> First of all I must admit that my interpretation is rather "home made",
> based only on an Eliot seminar I did as a student some years ago. Still:
> > And **YET**, MUCH MORE THAN THAT HAPPENED.
> >What happened?
> > Since one would expect a romantic, late walk in a flower garden
> between two
> >lovers to lead to a physical encounter, it is reasonable to assume
> that this
> >is what happened "when we came back" from the garden. His hair was
> wet (maybe
> >from taking a shower in preparation for a physical evening) and his
> arms were
> >full (of the other person, in an embrace?). So far, nothing unusual.
> Well, do we _need_ anything unusual happening at this time in the poem?
> I would clearly go along with your sexual reading of the passage. Even
> so, I would argue that the reader is witnesses to a post coital scene
> ("Neither living nor dead" can be read as a reference to sexual
> consummation, as well as "my hair wet" and the imager of the "Hyacinth"
> The "Yet" is to point out the difference between the feeling
> experienced in
> the beginning of a romantic relationship (with maybe only a hint of
> sexuality) to the point after the so called fulfillment, which turns
> out to
> be a rather depressing experience. After having lived through ecstasy,
> is finally to be found is silence. Waht is more, the reference to Tristan
> makes clear that the relationship is obviously over , what remains is
> alone : "oed und leer das meer".
> Also, with lines from TWL given here, T.E. Hulme's poem "Conversation"
> to mind:
> Lighthearted I walked into the valley wood
> In the time of hyacinths,
> Till beauty like a scented cloth
> Cast over, stifled me. I was bound
> Motionless and faint of breath
> By loveliness that is her own eunuch.
> Now pass I to the final river
> Ignominiously, in a sack, without sound,
> As any peeping Turk to the Bosphorruos.
> Not only the images, but also the turning of emotion (which the "yet"
> implies to my reading, in the TWL passage above), is quite similar.
> So I do not quite go along with you when you say:
> > The 'yet' alerts the reader that this physical evening was
> "charged" in a
> >way that **would not be expected**, in fact, charged in a way that
> was not
> >expected by the narrator himself.
> The "yet" can be also a quite normal, but nonetheless sad occurrence,
> the changing of emotions, as described above. Taking in mind that much of
> TWL is woven around seemingly trivial details or experiences, I do not
> the something really unusual, neither unexpected happening here.
> But this is not necessarily a contradiction to your reading that
> >I think the 'emotional charge' came from
> >the narrator confronting his feeling of love and sexual attraction
> >('Paradiso-like' feelings) and feelings of disgust and self-loathing
> >homosexual guilt ('Inferno-like' feelings), enormously contradictory and
> >overwhelming feelings that appeared in an instant, in a 'moment of
> Although the sexual encounter here does not need to be a homosexual
> one (but
> can be, give the mythological context). But feelings of guilt can also
> from a heterosexual sexual contact, can they not?
> > Am I making sense yet?
> Is my response aiming at what you wanted to say ;-)