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<p align="center" style="line-height: 150%; margin-top: 0; margin-bottom: 0"><B>
<font size="4">T. S. Eliot: “Four
Quartets&quot;</font></B></p>
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<BR>
</P>
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<FONT SIZE=3>IN these latest poems of his, Eliot has become outright
a poet of the Dark Night of the Soul. The beginnings of the new
avatar were already there certainly at the very beginning. <I>The
Waste Land </I>is a good preparation and passage into the Night.
Only, the negative element in it was stronger – the cynicism, the
bleakness, the sereness of it all was almost overwhelming. The next
stage was &quot;The Hollow Men&quot;: it took us right up to the
threshold, into the very entrance. It was gloomy and fore-boding
enough, grim and serious – no glint or hint of the silver lining
yet within reach. Now as we find ourselves into the very heart of the
Night, things appear somewhat changed: we look at the past indeed,
but can often turn to the future, feel the pressure of the Night yet
sense the Light beyond overarching and embracing us. This is how the
poet begins:</FONT></P>
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<FONT SIZE=3>I said to my soul, be still, and let the dark come upon
you</FONT></P>
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<FONT SIZE=3>Which shall be the darkness of God.<FONT FACE="Luxi Serif">&sup1;</FONT></FONT></P>
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<BR>
</P>
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<FONT SIZE=3>and continues</FONT></P>
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<FONT SIZE=3>I said to my soul, be still, and wait without hope</FONT></P>
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<FONT SIZE=3>but what he adds is characteristic of the new outlook</FONT></P>
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<BR>
</P>
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<FONT SIZE=3>For hope would be hope for the wrong thing;  wait
without love</FONT></P>
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<FONT SIZE=3>For love would be love of the wrong thing; there is yet
faith</FONT></P>
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<BR>
</P>
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<FONT SIZE=2><FONT FACE="Luxi Serif">&sup1;</FONT> &quot;East Coker&quot;</FONT><BR>
		</P>
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<FONT SIZE=2>Page – 140</FONT></P>
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<FONT SIZE=3>But the faith and the love and the hope are all in the
waiting.</FONT></P>
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<FONT SIZE=3>Wait without thought, for you are not ready for thought:</FONT></P>
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<FONT SIZE=3>So the darkness shall be the light, and the stillness
the dancing.</FONT></P>
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<BR>
</P>
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<FONT SIZE=3>Yes, by the force of this secret knowledge he has
discovered, this supreme skill i:r:t action, as it is termed in the
Eastern lore, I that the poet at last comes out into the open, into
the light  and happiness of the Dawn and the Day:</FONT></P>
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<BR>
</P>
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<FONT SIZE=3>Whisper of running streams, and winter lightning.</FONT></P>
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<FONT SIZE=3>The wild thyme unseen and the wild strawberry,</FONT></P>
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<FONT SIZE=3>The laughter in the garden, echoed ecstasy</FONT></P>
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<FONT SIZE=3>Not lost, but requiring, pointing to the agony</FONT></P>
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<FONT SIZE=3>Of death and birth.</FONT></P>
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<BR>
</P>
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<FONT SIZE=3>It is the song of redemption, of salvation achieved, of
Paradise regained. The full story of the purgatory, of man's calvary
is beautifully hymned in these exquisite lines of a haunting poetic
beauty married to a real mystic sense:</FONT></P>
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<BR>
</P>
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<FONT SIZE=3>The dove descending breaks the air</FONT></P>
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<FONT SIZE=3>With flame of incandescent terror</FONT></P>
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<FONT SIZE=3>Of which the tongues declare</FONT></P>
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<FONT SIZE=3>The one discharge from sin and error.</FONT></P>
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<FONT SIZE=3>The only hope, or else despair</FONT></P>
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<FONT SIZE=3>Lies in the choice of pyre or pyre –</FONT></P>
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<FONT SIZE=3>To be redeemed from fire by fire.<FONT FACE="Luxi Serif">&sup1;</FONT></FONT></P>
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<BR>
</P>
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<FONT SIZE=3>The Divine Love is a greater fire than the low
smouldering fire that our secular unregenerate life is. One has to
choose and declare his adhesion. Indeed, the stage of conversion, the
crucial turn from the ordinary life to the spiritual life Eliot has
characterised in a very striking manner. We usually say, sometimes in
an outburst of grief, sometimes in a spirit of sudden disgust and
renunciation that the world is dark and dismal and lonesome, the only
thing to do here is to be done </FONT>
</P>
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<BR>
</P>
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<FONT SIZE=2><FONT FACE="Luxi Serif">&sup1;</FONT>&quot;Little
Gidding&quot;</FONT><BR>
		</P>
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<FONT SIZE=2>Page – 141</FONT><BR>
		</P>
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<FONT SIZE=3>with it. The true renunciation, that which is deep and
abiding, is not, however, so simple a thing, such a short cut. So our
poet says, but the world is not dark enough, it is not lonesome
enough: the world lives and moves in a superficial half-light, it is
neither real death nor real life, it is death in life. It is this
miserable mediocrity, the shallow uncertainty of consciousness that
spells danger and ruin for the soul. Hence the poet exclaims:</FONT></P>
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<BR>
</P>
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<FONT SIZE=3>. . . .Not here</FONT></P>
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<FONT SIZE=3>Not here the darkness, in this twittering world.</FONT></P>
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<FONT SIZE=3>Descend lower, descend only</FONT></P>
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<FONT SIZE=3>Into the world of perpetual solitude,. . . .</FONT></P>
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<FONT SIZE=3>Internal darkness, deprivation</FONT></P>
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<FONT SIZE=3>And destitution of all property,</FONT></P>
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<FONT SIZE=3>Desiccation of the world of sense,</FONT></P>
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<FONT SIZE=3>Evacuation of the world of fancy,</FONT></P>
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<FONT SIZE=3>Inoperancy of the world of spirit;<FONT FACE="Luxi Serif">&sup1;</FONT></FONT></P>
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<BR>
</P>
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<FONT SIZE=3>Yes, that is the condition demanded, an entire vacuity
in which nothing moves. That is the real Dark Night of the Soul. It
is then only that the Grace leans down and descends, then only beams
in the sweet Light of lights. Eliot has expressed the experience in
these lines of rare beauty and sincerity :</FONT></P>
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<BR>
</P>
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<FONT SIZE=3>Time and the bell have buried the day,</FONT></P>
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<FONT SIZE=3>The black cloud carries the sun away.</FONT></P>
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<FONT SIZE=3>Will the sunflower turn to us, will the clematis</FONT></P>
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<FONT SIZE=3>Stray down, bend to us; tendril and spray Clutch and
cling?</FONT></P>
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<BR>
</P>
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<FONT SIZE=3>Chill</FONT></P>
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<FONT SIZE=3>Fingers of yew be curled</FONT></P>
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<FONT SIZE=3>Down on us? After the kingfisher's wing</FONT></P>
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<FONT SIZE=3>Has answered light to light, and is silent, the light is
still</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>At the still point of the turning world.<FONT FACE="Luxi Serif">&sup2;</FONT></FONT></P>
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<BR>
</P>
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<FONT SIZE=2><FONT FACE="Luxi Serif">&sup1; </FONT>&quot;Burnt
Norton&quot;</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=2><FONT FACE="Luxi Serif">&sup2; </FONT> Ibid.</FONT><BR>
		</P>
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<FONT SIZE=2>Page – 142</FONT><BR>
		</P>
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<FONT SIZE=3>Eliot's is a very Christian soul, but we must remember
at the same time that he is nothing if not modern. And this modernism
gives all the warp and woof woven upon that inner core. How is it
characterised? First of all, an intellectualism that requires a
reasoned and rational synthesis of all experiences. Another poet, a
great poet of the soul's Dark Night was, as we all know, Francis
Thompson: it was in his case not merely the soul's night, darkness
extended even to life, he lived the Dark Night actually and
physically. His haunting, weird lines, seize within their grip our
brain and mind and very flesh – </FONT>
</P>
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&nbsp;</P>
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<FONT SIZE=3>My days have crackled and gone up in smoke,<FONT FACE="Luxi Serif">&sup1;</FONT></FONT><BR>
</P>
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<FONT SIZE=3>or,</FONT><BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Suffered the trampling hoof of every hour</FONT></P>
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<FONT SIZE=3>The night's slow-wheel'd car.. . .</FONT></P>
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&nbsp;</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=3>But Thompson was not an intellectual, his doubts and
despondencies were not of the mental order, he was a boiling,
swelling life-surge, a geyser, a volcano. He, too, crossed the Night
and saw the light of Day, but in a different way. Well, I he did not
march into the day, it was the Day that marched I into him! Yes, the
Divine Grace came and seized him from behind with violence. A modern,
a modernist consciousness cannot expect that indulgence. God meets
him only halfway, he has to work up himself the other half. He has
laid so many demands and conditions: the knots in his case are not
cut asunder but slowly disengaged.</FONT></P>
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<FONT SIZE=3>The modern temper is especially partial to harmony: it
cannot assert and reject unilaterally and categorically, it wishes to
go round an object and view all its sides; it asks for a synthesis
and reconciliation of differences and contraries. Two major chords of
life-experience that demand accord are Life and Death, Time and
Eternity. Indeed, the problem of Time hangs heavy on the human
consciousness. It has touched to the quick philosophers and sages in
all ages and climes; it is the great question that confronts the
spiritual seeker, the riddle that the Sphinx of life puts to the
journeying soul for solution.</FONT></P>
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<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=2><FONT FACE="Luxi Serif">&sup1;</FONT>&quot;The Hound of
Heaven&quot;</FONT><BR>
		</P>
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<FONT SIZE=2>Page – 143</FONT><BR>
		</P>
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<FONT SIZE=3>A modern Neo-Brahmin, Aldous Huxley, has given a
solution of the problem in his now famous Shakespearean apothegm,
&quot;Time must have a stop&quot;. That is an old-world solution
rediscovered by the modern mind in and through the ravages of Time's
storm and stress. It means, salvation lies, after all, beyond the
flow of Time, one must free oneself from the vicious and unending
circle of mortal and mundane life. As the Rajayogi controls and holds
his breath, stills all life-movement and realises a dead-stop of
consciousness (Samadhi), even so one must control and stop all
secular movements in oneself and attain a timeless stillness and
vacancy in which alone the true spiritual light and life can descend
and manifest. That is the age-long and ancient solution to which the
Neo-Brahmin as well the Neo-Christian adheres.</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:0.41cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Eliot seems to demur, however, and does not go to that
extreme length. He wishes to go beyond, but to find out the source
and matrix of the here below. As I said, he seeks a synthesis and not
a mere transcendence: the transcendence is indeed a part of the
synthesis, the other part is furnished by an immanence. He does not
cut away altogether from Time, but reaches its outermost limit, its
rim, its summit, where it stops, not altogether annihilated, but held
in suspended animation. That is the &quot;still point&quot; to which
he refers in the following lines:</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:0.41cm; line-height:150%; margin-top:0; margin-bottom:0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>At the still point of the turning world. Neither flesh
nor fleshless;</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Neither from nor towards; at the still point, there the
dance is,</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>But neither arrest nor movement. And do not call it
fixity,</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Where past and future are gathered. Neither movement
from nor towards,</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Neither ascent nor decline. Except <I>for </I>the point,
the still point,</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>There would be no dance, and there is only the dance.<FONT FACE="Luxi Serif">&sup1;</FONT></FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
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<FONT SIZE=3>He aims at the neutral point between the positive and
the</FONT></P>
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<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=2><FONT FACE="Luxi Serif">&sup1;</FONT> &quot;Burnt
Norton&quot;</FONT><BR>
		</P>
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<FONT SIZE=2>Page – 144</FONT><BR>
		</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=3>negative poles, which is neither, yet holding the two
together – at the crossing of Yes and No, the known and the
unknown, the local and the eternal. That is what he means when he
says:</FONT></P>
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<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Here, the intersection of the timeless moment</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Is England and nowhere. Never and always.<FONT FACE="Luxi Serif">&sup1;</FONT></FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=3>First, the movement towards transcendence, that is the
journey in the Night which you do throwing away one by one all your
possessions and burdens till you make yourself bare and naked, you
die – but you are reborn a new babe:</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Into another intensity</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>For a further union, a deeper communion</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Through the dark cold and the empty desolation,</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>The wave cry, the wind cry, the vast waters</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Of the petrel and the porpoise. In my end is my
beginning. <FONT FACE="Luxi Serif">&sup2;</FONT></FONT></P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=3>There must be a beginning, an affirmation. The other
side of nature is not merely transcended and excluded, it must be
taken up too, given some place, its proper place in the totality, in
the higher synthesis:</FONT></P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>So Krishna, as when he admonished Arjuna</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>On the field of battle.</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Not fare wel1, </FONT>
</P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>But fare forward, voyagers.<FONT FACE="Luxi Serif">&sup3;</FONT></FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:4.56cm; line-height:150%; margin-top:0; margin-bottom:0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=3>That is the lesson that our poet has learnt from the
Gita and that is the motto he too would prescribe to the seekers.</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:0.36cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Now, a modern poet is modern, because he is doubly
attracted and attached to things of this world and this mundane life,
in spite of all his need and urge to go beyond for the larger truth
and the higher reality. Apart from the natural link with which we are
born, there is this other fascination</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:0.36cm; line-height:150%; margin-top:0; margin-bottom:0">
<BR>
</P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=2><FONT FACE="Luxi Serif">&sup1;</FONT> &quot;Little
Gidding&quot;</FONT></P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=2><FONT FACE="Luxi Serif">&sup2;</FONT> &quot;East Coker&quot;</FONT></P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=2><FONT FACE="Luxi Serif">&sup3;</FONT> &quot;The Dry
Salvages&quot;</FONT><BR>
		</P>
<P LANG="en-US" ALIGN=CENTER STYLE="border-bottom:1px solid black; padding-top:0cm; padding-right:0cm; padding-bottom:0.07cm; padding-left:0cm; border-top-style:none; border-right-style:none; border-left-style:none; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=2>Page – 145</FONT><BR>
		</P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=3>which the poor miserable things, all the little
superficialities, trivialities especially have for the modern mind in
view of their possible sense and significance and right of existence.
These too have a magic of their own, not merely a black magic:</FONT></P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>..... our losses, the torn seine,</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>The shattered lobsterpot, the broken oar</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>And the gear of foreign dead men. . . .<FONT FACE="Luxi Serif">&sup1;</FONT></FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.27cm; line-height:150%; margin-top:0; margin-bottom:0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=3>or even these local names and habitations:</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Hampstead and Clerkenwell, Campden and Putney,</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Highgate, Primrose and Ludgate.<FONT FACE="Luxi Serif">&sup2;</FONT>
...</FONT></P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=3>It is true the movement towards transcendence is
stronger and apparent in our poet, but the other kindred point-of
home and time-is not forgotten. So he says:</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.04cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>History may be servitude,</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.04cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>History may be freedom. See, now they vanish,</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.04cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>The faces and places, with the self which, as it could,
loved them,</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.04cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>To become renewed, transfigured, in another pattern.</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.04cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Sin is Behovely, but</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.04cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>All shall be well, and</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.04cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>All manner of thing shall be well. <FONT FACE="Luxi Serif">&sup3;</FONT></FONT></P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=3>Nothing can be clearer with regard to the ultimate end
the poet has in view. Listen once more to the hymn of the higher
reconciliation:</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>The dance along the artery</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>The circulation of the lymph</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Are figured in the drift of stars</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Ascend to summer in the tree</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>We move above the moving tree</FONT></P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=2><FONT FACE="Luxi Serif">&sup1;</FONT> &quot;The Dry
Salvages&quot; </FONT>
</P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=2><FONT FACE="Luxi Serif">&sup2;</FONT>&quot;Burnt Norton&quot;</FONT></P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=2><FONT FACE="Luxi Serif">&sup3;</FONT> &quot;Little
Gidding&quot;</FONT><BR>
		</P>
<P LANG="en-US" ALIGN=CENTER STYLE="border-bottom:1px solid black; padding-top:0cm; padding-right:0cm; padding-bottom:0.07cm; padding-left:0cm; border-top-style:none; border-right-style:none; border-left-style:none; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=2>Page – 146</FONT><BR>
		</P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>In light upon the figured leaf</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>And hear upon the sodden floor</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Below, the boarhound and the boar</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Pursue their pattern as before</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>But reconciled among the stars.<FONT FACE="Luxi Serif">&sup1;</FONT></FONT></P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=3>The Word was made flesh and the Word was made Poetry. To
express the supreme Word in life, that is the work of the sage, the
Rishi. To express the Word in speech, that is the labour of the Poet.
Eliot undertook this double function of the poet and the sage and he
found the task difficult. The poet has to utter the unutterable, if
he is to clothe in words the mystic experience of the sage in him.
That is Eliot's ambition:</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>.... Words, after speech, reach</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Into the silence. Only by the form, the pattern,</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Can words or music reach</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>The stillness, as a Chinese jar still</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Moves perpetually in its stillness. <FONT FACE="Luxi Serif">&sup2;</FONT></FONT></P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=3>But, alas!</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.96cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>.... Words strain,</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:1.96cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Crack and sometimes break, under the burden,...<FONT FACE="Luxi Serif">&sup3;</FONT></FONT></P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=3>And a lower and more facile inspiration tempts the poet
and he often speaks with a raucous voice, even as the Arch-tempter
sought to lure the Divine Word Jl1ade flesh:</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>... Shrieking voices</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Scolding, mocking, or merely chattering,</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Always assail them. The Word in the desert</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Is most attacked by voices of temptation,<FONT SIZE=1 STYLE="font-size: 8pt">4</FONT></FONT></P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:0.35cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Our poet is too self-conscious, he himself feels that he
has not the perfect voice. A Homer, even a Milton possesses a</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:0.35cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>unity of tone and a wholeness of perception which are
denied</FONT><BR>
</P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=2><FONT FACE="Luxi Serif">&sup1;</FONT> &quot;Burnt
Norton&quot;</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=2><FONT FACE="Luxi Serif">&sup2;</FONT> Ibid. </FONT>
</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=2><FONT FACE="Luxi Serif">&sup3; I</FONT>bid.</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=2><FONT SIZE=1>4</FONT> Ibid.</FONT><BR>
		</P>
<P LANG="en-US" ALIGN=CENTER STYLE="border-bottom:1px solid black; padding-top:0cm; padding-right:0cm; padding-bottom:0.07cm; padding-left:0cm; border-top-style:none; border-right-style:none; border-left-style:none; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=2>Page – 147</FONT><BR>
		</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=3>to the modern. To the modern, however, the old masters
are not subtle enough, broad enough, psychological enough, let us say
the word, spiritual enough. And yet the poetic inspiration, more than
the religious urge, needs the injunction not to be busy with too many
things, but to be centred upon the one thing needful, viz., to create
poetically and not to discourse philosophically or preach
prophetically. Not that it is impossible for the poet to swallow the
philosopher and the prophet, metabolising them into the substance of
his bone and marrow, of &quot;the trilling wire in his blood&quot;,
as Eliot graphically expresses. That perhaps is the consummation
towards which poetry is tending. But at present, in Eliot, at least,
the strands remain distinct, each with its own temper and rhythm, not
fused and moulded into a single streamlined form of beauty. Our poet
flies high, very high indeed at times, often or oftner he flies low,
not disdaining the perilous limit of bathos. Perhaps it is all
wilful, it is a mannerism which he cherishes. The mannerism may
explain his psychology and enshrine his philosophy. But the poet, the
magician is to be looked for elsewhere. In<B> </B>the present
collection of poems it is the philosophical, exegetical, discursive
Eliot who dominates: although the high lights of the subject-matter
may be its justification. Still even if we have here doldrums. like</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:1.98cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>That the past has another pattern, and ceases to be a
mere sequence –</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="margin-left:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Or even development: the latter a partial fallacy
Encouraged by superficial notions of evolution, Which becomes, in the
popular mind, a means of disowning the past.<FONT FACE="Luxi Serif">&sup1;</FONT></FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=3>we have also high flights like the lines I have already
quoted:</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Time and the bell have buried the day,</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>The black cloud carries the sun away.. . .</FONT></P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=3>which make one wish to have more of the kind. Perhaps
his previous works contained lines more memorable, for example, those
justly famous</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
<P LANG="en-US" ALIGN=JUSTIFY style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<FONT SIZE=2><FONT FACE="Luxi Serif">&sup1;</FONT> &quot;The Dry
Salvages&quot;</FONT><BR>
		</P>
<P LANG="en-US" ALIGN=CENTER STYLE="border-bottom:1px solid black; padding-top:0cm; padding-right:0cm; padding-bottom:0.07cm; padding-left:0cm; border-top-style:none; border-right-style:none; border-left-style:none; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=2>Page – 148</FONT><BR>
		</P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Eyes I dare not meet in dreams</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>In death's dream kingdom</FONT></P>
<P LANG="en-US" ALIGN=JUSTIFY STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>These do not appear:</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>There, the eyes are</FONT></P>
<P LANG="en-US" ALIGN=LEFT STYLE="text-indent:2.01cm; line-height:150%; margin-top:0; margin-bottom:0">
<FONT SIZE=3>Sunlight on a broken column. . . .<FONT FACE="Luxi Serif">&sup1;</FONT></FONT></P>
<P LANG="en-US" ALIGN=LEFT style="line-height: 150%; margin-top: 0; margin-bottom: 0">
<BR>
</P>
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<FONT SIZE=3>Here the poet is almost grimly tense, concentrated and
has not allowed himself to be dissipated by thinkings and arguments,
has confined himself wholly to a living experience. That is because
the poet has since then moved up and sought a more rarefied air, a
more even and smooth temper. The utter and absolute poetic ring of
the <I>Inferno </I>is difficult to maintain in the <I>Paradiso,
</I>unless and until the poet transforms himself wholly into the
Rishi, like the poet of the Gita or the Upanishads.</FONT></P>
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<FONT SIZE=2><FONT FACE="Luxi Serif">&sup1;</FONT>“The Hollow Menâ€</FONT><BR>
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<FONT SIZE=2>Page – 149</FONT></P>
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