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The poem “Marina” of T. S. Eliot technically takes the play Pericles of Shakespeare in terms of two voices: the surface pattern based on a dramatic story of Pericles, prince of Tyre, and the deep pattern based on a ultra-dramatic feature of solemn music. Shakespeare is regarded as a dramatist and poet in his later works, such as Pericles, in which he uses a system of related allusions in dramatic situations to reflect implicitly on drama and its program in a unity of poetry and music. Eliot technically steals it in a different way, called his own program, where he secures a solemnity by virtue of a gaiety of content, and a gaiety by virtue of a solemnity of content. His poem thus is poetry which uses the order in which Pericles is written and his technical relations to the play in conversational language and dramatic situations on the surface and in ultra-dramatic aspects in depth. In the ultra-dramatic presentation, musical pattern, and liturgical treatment of characters’ emotions proceed to comment on the recognition scene (V, i) of the play. In the poem, the ultra-dramatic aspects refer to “Eliot’s perspective on life that is as if from beyond life.” The hidden music from the recognition scene (V, i) of the play seems supernatural, as if we are taking part in a ritual. Finally in terms of synchronicity, Hercules, a stoical character in Seneca, is taken for Pericles in Shakespeare; and Senecan Shakespeare is almost certain to be produced in Eliot’s poem “Marina.” We can see this synchronicities value in Eliot’s view of stoical life, taken from Seneca and Shakespeare as well.