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Not es
Preface 1. James Merrill, “b o d y,” in Collected Poems, ed. J. D. McClatchy and
Stephen Yenser, (New York: Alfred A. Knopf, 2001), 646. The subse-
quent reference to “The Country of a Thousand Years of Peace” cor-
responds to this edition and is noted parenthetically by page number
in my text.
Introduction: Traumatized Trust 1. Jacques Lacan, Seminar VII: The Ethics of Psychoanalysis, ed. Jacques-
Alain Miller, (New York: Norton, 1992), 307. All subsequent refer-
ences to this seminar are noted parenthetically in my text by volume
and page.
2. Leo Bersani, The Freudian Body: Psychoanalysis and Art, (New York:
Columbia UP, 1986), 10.
3. Cathy Caruth, Unclaimed Experience: Trauma, Narrative and
History, (Baltimore: Johns Hopkins UP, 1996), 91–112.
4. Sigmund Freud, The Standard Edition of the Complete Psychological
Works of Sigmund Freud, trans. James Strachey, vol. XIV, On the
History of the Psycho-Analytic Movement, Papers on Metapsychology
and Other Works, (London: Hogarth, 1953), 243. All subsequent
references to “Mourning and Melancholia” correspond to this text
and are noted parenthetically in my text by volume and page.
5. Thomas Pfau, Romantic Moods: Paranoia, Trauma, Melancholy,
(Baltimore: Johns Hopkins UP, 2005), 324.
6. Ibid., 414.
7. Ibid.
8. Freud, Standard Edition, vol. V, On the Interpretation of Dreams,
509.
9. Jacques Lacan, Seminar XI: The Four Fundamental Concepts of
Psychoanalysis, ed. Jacques-Alain Miller, (New York: Norton, 1977),
25. All subsequent references to this seminar are noted parentheti-
cally in my text by volume and page.
10. Antonio Quinet, “The Gaze as an Object,” in Reading Seminar XI:
Lacan’s Four Fundamental Concepts of Psychoanalysis, ed. Richard
N o t e s178
Feldstein, Bruce Fink, and Maire Jaanus, (Albany: State U of New
York P, 1995), 144.
11. Joan Copjec, Read My Desire: Lacan Against the Historicists,
(Cambridge: MIT P, 1994), 148.
12. In Seminar III, Lacan does make a distinction between the “abso-
lute Other” that I have been discussing and the little “other” or
“counterpart.” Corresponding to “the imaginary other, the other-
ness in a mirror image,” the little other “makes us dependent on the
form of our counterpart” (1955–1956: 252). As Zizek points out, by
linking this “counterpart” with the “mirror image” of the subject,
Lacan articulates his notion of the ideal ego. The subject projects an
image of itself with which it wants to identify (The Sublime Object
of Ideology, 105–107). By contrast, Lacan stresses that the absolute
Other offers no such reassuring counterpart to the subject: “The lat-
ter, the absolute Other, is the one we address ourselves to beyond
this counterpart, the one we are forced to admit beyond the relation
of the mirage, the one who accepts or is refused opposite us, the one
who will on occasion deceive us, the one whom we will never know
is deceiving us, the one to whom we always address ourselves. His
existence is such that the fact of addressing ourselves to him is more
important than anything that may be placed at stake between him
and us” (III: 252). In speaking beyond the counterpart to the Other,
Lacan offers not only an image of speech as existing between subjects
but also of its insufficiency. The actual counterpart is always deficient
as a listener.
13. Lacan, Seminar III: The Psychoses, ed. Jacques-Alain Miller, (New
York: Norton, 1993), 273. The subsequent reference to this seminar
is noted parenthetically in my text by volume and page.
14. Slavoj Zizek, The Sublime Object of Ideology, (London: Verso, 1989),
157.
15. Lacan, Seminar I: Freud’s Papers on Technique, (New York: Norton,
1975), 34. The reference to the Wolfman’s dream is found in Freud,
Standard Edition, vol. VII, On Infantile Neurosis and Other Works,
36–38.
16. Melanie Klein, The Writings of Melanie Klein, vol. I, Love, Guilt
and Reparation and Other Works, 1921–1945, (New York: The Free
P, 1984), 356. All subsequent references to “Early Stages of the
Oedipus Conflict” (1928), “The Importance of Symbol Formation
in the Development of the Ego” (1930), “A Contribution to the
Psychogenesis of Manic Depressive States” (1935), “Love, Guilt,
and Reparation” (1937), and “Mourning and its Relation to Manic
Depressive States” (1940) are noted parenthetically in my text with
the date and page.
17. Klein, Writings, vol. III, Envy and Gratitude and Other Works,
1946–1963, 255. All subsequent references to “Notes on Some
Schizoid Mechanisms” (1946), “Some Theoretical Conclusions
N o t e s 179
Regarding the Emotional Life of the Infant” (1952), “Our Adult
World and its Roots in Infancy” (1959), and “Some Reflections on
The Oresteia” (1963) correspond to this text and are noted paren-
thetically in my text with the date and page.
18. Judith Butler, “Moral Sadism and doubting one’s own love: Kleinian
reflections on Melancholia,” in Reading Melanie Klein, ed. John
Phillips and Lyndsey Stonebridge, (London: Routledge, 1998), 181.
19. Robert D. Hinshelwood, “Transference and Counter-Transference,”
in The Klein-Lacan Dialogues, ed. Bernard Burgoyne and Mary
Sullivan, (London: Rebus P, 1997), 136.
20. Ibid., 139.
21. Leo Bersani, “Death and literary authority: Marcel Proust and
Melanie Klein,” in Reading Melanie Klein, 236.
22. Hannah Segal, “A Psychoanalytic Approach to Aesthetics,” in
Reading Melanie Klein, 214.
23. Alfred, Lord Tennyson, In Memoriam, ed. Susan Shatto and Marion
Shaw, (Oxford: Clarendon, 1982), section 21, lines 21–24. All subse-
quent references are indicated parenthetically by section number and
line number within my text.
24. William Wordsworth, “Elegiac Stanzas Suggested by a Picture of
Peele Castle in a Storm, painted by Sir George Beaumont,” in The
Cornell Wordsworth, ed. Stephen Parrish and others; Poems in Two
Volumes and Other Poems, 1800–1807, ed. Jared Curtis, (Ithaca:
Cornell UP, 1983), 268, lines 37–40. All subsequent references to
this poem correspond to this text and are noted parenthetically and
by line number in my text.
25. T. S. Eliot, The Complete Poems and Plays: 1909–1950, (New York:
Harcourt Brace, 1980), 47, lines 328–330. Subsequent references to
The Waste Land are referred to by line number in my text. References
to “Sweeney Among the Nightingales” and to “Hysteria” are referred
to by page number from The Complete Poems and Plays in my text.
26. Petar Ramadanovic, Forgetting Futures: On Memory, Trauma and
Identity, (Lanham, MD: Lexington Books, 2001), 73.
27. Ibid.
1 Gazes of Trauma, Spots of Trust: Wordsworth’s Memorials in THE PRELUDE
1. William Wordsworth, “Surprised by Joy, Impatient as the Wind,”
in The Cornell Wordsworth, ed. Stephen Parrish and others; Shorter
Poems, 1807–1820, ed. Karl H. Ketcham, (Ithaca: Cornell UP, 1989),
112–113.
2. Caruth, Unclaimed Experience, 77–78.
3. Ellie Ragland, “The Psychical Nature of Trauma: Freud’s Dora,
The Young Homosexual Woman, and the Fort! Da! Paradigm,”
Postmodern Culture 11.2 (2001), 6.
N o t e s180
4. Ibid.
5. Ragland, “The Relation Between the Voice and the Gaze,” in
Reading Seminar XI, 189.
6. Ibid., 193–194.
7. William Wordsworth, The Prelude: 1799, 1805, 1850, ed. Jonathan
Wordsworth, M. H. Abrams, and Stephen Gill, (New York: W. W.
Norton, 1979), 158–159. All subsequent references to the three texts
of The Prelude and to Manuscript JJ correspond to this edition and
are noted by book and line number in my text.
8. David Collings, “A Vocation of Error: Authorship as Deviance in
the 1799 Prelude,” Papers on Language and Literature 29.2 (Spring
1993), 226–233.
9. Gordon K. Thomas, “ ‘Orphans Then’: Death in the Two-Part
Prelude,” Charles Lamb Bulletin (October 1996), 157–160.
10. David P. Haney, “Incarnation and the Autobiographical Exit:
Wordsworth’s The Prelude, Books IX, XIII (1805),” Studies in
Romanticism 29 (Winter 1990), 550–551.
11. Ibid., 553.
12. Ashton Nichols, The Revolutionary ‘I’: Wordsworth and the Politics of
Self-Presentation, (New York: St. Martin’s, 1998), 79.
13. Ibid., 16.
14. Ibid., 109.
15. Ibid., 117–118.
16. Guinn Batten, The Orphaned Imagination: Melancholy and
Commodity Culture in English Romanticism, (Durham: Duke UP,
1998), 187–189.
17. Ibid., 165–175.
18. Duncan Wu, “Tautology and Imaginative Vision in Wordsworth,”
Charles Lamb Bulletin (October 1996), 182–183.
19. Caruth, Empirical Truths and Critical Fictions: Locke, Wordsworth,
Kant, Freud, (Baltimore: Johns Hopkins UP, 1991), 56–57.
20. Christopher Miller, “Wordsworth’s Anatomies of Surprise,” Studies
in Romanticism 46.4 (Winter 2007), 420.
21. Orrin N. C. Wang, “Ghost Theory,” Studies in Romanticism 46.2
(Summer–Fall 2007), 210.
22. Eugene Stelzig, “Wordsworth’s Bleeding Spots: Traumatic Memories
of the Absent Father in The Prelude,” European Romantic Review
15.4 (December 2004), 533–534.
23. Noel Jackson, “Archaeologies of Perception: Reading Wordsworth
After Foucault,” European Romantic Review 18.2 (April 2007),
183.
24. For a recent discussion of this issue that includes the extensive schol-
arship on it, see David Chandler, “Robert Southey and The Prelude’s
‘Arab Dream,’ ” Review of English Studies 54.214 (2003), 203–219.
Against the consensus that Wordsworth either did have the dream
or made it up, Chandler argues that he may have heard it from
N o t e s 181
Southey, with whom he had become friendly at the time he was writ-
ing the 1805 Prelude. Increasingly, Wordsworth recognized that the
dream described an anxiety that he felt very acutely: that of dwelling
in the power of words until their meaning is gone. Southey’s paral-
lel obsession and the dangers of it became very real to Wordsworth
as the former increasingly slipped into madness after 1839. In that
same year, probably with knowledge of his friend’s worsening health,
Wordsworth claimed the dream as his own (217–219).
25. Timothy Bahti, “Figures of Interpretation, The Interpretation of
Figures: A Reading of Wordsworth’s ‘Dream of the Arab,’ Studies in
Romanticism 18.4 (Winter 1979), 608.
26. Ibid., 609.
27. Ibid., 618.
28. Douglas B. Wilson, The Romantic Dream: Wordsworth and the Poetics
of the Unconscious, (Lincoln: U of Nebraska P, 1993), 175.
29. Ibid., xvii.
30. Stephen F. Fogle and Paul H. Fry, “Ode,” The New Princeton
Encyclopedia of Poetry and Poetics, ed. Alex Preminger and T. V. F.
Brogan, (Princeton: Princeton UP, 1993), 855.
31. Harold Bloom, The Anxiety of Influence, (New Haven: Yale UP,
1973), 9.
32. Kelly Grovier, “ ‘Shades of the Prison House’: ‘Walking’ Stewart,
Michel Foucault, and the Making of Wordsworth’s ‘Two
Consciousnesses,’ ” Studies in Romanticism 44.3 (Fall 2005), 352.
33. J. Mark Smith, “ ‘Unrememberable’ Sound in Wordsworth’s 1799
Prelude,” Studies in Romanticism 42 (Winter 2003), 518.
34. Samuel Taylor Coleridge, “To William Wordsworth, Composed
on the Night after his Recitation of a Poem on the Growth of an
Individual Mind,” in The Collected Works of Samuel Taylor Coleridge,
vol. XVI, Poetical Works I, ed. J. C. C. Mays, (Princeton: Princeton
UP, 2001), 817, lines 38–47.
35. Grovier, 358–359.
36. As quoted in Grovier, 348.
37. Grovier, 342.
38. Quinet, 144.
39. Ibid.
40. As quoted in Caruth, Empirical Truths and Critical Fictions: Locke,
Wordsworth, Kant and Freud, (Baltimore: Johns Hopkins UP,
1991), 47.
41. Ibid., 50.
42. Caruth, Empirical Truths, 51.
43. Smith, 504–506.
44. See Wordsworth, The Prelude: 1799, 1805, 1850, 492.
45. Pieter Vermeulen, “The Suspension of Reading: Wordsworth’s
‘Boy of Winander’ and Trauma Theory,” Orbis Litterarum 62.6
(December 2007), 467.
N o t e s182
46. Wu, 175.
47. Wu, 176.
48. Slavoj Zizek, Enjoy Your Symptom! Jacques Lacan in Hollywood and
Out, 2nd ed., (New York: Routledge, 2001), 115–116.
49. Ibid., 119.
50. See Wordsworth, The Prelude: 1799, 1805, 1850, 494.
2 “Wound” in the “Living Soul”: Tennyson’s IN MEMORIAM
1. Herbert Tucker discusses this issue in terms of the genesis of the
poem, arguing that some of the parts of the poem written closest
to Hallam’s death “display a firmly social orientation.” At the same
time, its later sections often function to “smooth over wilder prede-
cessors.” Structurally, therefore, moments of private lyrical grief are
enveloped by more controlled attempts at framing and reflecting on
the loss. See Tennyson and the Doom of Romanticism, (Cambridge:
Harvard UP, 1988), 377–78.
2. Donald Hair, “Soul and Spirit in In Memoriam,” Victorian Poetry
34.2 (Summer 1996), 175.
3. Ibid., 179.
4. For Wheeler, Tennyson is committed to a mystical tradition dating
back to Augustine, which understands the visible as an avenue to the
invisible (252–253). At the same time, he knows how to present his
vision in more “provisional and experiential” terms than the reli-
gious tracts and failed epics about death and the future life that were
appearing in the early nineteenth century (Wheeler 118). Taking
up the theme of immortality, Rosenberg maintains that Tennyson’s
genius lies in being able to bring the public’s private anxiety about
this question into his poem. The poet achieves this end by imply-
ing that the dead may be more real than the living and that in his
ghosts others will recognize theirs (Rosenberg 308–309). Finally,
Shaw sees In Memoriam as a “confessional elegy” in which melan-
cholia becomes consolable grief and conversion marks the comple-
tion of the work of mourning (Shaw 50–60). This gradual change
over time, moreover, has the form of “assent” to an irresistible and
loving God rather than that of compulsion to what is logically nec-
essary (Shaw 71). All three, in other words, are analogous ways of
interpreting human experience. Tennyson’s confidence in using reli-
gious language, in turn, makes possible his consolation at the poem’s
close. This assumption underlies Robert Bernard Hass’s argument
about the poem as a synthesis of classical, romantic, and Christian
perspectives on the locus amoenus or comforting place (Hass 681).
The poet finds moments of authentic consolation by means of the
mind’s ability to construct in language “necessary boundaries that
N o t e s 183
will save the psyche from the destructive forces of mechanistic decay”
(Hass 685).
5. Sarah Gates, “Poetics, Metaphysics, Genre: The Stanza Form of In
Memoriam,” Victorian Poetry 37.4 (Winter 1999), 510–511.
6. Gerhard Joseph, Tennyson and the Text: the Weaver’s Shuttle,
(Cambridge: Cambridge UP, 1992), 23.
7. Ibid., 24–25. As Joseph also argues in “Producing the Far-Off
Interest of Tears,” In Memoriam demonstrates the problem of lan-
guage’s mediation particularly well through its deployment of eco-
nomic metaphors for the poet’s learning how to speak. Hallam’s
loss, says Joseph, becomes Tennyson’s “gain” (80.12) because the
latter is able to imagine his friend as a continuing exemplar for his
own life. Yet, precisely because this very extended metaphor for
the whole poem also describes the extended quality to mourning,
it necessarily points to words’ limitation (“Producing,” 125–127).
In Joseph’s view, Tennyson, like Freud, ultimately doubts he has a
“foundational language” to explain why grieving should take so long
(“Producing,”129–130).
8. Gigante builds her argument about desire on the one made by
Christopher Craft and discussed below. With them I share the view
that language creates and embodies desire. For an account that argues
that In Memoriam momentarily envisions “an extra discursive space”
for desire, however, see John Schad’s discussion of section 95 (Schad
180–181). While Schad’s suggestion is intriguing, he overlooks the
extent to which the trance that becomes the medium for Tennyson’s
supposed encounter with “that which is” (95.39) is itself brought on
by an act of reading.
9. Michael Tomko, “Varieties of Geological Experience: Religion,
Body, and Spirit in Tennyson’s In Memoriam and Lyell’s Principles of
Geology,” Victorian Poetry 42.2 (Summer 2004), 113–134.
10. James W. Hood, Divining Desire: Tennyson and the Poetics of
Transcendence, (Aldershot: Ashgate, 2000), 105.
11. Devon Fisher, “Spurring an Imitative Will: The Canonization of
Arthur Hallam,” Christianity and Literature 55.2 (Winter 2006),
222.
12. David G. Riede, Allegories of One’s Own Mind: Melancholy In
Victorian Poetry, (Columbus: Ohio State UP, 2005), 70–71.
13. Ibid., 84.
14. Erik Gray, The Poetry of Indifference: From the Romantics to the
Rubáiyát, (Amherst: U of Massachusetts P, 2005), 76.
15. Jane Wright brings out the implication of Tennyson’s grappling with
this kind of desire with respect to the overall project of memorializing
Hallam: “Tennyson’s inability to make adequate distinctions between
his musings and broodings and accurate memories of Hallam encour-
ages other kinds of appreciation: estimative and valuative” (83). An
ethically valid tribute to the man does not emerge from a distant or
N o t e s184
detached representation but one that recognizes desire as something
that operated between them as opposed to being proper to one of
them. A similar view of desire perhaps also colors Rhian Williams’
discussion of Tennyson’s use of the sonnets Shakespeare addressed to
another man. Early criticism of In Memoriam charged that the poem
did not perform the properly moral function of reflecting “values and
principles already upheld by the reader” (181). Instead it used “lin-
guistic obscurity as a mask for sexual deviance” (187). Tennyson’s
genius is to link the sonnets’ “linguistic reputation” to the popular-
ity of articulating an ideal of male friendship (183). He achieves this
success, however, not by distancing himself from the memory of his
friend but by intertwining himself with it.
16. Isobel Armstrong, “Tennyson in the 1850s: From Geology to
Pathology,” in Tennyson: Seven Essays, ed. Philip Collins, (New York:
St. Martin’s, 1992), 114.
17. Ibid.
18. Eli Zaretsky, “Melanie Klein and the emergence of modern personal
life,” in Reading Melanie Klein, 39.
19. James Eli Adams, “Woman Red in Tooth and Claw: Nature and the
Feminine in Tennyson and Darwin,” Victorian Studies 33 (Autumn
1989), 9–15.
20. For a discussion of the mother as Other see Bruce Fink, The Lacanian
Subject: Between Language and Jouissance, (Princeton: Princeton UP,
1997), 53–54.
21. Tucker, 379–380.
22. Ibid., 404–405.
23. Gates, 510–511.
24. James Krasner, “Doubtful Arms and Phantom Limbs: Literary
Portrayals of Embodied Grief,” PMLA 119.2 (March 2004), 225.
25. Ibid., 227.
26. Rosenberg, 298.
27. Wordsworth, “Ode: Intimations of Immortality from Recollections
of Early Childhood,” in The Cornell Wordsworth, ed. Stephen Parrish
and others; Poems in Two Volumes and Other Poems 1800–1807,
ed. Jared Curtis, (Ithaca: Cornell UP, 1983), 275, lines 145–147.
Subsequent references to the “Ode: Intimations of Immortality”
correspond to this text and are noted parenthetically by line number
in my text.
28. Alan Sinfield, Tennyson, (London: Basil Blackwell, 1986), 72.
29. Christopher Craft, Another Kind of Love: Male Homosexual Desire in
English Discourse, 1850–1920, (Berkeley: U of California P, 1994), 61.
30. Jeff Nunokawa, “In Memoriam and the Extinction of the Male
Homosexual,” ELH 58 (1991), 431.
31. As quoted in Nunokawa, 432.
32. Nunokawa, 433.
N o t e s 185
33. Peter Sacks, The English Elegy: Studies in the Genre from Spenser to
Yeats, (Baltimore: Johns Hopkins UP, 1985), 169.
34. On this point, see Christopher Ricks, Tennyson, 2nd. ed., (Berkeley:
U of California P, 1989), 113; and Tucker, 377–378.
35. Darrell Mansell, “Displacing Hallam’s Tomb in In Memoriam,”
Victorian Poetry 36.1 (Spring 1999), 97–101.
36. Wordsworth, “Lines Written a few Miles Above Tintern Abbey,” in
The Cornell Wordsworth; Lyrical Ballads and Other Poems, ed. James
Butler and Karen Green, (Ithaca: Cornell UP, 1992), 116, lines 3–4.
37. Ibid., 101.
38. Lawrence Kramer, “Victorian Poetry/ Oedipal Politics: In
Memoriam and Other Instances,” Victorian Poetry 29.4 (Winter
1991), 357–358.
39. Shatto and Shaw, 110.
40. Ibid., 112.
41. Robert Langbaum, “The Dynamic Unity of In Memoriam,” in
Alfred, Lord Tennyson, ed. Harold Bloom, (New York: Chelsea,
1975), 69.
42. Lacan, “On the Possible Treatment of Psychosis,” in Ecrits: A
Selection, (New York: Norton, 1977), 194.
43. Patrick Scott, “Tennyson, Lincolnshire, and Provinciality: The
Topographical Narrative of In Memoriam,” Victorian Poetry 34.1
(Spring 1996), 44–46.
44. As quoted in Shatto and Shaw, 262.
45. Tennyson, “Ulysses,” in Works, ed. Christopher Ricks, (Berkeley:
U of California P, 1987), lines 55–56. The subsequent reference to
“Ulysses” is indicated parenthetically by line number in my text and
corresponds to this edition.
46. Hass, 675.
47. Sacks, 199.
3 Castrated Referentiality: Eliot’s THE WASTE LAND
1. F. O. Matthiessen, The Achievement of T. S. Eliot: An Essay on the
Nature of Poetry, (New York:Oxford UP, 1958), 60.
2. Robert J. Andreach, “Paradise Lost and the Christian Configuration
of The Waste Land,” Paperson Language and Linguistics 5.1 (Winter
1969), 306.
3. Lois A. Cuddy, T. S. Eliot and the Poetics of Evolution: Sub/versions of
Classicism, Culture, and Progress, (Lewisburg: Bucknell UP, 2000),
158–159.
4. Ibid., 166.
5. Benjamin G. Lockerd, Aethereal Rumours: T. S. Eliot’s Physics and
Poetics, (Lewisburg: Bucknell UP, 1998), 173.
N o t e s186
6. Suzanne W. Churchill, “Outing T. S. Eliot,” Criticism 47.1 (Winter
2005), 23–24.
7. Ibid., 20.
8. Sanford Schwartz, The Matrix of Modernism: Pound, Eliot and Early
Twentieth Century Thought, (Princeton: Princeton UP, 1985), 193.
9. John Paul Riquelme, Harmony of Dissonance: T. S. Eliot, Romanticism,
and Imagination, (Baltimore: Johns Hopkins UP, 1991), 172.
10. Paul Morrison, The Poetics of Fascism: Ezra Pound, T. S. Eliot, Paul de
Man, (New York: Oxford UP, 1996), 169–173.
11. Juan A. Suárez, “T. S. Eliot’s The Waste Land, the Gramophone, and
the Modernist Discourse Network,” New Literary History 32 (2001),
753.
12. Ibid., 755.
13. Cyrena N. Pondrom, “T. S. Eliot: The Performativity of Gender in
The Waste Land,” Modernism/Modernity 12.3 (September 2005),
429–433.
14. Shannon McRae, “ ‘Glowed Into Words’: Vivien Eliot, Philomela,
and the Poet’s Tortured Corpse,” Twentieth Century Literature 49.2
(2003), 204.
15. Gabrielle McIntire, Modernism, Memory, and Desire: T. S. Eliot and
Virginia Woolf, (Cambridge: Cambridge UP, 2008), 58.
16. Ibid., 64.
17. Charles Dickens, Our Mutual Friend, (Oxford: Oxford UP, 1996),
198.
18. Ovid, Metamorphoses, trans. A. D. Melville, (New York: Oxford UP,
1986), 329.
19. Virgil, The Aeneid, trans. Frederick Ahl, (Oxford: Oxford UP, 2007),
130.
20. Petronius, The Satyricon, trans. P. G. Walsh, (Oxford: Clarendon P,
1996), 48.
21. Tony Pinkney, Women in the Poetry of T. S. Eliot: A Psychoanalytic
Approach, (New York: Macmillan, 1984), 101.
22. Ibid., 102.
23. Ibid., 103.
24. As quoted in Merrill Cole, The Other Orpheus: A Poetics of Modern
Homosexuality, (New York: Routledge, 2003), 94.
25. Ibid.
26. Ibid., 92.
27. Judith Butler, “Critically Queer,” Gay and Lesbian Quarterly 1.1
(1993), 28.
28. Ibid., 25.
29. McRae argues that masculinity’s eradication in the poem simulta-
neously creates its textual body. Commenting on the scene in the
hyacinth garden, she points out that the poet’s “failure of speech”
coincides with a “failure of the phallus.” These twin failures then
shadow subsequent attempts at speech in the poem: “His only
N o t e s 187
remedy for the disastrous failure of language is to appropriate the
voices of other poets—past masters of his craft. But even his bor-
rowed words fail to cohere, for women disrupt him continually, their
disorderly speech shattering his every attempt at intelligibility in the
poem” (204). I agree with McRae, and would add that this failure
is traumatic because it is related to how war trauma plays out in The
Waste Land. At the same time, the failure is repetitive: there is no
substitution of a living person for the dead, but simply the repetition
of the corpse in the corpus.
30. Dante Alighieri, The Divine Comedy, Inferno, trans. Charles S.
Singleton, (Princeton: Princeton UP, 1970), Canto 3, lines 63–64,
p. 29.
31. Ibid., Canto III, line 36, p. 27.
32. Raphaël Ingelbien, “They Saw One They Knew: Baudelaire and
the Ghosts of London Modernism,” English Studies 88.1 (February
2007), 52.
33. Morrison, 89.
34. See Colleen Lamos, Deviant Modernism: Sexual and Textual Errancy
in T. S. Eliot, James Joyce, and Marcel Proust, (Cambridge: Cambridge
UP, 1998), 83; McIntire, 57–58; and Schwartz, 190–191.
35. William Shakespeare, The Complete Works, ed. Stanley Wells, Gary
Taylor and others, (Oxford: Clarendon P, 1988), 1010, II.2.198–199.
Subsequent references to King Lear, Hamlet, and The Tempest cor-
respond to this edition and are noted parenthetically in my text.
36. See Ronald Bush, T. S. Eliot: A Study of Character and Style, (New
York: Oxford UP, 1984), 66; Donald J. Childs, T. S. Eliot: Mystic, Son
and Lover, (London: The Athlone P, 1997), 114.
37. See James E. Miller, T. S. Eliot’s Personal Waste Land: Exorcism of the
Demons, (University Park: Pennsylvania State UP, 1977), 70; Patrick
Query, “They Called Me the Hyacinth Girl: T. S. Eliot and the
Revision of Masculinity,” Yeats Eliot Review 18.3 (2002), 17–18.
38. Lockerd, 173.
39. Ibid., 154.
40. Pondrom, 433.
41. Margaret E. Dana, “Orchestrating The Waste Land: Wagner,
Leitmotiv, and the Play of Passion,” in T. S. Eliot’s Orchestra: Critical
Essays on Poetry and Music, ed. John Xios Cooper, (New York:
Garland, 2000), 278.
42. Morrison, 88–89.
43. McRae, 211.
44. As quoted in Miller, 31.
45. Ovid, 60–61.
46. Lee Edelman, No Future: Queer Theory and the Death Drive,
(Durham: Duke UP, 2004), 25.
47. Ovid, 61.
48. Ibid.
N o t e s188
49. Ibid.
50. Edmund Spenser, “Prothalamion,” in The Works of Edmund Spenser:
the Minor Poems, eds. Charles Grosvenor Osgood and Henry
Gibbons Lotspeich, (Baltimore: Johns Hopkins UP, 1947), 260,
lines 112–118.
51. Lockerd, 170–172.
52. Dana, 283–284.
53. Matthiessen, 58.
54. Michael Whitworth, “ ‘Sweet Thames’ and The Waste Land’s
Allusions,” Essays in Criticism 48.1 (January 1998), 38–39.
55. Ibid., 39–41.
56. Ibid., 53.
57. Calvin Bedient, He Do The Police In Different Voices: The Waste Land
and Its Protagonist, (Chicago: U of Chicago P, 1986), 110–111.
58. Oliver Goldsmith, Collected Works of Oliver Goldsmith, vol. IV:
The Vicar of Wakefield, Poems, The Mystery Revealed, ed. Arthur
Friedman, (Oxford: Clarendon P, 1966), 136.
59. Goldsmith, 137.
60. Morrison, 96.
61. As quoted in Lamos, 98.
62. Lamos, 99.
63. As quoted in Lamos, 101.
64. Lockerd, 177–178.
65. Matthew Hart, “Visible Poet: T. S. Eliot and Modernist Studies,”
American Literary History 19.1 (Spring 2007), 186.
66. William Blake, “London,” in The Complete Poetry & Prose of William
Blake, ed. David B. Erdman, (New York: Doubleday, 1988), 26–27,
lines 9–12. The subsequent reference corresponds to this text and is
noted parenthetically in my text.
67. See, for example, John Hollander, The Figure of Echo: A Mode of
Allusion in Milton and After, (Berkeley: U of California P, 1981),
105; Sandra Gilbert, “ ‘Rats’ Alley’: The Great War, Modernism, and
the (Anti) Pastoral Elegy,” New Literary History 30.1 (Winter 1999),
194–195.
68. Bush, 75.
69. Gilbert, 194–195.
70. Pondrom, 436–438.
71. This argument can be traced back to questions about Eliot’s friend-
ship with Jean Verdenal, a Frenchman whom he knew briefly in Paris
before World War I and who died in the Allied campaign at Gallipoli
in 1915. James A. Miller documents these references to Verdenal in
Eliot’s work: (1) the dedication of Prufrock and Other Observations
(1917); (2) the dedication of the American edition of Ara Vos Prec
(1920); (3) the dedication of Poems (1925); and (4) Eliot’s 1934
recollection of Verdenal crossing the Luxemburg Gardens waving
“a branch of lilac” (17–19). Verdenal also eventually figured in an
N o t e s 189
interpretation of The Waste Land as an elegy for a same-sex lover. John
Peter made this case in 1952 without mentioning Verdenal, and Eliot
successfully sued to have Peter’s article suppressed. Subsequently,
in 1969, Peter published the piece with a postscript describing his
dealing with Eliot and specifically mentioning Verdenal as a possible
inspiration for Phlebas (Miller 11–14). Yet Miller’s book, rather than
Peter’s essay, remains the most controversial focus of this discussion.
Churchill sees Miller as attempting to reduce The Waste Land—
and “just about everything else Eliot wrote”—to a “grief stricken
response to Verdenal’s death” (9). Query concedes that the issue
may be overstated in Miller’s analysis but stresses that Miller’s read-
ing remains the only one that recognizes same-sex attraction as “an
unavoidable and important presence in the life and in the poetry”
(12). Pondrom, noticing the sharp exchanges on both sides of this
issue, cautions against any essentialist reading of gender performance
in the poem, including Miller’s argument that Eliot’s “ ‘real’ sexual
orientation was homosocial” (430). Cole makes a similar point about
Miller’s reductiveness, suggesting that criticism of the poem has
become implicated in this oversimplification by ignoring how the
poem turns closeting into an erotic act (92). Cole’s claim, focusing
on how a particular kind of desire functions in this poem, aptly sug-
gests that disavowal becomes a moment in its constitution.
72. Jewel Spears Brooker, Mastery and Escape: T. S. Eliot and the Dialectic
of Modernism, (Amherst: U of Massachusetts P, 1994), 202–203.
73. Brooker, “Dialectic and Impersonality in T. S. Eliot,” Partial Answers
3.2 (2005), 140.
74. Cuddy, 156.
75. Dante Alighieri, The Divine Comedy, Purgatorio, trans. Charles S.
Singleton, (Princeton: Princeton UP, 1973), Canto 26, line 148, pp.
288–289.
76. Miller, 132.
77. Riquelme, 177–179.
Epilogue: “The Tone We Trusted Most”:Merrill’s THE BOOK OF EPHR AIM
1. James Merrill, The Changing Light At Sandover: A Poem, ed. J. D.
McClatchy and Stephen Yenser, (New York: Alfred A. Knopf, 1995),
5–6. Subsequent references come from this text and are noted paren-
thetically in my text.
2. Merrill, A Different Person, in Collected Prose, ed. J. D. McClatchy
and Stephen Yenser, (New York: Alfred A. Knopf, 2004), 500–501.
Subsequent references to A Different Person come from this text and
are noted parenthetically in my text.
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Inde x
Adams, James Eli, 79, 184 note 19
Aeneid, 125–126
Aeneus, 125
Aeschylus, 28
Agamemnon, 28, 133–134
Alighieri, Dante, 131, 159, 160,
174, 187 notes 30–31, 189
note 75
Andreach, Robert, 122, 185 note 2
Antigone, 2, 18–19, 28
anxiety
and art, 27–29, 77
and death instinct, 23, 79, 83
depressive, 93
and the gaze, 48–49, 134
and immortality, 86
and language, 107, 180–181 note 24
and masculinity, 130, 133–134, 137
and Nature, 74, 91
and the objets a, 17
paranoid, 2, 25–26, 93, 127, 138,
151, 154–157
and spots of time, 62–69, 71
and the stain, 37
and trauma, 60, 80, 112
and trust, 51
aphanisis, 82
Armstrong, Isobel, 77–78, 184 note 16
Auden, W.H., 168
Augustine, Saint, 153, 182 note 4
autobiography, poetic, 50, 66, 71
Bahti, Timothy, 40–41, 181 note 25
Baillet, Adrien, 41
Barnes, Djuna, 143
Batten, Guinn, 39, 180 notes 16–17
Bedient, Calvin, 147, 188 note 57
Bersani, Leo, 1, 27–28, 177 note 2,
179 note 21
Beyond the Pleasure Principle
(Freud), 10
Blake, William, 155
blindness, 33, 34, 35, 104,
133–134
and castration, 122
and Tiresias 144–145
Wordsworth’s fear of, 64
Bloom, Harold, 42–43, 181 note 31
“b o d y” (Merrill), x
The Book of Ephraim (Merrill), 165,
166, 167, 168, 172, 174
breast
symbolic function of, 14, 24–25,
53, 86, 128, 147–148
Brooker, Jewel Spears, 158–159,
189 note 72–73
Buddha, 152–153
Bush, Ronald, 156, 187 note 36,
188 note 68
Butler, Judith, 26, 131, 179 note
18, 186 notes 27,28
cannibalism
fear of, 134
cannibalistic phase, 6–7, 24–25,
133
Caruth, Cathy, 2, 34, 39, 53–54,
143, 177 note 3, 179 note 2,
180 note 19, 181 notes 40–42
castration, 121–122, 131, 133, 144
and blindness, 122
Cervantes, Miguel de, in The
Prelude, 41, 49
Chandler, David, 180 note 24
I n d e x198
The Changing Light at Sandover
(Merrill), 31, 162, 163–175
Coda: The Higher Keys (Merrill), 165
chastisement, 70
Childs, Donald J., 187 note 36
Churchill, Suzanne, 122–123, 186
notes 6–7, 189 note 72
Civilization and Its Discontents
(Freud), 18
Coda: The Higher Keys (Merrill), 165
Cole, Merrill, 130, 186 notes
24–26, 189 note 72
Coleridge, Samuel Taylor, 38–39,
44–45, 52
Collings, David, 37–38, 180 note 8
consolation, 2, 30, 62, 83, 91, 114
“A Contribution to the
Psychogenesis of Manic-
Depressive States” (Klein), 27
Copjec, Joan, 12, 178 note 11
Coriolanus, 159
“The Country of a Thousand Years
of Peace” (Merrill), 167–168
Craft, Christopher, 89, 93, 184
note 29
Cuddy, Lois, 122, 185 notes 3–4,
189 note 74
Dana, Margaret E., 139, 187 note
41, 188 note 52
death drive, 2–3, 8, 10–19, 23, 26,
29, 74, 103–104, 110, 113–115
anxieties about, 83
as creative force, 26, 46–47, 106
deflection of, 18, 23, 29
as feminized force, 112
see also thanatos
“The Death of St. Narcissus”
(Eliot), 129–130
De Montmorency, J.E.G., 146–147
Deren, Maya, 170, 172, 173–174
“The Development of Mental
Functioning” (Klein), 23–24
Dickens, Charles, 125, 186 note 17
A Different Person (Merrill), 168, 173
dream of the burning child, 2,
8–12, 17, 19, 21, 33–35, 41,
45, 75, 99, 124, 133, 143, 160
gaze in, 133
stain, 33, 160
and traumatic knowledge, 31,
34, 143
“Early Stages of the Oedipus
Conflict” (Klein), 24–25
Edelman, Lee, 144–145, 158, 187
note 46
ego psychology, 11, 12
elegy, 91, 182 note 4, 189 note 71
Eliot, T. S., 30, 119–162, 164–165,
167, 175, 179 note 25
and futurity, 159
and Hamlet, 123
and language, 123, 132, 147
note on Jupiter and Juno,
143–144, 151
note on Tiresias, 121, 123, 129,
143, 145
on poetic vocation, 30–31
see also “The Death of St.
Narcissus,” “Hysteria,”
“Ode,” “Sweeney Among the
Nightingales,” The Waste Land
Eliot, Vivien, 121
Enlightenment, 38
ethics, 2–3, 17, 29, 33, 76–78, 116,
120, 138, 163, 183 note 15
see also freedom, justice,
responsibility
The Eumenides, 28–29
Eve, 85
evolution, 39, 74, 77–79, 89–90,
111–113
Tennyson’s fear of, 79, 89
Fisher, Devon, 76, 183 note 11
Fogle, Stephen F., 181 note 30
freedom, 4, 5, 29, 30, 39, 43, 52,
71, 159
French Revolution, 39–40, 44
I n d e x 199
Freud, Sigmund, 1–32, 46, 53, 89,
93, 98, 113, 133, 149, 177
notes 4,8, 183 note 7
dream of the burning child, 9
and lack, 17
mourning v. melancholia, 1–8,
149–150
and trauma, 16
and trust, 20
see also death drive, melancholy,
substitution
Fry, Paul H., 181 note 30
futurity, 158–159
gap, ix–x, 12, 16, 66, 86, 113,
117, 172
Gates, Sarah, 76, 83, 183 note 5,
184 note 23
gaze, 11, 14, 33–37, 41, 48–50,
52–58, 61–64, 68, 70, 73,
100, 121, 124, 126–130, 132,
133–143, 145–147, 155, 157,
163, 169, 170
aural equivalent of, 155
and blindness, 144
and castration, 121, 132
and desire, 124, 130, 133–134
as God, 70
as inescapable, 139
mother’s, 50–51, 53–55, 60–61
and the Other, 163, 169
and poetic vocation, 128
and powerlessness, 141
as split from the eye, 170
and stain, 11, 33, 36–37, 41,
48–50, 62, 127
subjugation to, 49, 64, 68, 70,
134, 157
and traumatic memory, 61–62, 143
gender, 188–189 note 71
identification, 126, 131
slippage of, 124, 128, 136
and Tiresias, 122–123, 147, 158
gibbet, 65–66
see also The Prelude, Penrith
Gigante, Denise, 76, 166 note 8
Gilbert, Sandra, 188 notes 67,69
Goldsmith, Oliver, 148, 188
notes 58–59
Gray, Erik, 77
Grovier, Kelly, 43, 48, 181 notes
32,35–37
Hair, Donald, 75, 182 notes 2–3
Hallam, Arthur Henry, 30, 73–117,
128, 136, 155, 163–165, 168
as Christ figure, 101, 110, 113–114
as figure of Tennyson’s survival, 115
as ghost, 104–106
as good object, 99
as ideal reader, 75, 99, 101,
109–110, 164
and immortality, 85–86, 89,
90–91, 114
internment, 97–98
as lack, 84, 104, 113, 117
as mother, 87, 103
and Nature, 74, 79, 81, 88, 91,
101–104, 106–107, 108
unborn family, 89
unfulfilled career, 111
visitation in trance, 74, 98–99,
104–106
and social renovation, 111, 117
as Tennyson’s ideal reader, 75, 99,
101, 109–110
Hamlet
killed by Laertes, 140
and Oedipal drama, 10, 86
and role play, 123
Hamlet (Shakespeare), 140
Haney, David, 38, 180 notes 10–11
Hart, Matthew, 154, 188 note 65
Hass, Robert Bernard, 76, 111, 182
note 4, 185 note 46
heterosexuality, 90, 124, 134, 170
and anxiety, 137
and discourse, 170
and melancholy, 131–133
violence of, 133
I n d e x200
Hinshelwood, Robert D., 126, 127,
179 note 19
Hollander, John, 188 note 67
homeostatic text, 13, 36–37, 71
homosexuality, 76, 91, 105,
123–124, 130, 188–189
note 71
disavowal of, 130
eclipsed by evolution, 89–90
as non-generative, 158
see also lesbianism
Hood, James W., 76, 183 note 10
“Hysteria” (Eliot), 134, 147
immortality, 42, 74, 84–86, 88,
90–91, 92, 102, 182 note 4
“The Importance of Symbol
Formation in the Development
of the Ego” (Klein), 25
Inferno (Dante), 131, 159
Ingelbien, Raphaël, 187 note 32
In Memoriam, 31, 73–117, 121,
160, 163–165
Prologue, 91–92, 114, 115
section 3, 80, 88
section 5, 82–83, 85
section 6, 83–84
section 7, 84–86, 104, 115
section 9, 94, 95, 110
section 12, 95–96
section 16, 80–81, 92, 102, 103
section 18, 95–97, 102, 110
section 19, 96–97, 102
section 45, 86–87
section 54, 87–88
section 56, 74, 77–80, 93, 106,
111, 112, 115
section 57, 111, 115–117
section 59, 88–89
section 61, 90–91, 92
section 67, 97–99, 106
section 68, 99–100
section 69, 100–101
section 83, 101–102
section 84, 89
section 85, 73, 76
section 93, 104–105
section 95, 74–75, 93, 98–99,
102–103, 104, 105–106, 112
section 101, 108
section 102, 108–109
section 103, 109–110, 164
section 106, 109, 110
section 112, 75, 111
section 113, 111, 112
section 118, 111, 112
section 120, 111, 112
section 124, 113–114
section 127, 113–114
section 129, 93, 103, 117
section 130, 89, 110, 114
see also Hallam, immortality,
Nature, Tennyson
The Interpretation of Dreams
(Freud), 2, 8, 12, 34, 75
see also dream of the burning child
Jackson, David, 165
anniversary rhyme to JM, 169
as DJ, 165–174
Jackson, Noel, 40, 180 note 23
Joseph, Gerhard, 76, 183 notes 6–7
jouissance, 18, 144–145, 147
justice, 29, 32
King Lear (Shakespeare), 137
Klein, Melanie, 2–3, 20–30, 63,
67–68, 74, 78, 80, 93, 99, 100,
103, 104, 109, 114, 178 note
16, 178–179 note 17
artistic creation, 26, 63
conscious and unconscious mind,
103–105
and depressive mourning, 153–157
depressive position, 2, 20,
22–26, 29, 93, 103–104, 116,
126–127
dream of Mrs. A., 20–23, 93, 94
epistemophilic impulse, 24–25, 68
lack and trust, 23, 156
on mothers, 27
and Nature, 93–94
I n d e x 201
objects, good and bad, 13, 24,
26, 63, 88, 99–100, 109
paranoid-schizoid position, 3,
22, 23, 27, 29, 30, 74, 80, 100,
101, 103, 114, 115, 151
subject positions, 2–3
and trust, 2–3, 20, 22–25, 74, 156
see also anxiety, death drive,
mother, mother’s breast
Kramer, Lawrence, 103, 185 note 38
Krasner, James, 84, 184 notes
24–25
Kyd, Thomas, 161
Lacan, Jacques, 1–3, 8–20, 113,
114, 177 note 1, 185 note 42
alienation, 15, 74, 77–78, 82,
85–87, 91, 136–137
and the analyst’s desire, 119–120
and jouissance, 144
and misunderstanding, 120
objet a, 14–18, 25, 35, 46, 48,
58, 99, 114, 121
and the Other, 12–15, 48–49,
55, 70, 75, 77, 81, 85, 87, 91,
100, 107, 123, 136–137, 161,
163, 178 note 12, 184, note 20
scopic drive, 15, 48
scotoma, 127
separation, 77, 80, 107–117, 159
stain, 127
tuché, 16
see also death drive, dream of
the burning child, ethics, gap,
lack, Lust and Unlust, phallus,
unconscious
lack, 2, 47, 100, 105, 107
and castration, 121
and creativity, 17–18, 115–116,
164–165, 175
and jouissance, 144–147
and language, 91, 147
and nothingness, 170, 174
as occasion of desire, 16, 74–75,
120, 131, 136, 155
and tone, 172
and trust, 110
Lamos, Colleen, 150–151, 187 note
34, 188 notes 61–63
Langbaum, Robert, 106, 185 note 41
Lawrence, D.H., 146
lesbianism, 133
Lockerd, Benjamin G., 122, 138,
146, 154, 185 note 5, 187
notes 38–39, 188 notes 51,64
Lodeizen, Hans, 167–169, 171,
172, 174
“London” (Blake), 155, 188 note 67
“Love, Guilt, and Reparation”
(Klein), 27–28, 93
Lushington, Edmund, 73
Lust and Unlust, 13
Lyell, Charles, Sir, 76, 77, 176 note 9
Lyrical Ballads (Coleridge and
Wordsworth), 56
male body
disappearance of, 130–132, 135
Mansell, Darrell, 96, 98, 185 note 35
Manuscript JJ (Wordsworth), 56,
67, 180 note 7
Masculinity
performance of, 137
Matthiessen, F.O., 122, 185 note 1,
188 note 53
McIntire, Gabrielle, 124, 186 notes
15–16, 187 note 34
McRae, Shannon, 123–124, 186
notes 14,29, 187 note 43
melancholy, 83, 101, 149
and criticism of The Waste Land,
123–124
and heterosexuality, 130–131, 134
and homosexuality, 169–170
versus mourning, 1–8, 175
refusal of substitute, 163
and suicide, 149
Merrill, Hellen Ingram, 172–173
Merrill, James, ix–x, 31, 62, 162,
163–175
and David Jackson, 169–170
as JM, 165–174
I n d e x202
Metamorphoses (Ovid), 125–126,
143–144
Miller, Christopher, 39, 180 note 20
Miller, James E., 187 notes 37,44,
188–189 note 71, 189 note 76
Milton, John, 38, 49–50, 85
modernism, 123
Morrison, Paul, 123–124, 132,
142, 150, 186 note 10, 187
notes 33,42, 188 notes 60–61
mother
in The Changing Light at
Sandover, 172–173
as ideal, 16, 26
injured body of, 27
in In Memoriam, 93–94, 103, 113
as lack, 28
in The Prelude, 39, 50–54, 57–60
in The Waste Land, 127, 136, 155
mother’s breast, 24, 51, 53
“Mourning and Its Relation to
Manic-Depressive States”
(Klein), 20–23, 26, 29,
94, 115
“Mourning and Melancholia”
(Freud), 1–8, 133
Nature
and death, 55–58, 74, 88, 112
and ex nihilo creation, 106
as external world, 61, 67, 74, 94,
95, 99, 103, 112
as feminized force, 39, 52, 74, 77,
79, 80, 88, 94, 112, 113
as good object, 68, 93, 109
and homosexual desire, 90
as hostile to humans, 74, 77–79,
91, 136, 146, 156–157
as mourner, 94–95
as parents, 39, 94, 113
and poetic vocation, 37
as teacher, 52, 108
and trust, 93–94, 96, 99–100,
108, 112
Nichols, Ashton, 38–39, 180 notes
12–15
Nightwood (Barnes), 143
nostalgia, 15, 77, 81, 103, 108, 124,
130, 156
“Notes on Some Schizoid
Mechanisms” (Klein), 23
Nunokawa, Jeff, 89, 90, 184 notes
30–32
ode, 42–44, 50
“Ode” (Eliot), 150–151
Ode: Intimations of Immortality
from Recollections of Early
Childhood (Wordsworth),
42–43, 85
“On the Possible Treatment of
Psychosis” (Lacan), 107
Our Mutual Friend (Dickens), 125
“Our World and Its Roots in
Infancy” (Klein), 25–26
Ovid, 143–144, 158, 186 note 18,
187 notes 45,47–48
Paradiso (Dante), 174
Paul, Saint, 112
“Peele Castle” (Wordsworth), 30, 108
performativity, 42, 45, 125, 138, 147
Peter, John, 188–189 note 71
Petronius, 186 note 20
Pfau, Thomas, 8, 177 note 5
phallus, 82, 131, 186–187 note 29
in the mother-child relationship,
15–16, 53
as signifier, 16
The Phantom of the Opera (2004),
59–60
Pinkney, Tony, 126–127, 186 notes
21–23
Pondrom, Cyrena N. 123–124,
138, 186 note 13, 187 note 40,
188 notes 70–71
The Prelude (Wordsworth), 31,
33–72, 73, 75, 100,
121, 163
Blessed Babe, 39–40, 53
Boy of Winander, 37–39, 50,
55–59, 61, 62, 73, 163
I n d e x 203
death of father, 69–71
death of mother, 50–54, 57–60
dream of the horseman, 36–37,
40–50, 53, 55–56, 59–61,
62, 64–66, 71, 100, 128
Drowned Man at Esthwaite,
37–39, 51, 58–59, 60–62, 73
Penrith, 63–71
spots of time, 37, 40, 62–63,
65–66, 71–72, 73, 163
1799 v. 1805 version, 58–59, 61,
62, 65–66, 69–70
1805 v. 1850 version, 40, 43, 44,
46–48, 54, 71
Principles of Geology (Lyell), 77
Prothalamion (Spenser), 145–146
Purgatorio, 60
Query, Patrick, 187 note 37,
188–189 note 71
Quinet, Antonio, 48, 177–178
note 10, 181 notes 38–39
Ragland, Ellie, 35–36, 179 note 3,
180 note 5
The Rainbow (Lawrence), 146
Ramadanovic, Petar, 31, 32, 175,
179 notes 26–27
readers
in In Memoriam, 75, 84, 85, 111,
115, 117
in The Prelude, 45
in The Waste Land, 124, 131–132,
139, 140, 143
reproduction
maternal function of, 127
responsibility, 3, 19, 31, 50, 62, 71,
117, 143–153, 175
see also ethics, freedom
The Revenger’s Tragedy (Kyd), 161
Ricks, Christopher, 185 notes
34, 45
Riede, David, 77, 183 notes
12–13
Riquelme, John Paul, 123–124,
186 note 9, 189 note 77
Rosenberg, John D., 76, 84, 182
note 4, 184 note 26
Sacks, Peter, 93, 113, 185 notes 33, 47
The Sacred Wood (Eliot), 129
The Satyricon (Petronius), 126
Schad, John, 183 note 8
Schwartz, Sanford, 123, 124, 186
note 8, 187 note 4
Scott, Patrick, 107–108, 185
note 4
Scripts for the Pageant (Merrill), 168
Segal, Hannah, 29, 179 note 22
Seminar I: Freud’s Papers on
Technique (Lacan), 16
Seminar III: The Psychoses (Lacan),
13, 15, 119–121, 131
Seminar VII: The Ethics of Psychoanalysis
(Lacan), 1–3, 17, 105
Seminar XI: Four Fundamental
Concepts of Psychoanalysis
(Lacan), 2, 9–13, 16, 36, 82,
121, 127, 133, 136
Shakespeare, William, 49–50, 85,
90–91, 135, 137, 159, 184–185
note 15, 187 note 35
Shatto, Susan and Shaw, Marion,
179 note 23, 185 notes
39,40,44
Shaw, George Bernard, 171
Shaw, W. David, 76, 182 note 4
Sinfield, Alan, 86, 184 note 28
Smith, J. Mark, 43, 181 note 33
“Some Reflections on The Oresteia”
(Klein), 28–29
“Some Theoretical Conclusions
Regarding the Emotional Life
of the Infant” (Klein), 104
“Sonnet 116” (Shakespeare), 90
Sophocles, 18–19, 28
sorrow
in Klein, 21, 22, 94
in Tennyson, 80, 81, 85, 88–89,
97, 102, 110–111, 115
in Wordsworth, 34–35
Southey, Robert, 180–181 note 24
I n d e x204
Spenser, Edmund, 145–147, 188
note 50
stain of the unconscious, 11–12, 19,
20–22, 33, 37, 41, 49–52, 75,
100, 106, 127, 164
in Eliot, 127, 164
and gaze, 11, 33, 36–37, 41,
48–50, 62
in Klein, 20–22
and spots of time, 62–63
in Tennyson, 75, 100, 106
Stelzig, Eugene, 40, 180 note 22
Suarez, Juan, 123, 186 notes 11–12
subjectivity, 125
brutality within, 127–128
as creation, 123
sublimation, artistic, 17, 19, 25, 63
Lacan on, 27–28
substitution, 30, 31
in Eliot, 131–132, 186–187 note 29
in Freud, 3–4, 7–8, 113
in Tennyson, 98–99, 113
in Wordsworth, 42–43, 52–53
suffering, 19, 23, 26, 68–70, 81, 91,
122, 141, 143, 159
superego, 1, 18
“Surprised by Joy” (Wordsworth),
34–35, 56
“Sweeney Among the Nightingales”
(Eliot), 133–134, 147
“Sweet Thames, Run Slowly” (De
Montmorency), 146–147
Tennyson, Alfred, 30–31, 73–117,
124, 128–129, 136, 163–164,
165, 168, 175, 179 note 23
as ghost, 85–86, 104
and Hallam family, 96–97
resemblance to Freud’s
melancholic, 83
and Shakespeare, 90
and Wordsworth, 97
see also evolution, Hallam,
immortality, In Memoriam,
Nature, readers, “Ulysses,”
women
thanatos, 36
see also death drive
Thomas, Gordon K., 38, 180 note 9
Three Essays on Sexuality (Freud), 53
“Tintern Abbey” (Wordsworth), 97
Tiresias, 121–126, 128–129, 131,
134, 142–147, 148, 150–154,
156–159
“Tom and Viv,” 121
Tomko, Michael, 76, 183 note 9
“To William Wordsworth”
(Coleridge), 44–45
transcendence, 19, 34, 36, 65, 138,
154, 161, 163
see also trauma, trust
trauma
and anxiety, 60, 80, 112
and creativity, 19, 31, 65–69, 166
cycle of trauma and memory, 32,
35, 70, 115, 127, 152, 163
and death, 30–31
and the death drive, 2, 8
and desire, 40–50, 60, 81, 93,
104–105, 134
and development, 15, 88,
112–114
and early infancy, 3, 20
and history, 172
and language, 136
as narrative, 141–142
and the objet a, 16
parodied, 165
and pleasure, 14–15
repetition of, 2, 33, 35, 37, 41,
45–49, 51, 53, 54, 58, 60–63,
72, 73, 75, 80–81, 99,
152–153, 163
and the succession of drives, 15
traumatic stress, 131–132
as unconscious, 8
see also ethics, responsibility,
transcendence, trust
trust
and creativity, 20, 28
in external world, 31, 71, 112,
138, 156, 159
I n d e x 205
and the future, 37, 162
in God, 164
in Lacan, 20
and lack, 3, 20, 23, 24
in language, 110, 116, 163–164,
171, 175
and melancholy, 3
and narrative, 40
in Nature, 93–94, 96, 99–100,
108, 112
in poetry, 40, 69, 71–72
and readers, 125, 138
in spots of time, 63, 68, 69
as stain, 20
and sublimation, 29
and tone, 171
see also Klein, transcendence,
trauma
Tucker, Herbert, 82–83, 182 note 1,
184 notes 21–22, 185 note 34
“Ulysses” (Tennyson), 110, 185
note 45
unconscious
blockage of, 119
and consciousness 104–105
and desire, 82, 106
and knowledge, 98–99
and language, 120
opening of, 74–75, 101
Urania, 116
vel, 82
Vermeulen, Pieter, 56, 181 note 45
The Vicar of Wakefield, 149–150
The Vigil of Venus, 161
Virgil, 131, 186 note 19
vocation, poetic, 30–31, 36–38
and desire, 30, 41, 43, 45–46,
101, 117, 124
and Eliot, 121, 124, 125–132
and Merrill, 163, 168, 173
and Tennyson, 73–74, 76–78,
99–101, 109, 117
and trust, 30, 38, 40, 46, 71,
100, 163
and Wordsworth, 40–41, 43,
45–46, 49, 64, 71
Wang, Orrin N.C., 40, 180
note 21
The Waste Land, 31, 119–162, 163,
164, 170
“The Burial of the Dead,” 124,
125–132, 136, 147, 148, 150,
155, 160
“Death By Water,” 125, 127,
130, 153–154
“The Fire Sermon,” 124, 131,
142, 143–153, 154, 157
“A Game of Chess,” 124, 127,
130, 131, 133–142, 152, 154,
155, 157
“What the Thunder Said,” 125,
131, 153–161
Wheeler, Michael, 75–76, 182
note 4
“When Lilacs Last in the Dooryard
Bloom’d,” 156
Whitman, Walt, 156
Whitworth, Michael, 146–147, 188
notes 54–56
Williams, Rhian, 184 note 15
Wilson, Douglas B., 42, 181 note 28
women
and disgust, 150–154
and hysteria, 134, 136
Tennyson’s fear of, 79
Wordsworth, Catherine, 34–37, 58
Wordsworth, Dorothy, 39
Wordsworth, John, 41
Wordsworth, William, 30–31,
33–72, 73–74, 85, 97, 100,
108, 124, 128–129, 163–165,
175, 179 notes 1,24, 180
note 7, 181 note 44, 182
note 50, 184 note 27, 185
notes 36–37
anxieties about future blindness,
64, 70
and brother’s death, 30, 31
and Coleridge, 44–45
I n d e x206
Wordsworth, William—Continued
and daughter’s death, 34–37
and father’s death, 69–71
and mother’s death, 50–54,
57–60
see also Ode: Intimations of
Immortality from Recollections of
Early Childhood, “Peele Castle,”
The Prelude, “Surprised by
Joy, Impatient as the Wind,”
“Tintern Abbey”
World War I, 131, 132, 139
Wright, Jane, 183 note 15
Wu, Duncan, 39, 58–59, 180 note
18, 182 notes 46–47
Zaretsky, Eli, 78, 184 note 18
Zizek, Slavoj, 16, 59–60, 178 note 12