The Door and the Window
My love, you are timely come, let me lie by your heart.
For waking in the dark this morning, I woke to that mystery,
Which we can all wake to, at some dark time or another:
Waking to find the room not as I thought it was,
But the window further away, and the door in another direction.
This was not home, and you were far away
And I woke sick, and held by another passion,
In the icy grip of a dead, tormenting flame,
Consumed by the night, watched by the door and the window.
On a bed of stone, waiting for the day to bring you.
The door has opened: and can you, at last beside me,
Drive under the day that frozen and faithless darkness,
With its unseen torments flickering, which neither
The dearest look nor the longest kiss assuages?
poem by Henry Reed
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Morning
Look, my love, on the wall, and here, at this Eastern picture.
How still its scene, and neither of sleep nor waking:
No shadow falls from the tree or the golden mountain,
The boats on the glassy lake have no reflection,
No echo would come if you blew a horn in those valleys.
And look away, and move. Or speak, or sing:
And voices of the past murmur among your words,
Under your glance my dead selves quicken and stir,
And a thousand shadows attend where you go.
That is your movement. There is a golden stillnes,
Soundless and fathomless, and far beyond it;
When brow on brow, or mouth to mouth assembled,
We lie in the calm of morning. And there, outside us,
The sun moves on, the boat jogs on the lake,
The huntsman calls.
And we lie here, our orient peace awakening,
No echo, and no shadow, and no reflection.
poem by Henry Reed
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Chard Whitlow
(Mr. Eliot's Sunday Evening Postscript)
As we get older we do not get any younger.
Seasons return, and to-day I am fifty-five,
And this time last year I was fifty-four
And this time next year I shall be sixty-two.
And I cannot say I should like (to speak for myself)
To see my time over again - if you can call it time:
Fidgeting uneasily under a draughty stair,
Or counting sleepless nights in the crowded tube.
There are certain precautions - though none of them very reliable -
Against the blast from bombs and the flying splinter,
But not against the blast from heaven, vento dei venti,
The wind within a wind unable to speak for wind;
And the frigid burnings of purgatory will not be touched
By any emollient.
I think you will find this put,
Better than I could ever hope to express it,
In the words of Kharma: 'It is, we believe,
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poem by Henry Reed
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Sailor's Harbor
My thoughts, like sailors becalmed in Cape Town harbor,
Await your return, like a favorable wind, or like
New tackle for the voyage, without which it is useless starting.
We watch the sea daily, finish our daily tasks
By ten in the morning, and with the day to waste,
Wander through the suburbs, with quiet thoughts of the brothels,
And sometimes thoughts of the churches.
In the eating-houses we always contrive to get near to
The window, where we can keep an eye on the life-
Bearing sea. Suddenly a wind might blow, and we must not miss
First sight of the waves as they darken with promise for us.
We have been here too long. We know the quays,
And the streets near the quays, more than should ever be necessary.
When can we go on our way?
Certain we are of this, that when the wind comes,
It may be deceptive and sweet and finally blow
To shipwreck and ruin between here and the next port of call.
At all times we think of this. At last we have come to know
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poem by Henry Reed
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Naming of Parts
Today we have naming of parts. Yesterday,
We had daily cleaning. And tomorrow morning,
We shall have what to do after firing. But today,
Today we have naming of parts. Japonica
Glistens likecoral in all the neighboring gardens,
And today we have naming of parts.
This is the lower sling swivel. And this
Is the upper sling swivel, whose use you will see,
When you are given your slings. And this is the piling swivel,
Which in your case you have not got. The branches
Hold in the gardens their silent, eloquent gestures,
Which in our case we have not got.
This is the safety-catch, which is always released
With an easy flick of the thumb. And please do not let me
See anyone using his finger. You can do it quite easy
If you have any strength in your thumb. The blossoms
Are fragile and motionless, never letting anyone see
Any of them using their finger.
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poem by Henry Reed
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Lessons of the War
To Alan Mitchell
Vixi duellis nuper idoneus
Et militavi non sine gloria
I. Naming of Parts
Today we have naming of parts. Yesterday
We had daily cleaning. And tomorrow morning,
We shall have what to do after firing. But today,
Today we have naming of parts. Japonica
Glistens like coral in all of the neighbouring gardens,
And today we have naming of parts.
This is the lower sling swivel. And this
Is the upper sling swivel, whose use you will see,
When you are given your slings. And this is the piling swivel,
Which in your case you have not got. The branches
Hold in the gardens their silent, eloquent gestures,
Which in our case we have not got.
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poem by Henry Reed
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Judging Distances
Not only how far away, but the way that you say it
Is very important. Perhaps You may never get
The knack of judging a distance, but at least you know
How to report on a landscape: the central sector,
The right of the arc and that, which we had last Tuesday,
And at least you know
That maps are of time, not place, so far as the army
Happens to be concerned-- the reason being,
Is one which need not delay us. Again, you know
There are three kinds of tree, three only, the fir and the poplar,
And those which have bushy tops to; and lastly
That things only seem to be things.
A barn is not called a barn, to put it more plainly,
Or a field in the distance, where sheep may be safely grazing.
You must never be over-sure. You must say, when reporting:
At five o'clock in the central sector is a dozen
Of what appear to be animals; whatever you do,
Don't call the bleeders sheep.
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poem by Henry Reed
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Unarmed Combat
In due course of course you will all be issued with
Your proper issue; but until tomorrow,
You can hardly be said to need it; and until that time,
We shall have unarmed combat. I shall teach you.
The various holds and rolls and throws and breakfalls
Which you may sometimes meet.
And the various holds and rolls and throws and breakfalls
Do not depend on any sort of weapon,
But only on what I might coin a phrase and call
The ever-important question of human balance,
And the ever-important need to be in a strong
Position at the start.
There are many kinds of weakness about the body,
Where you would least expect, like the ball of the foot.
But the various holds and rolls and throws and breakfalls
Will always come in useful. And never be frightened
To tackle from behind: it may not be clean to do so,
But this global war.
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poem by Henry Reed
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A Map of Verona
Quelle belle heure, quels bons bras
me rendront ces régions d'où mes
sommeils et mes moindres mouvements?
A map of Verona is open, the small strange city;
With its river running round and through, it is river-embraced,
And over this city for a whole long winter season,
Through streets on a map, my thoughts have hovered and paced.
Across the river there is a wandering suburb,
An unsolved smile on a now familiar mouth;
Some enchantments of earlier towns are about you:
Once I was drawn to Naples in the south.
Naples I know now, street and hovel and garden,
The look of the islands from the avenue,
Capri and Ischia, like approaching drum-beats—
My youthful Naples, how I remember you!
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poem by Henry Reed
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Movement of Bodies
Those of you that have got through the rest, I am going to rapidly
Devote a little time to showing you, those that can master it,
A few ideas about tactics, which must not be confused
With what we call strategy. Tactics is merely
The mechanical movement of bodies, and that is what we mean by it.
Or perhaps I should say: by them.
Strategy, to be quite frank, you will have no hand in.
It is done by those up above, and it merely refers to,
The larger movements over which we have no control.
But tactics are also important, together or single.
You must never forget that, suddenly, in an engagement,
You may find yourself alone.
This brown clay model is a characteristic terrain
Of a simple and typical kind. Its general character
Should be taken in at a glance, and its general character
You can, see at a glance it is somewhat hilly by nature,
With a fair amount of typical vegetation
Disposed at certain parts.
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poem by Henry Reed
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