"Portrait of a Lady" by T. S. Eliot (read by Jeremy Irons)

"Portrait of a Lady" by T. S. Eliot
I
Among the smoke and fog of a December afternoon
You have the scene arrange itself - as it will seem to do-
With "I have saved this afternoon for you";
And four wax candles in the darkened room,
Four rings of light upon the ceiling overhead,
An atmosphere of Juliet's tomb
Prepared for all the things to be said, or left unsaid.
We have been, let us say, to hear the latest Pole
Transmit the Preludes, through his hair and finger-tips.
"So intimate, this Chopin, that I think his soul
Should be resurrected only among friends
Some two or three, who will not touch the bloom
That is rubbed and questioned in the concert room."
-And so the conversation slips
Among velleities and carefully caught regrets
Through attenuated tones of violins
Mingled with remote cornets
And begins.
"You do not know how much they mean to me, my friends,
And how, how rare and strange it is, to find
In a life composed so much, so much of odds and ends,
(For indeed I do not love it ... you knew? you are not blind!
How keen you are!)
To find a friend who has these qualities,
Who has, and gives
Those qualities upon which friendship lives.
How much it means that I say this to you -
Without these friendships - life, what cauchemar!"
Among the winding of the violins
And the ariettes
Of cracked cornets
Inside my brain a dull tom-tom begins
Absurdly hammering a prelude of its own,
Capricious monotone
That is at least one definite "false note."
- Let us take the air, in a tobacco trance,
Admire the monuments,
Discuss the late events,
Correct our watches by the public clocks.
Then sit for half an hour and drink our bocks.
II
Now that lilacs are in bloom
She has a bowl of lilacs in her room
And twists one in her fingers while she talks.
"Ah, my friend, you do not know, you do not know
What life is, you who hold it in your hands";
(Slowly twisting the lilac stalks)
"You let it flow from you, you let it flow,
And youth is cruel, and has no remorse
And smiles at situations which it cannot see."
I smile, of course,
And go on drinking tea.
"Yet with these April sunsets, that somehow recall
My buried life, and Paris in the Spring,
I feel immeasurably at peace, and find the world
To be wonderful and youthful, after all."
The voice returns like the insistent out-of-tune
Of a broken violin on an August afternoon:
"I am always sure that you understand
My feelings, always sure that you feel,
Sure that across the gulf you reach your hand.
You are invulnerable, you have no Achilles' heel.
You will go on, and when you have prevailed
You can say: at this point many a one has failed.
But what have I, but what have I, my friend,
To give you, what can you receive from me?
Only the friendship and the sympathy
Of one about to reach her journey's end.
I shall sit here, serving tea to friends ...."
I take my hat: how can I make a cowardly amends
For what she has said to me?
You will see me any morning in the park
Reading the comics and the sporting page.
Particularly I remark.
An English countess goes upon the stage.
A Greek was murdered at a Polish dance,
Another bank defaulter has confessed.
I keep my countenance,
I remain self-possessed
Except when a street-piano, mechanical and tired
Reiterates some worn-out common song
With the smell of hyacinths across the garden
Recalling things that other people have desired.
Are these ideas right or wrong?
III
The October night comes down; returning as before
Except for a slight sensation of being ill at ease
I mount the stairs and turn the handle of the door
And feel as if I had mounted on my hands and knees.
"And so you are going abroad; and when do you return?
But that's a useless question.
You hardly know when you are coming back,
You will find so much to learn."
My smile falls heavily among the bric-à-brac.
"Perhaps you can write to me."
My self-possession flares up for a second;
This is as I had reckoned.
"I have been wondering frequently of late
(But our beginnings never know our ends!)
Why we have not developed into friends."
I feel like one who smiles, and turning shall remark
Suddenly, his expression in a glass.
My self-possession gutters; we are really in the dark.
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[@julie98701]

A masterpiece, his voice is so mesmerizing

[@JenniferRademaker]

Perfectly read

[@sattarabus]

Jeremy Irons falls short of reproducing the subtleties and nuances of the two characters who partly confess and rationalize the ebb and flow of a relationship that is in the terminal phase. Jeremy's vocal gamut barely brushes past the guilt, self- mockery, self- parody, irony and hints of inchoate remorse that constitute the pathos and poignancy of the pensive subtext. Jeremy commands the voice of a virtuoso performer. He could have modulated his tone to inflect the transition from one pose or posture to another. Did he elongate the middle vowel in 'cauchemar' ?

[@DanielAvinashVOX]

Hi, could you give an example of a good read? Any narrators or videos you may have to share?

[@fred2796]

Professor, since you are so enlightened, could you tell me what the four lights on the ceiling represent? Or the Pole Chopin? Or, do you somehow know exactly how the poem should be performed without actually knowing what its about? 😂😂😂😂😂😂😂😂😂😂

[@ambercharles9403]

Omg this is the best!

[@elamiri858]

Beautiful.

[@danabrousseau6579]

I agree with moesterer. As one who commits poetry to memory, I find it disappointing to hear a professional recitation marred by errors by a famous personality who is most probably reading from a text in front of himm. And what about the production values. No editor? This might be expected and allowances made for an amateur production, but for Mr. Irons and co., it is just not acceptable. Nice voice, though.

[@moesterer]

Just read the g...damn lines. Don't ACT them!!

[@DanielAvinashVOX]

Could you give an example of good poetry reading? Maybe share a video?

[@susannak1755]

Spoiler alert, the dude is an actor