Five O'Clock Somewhere

Welcome to Five O'Clock Somewhere, where it doesn't matter what time zone you're in; it's five o'clock somewhere. We'll look at rural life, especially as it happens in Rio Arriba County, New Mexico, cats, sailing (particularly Etchells racing yachts), and bits of grammar and Victorian poetry.

Thursday, June 07, 2007

Poetry Corner: T. S. Eliot (again)

Springtime in New Mexico rolls around once more

The saying in New Mexico is that we have four seasons: summer, fall, winter, and wind. This week has certainly been a confirmation of that observation; Wednesday, in particular, the sustained winds were in the 20s and 30s, and in a couple places in the state there were gusts of 70. Today (Thursday) is less windy, but it’s still blustery.

While most of the time, sailors want wind in order to sail fast, there is such a thing as too much wind – for example, when it causes boats to capsize or breaks rigging or masts.

The wind is often a topic for poets, including one of my favorites, T. S. Eliot. You might find the words vaguely familiar; they were adapted for the songs “Memory” and “Grizabella” in the Andrew Lloyd Weber musical Cats. In its original form, however, the poem doesn’t have quite the cheerful ending; instead, we get the image of the insomniac, wandering the city streets at night.

“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 towards 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 a 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 smoothes 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 old 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

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