the dialectics of Eliot's poetry
where echoes move back and forth
and echo to echo resounds
 the story of Eliot's poetry
at heart, the story of Mr Norton
(meet Mr Eliot)
aspiring for a lifetime's burning in love
 and getting instead burnt
 in the fires of lust.
Burning burning burning burning
O Lord Thou pluckest me out
O Lord Thou pluckest
You're getting it right, Tom
the blue chart up your sleeve
standing at the threshold
the door is right before you
you've got the key
open it for all of us to walk through 
a revelation both simple and profound. 

--- On Fri, 1/30/09, Gunnar Jauch <[log in to unmask]> wrote:
From: Gunnar Jauch <[log in to unmask]>
Subject: Re: The Dry Salvages - what's in a name?
To: [log in to unmask]
Date: Friday, January 30, 2009, 9:32 AM

Am 30.01.2009 um 13:51 schrieb Tom Colket:

I've been away for a few weeks, so I hope it's not too late to answer this.

My main comment is that the all four of the quartets have odd titles if one chooses to look at it that way, not just "The Dry Salvages":

a) "Burnt Norton" - A poem about a beautiful garden starts with the word "burnt".

b) "East Coker" - The Modernists glorified the Western canon, and this poem begins with the word "East".

c) "The Dry Salvages" - As you say, "focuses
 so eloquently, beautifully and subtly on water, has a title that begins with the word DRY".

d) "Little Gidding" - A poem that directs out attention to God and God's ultimate _big_ plans for the universe ("All shall be well . . .") 
has a title that begins with the word "little".

Was Eliot doing some kind of deliberate word-play with the titles? Were the titles just names of significant places that happened to be two-word names in which the first word inverts the expected meaning of the following poem? 


-- Tom --

What an excellent observation, dear Tom!
In spite of my ongoing effort to memorize 4Q I have never noticed the inherent dichotomy between the titles and the content.