The Annotated Edition
A Game of Chess by T. S. Eliot
This is the second section of T.
- Poet
- T. S. Eliot
- Composed
- 1922 · Modernist
- Core theme
- Identity
§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
Why is this section called 'A Game of Chess'?
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.
Who is Philomel and why does Eliot include her?
Philomel appears in Ovid's Metamorphoses. She was a princess who suffered rape at the hands of King Tereus, who then mutilated her by cutting out her tongue to silence her. Eventually, she was turned into a nightingale, and her song became her way of speaking. Eliot uses her as a symbol of beauty that has been violated yet continues to cry out, even in a world that chooses to ignore it. The 'Jug Jug' sound of the nightingale, heard by 'dirty ears,' implies that modern people have lost the capacity to grasp the meaning behind that lament.
What does 'HURRY UP PLEASE IT'S TIME' mean?
It's the classic call that British pub landlords make at closing time, urging customers to finish their drinks. Eliot repeats it five times, transforming it from a simple pub announcement into a broader commentary on mortality and urgency that permeates the entire poem — time is running out for the drinkers, for Lil, and for everyone in the Waste Land. It also puts direct pressure on Lil: get yourself together before Albert gets home, before it's too late.
Why does the companion quote 'Those are pearls that were his eyes'?
That line is taken from Ariel's song in Shakespeare's The Tempest, which describes a man who drowned and was changed by the sea. Eliot references it in The Waste Land to evoke the war dead — men who entered the water (either literally or metaphorically) and never returned. The companion's thoughts keep wandering away from the woman's worried questions, drifting toward themes of death and loss. This is one of several moments where the living and the dead seem uncomfortably near to each other.
Why does the section end with Ophelia's lines from Hamlet?
Ophelia says, "Good night, sweet ladies," just before she descends into madness and drowns. Eliot positions those words right after the drunken pub farewells — "Goonight Bill, Goonight Lou" — creating a blend between the two. This suggests that the everyday women in this poem, like the anxious woman in the first scene and the weary Lil, share common ground with Ophelia: they are all women caught, worn down, or shattered by their surroundings. The literary echo subtly transforms the mundane into something tragic without making it explicit.
What is the relationship between the two scenes in this section?
On the surface, they seem worlds apart—a wealthy woman in an opulent room compared to working-class women in a pub. Yet, Eliot places them together to reveal that both worlds share a deep sense of emptiness and disconnection. The affluent couple struggles to communicate despite their beautiful surroundings. Meanwhile, the women in the pub chatter endlessly, but their words don’t provide any real support for Lil. In both scenarios, relationships are faltering, and individuals feel trapped.
What is the significance of the opening description of the room?
Eliot is intentionally referencing the description of Cleopatra's barge in Shakespeare's Antony and Cleopatra — a powerful image of stunning, seductive beauty. By using that language to describe a private room, he highlights how much has changed for the worse. The room is beautiful, yet the perfumes are 'synthetic,' creating a suffocating beauty instead of one that inspires. The mythological images on the walls (Philomel's rape, the dolphin in sad light) depict only violence or sorrow. It's luxury devoid of significance.
What does the poem say about women specifically?
Both scenes focus on women who feel trapped. In the first scene, the woman is surrounded by wealth but is clearly suffering mentally, unable to connect with her companion. Lil in the pub scene is physically exhausted from poverty, childbearing, and a failed abortion, and is pressured to make herself more appealing for a husband who has been away at war. The references to Philomel (who was raped and silenced) and Ophelia (who was driven mad and drowned) place both women within a long history of women harmed by the male-dominated world.
Citation
Cite this poem
MLA
Eliot, T. S. "A Game of Chess." 1922. Storgy, https://storgy.com/poems/a-game-of-chess-t-s-eliot/.
APA
Eliot, T. S. (1922). A game of chess. Storgy. https://storgy.com/poems/a-game-of-chess-t-s-eliot/
Row A — Thesis
1 ptIn 'A Game of Chess,' T. S. Eliot employs the violent fracturing of allusion, register, and syntax to argue that modern intimacy has devolved into a performance of proximity without genuine contact, with two people (and two social classes) …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
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