Nancy Gish wrote:
> Or it could be an internal action if there were conflicting internal
> personae or attitudes to create the conflict central to drama. In
> "Gerontion" there is no such action. Nor is there any conversion or
> acceptance of grace or even any outright rejection. It is a poem
> without that kind of "arc." Gerontion ends where he begins, in
> desensitized emptiness; drama demands event, conflict, change.
> Prufrock is dramatic because he is at war with himself over what to
> do; Gerontion is thinking back over utter failure to do. If there is
> drama, I would be interested in an explication of how and where it
> occurs, but it is not a movement or action on the narrator's part,
> certainly not toward grace. How could one possibly read his final
> thoughts grace?
No one has, have they? My own questions to Diana were questions, not
claims and not claims attached to Gerontion. I thought that would have
been clear from Diana's own claim about "acts".
Guy Brown's approximately 70 page reading of Gerontion brings to
light so much about the poem that has not even been cursorily mentioned
in the literature, there is not much I can say except perhaps to ask
this question: who is Gerontion? Is Gerontion a person? Remember that
Marshall McLuhan noted long ago that in FQ Eliot has the landscape