There are a couple (at least) of curious and intriguing references to Coleridge
in UPUC, esp. for pearl divers.
  ----- Original Message ----- 
  From: Diana Manister 
  To: [log in to unmask] 
  Sent: Friday, September 08, 2006 11:51 AM
  Subject: Re: "That Thou Art" and TWL

  Thanks CR. My note on Coleridge's distinction between fancy and imagination I think is pertinent. I'm looking for some evidence that TSE knew the essay, but I cannot believe he did not, since it is often cited in lit crit. Diana



    From:  cr mittal <[log in to unmask]>
    Reply-To:  "T. S. Eliot Discussion forum." <[log in to unmask]>
    To:  [log in to unmask]
    Subject:  Re: "That Thou Art" and TWL
    Date:  Thu, 7 Sep 2006 16:38:53 -0700

          Thank you very much, Diana, for your indepth elucidation
          of the significance of the Upanishadic wisdom of "tat tvam
          asi" and "neti neti" with regard to the rejection in Eliot's
          poetry of the illusions of Maya and false ego and the quest
          for a higher state of consciousness. To me, the 'Preludes',
          as the title suggests, mark the beginnings of the poet's
          sense of disenchantment with the mundane reality.

          I'm absolutely in agreement with you in these premises.

          Best regards.

          ~ CR


      Diana Manister <[log in to unmask]> wrote:   
        Dear CR:
        I think that understanding what the Upanishads signify in TWL is crucial to coming to some sense of the poem's unity. I am beginning to suspect that all such references point a way out of the narrator's burdensome egotism (shy ineffectual people are the most self-conscious!), and figure in his personal grail quest for a God in which he could believe.
        "That Thou Art" is one of the four great Vedic statements. As elucidated by Swami Nikhilananda of the Sri Ramakrishna Centre:
        "The identity of Brahman and Atman 
        (the embodied soul) has been expressed in the well known Vedic formula as Maha Vakya (great dictum) "That Thou Art"...Therefore the statement "THAT THOU ART" really conveys a transcendental experience of oneness which is beyond the body, mind, senses and ego and the sensations associated with them. When a person realises this oneness with Brahman. he is oblivious of the idea that he is an embodied being."
        From this and other teachings I understand "Tat Tvam Asi" as a description of a psychic state in which we are the other, the reality where all relations of a separate "self" are seen as illusion.
        As it is phrased elsewhere:
        "In this non-dual/transpersonal world of an all inclusive Brahman, divine shakti is seen in the tree, the river, the flowers, the stars, the ocean, and even in the human animal. It is beyond objectification or elaboration. "It" as such can not be known or owned. The only place it is not seen is in that which is 
        unreal, make believe, symbolic -- that which is illusory, false, or what is considered to exist in isolation in the frozen and deluded corrupted fragmented sphere of ego (limitation and individual "self hood"). This latter sphere (the delusional reality of the ego) only exists in the deluded mind, so it is not considered real (although it colors "reality" for those who are deluded in superficial appearances)."
        I have often seen the well known Sanskrit expression "neti neti" that is also found in the Upanishads associated with "tat tvam asi". Literally it means "neither this, nor that." Taken as another description of non-dualistic thinking, or of a means to achieving it, it would relegate the " fancies that are curled/Around these images" in Eliot's poem to the realm of ego and its self-serving illusions.
        I look forward to your thoughts about this. Best, Diana
        CR wrote: 
        I am moved by fancies that are curled 
        Around these images, and cling: 
        The notion of some infinitely gentle 
        Infinitely suffering thing.

        Hi Diana,

        By broaching on the Sanskrit epigram "tat tvam asi", you
        raise a controversial aspect of interpreting Eliot's poetry,
        especially 'Prufrock and Other Observations'.

        From what little I have gathered from a site at Google,
        the maxim literally means "That thou art".

        In transcendental Indian philosophy, one interpretation
        is: "That" (universal spirit) thou art. It simply means
        that the universal spirit manifests itself in the individual

        But the maxim could also mean (and this could 
        relevant to the interpretation of Eliot's poetry):
        "That" (the world of objective reality created
        by a poet) is what the poet is. Some critics have
        indeed applied to Eliot's poetry this philosophy
        of subject-object correspondence propounded by
        FH Bradley (who undeniably was a major shaping
        influence on Eliot).

        Thus, for instance, taking their lead from this
        notion, they tend literally to equate Prufrock with
        the objects of his perception so that, as Hugh Kenner
        would have it, the "streets, the yellow fog, the drains,
        the coffee spoons are Prufrock", the "evenings,
        mornings, afternoons" are Prufrock, as much as
        "the voice which says, 'I have known them all already,
        known them all".

        To me, this approach is untenable since 
        himself discounted solipsistic interpretations of
        immediate experience: "It would not follow", he
        said, "that all the world is merely a state of myself."

        In point of fact, the objects and situations appear
        to Prufrock's highly perceptive mind as symbols
        which illumine for him the underlying reality of the
        social scene.

        I guess it holds good for much of his other

        As for your placing "tat tvam asi" in contradistinction
        to the narrator's "fancies that are curled / Around 
        these images", you seem to suggest that the
        "tat" (that) -- the essence -- is far removed from
        the "fancies". 

        I wouldn't go with you here. To me these "fancies"
        are the narrator's "reflections" born of his 
        of the social scene. And it is these fancies that constitute
        the essence ("tat") of his observation. In the lines quoted
        above from 'Preludes', aren't "fancies" subsumed in "The
        notion" -- the notion of some infinitely gentle, infinitely
        suffering thing???

        Best regards.

        ~ CR

    All-new Yahoo! Mail - Fire up a more powerful email and get things done faster. 


  No virus found in this incoming message.
  Checked by AVG Free Edition.
  Version: 7.1.405 / Virus Database: 268.12.3/445 - Release Date: 9/11/2006