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\title{The Waste Land}

\author{T.S. Eliot}

\date{1922}

\begin{document}

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\begin{center}
\parbox{8.6cm}{
``Nam sibyllam quidem Cumis ego ipse oculis meis vidi
in ambulla pendere, et cum illi pueri dicerent:
\foreignlanguage{polutonikogreek}{S'ibulla
t'i j'eleis?} respondebat illa: \foreignlanguage{polutonikogreek}{>apojane~in j'elw.}''}

\vspace{0.5\baselineskip}
  For Ezra Pound\\
\emph{il miglior fabbro.}
\end{center}

%\newpage
\poemtitle{I. THE BURIAL OF THE DEAD}

\begin{verse}
    April is the cruellest month, breeding\\
Lilacs out of the dead land, mixing\\
Memory and desire, stirring\\
Dull roots with spring rain.\\
Winter kept us warm, covering\\
Earth in forgetful snow, feeding\\
A little life with dried tubers.\\
Summer surprised us, coming over the Starnbergersee\\
With a shower of rain; we stopped in the colonnade,\\
And went on in sunlight, into the Hofgarten,\\
And drank coffee, and talked for an hour.\\
Bin gar keine Russin, stamm' aus Litauen, echt deutsch.\\
And when we were children, staying at the archduke's,\\
My cousin's, he took me out on a sled,\\
And I was frightened. He said, Marie,\\
Marie, hold on tight. And down we went.\\
In the mountains, there you feel free.\\
I read, much of the night, and go south in the winter.\\!

\quad What are the roots that clutch, what branches grow\\
Out of this stony rubbish? Son of man,\\
You cannot say, or guess, for you know only\\
A heap of broken images, where the sun beats,\\
And the dead tree gives no shelter, the cricket no relief,\\
And the dry stone no sound of water. Only\\
There is shadow under this red rock,\\
(Come in under the shadow of this red rock),\\
And I will show you something different from either\\
Your shadow at morning striding behind you\\
Or your shadow at evening rising to meet you;\\
I will show you fear in a handful of dust.\\
\mbox{}\phantom{I will show}\emph{Frisch weht der Wind\\
\mbox{}\phantom{I will show}Der Heimat zu.\\
\mbox{}\phantom{I will show}Mein Irisch Kind,\\
\mbox{}\phantom{I will show}Wo weilest du?}\\
``You gave me hyacinths first a year ago;\\
``They called me the hyacinth girl.''\\
---Yet when we came back, late, from the Hyacinth garden,\\
Your arms full, and your hair wet, I could not\\
Speak, and my eyes failed, I was neither\\
Living nor dead, and I knew nothing,\\
Looking into the heart of light, the silence.\\
\emph{Oed' und leer das Meer.}\\!

\quad Madame Sosostris, famous clairvoyante,\\
Had a bad cold, nevertheless\\
Is known to be the wisest woman in Europe,\\
With a wicked pack of cards. Here, said she,\\
Is your card, the drowned Phoenician Sailor,\\
(Those are pearls that were his eyes. Look!)\\
Here is Belladonna, the Lady of the Rocks,\\
The lady of situations.\\
Here is the man with three staves, and here the Wheel,\\
And here is the one-eyed merchant, and this card,\\
Which is blank, is something he carries on his back,\\
Which I am forbidden to see. I do not find\\
The Hanged Man. Fear death by water.\\
I see crowds of people, walking round in a ring.\\
Thank you. If you see dear Mrs.\ Equitone,\\
Tell her I bring the horoscope myself:\\
One must be so careful these days.\\!

\quad Unreal City,\\
Under the brown fog of a winter dawn,\\
A crowd flowed over London Bridge, so many,\\
I had not thought death had undone so many.\\
Sighs, short and infrequent, were exhaled,\\
And each man fixed his eyes before his feet.\\
Flowed up the hill and down King William Street,\\
To where Saint Mary Woolnoth kept the hours\\
With a dead sound on the final stroke of nine.\\
There I saw one I knew, and stopped him, crying: ``Stetson!\\
``You who were with me in the ships at Mylae!\\
``That corpse you planted last year in your garden,\\
``Has it begun to sprout? Will it bloom this year?\\
``Or has the sudden frost disturbed its bed?\\
``Oh keep the Dog far hence, that's friend to men,\\
``Or with his nails he'll dig it up again!\\
``You! hypocrite lecteur!---mon semblable,---mon fr\`ere!''\\!
\end{verse}

\poemtitle{II.  A GAME OF CHESS}

\begin{verse}
  \setverselinenums{77}{80}
    The Chair she sat in, like a burnished throne,\\
Glowed on the marble, where the glass\\
Held up by standards wrought with fruited vines\\
From which a golden Cupidon peeped out\\
(Another hid his eyes behind his wing)\\
Doubled the flames of sevenbranched candelabra\\
Reflecting light upon the table as\\
The glitter of her jewels rose to meet it,\\
From satin cases poured in rich profusion;\\
In vials of ivory and coloured glass\\
Unstoppered, lurked her strange synthetic perfumes,\\
Unguent, powdered, or liquid---troubled, confused\\
And drowned the sense in odours; stirred by the air\\
That freshened from the window, these ascended\\
In fattening the prolonged candle-flames,\\
Flung their smoke into the laquearia,\\
Stirring the pattern on the coffered ceiling.\\
Huge sea-wood fed with copper\\
Burned green and orange, framed by the coloured stone,\\
In which sad light a carv\`ed dolphin swam.\\
Above the antique mantel was displayed\\
As though a window gave upon the sylvan scene\\
The change of Philomel, by the barbarous king\\
So rudely forced; yet there the nightingale\\
Filled all the desert with inviolable voice\\
And still she cried, and still the world pursues,\\
``Jug Jug'' to dirty ears.\\
And other withered stumps of time\\
Were told upon the walls; staring forms\\
Leaned out, leaning, hushing the room enclosed.\\
Footsteps shuffled on the stair.\\
Under the firelight, under the brush, her hair\\
Spread out in fiery points\\
Glowed into words, then would be savagely still.\\!

\quad ``My nerves are bad to-night. Yes, bad. Stay with me.\\
``Speak to me. Why do you never speak? Speak.\\
\quad``What are you thinking of? What thinking? What?\\
``I never know what you are thinking. Think.''\\!

\quad I think we are in rats' alley\\
Where the dead men lost their bones.\\!

\quad``What is that noise?''\\
\mbox{}\phantom{\quad``What is that noise?}The wind under the door. \\
``What is that noise now? What is the wind doing?''\\
\mbox{}\phantom{\quad``What is that noise?}Nothing again nothing.\\
\mbox{}\phantom{\quad``What is that noise?Nothing again nothing.}``Do \\
``You know nothing? Do you see nothing? Do you remember\\
``Nothing?''\\!
  
\qquad I remember\\
Those are pearls that were his eyes.\\
``Are you alive, or not? Is there nothing in your head?''\\
\mbox{}\phantom{``Are you alive, or not? Is there nothing in your head}But\\
O O O O that Shakespeherian Rag---\\
It's so elegant\\
So intelligent\\
``What shall I do now? What shall I do?''\\
``I shall rush out as I am, and walk the street\\
``With my hair down, so. What shall we do to-morrow?\\
``What shall we ever do?''\\
\mbox{}\phantom{``What shall we ever do?''}The hot water at ten.\\
And if it rains, a closed car at four.\\
And we shall play a game of chess,\\
Pressing lidless eyes and waiting for a knock upon the door.\\!

\quad When Lil's husband got demobbed, I said---\\
I didn't mince my words, I said to her myself,\\
\textsc{Hurry up please its time}\\
Now Albert's coming back, make yourself a bit smart.\\
He'll want to know what you done with that money he gave you\\
To get yourself some teeth. He did, I was there.\\
You have them all out, Lil, and get a nice set,\\
He said, I swear, I can't bear to look at you.\\
And no more can't I, I said, and think of poor Albert,\\
He's been in the army four years, he wants a good time,\\
And if you don't give it him, there's others will, I said.\\
Oh is there, she said. Something o' that, I said.\\
Then I'll know who to thank, she said, and give me a straight look.\\
\textsc{Hurry up please its time}\\
If you don't like it you can get on with it, I said.\\
Others can pick and choose if you can't.\\
But if Albert makes off, it won't be for lack of telling.\\
You ought to be ashamed, I said, to look so antique.\\
(And her only thirty-one.)\\
I can't help it, she said, pulling a long face,\\
It's them pills I took, to bring it off, she said.\\
(She's had five already, and nearly died of young George.)\\
The chemist said it would be alright, but I've never been the same.\\
You {are} a proper fool, I said.\\
Well, if Albert won't leave you alone, there it is, I said,\\
What you get married for if you don't want children?\\
\textsc{Hurry up please its time}\\
Well, that Sunday Albert was home, they had a hot gammon,\\
And they asked me in to dinner, to get the beauty of it hot---\\
\textsc{Hurry up please its time}\\
\textsc{Hurry up please its time}\\
Goonight Bill. Goonight Lou. Goonight May. Goonight.\\
Ta ta. Goonight. Goonight.\\
Good night, ladies, good night, sweet ladies, good night, good night.\\!
\end{verse}

\poemtitle{III. THE FIRE SERMON}

\begin{verse}
  \setverselinenums{173}{175}
The river's tent is broken: the last fingers of leaf\\
Clutch and sink into the wet bank. The wind\\
Crosses the brown land, unheard. The nymphs are departed.\\
Sweet Thames, run softly, till I end my song.\\
The river bears no empty bottles, sandwich papers,\\
Silk handkerchiefs, cardboard boxes, cigarette ends\\
Or other testimony of summer nights. The nymphs are departed.\\
And their friends, the loitering heirs of city directors;\\
Departed, have left no addresses.\\
By the waters of Leman I sat down and wept\dots\\
Sweet Thames, run softly till I end my song,\\
Sweet Thames, run softly, for I speak not loud or long.\\
But at my back in a cold blast I hear\\
The rattle of the bones, and chuckle spread from ear to ear.\\
A rat crept softly through the vegetation\\
Dragging its slimy belly on the bank\\
While I was fishing in the dull canal\\
On a winter evening round behind the gashouse\\
Musing upon the king my brother's wreck\\
And on the king my father's death before him.\\
White bodies naked on the low damp ground\\
And bones cast in a little low dry garret,\\
Rattled by the rat's foot only, year to year.\\
But at my back from time to time I hear\\
The sound of horns and motors, which shall bring\\
Sweeney to Mrs.\ Porter in the spring.\\
O the moon shone bright on Mrs.\ Porter\\
And on her daughter\\
They wash their feet in soda water\\
\emph{Et, O ces voix d'enfants, chantant dans la coupole!}\\!

\quad Twit twit twit\\
Jug jug jug jug jug jug\\
So rudely forc'd.\\
Tereu\\!

\quad	Unreal City\\
Under the brown fog of a winter noon\\
Mr.\ Eugenides, the Smyrna merchant\\
Unshaven, with a pocket full of currants\\
C.i.f. London: documents at sight,\\
Asked me in demotic French\\
To luncheon at the Cannon Street Hotel\\
Followed by a weekend at the Metropole.\\!

\quad At the violet hour, when the eyes and back\\
Turn upward from the desk, when the human engine waits\\
Like a taxi throbbing waiting,\\
I Tiresias, though blind, throbbing between two lives,\\
Old man with wrinkled female breasts, can see\\
At the violet hour, the evening hour that strives\\
Homeward, and brings the sailor home from sea,\\
The typist home at teatime, clears her breakfast, lights\\
Her stove, and lays out food in tins.\\
Out of the window perilously spread\\
Her drying combinations touched by the sun's last rays,\\
On the divan are piled (at night her bed)\\
Stockings, slippers, camisoles, and stays.\\
I Tiresias, old man with wrinkled dugs\\
Perceived the scene, and foretold the rest---\\
I too awaited the expected guest.\\
He, the young man carbuncular, arrives,\\
A small house agent's clerk, with one bold stare,\\
One of the low on whom assurance sits\\
As a silk hat on a Bradford millionaire.\\
The time is now propitious, as he guesses,\\
The meal is ended, she is bored and tired,\\
Endeavours to engage her in caresses\\
Which still are unreproved, if undesired.\\
Flushed and decided, he assaults at once;\\
Exploring hands encounter no defence;\\
His vanity requires no response,\\
And makes a welcome of indifference.\\
(And I Tiresias have foresuffered all\\
Enacted on this same divan or bed;\\
I who have sat by Thebes below the wall\\
And walked among the lowest of the dead.)\\
Bestows one final patronising kiss,\\
And gropes his way, finding the stairs unlit\dots\\!

\quad She turns and looks a moment in the glass,\\
Hardly aware of her departed lover;\\
Her brain allows one half-formed thought to pass:\\
``Well now that's done: and I'm glad it's over.'\\
When lovely woman stoops to folly and\\
Paces about her room again, alone,\\
She smoothes her hair with automatic hand,\\
And puts a record on the gramophone.\\!

\quad ``This music crept by me upon the waters''\\
And along the Strand, up Queen Victoria Street.\\
O City city, I can sometimes hear\\
Beside a public bar in Lower Thames Street,\\
The pleasant whining of a mandoline\\
And a clatter and a chatter from within\\
Where fishmen lounge at noon: where the walls\\
Of Magnus Martyr hold\\
Inexplicable splendour of Ionian white and gold.\\!
%\end{verse}

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%\begin{verse}
%\setverselinenums{266}{270}
    \vin\quad    The river sweats\\
\vin Oil and tar\\
\vin The barges drift\\
\vin With the turning tide\\
\vin Red sails\\
\vin Wide\\
\vin To leeward, swing on the heavy spar.\\
\vin The barges wash\\
\vin Drifting logs\\
\vin Down Greenwich reach\\
\vin Past the Isle of Dogs.\\
\vin\phantom{Past the Isle o}Weialala leia\\
\vin\phantom{Past the Isle o}Wallala leialala\\!

\vin\quad Elizabeth and Leicester\\
\vin Beating oars\\
\vin The stern was formed\\
\vin A gilded shell\\
\vin Red and gold\\
\vin The brisk swell\\
\vin Rippled both shores\\
\vin Southwest wind\\
\vin Carried down stream\\
\vin The peal of bells\\
\vin White towers\\
\vin\phantom{Past the Isle o}Weialala leia\\
\vin\phantom{Past the Isle o}Wallala leialala\\!

\quad\vin ``Trams and dusty trees.\\
\vin Highbury bore me. Richmond and Kew\\
\vin Undid me. By Richmond I raised my knees\\
\vin Supine on the floor of a narrow canoe.''\\!

\quad\vin ``My feet are at Moorgate, and my heart\\
\vin Under my feet. After the event\\
\vin He wept. He promised `a new start''.\\
\vin I made no comment. What should I resent?''\\!
  
\quad\vin ``On Margate Sands.\\
\vin I can connect\\
\vin Nothing with nothing.\\
\vin The broken fingernails of dirty hands.\\
\vin My people humble people who expect\\
\vin Nothing.''\\
\vin\phantom{Past the Isle o}la la\\!

\quad\vin To Carthage then I came\\!

\quad\vin Burning burning burning burning\\
\vin O Lord Thou pluckest me out\\
\vin O Lord Thou pluckest\\!

\vin burning\\!
\end{verse}

%\setlength{\leftmargini}{1cm}


\poemtitle{IV.  DEATH BY WATER}

\begin{verse}
  \setverselinenums{312}{315}
    Phlebas the Phoenician, a fortnight dead,\\
Forgot the cry of gulls, and the deep seas swell\\
And the profit and loss.\\
\mbox{}\phantom{And the profit and loss}A current under sea\\
Picked his bones in whispers. As he rose and fell\\
He passed the stages of his age and youth\\
Entering the whirlpool.\\
\mbox{}\phantom{And the profit and loss}Gentile or Jew\\
O you who turn the wheel and look to windward,\\
Consider Phlebas, who was once handsome and tall as you.\\!
\end{verse}

\poemtitle{V.  WHAT THE THUNDER SAID}

\begin{verse}
\setverselinenums{322}{325}
After the torchlight red on sweaty faces\\
After the frosty silence in the gardens\\
After the agony in stony places\\
The shouting and the crying\\
Prison and place and reverberation\\
Of thunder of spring over distant mountains\\
He who was living is now dead\\
We who were living are now dying\\
With a little patience\\

\quad Here is no water but only rock\\
Rock and no water and the sandy road\\
The road winding above among the mountains\\
Which are mountains of rock without water\\
If there were water we should stop and drink\\
Amongst the rock one cannot stop or think\\
Sweat is dry and feet are in the sand\\
If there were only water amongst the rock\\
Dead mountain mouth of carious teeth that cannot spit\\
Here one can neither stand nor lie nor sit\\
There is not even silence in the mountains\\
But dry sterile thunder without rain\\
There is not even solitude in the mountains\\
But red sullen faces sneer and snarl\\ 
From doors of mudcracked houses\\
\mbox{}\phantom{From doors of mudcracked }If there were water\\
\quad And no rock\\
\quad If there were rock\\
\quad And also water\\
\quad And water\\
\quad A spring\\
\quad A pool among the rock\\
\quad If there were the sound of water only\\
\quad Not the cicada\\
\quad And dry grass singing\\
\quad But sound of water over a rock\\
\quad Where the hermit-thrush sings in the pine trees\\
\quad Drip drop drip drop drop drop drop\\
\quad But there is no water\\!

\quad Who is the third who walks always beside you?\\
When I count, there are only you and I together\\
But when I look ahead up the white road\\
There is always another one walking beside you\\
Gliding wrapt in a brown mantle, hooded\\
I do not know whether a man or a woman\\
---But who is that on the other side of you?\\!

\quad What is that sound high in the air\\
Murmur of maternal lamentation\\
Who are those hooded hordes swarming\\
Over endless plains, stumbling in cracked earth\\
Ringed by the flat horizon only\\
What is the city over the mountains\\
Cracks and reforms and bursts in the violet air\\
 Falling towers\\
Jerusalem Athens Alexandria\\
Vienna London\\
Unreal\\!

\quad A woman drew her long black hair out tight\\
And fiddled whisper music on those strings\\
And bats with baby faces in the violet light\\
Whistled, and beat their wings\\
And crawled head downward down a blackened wall\\
And upside down in air were towers\\
Tolling reminiscent bells, that kept the hours\\
And voices singing out of empty cisterns and exhausted wells.\\!

\quad In this decayed hole among the mountains\\
In the faint moonlight, the grass is singing\\
Over the tumbled graves, about the chapel\\
There is the empty chapel, only the wind's home.\\
It has no windows, and the door swings,\\
Dry bones can harm no one.\\
Only a cock stood on the rooftree\\
Co co rico co co rico\\
In a flash of lightning. Then a damp gust\\
Bringing rain\\!

\quad Ganga was sunken, and the limp leaves\\
Waited for rain, while the black clouds\\
Gathered far distant, over Himavant.\\
The jungle crouched, humped in silence.\\
Then spoke the thunder
\\	\textsc{Da} \\
\emph{Datta:} what have we given?\\
My friend, blood shaking my heart\\
The awful daring of a moment's surrender\\
Which an age of prudence can never retract\\
By this, and this only, we have existed\\
Which is not to be found in our obituaries\\
Or in memories draped by the beneficent spider\\
Or under seals broken by the lean solicitor\\
In our empty rooms\\
\textsc{Da} \\
\emph{Dayadhvam:} I have heard the key\\
Turn in the door once and turn once only\\
We think of the key, each in his prison\\
Thinking of the key, each confirms a prison\\
Only at nightfall, aetherial rumours\\
Revive for a moment a broken Coriolanus\\
\textsc{Da}\\
\emph{Damyata:} The boat responded\\
Gaily, to the hand expert with sail and oar\\
The sea was calm, your heart would have responded\\
Gaily, when invited, beating obedient\\
To controlling hands\\!

\mbox{}\phantom{Gaily, when invited, beating}I sat upon the shore\\
Fishing, with the arid plain behind me\\
Shall I at least set my lands in order?\\
London Bridge is falling down falling down falling down\\
\emph{Poi s'ascose nel foco che gli affina\\
Quando fiam uti chelidon}---O swallow swallow\\
\emph{Le Prince d'Aquitaine \`a la tour abolie}\\
These fragments I have shored against my ruins\\
Why then Ile fit you. Hieronymo's mad againe.\\
Datta. Dayadhvam. Damyata.\\
\mbox{}\phantom{Datta. D}Shantih\quad shantih\quad shantih\\!
\end{verse}

\poemtitle{NOTES ON ``THE WASTE LAND''}

\noindent   Not only the title, but the plan and a good deal of the incidental
          symbolism of the poem were suggested by Miss Jessie L.
          Weston's book on the Grail legend: \emph{From Ritual to Romance}
          (Cambridge). Indeed, so deeply am I indebted, Miss Weston's
          book will elucidate the difficulties of the poem much better
          than my notes can do; and I recommend it (apart from the
          great interest of the book itself) to any who think such
          elucidation of the poem worth the trouble. To another work
          of anthropology I am indebted in general, one which has
          influenced our generation profoundly; I mean \emph{The Golden
          Bough;} I have used especially the two volumes \emph{Adonis, Attis,
          Osiris.} Anyone who is acquainted with these works will
          immediately recognize in the poem certain references to
          vegetation ceremonies.

\renewcommand{\poemtitlefont}{\small\centering}
\poemtitle{I. THE BURIAL OF THE DEAD}
\settowidth{\parindent}{\quad}
%\setlength{\parskip}{0.1\baselineskip}
   Line 20.  Cf.~Ezekiel 2:7.

   23. Cf.~Ecclesiastes 12:5.

   31. V. Tristan und Isolde, I, verses 5--8.

   42. Id.\ III, verse 24.

   46. I am not familiar with the exact constitution of the Tarot pack
          of cards, from which I have obviously departed to suit my
          own convenience. The Hanged Man, a member of the traditional
          pack, fits my purpose in two ways: because he is associated
          in my mind with the Hanged God of Frazer, and because I
          associate him with the hooded figure in the passage of the
          disciples to Emmaus in Part V\@. The Phoenician Sailor and the
          Merchant appear later; also the ``crowds of people,'' and
          Death by Water is executed in Part IV\@. The Man with Three
          Staves (an authentic member of the Tarot pack) I associate,
          quite arbitrarily, with the Fisher King himself.

   60. \parbox[t]{0.8\textwidth}{%
Cf.~Baudelaire:\\
``Fourmillante cit\'e, cit\'e pleine de r\^eves,\\
``O\`u le spectre en plein jour raccroche le passant.''%
\rule[-0.4\baselineskip]{0pt}{0pt}}

   63. \parbox[t]{0.8\textwidth}{%
Cf.~Inferno, iii. 55--7:\\
\mbox{}\phantom{Cf.~Inferno, III, 55--7: }``si lunga tratta\\
di gente, ch'io non avrei mai creduto\\
\mbox{}\quad che morte tanta n'avesse disfatta.''%
\rule[-0.4\baselineskip]{0pt}{0pt}}

   64. \parbox[t]{0.8\textwidth}{%
Cf.~Inferno, IV, 25--27:\\
``Quivi, secondo che per ascoltare,\\
``non avea pianto, ma' che di sospiri,\\
``che l'aura eterna facevan tremare.''%
\rule[-0.4\baselineskip]{0pt}{0pt}}

   68. A phenomenon which I have often noticed.

   74. Cf.~the Dirge in Webster's \emph{White Devil.}

   76. V. Baudelaire, Preface to \emph{Fleurs du Mal.}

\poemtitle{II. A GAME OF CHESS}

   77. Cf.~\emph{Antony and Cleopatra,} II, ii, l.\ 190.

   92. Laquearia. V. \emph{Aeneid,} I, 726:\\
\indent\phantom{92. }dependent lychni laquearibus aureis incensi,
et noctem flammis funalia vincunt.  

   98. Sylvan scene. V. Milton, \emph{Paradise Lost,} IV, 140.

   99. V. Ovid, \emph{Metamorphoses,} VI, Philomela.

   100. Cf.~Part III, l.~204.

   115. Cf.~Part III, l.~195.

   118. Cf.~Webster: ``Is the wind in that door still?''

   126. Cf.~Part I, l.~37, 48.

   138. Cf.~the game of chess in Middleton's \emph{Women beware Women.}

\poemtitle{III. THE FIRE SERMON}

   176. V. Spenser, \emph{Prothalamion.}

   192. Cf.~\emph{The Tempest,} I, ii.

   196. Cf.~Marvell, \emph{To His Coy Mistress.}

   197. \parbox[t]{0.8\textwidth}{%
Cf.~Day, \emph{Parliament of Bees:}\\
``When of the sudden, listening, you shall hear,\\
``A noise of horns and hunting, which shall bring\\
``Actaeon to Diana in the spring,\\
``Where all shall see her naked skin\dots''%
\rule[-0.4\baselineskip]{0pt}{0pt}}

   199. I do not know the origin of the ballad from which these lines
          are taken: it was reported to me from Sydney, Australia.

   202. V. Verlaine, \emph{Parsifal.}

   210. The currants were quoted at a price ``carriage and insurance
          free to London''; and the Bill of Lading etc.\ were to be
          handed to the buyer upon payment of the sight draft.

   218. Tiresias, although a mere spectator and not indeed a
          ``character,'' is yet the most important personage in the
          poem, uniting all the rest. Just as the one-eyed merchant,
          seller of currants, melts into the Phoenician Sailor, and
          the latter is not wholly distinct from Ferdinand Prince of
          Naples, so all the women are one woman, and the two sexes
          meet in Tiresias. What Tiresias sees, in fact, is the
          substance of the poem. The whole passage from Ovid is of
          great anthropological interest:\\
\indent\phantom{218. }`\dots Cum Iunone iocos et 'maior vestra profecto est\\
\indent\phantom{218. }Quam, quae contingit maribus,' dixisse, `voluptas.'\\
\indent\phantom{218. }Illa negat; placuit quae sit sententia docti\\
\indent\phantom{218. }Quaerere Tiresiae: venus huic erat utraque nota.\\
\indent\phantom{218. }Nam duo magnorum viridi coeuntia silva\\
\indent\phantom{218. }Corpora serpentum baculi violaverat ictu\\
\indent\phantom{218. }Deque viro factus, mirabile, femina septem\\
\indent\phantom{218. }Egerat autumnos; octavo rursus eosdem\\
\indent\phantom{218. }Vidit et `est vestrae si tanta potentia plagae,'\\
\indent\phantom{218. }Dixit `ut auctoris sortem in contraria mutet,\\
\indent\phantom{218. }Nunc quoque vos feriam!' percussis anguibus isdem\\
\indent\phantom{218. }Forma prior rediit genetivaque venit imago.\\
\indent\phantom{218. }Arbiter hic igitur sumptus de lite iocosa\\
\indent\phantom{218. }Dicta Iovis firmat; gravius Saturnia iusto\\
\indent\phantom{218. }Nec pro materia fertur doluisse suique\\
\indent\phantom{218. }Iudicis aeterna damnavit lumina nocte,\\
\indent\phantom{218. }At pater omnipotens (neque enim licet inrita cuiquam\\
\indent\phantom{218. }Facta dei fecisse deo) pro lumine adempto\\
\indent\phantom{218. }Scire futura dedit poenamque levavit honore.

   221. This may not appear as exact as Sappho's lines, but I had in
          mind the ``longshore'' or ``dory'' fisherman, who returns at
          nightfall.

   253. V. Goldsmith, the song in \emph{The Vicar of Wakefield.}

   257. V. \emph{The Tempest,} as above.

   264. The interior of St.~Magnus Martyr is to my mind one of the
          finest among Wren's interiors. See \emph{The Proposed Demolition
          of Nineteen City Churches} (P. S. King \& Son, Ltd.).

   266. The Song of the (three) Thames-daughters begins here. From
          line 292 to 306 inclusive they speak in turn. V.
          \emph{G\"otterd\"ammerung,} III, i: The Rhine-daughters.

   279. V. Froude, \emph{Elizabeth,} vol.~I, ch.~iv, letter of De Quadra to
          Philip of Spain:\\
        ``In the afternoon we were in a barge, watching the games on
          the river. (The queen) was alone with Lord Robert and myself
          on the poop, when they began to talk nonsense, and went so
          far that Lord Robert at last said, as I was on the spot
          there was no reason why they should not be married if the
          queen pleased.''

   293. \parbox[t]{0.8\textwidth}{%
Cf.~\emph{Purgatorio,} V, 133:\\
``Ricorditi di me, che son la Pia;\\
``Siena mi fe', disfecemi Maremma.''%
\rule[-0.4\baselineskip]{0pt}{0pt}}

   307. V. St.\ Augustine's \emph{Confessions:} ``to Carthage then I came,
          where a cauldron of unholy loves sang all about mine ears.''

   308. The complete text of the Buddha's Fire Sermon (which
          corresponds in importance to the Sermon on the Mount) from
          which these words are taken, will be found translated in the
          late Henry Clarke Warren's \emph{Buddhism in Translation} (Harvard
          Oriental Series).  Mr.\ Warren was one of the great pioneers
          of Buddhist studies in the Occident.

   309. From St. Augustine's \emph{Confessions} again. The collocation of
          these two representatives of eastern and western asceticism,
          as the culmination of this part of the poem, is not an
          accident.

\poemtitle{V. WHAT THE THUNDER SAID}

   In the first part of Part V three themes are employed: the journey
          to Emmaus, the approach to the Chapel Perilous (see Miss
          Weston's book), and the present decay of eastern Europe.

   357. This is \emph{Turdus aonalaschkae pallasii,} the hermit-thrush which
          I have heard in Quebec County. Chapman says (\emph{Handbook of
          Birds in Eastern North America}) ``it is most at home in
          secluded woodland and thickety retreats\dots. Its notes are
          not remarkable for variety or volume, but in purity and
          sweetness of tone and exquisite modulation they are
          unequalled.'' Its ``water-dripping song'' is justly celebrated.

   360. The following lines were stimulated by the account of one of
          the Antarctic expeditions (I forget which, but I think one
          of Shackleton's): it was related that the party of
          explorers, at the extremity of their strength, had the
          constant delusion that there was \emph{one more member} than could
          actually be counted.

   367--77. Cf.~Hermann Hesse, \emph{Blick ins Chaos:}
          ``Schon ist halb Europa, schon ist zumindest der halbe Osten
          Europas auf dem Wege zum Chaos, f\"ahrt betrunken im heiligen
          Wahn am Abgrund entlang und singt dazu, singt betrunken und
          hymnisch wie Dmitri Karamasoff sang. Ueber diese Lieder
          lacht der B\"urger beleidigt, der Heilige und Seher h\"ort sie
          mit Tr\"anen.''

   402. ``Datta, dayadhvam, damyata'' (Give, sympathize, control). The
          fable of the meaning of the Thunder is found in the
          \emph{Brihadaranyaka--Upanishad,} 5, 1. A translation is found in
          Deussen's \emph{Sechzig Upanishads des Veda,} p.~489.

   408. \parbox[t]{0.8\textwidth}{%
Cf.~Webster, \emph{The White Devil,} V, vi:\\
\mbox{}\phantom{Cf.~Webster, \emph{The White Devil,} V, v}``\dots they'll remarry\\
Ere the worm pierce your winding-sheet, ere the spider\\
Make a thin curtain for your epitaphs.''%
\rule[-0.4\baselineskip]{0pt}{0pt}}

   412. \parbox[t]{0.8\textwidth}{%
Cf.~Inferno, XXXIII, 46:\\
``ed io sentii chiavar l'uscio di sotto\\
\mbox{}\phantom{``}all'orribile torre.''%
\rule[-0.4\baselineskip]{0pt}{0pt}}

     Also F. H. Bradley, \emph{Appearance and Reality,} p.~346:\\
            ``My external sensations are no less private to myself than
          are my thoughts or my feelings. In either case my experience
          falls within my own circle, a circle closed on the outside;
          and, with all its elements alike, every sphere is opaque to
          the others which surround it\dots In brief, regarded as an
          existence which appears in a soul, the whole world for each
          is peculiar and private to that soul.''

   425. V. Weston, \emph{From Ritual to Romance;} chapter on the Fisher King.

   428. \parbox[t]{0.8\textwidth}{%
V. \emph{Purgatorio,} XXVI, 148.\\
``$\;$`Ara vos prec per aquella valor\\
\mbox{}\phantom{``$\;$}`que vos guida al som de l'escalina,\\
\mbox{}\phantom{``$\;$}`sovegna vos a temps de ma dolor.'\\
\mbox{}\phantom{``$\;$}Poi s'ascose nel foco che gli affina.''%
\rule[-0.4\baselineskip]{0pt}{0pt}}

   428. V. \emph{Pervigilium Veneris.} Cf.~Philomela in Parts II and III.

   429. V. Gerard de Nerval, Sonnet \emph{El Desdichado.}

   431. V. Kyd's \emph{Spanish Tragedy.}

   433. Shantih. Repeated as here, a formal ending to an Upanishad.
          ``The Peace which passeth understanding'' is our equivalent to this word.

\vfill

\small 
\noindent\emph{Text taken from Bartleby and edited to conform to
  \emph{The Complete Poems and Plays, 1909--1950} (San Diego: Harcourt
  Brace Jovanovich, 1971).  In the notes, after 357, Bartleby's line
  numbers are less by one than in the print edition; Bartleby has
  \emph{ceu} for \emph{uti} in line 428; and in the last note,
  Bartleby has ``\dots is a
  feeble translation of the content of this word.''}   

\end{document}
