One should never quote Shakespeare, or even allude to him, because he is such a mediocrity.

>From: "Rickard A. Parker" <[log in to unmask]>
>Reply-To: "T. S. Eliot Discussion forum." <[log in to unmask]>
>To: [log in to unmask]
>Subject: Re: Those are whirls thatwere his pies.
>Date: Tue, 5 Nov 2002 21:26:47 -0500
>Peter Montgomery wrote:
> > I'm wondering if we could have a similarly sybilised discussion of
> > the role of THE TEMPEST in the second part of TWL. Given the
> > VERY significant, and indisputable allusion to Ariel's song
> > re pearls and eyes, and given that Ferd and Mird were so to speak
> > encapsulated by Prosp's magic (very sybilised of him, don't you think?),
> > and so resorted, to pass the time, to playing a game of chess, could
> > Miranda's utterance, during that scene, of one of Shakespeare's most
> > quotable lines (Thanks Aldous, old boy), be seen as a comment, by
> > Eliot, on the characters in "A Game of Chess" and maybe even in the
> > poem as a hole, er whole.
>"O brave new world, that has such people in 't!"
>I have a hard time seeing that it is. The original context was
>something like "Wow! This place sure is filled with hunks!" Using an
>allusion like this just doesn't seem to be something Eliot would do.
>If Miranda meant it more as a reflection of the men's character than a
>case could be made for irony. I'm willing to be convinced if someone
>wants to give it a shot.
>On the other hand, I begining to think that maybe this chess game is
>more important to the underpinings of TWL than is the one in "Women
>Beware Women." It is at this chess game that Ferdinand sees that his
>father is not dead after all and that he is not undergoing a
>sea-change. In part 2 of TWL we have a thought about pearls/eyes and,
>in the draft and in the notes, that is connected to the hyacinth
>garden. While the pearls/eyes are definitely thoughts of death,
>thoughts of the hyacinth girl are more filled with life. Perhaps in
>this "Game of Chess" a loved one is found not to be dead after all
>(because he/she lives in memory.)
>To support this there is the "wind under the door" allusion to a man
>who was dying being stabbed and then thought dead but actually
>recovers from his original wound due to the stabbing. An analogy can
>be drawn that living with the woman's habits was the stabbing that
>brought the dead hyacinth girl back to life.
>As for Ferdinand and Miranda instantly falling in love (perhaps with
>magic involved) there is a lot of that in TWL: Tristan/Isolde,
>Paolo/Francisca, hyacinth garden, Acteon/Diana, Aeneas/Dido. In fact,
>instead of hearing the Shakespearean Rag in TWL I often have a
>different tune running through my head, "You made me love you, I didn't
>want to do it, I didn't want to do it." (Are you paying attention Steve?)
> Rick Parker
> playing at chess
> MIRANDA. Sweet lord, you play me false.
> FERDINAND. No, my dearest love,
> I would not for the world.
> MIRANDA. Yes, for a score of kingdoms you should wrangle
> And I would call it fair play.
> ALONSO. If this prove
> A vision of the island, one dear son
> Shall I twice lose.
> SEBASTIAN. A most high miracle!
> FERDINAND. Though the seas threaten, they are merciful;
> I have curs'd them without cause. [Kneels]
> ALONSO. Now all the blessings
> Of a glad father compass thee about!
> Arise, and say how thou cam'st here.
> MIRANDA. O, wonder!
> How many goodly creatures are there here!
> How beauteous mankind is! O brave new world
> That has such people in't!
> PROSPERO. 'Tis new to thee.

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