I was directly answering the following question about Stetson being a dopplgänger:
My point is that Eliot was meticulous about punctuation when he chose to use it, and the line from Baudelaire is within the quotation marks that are the narrator's speech to Stetson; they are directly addressed to Stetson as "my double." The narrator says all three--hypocrite reader, double, brother--but he speaks to Stetson.
But Grover Smith suggested the importance of doubling in Eliot in the 50s, and there have been many discussions of it. What I did in a developed article was to trace Eliot's own language drawn from Janet and ideas of dissociation through his prose to demonstrate how constant it was and where he got the terms and definitions. The "dissociation of sensibility" is not just his idea; "dissociation" was a common psychological term. The full study with the sources is in "T. S. Eliot and the Poetics of Dissociation" in Cassandra's and my book, T. S. Eliot and Gender, Desire, and Sexuality (Cambridge, 2004). Doppelgängers are all over Eliot's work. The quotation I sent is on "Gerontion," but draws on the arguments in that essay.
Sorry for the ad; I am just answering the question in context.
>>> Ken Armstrong <[log in to unmask]
> 03/17/10 10:14 PM >>>
Nancy Gish wrote:
> In my paper on "Gerontion" at the TSE Society and in Florence, I
> argued that he is
Sorry, who is what? There's much to choose from below.
> and the the last line is directly addressed to him. It remains in the
> quotation marks that frame the address to Stetson. The following is
> from the paper. Since it is not in published form, please do not
> quote (I'm not assuming anyone wants to, just being formal).
> "The last line of the first section has nearly always been read as
> addressing the reader, as it is in Baudelaire’s “au lecteur.” But it
> remains in the quotation marks that identify speech directed to
> Stetson, who thus also becomes the double–one like Tiresias who is
> both modern and ancient, having been at Mylae but having planted a
> corpse last year. While the source in Baudelaire may well evoke us as
> readers also, in the poem the line is said to Stetson and thus to an
> immediately present dissociated self."
> >>> Diana Manister 03/17/10 4:33 PM >>>
> Dear Rick:
> Can't wait to check out your links. Meanwhile, recall Eliot's interest
> in Jacobean drama, which is famous for its grotesque corpses and body
> parts. In Webster's Duchess of Malfi, for instance, Ferdinand shakes
> hands with the Duchess in a dark room, using a severed hand of her
> lover! The line from The White Devil that Eliot paraphrased about the
> dog that digs up a corpse is in that uncanny vein. Things exposed
> that should be covered, the dead entering the realm of the living.
> > > One does not expect a spectre, usually. I guess the uncanniness would
> > > depend on whether the walking, talking figure is someone recognized as
> > > having been alive. Stetson is such an uncanny figure. The eerie qualia
> > > is produced by the neither-nor state of the phenomenon, the
> > > spectator's inability to classify or qualify it as living or dead,
> > > since it's both. This is disorienting and produces a disturbance of
> > > the subject-object distinction.
> > Since there's been a switch to Baudelaire in the City may I suggest
> > the the last line addressed to Stetson, "Hypocrite lecteur, --
> > mon semblable, -- mon frère!" be considered as reason to think of
> > an apparitonal Stetson as a doppelgänger.
> > Doppelgänger
> > http://en.wikipedia.org/wiki/Doppelg%C3%A4nger
> > The text of "The Lesson of Baudelaire" by T.S. Eliot
> > Regards,
> > Rick Parker
> Hotmail: Trusted email with Microsoft’s powerful SPAM protection. Sign
> up now. <http://clk.atdmt.com/GBL/go/210850552/direct/01/>