| First Debate between the Body and Soul |
|
| by
T. S. Eliot |
|
| The August wind is shambling down the street | |
| A blind old man who coughs and spits sputters | |
| Stumbling among the alleys and the gutters. | |
| He pokes and prods | |
| With senile patience | 5 |
| The withered leaves | |
| Of our sensations — | |
| And yet devoted to the pure idea | |
| One sits delaying in the vacant square | |
| Forced to endure the blind inconscient stare | 10 |
| Of twenty leering houses that exude | |
| The odour of their turpitude | |
| And a street piano through the dusty trees | |
| Insisting: “Make the best of your position” — | |
| The pure Idea dies of inanition | 15 |
| The street pianos through the trees | |
| Whine and wheeze. | |
| Imaginations | |
| Masturbations | |
| The withered leaves | 20 |
| Of our sensations — | |
| The eye retains the images, | |
| The sluggish brain will not react | |
| Nor distils | |
| The dull precipitates of fact | 25 |
| The emphatic mud of physical sense | |
| The cosmic smudge of an enormous thumb | |
| Posting bills | |
| On the soul. And always come | |
| The whine and wheeze | 30 |
| Of street pianos through the streets | |
| Imagination’s | |
| Poor relations | |
| The withered leaves | |
| Of our sensations. | 35 |
| Absolute! complete idealist | |
| A supersubtle peasant | |
| (Conception most unpleasant) | |
| A supersubtle peasant in a shabby square | |
| Assist me to the pure idea — | 40 |
| Regarding nature without love or fear | |
| For a little while, a little while | |
| Standing our ground — | |
| Till life evaporates into a smile | |
| Simple and profound. | 45 |
| Street pianos through the trees | |
| Whine and wheeze | |
| Imagination’s | |
| Defecations | |
| The withered leaves | 50 |
| Of our sensations — | |
street
piano — A street piano, also known as a barrel piano, is a
stringed instrument controlled by a hand-crank rather than a keyboard.
The interchangeable barrels act much like the rolls in a player-piano,
though each barrel might hold several songs. The operator inserts the
barrel, selects one of these short, somewhat limited tunes — the
instrument had a range of less than fifty notes, unlike a piano which
has eighty-eight keys — and turns the crank, controlling the speed
of the music by increasing or decreasing how fast he turned it.
Street piano players were low-level public entertainers. |
|