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Great post Ken!
P.

Ken Armstrong <[log in to unmask]> wrote:

>     Thanks to Rickard for posting the link. I get a sense of how deeply 
>involved TSE is with the entertainments and entertainers he discusses, 
>especially of course Marie Lloyd. His cheap motorcars for horses may not 
>have held, autos and their gigantic, national economy-driving service 
>environments being anything but cheap; but he certainly saw the coming 
>of ear buds and bluetooth (or whatever the newest audio transmitter may 
>be): "when electrical ingenuity has made it possible for every child to 
>hear its bed-time stories through a wireless receiver attached to both 
>ears"; between texting and randomly crossing streets while listening to 
>iPods, I sometimes wonder how the students in this college town survive 
>(some don't, of course, as the occasional meeting of oblivious walker 
>stepping in front of distract driver inevitably does occur).
>
>   I'm pretty sure Muldoon would be aware of the London letter. And I 
>appreciate some of the feedback I definitely unwittingly prompted. I 
>actually know, BTW, what a metaphor is. And it's fair to say that TWL is 
>a drama that takes place on Eliot's stage. It did occur to me, as Carrol 
>noted, that viewing TWL as a night at the music hall, is a way, or an 
>attempt at a way, to organize the experience of reading TWL. And the 
>Marie Lloyd letter, including the time of publication of it, definitely 
>lends some appeal to this idea.  I'd just say that it's legitimate if it 
>is the organizing principle of the poem, not just an external tool 
>brought in to fashion coherence where without it none is perceived.
>
>Ken A
>
>
>On 10/18/2013 5:40 PM, P wrote:
>> In all the banter which you evoked (unwittingly I'm sure) Ken, I saw 
>> no reference to Eliot's little essay on Marie Lloyd, which provides a 
>> pretty definitive view of Eliot's high regard for the music hall, esp. 
>> its moral dimension. See Selected Essays. I wonder if Mr. Muldoon 
>> was/is/will be aware of it.
>> P. M.
>>