The sequence is resumed in ‘Ash-Wednesday’:

Because I know that time is always time
And place is always and only place
And what is actual is actual only for one time
And only for one place
I rejoice that things are as they are and
I renounce the blessèd face
And renounce the voice
Because I cannot hope to turn again
Consequently I rejoice, having to construct something
Upon which to rejoice

The salutation ‘Lady’ (“Lady, three white leopards . . .”) is taken up in
Eliot’s letters to Hale, as we discover now.

She is his “Rose of memory”:

The single Rose
Is now the Garden
Where all loves end
Terminate torment
Of love unsatisfied

Her memory figures in ‘Burnt Norton’:

Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden.


On Thu, Jan 9, 2020 at 10:29 AM Chanan Mittal <[log in to unmask]> wrote:

> 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!
> —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.
> 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?
> 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
>> James E. Miller, Jr., "T. S. Eliot's Personal Waste Land: Exorcism of
>> the Demons", pp. 75-6