NY), 15 Dec 1948. Collected in 1963.
The bound proof of Tribute has no variants.
Valerie Eliot’s collection contains a series of typed drafts, on 11 leaves, together with correspondence with the editor of Tribute, W. R. Bett:
ts1: two leaves, with a pair of sonnets, both finally struck through (given separately below). Lines from Sonnet I became 1–12 of the final poem, and lines from II became 16–21.
ts2: two leaves with a complete draft of the final poem, lightly emended. frag a: single leaf, redrafting 28–32, probably later than ts2 but earlier than ts3.
ts3: ribbon and carbon copies of a full draft, each on a single leaf and independently emended.
ts3a: ribbon copy with extensive emendations and two trial lines in ms on verso.
ts3b: carbon of ts3a with lighter emendation.
Then three leaves of fragmentary redraftings:
frag b: seven typed lines, redrafting 4–6.
frag c: 16 typed lines, redrafting 28–32.
frag d: 17 typed lines, further redrafting 28–32.
frag e: 17 typed lines, consisting of three further drafts of 28–32 (e1–e3)
ts4: single leaf with a fair copy of the whole poem, lightly emended.
ts Occasional Verses: no variants
Texas has a typescript made by another hand (with “T.S.Eliot O.M.” at the foot), which is not collated below.
[Poems I 216–18 · Commentary I 1056–60]
ts1 pair of sonnets:
I.
The children who explored the brook had found
A desert island with a sandy beach,
Quite inaccessible, but within reach,
A snug retreat, but very dangerous ground.
5
For here the capybara may abound
And shadowy lemurs glide from limb to limb;
But not a tiger. There’s no room for him.
And surely, under that mysterious mound
Is Spanish Gold. We’ll bring a spade next time.
10
And then, returning to the nursery tea,
After so long, were glad of English fare;
And having told of their exploits at sea
Demanded to be read to, please, the rhyme
You said was made by Walter de la Mare.
I I.
When the familiar scene is suddenly strange
Or when the strange is one already known,
And presences walk with us, when alone;
When two worlds intersect: what caused the change?
5
When cats are maddened for the moonlight dance
And dogs are frightened of the dark, and cower
Under the table; when at the midnight hour
The witches’ sabbath of the maiden aunts
Is celebrated. What mysterious power
10
Directs the prodigy and works the charm?
Before the fire, in a Georgian chair
He sits. I do not think he means us harm:
It could indeed be no one else than our
Revered enchanter, Walter de la Mare.
II. 5 moonlight] midnight 1st reading
Title] ts3+ ‖ in ts Occasional Verses TSE pencilled (1948) after the title and then erased it
Note] 1963+ Ltd., 1948),] Ltd.), ts Occasional Verses 1st reading
2 cove] shore— ts2 1st reading ‖ cove— ts2
3 (A hiding place] A snug retreat ts2 1st reading ‖ (A snug retreat ts2 2nd reading with hiding place added left
4 here] there ts3 1st reading, ts3b rove,] rove ts2, ts3 1st reading, ts3b
5, 6, 7] three lines beginning And are each marked ts2
5] And here the capybara may be found ts2 1st reading ‖ And here the capybara may abound ts2 ‖ And there the capybara may abound ts3a 1st reading, ts3b ‖ Coatis and capybara may abound ts3a 2nd reading ‖ And bandi jaguars and bandicoots abound ts3a alt added right ‖ Coatis and capybaras may abound ts4 1st reading ‖ Peccary and coatis may abound ts4
[Poem I 217 · Commentary I 1057–60]
6] And mangabeys may haunt the mango grove ts2, ts3 1st reading, ts3b ‖ In the dark jungle of the mango grove ts3a 2nd reading
5–6] ts3a alt at foot:
And jaguars and marmosets abound
And capybaras haunt the mango grove
4–6] further experiments, frag b:
For there
For here the water buffalo may rove,
Coatis and capybaras may abound
In the dark jungle of the mango grove
Where
For here the water buffalo may rove,
Or
7 And] When ts3a 2nd reading tree to tree—] limb to limb ts2 1st reading ‖ tree to tree ts2 2nd reading ‖ tree to tree, ts2
8 long-lost] long-hid ts2 treasure-trove)] treasure-trove: ts2 1st reading ‖ treasure trove) Tiger’s Eye
9 at the] over ts2 1st reading, apparently del without replacement but with “X” in the margin, before the substitution of at the which is ticked
10 lamps are] three dots beneath the letters –s are with “?” ts2
11 be,] be? ts2, ts3 1st reading, ts3b
12] instead of a line space in the middle of this line, ts3 has a line space after lawn, so that it is the fourth stanza, not the fifth, that occupies four lines on the page time for bed] bed time hour ts2 with “time for bed” in another hand Or when] When ts2 1st reading
13 ghosts] they ts2 1st reading, apparently with the underline crossed through after the word itself was del and ghosts substituted
15 yearn;] yearn ts2 1st reading
17] Or what we know is what we have to learn, ts2 1st reading ‖ Or the well known is what we have to learn, ts2 2nd reading, ts3
20] with “?” ts2 bats,] bats Tiger’s Eye
21 At the witches’] At witches’ 1963+
23 sleeper] answer sleeper ts2 by his call] when he calls ts2, ts3 with cries / shouts and “?” ts3b, which has a line to No sleeper by with his call at foot
24 house;] house ts2 1st reading
27 passage] transit ts2, ts3
28 you;] yours, ts2, frag a, ts3 1st reading, ts3b by those deceptive] and through those subtle ts2, frag a, ts3a 1st and final readings, ts3b ‖ and through your subtle ts3a 2nd reading
29 Wherewith] ts3a 2nd reading, ts4 1st reading ‖ By which ts2, ts3 1st reading, ts3b ‖ In which frag a ‖ Wherein ts3a final reading, ts4 refined;] ts3 1st reading ‖ refined, ts2, ts3a final reading (after hesitations)
[Poem I 217–18 · Commentary I 1059–60]
30 By] And ts2, frag a, ts3 ‖ Your ts3a 2nd reading conscious] studied 1st reading ts2 practised with] endued with ts2, frag a, ts3 ‖ assuming ts3b alt (with line linking with to with, 30–31) ease;] ease, ts2, ts3, ts4 1st reading ‖ ease frag a
30 ^ 31] no line space ts2, frag a, ts3
31] So that we say of any poem one please, ts2 1st reading ‖ So we can say any poem you please ts2, with We know in another hand ‖ Compels us with insidious melodies frag a 1st reading ‖ Detains us with insidious melodies frag a, ts3
32] Is what one poet only could have signed. ts2 ‖ Of the audible, invisible web you wind. frag a 1st reading ‖ In the audible, invisible web you wind. frag a, ts3 1st reading, ts3b ‖ The invisible web of melodies you wind. frag a 1st alt ‖ The audible, invisible web you wind. frag a 2nd alt ‖ Of the audible, [ ] you wind ts3a 2nd reading with Entangled in by the invisible audible thread below, and of the delicate audible, the at foot (below redrafting of 5–6), and Caught in the vertically in right margin, and on verso: In the [ ] invisible toils you wind and Engages us in the unseen toils you wind
28–32] further experiments frag c:
By you; and through those subtle cadences
Wherewith the common measure is refined,
Your conscious art perfecting natural ease
Your conscious art enlarging natural ease
[5]
Completes the
Compels us
And
The conscious art composed
practised
The conscious art informed with natural ease
[10]
In the unresisted, unseen toils you wind.
Compels our feet to follow
Draws us to follow
Into the unresisted toils you wind
Compels our steps feet
[15]
Engages us
[2] Wherewith] Whereby alt
[3] perfecting] over end
and frag d:
By you; and by those subtle cadences
Wherewith the common measure is refined,
Thus conscious art practised with natural ease
Compels us
[5]
Forming
Casting
Detains the ear until its melodies
Employs
Weaving a web of
[10]
Weaving
<
[Poem I 218 · Commentary I 1059–60]
Weaves unsuspected webs of melodies
Weaving its unseen web of melodies
Detains us among
Leads us by unsuspected sorceries
[15]
Into
Detains us in the unseen toils you wind.
Detains the
[3] Thus] 1st reading ‖ Your 2nd reading ‖ Where your 3rd reading
frag e consists of three attempts (e1–e3) at the same lines. The first two are given as variants of e3:
By you; by your deceptive cadences
Wherewith the common measure is refined;
By conscious art practised with natural ease,
The delicate, invisible web you wove—
[5]
The unexplainable mystery of sound.
[1] by your deceptive] and by those subtle e1, e2
[2] refined;] refined. e2
[3] By] The e2 ease,] ease. | Takes us | Detained among insidious melodies. e1 (which ends here) ‖ ease e2
[3–4] line space e2
[4] By the audible, invisible web you wove | Detaining us e2
[5] The simple, inexplicable e2 1
st reading not del but with [5] beneath
A Dedication to my Wife
A different text was published as To My Wife, the dedication to The Elder Statesman (1959) and reprinted (with identical text) at the head of that play in Collected Plays (1962). In each of these books, the lines are all italic. Within 1969, A Dedication to my Wife appears in roman at the end of the Collected Poems and To My Wife appears in italic at the head of The Elder Statesman.
The first volume of Valerie’s Own Book contains an intermediate version (collated below), while the second volume contains a further, rejected version, Dedication II (for which see “Uncollected Poems”).
[Poems I 218–19 · Commentary I 1059–60]
In 1963, To the Indians who Died in Africa occupies a recto, 231, so that To Walter de la Mare would fall naturally on 232–33, with A Dedication to my Wife on the verso, 234, opposite the start of the Index of Titles of Poems on 235. However, in the first impression, 232 is left blank, so that the last two poems each begin on rectos. Then 236 is a further blank, facing the start of the index. This was presumably deliberate, to give due prominence to A Dedication to my Wife and to prevent it from appearing to be an afterthought. Neither the later impressions of 1963 nor 1974 have this arrangement. US 1963, which has no “Index of Titles of Poems”, has To the Indians who Died in Africa on a recto, 217, with the verso blank, followed by To Walter de la Mare, 219–20, and A Dedication to My Wife also on a recto, 221.
Title] To My Wife The Elder Statesman ‖ A Dedication contents list of Washington copy 1954, 1963 proof, Valerie’s Own Book. In TSE’s additions to Washington copy 1954, the date of composition was originally given as 1959–1962 but this was deleted along with the dates of the other Occasional Verses ‖ A Dedication to My Wife US 1963
2 wakingtime] wakingtime, Valerie’s Own Book
4] double indent 1969
5] Of lovers … The Elder Statesman other] other, Valerie’s Own Book
7 meaning.] meaning: The Elder Statesman, Valerie’s Own Book