What role the auditory imagination?
  ----- Original Message ----- 
  From: Diana Manister 
  To: [log in to unmask] 
  Sent: Tuesday, February 13, 2007 10:10 AM
  Subject: Re: The Emotion of Art

  Dear CR:

  Although I know thoughts and feelings are different, I wonder if free associations one has to words, images and ideas in a poem would be considered to be thoughts or feelings. For example, the Ionian white and gold in the St. Magnus Martyr passage in TWL I associated with the splendour TSE saw in the Western tradition and, since he highlighted that image in a Christian church, I thought or felt he was connecting the two, as if Western secular tradition had an almost sacred glory for him. Now, was I thinking or feeling in making those associations? I do not know! LOL Diana



    From:  cr mittal <[log in to unmask]>
    Reply-To:  "T. S. Eliot Discussion forum." <[log in to unmask]>
    To:  [log in to unmask]
    Subject:  Re: The Emotion of Art
    Date:  Mon, 12 Feb 2007 18:31:54 -0800

    In continuation...

    That the emotion of art is complex is borne out by the opening lines
    of The Waste Land :

    April is the cruellest month, breeding
    Lilacs out of the dead land, mixing
    Memory and desire...

    In the Portrait of a Lady, the lady talks of "these April sunsets,
    that somehow recall / My buried life" even as the "lilacs" of her
    desire bloom again.

    Here, in TWL, the burial of the (spiritually) dead leads to the breeding
    of "lilacs", which brings back the agony of insatiable desire.

    In Whispers of Immortality, Webster, in grappling with lust, sees
    through the nature of carnal desire. It tightens its grip over human
    thoughts, lingers beyond death, staring from the sockets of dead
    person's eyes. It would, doubtless, sprout again like the "Daffodil

    And this is 
    emotion on one side of the scale -- of the "torment / Of 
    love unsatisfied" or the "greater torment / Of love satisfied" 
    [Ash-Wednesday]. An equal intensity operates on the other side
    of the scale if the anguish is not carnal but spiritual. But I'll leave
    that here.

    Incidentally, you would have taken note of the fact since Eliot's
    entire poetic ouvre forms one work, an image used in one poem 
    often gets amplified in another.  

    As for the secret of the emotion's intensity -- and there are as many
    shades to it as the emotions that find expression in his poetry -- it lies 
    in the emotion's reinforcement by the thought that impels it. 
    The intensity of their fusion is remarkable too.

    And there is not a word of Eliot's poetry that is not permeated with
    this fusion of thought and feeling -- and a corresponding intensity.
    To get at Eliot's thought, or to experience the intensity of 
    complex emotion, the first pre-requisite is that his poetic utterance
    be not taken merely literally, that it should be viewed in the
    metaphoric context that enriches and multiplies its complexity.

    I hope we shall have many more occasions to view the beauty, 
    the mystery, and the intensity of Eliot's poetry -- and unravel its rich
    complexity. To quote the poet,  "We shall not cease from exploration..."



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