New England roads are not, as it happens, deep lanes--the only
comparison might be the trees growing high and over the road. But they
look nothing like English country lanes with high hedges. Moreover,
Eliot was deliberately going to East Coker--it was not, as in Frost, a
choice on a walk that might go anywhere. 

What is the point here?

Also, seeing doubles is not much like any mystic literature I've read
(that is, what Eliot used among others). How is Prufrock's mad,
hysterical (clinical term then that included such experiences) vision an
example of mysticism?

>>> Chokh Raj 07/03/11 12:13 PM >>>
"electric heat" vis-a-vis "deep lane"

cf. Frost

"Two roads diverged in a yellow wood, 
And sorry I could not travel both 
And be one traveler, long I stood 
And looked down one as far as I could 
To where it bent in the undergrowth;
... ... ... 
Two roads diverged in a wood, and I— 
I took the one less traveled by, 
And that has made all the difference." 


mystic madness 

"And when the dawn at length had realized itself
And turned with a sense of nausea, to see what it had stirred: 
The eyes and feet of men --
I fumbled to the window to experience the world
And to hear my Madness singing, sitting on the kerbstone
[A blind old drunken man who sings and mutters, 
With broken boot heels stained in many gutters]
and as he sang the world began to fall apart ... 

"Falling towers 
Jerusalem Athens Alexandria 
Vienna London 

nil nisi divinum stabile est; caetera fumus 

"O lord, have patience" 

"In my beginning is my end". 




--- On Sun, 7/3/11, Chokh Raj wrote: 

the subtlest so far 
lost in a sultry haze 
unless one looked both 
before and after 


--- On Sat, 7/2/11, Chokh Raj wrote: 

T. S. Eliot Reading 'The Love Song Of J. Alfred Prufrock' 

"We have lingered in the chambers of the sea 
By sea-girls wreathed with seaweed red and brown 
Till human voices wake us, and we drown." 


--- On Sat, 7/2/11, Chokh Raj wrote: 
pourquoi pas 

when the world gets on the nerves of a person 
endowed with a mystical sensibility
that is radically poetic 

we have it :)


--- On Sat, 7/2/11, Peter Montgomery wrote: 
Vis-a-vis just about anything.
----- Original Message ----- 
From: Chokh Raj 
To: [log in to unmask] 
Sent: Friday, July 01, 2011 4:57 AM
Subject: Re: electric heat, deep lane in East Coker

Vis-a-vis the endless ordeal of "heat and silence"? 


--- On Thu, 6/30/11, Peter Montgomery <MailScanner has detected a
possible fraud attempt from "" claiming to be
[log in to unmask]> wrote: 
"Dawn points" get the point?
----- Original Message ----- 
From: Chokh Raj 
To: [log in to unmask] 
Sent: Thursday, June 30, 2011 6:55 AM
Subject: Re: electric heat, deep lane in East Coker

I'm intrigued by the mystical dimension of the passage, a poem by
itself, till now overlooked as a piece of mere description. And I reach
out to where

Dawn points, and another day
Prepares for // heat and silence //. Out at sea the dawn wind
Wrinkles and slides. I am here
Or there, or elsewhere. In my beginning.


--- On Thu, 6/30/11, Peter Montgomery wrote: 
The beginning of the passage contains the end.
The end of the passage is the litle people.
They are at the deep end of the deep lane, the
insisting lane.


----- Original Message ----- 
From: "Peter Montgomery" <MailScanner has detected a possible fraud
attempt from "" claiming to be
[log in to unmask]>
To: <[log in to unmask]>
Sent: Thursday, June 30, 2011 1:22 AM
Subject: Re: electric heat, deep lane in East Coker 

> Note this whole passage is a package leading one into a trance in
one experiences the little folk.
> Note that Tim's deep lane is a repetition.
> What is the symbolism of the dahlias?
> Are there > The sultry light is not ordinary. It is absorbed, as is one's
> I think the deep lane is a symbol for the experiencer's consciousness
> it is taken over into a deep trance. I think static electricity is a
very good
> possibility.
> There is potency in the imagery. It is wound up and ready to strike,
> to zap, and the little people are the end product of the zap.
> This is just my first percolation. No doubt more to come.
> Note this is just a standard approach to such analysis.
> I don't much agree with doing it this way, but if that's
> what's happening then I will try to be nice and join in.
> Here is the whole passage. Surely it is small enough
> that its wholeness can be absorbed.:
> In my beginning is my end. Now the light falls
> Across the open field, leaving the deep lane
> Shuttered with branches, dark in the afternoon,
> Where you lean against a bank while a van passes,
> And the deep lane insists on the direction
> Into the village, in the electric heat
> Hypnotised. In a warm haze the sultry light
> Is absorbed, not refracted, by grey stone.
> The dahlias sleep in the empty silence.
> Wait for the early owl.