This is the fundamental theme, the blood, so to speak, of this poem, and it flows through each of the fragmented sections sometimes blatantly, and others subtler. This could be a possible connection between Tristan und Isolde and the one-sided romance of the Hyacinth Girl and our narrator, but since we are not given concrete proof or an explanation as to why he is the way he is by Eilot himself, this connection is highly unlikely. Because the following lines after her speaking piece are not within quotation marks, the reader can assume he is thinking to himself, and not voicing these lines aloud to the Hyacinth Girl, whom at this point might be waiting for his response to her attempt at creating conversation.
The footnote attached to the end of the word says that the word hyacinth is the name for a young male lover of Apollo, who was fatally wounded throwing a discus with him.
Hyacinths, both the myth and the flowers, symbolize a failed love, which is the most prevalent theme in this poem. That even love itself, the strongest and most formidable force of all, has no place in the wake of World War I. Eliot, T. New Haven: Yale UP, Greenblatt, Stephen, M.
Abrams, Jahan Romanzi, and Jon Stallworthy. The Norton Anthology of English Literature. Ninth ed.
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Get out the microscope, because we’re going through this poem line-by-line.
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