'Ash Wednesday' by T.S. Eliot
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I
Because I do not hope to turn again
Because I do not hope
Because I do not hope to turn
Desiring this man's gift and that man's scope
I no longer strive to strive towards such things
(Why should the agèd eagle stretch its wings?)
Why should I mourn
The vanished power of the usual reign?
Because I do not hope to know
The infirm glory of the positive hour
Because I do not think
Because I know I shall not know
The one veritable transitory power
Because I cannot drink
There, where trees flower, and springs flow, for there is
nothing again
Because I know that time is always time
And place is always and only place
And what is actual is actual only for one time
And only for one place
I rejoice that things are as they are and
I renounce the blessèd face
And renounce the voice
Because I cannot hope to turn again
Consequently I rejoice, having to construct something
Upon which to rejoice
And pray to God to have mercy upon us
And pray that I may forget
These matters that with myself I too much discuss
Too much explain
Because I do not hope to turn again
Let these words answer
For what is done, not to be done again
May the judgement not be too heavy upon us
Because these wings are no longer wings to fly
But merely vans to beat the air
The air which is now thoroughly small and dry
Smaller and dryer than the will
Teach us to care and not to care Teach us to sit still.
Pray for us sinners now and at the hour of our death
Pray for us now and at the hour of our death.
II
Lady, three white leopards sat under a juniper-tree
In the cool of the day, having fed to sateity
On my legs my heart my liver and that which had been
contained
In the hollow round of my skull. And God said
Shall these bones live? shall these
Bones live? And that which had been contained
In the bones (which were already dry) said chirping:
Because of the goodness of this Lady
And because of her loveliness, and because
She honours the Virgin in meditation,
We shine with brightness. And I who am here dissembled
Proffer my deeds to oblivion, and my love
To the posterity of the desert and the fruit of the gourd.
It is this which recovers
My guts the strings of my eyes and the indigestible portions
Which the leopards reject. The Lady is withdrawn
In a white gown, to contemplation, in a white gown.
Let the whiteness of bones atone to forgetfulness.
There is no life in them. As I am forgotten
And would be forgotten, so I would forget
Thus devoted, concentrated in purpose. And God said
Prophesy to the wind, to the wind only for only
The wind will listen. And the bones sang chirping
With the burden of the grasshopper, saying
Lady of silences
Calm and distressed
Torn and most whole
Rose of memory
Rose of forgetfulness
Exhausted and life-giving
Worried reposeful
The single Rose
Is now the Garden
Where all loves end
Terminate torment
Of love unsatisfied
The greater torment
Of love satisfied
End of the endless
Journey to no end
Conclusion of all that
Is inconclusible
Speech without word and
Word of no speech
Grace to the Mother
For the Garden
Where all love ends.
Under a juniper-tree the bones sang, scattered and shining
We are glad to be scattered, we did little good to each
other,
Under a tree in the cool of day, with the blessing of sand,
Forgetting themselves and each other, united
In the quiet of the desert. This is the land which ye
Shall divide by lot. And neither division nor unity
Matters. This is the land. We have our inheritance.
III
At the first turning of the second stair
I turned and saw below
The same shape twisted on the banister
Under the vapour in the fetid air
Struggling with the devil of the stairs who wears
The deceitul face of hope and of despair.
At the second turning of the second stair
I left them twisting, turning below;
There were no more faces and the stair was dark,
Damp, jaggèd, like an old man's mouth drivelling, beyond
repair,
Or the toothed gullet of an agèd shark.
At the first turning of the third stair
Was a slotted window bellied like the figs's fruit
And beyond the hawthorn blossom and a pasture scene
The broadbacked figure drest in blue and green
Enchanted the maytime with an antique flute.
Blown hair is sweet, brown hair over the mouth blown,
Lilac and brown hair;
Distraction, music of the flute, stops and steps of the mind
over the third stair,
Fading, fading; strength beyond hope and despair
Climbing the third stair.
Lord, I am not worthy
Lord, I am not worthy
but speak the word only.
IV
Who walked between the violet and the violet
Whe walked between
The various ranks of varied green
Going in white and blue, in Mary's colour,
Talking of trivial things
In ignorance and knowledge of eternal dolour
Who moved among the others as they walked,
Who then made strong the fountains and made fresh the springs
Made cool the dry rock and made firm the sand
In blue of larkspur, blue of Mary's colour,
Sovegna vos
Here are the years that walk between, bearing
Away the fiddles and the flutes, restoring
One who moves in the time between sleep and waking, wearing
White light folded, sheathing about her, folded.
The new years walk, restoring
Through a bright cloud of tears, the years, restoring
With a new verse the ancient rhyme. Redeem
The time. Redeem
The unread vision in the higher dream
While jewelled unicorns draw by the gilded hearse.
The silent sister veiled in white and blue
Between the yews, behind the garden god,
Whose flute is breathless, bent her head and signed but spoke
no word
But the fountain sprang up and the bird sang down
Redeem the time, redeem the dream
The token of the word unheard, unspoken
Till the wind shake a thousand whispers from the yew
And after this our exile
V
If the lost word is lost, if the spent word is spent
If the unheard, unspoken
Word is unspoken, unheard;
Still is the unspoken word, the Word unheard,
The Word without a word, the Word within
The world and for the world;
And the light shone in darkness and
Against the Word the unstilled world still whirled
About the centre of the silent Word.
O my people, what have I done unto thee.
Where shall the word be found, where will the word
Resound? Not here, there is not enough silence
Not on the sea or on the islands, not
On the mainland, in the desert or the rain land,
For those who walk in darkness
Both in the day time and in the night time
The right time and the right place are not here
No place of grace for those who avoid the face
No time to rejoice for those who walk among noise and deny
the voice
Will the veiled sister pray for
Those who walk in darkness, who chose thee and oppose thee,
Those who are torn on the horn between season and season,
time and time, between
Hour and hour, word and word, power and power, those who wait
In darkness? Will the veiled sister pray
For children at the gate
Who will not go away and cannot pray:
Pray for those who chose and oppose
O my people, what have I done unto thee.
Will the veiled sister between the slender
Yew trees pray for those who offend her
And are terrified and cannot surrender
And affirm before the world and deny between the rocks
In the last desert before the last blue rocks
The desert in the garden the garden in the desert
Of drouth, spitting from the mouth the withered apple-seed.
O my people.
VI
Although I do not hope to turn again
Although I do not hope
Although I do not hope to turn
Wavering between the profit and the loss
In this brief transit where the dreams cross
The dreamcrossed twilight between birth and dying
(Bless me father) though I do not wish to wish these things
From the wide window towards the granite shore
The white sails still fly seaward, seaward flying
Unbroken wings
And the lost heart stiffens and rejoices
In the lost lilac and the lost sea voices
And the weak spirit quickens to rebel
For the bent golden-rod and the lost sea smell
Quickens to recover
The cry of quail and the whirling plover
And the blind eye creates
The empty forms between the ivory gates
And smell renews the salt savour of the sandy earth
This is the time of tension between dying and birth
The place of solitude where three dreams cross
Between blue rocks
But when the voices shaken from the yew-tree drift away
Let the other yew be shaken and reply.
Blessèd sister, holy mother, spirit of the fountain, spirit
of the garden,
Suffer us not to mock ourselves with falsehood
Teach us to care and not to care
Teach us to sit still
Even among these rocks,
Our peace in His will
And even among these rocks
Sister, mother
And spirit of the river, spirit of the sea,
Suffer me not to be separated
And let my cry come unto Thee.
Editor 1 Interpretation
Introduction
Ash Wednesday is a long, complex poem that explores themes of guilt, redemption, and spiritual renewal. Written by T.S. Eliot in 1930, it is considered one of his most important works and a cornerstone of modernist poetry. At over 400 lines, it is an ambitious and challenging piece of literature, but one that rewards close reading and analysis.
In this essay, I will provide a detailed literary criticism and interpretation of Ash Wednesday, exploring its structure, themes, and language. I will argue that the poem is a deeply personal reflection on Eliot's own struggles with faith and spirituality, and that it is a powerful meditation on the human condition.
The Poem
Ash Wednesday is divided into five sections, each with its own distinct tone and subject matter. The poem is written in free verse, with irregular line lengths and no consistent meter. This gives the poem a sense of spontaneity and improvisation, as if Eliot is working through his thoughts and feelings as he writes.
The first section of the poem sets the tone for what is to come. It begins with the famous lines:
Because I do not hope to turn again
Because I do not hope
Because I do not hope to turn
These lines are repeated several times throughout the poem, creating a sense of circularity and repetition. They suggest that Eliot is stuck in a cycle of despair and hopelessness, unable to break free from his own guilt and shame.
The second section of the poem is more contemplative and philosophical. It explores the nature of time, memory, and the human condition. Eliot writes:
Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
These lines suggest that time is not a linear progression, but rather a cyclical and interconnected system. They also suggest that the past, present, and future are all interconnected and cannot be separated from one another.
The third section of the poem is the most personal and confessional. Eliot writes:
Although I do not hope to turn again
Although I do not hope
Although I do not hope to turn
These lines echo the opening lines of the poem, but here they take on a more intimate and personal meaning. Eliot is confessing his own sense of hopelessness and despair, and acknowledging that he cannot simply will himself to believe in something.
The fourth section of the poem is a reflection on the nature of love and desire. Eliot writes:
Teach us to care and not to care
Teach us to sit still
These lines suggest that love and desire are complex and often contradictory emotions. Eliot is asking for guidance in how to navigate these feelings, and how to find a sense of inner peace.
The final section of the poem is a meditation on the nature of spiritual renewal and redemption. Eliot writes:
Suffer us not to mock ourselves with falsehood
Teach us to care and not to care
These lines suggest that true spiritual growth can only come from a deep sense of humility and self-awareness. Eliot is asking for guidance in how to overcome his own sense of guilt and shame, and how to find a sense of inner peace and redemption.
Themes
One of the key themes of Ash Wednesday is guilt and shame. Eliot is grappling with his own sense of sinfulness and inadequacy, and is searching for a way to overcome these feelings. The poem is a powerful meditation on the human condition, and on the ways in which we all struggle with our own sense of guilt and shame.
Another important theme of the poem is redemption and renewal. Eliot is searching for a way to transcend his own sense of sinfulness, and is asking for guidance in how to find inner peace and spiritual renewal. The poem is a powerful testament to the transformative power of faith and spirituality.
Finally, Ash Wednesday is a deeply personal and introspective work. Eliot is grappling with his own sense of faith and spirituality, and is using the poem as a means of exploring his own thoughts and feelings. The poem is a testament to the power of poetry as a means of self-expression and self-reflection.
Language
One of the most striking aspects of Ash Wednesday is its use of language. Eliot employs a wide range of literary techniques, including alliteration, repetition, and symbolism. His language is highly stylized and often abstract, creating a sense of mystery and ambiguity.
One of the most notable aspects of Eliot's language is his use of religious imagery and symbolism. The poem is filled with references to Christian theology and mythology, and Eliot employs these symbols to explore his own sense of faith and spirituality. For example, he writes:
The dripping blood our only drink,
The bloody flesh our only food:
In spite of which we like to think
That we are sound, substantial flesh and blood—
These lines are a clear reference to the Christian sacrament of communion, and suggest that Eliot is struggling with his own sense of faith and spirituality.
Another notable aspect of Eliot's language is his use of repetition. The repeated lines "Because I do not hope to turn again" create a sense of circularity and repetition, suggesting that Eliot is stuck in a cycle of despair and hopelessness. The repetition also creates a sense of musicality and rhythm, giving the poem a sense of momentum and urgency.
Conclusion
Ash Wednesday is a challenging and rewarding work of modernist poetry. It is a deeply personal reflection on faith, guilt, and redemption, and a powerful meditation on the human condition. Eliot's use of language is highly stylized and often abstract, creating a sense of mystery and ambiguity. However, the poem rewards close reading and analysis, and offers a profound insight into the nature of faith, spirituality, and the human soul.
Editor 2 Analysis and Explanation
Ash Wednesday: A Journey of Spiritual Renewal
T.S. Eliot's Ash Wednesday is a complex and deeply spiritual poem that explores themes of repentance, redemption, and renewal. Written in 1930, it is considered one of Eliot's most important works and a masterpiece of modernist poetry. In this analysis, we will delve into the poem's structure, language, and imagery to uncover its meaning and significance.
Structure
Ash Wednesday is divided into five sections, or movements, each with its own distinct tone and theme. The first movement sets the tone for the rest of the poem, with its somber and introspective mood. The speaker, who is likely Eliot himself, reflects on his own spiritual emptiness and the need for repentance:
Because I do not hope to turn again Because I do not hope Because I do not hope to turn
This repetition of "because" creates a sense of despair and resignation, as if the speaker has given up hope of ever finding spiritual fulfillment. The second movement introduces the theme of love, which becomes a central focus of the poem. The speaker longs for a love that is pure and selfless, one that will lead him to God:
Suffer us not to mock ourselves with falsehood Teach us to care and not to care Teach us to sit still
The third movement is perhaps the most complex, as it introduces a series of paradoxes and contradictions. The speaker describes a journey through a "waste land" that is both barren and fertile, both dark and light. This journey represents the spiritual quest for redemption, which requires a willingness to embrace both the light and the darkness:
I said to my soul, be still, and wait without hope For hope would be hope for the wrong thing
The fourth movement is a prayer for forgiveness and mercy, as the speaker acknowledges his own sinfulness and unworthiness:
Ash Wednesday O sinner, pray for me, whose soul is light O brother, pray for me, whose feet are heavy
The final movement brings the poem full circle, as the speaker returns to the theme of love and the hope of spiritual renewal:
The dove descending breaks the air With flame of incandescent terror Of which the tongues declare The one discharge from sin and error
Language and Imagery
Eliot's use of language and imagery in Ash Wednesday is both rich and complex, drawing on a wide range of literary and religious traditions. The poem is full of allusions to the Bible, Dante's Divine Comedy, and other works of literature, as well as to Eliot's own personal experiences and beliefs.
One of the most striking features of the poem is its use of paradox and contradiction. The speaker describes a journey through a "waste land" that is both barren and fertile, both dark and light. He speaks of a love that is both selfless and selfish, both pure and tainted. These paradoxes reflect the complexity of the spiritual journey, which requires a willingness to embrace both the light and the darkness, the good and the evil.
Another important aspect of the poem is its use of religious imagery, particularly that of Catholicism. The title itself, Ash Wednesday, refers to the first day of Lent, a time of repentance and renewal in the Catholic tradition. The poem is full of references to Catholic rituals and symbols, such as the ashes that are used to mark the forehead on Ash Wednesday:
Because these wings are no longer wings to fly But merely vans to beat the air The air which is now thoroughly small and dry Smaller and dryer than the will Teach us to care and not to care Teach us to sit still.
The image of the dove descending with "flame of incandescent terror" is also a powerful symbol of the Holy Spirit, which brings spiritual renewal and transformation.
Conclusion
In conclusion, Ash Wednesday is a powerful and deeply spiritual poem that explores themes of repentance, redemption, and renewal. Its complex structure, rich language, and religious imagery make it a masterpiece of modernist poetry. Through its paradoxes and contradictions, the poem challenges us to embrace both the light and the darkness, the good and the evil, in our own spiritual journeys. Ultimately, it offers a message of hope and renewal, reminding us that even in our darkest moments, there is always the possibility of spiritual transformation and growth.
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