By G. Atkins
This publication bargains an exhilarating new method of T.S. Eliot's 4 Quartets because it exhibits why it's going to be learn either heavily and when it comes to Eliot's different works, particularly the poems The Waste Land, 'The hole Men,' and Ash-Wednesday .
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Additional info for Reading T.S. Eliot: Four Quartets and the Journey toward Understanding
You might wonder, then, whether the seemingly formless form of Eliot’s last major poem bears responsibility for the reader’s difficulty at least as much as the ideas and feelings that constitute its foundation. ”5 The “new verse” of Four Quartets smacks of “the poetry of statement” sometimes associated with the English Augustan poets John Dryden and Alexander Pope, the former a poet, critic, and playwright on whom Eliot, to more or greater degree, may have modeled his career. Confronting Four Quartets for the first time, you might read and reread and then read the poem again and again.
Once it is acknowledged, it roams widely and far, having no bounds. 13 The Church of England, it is important to understand, subsumed “rituals of private confession and prayer within the public service of the church,” thus complicating the opposition between inner and outer that functions as an analogue of letter and spirit. Eliot’s mentor, Lancelot Andrewes, for one argued, as Ramie Targoff has recently written in Common Prayer: The Language of Public Devotion in Early Modern England, that “words alone are insufficient in the service of God”: “Solomon prayed upon his knees; Daniel fell down upon his knees; so did St.
84 4 Chapter 2 The Pat ter n Refined Four Quartets and the Way o f I nca r nat i o n Ar r iv ing ( at Last) Four Quartets consists of four distinct but related parts, each pub- lished separately over a number of years: “Burnt Norton,” which initially appeared in 1936 in Eliot’s Collected Poems; “East Coker,” which first appeared in the Easter supplement to The New English Weekly in 1940 and was published later that year as a small book by Faber and Faber, the firm for which Eliot worked; “The Dry Salvages,” which first appeared in The New English Weekly the following year and was published in book form later that year by Faber and Faber; and “Little Gidding,” first published in late 1942 by Faber and Faber.