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