Saturday, October 27, 2012

''The Song is Over': half-way through 'Who's Next?"


There’s always too much to say—or need to express—in October. March has its own magic, but I’ll never unclasp what 45 years have fed me: the nexus of summers’ windings down and winters’ rush to get on with its own agenda forever intrigues me. I won’t pretend an allegiance to a North Dakota milieu in which Charlie Brown invents a myth about an easily refutable ‘Great Pumpkin’; I won’t seek European stalwarts like ‘vinobrany’ and other spirit festivals that celebrate the fermentation process complete (or begun—I cannot comprehend the ground-to-gizzard timetable).

This October is unique insofar as I’ve been in a position to hold a body dying and, consequently, ask dear Ben to pray better than anybody was willing or able. There is nothing satisfying about ‘Albatross Dreams’ or any other immediate mark of that event. Instead of framing it further, I’ll ask for prayers for Lyuba’s daughters—especially Anicka, whom we see walking to and from school almost every day, and who looks like a responsible older sister shouldering the weight of an uncertain future.

In my hubris to try to extend chapters 6 and 7 of ‘Babi Leto, Babi Yar’, I’m trying to imagine how a quixotic and Sovietized wandering Jew would be, inevitably, transported to a post-Stalinian gulag, I realize how utterly naked we are to what The Who calls ‘the wide open-spaces’ and what Shakespeare calls ‘this extremity of the skies.’ I watched with Joey and Emma a disgarded DVD of ‘Tommy’ this morning, where the Roger Daltrey protagonist wrestles to undo the ‘deaf, dumb, and blind’ conditions of his life to somehow persuade the same ‘deaf, dumb, and blind’ circumstances of the millions who will be ‘marching in the street, with children at their feet.’

So, to brass tacks. Jon’s annotations of ‘The Wasteland’ remind us of Godspell, I hope, in the 77th note of what Eliot is suggesting through the Thames. “On the willows there we hung up our lives” may not be parcel to English river lore, but that is what resonated with me when I read through this third part of the poem. I liked the name breakdown of ‘Eugenides’ and the further development of Tiresius, and desire further annotation of the ‘Isle of Dogs’ and the ‘he wept’ allusion to John 11: 35.  Anyone on the Symposia, by the way, can comment accordingly! By the time we get to Part IV, the shortest of Eliot’s poem (and, notably, the most rushed of almost all of Shakespeare’s equivalent acts in his five-act template), we have less to add or ask of the poem, though I still would love more insight on line 319 about the dynamics of Gentile or Jew, especially as I try to finish Yakov’s effect (which as much as anything attempts to bridge this ongoing divide).

Stay tuned to both the final installment of Jon’s annotation and the odyssey of Yakov. Comment please accordingly. Continue to pay attention to elections, sports leagues, children’s goings-on (as I do to the max); but pay ample attention to what is going on here, and any other symposia likewise.

Dan

An Annotation (The Waste Land, Part 4 of 5)


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BB.  Phlebas the Phoenician : Dans le Restaurant

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IV. Death by Water 126

Phlebas the Phoenician, a fortnight dead, 127
Forgot the cry of gulls, and the deep sea swell
And the profit and loss.
A current under sea -------------315
Picked his bones in whispers.  As he rose and fell
He passes the stages of his age and youth
Entering the whirlpool.
Gentile or Jew
O you who turn the wheel and look windward, 128 -------------320
Consider Phlebas, who was once handsome and tall as you. 129

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126 T.S. Eliot, Dans le Restaurant (1920), third stanza (translated):  “Phlebas the Phoenician, fifteen days dead, / Forgot the cry of gulls and the swell of Cornwall / And the profits and losses and the cargo of tin: / A current under sea took him far away, / past the stages of his former life. / You have to consider, it was a painful exit; / all the same, he was a man who was once handsome and tall.”   This“water” section is still heavily allusive, but the primary source is Eliot’s own voice, translated from French.  This is my untrained translation, prompted by Eliot’s restatement and adding my own interpretations of the Dans variations. 

127 Phlebas the Phoenician is clearly the drowned Phoenician Sailor of line 47, whose eyes are now pearls (lines 48 and 125) and whose death by water Madame Sosostris portended (line 55).  By being associated with profit and loss, and by Eliot’s own explanation (see note 92) Phlebas is also related to Mr. Eugenides, the one eyed Smyrna merchant (lines 52, 209); Eliot also ties him to Prince Ferdinand (see notes 33, 91) and to the hyacinth girl (see note 64).

128 Gentile or Jew, i.e., without distinction, whether one is in the faith or out of it; compare line 365 (“I do not know whether a man or a woman”).  This introduces one of several instances in the Waste Land where the poet appears to break the fourth wall by speaking directly to “you” the reader.  The poet could just as easily be talking to himself, and an earlier instance suggests that he is addressing his editor as “hypocrite lecteur” (see notes 48, 52), but this passage and several others (see especially lines 21, 76 and 360 but also lines 17, 122 and 432) seem to be directed more to the “you,” whether poet or fellow pilgrim, who would seek answers through the earth, water, etc.   Here, the wheel recalls the Tarot card and the change of seasons (see note 36), but it also reflects the whirlpool now being entered.  The“you” who look windward also suggests those who would turn to the spirit, which is the fifth classical element about to be introduced in Section 5.  First, however, the reader is told to consider again what the water has done.  Compare this to the moment in Section 1, just before the “lecteur” passage, when the reader is asked to consider what happens to a body planted in the earth (lines 71-72).

129 Plato, Philebus (360 BC), tr. Harold N. Fowler (1925), 48e: “SOCRATES: ‘And there are still more who think they are taller and handsomer than they are...’”   Philebus was one who held pleasure to be superior to intellect, in contrast to Socrates, who valued knowledge.

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Tuesday, October 23, 2012

Babi Leto, Babi Yar (Part VI)


VI.

In the often unbusy afternoon spells, Yakov reflected month after month about what would be more likely: ever holding one of those ugly duckling kids with Yulia, marrying her against her father’s wishes, or returning to the unpronounced promise of scholarship with Harel and, if the signs were right, with Oleg. These weren’t mutually exclusive goals, by no means. In the primal conditions of Yakov’s flat, where Yulia lay with him on certain weeknights until (by design) the closing hour of the university library, the secret couple talked about everything. She no longer worked at the museum—her math studies consuming her days—and he saved all his epiphanies and curiosities for her ears only, passing the time at the museum happily enough in a preponderant silence. Some museum workers must have guessed their romance, but not all: they had distanced themselves publically to be most themselves… privately. They joked that they had no kind of Romeo and Juliet death wish, but neither laughed gratuitously at the similitude.
            “So that’s not the derivation of your name?”
            “I’m sure it’s related to youth, and probably something to do with Caesar… I frankly never asked.”
            “My friend in Kiev told me about a character named Julia in a novel by Orwell—”
            “What about her?”
            “That she was an angel in hell. Too dangerous to read, apparently…”
            Yulia nuzzled closer. “What about your own name?”
            “I’m a poor man’s Romeo—can’t you tell?”
            “No, really.”
            “As your father knows, by registering me to this very cozy castle of ours (for now, at least!), I am officially ‘Jürgen’. Jürgen Johanovich Buchner, if that doesn’t raise an eyebrow or two.”
            “Why, then, do you have ‘Yuri’ on your badge?”
            “Because, in your father’s wisdom, ‘Jürgen’ would raise an eyebrow or two. He knows it comes from my father’s side and I think he actually likes the ring of it. But the nature of museum guards is not to distract. My mother, apparently, didn’t much like the distraction either, so she pared it down to ‘Yakov’…. I don’t know what she might have had in mind… It’s the diminutive of Jacob—the trickster.”
            “I’ve heard of him—the one who wrestles all night with God.”
            “Technically, an angel of God.”
            “Like me, you mean? An angel in hell?”
            “Yes, like you, but let’s forget that hell business! How are you aware of any of this stuff anyhow? What opiate of the masses are they mixing into math lessons nowadays?”
            “Look, I’m day-dreaming 9-to-5 just as much as you are; and Daddy, believe it or not, used to tell me all kinds of bedtime stories—expressly avoiding the princessy ones.”
            “Well why, then, are we afraid of his disapproval? I’m not at all a dragon to ransom his princess! Nor a prince charming, for that matter…”
            “But you are a stranger in a strange land.”
            “Okay, but for how long?”
            Yulia turned away, compelling Yakov to consider fate and faith and quietly ask again.
            “For as long as he’s the director. Now don’t ask me anything more.”
            “I’ll quit then—we’ll run away.”
            “I am an only child. You must know how these things go.” They fell silent, and within the hour she was gone.

            Wanting to keep his guards happy, Pyotr Nemcenov turned a blind eye when they chatted during the slow times, or knit or read. Yakov nevertheless asked formally if he might do the latter, to keep viable his prospective studies of literature. “Oh, but of course, Jürgen. And I could also vouch for your transfer to university here—you needn’t go back to Kiev, you know.”
            “Well, I don’t want to shut that door. And I am enjoying a little self-study, so to speak. What I had there, though—and lack here—was access to many books—”
            “Indeed, we have several proud libraries to match. And to set you straight,” Pyotr scribbled out a note on the back of a used envelope, “take this to the library across the street. They’ll be happy to help you out.”
            An overstatement, but Yakov nevertheless was at least tolerated by a taciturn library attendant. After quizzing him on authors and titles he had already read, she curtly relayed to him the rules: he could not browse the shelves, but could request what was releasable from the three wooden boxes of index cards she now pulled from under the counter. A few he recognized from Besarabska, but not many. Babel’s Red Cavalry had a thick red line through it, begging a question why it was still in the box. Yakov was glad to see Uncle Vanya and Cherry Orchard and asked the attendant if Seagull were available. No. No Dombrovsky, which he tacitly craved to procure, and no Dostoevsky except Poor Folk, which had disappointed him. The attendant was at this point drumming her fingers, and when another patron came through the front doors, she took the boxes back under the counter and leveled an irritated look at Yakov: “I’ll be back with your request.”
            A minute later, in the witness of this third party, Yakov had to accept The Quiet Don that she put into his hands. His gratitude was not completely false, though, as he wondered if he would have done any differently had their roles been reversed. Indeed, Sholokhov would make for a reasonable read.
            The other enterprise that occupied him through the winter months was his serendipitous search for Harel. By tram or by foot, Yakov would make his way every day after work to Gorodoska Street and variously browse the placards at the circus building or the railway station. He had found an affordable restaurant on Mikhnovs’ki Street that he could frequent a couple times a week, and so he leisurely ate dinners, looking out the window, reading until darkness set in or the waiter prodded him to move on. He passed the locked gates of the synagogue once or twice in his walk-about of this region, and fully aware he was just as likely to bump into Oleg as Harel, he felt emboldened that the days were passing tranquilly enough, like the Don when all battles had ceased, or the far more interesting Potudan River, which raged subtly, independent, as it were, of warfare.
            He had been granted this fresh novel on his fourth trip to the library, the attendant sufficiently satisfied with his reports on her allocations of The Artamonov Business and The Rout. About the latter, Yakov expressed appreciation of Fedeyev’s exposure of Russia’s far east, and sympathy with Levinson who took all responsibility for the slaughter of his regiment. Such stories made him think more than any theme of Sholokhov’s, he sheepishly offered, and, with this way in, she gave him the library’s lone volume of Platonov’s Potudan River and told him in stony seriousness to read it twice.
            The second time was with Yulia on the coldest string of evenings, wrapped together in wherewithal blankets, “as if the warmth of life had grown dark in him, and Nikita Firsov fell asleep in the quiet of this deserted place. Insects flew over him, a spider web floated above him, a wandering beggar stepped across him and, without touching the sleeper, uninterested in him, went on about his business.” Reuniting in adulthood with Lyuba almost saves him, castaway soldier that Nikita barely ever was: there was no injury to show for his time at war. He walks—they walk—the banks of the frozen river, and silently the thought of slipping in and disappearing becomes a strange narcotic—the slow magnetic force that pulls planets into a reigned-in orbit. It’s Lyuba who breaches the thawing water when Nikita goes inexplicably away, and faceless men of the village pull her out. Maybe Nikita, when he comes back, perceives the nonsense, as he says he’s “already used to being happy with you.” Used to it! Like the notion of slipping into oblivion!
            “I saw a man in Leningrad,” Yulia reflected, “who on the bank opposite Daddy and me walked, fully dressed, down the stone stairs into the murkiness of the Neva and never came up.”
            “What did you do?”
            “We yelled—Daddy flagged down a car, whose driver got out and looked across the vast stretch of river…and shrugged.”
            “What is it about such souls?”
            “Which ones do you mean?”
            Yakov closed his eyes and thought deeply and, pressed by Yulia’s question again, assented that he didn’t know what he meant. He wanted to drift off to sleep, both of them within this bivouac, and pretend they were used to such happiness, here and now...

            In March, while eating at the Mikhnovs’ki Street restaurant, Yakov finally found Harel. Leaving his borsch half-eaten and too many rubles on the table, Yakov dashed across the street and startled the man as he unlocked the gate to the courtyard of the synagogue. Yakov hadn’t rehearsed any gambit or thought through any reason for a reunion—hadn’t the original occasion, after all, been rather forgettable? Nonetheless, Harel smiled pensively and read between the lines on Yahov’s forehead, as if his counterpart wore a phylactery. He welcomed him inside and put on the teapot, and they talked for two hours before realizing how strange it was, such cycles of circumstance. In such oblivion of discourse they hadn’t even brought up Oleg, who had given Yakov a small book of poems by Bialik and which Yakov had carried—rather dog-eared and bent—in his coat pocket all these months. He had planned to dig this out as a re-acquaintance gift, and would have forgotten it altogether had not their discussion turned to books.
            Golden islands we thirsted for,” the beadle read in Russian, “as for a homeland.” He repeated the line and worked out its translation back to Hebrew.
            “Is it not Yiddish?” Yakov inquired.
            “As the poet spoke it, perhaps; but the original would be in Hebrew.… How we even have it here in Russian is a fair mystery. It would have been rare, you realize, before this era of atheism, and yet—like this holy house—well…. Well. Circumstances are blind on one level, and open to opportunity on another. You are kind, Ilya, to lend it to me.” 
            “I must tell you,” Yakov began to say, “at the risk of everything—”
            “—Then don’t,” Harel waved his hands. “I can discern why you’ve shown up, a half year ago, and now. In a sense it’s been for two different reasons, but—thin soul you have—it’s the same reason.”
            “Which is?”
            “To wander back.”
            “Back to Kiev? You see, that’s where I came from when I met Oleg, and,…well, I should tell you from the very start—”
            “Let that wait. I enjoy the spontaneity and the prospect of your return—let that be my memory today.”

            They met weekly like this on Tuesday evenings, when Harel habitually tidied the synagogue from dust and the odd, sanctioned tourists who would come by appointment. Yakov, who presently heard only Yulia—and now Harel—utter his preferred name, brought with him whatever book he’d be reading; after Platonov, however, the library had to resort to loaning him the more mundane likes of Gorky and Gladkov. For his part, Harel lent him stories by Yushkevich—“Simon Solomonovich, from the Odessa milieu of Babel and Olesha. You say that your Yulia is a mathematician: have her read ‘Algebra’ and glean her thoughts on this. But read it yourself, first. It’s not the sort of thing that would amiably circulate among students of mathematics.”
            That was because its protagonist, Saveliev, was losing his mind—his ‘Savelievishness’, in the stream-of-consciousness by which he was narrated (and which he futilely tried to narrate himself). Leaning lightly against Yulia, enjoying their first warm day of spring at Strysky Park, Yakov read how Saveliev took a bleak hotel room, “‘crawled into the cot, which had been lying in wait for him a long while, curled up into a ball like a puppy hound, and fell to solving a vacuous algebraic equation:
(A + B) – (A + B)
in which A was none other than he, Saveliev, his wife and children, while B was all the rest: riches, influence, joys, Marinka, his stallion Richard the Third. A + B = all Savelievishness.’
            “What again was the cause of his loss?”
            “It’s not explicit in the text. Somehow the members of his family are strewn about Siberia…”
            “Read on.”
            Saveliev seeks signs—a rooster which indeed crows to usher in a last-ditch dawn, then a mess hall to supply some somatic nourishment, only for the lost soul to sit unsatisfied among the ‘guise of humans’, grimacing, growling, waiting for fats and albumens. Too famished, perhaps, Saveliev can hardly fashion a hempen noose any better than solving a tautological mathematical sham.
            “And this is what your friend gave us to read?”
            Yakov smiled in spite of her question, and shut the book. “I don’t think there’s anything here for us to solve, but rather the Savelievishness to consider.”
            “Ours? What are you saying?”
            “Not ours. Ours would go by a different name.”
            “And tell me in the same breath it would be different in nature!”
            “Art reflects reality, but reality doesn’t have to reflect art.”
            “So no associative property… Tell that, please, to your Harel.”

            He did, and Harel blithely vowed not to overstep his humble territory, which he agreed was the fate and faith Yakov sometimes discursively broached. In many ways Yakov had no desire to go back to his lonely life east, walking literal tightropes and shelling the vulnerable little crowds of their pocket cash. He missed the distinction Kiev had offered him, but even there he couldn’t imagine being happier than he was now. Nadia was a fading memory and no rival to Yulia, immeasurably. Ilya would be… well, he’d be anywhere at this point. Intuitively Yakov wanted to find out something of his situation and, encouraged by Harel, nose around Besarabska to rummage a suitcase-full of books for their Tuesday exegeses. His problem, though, was his identity card and how he would or would not succeed against the train inspectors. Upon this point, Harel offered to lend Yakov his identity card—they resembled each other in appearance, especially as Harel’s picture some years ago had him beardless, and Yakov would not be able in many months to grow the modest beard Harel had now. Yakov naturally had some misgivings traveling as someone else, and moreover traveling without his friend to enjoy the anticipated excursion, but Harel waved him off with all good wishes that Yakov would wander there well, and wander safely back.
            Which more or less happened. Yakov wasn’t even checked on the way to Kiev—a night train that slogged in the steady May rain—and he ran into no unusual treatment at Besarabska. A few familiar booksellers were there and greeted Yakov fondly; none of them, however, had any knowledge, let alone dealings, with Ilya, and conversation about him was pursed. Yakov bought Red Calvary, figuring the Stepanyk library would appreciate the donation, Bely’s Peterburg, Bunin’s Cursed Days, stories by Zozulya and Zamyatin and Zoschenko—“you’re surely working the alphabet backwards, Yakov?”—“No, sincerely these are exactly the authors I’ve had in mind.” There was no Pasternak or Bulgakov or Mendelstam; instead he took Leonov’s Thief and Ivanov’s Adventures of a Fakir. He scanned the few collections of poetry and decided on Morits and Bobyshev. There was nothing of Yiddish or Hebrew origin for Harel, and not one of the booksellers hinted that anyone had asked for anything like that before. Perhaps to move him along—he had browsed their tables far longer than was conventional—one merchant gave him Turgenev’s Fathers and Children on the house, and that was as ‘out of the pale’ as he was going to find around here.
            “And what about Dostoevsky—his Idiot?
            This query was duly ignored, and Yakov moved away from the market to his familiar bench at Taras S, reading through the afternoon Leonov’s Thief, which interested him most. No one came by, not that he glanced up very often. The morning drizzle had subsided while Yakov had stayed undercover in the market, and now the chilly gray afternoon kept many pedestrians inside. He was tempted to saunter over to Trukhaniv Island for old time’s sake, see if any non-adversarials were there to play a game of chess. He mused that he had brought along his checkered suitcase but forgot to pack the pieces—a soldier without ammunition or a clown without tricks. His only other plan for the day was to skulk around the back entrance (actually a prudent block away) of the Kobzov circus, to see who would arrive for the evening’s performance. But this surveillance was unfruitful on several levels, and thankfully, perhaps, the rains recommenced and Yakov returned to the train station to catch the same train that had begun his initial odyssey, half-expecting the déjà vu of Oleg and the pretty forewarner, the approving sunbeams through the windows of the L’vyiv voksal and the resumption of his life there again with Yulia, Stefanyk street, and Harel.
            Documents!” he was prodded awake by a gruff pair of policemen. He handed over Harel’s identification card and quickly realized that he had neglected to memorize any details, including the holder’s birthdate. “Harel,” the officer mispronounced the accent. “What patronymic?”
            Paralysis gripped him but he had no choice but to try out his instinct, this fate and faith that had been rather theoretical of late. “Harelovich, sir.”
            “Why isn’t that listed here? Where are you from?”
            “Lvov. My father Harel died before I was born. Fighting the fascists, sir.”
            “You were born during the war?”
            “Yes,” Yakov ruminated during and after this convincing guess.
            The officer frowned and looked at the mug shot, and then more closely at Yakov’s face, which benefitted from the shadows of the compartment. “Ladno,” he mumbled, and gave the document back. The other officer hovered behind for a moment more, jotting a note in his record book and throwing a glance at Yakov, who was settling back into the bed. “Peaceful night,” he bid, and Yakov sleepily echoed the same.
           
            Twice more through the summer months Yakov managed this trip, his practiced sense of Harel’s information barely necessary, as it turned out. He did become entangled in his further effort at Besarabska to find out about Ilya and, separately, a hushed rumor of a volume of Brodsky’s poems. He could tell by the mannerisms of two new booksellers that his requests were pulling him further away from the familiar corner of the market, into a dark other side. He calculated in this tidal flow and protested that he wasn’t so interested after all—
            “—in whom?”
            “In… in… what were we even talking about?”
            “Don’t play stupid!”
            “On the contrary, comrade, I’m playing things rather smart.” Yakov straightened up and reversed the armload of his escort and, as he was able to do that first day in the museum, tugged the larger man behind a kiosk. “Now that you’ve blown my reconnaissance, please show me your merchant license and citizen ID.
            The larger man looked stunned and blinked rapidly to get things straight. “What? You show me yours.”
            Dolt! What merchant license could I possibly have when I’m playing the role of a buyer?”
            More blinks. “Then…, then show me your investigator’s badge.”
            “And I would do that before you show me yours? And yours would trump mine, comrade? What kind of amateur do you think you’re dealing with? I’ll have you know I’m in a major campaign to get to the bottom of samizdat distribution of—now do you remember whom we’re talking about? Huh?
            “Ilya Radomovich, of course.”
            “No. No! We’re talking about Josef Brodsky and what his influence means to our little, counter-revolutionary community here—”
            “I’m assigned, sir, to—”
            “You’re lousing up the bigger picture, if you can remotely imagine. Now, what you’re assigned to is yours to figure out, and believe me, I’ve had many a pointed occasion to imagine just that. Go to it. Find Ilya Radomovich and, if you see me around, clue me in to that success. And just maybe, as a result, that will assist me in finding the elusive Josef Brodsky. Are we understanding each other, comrade—and may I remind you we haven’t yet exchanged names?”
            “Pikanov. Dmitri Pavlovich.”
            “Very well. I’ll remember your work.”
            “And yours?”
            “I’m the one looking for the broader picture, got it?”
            “Yes, sir.”

            Harel liked that story, but concurred with Yakov that their book grab at Besarbska had likely come to its end. They hadn’t gotten Brodsky, but then again they hadn’t yet probed half of their current bounty. And now, as a new autumn was immanent, Yakov needed to relay a new face of things. Yulia had been assigned a teaching job in Ivano-Frankivsk, a hundred kilometers south. Her father could do nothing but approve—the position was appointed without anyone’s doing; he could also perhaps imagine his leading male guard going with her, but Yakov had instead prudently indicated his return to Kiev earlier that summer: his ‘self-study’ had run its course, and all was ordained in the sentiment that “Jürgen, we’re going to miss you here.”
            Yakov regretted deceiving this benign, potential daddy-in-law. He hated deception generally and wondered—fate and faith—why he constantly had such corners to slither out of. Harel offered no rationale, but did recommend him to a friend he knew in Ivano-Frankivsk, someone essentially doing similar work as he, a ‘Harel-where-you’ll-have-him,’ so to speak. The synagogue in this provincial city hadn’t survived the Great Patriotic War in the same way as the one on Mikhnovs’ki Street; the partially Jewish cemetery, on the other hand, had fascinating staying power in the morphisms of Cossack, Czarist and Soviet rule: beside a lake, about the same size of that at Strysky, on the southwest edge of town there was need of a groundskeeper, an attendant for all graves of all persuasions and creeds, and Yakov ended up devoting far more care to this job than he had at the museum, or any frail thing free-lance.
            Yulia was happy teaching mathematics to fairly willing students in the center of town. Pytor came down to see her three times a year—always announced, so at those times Yakov made himself scarce. Harel visited the happy couple about the same amount of times, now bringing to them the books that he could rummage, in teleological gratitude. As months and then years went by, Yakov relinquished any desire to reconnect with Kiev—all the more reason he had relished the ruse to look at the ‘bigger picture’ and shake himself free from the nagging encumbrances (all due prayers for Brodsky and Ilya). And it was with this thought, and the hope that Yulia’s unusual day-off due to nausea was the prospect of pregnancy, that Yakov, shouldering a rake, focused on the figure loping toward him.
            “Health to you, Jürgen.”
            No one could have traipsed through his mind the same way, as he conjured the fairness of his life,
                                                            ‘the yellow leaf,
                                    And that which should accompany old age,     
                                    As honor, love, obedience, troops of friends,
                                    I must not look to have; but, in their stead,
                                    Curses not loud but deep, mouth-honor, breath,
                                    Which the poor heart would fain deny, and dare not.’
And hoping vaguely this was just the fourth act of that play—but knowing instinctively it was further on—Yakov swallowed the surprise and sweetness of what he had come to love and repeated, strangely, “health to you, Oleg.”


[more to follow in this projected 9-section story]

Saturday, October 20, 2012

An Annotation (The Waste Land, Part 3 of 5)

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P.  The River Thames: A song by the waters

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III.  The Fire Sermon 75

The river's tent is broken; the last fingers of leaf
Clutch and sink into the wet bank.  The wind
Crosses the brown land, unheard.  The nymphs are departed.  -------------175
Sweet Thames, run softly, till I end my song.76
The river bears no empty bottles, sandwich papers,
Silk handkerchiefs, cardboard boxes, cigarette ends
Or other testimony of summer nights.  The nymphs are departed.
And their friends, the loitering heirs of City directors;  ---------------------------180
Departed, have left no addresses.
By the waters of Leman I sat down and wept... 77
Sweet Thames, run softly till I end my song,
Sweet Thames, run softly, for I speak not loud or long.


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75  Buddha’s Fire Sermon is explained in Eliot’s note at line 308.  The fire section will consider healing by a purging of emotions, but first the dying words of the last "air" section evolve into a series of songs.

76 V. Edmund Spenser, Prothalamion (1596): “Calm was the day, and through the trembling air / Sweet breathing Zephyrus did softly play,  ...Sweet Thames, run softly, till I end my song...”  This is a double marriage poem, in which the two brides are attended by river nymphs; compare the songs of the Thames-daughter nymphs beginning at line 266.  See also the deadly appearance of Zephyrus, the wind, in the story of the Hyacinth Prince at line 36.

77 Psalm 137: 1,4 (RSV): “By the rivers of Babylon, there we sat and wept ...How can we sing the songs of the LORD while in a foreign land?”  Lac Leman is an alternative name for Lake Geneva, Switzerland, where Eliot received treatment for mental exhaustion in 1921-22.  See also the lament of a monster conceived in Geneva in Mary Shelley, Frankenstein, or the Modern Prometheus (1818): “I was a poor, helpless, miserable wretch; I knew, and could distinguish, nothing; but, feeling pain invade me on all sides, I sat down and wept.”  See also Jean-Jacques Rousseau, Confessions, Book IV (1782), tr. Angela Scholar (2000): “The sight of Lake Geneva and its admirable shores has always held a particular charm for me...  During the walk to Vevey, I abandoned myself, as I walked along those lovely shores, to thoughts of the sweetest melancholy. ...I was moved to tenderness, I sighed, I wept like a child.  How many times, stopping to weep at my leisure, did I not, perched on a boulder, smile to see my tears mingling with the waters.””  Finally, see Matthew 26:75, in which Peter wept bitterly after betraying Jesus (see note 146).  All of this is brought together by the prevailing allusion of this passage, that of Fisher King sitting on a river bank, a motif that is repeated throughout the poem (see lines 182-189, 263, 298 and 425, and notes 2, 32, 35, 94 and 157).


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Q.   At the River’s Edge: A rattling sound

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But at my back in a cold blast I hear 78 ---------------------------185
The rattle of the bones, 79 and chuckle spread from ear to ear.
A rat crept softly through the vegetation
Dragging its slimy belly on the bank
While I was fishing in the dull canal
On a winter evening round behind the gashouse  ---------------------------190
Musing upon the king my brother's wreck
And on the king my father's death before him. 80
White bodies naked on the low damp ground
And bones cast in a little low dry garret,
Rattled by the rat's foot only, year to year. ---------------------------195


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78 Andrew Marvell, To His Coy Mistress (1655): “For, Lady, you deserve this state, / Nor would I love at lower rate. / But at my back I always hear / Time's wingèd chariot hurrying near; / And yonder all before us lie / Deserts of vast eternity.”  See also line 199. 

79 Ezekiel 37:1-14, The Valley of the Dry Bones  (NIV): “The hand of the LORD was upon me, and he brought me out by the Spirit of the LORD and set me in the middle of a valley; it was full of bones. He led me back and forth among them, and I saw a great many bones on the floor of the valley, bones that were very dry. He asked me, ‘Son of man, can these bones live?’ I said, ‘O Sovereign LORD, you alone know.’ Then he said to me, ‘Prophesy to these bones and say to them, “Dry bones, hear the word of the LORD! This is what the Sovereign LORD says to these bones: I will make breath enter you, and you will come to life. I will attach tendons to you and make flesh come upon you and cover you with skin; I will put breath in you, and you will come to life. Then you will know that I am the LORD.”’ So I prophesied as I was commanded. And as I was prophesying, there was a noise, a rattling sound, and the bones came together, bone to bone.  I looked, and tendons and flesh appeared on them and skin covered them, but there was no breath in them. Then he said to me, ‘Prophesy to the breath; prophesy, son of man, and say to it, “This is what the Sovereign LORD says: Come from the four winds, O breath, and breathe into these slain, that they may live.”’ So I prophesied as he commanded me, and breath entered them; they came to life and stood up on their feet--a vast army. Then he said to me: ‘Son of man, these bones are the whole house of Israel. They say, “Our bones are dried up and our hope is gone; we are cut off.” Therefore prophesy and say to them: “This is what the Sovereign LORD says: O my people, I am going to open your graves and bring you up from them; I will bring you back to the land of Israel. Then you, my people, will know that I am the LORD,when I open your graves and bring you up from them.  I will put my Spirit in you and you will live, and I will settle you in your own land.”’”  The rattling bone motif recurs throughout the poem; see lines 22, 116, 186, 198, 316 and 391.

80 Cf. The Tempest, I. ii.552-553, “FERDINAND: ...Sitting on a bank / weeping again the king my father's wreck’” See also note 33.

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R.  Voices in the Dome: Nightingale songs

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But at my back from time to time I hear 81
The sound of horns and motors, which shall bring
Sweeney 82 to Mrs. Porter in the spring. 83
O the moon shone bright on Mrs. Porter 84
And on her daughter  ---------------------------200
They wash their feet in soda water
Et O ces voix d'enfants, chantant dans la coupole! 85

Twit twit twit
Jug jug jug jug jug jug
So rudely forc'd.  ---------------------------205
Tereu 86

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81 Cf. Marvell, To His Coy Mistress.  See note 78 and line 185.  Marvell’s Coy Mistress is also the source of the line “There will be time,” a recurring allusion in Eliot’s Love Song of J. Alfred Prufrock (1915).

82 Sweeney is a brutish character Eliot used in three earlier poems, a counterpart to his more sensitive J. Alfred Prufrock.  The allusion here is indirect.  See Sweeney Among the Nightingales (1918), which opens with Agamemnon’s dying words induced by his wife, from Aeschylus, Agamemnon (458 BC), then concludes: “The nightingales are singing near / The Convent of the Sacred Heart, / And sang within the bloody wood / When Agamemnon cried aloud / And let their liquid droppings fall / To stain the stiff dishonoured shroud.”  See also Sophocles, Electra (ca. 400 BC), in which Agamemnon incurs the wrath of the wood goddess Artemis, and then compare this to the Ovidian tale of Actaeon and Diana (see note 83).

83 Cf. John Day, Parliament of Bees (1616): “When of the sudden, listening, you shall hear, / A noise of horns and hunting, which shall bring / Actaeon to Diana in the spring, / Where all shall see her naked skin...”  See Ovid, Metamorphoses iii.131.  After Actaeon the hunter saw the goddess Diana naked, she turned him into a stag to be hunted and killed by his own dogs.  .

84 I do not know the origin of the ballad from which these lines are taken: it was reported to me from Sydney, Australia.  Soldier’s ballad, “O the moon shines bright on Mrs. Porter / And on the daughter / Of Mrs. Porter / And they wash their feet in soda water / And so they oughter / To keep them clean.” See also Thurland Chattaway, Red Wing (1907): “Now the moon shines bright on pretty red-wing / the breeze is sighing / the nightbird’s crying.”  Nightbirds, or nightingales, are prostitutes.  According to C. M. Bowra, The Creative Experiment (1949), Mrs. Porter was the madame of a wartime brothel in Cairo that was a favorite among Australian troops.

85 V. Paul Verlaine, Parsifal (1886): “And oh, those children’s voices, singing in the dome!”  Parcifal, subject of a Wagner opera and the chief knight of the Grail legend, has just “healed the king, is king now in his turn.”

86 Cf. Pt. II, l. 101, 104, Tereus’s rape of Philomela.

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S.  The Smyrna Merchant : An invitation

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Unreal City
Under the brown fog of a winter noon 87
Mr. Eugenides, the Smyrna merchant 88
Unshaven, with a pocket full of currants  ---------------------------210
C.i.f. London: documents at sight, 89
Asked me in demotic French 90
To luncheon at the Cannon Street Hotel
Followed by a weekend at the Metropole. 91

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87 Compare line 61, which presented the brown fog of a winter dawn.  Time is not linear in this poem, and memories are fragmented.

88 The name “Eugenides” suggests one who is well-bred, but the image of Mr Eugenides in this scene as an unshaven, demotic London currant seller is unmitigatedly negative.  His no-credit sales (see note 89) suggest a lack of trust; he chooses to speak a base version of French (see note 90) instead of the Turkish or Greek of his native Smyrna or the English of his clientele; and he operates within the prevailing brown fog of an unreal city.  Even the product he sells, small dried grapes, are far from what one would hope to find in a healing holy grail.  Beyond this passage, there is more disparity: he was marked as the “one-eyed” merchant in the Tarot deck (see note 37) and his invitation directly follows a reminder of Philomela’s rape (see note 86), an event about which the victim could only relate through woven tapestry and a memory which, in this fire section, the poet is trying hard to purge.  But the merchant is also associated with victims, identified as one who “melts into” the sailor who has drowned and lost his looks and stature (see note 92 and lines 312-322), while the sailor in turn is identified with the drowned hyacinth girl (see note 64).  This ambiguity of identity will culminate in the next scene, featuring the androgynous blind observer Tiresius (see note 92).

89 The currants were quoted at a price ‘carriage and insurance free to London’; and the Bill of Lading, etc., were to be handed to the buyer upon payment of the sight draft.  In other words, shipping costs were built in to the price, which was expected to be paid on delivery.  Currants also appear in Walt Whitman, Leaves of Grass: These, I, Singing in Spring (1900), among wild plants being “collect[ed] for lovers” as “the token of comrades”: “Collecting, I traverse the garden, the world—but soon I pass the gates, / Now along the pond-side—now wading in a little, fearing not the wet.”  Compare this to the "weedy trophies" that Ophelia reached for at her death (see note 74).

90 Demotic means common, of the people.  Demotic and demobbed (line 139) were the two specific words Ezra Pound had suggested to improve the poem, but he would also have broader edits that would dramatically cut the length of the poem.  For instance, Pound encouraged Eliot to remove a whole section from the beginning of an earlier draft of this poem, which Eliot would ultimately present separately as Gerontion (1920).  See also note 73.

91 The Cannon Street Hotel was a hotel frequented by business commuters to and from the Continent, and also known as a homosexual rendezvous; the Metropole was a luxury resort hotel on England’s southern coast.

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T.  Tiresius: The blind spectator

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At the violet hour, when the eyes and back  ---------------------------215
Turn upward from the desk, when the human engine waits
Like a taxi throbbing waiting,
I Tiresias, though blind, throbbing between two lives, 92
Old man with wrinkled female breasts, can see 93

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92 Ovid, Metamorphoses (AD 8, translated by A. S. Kline): Tiresias, although a mere spectator and not indeed a 'character', is yet the most important personage in the poem, uniting all the rest. Just as the one-eyed merchant, seller of currants, melts into the Phoenician Sailor, and the latter is not wholly distinct from Ferdinand Prince of Naples, so all the women are one woman, and the two sexes meet in Tiresias. What Tiresias sees, in fact, is the substance of the poem. The whole passage from Ovid is of great anthropological interest:   Cum Iunone iocos et 'maior vestra profecto est / Quam, quae contingit maribus', dixisse, 'voluptas.' / Illa negat; placuit quae sit sententia docti / Quaerere Tiresiae: venus huic erat utraque nota. / Nam duo magnorum viridi coeuntia silva / Corpora serpentum baculi violaverat ictu / Deque viro factus, mirabile, femina septem / Egerat autumnos; octavo rursus eosdem / Vidit et 'est vestrae si tanta potentia plagae', / Dixit 'ut auctoris sortem in contraria mutet, / Nunc quoque vos feriam!' percussis anguibus isdem / Forma prior rediit genetivaque venit imago. / Arbiter hic igitur sumptus de lite iocosa / Dicta Iovis firmat; gravius Saturnia iusto / Nec pro materia fertur doluisse suique / Iudicis aeterna damnavit lumina nocte, / At pater omnipotens (neque enim licet inrita cuiquam / Facta dei fecisse deo) pro lumine adempto / Scire futura dedit poenamque levavit honore.  (The Judgment of Tiresias, Book III, Lines 316 -338: “. . . they say that Jupiter, expansive with wine, set aside his onerous duties, and relaxing, exchanging pleasantries, with Juno, said ‘ You gain more than we do from the pleasures of love.’ She denied it. They agreed to ask learned Tiresias for his opinion. He had known Venus in both ways.---- Once, with a blow of his stick, he had disturbed two large snakes mating in the green forest, and, marvellous to tell, he was changed from a man to a woman, and lived as such for seven years. In the eighth year he saw the same snakes again and said ‘Since there is such power in plaguing you that it changes the giver of a blow to the opposite sex, I will strike you again, now.’ He struck the snakes and regained his former shape, and returned to the sex he was born with.—  As the arbiter of the light-hearted dispute he confirmed Jupiter’s words. Saturnia, it is said, was more deeply upset than was justified and than the dispute warranted, and damned the one who had made the judgement to eternal night. But, since no god has the right to void what another god has done, the all-powerful father of the gods gave Tiresias knowledge of the future, in exchange for his lost sight, and lightened the punishment with honour.”)

93 Compare Madame Sosostris, who is one who ostensibly can see (a “clairvoyant”) but is nonetheless blind (see note 38); the one-eyed merchant with a blank card (see notes 37 and 38); and the Phoenician sailor, whose eyes in death become pearls (see note 33).

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U.  The Sailor and the Typist : What Tiresius perceived

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At the violet hour, the evening hour that strives  ---------------------------220
Homeward, and brings the sailor home from sea, 94
The typist home at teatime, clears her breakfast, lights
Her stove, and lays out food in tins. 95
Out of the window perilously spread
Her drying combinations touched by the sun's last rays,  ----------------------225
On the divan are piled (at night her bed)
Stockings, slippers, camisoles, and stays. 96
I Tiresias, old man with wrinkled dugs
Perceived the scene, and foretold the rest —
I too awaited the expected guest.  ---------------------------230
He, the young man carbuncular, arrives,
A small house agent's clerk, with one bold stare, 97
One of the low on whom assurance sits
As a silk hat on a Bradford millionaire. 98
The time is now propitious, as he guesses,  ---------------------------235
The meal is ended, she is bored and tired,
Endeavours to engage her in caresses
Which are still unreproved, if undesired.
Flushed and decided, he assaults at once; 99
Exploring hands encounter no defence;  ---------------------------240
His vanity requires no response,
And makes a welcome of indifference.

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94 Sappho, fragment 95 (ca. 600 BC, tr. Henry Thornton Wharton, 1895): “Evening, thou that bringest all that bright morning scattered; thou bringest the sheep, the goat, the child back to her mother.” This may not appear as exact as Sappho's lines, but I had in mind the 'longshore' or 'dory' fisherman, who returns at nightfall.   See also Robert Louis Stevenson, Requiem (1879): “Home is the sailor, home from the sea.”

95 Compare the story of Lil the housewife and Albert the sailor home from sea (note 69).  Contrast the drowned Phoenician Sailor (section 4).

96 Combinations are undergarments; stays are corsets.  Compare the hyacinth girl with hair and clothes in need of drying (note 25); contrast Cleopatra’s chambers (note 54).

97 Carbuncular: Pimpled. The expected guest is now a house clerk or a typist home at teatime; compare the Smyrna merchant’s lunchguest (note 89).

98 Bradford was an English manufacturing town, reputed for producing the nouveax rich.  Compare the socialite chess players (note 68); contrast Marie in Munich (note 15).

99 See Tereus (note 57), and the unresponsive indifference of the “nothing” man (line 61).

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V.  Afterwords : Song of the vicar

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(And I Tiresias have foresuffered all
Enacted on this same divan or bed;
I who have sat by Thebes below the wall  ---------------------------245
And walked among the lowest of the dead.) 100
Bestows one final patronising kiss,
And gropes his way, finding the stairs unlit... 101

She turns and looks a moment in the glass,
Hardly aware of her departed lover;  ---------------------------250
Her brain allows one half-formed thought to pass:
“Well now that's done: and I'm glad it's over.”
When lovely woman stoops to folly and 102
Paces about her room again, alone,
She smoothes her hair with automatic hand,  ---------------------------255
And puts a record on the gramophone. 103

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100 Besides Metamorphoses (see note 90), Tiresius also appears in Homer, Oddysey, 489-493 (ca. 800 BC), tr. Richmond Lattimore, where Circe speaks to Oddyseus: “You shall no longer stay in my house when none of you wish to; but first there is another journey you must accomplish and reach the house of Hades and revered Persephone, there to consult with the soul of Tiresias the Theban, the blind prophet, whose senses stay unshaken within him...”; in Sophocles, Oedipus Rex (429 BC), tr. Robert Fagles, 468-474, where Tiresius curses Oedipus: “So, you mock my blindness? Let me tell you this. You with your precious eyes, you're blind to the corruption of your life, to the house you live in, those you live with-who are your parents? Do you know? All unknowing you are the scourge of your own flesh and blood, the dead below the earth and the living here above”; in Sophocles, Antigone, 5, 79-83 (441 BC), tr. Dudley Fitz and Robert Fitzgerald, where Tiresius rails against King Creon for threatening to bury his niece Antigone alive: “And curses will be hurled at you from far / Cities grieving for sons unburied, left to rot / Before the walls of Thebes”; and in Inferno, XX, 37-42, where Tiresius, being one who sees the future, is consigned to walk backwards in the eighth circle of hell.

101 Tiresius is an observer, yet he also “enacted” the scene and, being blind, “gropes his way” out of the room.

102 V. Oliver Goldsmith, the song in The Vicar of Wakefield., Ch. 24 (1766): “When lovely woman stoops to folly, / And finds too late that men betray, / What charm can soothe her melancholy, / What art can wash her guilt away? // The only art her guilt to cover, / To hide her shame from every eye, / To give repentance to her lover / And wring his bosom, is—to die.”

103 Compare Mrs. Equitone (note 41).

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W.  The “Sometimes” Music : Ariel’s song

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“This music crept by me upon the waters” 104
And along the Strand, up Queen Victoria Street. 105
O City city, 106 I can sometimes hear
Beside a public bar in Lower Thames Street, 107  ---------------------------260
The pleasant whining of a mandoline
And a clatter and a chatter from within
Where fishmen lounge at noon: 108 where the walls
Of Magnus Martyr hold 109
Inexplicable splendour of Ionian white and gold.  ---------------------------265

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104 V. Shakespeare, The Tempest, as above.  I, ii, 462 (1611): “FERDINAND: ‘This music crept by me upon the waters.’”  See also note 33.

105 The Strand is a riverside London street once lined with mansions, almost all of which no longer exist.  Eliot also alluded to the Strand in one of his earliest poems, untitled but commonly known as At Graduation (1905): “Standing upon the shore of all we know / We linger for a moment doubtfully, / Then with a song upon our lips, sail we / Across the harbor bar—  no chart to show / No light to warn of rocks that lie below, / But let us yet put forth courageously. // As colonists embarking from the strand / To seek their fortunes on some foreign shore / Well now they lose what time shall not restore, / And when they leave they fully understand / That though again they see their fatherland / They there shall be as citizens no more.”

106 A tale of two cities: the Unreal City (see line 60) is now simultaneously presented as an ordinary, uncapitalized city.  

107 Eliot worked as a clerk at Lloyd’s Bank from 1917 to 1926, initially as a “stopgap” to make ends meet, but then continuing for four years after The Waste Lane was published.  Most of the streets referenced here and earlier (see lines 60-68) are in the neighborhood of Lloyd’s Bank, in London’s central financial district.

108 It is noon again (see line 208); but again, time is not linear: this follows Tiresuis’s scene in the violet evening hour (see lines 215, 220) and this may be a different noon.

109 The interior of St. Magnus Martyr is to my mind one of the finest among Wren's interiors. See The Proposed Demolition of Nineteen City Churches (P. S. King & Son, Ltd.).  Compare the earlier description of London, with brown fog and the dead sound emanating from Saint Mary Woolnoth Church  (see note 46).  Even in this later passage, the “inexplicable splendour” of the church is between pubs and fish on one side and oil and tar (line 268) on the other, but now Eliot not only notices the splendor of the church but also sometimes hears the music of the street and the pleasantness of the whining and clatter and chatter.   

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X.  Wagner’s Twilight : Song of the Thames-daughters

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The river sweats 110
Oil and tar
The barges drift 111
With the turning tide
Red sails  ---------------------------270
Wide
To leeward, swing on the heavy spar.
The barges wash
Drifting logs
Down Greenwich reach  ---------------------------275
Past the Isle of Dogs. 112
Weialala leia
Wallala leialala


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110 The Song of the (three) Thames-daughters begins here. From line 292 to 306 inclusive they speak in turn. V. Wagner, Götterdammerung, III. I (Twilight of the Gods, 1876).  The name of the Thames-daughters was inspired by Spenser’s Prothalamion (see note 76): “There, in a meadow, by the river's side, / A flock of nymphs I chanced to espy, / All lovely daughters of the flood thereby...,” but their song is derived from that of the Rhinemaidens in Wagner’s Ring Cycle opera.  Direct quotes to the opera are limited to the several melody lines, “Weialala leia, Wallala leialala” (lines 277-278) and the more terse “la la”(line 306) but Eliot also references gold forging (lines 282-284) and assimilates Wagner’s dimetric pace and leisurely tone, which stand in contrast to the song’s grimmer content (lines 266 - 289).   We can also see some of the curse motif of the Grail legend in the Rhinemaidens’ song: “From the Rhine's gold / the ring was wrought. / He who cunningly fashioned it / and ignominiously lost it / laid on it a curse / into all eternity / to doom to death / whoever wears it. ...if you do not restore the ring to us / to hide it deep in the Rhine. / Only its waters / can wash away the curse!”

111 Conrad, Heart of Darkness: “The sea-reach of the Thames stretched before us like the beginning of an interminable waterway. In the offing the sea and the sky were welded together without a joint, and in the luminous space the tanned sails of the barges drifting up with the tide seemed to stand still in red clusters of canvas sharply peaked, with gleams of varnished sprits.”  See also line 41.

112 Greenwich Reach is a straight section of the Thames at the southern banks of the Isle of Dogs, at London’s East End just north of Greenwich.  The Isle of Dogs, once an island, is now a peninsula at one of the larger meanders in the Thames River.  Queen Elizabeth’s royal dogs were once kenneled here, and it was also the site of Placentia Palace where the Privy Council once met.  In 1597, Ben Jonson and Thomas Nashe wrote a satirical play called The Isle of Dogs, which allegedly offended Queen Elizabeth I and crossed lines of propriety to the point that Jonson and two other actors were arrested, all copies of the play were destroyed and the matter was referred to the Privy Council.  Jonson spent three months in prison and public plays were banned for the rest of the summer.

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Y.  Elizabeth and Leicester : A rendezvous

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Elizabeth and Leicester 113
Beating oars 114  ---------------------------280
The stern was formed
A gilded shell
Red and gold 115
The brisk swell
Rippled both shores  ---------------------------285
Southwest wind
Carried down stream
The peal of bells
White towers 116
Weialala leia  ---------------------------290
Wallala leialala

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113 James Anthony Froude, The Reign of Elizabeth, vol. I, ch. iv, 1561 letter of Spanish Ambassador De Quadra to Philip of Spain (1911): “In the afternoon we were in a barge, watching the games on the river. (The queen) was alone with Lord Robert and myself on the poop, when they began to talk nonsense, and went so far that Lord Robert at last said, as I was on the spot there was no reason why they should not be married if the queen pleased.”  This letter supported rumors that Elizabeth I, the Virgin Queen, and Lord Robert Dudley, later the Earl of Leicester, were lovers who would rendezvous at the Queen’s home in Greenwich, past the Isle of Dogs.  A year before the Ambassador’s letter, Lord Robert’s first wife had died from a fall down a flight of stairs.  The coroner officially ruled her death an accident, but rumors persisted that he had arranged for her death in order to be free to marry the Queen, which because of the scandal could never happen.  They remained affectionate, and four years after the accident the Queen even raised his position to Earl of Leicester, but she never did marry Lord Robert or anyone else, and Lord Robert did not remarry for eighteen years.

114 Compare line 422: “the boat responded / Gaily, ...with sail and oar” and, in a calm sea, the “heart would have responded / Gaily ...beating obedient.”

115 Red and gold are the colors of the Spanish flag.  In 1588, the Earl of Leicester defended the Thames to keep the Spanish Armada from advancing towards London.  See also the “burnished throne of Cleopatra’s barge (line 77) and “Ionian white and gold” on the walls of Magnus Martyr (lines 263-264).

116 The peal of bells and white towers suggest the festive trappings of a wedding, forever out of reach for Elizabeth and Leicester; bells also characterize the Tower of London and St Paul’s Cathedral, which were white before taking on the dinge of time, pollution and war.  See also lines 383-384: “...towers tolling reminiscent bells.”

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Z.  Three Sisters : The river song, concluded

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“Trams and dusty trees. 117
Highbury bore me.  Richmond and Kew 118
Undid me. By Richmond I raised my knees
Supine on the floor of a narrow canoe.”  ---------------------------295

“My feet are at Moorgate 119 and my heart
Under my feet.  After the event
He wept.  He promised ‘a new start.’ 120
I made no comment.  What should I resent?”

“On Margate Sands. 121   ---------------------------300
I can connect
Nothing with nothing.
The broken fingernails of dirty hands.
My people humble people who expect
Nothing.” 122       ---------------------------305
la la

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117 See Eliot’s introduction to the song of the Thames-daughters at note 110.  Each of the three singers relates a loss of virginity, each one having a different perspective.  

118 Cf. Dante, Purgatorio, V. 133: 'Ricorditi di me, che son la Pia; / Siena mi fe', disfecemi Maremma.': “...Sienna gave me life; / Maremma took it from me.” Highbury, Richmond and Kew are London neighborhoods along the River Thames.

119 Moorgate is an Underground station in London’s financial district.  “He wept” repeats the convalescent’s lament in line 182 (see note 77), though it may also refer to Jesus weeping after the event of Lazarus’s death (see John 11:35).

120 Compare Eliot’s later poems in Four Quartets (1943).  From East Coker: “Trying to use words, and every attempt / Is a wholy new start, and a different kind of failure,” and from Little Gidding: “Every phrase and every sentence is an end and a beginning, / Every poem an epitaph.”

121 Margate is the southern England coastal town where Eliot spent time in the fall of 1921 for recuperation after suffering from mental exhaustion.  He followed this with more formal treatment in Switzerland (See line 182).

122 Conrad, Heart of Darkness, Ch. 3: “They are simple people – and I want nothing.” See also the nothingness of the wind under the door (line 120).  Also compare the brokenness of heaped images (line 22), the river’s tent (line 173), the seals of empty rooms (line 409) and Coriolanus (line 417). 

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AA.  Buddha’s Fire Sermon : A singing cauldron

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To Carthage then I came 123

Burning burning burning burning 124
O Lord Thou pluckest me out 125
 Lord Thou pluckest  ---------------------------310

burning

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123 V. St. Augustine's Confessions, Book III, Chapter 1 (398 AD) : 'to Carthage then I came, where a cauldron of unholy loves sang all about mine ears'.  See also notes 12, 49 and 55.

124 The complete text of the Buddha's Fire Sermon, Adittapariyaya Sutta, Samyutta Nikaya 35.28 (483 BC) (which corresponds in importance to the Sermon on the Mount (see below)) from which these words are taken, will be found translated in the late Henry Clarke Warren's Buddhism in Translation (Harvard Oriental Series) Ch. 4, Sec. 73 (1896). Mr. Warren was one of the great pioneers of Buddhist studies in the Occident.  “The eye, O priests, is on fire; forms are on fire; eye-consciousness is on fire; impressions received by the eye are on fire; and whatever sensation, pleasant, unpleasant, or indifferent, originates in dependence on impressions received by the eye, that also is on fire.  And with what are these on fire?  With the fire of passions, say I, with the fire of hatred, with the fire of infatuation, with birth, old age, death, sorrow, lamentation, misery, grief, and despair are they on fire. ...Perceiving this, O priests, the learned and noble disciple conceives an aversion for the eye, conceives an aversion for forms, conceives an aversion for eye-consciousness, conceives an aversion for the impressions received by the eye; and whatever sensation, pleasant, unpleasant, or indifferent, originates in dependence on impressions received by the eye, for that also he conceives an aversion. ...And in conceiving this aversion, he becomes divested of passion, and by the absence of passion he becomes free, and when he is free he becomes aware that he is free; and he knows that rebirth is exhausted, that he, has lived the holy life, that he has done what it behooved him to do, and that he is no more for this world.”  Compare this to the Sermon on the Mount, Matthew 5:14-16 and 6:22-23 (NIV): “You are the light of the world. A town built on a hill cannot be hidden. Neither do people light a lamp and put it under a bowl. Instead they put it on its stand, and it gives light to everyone in the house.  ...The eye is the lamp of the body. If your eyes are healthy, your whole body will be full of light. But if your eyes are unhealthy, your whole body will be full of darkness. If then the light within you is darkness, how great is that darkness!”

125 From St. Augustine's Confessions again, Book X. The collocation of these two representatives of eastern and western asceticism, as the culmination of this part of the poem, is not an accident.  “And I, though I speak and see this, entangle my steps with these outward beauties; but Thou pluckest me out, O Lord, Thou pluckest me out; because Thy loving-kindness is before my eyes. For I am taken miserably, and Thou pluckest me out mercifully; sometimes not perceiving it, when I had but lightly lighted upon them; otherwhiles with pain, because I had stuck fast in them.”


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