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I would rather read Eliot than all this negativity.
Peter M.

Nancy Gish <[log in to unmask]> wrote:

>The time of the coupling iof man and woman
>And tht of beasts. Feet rising ahd falling.
>Eating and drinking. Dung and death.
>
>If you do not see the rest of this and its associations, perhaps this constant retyping what everyone on the list has read is even more pointless than I thought.
>
>Your misogynistic remarks are offensive, and I resent them.
>
>I'm sure your crew will now find a need to add to them and address them to me, but that is too common to mean anything. 
>
>What I find a concern is that no one else on the list seems willing to care or to address them. And perhaps none have noticed that I am the only woman who remains on it in any ongoing way, though I'm glad to see Kate back, if infrequently.
>Nancy
>
>>>> Chanan Mittal 04/19/14 10:55 AM >>>
>
>"the association of man and woman
>
>In daunsinge, signifying matrimonie˜
>
>A dignified and commodious sacrament.
>
>Two and two, necessarye coniunction,
>
>Holding eche other by the hand or the arm
>
>Whiche betokeneth concorde"
>
>
>CR
>
>
>On Saturday, April 19, 2014, Nancy Gish <[log in to unmask]> wrote:
>
>Do you think you might keep your misogyny to yourself? Or is it important to note that Eliot shared it? 
>Nancy
>
>>>> Chanan Mittal 04/19/14 9:44 AM >>>
>
>"In the room the women come and go / Talking of Michelangelo."
>
>
>CR
>
>
>On Saturday, April 19, 2014, Rickard A. Parker <[log in to unmask]> wrote:
>
>I don't think I would have bothered to point out this latest of the
>Guardian's "How to Believe" series except that the ending paragraph (below)
>touches on a few recent TSE list topics.
>
>The poem draws on and shatters into pieces the polite culture of Eliot's
>cultivated youth – bits of Arthurian lore, echoes of Shakespeare and
>Goldsmith and Ovid – as well as less conventionally acceptable literature –
>a line from Baudelaire here, of de Nerval there. It draws on Christianity –
>the agony in the garden, the unrecognisable companion on the road to Emmaus,
>the allusions to St Augustine in spiritual crisis – and Buddhism, with the
>three-fold commands of the thunder in the last section. Yet, at best, it
>offers little consolation; after the seeming resolution of the commands of
>the thunder's precepts, it bursts out in anguish again with a line from
>Kyd's The Spanish Tragedy – "Hieronymo's mad againe" (Eliot will have known
>that Kyd was a notorious atheist, one of Marlowe's School of Night). The
>thunder repeats, but the call to peace at the end – "Shantih, shantih,
>shantih" – is perhaps the peace of exhaustion rather than acceptance. Eliot
>is presenting a diagnosis of his, and our, sickness, but he is not yet sure
>of the prescription – which is why, perhaps, The Waste Land is so great a poem.
>
>------------------
>
>http://www.theguardian.com/commentisfree/belief/2014/apr/17/ts-eliot-waste-land-radical-text-wounded-culture
>
>TS Eliot's The Waste Land: the radical text of a wounded culture
>
>The poem draws on draws on the Christianity of Eliot's polite and cultivated
>youth – yet at best offers little consolation
>
>Roz Kaveney
>theguardian.com, Thursday 17 April 2014
>