I   just looking up pictures at these links:

They tell a different tale.


On Saturday, April 19, 2014, 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]<javascript:_e(%7B%7D,'cvml',[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.
>>> ------------------
>>> 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
>>>, Thursday 17 April 2014