And the 'Quartets': "a pattern / Of timeless moments" 

    "Time past and time future
Allow but a little consciousness.
To be conscious is not to be in time
But only in time can the moment in the rose-garden,
The moment in the arbour where the rain beat,
The moment in the draughty church at smokefall
Be remembered; involved with past and future.
Only through time time is conquered."  
   "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."   
"The laughter in the garden, echoed ecstasy
 Not lost, but requiring, pointing to the agony
 Of death and birth." 
"We must be still and still moving
 Into another intensity
 For a further union, a deeper communion" 


--- On Sat, 7/16/11, Chokh Raj <[log in to unmask]> wrote:  

  a) 'Silence' (1910) 
  b) In the Hyacinth garden: "looking into the heart of light, the silence" 
  'La Figlia': "Stand on the highest pavement of the stair..."  
  'Ash-Wednesday': "to construct something ['holy and permanent'] / Upon which to rejoice" 
Visions of Transformation:  
  In the protagonist   
  a) mystic/ascetic: "Lady, three white leopards ...This is the land. We have our inheritance." 
  b) stairs of purgatory: "Struggling with the devil of the stairs ..."
  In the beloved   
 "Who walked between the violet and the violet ...
  Talking of trivial things
  In ignorance and knowledge of eternal dolour
  Who moved among the others as they walked,
  Who then made strong the fountains and made fresh the springs 
  Made cool the dry rock and made firm the sand
  In blue of larkspur, blue of Mary's colour" 
The vision of the Word   
  "If the lost word is lost, if the spent word is spent
   If the unheard, unspoken
   Word is unspoken, unheard;
   Still is the unspoken word, the Word unheard,
   The Word without a word, the Word within
   The world and for the world;
   And the light shone in darkness and
   Against the Word the unstilled world still whirled
   About the centre of the silent Word." 
The actual Ordeal  
  "In this brief transit where the dreams cross
   The dreamcrossed twilight between birth and dying ..."
   "The desert in the garden the garden in the desert" 
"Where prayer has been valid"   
  "Blessed sister, holy mother ...  
   Suffer me not to be separated"

--- On Wed, 7/13/11, Chokh Raj <[log in to unmask]> wrote:  

"looking into the heart of light"
Here's a reading that is closest to my heart -- it felt like I was rehearsing my deepest thoughts: 
The Waste Land's Mystical Void 
T.S. Eliot: mystic, son, and lover 
By Donald J. Childs 

--- On Tue, 7/12/11, Chokh Raj <[log in to unmask]> wrote: 

*In my last to last post, please read:
 It is most apropos to view the Hyacinth passage in that light. 

--- On Mon, 7/11/11, Chokh Raj <[log in to unmask]> wrote: 

I'd borrow a line from 'The Journey of the Magi' and contemplate it vis-a-vis this transformation:   
"this Birth was / Hard and bitter agony for us, like Death, our death." 

--- On Mon, 7/11/11, Chokh Raj <[log in to unmask]> wrote: 

Yes, indeed. A death/life motif informs the myth -- a motif which informs Eliot's poetry too  
// It is most apropos to view the myth in that light. // *

--- On Mon, 7/11/11, Peter Montgomery <[log in to unmask]> wrote:   

One dimension that Ekiot would not have ignored is the transformation from Dorian to Hellenic culture.
In effect Apollo replaces(kills) Hyacinth. The hyacinth girl suggests some transformation.

----- Original Message ----- 
From: Chokh Raj 
To: [log in to unmask] 
Sent: Friday, July 08, 2011 4:13 PM
Subject: Re: The Hyacinth Passage in TWL (was Re: Henry Adams on Silence)

The 'girl' of Eliot's youth -- the upright Emily of dark, shining hair 
"Eliot's imagination", writes Lyndall Gordon, "dwelt again and again on a beloved woman's hair, the light on it in 'La Figlia' (1912), wet in The Waste Land (1922), loosened in Ash-Wednesday (1930), sweet brown hair blown over the mouth". 

--- On Fri, 7/8/11, Chokh Raj <[log in to unmask]> wrote: 

Comparable to
"—Yet when we came back, late, from the Hyacinth garden,   
 Your arms full, and your hair wet . . ." 

--- On Fri, 7/8/11, Chokh Raj <[log in to unmask]> wrote: 

O, I'm so sorry, I forgot to quote the all-important lines from La Figlia: 
"She turned away, but with the autumn weather  
 Compelled my imagination many days,  
 Many days and many hours:  
 Her hair over her arms and her arms full of flowers. 
 And I wonder how they should have been together!"   
Emphasis mine. 

--- On Fri, 7/8/11, Chokh Raj <[log in to unmask]> wrote:  

Incidentally, it should be illuminating to read the Hyacinth passage in the light of 'La Figlia che Piange': 
"Stand on the highest pavement of the stair— 
 Lean on a garden urn— 
 Weave, weave the sunlight in your hair— 
 Clasp your flowers to you with a pained surprise— 
 Fling them to the ground and turn 
 With a fugitive resentment in your eyes: 
 But weave, weave the sunlight in your hair."  [my emphasis]
I had had an occasion to share my reading of it with the list. Here it is, again, if you like:  

--- On Fri, 7/8/11, Chokh Raj <[log in to unmask]> wrote:  

Yes, I have read it, indeed. 
One must, however, IMHO, be careful with Eliot's use of allusions -- it abstracts a certain quality from the thing alluded to. In this case the hyacinths given to the girl (I have always associated her with Emily Hale) are only emblematic of divine love. 
Ah, the gift of hyacinths proved prophetic, imparting a divine dimension to human love, never to be consummated in earthly terms, remaining for ever fresh, a lasting source of inspiration to the poet!

--- On Fri, 7/8/11, Peter Montgomery <[log in to unmask]> wrote: 

Have you looked up the hyacinth myth?

----- Original Message ----- 
From: Chokh Raj 
To: [log in to unmask] 
Sent: Thursday, July 07, 2011 2:59 PM
Subject: Re: OT - Henry Adams on Silence

The rather quite momentous "silence" in the hyacinth passage that reverberates ominously in the line that follows from Wagner, "Od' und leer das Meer" (desolate and empty the sea).

--- On Thu, 7/7/11, Chokh Raj <[log in to unmask]> wrote: 

It was to America, then, that Eliot owed his overwhelming sense of the silence/void that never left him. It is the subject of the 1910-poem titled 'Silence', it's there in 'Aunt Helen' and elsewhere. It would account for "the silence" -- "Looking into the heart of light, the silence" -- in the hyacinth passage of TWL. 

--- On Thu, 7/7/11, Chokh Raj <[log in to unmask]> wrote:  

Today's quotation at 
In America the silence was more oppressive than the ignorance; but perhaps elsewhere the world might still hide some haunt of futilitarian silence where content reigned -- although long search had not revealed it -- and so the pilgrimage began anew! 

-- Henry Adams, The education of Henry Adams