[*] MARINA.* (Note: In the frist typescript (w2), Eliot drew a line in pencil to indicate the title should appear below the quotation.)MARINAMarina

[*] Quis hic locus, quae regio, quae mundi plaga?Quis hic locus, quae regio, quae mundi plaga?Quis hic locus, quae regio, quae mundi plaga?
What seas, what shores, what grey rocks, and what islands,What seas what shores what grey rocks and what islandsWhat seas what shores what grey rocks and what islandsWhat seas what shores what grey rocks and what islands
What water lapping the bow
And scent of pine, and the wood, thrush singing through the fogAnd scent of pine and the wood thrush singing through the fogAnd scent of pine and the wood thrush singing through the fogAnd scent of pine and the wood thrush singing through the fog
(off Rogue Island) [*] [*] [*]
What old forgotten [*] [*] [*] images return
And form themselves around me -And reform around -And reform around - [*] O my daughter [*] ...
* Note: The order of lines in the manuscript (w1) differs siginificantly from w2, w3, and w4. Additionally, in the manuscript (w1), the phrase "glory of the peacock" appears in line 5, but in witnesses w2, w3 and w4, it is replaced by "glory of the hummingbird" on line 3. This textual revision cannot be represented directly in the display; thus, as the editor, I have added a note to highlight this interesting change.
Those who sharpen the tooth of the dog, meaning
Death
Those who suffer the ecstasy of the animals, meaningThose who glitter with the glory of the hummingbird, meaningThose who glitter with the glory of the hummingbird, meaningThose who glitter with the glory of the hummingbird, meaning
Death
Those who glitter with the glory of the peacock, meaningThose who sit in the stye of contentment, meaningThose who sit in the stye of contentment, meaningThose who sit in the sty of contentment, meaning * (Note: In w1, w2 and w3, the word "sty" (published in the final verison) is spelled as "stye".)
Death
Those who face with the stye of contentment, meaningThose who suffer the ecstasy of the animals, meaningThose who suffer the ecstasy of the animals, meaningThose who suffer the ecstasy of the animals, meaning
Death
These are now unsubstantialAre become unsubstantialAre become unsubstantialAre become unsubstantial, reduced by a wind
A breath of pine and the wood song fog, and the woodsong fog, and the woodsong fog, and the woodsong fog
The world[?]* (Note: The word "world" in the manuscript is unclear as it's hapharzardly written; it could be another term such as "word". It is certain that the word started with a "w".) in chase diminished from placeBy this grace dissolved in placeBy this grace dissolved in placeBy this grace dissolved in place
What is this, less firm and firmerthis face, less clear and clearerthis face, less clear and clearerthis face, less clear and clearer
Where the pulse beat, less strong & strongerThe pulse in the arm, less strong and stronger—The pulse in the arm, less strong and stronger—The pulse in the arm, less strong and stronger—
[*] Given or lent? more distant than stars and nearer than the hand,Given or lent? more distant than stars and nearer than the hand,Given or lent? more distant than stars and nearer than the eye,
The whispersWhispersWhispersWhispers and the lap of waves and [*] [*] [*] small laughter andbetween leaves andbetween leaves andbetween leaves and hurrying feet
Under sleep, where the many ways theallallall waters meetwaters meet* (Note:A handwritten annotation appears beneath "where all the waters meet" in w2, saying "no space here." This suggests that there should be no space between this line and the next, possibly because this line is at the end of the page. The handwriting appears inconsistent with the rest of the manuscript, raising uncertainty about its attribution to Eliot.)waters meetwaters meet.
The old forms reform, in a new worldThe forms reform.The forms reform. [*]
Bowsprit broken with ice and paint cracked with heat.* (Note: In w1, "Bowsprit" is written, but "sprit" was added slightly above "Bow", suggesting a later addition. "Broken with ice" appears in w1, while "cracked with ice" appears in w2, w3, and w4.) Bowsprit cracked with ice and sidespaint cracked with heat. * (Note: In w2, the word "sides" was originally typed but crossed out, and "paint" was added on top. This pencil correction is likely Eliot's as it appears consistent in style with the other annotations.) Bowsprit cracked with ice and paint cracked with heat.Bowsprit cracked with ice and paint cracked with heat.
I have made thisI made thisI made thisI made this I have forgotten
And havenow remembered * (Note: In the manuscript(w1), Eliot originally wrote "have" but crossed it out and added "now" on top of it. Also, he originally wrote "remembered", but deleted the "ed" suffix in pencil.)And remember.And remember.And remember.
cording rigging[?] * (Note: In the manuscript (w1), rigging is written over a word, which seems to be "cording" based on the context and the shape of the letters, but I am not certain.) riggingriggingrigging weak and the canvas rotten.
Between one June & andandand another September.
Made this unknowing, [*] half conscious, half conscious, half conscious, unknown, my own.
The garboard strake leak need caulking were open[?]* (Note: In the manuscript (w1), "need caulking" was crossed out and replaced with a phrase added below it. It is unclear whether the replacement reads "would open" or "were open".) The garboard streak strake leaks⟨,⟩and the seams aren open. need caulking. * (Note: In W2, "streak" was originally typed out but was later crossed out by pencil, and "strake" is added above "streak" in pencil; a comma was added later by pencil after "leaks"; the phrase "are open." was originally typed out and the phrase "need caulking." is added above with pencil. These changes are all likely to be Eliot's given their consistency in handwriting style.)The garboard strake leaks, the seams need caulking.The garboard strake leaks, the seams need caulking.
This form, this face, this life
Living beyond me;to live in a world of time beyond me;to live in a world of time beyond me;to live in a world of time beyond me; let me
Resign my life for this life, my word for that unspoken, Lose Resign my life for this life, my word for that unspoken, * (Note: In w2, "Lose" was originally typed and crossed out with typewriter marks (XXXX), and "Resign" was typed above it.)Resign my life for this life, my word for that unspoken, Resign my life for this life, my speech for that unspoken,
The just awakenedThe awakenedThe awakenedThe awakened,lips parted,the hope,the new ships.
What seas what shores what granite islands [*] towards my timberstowards my timberstowards my timbers
And woodthrush calling through the fog
O [*] [*] [*] My daughter.

About this text

Title: Marina in The Poems of T. S. Eliot Volume I
Edition: Taylor edition
Editor: Edited by Mandy Yixuan Liu

About this edition

This is a transcription of the published version of Marina by T. S. Eliot, published in The Poems of T. S. Eliot Volume I, with variant witnesses transcribed from the holdings in University of Oxford, Bodleian Library.

Encoded in TEI P5 XML by Mandy Yixuan Liu.

Availability

Publication: Taylor Institution Library, one of the Bodleian Libraries of the University of Oxford, 2024 XML files are available for download under a Creative Commons Attribution-Share Alike 4.0 International License .

Source edition

T. S. Eliot Marina in The Poems of T. S. Eliot Volume I London Faber & Faber 2015  

Editorial principles

Created by encoding transcriptions from manuscript and typescript drafts of the poem Marina, which are held at the Bodleian Libraries but not available to the public due to copyright restrictions.

Due to copyright laws, the poem's manuscript and typescripts, which contained large amounts of editorial changes, are not available to the public. Thus, I aimed to capture the editorial changes, revisions and annotations throughout the manuscript and typescripts in a semi-diplomatic style and to represent the editorial process as clear as possible.

I have encoded nearly all changes such as overwriting, deletions and uncertain readings other than the very minor, semantically insignificant typos. There are two types of changes: editorial annotations in each witness and the textual changes across versions. I have added descriptive notes immediately following the relevant lines of the poem to detail the editorial annotations. These notes highlight the changes Eliot made, such as corrections in pencil or revisions in typescripts, in each witness. This approach ensures that even though Taylor Editions does not support displaying pop-up windows within other pop-ups, readers can still view the changes made to each text while navigating either the base text or other witnesses.

The first witness (w1) is the manuscript of the poem, written in pencil. The second witness (w2) is a typescript with light corrections by pencil. The third witness (w3) is a final typescript with no changes. The fourth witness (w4), also the base text, is the published version in Faber & Faber's edition. The manuscript and typescripts are being held at the Bodleian Library, University of Oxford, Shelfmark: MS. Don. c. 23/1. Here is the link to Bodleian's repository: https://archives.bodleian.ox.ac.uk/repositories/2/archival_objects/194233