I 19 ^ 20] Summer beyond sense, the inapprehensible ts1 (last word over una), ts2~ts12, NEW. A possible ghost of this line appears in the final ts, ts13, where “Zero” is typed over “S” (see Commentary).

  I 20, 39] second part of each of these lines much more deeply indented, the two being horizontally aligned NEW

  I 20 Zero] underlined with “X” by Hayward ts3b summer? ^ If] two-line space 1963+ ‖ stepped with single line space ts1~ts12 ‖ instruction to printer: “wide space” and, ringed, “2 lines blank” ts13 ‖ stepped without line space, with arrow by printer to move two lines of space from 20 ^ 21 NEW 1st proof ‖ 1½-line space LG, US 1943, 1944 ‖ single line space US 1952, 1969, Mardersteig, 1974, 1979, 1995, Rampant Lions ‖ end of page but with line space evident 1959 pbk ‖ stepped without line space Valerie’s Own Book. See East Coker Textual History note to I 23.

  I 20 ^ 21, as also 45 ^ 46, 68 ^ 69, 91 ^ 92, 117 ^ 118, 143 ^ 144, 190 ^ 191] instruction to printer at foot of page: “no space” ts13

  I 21 route] road Valerie’s Own Book 1st reading would be] are ts2 1st reading

  I 22 come] start ts1~ts12, NEW, Valerie’s Own Book from,] from ts1

  I 24 sweetness.] sweetness, ts1 1st reading

  [Poem I 201 · Commentary I 998–1000]

  I 24 ^ 25] In the may time, the play time of the wakened senses, ts1, ts2 without final comma, ts3, ts4 1st reading ‖ with “X” by Hayward ts3b ‖ with play time underlined and “X” ts5. Hayward to TSE, 1 Aug 1941: “this is a rather dangerous conjunction, maytime and playtime (cf. Baby & Maybe) being a favourite stand-by in Tin Pan Alley. I should feel happier if this jingle were omitted.” TSE, 5 Aug: “I agree about the playtime jingle: I wanted the Children hint again: but perhaps it is too close to the Playbox Annual.” See also I 41.

  I 25] There is human joy, but no greater glory. ts1 with glory del and rejoicing / rapture alts journey,] journey. ts2–ts4 1st reading, ts4b, ts5

  I 26 at] by ts1, ts2

  I 27 day] day, ts1 not knowing] and knew ts1 1st reading

  I 28 when you leave the rough road] where you leave the rough road ts1 ‖ at the end of the journey ts5 1st reading (error, copying 25, typed over)

  I 29 pig-sty] pig-stye ts1~ts13, NEW (emended on final proof, perhaps retrospectively, and on pages from NEW sent to Morley), LG proof 1st reading façade] facade ts12

  I 32 which the] the the ts1 1st reading breaks] breaks, ts1, ts2 1st reading when it is fulfilled] when it is summoned, ts1, ts2 ‖ underlined with “X” ts4a

  I 33 Either] Whether ts4 1st reading (typed over), ts9 1st reading (typed over)

  I 35 fulfilment] fulfillment ts13 1st reading

  I 36 sea jaws] sea’s jaw ts1

  I 37 in a desert or] or dominating ts1 1st reading ‖ concealed in ts1 2nd reading ‖ within ts1 3rd reading (uncertain)

  I 38 nearest] underlined with “to what?” by Hayward ts3b. Hayward to TSE, 1 Aug 1941: “nearest to what, or to whom? I think I understand you, but I am puzzled to know what an American reader would make of it.”

  I 39 Now and in England.] Tragedy and glory. ts1 1st reading ‖ Tragedy transcending ts1 alt with Now in England added in margin England. ^ If] stepped with single line space ts5, 1944+ ‖ overhanging step with single line space Valerie’s Own Book ‖ stepped without line space ts1–ts4, ts9~ts13, LG ‖ new page so line spacing indeterminate NEW (1st proof has two lines of space and printer’s instruction to turn second part of line to new page) way,] way ts1, ts2

  I 41 At any time or at any season,] ts4a 2nd reading+ ‖ ts1–ts5:

  At any time, the day time or the dark time,

  Or at any season, the dead time or the may time,

  with “X” by Hayward against each line ts3b ‖ with all but the first of the five occurrences of time underlined by TSE with “X” ts4a ‖ Geoffrey Faber’s notes: “a little jingly?” Hayward to TSE, 1 Aug 1941: “There is just a faint suggestion here, I think, of your parodying yourself. (v. supra Hayward on Jingles).” See I 24 ^ 25.

  I 42 same: you] same. You ts1 1st reading

  I 43 verify,] verify ts5

  [Poem I 201–202 · Commentary I 1000–1001]

  I 44 Instruct] Inform ts1–ts3 inform] cancel ts1–ts3, underlined with “δ T.S.E.” Hayward ts3b ‖ instruct ts3a 2nd reading. To Hayward, 14 July 1941: “You will observe that I have had to remove ‘cancel’ from Part I, because I wanted the word further on” (the first stanza of IV then ended “Or cancelled by the Paraclete”).

  I 45–46] Or carry report. And prayer is more ts1

  I 46 has] hads ts2 1st reading

  I 47 an order of words] the meaning of the words learnt ts1 ‖ an order of the words, or ts3 1st reading

  I 48 mind] soul ts2 praying.] praying, ts5 1st reading ‖ praying; ts5 2nd reading

  I 51 is tongued with fire beyond] exceeds ts1 1st reading ‖ does not speak in ts1 2nd reading tongued] touched ts2 1st reading ‖ fringed / tongued ts2 alts

  I 51 ^ 52] ts1:

  And the speech of the living is wind in dry grass

  And the living have no communication with each other

  ts2–ts5, finally del ts4a:

  The words of the living are wind in dry grass,

  [2]

  The communion of the dead is flame beyond on the wind:

  [2] flame on the wind:] underlined with “X” ts4a ‖ flame on the heart ts4a alt

  I 51 ^ 52] “< 2 lines omitted” added in margin by Hayward ts9b

  I 52 Here,] And ts1

  I 53 nowhere.] nowhere: ts1 2nd reading Never and always.] Nowhere and always Valerie’s Own Book

  II

  msA fols. 85–86 (which have been separated when binding) contain the first verse draft of the lyric section of Part II.

  II 1–2] braced with “?” ts5

  II 1 Ash] Dust msA, ts2 1st reading an old man’s] alt msA ‖ a threadbare msA 1st reading

  II 2] with “X” Hayward ts3b all] del in msA ash] dust msA, ts2 1st reading burnt] not msA 1st reading

  II 4 story] msA alt ‖ history msA 1st reading

  II 5 was] is msA, ts2 1st reading house—] house: msA, ts2 1st reading

  II 6 wainscot] wainscote msA ‖ wainscoat Valerie’s Own Book mouse.] mouse, msA, ts2 1st reading

  II 7 despair,] despair— msA ‖ despair. ts2 1st reading

  II 8 air.] ‖ air Valerie’s Own Book

  II 8 ^ 9, as also 16 ^ 17, 24 ^ 25 two-line space Valerie’s Own Book

  II 9 There] Here msA alt, ts2 are] ts12a 2nd reading+ ‖ is msA~ts12 drouth] drouth: msA

  II 10 Over] On msA 1st reading mouth,] mouth msA ‖ mouth. ts2–ts4

  II 12 Contending] Competing msA, ts2 hand.] hand msA

  [Poem I 202–203 · Commentary I 1001–1003]

  II 13 parched] scorched msA~ts5 ‖ scorched underlined with parched by Hayward ts3b ‖ annealed ts9 eviscerate soil] and unemployable soil msA~ts5 ‖ and unemployable soil with each “o” underlined by Hayward, with “X” (as again in ts9b) and acarpous / unavailing / unserviceable Hayward ts3b ‖ and unemployable soil with and bracketed and fruitless / emasculate / sexless / eviscerate ts9a alts. Upside down on the verso of the final leaf of ts12a is written eviscerate dusk. Hayward to TSE, 1 Aug 1941: “‘unemployable soil’: this sounds ugly when read aloud to my ear. (Possibilities: acarpous, unavailing, unserviceable).” TSE, 5 Aug: “I like ‘unemployable’ because the word has a special significance in contrast to ‘unemployed’ in relation to ‘derelict areas’ and I wanted the assimilation of the soil to the human material.”

  II 15 Laughs] And laughing msA 1st reading ‖ underlined with Smiles by Hayward ts3b ‖ underlined with Grins by Hayward ts9b. Hayward to TSE, 1 Aug 1941: “I should prefer ‘smiles’. It is easier, I think, to conceive of a smile without mirth than a laugh without mirth, for all that people speak of a hollow laugh &c. And it’s easier and more convincing, I feel, to imagine the soil as smiling than as laughing. An inanimate object can appear to be smiling; it can hardly be thought of as laughing. In any case, you can’t gape and laugh at the same time—I’ve just tried to in the mirror—and you can gape and smile without mirth at the same time.”

  II 16 ^ 17] no line space Folio Soc

  II 18 weed.] weed msA ‖ weed; ts2

  II 20 sacrifice that] scarred foundations msA, ts2 1st reading ‖ marred foundations ts2 2nd reading ‖ skeletons that ts2 final reading (transposed from II 22), ts3–ts5 denied.] denied msA

  II 21 shall rot] win by lot msA 1st reading

  II 22 marred foundations] skeletons that msA, ts2 1st reading (transposed from II 20) ‖ deep foundations ts5 forgot,] forgot msA ‖ forgot— ts2~ts9, with dash changed to comma in ts9a

  II 23] The broken or entire msA ‖ The maimed or the entire msA alt ‖ The broken or entire. ts2–ts4 ‖ The crumbled or entire. ts4a 2nd reading, ts5~ts9 ‖ Of chantry and choir. ts9a alt, changed to The chantry and the choir. ‖ Of sanctuary and choir. ts9a 2nd alt+

  II 24 ^ 25] msA, ts2:

  Fire without and fire within

  [2]

  Shall purge the unidentified sin.

  This is the place where we begin.

  inset as preceding lines in ts2 then del

  [2] Shall purge] Purge msA ‖ Expel msA alt sin.] sin msA

  II 24 ^ 25 line space] two-line space ts2 1st reading ‖ new leaf so line spacing indeterminate ts3 ‖ two-line space ts4, ts5, ts12

  msA fols. 87–89 contain the first verse draft of II 25–63.

  II 25–96] line of space after each tercet with no indents msA, ts2 ‖ slight leading between tercets NEW (introduced on 2nd proof to fill the page) ‖ line space after each tercet Valerie’s Own Book

  [Poem I 203 · Commentary I 1004–1006]

  II 25–27] tercet inset US 1952

  II 25–26] with “X” Hayward ts13b

  II 25 In] At msA, ts10 hour] moment msA before the morning ts9, ts10, with the? inserted between the words and “(cf before the morning watch)” by Hayward ts10b (referring to The Dry Salvages I 44)

  II 26–29] underlining by Hayward ts3b: ending · · · interminable · · · incredible end · · · unending · · · dark · · · incomprehensible and with incomprehensible descension separately underlined with “X”. Hayward to TSE, 1 Aug 1941: “I don’t like the mouthful (and earful) ‘incomprehensible descension’.” TSE, 5 Aug: “I had been particularly unhappy about Part II. As for ‘incomprehensible’, I think that can be bettered: re-reading the poem in the train yesterday · · · I noticed too many IBLES at the beginning. ‘Descension’ I mean to clong to cling to: for it means the disappearance of a star or planet below the horizon (the American freshwater college sleuth would here discover some innuendo about Spender & Connolly, but none intended) O.E.D. But I still think that this Part needs some sharpening of personal poignancy: a line or two might do it.” A year later, 27 Aug 1942: “I was sorry to surrender the word ‘descension’ which you will discover from the O.E.D. is an astronomical term but I do think a simpler line at this point is desirable. I hope I have got rid of the unpleasant terminations without any sacrifice of sense.”

  II 26 Near the ending] In the final stillness msA, ts2 1st reading ‖ Toward the ending ts2 2nd reading, ts3–ts5 ‖ Towards the ending ts7~ts12 interminable] the restless msA

  II 27 recurrent] incredible msA~ts8 and underlined, with recurrent alt and marginal line ts9a

  II 28 dark] black msA

  II 29] Had made his incomprehensible revelation msA ‖ Had made his incomprehensible descension ts2~ts9, with incomprehensible underlined and inexplicable / indescribable by Hayward ts9b (marked “X” by TSE, who then underlined incomprehensible in ts9a) below] ts10a 2nd reading+ ‖ beyond ts10, underlined with below and “(cf descension)” Hayward ts10b

  II 31 asphalt] asphalte msA~ts12, with asphalte with “no (e) ασφαλτος – cf form origin” Hayward ts12b where] whence ts12a alt del was] came ts12a alt del

  II 32] wavy underline with “?” ts4 districts] angles msA–ts5 ‖ corners ts7

  II 33 and] but ts2 loitering and hurried] hurried yet unhurried msA ‖ loitering and unhurried ts4

  II 34 As if blown towards me] But more as if blown, msA towards] toward ts2, ts5

  II 35 urban] little msA, ts2 1st reading dawn] ringed, as also at II 38, with “morn (cf morne)” Hayward ts9b unresisting.] unresisting msA

  II 36–38] braced, with rule and “X” after dawn, Hayward ts3b ‖ msA~ts8:

  And as I scrutinised the downturned face

  [2]

  With the pointed narrowness of observation

  By which we greet the first-met stranger at dawn,

  [1] indented ts3~ts8 downturned] down-turned ts8

  [Poem I 203–204 · Commentary I 1006–1009]

  [1 ^ 2] no line space ts3~ts8

  [2] the] that ts2 2nd reading, ts3~ts8

  [3] indented ts3~ts8 By which we greet] Which we turn upon ts2 1st reading ‖ We turn upon ts2 2nd reading, ts3~ts7 ‖ With which we meet ts8 1st reading (typed over We t) ‖ With which we face ts8 2nd reading first-met] first met msA dawn,] dawn msA, ts7

  ts9, ts10:

  And as I scrutinised the down-turned face

  [2]

  With that pointed narrowness of observation

  We bear upon the first-met stranger at dawn

  [1–2] And as I peered into the … With that pointed scrutiny … Hayward ts10b (his ellipses)

  [1] And as I scrutinised] And as I bent upon ts9a alt, ts10, with bent underlined with “bend a scrutiny?” and scrutinized by Hayward ts10b ‖ As I directed to ts10a 2nd reading down-turned] underlined with down-cast? by Hayward ts9b (see Commentary)

  [2] That pointed narrowness of observation ts9a 2nd reading ‖ That pointed scrutiny w. wh we challenge ts9a 2nd reading alt ‖ That pointed scrutiny with which we challenge ts10 with a loop from scrutiny to “Is this O.K? only since 1798 (F. Burney) C. Bronte” ts10a

  [3] We bear upon the] We bend upon the ts9a 2nd reading ‖ With which we greet the ts9a 2nd reading alt ‖ with bear underlined and turn Hayward ts9b ‖ The ts10 at dawn] with dawn ringed by Hayward ts9b ‖ in the first faint light ts10, with daybreak and “X” Hayward ts10b. (To Hayward, 2 Sept 1942: “I see yr points about daybreak and waves but can think of nothing which would not overstress.” Again, 7 Sept: “I cannot yet improve the daybreak.” Probably “waves” refers to the gesture, rather than “waves of the sea” V 38.)

  ts12:

  As I directed to the down-turned face

  [2]

  That pointed scrutiny with which we challenge

  The first-met stranger in the first faint light

  [1–2] As · · · scrutiny] with And as I turned upon | The lowered face the enquiring look Hayward ts12b

  [1] As I directed to] And as I fixed upon ts12a 2nd reading

  [2] That] The ts12a 2nd reading before reinstatement of That

  [3] first faint] underlined ts12a in the first faint light] after lantern-time / after lantern-end / after lantern-out (ticked) ts12a 2nd reading alts ‖ with faint half-light Hayward ts12b

  [3] line and alts ringed and redrafted: A stranger in the antelucan hour ts12a 3rd reading ‖ The stranger at the antelucan hour ts12a 4th reading with dark / dusk / dark

  (See Commentary for TSE’s discussions with Hayward.)

  [Poem I 203–204 · Commentary I 1009–11]

  II 39 caught] met msA, ts2 1st reading ‖ drew ts2 2nd reading, ts3–ts5 some dead master] the dead masters msA ‖ with some ringed with “X” and a lost ts4a

  II 40 forgotten,] forgotten msA half recalled] and recalled msA ‖ half-recalled, ts2–ts5 ‖ half-recalled ts7–ts10 ‖ half recalled, NEW

  II 41 many;] many— msA ‖ many: ts2–ts5 the] those msA brown baked] scorched brown msA ‖ brown scarred ts2 1st reading

  II 42] no indent 1969 (error) ‖ The remoteness of a vague familiar ghost msA a] some ts2~ts8 1st reading ghost] ghost, ts2–ts5

  II 43] indent 1969 (error) ‖ The very near, and very inaccissible msA ‖ Both] The ts2–ts4 1st reading, ts5 ‖ Both? ts4a 2nd reading ‖ intimate] very near ts2–ts5 ‖ unidentifiable] wholly inaccessible ts2–ts4 ‖ not identifiable / unidentifiable ts4a alts

  II 44] And I becoming other, so I cried msA (with becoming written over beg) ‖ And I, becoming other and many, cried ts2–ts5 ‖ And I, becoming also many, cried ts7 So I] I too ts13, with “too” in margin and again at II 51 Hayward ts13b (pointing to repetition), LG proof 1st reading a double] another ts8

  II 45–93] single quotation marks US 1943, despite double quotation marks in The Dry Salvages III (with single quotation marks within)

  II 45 And heard another’s voice cry: “What! are you here?”] ts12+ ‖

  And heard my voice: “Are you here, Ser Brunetto?” msA ‖

  And heard my voice: Are you here, Ser Brunetto? ts2, ts3 ‖

  And heard my voice: “are you here, Ser Brunetto?” ts4, ts5, ts7 1st reading (with Andheard run together) ‖

  And heard my altered voice exclaim: you too? ts7 2nd reading (with question as alt for exclaim) ‖

  And heard my altered voice question: “are you here?” ts7 final reading ‖

  Hearing another’s voice cry: “What! are you here?” ts8 ‖

  And heard another’s voice cry: “What! are you here?” ts9, with first word underlined with But and “(or Hearing …)” by Hayward, who also wrote “Ser Brunetto” after the line ts9b ‖

  And heard another’s voice cry: “what! are you here?” ts10, with “w” underlined and “W” by Hayward ts10b

  II 46 we were] it was msA still the same,] often dead, msA ‖ always dead, ts2~ts12 ‖ still the same ts13 1st reading, ts13b ‖ always dead NEW 1st proof 1st reading

  II 47 Knowing myself yet being someone other—] ts13 2nd reading, LG+ ‖ Often revived, and always something other, msA ‖ Always revived, and always something other, ts2–ts5, with revived underlined ts4a ‖ And still alive, and always something other, ts7, ts10–ts12, NEW 1st proof 1st reading ‖ And still alive, and always someone other, ts8, ts9 ‖ Yet recognised myself as someone other— ts13 1st reading ‖ Knowing myself, yet being someone other, TSE’s revision of NEW 1st proof, NEW 2nd proof ‖ Knowing myself yet being someone other, NEW final proof, NEW