By T. S. Eliot
The winter evening settles down
With smell of steaks in passageways.
The burnt-out ends of smoky days.
And now a gusty shower wraps
The grimy scraps
Of withered leaves about your feet
And newspapers from vacant lots;
The showers beat
On broken 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.
The morning comes to consciousness
Of faint stale smells of beer
From the sawdust-trampled street
With all its 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.
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 was 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,
Or clasped the yellow soles of feet
In the palms of both soiled hands.
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.
Following is a (very) brief analysis I did of this poem for a course:
This is a pretty cool poem by a master of the form. As you can see, I’m full of insightful analysis this morning. But ‘pretty cool’ is about all I can muster today, even with the benefit of my morning coffee (ahhhhhhh, coffee…).
Oh, all right, if I must. I do want some marks, after all.
Eliot uses figurative imagery extensively in this poem. The street is personified, a living thing people inhabit, a world that reflects and impacts them. Time and motion is distinct in every facet of this poem, each of the preludes a different part of the day.
The first stanza is almost exclusively literal: day’s end, when all the day’s concrete acts and ‘grimy scraps’ are washed clean by the downpour. The second stanza is the morning, with people rising to recommence the ‘masquerades’ of their lives. The third stanza flips to second person view point, with the protagonist dreaming and waking into his dark and sordid existence (oh, how I identify with this poem). The street is personified again here, like an animal with little understanding of what it sees each day (perhaps the way the street’s inhabitants perceive their world). The fourth stanza is evening; the street is an ‘infinitely gentle, infinitely suffering thing’, a living and breathing extension of the people existing there, ever the same and yet ever-changing, reflecting old and new, the passage of time and the mundanity of life.
Well, that’s how I see it, anyway. Maybe you see it differently?