The beginning of the passage contains the end.
The end of the passage is the litle people.
They are at the deep end of the deep lane, the
----- Original Message -----
From: "Peter Montgomery" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Thursday, June 30, 2011 1:22 AM
Subject: Re: electric heat, deep lane in East Coker
> Note this whole passage is a package leading one into a trance in which
> experiences the little folk.
> Note that Tim's deep lane is a repetition.
> What is the symbolism of the dahlias?
> Are there devices used in conjuring a trance which use electricity?
> The van creates a kind of separation from normal consciousness into the
> The sultry light is not ordinary. It is absorbed, as is one's
> I think the deep lane is a symbol for the experiencer's consciousness as
> taken over into a deep trance. I think static electricity is a very good
> There is potency in the imagery. It is wound up and ready to strike, ready
> to zap,
> and the little people are the end product of the zap.
> This is just my first percolation. No doubt more to come.
> Note this is just a standard approach to such analysis.
> I don't much agree with doing it this way, but if that's
> what's happening then I will try to be nice and join in.
> Here is the whole passage. Surely it is small enough
> that its wholeness can be absorbed.:
> In my beginning is my end. Now the light falls
> Across the open field, leaving the deep lane
> Shuttered with branches, dark in the afternoon,
> Where you lean against a bank while a van passes,
> And the deep lane insists on the direction
> Into the village, in the electric heat
> Hypnotised. In a warm haze the sultry light
> Is absorbed, not refracted, by grey stone.
> The dahlias sleep in the empty silence.
> Wait for the early owl.
> ----- Original Message -----
> From: "Peter Dillane" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Wednesday, June 29, 2011 3:11 PM
> Subject: Re: electric heat, deep lane in East Coker
> > Hey folks,
> > Doesn't he mean more the kind of static charge in dry hot conditions.
> > was the earlier use of "electric" ( I know the etymology is argued )
> > - as Faraday observed - electricity became a commodity which could be
> > taxed.
> > Cheers Pete
> > -----Original Message-----
> > From: T. S. Eliot Discussion forum. [mailto:[log in to unmask]] On
> > Of Carrol Cox
> > Sent: Thursday, 30 June 2011 8:33 AM
> > To: [log in to unmask]
> > Subject: Re: electric heat, deep lane in East Coker
> > Re: electric heat, deep lane in East Coker
> > As Nancy noted, "electric" seems to present more difficult in finding
> > immediate 'literal' sense (or material base of that sense) than does
> > lane." I dobut very much that that reference could be actual "electrical
> > heating systems." Any how, such heating systems tend to 'feel' more like
> > hot-water heat than anything direct. Also, presumably the lane is
> > the heat is invisible. But maybe that casts doubt on my first sentence.
> > Electrical heating systems are invisible: no registers, no radiators, no
> > noise of gurgling water, hissing steam, or rumbling fans. Still, the
> > context, unlike the subway passages in Burnt Norton, does not seem to
> > encourage bringing in modern technology as the image base. "Electric
> > has always 'felt' right to me, but then I never inuired into it as Tim
> > has. The kind of electric heat common in Eliot's day would have been
> > and toasters. Perhaps the cliché "hot as an oven" is floating in the
> > background. Nah. Then, incandexcent light bulbs give off a good deal of
> > heat (as do the contemporary low-energy bulbs for that matter).
> > On 6/29/2011 10:35 AM, Materer, Timothy J. wrote: Can anyone say what
> > might mean in East Coker by "electric heat"? I agree with the
> > tradition that a word or phrase must first be construed in its immediate
> > context before one goes wfhoring off after "deeper meanings." And in a
> > (or set of poems) concerned, both directly and indirectly, with
> > the language of the tribe," with refusing to accept a worn-out poetic
> > practice as adequate, I would hate to think Eliot would have allowed
> > the dissolute practice of merely depending on the vague suggestiveness
> > term. (For example, "awful daring of a moment's surrender" in TWL
> > rejects thinkingof "awful" in such contexts as "Wasn't that an awfully
> > meal." It forces the reader back to "awe-inspiring"; something that
> > attention to halt and gaze in "admirationd" (in the Horatian sense, as
> > Pope's "Not to admire is all the art I know / To make men happy and to
> > them so"). (All quotations from memory.) In short, I really would like
> > answer to Tim's question - and my quasi-freeassociation hasn't carried
> > very far.
> > Carrol
> > "And the deep lane insists on the direction / Into the village, in the
> > electric heat / Hypnotised."
> > Maybe it has to do with the etymology of the word?
> > Also, a question for those who are better acquainted with the mother
> > is "deep lane" Eliot's original image, or is he using a common term for
> > road?
> > Timothy Materer
> > English Department
> > Univ. of Missouri