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
   Suffering, danger

I who have sat by Thebes below the wall
And walked among the lowest of the dead.)
   Outdoors, suffering, death

stairs unlit
   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.