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Burnt Norton from Four Quartets by T S Eliot (read by Tom O'Bedlam) 

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A reading of TS Eliot's poem. Erhebung means elevated, appetency means a craving or desire, eructation means an expulsion of body gas - or burping.
Here's the wiki article of the poem:
en.wikipedia.or...
Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden. My words echo
Thus, in your mind.
But to what purpose
Disturbing the dust on a bowl of rose-leaves
I do not know.
Other echoes
Inhabit the garden. Shall we follow?
Quick, said the bird, find them, find them,
Round the corner. Through the first gate,
Into our first world, shall we follow
The deception of the thrush? Into our first world.
There they were, dignified, invisible,
Moving without pressure, over the dead leaves,
In the autumn heat, through the vibrant air,
And the bird called, in response to
The unheard music hidden in the shrubbery,
And the unseen eyebeam crossed, for the roses
Had the look of flowers that are looked at.
There they were as our guests, accepted and accepting.
So we moved, and they, in a formal pattern,
Along the empty alley, into the box circle,
To look down into the drained pool.
Dry the pool, dry concrete, brown edged,
And the pool was filled with water out of sunlight,
And the lotos rose, quietly, quietly,
The surface glittered out of heart of light,
And they were behind us, reflected in the pool.
Then a cloud passed, and the pool was empty.
Go, said the bird, for the leaves were full of children,
Hidden excitedly, containing laughter.
Go, go, go, said the bird: human kind
Cannot bear very much reality.
Time past and time future
What might have been and what has been
Point to one end, which is always present.
II
Garlic and sapphires in the mud
Clot the bedded axle-tree.
The trilling wire in the blood
Sings below inveterate scars
Appeasing long forgotten wars.
The dance along the artery
The circulation of the lymph
Are figured in the drift of stars
Ascend to summer in the tree
We move above the moving tree
In light upon the figured leaf
And hear upon the sodden floor
Below, the boarhound and the boar
Pursue their pattern as before
But reconciled among the stars.
At the still point of the turning world. Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement. And do not call it fixity,
Where past and future are gathered. Neither movement from nor towards,
Neither ascent nor decline. Except for the point, the still point,
There would be no dance, and there is only the dance.
I can only say, there we have been: but I cannot say where.
And I cannot say, how long, for that is to place it in time.
The inner freedom from the practical desire,
The release from action and suffering, release from the inner
And the outer compulsion, yet surrounded
By a grace of sense, a white light still and moving,
Erhebung without motion, concentration
Without elimination, both a new world
And the old made explicit, understood
In the completion of its partial ecstasy,
The resolution of its partial horror.
Yet the enchainment of past and future
Woven in the weakness of the changing body,
Protects mankind from heaven and damnation
Which flesh cannot endure.
Time past and time future
Allow but a little consciousness.
To be conscious is not to be in time
But only in time can the moment in the rose-garden,
The moment in the arbour where the rain beat,
The moment in the draughty church at smokefall
Be remembered; involved with past and future.
Only through time time is conquered.
III
Here is a place of disaffection
Time before and time after
In a dim light: neither daylight
Investing form with lucid stillness
Turning shadow into transient beauty
With slow rotation suggesting permanence
Nor darkness to purify the soul
Emptying the sensual with deprivation
Cleansing affection from the temporal.
Neither plenitude nor vacancy. Only a flicker
Over the strained time-ridden faces
Distracted from distraction by distraction
Filled with fancies and empty of meaning
Tumid apathy with no concentration
Men and bits of paper, whirled by the cold wind
That blows before and after time,
Wind in and out of unwholesome lungs
Time before and time after.
Eructation of unhealthy souls
Into the faded air, the torpid
Driven on the wind that sweeps the gloomy hills of London,
Hampstead and Clerkenwell, Campden and Putney,
Highgate, Primrose and Ludgate. Not here
Not here the darkness, in this twittering world.
(can't show the rest - character limit exceeded)

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7 сен 2024

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Комментарии : 12   
@NMMojavePoet
@NMMojavePoet 13 лет назад
I find it fascinating that by your reading of a poem, your pauses and tonality of voice, bring depth and emotion to mere words on paper. Thank you Tom. This poem has always reminded me of Buddhist Dharma and the circular nature of life, There is no ending, this no beginning, there is only the journey.
@TheLugiaSong
@TheLugiaSong 9 лет назад
This is such a beautiful poem. I heard it on the radio, and I had to hear it again. Thank you for this.
@SpokenVerse
@SpokenVerse 13 лет назад
@paulpellicci It's pretty-much impenetrable. I can't say that I thoroughly understand it. There are some parts that are memorable and sublime - and that really applies to Eliot's work as a whole.
@ParveenKumar-ow5ew
@ParveenKumar-ow5ew 6 лет назад
Thankfulness...blessed one
@dukeofhearth
@dukeofhearth 12 лет назад
Great voice!
@paulpellicci
@paulpellicci 13 лет назад
I need to save this and listen again at a later time...I enjoyed it even though I can't yet master it....
@colourmegone
@colourmegone 13 лет назад
Erhebung doesn't just mean an elevation, it can also mean "mountain" among many other things depending on its context, just as elevation can mean either 'to lift up' or 'a hill or mountain' in English. It is also a term used in statistics and it can relate to empirical knowledge.
@keithmerrick
@keithmerrick 12 лет назад
Absolutely terrific! One thing: Your pronunciation of Erhebung is not quite right. It should be er-HEY-bung, with the stress on the second syllable. There is no way this can mean 'mountain'. While it can be an elevation in a landscape, it would be preceded by an article, either 'die' (definite) or 'eine' (indefinite) and the context makes it clear that this is NOT the meaning. Here it must mean 'lifting', as in a feeling of being lifted, either religiously/spiritually or bodily.
@SpokenVerse
@SpokenVerse 13 лет назад
@colourmegone What would you say it means in the context of the poem?
@paulpellicci
@paulpellicci 13 лет назад
yea, I know....but...I try....thanks for your fine work....
@colourmegone
@colourmegone 13 лет назад
@SpokenVerse Quite a lot of poetry is subjective and much would depend on Eliot's knowledge and understanding of German. I THINK, from the context, that it's a pun combining both senses of 'elevation' as 'mountain' and 'lifting up'; since it's "without motion" it implies a paradox based on these two images. I THINK Eliot deliberately used the unfamiliar German word to highlight the dichotomy. But that's only my opinion.
@marmas58ink
@marmas58ink 12 лет назад
@colourmegone Funny enough, your description fits w/ one of the main things the poem 'says' to me... that there are realities that exist that the human mind may partake of, have partial awareness of, but can't do anything about, can't 'take to hand.' Like a ritual that enacts, but can't break thru the divide of what it attempts to symbolize (or the symbolism attempts to get at). Obviously the poem has much to do w/ time, how memory and abstraction alter concepts of time. ...
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