By Russell Kirk
Kirk elaborates right here an important idea of literary that means often, displaying how nice literary works wake up our intuitive cause, giving us profound visions of fact that go beyond logical methods. And he strains Eliot’s political and cultural rules to their actual assets, displaying the stability and subtlety of Eliot’s perspectives. Eliot and His Age is a literary biography that may suffer whilst a lot of the newer writing on Eliot is accumulating dust.
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Extra resources for Eliot and his age;: T. S. Eliot’s moral imagination in the twentieth century
Example text
Now and again there came into my head, as I sat with Eliot, those lines from his “Preludes” which he had written in his Harvard days: I am moved by fancies that are curled Around these images, and cling: The notion of some infinitely gentle Infinitely suffering thing. Those lines had struck Wyndham Lewis, too, in 1915. Lewis then, and I later, did not take Eliot himself to be pathetic: he had passed through suffering, by the time I knew him, to resignation and hope; but the vanity of human wishes clung about him always, not unpleasantly.
On the question of Maurras and Eliot’s view of him, contemporary critics who want to make Eliot out as a fascist ignore Kirk and get it wrong. In a recent essay in a reputable scholarly journal, for instance, a well-known critic asserted that Eliot never distanced himself from Maurras. ” First of all, this demonstrates the critic’s ignorance of Eliot’s favorite poem, The Divine Comedy, in which Virgil leads Dante through the Inferno and part way through the Purgatorio but is incapable of guiding him into Paradiso.
Through poem and play and essay, Eliot hoped to work upon his age—through what he wrote, not through what he experienced privately; and in that spirit this book has been undertaken. With what might have been arrogance in a man less amiable by nature, Thomas Stearns Eliot aspired to represent in his day the power of moral imagination possessed by his Mantuan and Florentine exemplars. He was an ethical poet, bent upon redeeming the time. What Unamuno called “the tragic sense of life” was Eliot’s to the full—although, as old Robert Burton had written in The Anatomy of Melancholy, melancholy men are the wittiest.
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