The "Four Quartets" was constructed after Eliot's alteration to Christianity, and these poems seem to be Eliot dealing with a new knowledge of the intersection between your temporal wosthe eternal. For him, the relationship between time and eternity is essential to both a knowledge of life and a way for coping with it.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden. My words echo
Thus, in your mind. (Burnt Norton I, 11-15)
But to what purpose
Disturbing the dust particles on a plate of rose leaves
I do not know (Burnt Norton I, 16-18).
What has occurred and exactly what will happen, get together at the present moment only. Regarding to Karey Perkins (2002: [sp]), Eliot's concept of the type of the world "includes the thought of time (temporality), that is, the materials, transitory, here and today, the physical world; and eternity, the intangible, transcendent realm where one sees God, and then for Eliot, so this means and order in life. Four Quartets discusses the dichotomy between eternity and temporality, and the moments of union between the two. "
Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable. (Burnt Norton I, 1-5)
Terry Fairchild suggests that these starting lines ". . . display Eliot's grasp of the time, its spiritual relevance, and its philosophically exasperating mother nature which the poet contemplates in the series: 'time is eternally present, ' an assertion that lends to time both comparative and total properties while conflating its various, fluctuating varieties. " The past is forever disappearing, and the near future forever being created. Thus, the present is forever being renewed into an individual moment.
Eliot goes on to depict the unreal world of what might have been: a world with the kids he could have conceived, which only is accessible in a certain light and this collapses with the passage of a cloud. But one cannot stay in this abstract garden of opportunities, one cannot even stay there long, as he is influenced from it by the immediate "Go, go, go". One must return to reality; what the next section of Burnt Norton cites as the world of dirt and bloodstream, of artery and lymph, where we could personified, and in which we are captured with time.
This first poem is concerned with the number of different qualities of the time and eternity that he studies and revisits in the Four Quartets from many perspectives. It can be argued that, the temporal and the eternal, is symbolised in the imagery. You have the unwelcome thrush, which does not have the garden's ageless perfection and is also not free, like your garden, from the bonds of the time. Thus it symbolises the temporal. As opposed to this, your garden possesses perfect beauty and transcendence, and is also the embodiment of timeless (or eternal) characteristics. However, the rose garden is also susceptible to time since it is a great rather than an actual garden. In eternity, it'll outlast a literal garden, but finally it is only a construction, and its own beauty and efficiency will be helped bring into question as ideals change as time passes.
human being kind
cannot bear very much truth. (Burnt Norton I, 44-45)
Yet the enchainment of earlier and future
Woven in the weakness of the changing body,
Protects mankind from heaven and damnation
Which flesh cannot endure.
Time past and time future
Allow but a little awareness.
To be conscious is not to maintain time
But only with time can the moment in the rose-garden,
The minute in the arbour where the rain beatbe appreciated.
Only through time time is conquered. (Burnt Norton II, 33-44)
Except for the point, the still point,
There would be no boogie, and there is merely the party.
I can only say, there we have been: but I cannot say where,
And I cannot say, the length of time, for your is to put it with time.
(Burnt Norton II, 20-23)
This "still point" can never be completely experienced, but Eliot shows that today's is the stage where days gone by and future meet, and where humanity must learn to live.
Time history and time future
What might have been and what has been
Point to one end, which is definitely present. (Burnt Norton I, 46-48)
Houses go up and land, crumble, are expanded,
Are removed, destroyed, restored, or in their place
Old natural stone to new building, old timber to new fires,
Old fires to ashes, and ashes to the earth. (East Coker I, 2-5)
This passing illustrates the eternal cycle of creation and damage, life under the specialist of time. That is emphasised by the reference to funereal rites; "ashes to ashes, dirt to dirt. " However, Eliot is inclined to paradox; eternity is inserted even in this hopeless image of time. As each house comes along using its tenants, and then bring about new properties and new tenants that may subsequently show up, a constantly growing body is formed from the mounting individual occasions of creation and damage. Time is synonymous with change, but in the midst of change eternity is available forever lurking. (Fairchild, 1999: 61)
Lifting heavy feet in clumsy shoes,
Earth foot, loam feet, raised in country mirth
Mirth of those long since under earth
Nourishing the corn. Keeping time,
Keeping the tempo in their dancing
As in their residing in the living seasons
The time of the seasons and the constellations
The time of milking and the time of harvest
The time of the coupling of man and woman
And that of beasts. Legs rising and slipping.
Eating and drinking. Dung and death. (East Coker I, 37-47)
In comparison to "Burnt Norton", with. . . the still point beyond time, "East Coker" presents an antithetical vision in our bondage to time, a vision of ceaseless and obviously purposeless activitywe are inclined to read the whole poem as dark-colored comedy. . . Alternatively, the echoes of Ecclesiastes later in the passing ('there is a period for building / And a time for living and for generation') seem to be to imply a divine context for individual activities, and the consequent probability of their being meaningful.
(Lobb, 1993: 27)
what you can find to conquer
By power and submission, was already discovered
Once or double, or many times, by men whom one cannot hope
To emulate--but there is absolutely no competition--
There is merely the fight to recuperate what has been lost
And found and lost over and over:' and now, under conditions
That seem unpropitious. (East Coker V, 11-17)
East Coker also illustrates the distress accumulated in historical time. The perspective on historical events are ever before changing as it is viewed from the perspective of today's, which is ever before changing; "The data imposes a style, and falsifies / For the style is new atlanta divorce attorneys moment. " Today's has humility as its knowledge, not knowledge; and will alternatively than intellect is the best way to conquer time. Distance from the intellectual allows humankind to take part in the experience of love.
[the river] implacable,
Keeping his months and rages, destroyer, reminder
Of what men choose to ignore. Unhonoured, unpropitiated
By worshippers of the machine, but waiting, watching and hanging around.
(The Free of moisture Salvages I, 7-9)
[the sea] tosses up our loss, the torn seine,
The shattered lobsterpot, the damaged oar
And the apparatus of foreign lifeless men. (The Dry Salvages I, 22-24)
The tolling bell
Measures time not our time, rung by the unhurried
Ground swell, a time
Older than enough time of chronometers, older
Than time counted by troubled worried women
Lying awake, calculating the future,
Trying to unweave, unwind, unravel
And patch together the past and the future,
Between midnight and dawn, when days gone by is all deception,
The future futureless, before the morning watch
When time halts and time is constant;
And the bottom swell, that is and was right from the start,
The bell. (The Dry up Salvages I, 37-50)
Where is there an end than it, the soundless wailing. . . (The Dry up Salvages II, 1)
The prayer of the bone on the beach, the unprayable. . . (The Free of moisture Salvages II, 5)
Prayer at the calamitous annunciation?
There is not any end, but addition: the trailing
Consequence of further days and nights and time (The Free of moisture Salvages II, 6 -8)
We cannot think of a time that is oceanless
Or of ocean not full of wastage
Or of another that is not liable
Like days gone by, to haven't any destination.
We have to think about them as permanently bailing. . . (The Dry out Salvages II, 21 -25)
There is not any end of computer, the voiceless wailing,
No end to the withering of withered flowers,
To the movements of pain that is pain-free and motionless,
To the drift of the ocean and the drifting wreckage,
The bone's prayer to Death its God. (The Free of moisture Salvages II, 31-35)
You cannot face it gradually, but this thing is sure,
That time is no healer: the patient is no more here. (The Dry out Salvages III, 7-8)
Here between the hither and the farther shore
While time is withdrawn, consider the future
And days gone by with the same mind.
At the moment which is not of action or inaction
You can receive this: 'on whatever sphere of being
The head of a man may be intent
At enough time of fatality'- -that is the main one action
(And the time of loss of life is every moment)
Which shall fructify in the lives of others. . . (The Dry out Salvages III, 29 -37)
Men's attention searches history and future
And clings to that dimension. But to apprehend
The point of intersection of the timeless
With time, is an occupation for the saint--
No profession either, but something given
And taken, in a lifetime's loss of life in love,
Ardour and selflessness and self-surrender.
For almost all of us, there is merely the unattended
Moment, the moment in and out of the time,
The distraction fit, lost in a shaft of natural light (The Free of moisture Salvages V, 16 -25)
In order to arrive there,
To arrive what your location is, to get from where you are not,
You must go by a way wherein there is no ecstasy.
In order to arrive at what you don't know
You must pass a way which is just how of ignorance.
In order to possess what you do not possess
You must pass the way of dispossession.
In order to reach at what you are not
You must go through the manner in which you aren't. And what you do not know is the only thing you know
And what you own is what you do not own
And where you are is where you are not. (East Coker III, 36-47)
Love is most nearly itself
When here and now cease to subject.
Old men should be explorers
Here and there will not matter
We must be still but still moving
Into another intensity
For an additional union, a deeper communion
Through the dark cool and the vacant desolation. . . (East Coker V, 29 -36)
And right action is freedom
From recent and future also.
For almost all of us, this is actually the aim
Never here to be realised;
Who are just undefeated
Because we have gone on trying; (The Dry Salvages V, 41-46)
Eliot sees humanity as ultimately consumed either by the home or by love and detachment from the home. Caroline Swinehart agrees with this, keeping that "complete ease, a unified consciousness with no interior contradictions, comes only through. . . self-surrender, 'priced at no less than everything'. . . INSIDE THE Dry Salvages, the actualization and defeat of the eternal Term is 'the hint half guessed, the gift idea half recognized, ' where 'former and future / Are conquered, and reconciled'"(2010: [sp]).
The "Four Quartets" ends with a portion in which old age and death are squarely experienced. The final quartet addresses the end of life. Little Gidding, which includes given the name to the previous poem, is the place where Nicholas Ferrar, the Anglican monk, founded his religious community; and indicates the last stage in the history of the heart, the point where it comes closest to "the intersection of the ageless with time" (Voegelin, 1944:38).
It could be the same by the end of the quest,
If you arrived at night. . .
If you emerged by day. . .
It could be the same. (Little Gidding I, 25-28)
Here it is pointed out that the eternal transcends seasonality and time itself; a human being is clearly within time and within specific instances with specific places on earth when some may be getting close to the "intersection of the timeless moment", but at the "still point" itself, the human being steps out of time temporarily into the eternal, so a particular season or period doesn't matter when approaching a location where the amazing intersects as time passes. From that vantage point the human exceptional "timeless second" can easily see time more plainly.
In the next section the poet matches a phantom combined of past professors, who "disclose the presents reserved for age, to create a crown upon your lifetime's work. . . "
First, the frosty friction of expiring sense
Without enchantment, offering no promise
But bitter tastelessness of darkness fruit
As body and spirit begin to land asunder.
Second, the conscious impotence of rage
At real human folly, and the laceration
Of laughter at what ceases to amuse.
And previous, the rending pain of re-enactment
Of all those things you did, and been; the shame
Of motives past due revealed, and the awareness
Of things ill done and done to others' harm
Which once you had taken for exercise of virtue.
Then fools' agreement stings, and honour spots.
From incorrect to wrong the exasperated spirit
Proceeds, unless restored by that refining fire
Where you must move in measure, such as a dancer. " (Little Gidding II. 76-93)
The only hope, if not despair
Lies in the choice of pyre or pyre--To be redeemed from flame by fireplace.
Who then devised the torment? Love.
Love is the unfamiliar Name
Behind the hands that wove
The intolerable top of flame
Which human power cannot remove.
We only live, only suspire
Consumed by either flames or fireplace. (Little Gidding IV, 5-14)
Eliot proclaims that life can be resided only in today's, which is the intersection of time earlier and time future, and the near future is incurred with the incomprehensible implications of our selections. Humanity is merely freed from history and future by living well in today's, but will ultimately be consumed, in a sense, by the options it makes.
To conclude, the "Four Quartets" can be read to provide the triumph of life as time passes. Eliot moves forward in the stream of time and eternity until he reaches the finish of the poem, which is its true starting; life lived forever in the amazing, no longer touched by the binding affect of energy. The temporal is elevated to the amount of the eternal. In the midst of his timeless "still point, " Eliot views that there "rises the concealed laughter/Of children in the foliage/Quick, now, here, now, always. . . " Eternity within the still point gives happiness to the temporal realm. Thus, the "Four Quartets" ends with a go back to the rose garden with its contrast between your affirmation of simple fact and the temporal, and the real recognition that there is something more, the Eternal, echoing in the laughter of the children.
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