Analysis Of Eliots The Four Quartets

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)

Eliot argues that it is senseless to captivate this type of speculation

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. "

The poem opens with a straightforward statement of the fundamental problem, the relation between the temporal and the eternal, in its abstract form

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.

Time, perhaps, is a designed framework so as not to overwhelm the real human mind

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)

Time is humanity's necessary framework. But, Eliot will not see time as eventually fundamental to actuality. He considers from a perspective which claims that "all time is eternally present"; the "still point of the turning world", the place around which everything revolves, but is itself fixed. There "past and future are reconciled"

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)

The second Quartet, "East Coker", represents the pace of living. This conveys both reassuring constancy and exasperating inevitability with regards to life and living. "In my own starting is my end" is repeated throughout which is inversed in the final line. The beginning which anticipates an closing, pronounces that there is circularity to life. This also invokes a sense of predetermination

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)

The party in the first section further emphasises the round aspect of life, both in its content and in the strong tempo

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)

The party is a moment of incarnation; a moment of the infusion of the eternal in the temporal. As Perkins (2002: [sp]) retains, "it affirms the lifestyle and activity of the temporal world, which is not a meaningless wasteland because it is temporal and passing, but only once it is not redeemed by placing your order itself to the presence of the eternal. " It may also be argued that, for Eliot, this dance is the converse of the "still point. " The eternal is present in this party, and the earthly activity is filled with meaning

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)

This circularity and repetition is illustrated in the depiction of the collapse and reuse of the properties, as cited above, in the first section, and also in the fifth section in which Eliot realises that undiscovered intellectual pursuits are few; new discoveries are but rediscoveries

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.

In "The Free of moisture Salvages", Eliot depicts the depth of your experience of noticeable meaninglessness. The poem is filled up with images of the inevitable destruction brought on by river and sea, symbolizing the ever present disorder of living, the inevitability of the last "annunciation" of the sailor's fatality

[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)

Everything must undoubtedly meet its end. And whatever so this means may be identified must be wrong. But Eliot continues on to implore, in line 43, to stop "trying to unweave, unwind, unravel and patch together days gone by and the future". Instead the importance of the present moment is portrayed, living in an individual "still point" where previous and future intersect. "The virtue of the moment must be diffused through the time process, since man must eventually go back to the changing world" (Gregory, 1943: 104). Every second is our previous moment, the finish of our ex - life, and the start of our approaching life. Eliot "strives to transcend that [temporal] dimensions, to apprehend the amazing pattern with time, to find an eternal goal in temporal life" (Bergston, 1960: 36-37). Seen in this way, every moment is as soon as of loss of life. Eliot attends to this idea in "The Dry up Salvages" section III

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)

He also addresses it in section V

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)

The "still point" is not part of the normal curiosity about "past and future, " which implies that the still point's intersection is the reaching place of today's and the eternal. There is certainly another alert apparent in these lines, and broadened upon: to reside in well, one must seek to do good in today's. This involves abandonment of the self's securities, and a trying regardless of the mysterious

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).

Eliot states that, although all journeys take place within time, the season or period isn't essential to the knowledge of the classic by the end of the street

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)

Eliot recognizes our choices in life as leading inevitably to consumption as if by fireplace: either the flame of do it yourself and sin, or the flames of love, specifically the love of God, which consumes the self applied: "unless restored by that refining fireplace. . . " Eliot talks in paradoxes to mention these ultimate truths. Within the temporal world of desire and movement, of expectation and despair, the "only hope" lies in redemption from the eating flames of desire by the eating fire of the Holy Nature (Schuchard, 1993: 76)

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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