Dear CR: Something is missing from this sum:

"Anthony Julius explains in the opening pages of his book, a revision of his Ph.D.thesis at Cambridge, that Eliot's poetry envisions two readers, "one embraced by the author, and the other, Jewish, rejected by him"

What about the reader who is neither Jewish nor disposed to validate Eliot's perceptions of Jews? The exluded middle? Perhaps Julius means that Eliot could not envision those readers? Presumably if he could they would be rejected too, by Julius' lights.  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: Eliot and Anti-Semitism from the London Review of Books
Date:  Fri, 23 Feb 2007 15:21:49 -0800

http://web.missouri.edu/~umcastselist/jsb_review.html
  
 
  
[T]here are four brief passages in Poems 1920 and a discarded portion
  
of The Waste Land that clearly refer to Jews in negative terms.
  
             ~ Jewel Spears Brooker, Eliot in the Dock: A Review Essay
  
                published in South Atlantic Review 61:4 (Fall 1996):107-14.
  
 
  
~ CR
  


Diana Manister <[log in to unmask]> wrote:
  
  
  
  
CR: the lampooning humor of this rhyme alone should dispel
any notion that Eliot is portraying  Bleistein with either admiration or sympathy:
  
 
  
"A saggy bending of the knees
.......
Chicago Semite Viennese. "
  
 
  
This  jibe is only one instance of how Eliot's  between-the-lines expression of contempt plays out.
  
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: Eliot and Anti-Semitism from the London Review of
Books

Date:  Fri, 23 Feb 2007 11:31:56 -0800
  

  
The words/lines where some readers perceived a Christ figure
    
were highlighted by me in dark bold letters. As for the anti-Semitic
    
resonances -- these are to be found all over in the way the quoted
    
lines reflect off each other.
    
 
    
~ CR
    


Peter Montgomery <[log in to unmask]> wrote:
    
      
These two in particular?
    
"A saggy bending of the knees
 And elbows, with the palms turned out,"

P.
    
    
----- Original Message -----
    
From: [log in to unmask] href="mailto:[log in to unmask]">cr mittal
    
To: [log in to unmask] href="mailto:[log in to unmask]">[log in to unmask]
    
Sent: Tuesday, February 20, 2007 6:57 PM
    
Subject: Re: Eliot and Anti-Semitism from the London Review of Books
    

    
Precisely between the lines that I quoted.
    
 
    
CR
    


Peter Montgomery <[log in to unmask]> wrote:
    
      
And where exactly do you find your resonances?
    
P.
    
    
----- Original Message -----
    
From: [log in to unmask] href="mailto:[log in to unmask]">cr mittal
    
To: [log in to unmask] href="mailto:[log in to unmask]">[log in to unmask]
    
Sent:
Tuesday, February 20, 2007 7:08 AM
    
Subject: Re: Eliot and Anti-Semitism from the London Review of Books
    

    
Of course, sometimes.  But I had in mind what you called
    
"the resonances between the lines -- the way the lines
    
reflect off each other".
    
 
    
Regards.
    
 
    
CR
    


Peter Montgomery <[log in to unmask]> wrote:
    
      
      
//Sometimes a cigar is only a cigar.//
    
P.
    
    
----- Original Message -----
    
From: [log in to unmask] href="mailto:[log in to unmask]">cr mittal
    
To:
[log in to unmask] href="mailto:[log in to unmask]">[log in to unmask]  
    
Sent: Monday, February 19, 2007 12:52 PM
    
Subject: Re: Eliot and Anti-Semitism from the London Review of Books
    

    
Dear Ken,
    
 
    
I'm sorry to disagree with you.
    
 
    
Let us mark "Bleistein with a Cigar" in the title of the poem.
    
[all emphasis, here and elsewhere, only mine]
    
 
    
And certain words in the epigraph that underscore the theme of lust:
    
 
    
 Tra-la-la-la-la-la-laire --
    
 ...goats and monkeys, with such hair too! --
    
 
    
And the context preceding the image of
Bleistein:

                     Her shuttered barge
Burned on the water all the day.
  
    
 
    
But this or such was Bleistein's way:
A saggy bending of the knees
And elbows, with the palms turned out,
Chicago Semite Viennese. 
    
 
    
A lustreless protrusive eye
Stares from the protozoic slime
At a perspective of Canaletto.
    
 
    
On the Rialto once.
The rats are underneath the piles.
The jew is underneath the lot.
Money in furs.
    
 
    
-----
    
 
    
And now 'Gerontion' :

My house is a decayed house,
And the jew squats on the window sill, the owner,
Spawned in some estaminet of
Antwerp,
Blistered in Brussels, patched and peeled in
London.
                                                   
    
 
    
Ken, there may be this aspect to the images pointed out by you and Robert, 
    
and if it is there, it only serves as an ironic point of contrast that deepens
    
the sense of sordidness epitomized in these characters.
    
 
    
BTW, I searched in vain for the image of "Christ the owner of the soul
    
in the stained glass of Gerontion".
    
 
    
Regards.
    
 
    
CR


Ken
Armstrong <[log in to unmask]>
wrote:    
CR -- Whether in the all-seeing divine eye and way of the Cross in
Burbank or Christ the owner of the soul in the stained glass of Gerontion,
Eliot is anything but anti-semitic in these poems.

    
    
    

    
    
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