This chapter provides a detailed study of three incarnations of the alien self in Eliot’s poetry. It situates Eliot’s anxieties as to the multiplicity and permeability of the self in the broader context of Romantic and post-Romantic depictions of doubles (found in Heine, Goethe, Dostoevsky, Stephenson, Hogg, Wilde and Tennyson, amongst others). Given specific artistic incarnation by the tormented nineties generation that preceded Eliot (Johnson, Dowson, Thomson and Monro), the dark embryo is transformed in The Waste Land and The Cocktail Party into a vital, if parasitic, element of the poet’s psyche. The hollow man, in contrast, warns of the consequences of suppression and separation from the proto-Jungian creative rootstock. The doppelgänger appears most terrifyingly in an uncollected and little-studied address Eliot gave in which he confronted his own ghost, and which prefigures the compound ghost of ‘Little Gidding’. These three figures are invoked to explore the thematic linkage between Eliot’s images of ersatz life and the hidden, submarine self that strives to break free of the constraints of civilised consciousness by recourse to the rituals and rhythms of the dead.