It's a pity nobody here went into questions Marcin
brought up, as I would also be interested in the
possible answers.
Marcin, here's a link to a text that might be related
to your concerns:

(Analysis of the Importance of Speaking Voice in the
Poetry of T. S. Eliot by George Stevenson)


> I would like to raise the issue of identity of the
> speaker in /Preludes.
> /
> Please forgive me if you find it an open secret, but
> being a non-native 
> speaker of English, and rather a novice at
> systematic criticism, I find 
> the question problematic.
> At present I am attempting a reading of a couple of
> poems by TSE in the 
> light of Heideggerian concept of authentic
> existence. Therefore, I tend 
> to shun the structuralist approach which pervades
> the grey volumes of my 
> institute's library...
> It does seem that throughout the poem the identity
> of the speaker 
> remains indeterminate.
> Would you agree that the inflected pronoun "you" in
> the first stanza, 
> and the same pronoun in the third, are generic ones?
> [as I am not quite 
> informed in the use of those]
> What is more, the generic character of the speaker
> seems to be 
> deliberately strengthened by  references to both
> sexes.
> The governing consciousness, or if you like, the
> voice speaking in the 
> poem, (if there is ONE), seems to comply with the
> notion of Hindu /tat 
> vam asi /("Thou art That"), or at any rate, as D.
> Moody observes 
> "[speaker's] ordinary, egoistical self is
> suspended".
> Therefore the epistemic situation of the speaker
> seems to differ from 
> the traditonal Cartisian (subject-object) model.
> The poem read in this way would come up to one of
> the modernist 
> expressions of the epistemic trauma, or of what
> Tillich calls 
> "ontological shock".
> Could you please comment on those intuitions of
> mine?
> Is any one of you interested in hermeneutic readings
> of TSE?  Could you 
> possibly recommend some articles or sources?

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