By Dante Alighieri; Eliot, Thomas Stearns; Douglass, Paul; Eliot, Thomas Stearns; Dante Alighieri
TT. S. Eliot significantly superior Dante's profound impression on eu literature. The essays during this quantity discover Dante's value via a spotlight on Eliot. Probing the questions what Eliot made from Dante, and what Dante intended to Eliot, the essays right here determine the legacy of modernism by means of attractive its 'classicist' roots, protecting a large spectrum of themes stemming from Dante's relevance to the poetry and feedback of Eliot. The essays think of Eliot's aesthetic, philosophical, and spiritual convictions on the subject of Dante, his impact upon literary modernism via his embracing and championing of the Florentine, and his wish to advertise ecu cohesion. the 1st component of the ebook offers with aesthetic and philosophical concerns relating to Eliot's engagement with Dante, starting with Jewel Spears Brooker's masterful essay at the thoughts of instant adventure and first attention in Eliot's paintings, and relocating directly to essays contemplating his notion of a 'unified sensibility,' in addition to Eliot's engagement with Hindu-Buddhist and Christian subject matters and motifs. the second one a part of the booklet specializes in Dante's significance to Eliot's founding paintings within the modernist flow. In what methods did Dante without delay and in a roundabout way impression the exemplary course that Eliot blazed for his contemporaries, particularly Ezra Pound? How early did Dante's impression express itself in Eliot's paintings? Why was once he not able to accomplish the good trilogy he turns out to have sought to put in writing, in response to Dante's Inferno, Purgatorio, and Paradiso? those questions and their solutions bring about the book's ultimate part, which considers Eliot's (and Dante's) position within the formation of a twentieth-century suggestion of Europe. Incisive essays on Eliot's various resources of 'tradition' in his try to advertise the assumption of a ecu union and his nervousness over the background of Romanticism are capped via a magisterial contribution from Dominic Manganiello displaying accurately how Eliot's reformulation of the Dantesque 'European Epic' maintains to persuade the paintings of Anglo-European and Commonwealth writers
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Additional resources for T.S. Eliot, Dante and the idea of Europe
He dismisses Bradley’s theory of “immediate experience” as a mere dogmatic assumption about reality, and he critiques the hypothesis of a stage of consciousness that implies rejection of thought, reflection and analysis. As Manju Jain has persuasively shown in a landmark study, T. S. Eliot and American Philosophy (1992), Eliot remained critical of all anthropological and psychological theories that emphasized the essentially irrational, anti-intellectual nature of religious experiences. He censured Bergson’s notions of real duration and creative evolution premised on the dissociation of intellect and intuition, as well as Lévy-Bruhl’s distinction between the pre-logical consciousness of primitive societies and the rational consciousness of developed cultures (Jain 207-210).
Eliot, Dante and the Poetics of a “Unified Sensibility” 21 work, Eliot argues, the auditory imagination prevails “at the expense of the visual and the tactile” (OPP 143). Although in later years, Eliot was to revise his harsh judgment of Milton, he attributes to him “a peculiar kind of deterioration” in English poetry (OPP 138), which lasted into the twentieth century. “Milton,” Eliot argues, “does not infuse new life into the word, as Shakespeare does” (OPP 140); he “writes English like a dead language” (OPP 141), producing verses with an abstract quality.
He let his readers experience the reality of hell “by the projection of sensory images,” which for him was “not a place but a state” (SE 250). Conversely, he made us “apprehend sensuously the various states and stages of blessedness” (SE 265). According to Eliot, during the twelfth and thirteenth centuries, there existed a perfect harmony between philosophy and art (VMP 99, 222). ” As Eliot observed in the Clark lectures: “For the twelfth century, the divine vision or enjoyment of God could only be attained by a process in which the analytic intellect took part; it was through and by and beyond discursive thought that man could arrive at beatitude” (VMP 99).