Ts Eliot Essay Dante 1929

In his poetry T. S. Eliot experimented with a number of techniques, one of the best known of these being the persistent use of direct and indirect allusions to other poets and poetry. These allusions are from an impressively wide range of sources, but one of the most important sources is the poetry of Dante.

The epigraph of Eliot’s first volume of poetry, PRUFROCK AND OTHER OBSERVATIONS, is from the PURGATORIO, while the epigraph to the poem, “The Love Song of J. Alfred Prufrock,” is from the INFERNO. There are a number of allusions to these sections of THE DIVINE COMEDY in THE WASTE LAND, and Eliot himself identifies them in his “Notes on ’The Waste Land.’” One of the central images of “The Hollow Men” is the “Multifoliate rose,” which had been for Dante a symbol of Paradise, and which for Eliot represents the only hope of the hollow man. There are allusions to Dante’s poetry scattered throughout Eliot’s work. In “Little Gidding,” the final section of Eliot’s last great work of poetry, FOUR QUARTETS, the long concluding passage of Section II is, as Eliot himself said, intended to be as close an equivalent as possible to a canto of the INFERNO or the PURGATORIO.

The point need hardly be stressed: there is value in this study of Dante, not only for the student of Dante, but for the student of Eliot as well. In the preface to DANTE, Eliot writes that this work is an account of his own acquaintance with the Italian poet’s writings. Eliot himself acknowledges that the acquaintance has been, for him, a fruitful one because he had found no other poet to whom he could refer so frequently and for so many purposes in his own work. His essay is in no way, he emphasizes, to be considered as a definitive statement on Dante; he did not regard himself as a scholar. Instead, his intention is to deal with Dante’s importance as a master poet and as a figure of interest to anyone concerned with modern poetry.

The first point Eliot makes about Dante is that he is, even for non-Italians, surprisingly easy to read because of his universality, even in the modern languages. But that is not to say that he is the greatest poet, or the poet who has dealt with more that is common to all men. Dante’s universality, in the sense that Eliot is using the term, is a result of his particular time and place, and of the language and poetic traditions afforded him by that time and place.

The Italian language of Dante’s day was the product of the universal language, Latin. Medieval Latin was universal in that in it men of various lands and languages found a common means of communication. And in the Italian vernacular that Dante used such universality is also evident. Other languages are more localized: the associations of words belong more to a particular culture or race. But Dante’s culture is not so much Italian as it is European, and his language is equally universal (meaning European). The language of Shakespeare was more localized; he had no way to express himself other than in a local fashion.

Europe, in Dante’s...

(The entire section is 1291 words.)


-- Tom --

Date: Thu, 22 Oct 2009 11:29:09 -0400
From: [log in to unmask]
Subject: Re: OT - Can anyone help find this TSE quote?
To: [log in to unmask]

-- Tom --

Date: Thu, 22 Oct 2009 08:13:23 -0700
From: [log in to unmask]
Subject: Re: OT - Can anyone help find this TSE quote?
To: [log in to unmask]

If anyone comes up with an exact reference for this quotation, I would appreciate knowing it.  Diana's citation sounds suspiciously close to the words I had heard attributed to Eliot that brought me to consult this list in the first place.  When I asked about it, people agreed that the thought was not foreign to TSE, but that the formulation seemed apocryphal.  If there is something like it in one of the Dante essays, I would dearly desire to take a look at it.

Jerry Walsh, biblical lurker

I am quite sure it is in one of the Dante essays, I think the first one.  I'm in my office, so I can't check, but I'm pretty certain.


>>> Diana Manister <[log in to unmask]> 10/22/2009 10:17 AM >>>
Eliot once commented, I believe in connection with The Waste Land, that a reader should be able to appreciate a poem before understanding its meaning. Does anyone know where he says that? My recollection is that he meant that the poem's sensuous qualities produce a certain range of feeling that are in accord with the signified meaning.
Many thanks!

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