Well it can certainly be explained by E.'s concept
of time in T&TIT, but also by the deliberate parallels
in the states of being in I,Prg &Pard.
That time in TWL is not linear but multidimensional
as in Chas Williams ALL HALLOWS EVE I take as a given.
Standard rules of cause/effect, don't apply. Effects
precede causes, &c.
It is a repeating cycle, in which anyone event at anytime
is accessible to any other event at another time. It parallels
the theological point that when one participates in the
mass and its reenactment of the crucifiction, one is not
participating a reenactment, but in the original event.
Sacred time transcends secular time. Three bows to Mircea
Dr. Peter C. Montgomery
Dept. of English
3100 Foul Bay Rd.
Victoria, BC CANADA V8P 5J2
[log in to unmask]
From: [log in to unmask] [mailto:[log in to unmask]]
Sent: Wednesday, February 12, 2003 2:27 AM
To: [log in to unmask]
Subject: Re: Fisher King
In a message dated 2/11/03 9:46:34 PM EST, [log in to unmask] writes:
> The translation that Eliot was probably most familiar
> with goes:
> How icy chill and hoarse I then became,
> ask not, O Reader!
> for I write it not, because all speech
> would fail to tell.
> I did not die, and did not remain alive:
> now think for thyself,
> if thou hast any grain of ingenuity,
> what I became, deprived
> of both death and life.
> That is how he is indeed as he sees the infernal one,
> but it is also his final state of spiritual devolution
> before he exits hell to go on to purgation. That suits
> the condition of the fisher king before the resolution
> of the grail quest. [Also sounds an
> awful lot like the hollow men.]
It's not just that Saha pointed out what looks like an allusion to Inferno
the hyacinth garden -- he also pointed out these other apparent Dante
allusions in the hyacinth garden:
The terrifying vision at the end of Inferno ("I did not die, and did not
remain alive") is then contrasted by Eliot to the luminous vision at the
". . . ficcar lo viso per la Luce
eterna, / tanto che la veduta vi consunsi!"
(Paradiso, XXXIII, 83-84).
["I fixed my gaze on the eternal light so deeply that my entire vision was
consumed in it."]
"Looking into the heart of light", Saha claims, is the equivalent of Dante's
vision of being consumed in the eternal light, and the overall notion of
suspended being in "I could not / Speak, and my eyes failed" is the
"Cosi la mente mia tutta sospesa, / mirava fissa, immobile ed attenta . . .
(Paradiso, XXXIII, 97-98) ["Thus with wholly suspended mind, I stared
fixedly, motionless and intent . . . "]
So Saha's point is that the structure of the lines in the hyacinth garden
section parallel the overall scheme of the Commedia itself, namely, a
combination of the vision at the end of Inferno, representing the ultimate
failure of love as personified by Lucifer, and the vision at the end of
Paradiso, focusing on the redemptive power of love.
It's the COMBINATION of overwhelming terror and overwhelming love,
experienced **simultaneously**, that needs to be explained in the hyacinth
-- Steve --