BN II attempts to distinguish between two mystical experiences, one of light (erhebung) and one of darkness. Eliot attempts to demonstrate in the course of FQ how both the tormenting and the exalting experiences can be brought together into the eternity of the same individual. This individual is Eliot, and the experiences are his, not those of some depersonalized humanity. His loves have put him into touch with both torment and exaltation, as have his career and family relationships. At the end of LG, both the "rose" and the "tongues of flame" are brought together in the "crowned knot of fire."
I know that associating each of these flowers with a particular individual is a radical departure from FQ scholarship, but I think it's a fruitful avenue to explore.
J. P. Earls, OSB
St. John's University
Collegeville, MN 56321
From: Marcia Karp [mailto:[log in to unmask]]
Sent: Wednesday, May 22, 2002 12:08 PM
To: [log in to unmask]
Subject: Re: Milton, FQ (why OT?)
> > If it is possible to see the correspondences "faded song" = Vivienne;
> > Royal Rose = Emily Hale; spray of lilacs = Verdenal; then the personal
> > element here adds even more to its stature.
> Well, I see the possibilties for "faded song" and "lavender spray" but
> other than coming up with another name for "Royal Rose" how do you get
> Emily Hale for the rose?
> It seems now accepted that the rose-garden scene in BN was inspired by the visit Eliot and Emily made to the garden at Burnt Norton estate during her visit to England (it was late August-early September '34 that Gordon places the visit to BN). Why it is "royal" and capitalized I'm not guessing. A similar passage occurs in _The Family Reunion_.
I'm lost. Where does the poem point to the poet's private impulses?