I wonder how Eliot would see the current war: Young american soldiers die every day while around them the various Iraquis factions wound and kill each other along with the women and children, and outside terrorist cells encourage and enage in the scenario while in Amerca, this is all but ignored, as the news of the day is how Paris Hilton is faring in prison. -----Original Message----- From: O'Sullivan, Brian P <[log in to unmask]> To: [log in to unmask] Sent: Thu, 7 Jun 2007 2:01 pm Subject: Re: The Stetson Passage in TWL I think in this case the hypocrite reader, double, brother is a projection of himself and sense of guilt, as much an image of the terrible anxiety war caused him as anything else. his makes a lot of sense to me. But can we also interpret the hypocrite reader iterally s one of Eliot's likely immediate readers? I always picture a seudo-Baudelarian offeehouse intellectual peering disdainfully at the crowd of workers streaming ver ondon Bridge like zombies, including dishevelled and diorientedveterans newly ack rom the war. The "hypocrite lectuer" line--coming from the author is a bank lerk as well s an intellectual--seems to remind the intellectual reader that the "waste and" s his or her modern milieu also, and not just that of the pedestrian crowd. rian rian O'Sullivan, Ph.D. ssistant Professor of English irector of the Writing Center ontgomery Hall 50 8952 E. Fisher Rd. t. Mary's College of Maryland t. Mary's City, Maryland 0686 40-895-4242 ________________________________ From: T. S. Eliot Discussion forum. on behalf of Nancy Gish ent: Thu 6/7/2007 1:16 PM o: [log in to unmask] ubject: The Stetson Passage in TWL A constant feature of Eliot's poetry, from INVENTIONS OF THE MARCH HARE hrough "Four Quartets" is images of the double. Sometimes this is xplicit, as in the original image of the old man sitting in the gutter n the omitted section of "Prufrock" or the familiar compound ghost who s described as another self-- "I was still the same/ Knowing myself yet eing someone other--." Sometimes it is implicit, as in the old man aiter in "Dans le Restaurant" who dares to have the same feelings as he appalled narrator. At the time Eliot was working on TWL, during the last year of the War hen the US had entered, he was also trying over and over to enlist but as never accepted because of a hernia. He wanted to get into ntelligence work but failed at that. The image of someone who was not t the hot gates (Thermopylae) and did not fight precedes, in Gerontion" this accosting of one who was with me at the Battle of Mylae ut now is suspect and accused and is his double. If one wants to find meanings in allusions, one is going back to sources n Eliot's reading and imagination, but there is as constant a elf-reference in his work as a text reference. I think in this case he hypocrite reader, double, brother is a projection of himself and ense of guilt, as much an image of the terrible anxiety war caused him s anything else. I remain consistently puzzled at the assumption that ll of literature and every idea in history could be the source of nything Eliot ever wrote--everything except what he experienced imself. Yet there it is over and over, as so much recent knowledge now eveals. Hugh Kenner, interestingly, mainly displaced both and focused n a claim that what mattered to Eliot was effects, and that reading the ources was not important. At that time neither was biography vailable. But unlike many readers, he paid little attention to the ndless references from other sources. I think there is still not a eally compelling theory of what part they played or how important they re. About Jewel Brooker, her article on Eliot and the War looks at the way e was affected and how it impacted his poetry. I am not sure of the eference but it was in Modernism/Modernity and could be found easily. Cheers, ancy ________________________________________________________________________ AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com.