Okay, Diana, I'm finally getting to Eliot's use of affective language
(in concise if not clear language). I thought that I would go back to
"The Waste Land" passage I commented on earlier (about the use of
indirect emotion). I went up to the beginning of the passage where
Magnus Martyr seems to give us refuge to see how Eliot did it. Here
are the notes that I wrote to myself:
At the violet hour
Like a taxi throbbing waiting
We're still indoors but it is like we are outdoors.
Throbbing gives a sense of danger.
Old man with wrinkled female breasts
Age, death, decay
the evening hour
Again, impending darkness
Out of the window perilously spread
Outdoors is dangerous
he assaults at once
And I Tiresias have foresuffered all
I who have sat by Thebes below the wall
And walked among the lowest of the dead.)
Outdoors, suffering, death
Heading outdoors to the dark
Paces about her room again
crept by me
Even music can be creepy
where the walls
Of Magnus Martyr hold
Inexplicable splendour of Ionian white and gold.
Noon, indoors, God, protective saint (with emphasis accented by
the unusual placement, not Saint Magnus but Magnus, Martyr), light
and bright, even the use of "Ionian" brings up the sunlit seas
where "Ionic" may not.