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April is the cruellest month.
«Пустошь», 1922

Перевод С. Степанова.

образ
Источник: Популярная наука о кошках, написанная Старым Опоссумом

впечатление
Источник: Бесплодная земля

We sometimes feel, in following the words and behavior of some of the characters of Dostoevsky, that they are living at once on the plane we know and on some other place of reality from which we are shut out.
«Джон Марстон», 1934

Ash-Wednesday (1930)

Источник: The Waste Land (1922), Line 1 et seq.

Источник: The Love Song of J. Alfred Prufrock and Others

Источник: The Waste Land (1922), Line 25 et seq.
Контексте: 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.

The Love Song of J. Alfred Prufrock (1915)
Контексте: 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.

Источник: Four Quartets

Choruses from The Rock (1934)

"Gerontion"
Poems (1920)
Контексте: After such knowledge, what forgiveness? Think now
History has many cunning passages, contrived corridors
And issues, deceives with whispering ambitions,
Guides us by vanities. Think now
She gives when our attention is distracted
And what she gives, gives with such supple confusions
That the giving famishes the craving. Gives too late
What's not believed in, or if still believed,
In memory only, reconsidered passion. Gives too soon
Into weak hands, what's thought can be dispensed with
Till the refusal propagates a fear. Think
Neither fear nor courage saves us. Unnatural vices
Are fathered by our heroism. Virtues
Are forced upon us by our impudent crimes.
These tears are shaken from the wrath-bearing tree.

The Hollow Men (1925) <br class="br">Контексте: This is the dead land<br>This is cactus land<br>Here the stone images<br>Are raised, here they receive<br>The supplication of a dead man&#x27;s hand<br>Under the twinkle of a fading star.<br>[... ]<br>The eyes are not here<br>There are no eyes here<br>In this valley of dying stars<br>In this hollow valley<br>This broken jaw of our lost kingdoms<br> In this last of meeting places<br>We grope together<br>And avoid speech<br> http://aduni.org/~heather/occs/honors/Notesonpoem.htm#fiftysevensixtyGathered on this beach of the tumid river<br> Sightless, unless<br>The eyes reappear http://aduni.org/~heather/occs/honors/Notesonpoem.htm#sixtyonesixtytwo<br> As the perpetual star<br>Multifoliate rose http://aduni.org/~heather/occs/honors/Notesonpoem.htm#sixtyfoursixtythree<br>Of death&#x27;s twilight kingdom<br>The hope only<br>Of empty men.

Ash-Wednesday (1930)
Контексте: Lady of silences
Calm and distressed
Torn and most whole
Rose of memory
Rose of forgetfulness
Exhausted and life-giving
Worried reposeful
The single Rose
Is now the Garden
Where all loves end
Terminate torment
Of love unsatisfied
The greater torment
Of love satisfied
End of the endless
Journey to no end
Conclusion of all that
Is inconclusible
Speech without word and
Word of no speech
Grace to the Mother
For the Garden
Where all love ends.

Choruses from The Rock (1934)
Контексте: In spite of all the dishonour,
the broken standards, the broken lives,
The broken faith in one place or another,
There was something left that was more than the tales
Of old men on winter evenings.

Tradition and the Individual Talent (1919)
Контексте: We dwell with satisfaction upon the poet's difference from his predecessors, especially his immediate predecessors; we endeavour to find something that can be isolated in order to be enjoyed. Whereas if we approach a poet without this prejudice we shall often find that not only the best, but the most individual parts of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously. And I do not mean the impressionable period of adolescence, but the period of full maturity.

Ash-Wednesday (1930)
Контексте: If the lost word is lost, if the spent word is spent
If the unheard, unspoken
Word is unspoken, unheard;
Still is the unspoken word, the Word unheard,
The Word without a word, the Word within
The world and for the world;
And the light shone in darkness and
Against the Word the unstilled world still whirled
About the centre of the silent Word. O my people, what have I done unto thee. Where shall the word be found, where will the word
Resound? Not here, there is not enough silence

Ash-Wednesday (1930)
Контексте: Lady of silences
Calm and distressed
Torn and most whole
Rose of memory
Rose of forgetfulness
Exhausted and life-giving
Worried reposeful
The single Rose
Is now the Garden
Where all loves end
Terminate torment
Of love unsatisfied
The greater torment
Of love satisfied
End of the endless
Journey to no end
Conclusion of all that
Is inconclusible
Speech without word and
Word of no speech
Grace to the Mother
For the Garden
Where all love ends.

Tradition and the Individual Talent (1919)
Контексте: What happens when a new work of art is created, is something that happens simultaneously to all the works of art which preceded it. The existing monuments form an ideal order among themselves, which is modified by the introduction of the new (the really new) work of art among them. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new.

Ash-Wednesday (1930)
Контексте: Because I do not hope to turn again
Because I do not hope
Because I do not hope to turn
Desiring this man's gift and that man's scope
I no longer strive to strive towards such things
(Why should the agèd eagle stretch its wings?)
Why should I mourn
The vanished power of the usual reign?

The Ad-dressing of Cats
Old Possum's Book of Practical Cats (1939)
Контексте: You now have learned enough to see
That Cats are much like you and me
And other people whom we find
Possessed of various types of mind.
For some are sane and some are mad
And some are good and some are bad
And some are better, some are worse —
But all may be described in verse.

"Gerontion"
Poems (1920)
Контексте: After such knowledge, what forgiveness? Think now
History has many cunning passages, contrived corridors
And issues, deceives with whispering ambitions,
Guides us by vanities. Think now
She gives when our attention is distracted
And what she gives, gives with such supple confusions
That the giving famishes the craving. Gives too late
What's not believed in, or if still believed,
In memory only, reconsidered passion. Gives too soon
Into weak hands, what's thought can be dispensed with
Till the refusal propagates a fear. Think
Neither fear nor courage saves us. Unnatural vices
Are fathered by our heroism. Virtues
Are forced upon us by our impudent crimes.
These tears are shaken from the wrath-bearing tree.

Tradition and the Individual Talent (1919)
Контексте: The bad poet is usually unconscious where he ought to be conscious, and conscious where he ought to be unconscious. Both errors tend to make him "personal." Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality. But, of course, only those who have personality and emotions know what it means to want to escape from these things.

Choruses from The Rock (1934)
Контексте: The Eagle soars in the summit of Heaven,
The Hunter with his dogs pursues his circuit.

Choruses from The Rock (1934)
Контексте: They constantly try to escape
From the darkness outside and within
By dreaming of systems so perfect that no one will need to be good.
But the man that is shall shadow
The man that pretends to be.

Choruses from The Rock (1934)
Контексте: But it seems that something has happened that has never happened before: though we know not just when, or why, or how, or where.
Men have left GOD not for other gods, they say, but for no God; and this has never happened before
That men both deny gods and worship gods, professing first Reason,
And then Money, and Power, and what they call Life, or Race, or Dialectic.

Choruses from The Rock (1934)
Контексте: You neglect and belittle the desert.
The desert is not remote in southern tropics
The desert is not only around the corner,
The desert is squeezed in the tube-train next to you,
The desert is in the heart of your brother.

Choruses from The Rock (1934)
Контексте: There came one who spoke of the shame of Jerusalem
And the holy places defiled;
Peter the Hermit, scourging with words.
And among his hearers were a few good men,
Many who were evil,
And most who were neither,
Like all men in all places.

Choruses from The Rock (1934)
Контексте: Where the bricks are fallen
We will build with new stone
Where the beams are rotten
We will build with new timbers
Where the word is unspoken
We will build with new speech
There is work together
A Church for all
And a job for each
Every man to his work.