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To that I posit this sequence:

She turned away, but with the autumn weather
Compelled my imagination many days,
Many days and many hours:
Her hair over her arms and her arms full of flowers.
And I wonder how they should have been together!

- LA FIGLIA

—Yet when we came back, late, from the Hyacinth garden,
Your arms full, and your hair wet, I could not
Speak, and my eyes failed, I was neither
Living nor dead, and I knew nothing,
Looking into the heart of light, the silence.

- THE WASTE LAND

I would meet you upon this honestly.
I that was near your heart was removed therefrom
To lose beauty in terror, terror in inquisition.
I have lost my passion: why should I need to keep it
Since what is kept must be adulterated?
I have lost my sight, smell, hearing, taste and touch:
How should I use it for your closer contact?

- GERONTION

CR

On Thu, Jan 9, 2020 at 10:06 AM Rickard A. Parker <[log in to unmask]>
wrote:

> Frances Dickey wrote:
>
> He [Eliot] states his intention to write to her [Hale] regularly now
> about his life and hers, and he concludes by recommending to her certain
> passages in his poetry that will prove his love for her: the hyacinth
> garden scene in The Waste Land and the "Datta" section at the end of
> "What the Thunder Said," "A Cooking Egg," and Ash-Wednesday.
>
> What Eliot implies is that Hale is the inspiration behind the hyacinth
> girl. What a great way to get a woman to fall in love with you. But
> Eliot wrote something else much earlier that should cause one to doubt,
> or at least reconsider, this. I'll let the late James Miller present it:
>
> And what of the hyacinth garden? The Waste Land manuscripts connect it
> with this recurring Shakespeare line in a revealing passage in Part II,
> "A Game of Chess." The nervous lady ("lady of situations") of the
> opening upper-class scene exclaims to what we may well take as her
> enervated if not impotent husband (the impotent fisher-king of the
> cards): "Do you know nothing? Do you see nothing? Do you remember/
> Nothing?" Her prodding triggers his meditation (not, surely, a spoken
> reply): "I remember/ The hyacinth garden. Those are pearls that were his
> eyes, yes!" It is particularly noteworthy that it is the "hyacinth
> garden," not the "hyacinth girl," recalled here, reinforcing our
> conjecture that there is in reality no such girl in The Waste Land. The
> poet vividly links in his memory the hyacinth garden and (through the
> line from The Tempest) Phlebas the Phoenician in a single recollection
> [...] But in the revision of The Waste Land, "the hyacinth garden" was
> dropped from the line, apparently not on Pound's but the poet's own
> decision. The published line reads: "I remember/ Those are pearls that
> were his eyes." But then a footnote to line 126 (apparently meant for
> the line "Those are pearls that were his eyes") reads cryptically: "Cf.
> Part I, 1. 37, 48." The curious reader in following out the references
> will find line 37: "Yet when we came back, late, from the Hyacinth
> garden." And line 48, the parenthetical meditation of the poet's that
> follows Madame Sosostris' first Tarot card, the "drowned Phoenician
> Sailor": "(Those are pearls that were his eyes. Look!)." What revision
> had put asunder was reconnected in the footnotes. G. Wilson Knight,
> analyzing this evidence in his 1972 Denver Quarterly essay, reached the
> inescapable conclusion: "According to the new text [The Waste Land: A
> Facsimile] the 'hyacinth girl' appears to be male."
>
> Box 1: A Confession of Love
> 02 Jan 2020 9:30 PM | Frances Dickey
> https://tseliotsociety.wildapricot.org/news/8459912
>
> James E. Miller, Jr., "T. S. Eliot's Personal Waste Land: Exorcism of
> the Demons", pp. 75-6
> https://books.google.com/books?id=KobKd2wxA_EC&pg=PA75&lpg=PA75
>