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The Annotated Edition

A GAME OF CHESS by T. S. Eliot

Summary, meaning, line-by-line analysis & FAQ.

This is the second section of T.

Poet
T. S. Eliot
Year
1922
The PoemFull text

A GAME OF CHESS

T. S. Eliot, 1922

The Chair she sat in, like a burnished throne, Glowed on the marble, where the glass Held up by standards wrought with fruited vines From which a golden Cupidon peeped out 80 (Another hid his eyes behind his wing) Doubled the flames of sevenbranched candelabra Reflecting light upon the table as The glitter of her jewels rose to meet it, From satin cases poured in rich profusion. In vials of ivory and coloured glass Unstoppered, lurked her strange synthetic perfumes, Unguent, powdered, or liquid—troubled, confused And drowned the sense in odours; stirred by the air That freshened from the window, these ascended 90 In fattening the prolonged candle-flames, Flung their smoke into the laquearia, Stirring the pattern on the coffered ceiling. Huge sea-wood fed with copper Burned green and orange, framed by the coloured stone, In which sad light a carvèd dolphin swam. Above the antique mantel was displayed As though a window gave upon the sylvan scene The change of Philomel, by the barbarous king So rudely forced; yet there the nightingale 100 Filled all the desert with inviolable voice And still she cried, and still the world pursues, “Jug Jug” to dirty ears. And other withered stumps of time Were told upon the walls; staring forms Leaned out, leaning, hushing the room enclosed. Footsteps shuffled on the stair. Under the firelight, under the brush, her hair Spread out in fiery points Glowed into words, then would be savagely still. 110 “My nerves are bad to-night. Yes, bad. Stay with me. “Speak to me. Why do you never speak. Speak. “What are you thinking of? What thinking? What? “I never know what you are thinking. Think.” I think we are in rats’ alley Where the dead men lost their bones. “What is that noise?” The wind under the door. “What is that noise now? What is the wind doing?” Nothing again nothing. 120 “Do “You know nothing? Do you see nothing? Do you remember “Nothing?” I remember Those are pearls that were his eyes. “Are you alive, or not? Is there nothing in your head?” But O O O O that Shakespeherian Rag— It’s so elegant So intelligent 130 “What shall I do now? What shall I do?” I shall rush out as I am, and walk the street “With my hair down, so. What shall we do tomorrow? “What shall we ever do?” The hot water at ten. And if it rains, a closed car at four. And we shall play a game of chess, Pressing lidless eyes and waiting for a knock upon the door. When Lil’s husband got demobbed, I said— I didn’t mince my words, I said to her myself, 140 HURRY UP PLEASE IT’S TIME Now Albert’s coming back, make yourself a bit smart. He’ll want to know what you done with that money he gave you To get yourself some teeth. He did, I was there. You have them all out, Lil, and get a nice set, He said, I swear, I can’t bear to look at you. And no more can’t I, I said, and think of poor Albert, He’s been in the army four years, he wants a good time, And if you don’t give it him, there’s others will, I said. Oh is there, she said. Something o’ that, I said. 150 Then I’ll know who to thank, she said, and give me a straight look. HURRY UP PLEASE IT’S TIME If you don’t like it you can get on with it, I said. Others can pick and choose if you can’t. But if Albert makes off, it won’t be for lack of telling. You ought to be ashamed, I said, to look so antique. (And her only thirty-one.) I can’t help it, she said, pulling a long face, It’s them pills I took, to bring it off, she said. (She’s had five already, and nearly died of young George.) 160 The chemist said it would be all right, but I’ve never been the same. You _are_ a proper fool, I said. Well, if Albert won’t leave you alone, there it is, I said, What you get married for if you don’t want children? HURRY UP PLEASE IT’S TIME Well, that Sunday Albert was home, they had a hot gammon, And they asked me in to dinner, to get the beauty of it hot— HURRY UP PLEASE IT’S TIME HURRY UP PLEASE IT’S TIME Goonight Bill. Goonight Lou. Goonight May. Goonight. 170 Ta ta. Goonight. Goonight. Good night, ladies, good night, sweet ladies, good night, good night.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

This is the second section of T. S. Eliot's *The Waste Land*, where two very different couples find themselves stuck in unfulfilling lives. In the first scene, a wealthy woman lounges in an exquisite room filled with beautiful objects, yet she and her quiet companion struggle to connect. In the second scene, a working-class woman named Lil feels the pressure from her friend to prepare herself for her husband Albert's return from the war, but their conversation is cut short by the bartender announcing last orders.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. 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.

  2. 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.

  3. "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.

  4. "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.

  5. 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.

  6. 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

The tone shifts twice, each time intentionally jarring. The first phase feels oppressive and claustrophobic — the language is dense, overly ornate, and almost sickening in its richness. Then it turns raw and anxious as the woman begins to speak, her sentences fragmenting under the weight of her nerves. The pub scene is filled with gossip, bluntness, and a touch of comedy — until it suddenly shifts. Eliot keeps the reader slightly unsettled, never allowing any single tone to linger long enough to feel comfortable.

§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

T. S. Eliot released *The Waste Land* in 1922, and 'A Game of Chess' is the second of its five sections. Eliot composed much of the poem while recovering from a nervous breakdown, and his struggles in his marriage to Vivienne Haigh-Wood — who dealt with significant mental health issues — come through in the opening scene, where two people fail to connect. The poem was published shortly after the First World War, which claimed nearly a million British lives, and the character of Albert, recently 'demobbed' (demobilized from the army), places the pub setting firmly in that post-war context. Eliot weaves in references to Shakespeare, Ovid, and other literary works, not to flaunt his knowledge, but to imply that the modern world is a diminished reflection of its predecessors. The section's title references two Jacobean plays — Thomas Middleton's *A Game at Chess* and *Women Beware Women* — both of which use chess as a metaphor for sexual and social manipulation.

§07FAQ

Questions readers ask

The title refers to two Jacobean plays by Thomas Middleton where chess serves as a guise for seduction and manipulation. In Eliot's part, the chess game shows up towards the end of the first scene, symbolizing two people stuck in a relationship, making moves, waiting, and getting nowhere. This section focuses on characters playing their roles — the anxious wealthy woman, the domineering friend, and the worn-out Lil — all while lacking genuine communication or freedom.

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