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Reading on in the passage linked to below, it's arresting how critics 
miss even the most fundamental action in Eliot's poems, including in his 
earliest. Eliot's life may have been imperfect (however ridiculous it 
may be for any of us to stand in that kind of judgement on any other one 
of us), but the imperfections don't abate when Gordon remarks of 
"Conversation Galante" that the young woman in it "blocks the truth." It 
wouldn't be so egregious a critical error were it not that the at the 
center of the poem's action it is the young woman who at each turn 
prevents the young man from ensnaring the truth for his own low 
purposes, allowing it, as it were, to continue to roam free. The young 
woman does not block knowledge; she foils the young man's attempts to 
misuse knowledge and seduce her. It is, to quote one of Eliot's 
favorites, elementary.

With so little facility for even a basic understanding of Eliot's poetic 
way, it's not surprising that she and critics like her miss and 
misrepresent so much in Eliot's life and art.

Ken A

On 11/17/2012 10:32 AM, Chokh Raj wrote:
> Just one instance of the alacrity, the sensitivity and the pace with 
> which Eliot's sensibility responded to Laforgue's influence. Here's 
> Lyndall Gordon's insightful account:
>
> p. 42  "At once, on discovering Symons, Eliot ordered three volumes of 
> Laforgue from France. The Oeuvres completes must have arrived in the 
> spring of 1909, certainly in time for Eliot to read them over the 
> summer, and late in the autumn he began to pour out new poems..."
>
> http://books.google.com/books?id=Ndb_HDuycu0C&pg=PA42&lpg=PA42&dq#v=onepage&q&f=false
>