Thomas Sterne Eliot

Hanan Alnujidi - Hayadi

Morning at the Window

They are rattling breakfast plates in basement kitchens, And along the trampled edges of the street I am aware of the damp souls of housemaids Sprouting despondently at area gates.

The brown waves of fog toss up to me Twisted faces from the bottom of the street, And tear from a passer-by with muddy skirts An aimless smile that hovers in the air And vanishes along the level of the roofs.

Summary and Critical Analysis

Morning at the Window is an imagist poem that presents an image of poverty. The picture is that of a slum where people lead miserable lives. The speaker is at the window. He may be a visitor of a certain house in the area where poor people live. The images that come to his eyes are 'object correlatives' or OBJECTS corresponding certain ideas and emotions in the poet's and the reader's mind.

The images in the poem correlate with the idea of poverty and feelings of sympathy. But the poem only presents them just the objective image, rather than romantically expressing his feelings and emotions. There is also a balance between feelings and ideas in the sense that the image arouses not only feelings in the reader but also provokes thoughts and ideas. The poem is a set of striking images of poverty; the poet says nothing but shows them. The poor people are rattling (making sound) breakfast plates early in the morning. It is an obligation for poor people to go to work early and work till late. Sun or shower, frost or fog, they have to set out early. The image brings to mind similar images of poverty. The speaker says that he is aware of the condition of the households' minds and souls, or their psychology. He doesn't describe that.

Such housemaids are appearing one after another at the city gate. Maybe they come from villages. They have no identity, dignity and meaningful life. They are 'despondent', or extremely sad. The speaker seems to go along, or else look further away waves of "brown" fog which come up to him. This is perhaps because the city air is so polluted. Twisted faces of depressed people pass by. A passerby has tears in the eyes. The speaker takes another glance and sees her dirty skirt. Another person comes up and tries to smile, but fails. The smile vanishes among the city roofs. All these disjointed images can be put together to build up a general picture of the poor people's plight

The focus is on poor servant girls whose souls themselves are "damp" (moist and dirt). The poet evokes our emotion without telling his emotions. He arouses pity without telling his pity for the people. Eliot asserted that poetry must present 'objective correlatives' or objects and events that will correspond to certain emotions in the reader's experience. The poet need not express his personal emotion. This idea of poetry is anti-romantic. For instance, when we encounter objective images of poverty, we understand it. The image of a child on top of a burning house would need no explanation! Eliot also strongly suggested that poetry must balance intellect, (thought) and emotion (feeling).

The feelings of the individual poet must become a matter of thought for everyone in the poem. This balance is called 'unified sensibility'. The present poem presents only objective correlatives of poverty; the poet doesn't describe his feelings put presents objects that correlate or correspond to sympathy towards the poor. He balances the underlying feelings of pathos (pity) with a thoughtful mind and serous art. Eliot shows how personal emotion can be transformed into a universal thought-provoking image. Eliot also presents things as his impressions recorded them. The twisted face, the aimless smile, the eyes with tears, the muddy skirts are fragments of his impressions. The poet presents in the same way that these things made the impression on him. In this sense, the poem is impressionistic.

How is it modern?perception