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Dear Peter,

Thank you for the quotation.

> Here is the relevant quote:
>
> In art there should be interpenetration and metamorphosis.  Even The
> Golden Bough can be read in two ways: as a collection of entertaining
> myths, or as a revelation of the vanished mind of which our mind is a
> continuation.  In everything in the Sacre du Printemps, except in the
> music, one missed the sense of the present.  Whether Stravinsky's music
> be permanent or ephemeral I do not know; but it did seem to transform
> the rhythm of the steppes into the scream of the motor horn, the rattle
> of machinery, the grind of wheels, the beating of iron and steel, the
> roar of the underground railway, and the other barbaric cries of modern
> life; and to transform these despairing noises into music.
>                           "London Letter" DIAL 71.4 (October 1921):453
>
> I think one could make a case that the mythical method was very
> seriously on
> Eliot's mind at the time. It was not just a casual idea that he came up
> with in the
> Ullysses review. Obviously these statements are not a full
> justification
> for such
> a case, but certainly indicate that more work would be justified. Even
> "Journey of the Magi"
> and "Ash Wednesday" can be seen to fit the description.
>
>
>

However, I don't see this as a mythical interpretation, however. Eliot
nearly always resisted interpretation. Of course, Sacre du Printemps
(he was reviewing the ballet) is extremely myth-based, the Rite of
Spring with the death of the virgin. That would explain why it was on
his mind; the performance inspired it.

What is mythical about Journey of the Magi or Ash-Wednesday? Both turn
around the Christian story, no? Journey of the Magi was of course the
first Ariel poem, so appeared on a Christmas card.

Yours, Jennifer