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OK, it's established: you have no shame.

Have you read "Bartleby"? See the character's last statement.
Nancy


>>> Chokh Raj 11/12/11 9:30 PM >>>
It's a shame that one has to explain meanings to a university professor. 
One expects better of them.

CR


From: Nancy Gish 
To: [log in to unmask]
Sent: Saturday, November 12, 2011 8:46 PM
Subject: Re: What underpins 'The Waste Land'

That is to make a euphemism into a truth. "Smell" is a vicious sneer, as you knew when you wrote it, or you would have written the second sentence.

In any case, calling others "dishonest" is also slander and offensive and outrageous. 
Nancy


>>> Chokh Raj 11/12/11 8:22 PM >>>
needless to say, but just in case 

"One may say what Eliot said -- and yet smell."
simply means
"One may say what Eliot said -- and yet be dishonest." 

-----
smell (vb.) - 
be dishonest
http://www.macmillandictionary.com/dictionary/british/smell_16
-----

Thanks,
CR 



From: Chokh Raj 
To: [log in to unmask]
Sent: Saturday, November 12, 2011 12:08 PM
Subject: Re: What underpins 'The Waste Land'

One may say what Eliot said -- and yet smell. 

CR 


From: Nancy Gish 
To: [log in to unmask]
Sent: Saturday, November 12, 2011 10:36 AM
Subject: Re: What underpins 'The Waste Land'

Well, Eliot said it was the state of his mind--or words to that effect. He said it more than once. If we dismiss his testimony (as one of those literary critics who do not know what is the true way to read?), we may be left with a poem largely "underpinned" rather that simply edited by Ezra Pound
N


>>> Ken Armstrong 11/12/11 8:45 AM >>>
Granting that "underpin" is not a very exact word here, the "state of mind" in which the pearl of the poem is produced is not the process that produces the poem. What's central to the poem as poem is that process.

Ken A

On 11/12/2011 7:51 AM, Rickard A. Parker wrote: On Fri, 11 Nov 2011 09:30:57 -0600, Carrol Cox  wrote:

What underpins TWL?
The poet's nervous breakdown reflecting the nervous breakdown of Europe into
the Insanity of 1914.
Eliot, in a private paper, written in his sixties, confessed: "I came to
persuade myself that I was in love with Vivienne simply because I wanted to
burn my boats and commit myself to staying in England. And she persuaded
herself (also under the influence of Pound) that she would save the poet by
keeping him in England. To her, the marriage brought no happiness. To me, it
brought the state of mind out of which came The Waste Land."