Nancy Gish wrote:
> In my paper on "Gerontion" at the TSE Society and in Florence, I 
> argued that he is
    Sorry, who is what? There's much to choose from below.

    Thanks,
    Ken A

> and the the last line is directly addressed to him.  It remains in the 
> quotation marks that frame the address to Stetson.  The following is 
> from the paper.  Since it is not in published form, please do not 
> quote (I'm not assuming anyone wants to, just being formal). 
>  
>
> "The last line of the first section has nearly always been read as 
> addressing the reader, as it is in Baudelaire’s “au lecteur.”  But it 
> remains in the quotation marks that identify speech directed to 
> Stetson, who thus also becomes the double–one like Tiresias who is 
> both modern and ancient, having been at Mylae but having planted a 
> corpse last year.  While the source in Baudelaire may well evoke us as 
> readers also, in the poem the line is said to Stetson and thus to an 
> immediately present dissociated self."
>
> Nancy
>
> >>> Diana Manister 03/17/10 4:33 PM >>>
> Dear Rick:
>  
> Can't wait to check out your links. Meanwhile, recall Eliot's interest 
> in Jacobean drama, which is famous for its grotesque corpses and body 
> parts. In Webster's Duchess of Malfi, for instance, Ferdinand shakes 
> hands with the Duchess in a dark room, using a severed hand of her 
> lover! The line from The White Devil that Eliot paraphrased about the 
> dog that digs up a corpse is in that uncanny vein. Things exposed 
> that should be covered, the dead entering the realm of the living.
>  
> Diana
>  
> > > One does not expect a spectre, usually. I guess the uncanniness would
> > > depend on whether the walking, talking figure is someone recognized as
> > > having been alive. Stetson is such an uncanny figure. The eerie qualia
> > > is produced by the neither-nor state of the phenomenon, the
> > > spectator's inability to classify or qualify it as living or dead,
> > > since it's both. This is disorienting and produces a disturbance of
> > > the subject-object distinction.
> >
> > Since there's been a switch to Baudelaire in the City may I suggest
> > the the last line addressed to Stetson, "Hypocrite lecteur, --
> > mon semblable, -- mon frère!" be considered as reason to think of
> > an apparitonal Stetson as a doppelgänger.
> >
> > Doppelgänger
> > http://en.wikipedia.org/wiki/Doppelg%C3%A4nger
> >
> > The text of "The Lesson of Baudelaire" by T.S. Eliot
> > 
> http://world.std.com/~raparker/exploring/tseliot/works/essays/lesson-of-baudelaire.html
> >
> > Regards,
> > Rick Parker
>
>
>
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