No yin/yang here, just thinking of Eliot's oft-noted 
burglar-with-hamburger scenario.

At 02:33 PM 9/25/2006, Diana Manister wrote:

>Ken I could not disagree more with your well-articulated interpretation. I 
>see Eliot's poetry as describing a fallen and fragmented state of being, 
>and quite deliberately. Is that not the theme of The Waste Land?

  The theme? Sure, but that is not the whole picture.

>Everywhere he emphasizes cigarette ends and papers, bits and pieces, 
>refugees far from home, fragments and dislocations, repulsion at bodily 
>appetites and functions. He describes a narrator and other characters who 
>are split within and alienated from the environment and other people.

   It ain't the meat, it's the motion. The landscape is blasted, its 
constituent parts as you describe them, but the movement is not. That, in 
all of Eliot's poetry, early and late, is where the action is.

>  Only in Four Quartets is there a syncretic vision.

   This is simply not true. E.g., at the end of Portrait when the young 
man, in imagination, reaches his hand out across the pond to the failed 
lady, he is acknowledging a reality that has controlled all his actions and 
the lady's, a reality in which both are involved, syncretically if you 
like, but not prettily. Unity in this world looks like Eliot's poetry.

Ken A.