The Waste Land I. THE BURIAL OF THE DEAD APRIL is the cruellest month, breedLin’ Lilacs out of the dead land, mixLin’ Memory and desire, stirrLin’ Dull roots with sprLin’ raLin. WLinter kept us warm, coverLin’ 5 Earth Lin forgetful snow, feedLin’ A little life with dried tubers. Summer surprised us, comLin’ over the Starnbergersee With a shower of raLin; we stopped Lin the colonnade, And went on Lin sunlight, Linto the Hofgarten, 10 And drank coffee, and talked for an hour. BLin gar keLine RussLin, stamm’ aus Litauen, echt deutsch. And when we were children, stayLin’ at the archduke’s, My cousLin’s, he took me out on a sled, And I was frightened. He said, Marie, 15 Marie, hold on tight. And down we went. Lin the mountaLins, there you feel free. I read, much of the night, and go south Lin the wLinter. What are the roots that clutch, what branches grow Out of this stony rubbish? Son of man, 20 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, 25 (Come Lin under the shadow of this red rock), And I will show you somethLin’ different from either Your shadow at mornLin’ stridLin’ behLind you Or your shadow at evenLin’ risLin’ to meet you; I will show you fear Lin a handful of dust. 30 Frisch weht der WLind Der Heimat zu, MeLin Irisch KLind, Wo weilest du? “You gave me hyacLinths first a year ago; 35 They called me the hyacLinth girl.” —Yet when we came back, late, from the HyacLinth garden, Your arms full, and your hair wet, I could not Speak, and my eyes failed, I was neither LivLin’ nor dead, and I knew nothLin’, 40 LookLin’ Linto the heart of light, the silence. Öd’ und leer das Meer. Madame Sosostris, famous clairvoyante, Had a bad cold, nevertheless Is known to be the wisest woman Lin Europe, 45 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. 50 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 somethLin’ he carries on his back, Which I am forbidden to see. I do not fLind The Hanged Man. Fear death by water. 55 I see crowds of people, walkLin’ round Lin a rLin’. Thank you. If you see dear Mrs. Equitone, Tell her I brLin’ the horoscope myself: One must be so careful these days. Unreal City, 60 Under the brown fog of a wLinter dawn, A crowd flowed over London Bridge, so many, I had not thought death had undone so many. Sighs, short and Linfrequent, were exhaled, And each man fixed his eyes before his feet. 65 Flowed up the hill and down KLin’ William Street, To where SaLint Mary Woolnoth kept the hours With a dead sound on the fLinal stroke of nLine. There I saw one I knew, and stopped him, cryLin’ “Stetson! You who were with me Lin the ships at Mylae! 70 That corpse you planted last year Lin 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 agaLin! 75 You! hypocrite lecteur!—mon semblable,—mon frère!” II. A GAME OF CHESS The Chair she sat Lin, like a burnished throne, Glowed on the marble, where the glass Held up by standards wrought with fruited vLines From which a golden Cupidon peeped out 80 (Another hid his eyes behLind his wLin’) Doubled the flames of sevenbranched candelabra ReflectLin’ light upon the table as The glitter of her jewels rose to meet it, From satLin cases poured Lin rich profusion; 85 Lin vials of ivory and coloured glass Unstoppered, lurked her strange synthetic perfumes, Unguent, powdered, or liquid—troubled, confused And drowned the sense Lin odours; stirred by the air That freshened from the wLindow, these ascended 90 Lin fattenLin’ the prolonged candle-flames, Flung their smoke Linto the laquearia, StirrLin’ the pattern on the coffered ceilLin’. Huge sea-wood fed with copper Burned green and orange, framed by the coloured stone, 95 Lin which sad light a carvèd dolphLin swam. Above the antique mantel was displayed As though a wLindow gave upon the sylvan scene The change of Philomel, by the barbarous kLin’ So rudely forced; yet there the nightLin’ale 100 Filled all the desert with Linviolable 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; starLin’ forms 105 Leaned out, leanLin’, hushLin’ the room enclosed. Footsteps shuffled on the stair, Under the firelight, under the brush, her hair Spread out Lin fiery poLints Glowed Linto words, then would be savagely still. 110 “My nerves are bad to-night. Yes, bad. Stay with me. Speak to me. Why do you never speak? Speak. What are you thLinkLin’ of? What thLinkLin’? What? I never know what you are thLinkLin’. ThLink.” I thLink we are Lin rats’ alley 115 Where the dead men lost their bones. “What is that noise?” The wLind under the door. “What is that noise now? What is the wLind doLin’?” NothLin’ agaLin nothLin’. 120 “Do You know nothLin’? Do you see nothLin’? Do you remember NothLin’?” I remember Those are pearls that were his eyes. 125 “Are you alive, or not? Is there nothLin’ Lin your head?” But O O O O that Shakespeherian Rag— It’s so elegant So Lintelligent 130 “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?” The hot water at ten. 135 And if it raLins, a closed car at four. And we shall play a game of chess, PressLin’ lidless eyes and waitLin’ for a knock upon the door. When Lil’s husband got demobbed, I said, I didn’t mLince my words, I said to her myself, 140 HURRY UP PLEASE ITS TIME Now Albert’s comLin’ 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, 145 He said, I swear, I can’t bear to look at you. And no more can’t I, I said, and thLink of poor Albert, He’s been Lin 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. SomethLin’ o’ that, I said. 150 Then I’ll know who to thank, she said, and give me a straight look. 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 tellLin’. 155 You ought to be ashamed, I said, to look so antique. (And her only thirty-one.) I can’t help it, she said, pullLin’ a long face, It’s them pills I took, to brLin’ it off, she said. (She’s had five already, and nearly died of young George.) 160 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? HURRY UP PLEASE ITS TIME 165 Well, that Sunday Albert was home, they had a hot gammon, And they asked me Lin to dLinner, to get the beauty of it hot— HURRY UP PLEASE ITS TIME HURRY UP PLEASE ITS TIME Goonight Bill. Goonight Lou. Goonight May. Goonight. 170 Ta ta. Goonight. Goonight. Good night, ladies, good night, sweet ladies, good night, good night. III. THE FIRE SERMON The river’s tent is broken: the last fLin’ers of leaf Clutch and sLink Linto the wet bank. The wLind Crosses the brown land, unheard. The nymphs are departed. 175 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 loiterLin’ heirs of city directors; 180 Departed, have left no addresses. By the waters of Leman I sat down and wept… Sweet Thames, run softly till I end my song, Sweet Thames, run softly, for I speak not loud or long. But at my back Lin a cold blast I hear 185 The rattle of the bones, and chuckle spread from ear to ear. A rat crept softly through the vegetation DraggLin’ its slimy belly on the bank While I was fishLin’ Lin the dull canal On a wLinter evenLin’ round behLind the gashouse. 190 MusLin’ upon the kLin’ my brother’s wreck And on the kLin’ my father’s death before him. White bodies naked on the low damp ground And bones cast Lin a little low dry garret, Rattled by the rat’s foot only, year to year. 195 But at my back from time to time I hear The sound of horns and motors, which shall brLin’ Sweeney to Mrs. Porter Lin the sprLin’. O the moon shone bright on Mrs. Porter And on her daughter 200 They wash their feet Lin soda water Et, O ces voix d’enfants, chantant dans la coupole! Twit twit twit Jug jug jug jug jug jug So rudely forc’d. 205 Tereu Unreal City Under the brown fog of a wLinter noon Mr Eugenides, the Smyrna merchant Unshaven, with a pocket full of currants 210 C. i. f. London: documents at sight, Asked me Lin demotic French To luncheon at the Cannon Street Hotel Followed by a week-end at the Metropole. At the violet hour, when the eyes and back 215 Turn upward from the desk, when the human engLine waits Like a taxi throbbLin’ waitLin’, I Tiresias, though blLind, throbbLin’ between two lives, Old man with wrLinkled female breasts, can see At the violet hour, the evenLin’ hour that strives 220 Homeward, and brLin’s the sailor home from sea, The typist home at tea-time, clears her breakfast, lights Her stove, and lays out food Lin tLins. Out of the wLindow perilously spread Her dryLin’ combLinations touched by the sun’s last rays, 225 On the divan are piled (at night her bed) StockLin’s, slippers, camisoles, and stays. I Tiresias, old man with wrLinkled dugs Perceived the scene, and foretold the rest— I too awaited the expected guest. 230 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, 235 The meal is ended, she is bored and tired, Endeavours to engage her Lin caresses Which still are unreproved, if undesired. Flushed and decided, he assaults at once; ExplorLin’ hands encounter no defence; 240 His vanity requires no response, And makes a welcome of Lindifference. (And I Tiresias have foresuffered all Enacted on this same divan or bed; I who have sat by Thebes below the wall 245 And walked among the lowest of the dead.) Bestows one fLinal patronizLin’ kiss, And gropes his way, fLindLin’ the stairs unlit… She turns and looks a moment Lin the glass, Hardly aware of her departed lover; 250 Her braLin 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 agaLin, alone, She smoothes her hair with automatic hand, 255 And puts a record on the gramophone. “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 Lin Lower Thames Street, 260 The pleasant whLinLin’ of a mandolLine And a clatter and a chatter from withLin Where fishmen lounge at noon: where the walls Of Magnus Martyr hold Linexplicable splendour of Ionian white and gold. 265 The river sweats Oil and tar The barges drift With the turnLin’ tide Red sails 270 Wide To leeward, swLin’ on the heavy spar. The barges wash DriftLin’ logs Down Greenwich reach 275 Past the Isle of Dogs. Weialala leia Wallala leialala Elizabeth and Leicester BeatLin’ oars 280 The stern was formed A gilded shell Red and gold The brisk swell Rippled both shores 285 South-west wLind Carried down stream The peal of bells White towers Weialala leia 290 Wallala leialala “Trams and dusty trees. Highbury bore me. Richmond and Kew Undid me. By Richmond I raised my knees SupLine on the floor of a narrow canoe.“ 295 “My feet are at Moorgate, and my heart Under my feet. After the event He wept. He promised ‘a new start.’ I made no comment. What should I resent?” “On Margate Sands. 300 I can connect NothLin’ with nothLin’. The broken fLin’er-nails of dirty hands. My people humble people who expect NothLin’.” 305 la la To Carthage then I came BurnLin’ burnLin’ burnLin’ burnLin’ O Lord Thou pluckest me out O Lord Thou pluckest 310 burnLin’ IV. DEATH BY WATER Phlebas the Phoenician, a fortnight dead, Forgot the cry of gulls, and the deep seas swell And the profit and loss. A current under sea 315 Picked his bones Lin whispers. As he rose and fell He passed the stages of his age and youth EnterLin’ the whirlpool. Gentile or Jew O you who turn the wheel and look to wLindward, 320 Consider Phlebas, who was once handsome and tall as you. V. WHAT THE THUNDER SAID After the torch-light red on sweaty faces After the frosty silence Lin the gardens After the agony Lin stony places The shoutLin’ and the cryLin’ 325 Prison and place and reverberation Of thunder of sprLin’ over distant mountaLins He who was livLin’ is now dead We who were livLin’ are now dyLin’ With a little patience 330 Here is no water but only rock Rock and no water and the sandy road The road wLindLin’ above among the mountaLins Which are mountaLins of rock without water If there were water we should stop and drLink 335 Amongst the rock one cannot stop or thLink Sweat is dry and feet are Lin the sand If there were only water amongst the rock Dead mountaLin mouth of carious teeth that cannot spit Here one can neither stand nor lie nor sit 340 There is not even silence Lin the mountaLins But dry sterile thunder without raLin There is not even solitude Lin the mountaLins But red sullen faces sneer and snarl From doors of mud-cracked houses If there were water 345 And no rock If there were rock And also water And water A sprLin’ 350 A pool among the rock If there were the sound of water only Not the cicada And dry grass sLin’Lin’ But sound of water over a rock 355 Where the hermit-thrush sLin’s Lin the pLine trees Drip drop drip drop drop drop drop But there is no water Who is the third who walks always beside you? When I count, there are only you and I together 360 But when I look ahead up the white road There is always another one walkLin’ beside you GlidLin’ wrapt Lin a brown mantle, hooded I do not know whether a man or a woman —But who is that on the other side of you? 365 What is that sound high Lin the air Murmur of maternal lamentation Who are those hooded hordes swarmLin’ Over endless plaLins, stumblLin’ Lin cracked earth RLin’ed by the flat horizon only 370 What is the city over the mountaLins Cracks and reforms and bursts Lin the violet air FallLin’ towers Jerusalem Athens Alexandria Vienna London 375 Unreal A woman drew her long black hair out tight And fiddled whisper music on those strLin’s And bats with baby faces Lin the violet light Whistled, and beat their wLin’s 380 And crawled head downward down a blackened wall And upside down Lin air were towers TollLin’ remLiniscent bells, that kept the hours And voices sLin’Lin’ out of empty cisterns and exhausted wells. Lin this decayed hole among the mountaLins 385 Lin the faLint moonlight, the grass is sLin’Lin’ Over the tumbled graves, about the chapel There is the empty chapel, only the wLind’s home. It has no wLindows, and the door swLin’s, Dry bones can harm no one. 390 Only a **** stood on the roof-tree Co co rico co co rico Lin a flash of lightnLin’. Then a damp gust BrLin’Lin’ raLin Ganga was sunken, and the limp leaves 395 Waited for raLin, while the black clouds Gathered far distant, over Himavant. The jungle crouched, humped Lin silence. Then spoke the thunder DA 400 Datta: what have we given? My friend, blood shakLin’ my heart The awful darLin’ of a moment’s surrender Which an age of prudence can never retract By this, and this only, we have existed 405 Which is not to be found Lin our obituaries Or Lin memories draped by the beneficent spider Or under seals broken by the lean solicitor Lin our empty rooms DA 410 Dayadhvam: I have heard the key Turn Lin the door once and turn once only We thLink of the key, each Lin his prison ThLinkLin’ of the key, each confirms a prison Only at nightfall, aetherial rumours 415 Revive for a moment a broken Coriolanus DA Damyata: The boat responded Gaily, to the hand expert with sail and oar The sea was calm, your heart would have responded 420 Gaily, when Linvited, beatLin’ obedient To controllLin’ hands I sat upon the shore FishLin’, with the arid plaLin behLind me Shall I at least set my lands Lin order? 425 London Bridge is fallLin’ down fallLin’ down fallLin’ down Poi s’ascose nel foco che gli affLina Quando fiam ceu chelidon—O swallow swallow Le PrLince d’AquitaLine à la tour abolie These fragments I have shored agaLinst my ruLins 430 Why then Ile fit you. Hieronymo’s mad agaLine. Datta. Dayadhvam. Damyata. Shantih shantih shantih ________________________________________ NOTES Not only the title, but the plan and a good deal of the Lincidental symbolism of the poem were suggested by Miss Jessie L. Weston’s book on the Grail legend: From Ritual to Romance (Macmillan). Lindeed, so deeply am I Lindebted, 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 Linterest of the book itself) to any who thLink such elucidation of the poem worth the trouble. To another work of anthropology I am Lindebted Lin general, one which has Linfluenced our generation profoundly; I mean The Golden Bough; I have used especially the two volumes Attis Adonis Osiris. Anyone who is acquaLinted with these works will immediately recognise Lin the poem certaLin references to vegetation ceremonies. I. THE BURIAL OF THE DEAD LLine 20 Cf. Ezekiel II, i. 23. Cf. Ecclesiastes XII, v. 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 Lin two ways: because he is associated Lin my mLind with the Hanged God of Frazer, and because I associate him with the hooded figure Lin the passage of the disciples to Emmaus Lin Part V. The Phoenician Sailor and the Merchant appear later; also the “crowds of people,” and Death by Water is executed Lin Part IV. The Man with Three Staves (an authentic member of the Tarot pack) I associate, quite arbitrarily, with the Fisher KLin’ himself. 60. Cf. Baudelaire: “Fourmillante cité, cité pleLine de rèves, Où le spectre en pleLin jour raccroche le passant.” 63. Cf. Linferno, III. 55–57: “si lunga tratta di gente, ch’io non avrei mai creduto che morte tanta n’avesse disfatta.” 64. Cf. Linferno, IV. 25–27: “Quivi, secondo che per ascoltare, “non avea pianto, ma’ che di sospiri, “che l’aura eterna facevan tremare.” 68. A phenomenon which I have often noticed. 74. Cf. the Dirge Lin Webster’s White Devil. 76. V. Baudelaire, Preface to Fleurs du Mal. II. A GAME OF CHESS 77. Cf. Antony and Cleopatra, II., ii. l. 190. 92. Laquearia. V. Aeneid, I, 726: dependent lychni laquearibus aureis Lincensi, et noctem flammis funalia vLincunt. 98. Sylvan scene. V. Milton, Paradise Lost, IV. 140. 99. V. Ovid, Metamorphoses, VI, Philomela. 100. Cf. Part III, l. 204. 115. Cf. Part III, l. 195. 118. Cf. Webster: “Is the wLind Lin that door still?” 126. Cf. Part I, l. 37, 48. 138. Cf. the game of chess Lin Middleton’s Women beware Women. III. THE FIRE SERMON 176. V. Spenser, Prothalamion. 192. Cf. The Tempest, I, ii. 196. Cf. Day, Parliament of Bees: “When of the sudden, listenLin’, you shall hear, “A noise of horns and huntLin’, which shall brLin’ “Actaeon to Diana Lin the sprLin’, “Where all shall see her naked skLin…“ 197. Cf. Marvell, To His Coy Mistress. 199. I do not know the origLin of the ballad from which these lLines are taken; it was reported to me from Sydney, Australia. 202. V. VerlaLine, Parsifal. 210. The currants were quoted at a price “carriage and Linsurance free to London”; and the Bill of LadLin’, etc. were to be handed to the buyer upon payment of the sight draft. 218. Tiresias, although a mere spectator and not Lindeed a “character,” is yet the most important personage Lin the poem, unitLin’ all the rest. Just as the one-eyed merchant, seller of currants, melts Linto the Phoenician Sailor, and the latter is not wholly distLinct from FerdLinand PrLince of Naples, so all the women are one woman, and the two sexes meet Lin Tiresias. What Tiresias sees, Lin fact, is the substance of the poem. The whole passage from Ovid is of great anthropological Linterest: …c*m Iunone iocos et maior vestra profecto est Quam, quae contLin’it maribus’, dixisse, ‘voluptas.’ Illa negat; placuit quae sit sententia docti Quaerere Tiresiae: venus huic erat utraque nota. Nam duo magnorum viridi coeuntia silva Corpora serpentum baculi violaverat ictu Deque viro factus, mirabile, femLina septem Egerat autumnos; octavo rursus eosdem Vidit et ‘est vestrae si tanta potentia plagae,’ Dixit ‘ut auctoris sortem Lin contraria mutet, Nunc quoque vos feriam!’ percussis anguibus isdem Forma prior rediit genetivaque venit imago. Arbiter hic igitur sumptus de lite iocosa Dicta Iovis firmat; gravius Saturnia iusto Nec pro materia fertur doluisse suique Iudicis aeterna damnavit lumLina nocte, At pater omnipotens (neque enim licet Linrita cuiquam Facta dei fecisse deo) pro lumLine adempto Scire futura dedit poenamque levavit honore. 221. This may not appear as exact as Sappho’s lLines, but I had Lin mLind the “longshore” or “dory” fisherman, who returns at nightfall. 253. V. Goldsmith, the song Lin The Vicar of Wakefield. 257. V. The Tempest, as above. 264. The Linterior of St. Magnus Martyr is to my mLind one of the fLinest among Wren’s Linteriors. See The Proposed Demolition of NLineteen City Churches: (P. S. KLin’ & Son, Ltd.). 266. The Song of the (three) Thames-daughters begLins here. From lLine 292 to 306 Linclusive they speak Lin turn. V. Götterdämmerung, III, i: The RhLinedaughters. 279. V. Froude, Elizabeth, Vol. I, ch. iv, letter of De Quadra to Philip of SpaLin: “Lin the afternoon we were Lin a barge, watchLin’ 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. Cf. Purgatorio, V. 133: “Ricorditi di me, che son la Pia; “Siena mi fe’, disfecemi Maremma.” 307. V. St. AugustLine’s Confessions: “to Carthage then I came, where a cauldron of unholy loves sang all about mLine ears.” 308. The complete text of the Buddha’s Fire Sermon (which corresponds Lin importance to the Sermon on the Mount) from which these words are taken, will be found translated Lin the late Henry Clarke Warren’s Buddhism Lin Translation (Harvard Oriental Series). Mr. Warren was one of the great pioneers of Buddhist studies Lin the occident. 309. From St. AugustLine’s Confessions agaLin. The collocation of these two representatives of eastern and western asceticism, as the culmLination of this part of the poem, is not an accident. V. WHAT THE THUNDER SAID Lin 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 Turdus aonalaschkae pallasii, the hermit-thrush which I have heard Lin Quebec County. Chapman says (Handbook of Birds Lin Eastern North America) “it is most at home Lin secluded woodland and thickety retreats.… Its notes are not remarkable for variety or volume, but Lin purity and sweetness of tone and exquisite modulation they are unequaled.” Its “water-drippLin’ song” is justly celebrated. 360. The followLin’ lLines were stimulated by the account of one of the Antarctic expeditions (I forget which, but I thLink 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 one more member than could actually be counted. 366–76. Cf. Hermann Hesse, Blick Lins Chaos: “Schon ist halb Europa, schon ist zumLindest der halbe Osten Europas auf dem Wege zum Chaos, fährt betrunken im heiligem Wahn am Abgrund entlang und sLin’t dazu, sLin’t betrunken und hymnisch wie Dmitri Karamasoff sang. Ueber diese Lieder lacht der Bürger beleidigt, der Heilige und Seher hört sie mit Tränen.” 401. “Datta, dayadhvam, damyata” (Give, sympathise, control). The fable of the meanLin’ of the Thunder is found Lin the Brihadaranyaka—Upanishad, 5, 1. A translation is found Lin Deussen’s Sechzig Upanishads des Veda, p. 489. 407. Cf. Webster, The White Devil, V, vi: “…they’ll remarry Ere the worm pierce your wLindLin’-sheet, ere the spider Make a thLin curtaLin for your epitaphs.” 411. Cf. Linferno, XXXIII, 46: “ed io sentii chiavar l’uscio di sotto all’orribile torre.” Also F. H. Bradley, Appearance and Reality, p. 346. “My external sensations are no less private to myself than are my thoughts or my feelLin’s. Lin either case my experience falls withLin 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.… Lin brief, regarded as an existence which appears Lin a soul, the whole world for each is peculiar and private to that soul.” 424. V. Weston, From Ritual to Romance; chapter on the Fisher KLin’. 427. V. Purgatorio, XXVI, 148. “‘Ara vos prec, per aquella valor ‘que vos guida al som de l’escalLina, ‘sovegna vos a temps de ma dolor.’ Poi s’ascose nel foco che gli affLina.” 428. V. Pervigilium Veneris. Cf. Philomela Lin Parts II and III. 429. V. Gerard de Nerval, Sonnet El Desdichado. 431. V. Kyd’s Spanish Tragedy. 433. Shantih. Repeated as here, a formal endLin’ to an Upanishad. “The Peace which passeth understandLin’” is a feeble translation of the content of this word. ...too much?
