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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


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