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There are several interesting parallel images between Gerontion and TWL. In addition to the "loss of senses", another parallel is the use of the wind in both poems to suggest spirits. I remember that Rick has written about Eliot's use of the wind in TWL.

For example, we have:

Gerontion:
----------------------------
I an old man,
A dull head among windy spaces.

     . . .     Vacant shuttles
Weave the wind. I have no ghosts,
An old man in a draughty house
Under a windy knob.

 . . .  Gull against the wind, in the windy straits
Of Belle Isle,
----------------------------

TWL:
----------------------------
'What is that noise?'
                      The wind under the door.
 
'What is that noise now? What is the wind doing?'
 
. . .
The wind
Crosses the brown land, unheard. The nymphs are departed.
. . .
There is the empty chapel, only the wind's home
It has no windows, and the door swings,
Dry bones can harm no one.                     
----------------------------

-- Tom --


Date: Sun, 5 Apr 2009 14:24:03 -0400
From: [log in to unmask]
Subject: Re: Gerontion
To: [log in to unmask]


First, I unfortunately lost the earlier message from Tom on Gerontion.  I agree with Tom about the parallels in this passage, and in fact I wrote about it in the essay in my book with Cassandra Laity.  Both depict experience then associated with "neuresthenia,"  and that was Eliot's diagnosis in 1921 when he went to Vittoz.  But many poems in IMH also have them.
 
Second, I agree with Carroll about the poem's resistance to being tamed and organized.  I once called it Eliot's Hamlet--if one accepts the notion of lacking an objective correlative.  Ironically, Hamlet does have it.
Nancy 

>>> Carrol Cox <[log in to unmask]> 4/5/2009 1:02 PM >>>
Tom Colket wrote:
>
> Nancy:
>
> I know that several critics feel that the hyacinth garden scene in TWL
> is central to the poem, and I also hold to that view. In looking again
> at Gerontion, I think the central importance of the hyacinth garden
> scene may have been emphasized by certain echoes from Gerontion.

The idea that some passage (any passage) in the poem is "central" grates
harshly against my sense of all that makes TWL TWL. The "center" (if
there is one, which I doubt) has to lie in the complex relations among
the parts, not in any one passage, theme, image, etc. In fact I would
say that it is the poem's very lack of a center that has made it such a
fascination for readers and critics over the last 87 years. Despite all
evidence to the contrary, the damn poem hangs together in one's reading,
and this creates a perpetual itch to somehow find a way that it can hang
together in some systematic way.

As I've suggested before, the same itch seemed to affect Eliot, except
that since he was 'responsible' for it, the itch took the form of
anxiety -- and that anxiety took the form first of the provisional title
of early efforts (doing the police inv arious voices), then in wanting
to put the poem in some brain (e.g., that of Gerontion's dry thoughts in
a dry season), then in the notes (Tiresias and the Grail wild-goose
chase). But the poem just keeps  chugging along, throwing off all such
efforts to tame or housebreak it.

Carrol


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