The Annotated Edition
A GAME OF CHESS by T. S. Eliot
This is the second section of T.
- Poet
- T. S. Eliot
- Year
- 1922
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
The Chair she sat in, like a burnished throne, / Glowed on the marble, where the glass
Editor's note
Eliot begins by deliberately referencing Shakespeare's *Antony and Cleopatra* — Cleopatra's barge transforms into a chair, instantly deflating the grandeur since we’re in a private room rather than on a river. The description emphasizes luxury: mirrors, candelabras, jewels, and perfumes. However, the perfumes are described as 'strange' and 'synthetic,' overwhelming the senses instead of pleasing them. Here, beauty feels suffocating rather than life-giving. Though the room is filled with objects, it feels stifling.
Huge sea-wood fed with copper / Burned green and orange, framed by the coloured stone,
Editor's note
The fireplace crackles with driftwood treated with copper salts, creating those haunting green and orange flames. Above the mantel, there's a portrayal of the myth of Philomel — the princess who was raped by King Tereus and transformed into a nightingale. Her song ('Jug Jug') symbolizes violated beauty, continuing to cry out even when no one wants to listen. The 'withered stumps of time' on the walls hint that history isn't uplifting here — it's decaying, watching, and oppressive.
"My nerves are bad to-night. Yes, bad. Stay with me. / "Speak to me. Why do you never speak. Speak."
Editor's note
The woman suddenly speaks, her voice frantic, repetitive, and desperate. She bombards her companion with questions — *What are you thinking? What? Think.* — but receives no substantial answers in return. Her companion's thoughts wander to 'rats' alley / Where the dead men lost their bones,' conjuring images of the war’s casualties. Though they occupy the same room, their minds are worlds apart. The line 'Those are pearls that were his eyes,' taken from *The Tempest*, suggests someone who has drowned, transformed, and is now lost.
"What shall I do now? What shall I do?" / I shall rush out as I am, and walk the street
Editor's note
The woman's anxiety escalates into a state of near-hysteria. Her questions remain unanswered: *What are we going to do tomorrow? What will we ever do?* The companion replies with a dull schedule — hot water at ten, a car that won't be available until four, a game of chess. This chess game, referenced in the title, unfolds here: two people moving pieces, waiting, going through the motions, staring with 'lidless eyes' (unable to sleep, unable to look away) as they anticipate a knock that may never come. Life has turned into a game of waiting.
When Lil's husband got demobbed, I said— / I didn't mince my words, I said to her myself,
Editor's note
The scene abruptly shifts — no transition — to a pub at closing time. A woman bluntly tells her friend Lil, without much kindness, to fix her teeth before Albert returns from the army. The repeated 'HURRY UP PLEASE IT'S TIME' is the barman calling last orders, but it also serves as a comment on the entire poem: time is running out for everyone. Lil's story is one of exhaustion, unwanted pregnancy, and a body worn down by poverty and childbearing. She took pills to induce a miscarriage and has never fully recovered.
Goonight Bill. Goonight Lou. Goonight May. Goonight. / Ta ta. Goonight. Goonight.
Editor's note
The pub clears out in a haze of slurred goodnights. The last line — 'Good night, ladies, good night, sweet ladies, good night, good night' — is Ophelia's farewell before she drowns in *Hamlet*. Eliot includes it without any commentary. The drunken farewells and Ophelia's frantic goodbye intertwine: everyday folks leaving a bar and a woman heading toward her death share the same words. It's a subtle yet powerful conclusion to the section.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The game of chess
- Chess is a game of strategy and patience, where two players confront each other on a board and make thoughtful moves. In this context, it symbolizes the empty rituals of a relationship — two people going through the motions, neither really connecting, both just waiting for something to change.
- Philomel / the nightingale
- In Ovid's *Metamorphoses*, Philomel is raped by Tereus and becomes a nightingale. Her song ('Jug Jug') symbolizes violated beauty that won’t be silenced — yet it's a beauty that the modern world often dismisses as mere noise, since 'dirty ears' can't truly appreciate it. She embodies the artist or the victim whose cry persists even when there's no audience.
- HURRY UP PLEASE IT'S TIME
- On the surface, this is a British pub landlord's call for last orders. When repeated five times, it creates a rhythmic sense of urgency and mortality — time is running out for everyone in the poem, not just the drinkers. It also puts pressure on Lil directly: pull yourself together before it’s too late.
- Perfumes and synthetic odours
- The woman's perfumes are described as 'strange' and 'synthetic' — artificial replacements for natural scents. They tend to overwhelm instead of delight. They reflect a world where beauty has been produced and turned into a commodity, making it feel suffocating rather than uplifting.
- Pearls that were his eyes
- Borrowed from Ariel's song in *The Tempest*, this image depicts a drowned man whose eyes have turned into pearls. In this context, it evokes the war dead — men who are lost, now transformed into something cold, beautiful, and forever absent. Even amid a domestic argument, the companion's thoughts keep returning to them.
- Ophelia's goodbye
- The closing lines resonate with Ophelia's farewell in *Hamlet* just before her drowning. Positioned after the slurred goodnights at the pub, this reference implies that the everyday women in this poem — the anxious rich woman and the exhausted Lil — have something in common with Ophelia: they are all women overwhelmed by the worlds created by men.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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