this vis-a-vis Peter Montgomery's remark
"Dante's influence on European literature was enhanced greatly by T. S. Eliot, who in a sense renovated Dante for modern literature. ...
It is fitting that the last word in this volume should fall to the writer who brought the topic of T. S. Eliot and Dante to coalescence over twenty years ago in T. S. Eliot and Dante (1989). One of the most compelling responses to the Eliot-inspired embrace of Dante by twentieth-century writers has come recently from the pen of American writer Wendell Berry. The vital European tradition appears to form the core of Berry's contemporary American literary project. On receiving the T. S. Eliot Award for Creative Writing in 1994, Berry paid tribute to Eliot's "pilgrimage of works" from "The Love Song of J. Alfred Prufrock" to The Elder Statesman. Eliot, according to Berry, presented "dismembered" personalities who move out of the shadows of the wasteland and into the light of what Berry calls "a love far greater… than their own." Manganiello argues that Berry's own fragmented figures in novels such as Remembering (1988) and Jayber Crow (2000) follow a similar trajectory to become transfigured pilgrims in a divine comedy. The exchanges of love and compassion that restore fractured family relationships in Eliot's The Elder Statesman are echoed in Berry's work, which Manganiello argues is founded on Dantesque themes that reaffirm the importance of "Europe's Epic" and therefore an "idea of Europe" propounded by Eliot."
-- INTRODUCTION, PAUL DOUGLASS in T. S. Eliot, Dante, and the Idea of Europe (2011), edited by Paul Douglass
Well, largely, if not solely, I would suppose.
//Could it be said that Eliot, Virgil-like, led Dante into the 20th Century?//P. M.Chokh Raj <[log in to unmask]> wrote:
The Poet in Transformation: Dantean Aesthetics in T.S. Eliot's The Waste Land (2012)
Dante was a seminal influence in T. S. Eliot’s poetry. Many scholars have acknowledged Eliot’s professed debt to Dante and have examined Eliot’s explicit imitations of Dante; however, few have pinpointed
Dantean influences in non-explicit references to Dante, and few have credited the
influence of a Dantean progress narrative across Eliot’s poem The Waste Land. This thesis broadly analyzes the principles of Dante’s aesthetic in
the poem while analyzing the Sibyl, the Hanged Man, and the Prajapati parable for their relevance to Eliot’s aesthetic theory. When Dantean aesthetics and close readings of The Waste Land are compared with Eliot’s contemporary essays on art, a fuller view of the aspects of Dante’s fundamental influence emerges. In particular, the prominence of Dante in the sub-text of Eliot’s The Waste Land reveals the nature of their shared aesthetic—that art is a moral work by virtue of a spiritual transformation endured by the artist, which involves both a sacrifice of self and a substantiation of self. A deeper examination of Dante’s influence on T. S. Eliot yields a vaster understanding of Eliot’s aesthetics while helping to elucidate one of the central mysteries in Eliot’s theory of art, the role of “personality.”