Summary

This section takes its title from two plays by the early 17th-centuryplaywright Thomas Middleton, in one of which the moves in a gameof chess denote stages in a seduction. This section focuses on twoopposing scenes, one of high society and one of the lower classes.The first half of the section portrays a wealthy, highly groomedwoman surrounded by exquisite furnishings. As she waits for a lover,her neurotic thoughts become frantic, meaningless cries. Her dayculminates with plans for an excursion and a game of chess. Thesecond part of this section shifts to a London barroom, where twowomen discuss a third woman. Between the bartender’s repeated callsof “HURRY UP PLEASE IT’S TIME” (the bar is closing for the night)one of the women recounts a conversation with their friend Lil,whose husband has just been discharged from the army. She has chidedLil over her failure to get herself some false teeth, telling herthat her husband will seek out the company of other women if shedoesn’t improve her appearance. Lil claims that the cause of herravaged looks is the medication she took to induce an abortion;having nearly died giving birth to her fifth child, she had refusedto have another, but her husband “won’t leave [her] alone.” Thewomen leave the bar to a chorus of “good night(s)” reminiscent ofOphelia’s farewell speech in Hamlet.

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Form

The judge smiled. Men are born for games. Every child knows that play is nobler than work. He knows too that the worth or merit of a game is not inherent in the game itself but rather in the value of that which is put at hazard. Games of chance require a wager to have meaning at all. Here's how Jerome Flynn's character Bennett Drake departed Ripper Street during season 4. Jerome Flynn has had an interesting journey as an actor. He started his career with guest roles on British shows like Boon and Casualty before his first big break came with TV show Soldier Soldier, which followed the lives of a group of soldiers in the British Army. Whatever your career may be, do not let yourselves become tainted by a deprecating and barren scepticism.

It was going to be a very intimate show. But we said we think that the intimacy in normal people’s lives—in a marriage, in an affair—the stakes are as high as they are on Game of Thrones.

1. 'The man who passes the sentence should swing the sword.' Ned Stark may be long dead, but during his all-too-short time on the show he came out with some great lines.
2. I'm sure most of you fine educated crows are aware of this but Daniel Abraham (1/2 of James S.A. Corey, writer of the Game of Thrones graphic novels, friend of GRRM) had this to say about the writing process behind the game of thrones comics: Q: Have you collaborated at all with George R.R. Martin in the process of adapting the novel to comics?

The first part of the section is largely in unrhymed iambicpentameter lines, or blank verse. As the section proceeds, the linesbecome increasingly irregular in length and meter, giving the feelingof disintegration, of things falling apart. As the woman of thefirst half begins to give voice to her paranoid thoughts, thingsdo fall apart, at least formally: We read lines of dialogue, thena snippet from a nonsense song. The last four lines of the firsthalf rhyme, although they are irregular in meter, suggesting atleast a partial return to stability.

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The second half of the section is a dialogue interruptedby the barman’s refrain. Rather than following an organized structureof rhyme and meter, this section constitutes a loose series of phrasesconnected by “I said(s)” and “she said(s).” This is perhaps themost poetically experimental section of the entire poem. Eliot is writingin a lower-class vernacular here that resists poetic treatment.This section refutes the prevalent claim that iambic pentametermirrors normal English speech patterns: Line length and stressesare consistently irregular. Yet the section sounds like poetry:the repeated use of “I said” and the grounding provided by the barman’schorus allow the woman’s speech to flow elegantly, despite her roughphrasing and the coarse content of her story.

Commentary

The two women of this section of the poem represent thetwo sides of modern sexuality: while one side of this sexualityis a dry, barren interchange inseparable from neurosis and self-destruction,the other side of this sexuality is a rampant fecundity associatedwith a lack of culture and rapid aging. The first woman is associated byallusion with Cleopatra, Dido, and even Keats’s Lamia, by virtueof the lushness of language surrounding her (although Eliot wouldnever have acknowledged Keats as an influence). She is a frustrated,overly emotional but not terribly intellectual figure, oddly sinister,surrounded by “strange synthetic perfumes” and smoking candles.She can be seen as a counterpart to the title character of Eliot’searlier “Love Song of J. Alfred Prufrock,” with whom she sharesboth a physical setting and a profound sense of isolation. Her associationwith Dido and Cleopatra, two women who committed suicide out offrustrated love, suggests her fundamental irrationality. Unlikethe two queens of myth, however, this woman will never become acultural touchstone. Her despair is pathetic, rather than moving,as she demands that her lover stay with her and tell her his thoughts.The lover, who seems to be associated with the narrator of thispart of the poem, can think only of drowning (again, in a referenceto The Tempest) and rats among dead men’s bones.The woman is explicitly compared to Philomela, a character out ofOvid’s Metamorphoses who is raped by her brother-in-law theking, who then cuts her tongue out to keep her quiet. She managesto tell her sister, who helps her avenge herself by murdering theking’s son and feeding him to the king. The sisters are then changedinto birds, Philomela into a nightingale. This comparison suggestssomething essentially disappointing about the woman, that she isunable to communicate her interior self to the world. The womanand her surroundings, although aesthetically pleasing, are ultimatelysterile and meaningless, as suggested by the nonsense song that shesings (which manages to debase even Shakespeare).

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The second scene in this section further diminishes thepossibility that sex can bring regeneration—either cultural or personal.This section is remarkably free of the cultural allusions that dominatethe rest of the poem; instead, it relies on vernacular speech tomake its point. Notice that Eliot is using a British vernacular: Bythis point he had moved to England permanently and had become aconfirmed Anglophile. Although Eliot is able to produce startlinglybeautiful poetry from the rough speech of the women in the bar,he nevertheless presents their conversation as further reason forpessimism. Their friend Lil has done everything the right way—married,supported her soldier husband, borne children—yet she is being punishedby her body. Interestingly, this section ends with a line echoingOphelia’s suicide speech in Hamlet; this linksLil to the woman in the first section of the poem, who has alsobeen compared to famous female suicides. The comparison betweenthe two is not meant to suggest equality between them or to proposethat the first woman’s exaggerated sense of high culture is in anyway equivalent to the second woman’s lack of it; rather, Eliot meansto suggest that neither woman’s form of sexuality is regenerative.