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Thanks Steve for calling my attention to the "yes" and I'm sorry for
my late reply too.  Because I'm late I'm going to be commenting and
quoting from a number of posts (and things may be in a different order.)
All ">" quotes are Steve's.

The TWL draft that had the "Penelope/J.J." note from Pound also had
the later excised remembering of "the hyacinth garden."  I think that
you are correct that Eliot's "yes" and the garden go together with
Joyce's use of "yes" and his gardens.  It may or may not have been
intended to be an allusion for the reader though.  You and RaphaŽl can
debate whether "Ulysses" would have been read or expected to be read
by the public.  But remember, TWL was likely written largely as a
personal grumble against life.  TSE could have put in what appealled
to him whether others would catch the allusion or not.


> As to why he accepted Pound's suggestion and took it [the "yes"] out
> in the final form, I can think of several reasons.

As for why the "yes" was finally removed, maybe it didn't make sense
to keep it after the preceding mention of the hyacinth garden was
removed.  That begs the question of why **that** was removed (especially
since it was inserted again via a note.)


> Ending the line with "yes!" sounds odd and forced ...

As for the "yes" being forced--I disagree.  Although a little unusual
and unexpected I don't see it as forced.  Perhaps you over-reached for
a word you really meant???  In fact, I had to double check the text
because because I would have sworn the "yes" was still there.  In my
mind I add it so it certainly isn't forced for me.


> The image I get is that the dead sailor from the hyacinth garden has
> 'retuned home' to the narrator in "A Game of Chess" through the
> **memory** of the hyacinth garden.

I see the lover as coming to life through memory also.  In the same
section we have "the wind under the door," an allusion to a play by
Webster where a dying man was stabbed and then thought surely dead.
The stab actually brought him to recovery.  In TWL a lover is kept in
the back of the speaker's mind and all seems to go well enough if not
great (Winter kept us warm, covering Earth in forgetful snow).  But
the husband later sees the wife as a stabbing pain.  This stabbing
brings the lover back to life via the husband's memory.


> Thus, the narrator assumes the role of Penelope to the sailor's
> Ulysses. This view also has the effect of casting the narrator in a
> feminine role in the hyacinth garden, a point I have argued before.

This logically follows the premise that there can be a one-to-one
correspondence between the characters (and a few other premises) but I
think that is carrying things further than they need to go.


> So the question is, why is the narrator of "A Game of Chess"
> associating himself with Joyce's 'Penelope'?

See above.  You may be over-reaching.  The "yes" could just connect
similar experiences or feelings and not necessarily people.


> [this casts] the narrator in a feminine role in the hyacinth garden

The amount and kind of action in the "feminine role" is an unknown.
I'm not saying you're totally wrong though.  I've mentioned on list
that the use/non-use of quoting in the hyacinth garden section leaves
open the possibility that the speaker and the hyacinth girl **could**
be seen as the same person.


> My conjecture is that the allusion to Penelope is put in precisely for the
> contrast between 'lifelessness' and 'liveliness' that Peter points out,
> although he points it out to question the allusion in the first place.

Nice point.  Who gets the credit?


> "There is no greater pain than to recall a happy time in wretchedness"

Maybe the TWL epigraph should have been "Nessun maggior dolore che
ricordarsi del tempo felice ne la miseria"

Regards,
    Rick Parker