Eliot gives the source in the notes; it is Tristan und Isolde, I verses
Other than the notes, the best first source for Eliot allusions is B. C.
Southam's A GUIDE TO THE SELECTED POEMS OF T. S. ELIOT (1968; New York:
Harcourt Brace, 1994) Southam elaborates on the Tristan source.
>>> Rita Kelly <[log in to unmask]> 07/31/07 12:45 PM >>>
Do we have a source for 'Frisch weht der Wind ...' is it just a
song? If so from where? Any connection with Tristan u. Isolde?
Perhaps it has been cited and I have missed it. If so perhaps someone
be good enough to point me in the direction.
Thank you all indeed
----- Original Message -----
From: "Ken Armstrong" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, July 31, 2007 5:11 PM
Subject: Re: The boat imagery in TWL
> At 07:18 PM 7/30/2007, Barnwell Black wrote:
>> Contrast this with the entirely different boat/ship imagery in
>> "The Dry Salvages" II and III where the imagery used by the "older"
>> post-conversion T. S. Eliot is focused upon the path toward the death
>> the Self and spiritual rebirth.
> Where exactly is the death of the Self in TSE? And do you mean Self
> instead of self (or what is the distinction)? My thought is that TSE,
> pre- or post-conversion, would be more inclined to turn the self
> God than to extinguish it.
> Ken A.
>> From DS III:
>>"'...O voyagers, O seamen,
>>You who came to port, and you whose bodies
>>Will suffer the trial and judgement of the sea,
>>Or whatever event, this is your real destination.'
>>So Krishna, as when he admonished Arjuna
>>On the field of battle.
>>Not fare well,
>>But fare forward, voyagers." DS III
>> On this subject, the words of Longfellow come to mind:
>>"Ships that pass in the night, and speak each other in passing;
>> Only a signal shown and a distant voice in the darkness;
>> So on the ocean of life we pass and speak one another,
>> Only a look and a voice; then darkness again and a silence." The
>> Theologian's Tale, Elizabeth, IV.
>>In a message dated 7/29/2007 10:53:08 P.M. Eastern Daylight Time,
>>[log in to unmask] writes:
>>It should be interesting as well to take note of the boat imagery
>>in TWL. There is a definite pattern to it.
>>Part I -- the sailor's song and its implications
>> (it prefaces the Hyacinth girl passage) :
>>Frisch weht der Wind
>>Der heimat zu
>>Mein Irisch Kind,
>>Wo weilest du?
>>Part II -- It's prefaced with an allusion to Cleopatra's ceremonial
>> (The barge she sat in, like a burnish'd throne,
>> Burn'd on the water.)
>> and her first meeting with Antony.
>>Part III -- Here, The barges drift / With the turning tide
>> and The barges wash / Drifting logs
>> Elizabeth and Leicester / Boating oars...
>> Carried down stream
>> 'By Richmond I raised my knees
>> Supine on the floor of a narrow canoe.'
>>Part IV -- O you who turn the wheel and look to windward,
>> Consider Phlebas, who was once handsome and tall as
>>Part V -- The boat responded
>> Gaily, to the hand expert with sail and oar
>> The sea was calm, your heart would have responded
>> Gaily, when invited, beating obedient
>> To controlling hands.
>>There also appears to be a definite equation between the boat(s)
>>and the human heart with its passions of love/lust.
>>Get a sneak peek of the all-new
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