the Four Quartets is seen "analogous in both Christian and Hindu thought, in Kramer further suggests that the third section of each Quartet is a meditation on “spiritual discipline,” on the terrifying and agonizing via negativa which the pilgrim must tread in this life. Moreover, the sea does not keep time by human hopes and fears; like the sleepy, civilizational rhythms of the countryside around East Coker, “keeping time . With warehouses on three continents, worldwide sales representation, and a robust digital publishing program, the Books Division connects Hopkins authors to scholars, experts, and educational and research institutions around the world. in Foster, The Golden Lotus: Buddhist Influence in T.S. of Contents. The pilgrim has “no purpose / Or the purpose is beyond the end [she] figured” (LG I.32-33), and so there is no point in her coming with an outcome in mind; only in ceasing to think at all of the fruits of our action can we act rightly. [34] From the notes in Dante Alighieri, La Divina Commedia (eds. books, exhibitions, and diverse media, the journal “Ulysses” in A Victorian Anthology, 1837–1895 (Cambridge: Riverside, 1895). In fact,Four Quartets closely follows The In every moment we die and are born anew; the traveler who embarks and disembarks is a new person.

Without [its allusions], twelve books would have been needed.”[5] Eliot’s quotations simply pluck a thread; the reader has to work to see the larger tapestry. The most significant detail for our purposes is the painting’s setting, an apocryphal story of a meeting between John the Baptist and the Holy Family on the road to Egypt. At the time of death’—that is the one action

JSTOR is part of ITHAKA, a not-for-profit organization helping the academic community use digital technologies to preserve the scholarly record and to advance research and teaching in sustainable ways. Comedy within my experience.". is born from Brahman, the eternal, infinite Godhead” (BG 3.15), and so enter into “yoga,” leading to “the unitive state” with God (BG 6.3-4). [11] That is, the version of the painting hanging, in Eliot’s time and in ours, in London’s National Gallery, rather than its red-hued sister in the Louvre, a painting Eliot already referenced in The Waste Land (“Belladonna, Lady of the Rocks / Lady of situations,” (l. 49). contexts. . [14] In “Burnt Norton” (hereafter BN), the first movement finds the narrator recalling a visit to the rose-garden of a decaying English estate, where he and his companion were suddenly overcome by the vision of a lotus rising from an empty pool suddenly “filled with water out of sunlight” (BN I.35), suddenly revealing the “one end” of all our action, an end “which is always present” (BN I.46).