Whispers of Immortality

by T. S. Eliot

Whispers of Immortality 

WEBSTER was much possessed by death

And saw the skull beneath the skin;

And breastless creatures under ground

Leaned backward with a lipless grin.

Daffodil bulbs instead of balls

Stared from the sockets of the eyes!

He knew that thought clings round dead limbs

Tightening its lusts and luxuries.

Donne, I suppose, was such another

Who found no substitute for sense,

To seize and clutch and penetrate;

Expert beyond experience,

He knew the anguish of the marrow

The ague of the skeleton;

No contact possible to flesh

Allayed the fever of the bone.

. . . . .

Grishkin is nice: her Russian eye

Is underlined for emphasis;

Uncorseted, her friendly bust

Gives promise of pneumatic bliss.

The couched Brazilian jaguar

Compels the scampering marmoset

With subtle effluence of cat;

Grishkin has a maisonette;

The sleek Brazilian jaguar

Does not in its arboreal gloom

Distil so rank a feline smell

As Grishkin in a drawing-room.

And even the Abstract Entities

Circumambulate her charm;

But our lot crawls between dry ribs

To keep our metaphysics warm.

Preludes

I

THE WINTER evening settles down

With smell of steaks in passageways.

Six o’clock.

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.

II

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.

III

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.

IV

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.

Gus: The Theatre Cat 

Gus is the Cat at the Theatre Door.

His name, as I ought to have told you before,

Is really Asparagus. That's such a fuss

To pronounce, that we usually call him just Gus.

His coat's very shabby, he's thin as a rake,

And he suffers from palsy that makes his paw shake.

Yet he was, in his youth, quite the smartest of Cats--

But no longer a terror to mice and to rats.

For he isn't the Cat that he was in his prime;

Though his name was quite famous, he says, in its time.

And whenever he joins his friends at their club

(Which takes place at the back of the neighbouring pub)

He loves to regale them, if someone else pays,

With anecdotes drawn from his palmiest days.

For he once was a Star of the highest degree--

He has acted with Irving, he's acted with Tree.

And he likes to relate his success on the Halls,

Where the Gallery once gave him seven cat-calls.

But his grandest creation, as he loves to tell,

Was Firefrorefiddle, the Fiend of the Fell.

"I have played," so he says, "every possible part,

And I used to know seventy speeches by heart.

I'd extemporize back-chat, I knew how to gag,

And I knew how to let the cat out of the bag.

I knew how to act with my back and my tail;

With an hour of rehearsal, I never could fail.

I'd a voice that would soften the hardest of hearts,

Whether I took the lead, or in character parts.

I have sat by the bedside of poor Little Nell;

When the Curfew was rung, then I swung on the bell.

In the Pantomime season I never fell flat,

And I once understudied Dick Whittington's Cat.

But my grandest creation, as history will tell,

Was Firefrorefiddle, the Fiend of the Fell."

Then, if someone will give him a toothful of gin,

He will tell how he once played a part in East Lynne.

At a Shakespeare performance he once walked on pat,

When some actor suggested the need for a cat.

He once played a Tiger--could do it again--

Which an Indian Colonel purused down a drain.

And he thinks that he still can, much better than most,

Produce blood-curdling noises to bring on the Ghost.

And he once crossed the stage on a telegraph wire,

To rescue a child when a house was on fire.

And he says: "Now then kittens, they do not get trained

As we did in the days when Victoria reigned.

They never get drilled in a regular troupe,

And they think they are smart, just to jump through a hoop."

And he'll say, as he scratches himself with his claws,

"Well, the Theatre's certainly not what it was.

These modern productions are all very well,

But there's nothing to equal, from what I hear tell,

That moment of mystery

When I made history

As Firefrorefiddle, the Fiend of the Fell."