smh… there was an extra “of” in there…

Lines 312-321:

Phlebas the Phoenician, a fortnight dead,
Forgot the cry of gulls, and the deep sea swell
And the profit and loss.
A current under sea
Picked his bones in whispers. As he rose and fell
He passed the stages of his age and youth
Entering the whirlpool.
Gentile or Jew
O you who turn the wheel and look to windward,
Consider Phlebas, who was once handsome and tall as you.

Lines 235-252:

The time is now propitious, as he guesses,
The meal is ended, she is bored and tired,
Endeavours to engage her in caresses
Which still are unreproved, if undesired.
Flushed and decided, he assaults at once;
Exploring hands encounter no defence;
His vanity requires no response,
And makes a welcome of indifference.
(And I Tiresias have foresuffered all
Enacted on this same divan or bed;
I who have sat by Thebes below the wall
And walked among the lowest of the dead.)
Bestows one final patronising kiss
And gropes his way, finding the stairs unlit…

She turns and looks a moment in the glass
Hardly aware of her departed lover;
Her brain allows allows one half-formed thought to pass:
Well now that’s done: and I’m glad it’s over.”

Simply enough:

Mick asks multiple times on the mixtape, “Don’t you know who I pray to?” to demonstrate the strength he finds in God. He also thanks God for the water that is so significant to him.

Once again, though, Eliot is more subtle. The final line of The Waste Land is perhaps the best example of the power he sees in spirituality: “Shantih shantih shantih.” This doubles in meaning: it invokes the Hindu prayer, which Eliot translates as “the peace which passeth understanding,“ and it hints at the sound of falling rain to end the poem.