I wish to enter this quote from the thoughtful piece by Michael R. Stevens,
"The Bones in Mr. Eliot's Closet," from Christianity Today, referenced by
>When I teach Eliot to my students, I like to finish by mulling over a line
>from the final section of "Little Gidding," the last of the Quartets and
>practically the final lyric poetry of his career: "Every poem is an
>epitaph." Usually the students get it: for the artist, the art is the
>intended legacy, the definitive statement to the world. If this is so,
>then Eliot deserves to be remembered not for what he may have hidden and
>obscured, but rather for what he certainly gave and revealed.
Well said, Herr Professor Stevens.
----- Original Message -----
From: Rickard A Parker <[log in to unmask]>
To: <[log in to unmask]>
Sent: Friday, January 11, 2002 10:31 AM
Subject: Re: Anglo-something-or-other
> Rick Parker wrote:
> > Seriously though, I've seen something written where Eliot got this by
> > modifying something said by Charles Maurras. Can anyone supply the
> > Maurras quote?
> I thought of a new way to search and this might help.
> Michael R. Stevens
> The Bones in Mr. Eliot's Closet
> Rediscovering the patron saint of all the flawed and haunted seekers
> of modernity.
> Kenneth Asher comes closer to pinning down these socio-political
> concerns in his book T.S. Eliot and Ideology. Asher sees Eliot's
> early attraction to the proto-Fascist ideas of Charles Maurras
> and his organization L'Action Franšaise, as the enduring and
> dominant feature in Eliot's development, spiritual and otherwise.
> Indeed, it is no accident that Eliot's famous pronouncement in
> the preface to For Lancelot Andrewes is an echo of an early
> manifesto from the newspaper of L'Action Franšaise, published
> around the turn of the century (a formula that included the
> necessity of anti-Semitism in the mix). Eliot had also made a
> very public defense of Maurras, in the pages of The Criterion,
> when the Frenchman was condemned by the Vatican in 1926 for
> espousing and promulgating a form of Catholicism which valued the
> Church's political function while denying Christ.
> BTW, the essay ends with:
> We are left finally with a sense of Eliot's importance, not as a
> model political theorist nor humanitarian nor chaste and ethereal
> thinker nor even congenial neighbor; he seems to have been flawed
> in every category. But his flaws, or rather his recognition and
> expression of the flaws of human existence, made for beautiful
> and meaningful poetry.
> When I teach Eliot to my students, I like to finish by mulling
> over a line from the final section of "Little Gidding," the last
> of the Quartets and practically the final lyric poetry of his
> career: "Every poem is an epitaph." Usually the students get it:
> for the artist, the art is the intended legacy, the definitive
> statement to the world. If this is so, then Eliot deserves to be
> remembered not for what he may have hidden and obscured, but
> rather for what he certainly gave and revealed.
> Rick Parker