1. Eliot repeatedly said:
"That is not what I meant at all.
That is not it, at all.
That is not it at all,
That is not what I meant, at all"
He put them in almost perfect parallel, with minute variations. Semantically, they are the same. But the flow or the torrent of self-biting emotion is very different. This is also why you can only feel the torrent by reading it out loud.
After listening to Eliot reading this poem, now I think these lines are words of Eliot's fear: What if I misunderstood? What about the embarrassment? What about the total negation of all I have already felt?
2. An overarching negation.
What if, for every narrative, you put a meta-narrative on top of it. Using the meta-narrative as prophet or simply a refute or negation of the content of the narrative. It's the antithesis of fiction and nonfiction. But I yet to figure out the interaction of the meta-negation and the assertion of the content.
3. A discrete function of language.
Language imposes an artificial compartment on the intertwined polyphonic life. Is language itself a negation? Is language only an approximation to the underlying truth? "That is not what I meant at all. That is not it, at all."
4. An iteration within another
When I was listening to Eliot reading the love song, some new revelation hit me.
And time yet for a hundred indecisions,
and for a hundred visions and revisions.
This poem is but one of the indecisions, one of those visions and revisions. Eliot put a metadata or words of prophecy in the very beginning of this poem.
5. An unanswerable question and an unaskable question
Eliot put himself in a dilemma. He wouldn't really start asking his question until he knows the answer to it. But it's a human-made artificial dilemma he creates for himself. Well understood though.
6. I have heard the mermaids singing, each to each ... We have lingered in the chambers of the sea/By sea-girls wreathed with seaweed red and brown/Till human voices wake us, and we drown.
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