This chapter explores the primacy of Shakespearean soundscapes in Eliot’s concept of the auditory imagination, expressed as a musical pattern to be found in the metaphorical conjunction of sea and sound. It provides close readings of ‘The Dry Salvages’, Ash-Wednesday, and Marina, in which sea-journeys are linked to the production and manipulation of language. Such poems enact a fluid process of retrieval and fusion that sounds the auditory depths and refines the resultant echoes in the dialectic motion of tidal recurrence. Shakespeare’s musics are apparent in a multiplicity of voices in The Tempest, some corporeal, some disembodied. Eliot finds in the ‘casting again’ of lost voices a mediation between the individual and the multitude: ‘Shakespeare’s later verse … remains the language, not of one person, but of a world of persons’. The chapter moves to consider a pattern of movement towards a ‘lucid stillness’ in Eliot’s poetry, which coincides with what Frank Kermode describes as Shakespeare’s ‘increasing interest in silence [that] might be thought to mark a general development away from rhetorical explicitness and towards a language that does not try to give everything away’.