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Chokh Raj wrote:
> 
>                  the dialectics of Eliot's poetry

Just what do you mean by dialectics. From what follows you use the word
as a fancy synonym for many-voiced, which really has not much to do with
dialectics. Dialectics (whether Platonic, Cartesian, Hegelian, Marxian,
or Whiteheadian) involves some special sort of totality. A poem, in fact
any text, builds by synthesis rather than unfolding dialectic.

Carrol

> 
>                  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
> 
>                               burning
> 
>                    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.
> 
>                                Best,
>                                 CR
> 
> --- 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?
>     >
>     >  Maybe.
>     >
>     >  -- 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.
> 
>      Cheers,
> 
>      Gunnar