Four Quartets and the Bible

T.S. Eliot’s “Four Quartets” is truly a masterpiece. After reading “The Waste Land”, I was sure that it was his most intricate, finest work. I was wrong. “Four Quartets” is the densest reading that I have ever encountered. While that could be the result of a plethora of reading at semester’s end, I would compare this to any of Shakespeare’s great works as far as intricately laced significance goes. The rhythm and language of the poem present endless opportunities for deconstruction of meaning.

It was while reading Brooks’ article, “‘Four Quartets’: The Structure in Relation to the Themes”, that I came across a term that sparked my light bulb. While reading each of the quartets, I tried to go into them with an open mind. However, I could not escape the religious undertones that I felt throughout each section, such as ideas of a garden, pools, etc. Brooks’ theory of structure with the divisions of a)vision, b)negation, c)acceptance, d)transformation, e)communion with divine reality, and f) integration were certainly true from my reading of the poem. It was the specific word “reconciliation” within his article that solidified some of my own theories.

When I first started reading “Burnt Norton”, I had visions of Eden and a descent into Hell similar to Dante’s Inferno. Then in “East Coker”, the line “In my beginning is my end” is where I began my search for the Biblical excerpts that Eliot weaved into his poem. So I found a few passages that I thought were integral to Eliot’s work, if not his specific work, then to the overarching themes that Brooks presents. I first found from Revelations 21:6, “I (am) the Alpha and the Omega, the beginning and the end.” Eliot’s repeated emphasis on the beginning and the end is an obvious reference here. Another passage, from 2 Corinthians 4:6, “For God who said, ‘Let light shine out of darkness,’ has shone in our hearts to bring to light the knowledge of the glory of God on the face of Christ.” I think that this passage directly correlates to movement III of “East Coker”. Eliot also incorporates images of “light” and “dark”, with his ultimate message in support of Christianity and the mystery of God’s grace. I think Eliot’s notions of binaries that are seen in “Four Quartets” may have been pulled from 2 Corinthians 4:16-18,

Therefore we are not discouraged; rather, although our outer self is wasting away, our inner self is being renewed day by day. For this momentary light affliction is producing for us an eternal weight of glory beyond all comparison, as we look not to what is seen but to what is unseen, for what is seen is transitory, but what is unseen is eternal.

“Our outer self is wasting away, our inner self is being renewed day by day” may be Eliot’s overall theme for the poem. Despite the mortal lifetime of our physical bodies, through belief in God and Christian teachings, our souls can be immortalized. Yet, while we endure this journey of faith, there are times of darkness (literally and figuratively) and it is the light of God that will save us. I think that this idea can be further seen in 2 Corinthians 5:17-19,

So whoever is in Christ is a new creation; the old things have passed away; behold, new things have come. And all this is from God, who has reconciled us to himself through Christ and given us the ministry of reconciliation, namely. God was reconciling the world to himself in Christ, not counting their trespasses against them and entrusting to us the message of reconciliation.

In my research for these passages, I first started looking for funeral liturgies. While reading the poem, I could not resist the temptation to consider this a funeral rite of sorts. The modern writer’s interest in anthropology and ritual could not be overlooked. Perhaps this is Eliot’s own liturgy as he himself has come full circle from being faithless to faithful.

Modernist Politics

Perhaps it’s highly in part of my lack of knowledge of politics, but this week’s blog is extremely difficult to write. Aside from a consciousness of general world history at the time, I had and probably still have no idea what all the political factions of the time were. With that said, much of the readings were a complete blur except for the understanding of the Modernists extreme interest in politics. The most accessible reading was the chapter in the Cambridge Companion to Modernism. It provided a simple basis for the lay-politician/historian. Building from T.E. Hulme’s “Romanticism and Classicism”, something I was finally familiar with, Sara Blair discusses Ezra Pound and T.S. Eliot’s intense political forces. I had no idea that Ezra Pound was so political. While I am intrigued by his passion, I was sorely disappointed by many of his anti-Semitic and Fascist viewpoints. What repercussions, if any, did this have within the Bloomsbury group and other Modernists of the time? I have a hard time believing that these ideals were upheld by many of these highly-educated, intelligent people, so where is the discordance within the group? Leonard Woolf was of Jewish descent himself, so did that cause issues within the group? Thankfully, Blair incorporates the Modernist movement within America as well, exposing us to other aspects of politics and aesthetics – movements not based upon hate, but rather on freedom, such as the women’s and African-American movements.

As for Leonard’s standpoint on preserving peace, I found that to be much less offending. While I am not quite sure that world peace can ever be attained, I think Leonard’s propositions for it were extremely noble. He and Virginia appear to have been quite a team in their political notoriety, but is there the possibility that Virginia may have overshadowed him slightly with the coming of women’s suffrage and such? Instead of Leonard’s work being praised for its ingenuity, is it possible that it may have been seen as oppressive? And while Leonard and Virginia worked together for their political causes, didn’t Virginia also have problems with Jews? That would make their relationship a rather conundrum – working together for one cause, yet at odds with another.

I also think it is interesting that many of the Bloomsbury group would be Marxists, socialists, or essentially in favor of the labor party. From what I have gathered from class and readings, many, if not all, of the group was particularly well off. What advantage would there be for them in supporting such causes?

Personally, I really enjoyed E.M. Forster’s “What I Believe”. I think the creed that he develops on his own is something that we could all live by. Right off the bat, his work is not pushy. The reader does not feel overwhelmed with his politics, as if they are being shoved down one’s throat. Forster’s respect for classical thought appears to be a great influence to him, specifically Dante. Unlike many other Bloomsbury members, Forster is in support of democracy because of the importance it places on the individual, although he is careful not to be too overzealous in his belief, offering only “two cheers for democracy”. I thought that this piece really gave insight to Forster’s work, especially Howard’s End. His main focus in the novel is the relationships between different people as well as the individual. Finally, I can see the politics in the aesthetics, whereas with Leonard’s work I have no aesthetics to work with other than he is Mr. Virginia Woolf.