How are the poems 'Burnt Norton', 'East Coker', 'The Dry Salvages' and 'Little Gidding' by TS Eliot known collectively?
"(Eliot) Morison (1857–1925). He was named for his maternal grandfather Samuel Eliot—a historian, educator, and public-minded citizen of Boston and Hartford, Connecticut. The Eliot family, which produced generations of prominent American intellectuals, descended from Andrew Eliot, who moved to Boston in the 1660s from the English village of East Coker. The most famous of this Andrew Eliot's direct descendants was poet T.S. Eliot, who titled the second of his ""Four Quartets"" ""East Coker"". Morison attended Noble and Greenough School (1897–1901) and St. Paul's (1901–1903) prior to entering Harvard University, where he was a member of the Phoenix S K Club."
"idea for a poem that was structured similarly to ""The Waste Land"". The resulting poem, ""Burnt Norton"", named after a manor house, was published in Eliot's 1936 edition of ""Collected Poems 1909–1935"". Eliot decided to create another poem similar to ""Burnt Norton"" but with a different location in mind. This second poem, ""East Coker"", was finished and published by Easter 1940. (Eliot visited East Coker in 1937 and his ashes now repose there at St. Michael's Church.) As Eliot was finishing his second poem, World War II began to disrupt his life and he spent more time lecturing across Great"
"Britain and helping out during the war when he could. It was during this time that Eliot began working on ""The Dry Salvages"", the third poem, which was put together near the end of 1940. This poem was published in February 1941 and Eliot immediately began to plot out his fourth poem, ""Little Gidding"". Eliot's health declined and he stayed in Shamley Green to recuperate. His illness and the war disrupted his ability to write and he became dissatisfied with each draft. He believed that the problem with the poem was with himself and that he had started the poem"
"out as 'Burnt Norton.' Like many of Eliot's works, the poem was compiled from various fragments that were reworked over many years. To structure the poem, Eliot turned to the organisation of ""The Waste Land"". In 1936, the poem was included in ""Collected Poems 1909–1935"", of which 11,000 copies were published; the collection symbolically represented the completion of his former poems and his moving onto later works. ""Burnt Norton"" was Eliot's only major poem to be completed during a six-year period as he turned to writing plays and continued with his work on essays. The poem was re-published as an"
"be still, and wait without hope."" ""The Dry Salvages"" treats the element of water, via images of river and sea. It strives to contain opposites: ""The past and future / Are conquered, and reconciled."" ""Little Gidding"" (the element of fire) is the most anthologised of the Quartets. Eliot's experiences as an air raid warden in the Blitz power the poem, and he imagines meeting Dante during the German bombing. The beginning of the Quartets (""Houses / Are removed, destroyed"") had become a violent everyday experience; this creates an animation, where for the first time he talks of Love as the"
"narrator (presumably more than the creative act of writing poetry). Eliot started writing ""East Coker"" in 1939, and modelled the poem after ""Burnt Norton"" as a way to focus his thoughts. The poem served as a sort of opposite to the popular idea that ""The Waste Land"" served as an expression of disillusionment after World War I, though Eliot never accepted this interpretation. The poem focuses on life, death, and continuity between the two. Humans are seen as disorderly and science is viewed as unable to save mankind from its flaws. Instead, science and reason lead mankind to warfare, and"
"will end up broken upon rocks. We are restrained by time, but the Annunciation gave mankind hope that it will be able to escape. This hope is not part of the present. What we must do is understand the patterns found within the past in order to see that there is meaning to be found. This meaning allows one to experience eternity through moments of revelation. ""Little Gidding"" was started after ""The Dry Salvages"" but was delayed because of Eliot's declining health and his dissatisfaction with early drafts of the poem. Eliot was unable to finish the poem until September"
"divine. Leaders are described as materialistic and unable to understand reality. The only way for mankind to find salvation is through pursuing the divine by looking inwards and realizing that humanity is interconnected. Only then can people understand the universe. In 1939 T. S. Eliot thought that he would be unable to continue writing poetry. In an attempt to see if he could still, he started copying aspects of ""Burnt Norton"" and substituted another place: East Coker, a place that Eliot visited in 1937 with the St Michael's Church, where his ashes were later kept. The place held a particular"
"drama, David Gascoyne art, Storm Jameson novels, and Kaikhosru Shapurji Sorabji music. On Orage's sudden death in 1934, the publication's literary editor, Philip Mairet, took over the editor's chair. George Orwell had contributed a review to the 9 June 1932 issue, and between August 1935 and April 1940, wrote regular book reviews and articles for the publication. In the ""Easter Number"" for 1940, the review published for the first time the long poem ""East Coker"" by T. S. Eliot. His '""The Dry Salvages"" was first published in the review in 1941, and ""Little Gidding"" appeared in the publication in 1942,"
"title, """"The Dry Salvages""—presumably ""les trois sauvages""—is a small group of rocks, with a beacon, off the north east coast of Cape Ann, Massachusetts. ""Salvages"" is pronounced to rhyme with ""assuages""."" The location is a place that Eliot knew, and the poem links the image of Cape Ann to Eliot's boyhood sailing at Gloucester Harbor. ""The Dry Salvages"" also invokes images of the Mississippi River and Eliot's childhood in St Louis. These images and the other personal references were originally intended to be discussed in an autobiographical work that was to collect a series of essays about Eliot's childhood. The"
"""Divine Comedy"" – ""Little Gidding"" ends with a rose garden image that is the same as the garden beginning ""Burnt Norton"". The repetition of time affects memory and how one can travel through their own past to find permanency and the divine. Memory within the poem is similar to how St. Augustine discussed it, in that memory allows one to understand words and life. The only way to discover eternity is through memory, understanding the past, and transcending beyond time. Likewise, in the Augustinian view that Eliot shares, timeless words are connected to Christ as the Logos and how Christ"
"quotation from his poem ""East Coker"", ""In my beginning is my end. In my end is my beginning."" In 1967, on the second anniversary of his death, Eliot was commemorated by the placement of a large stone in the floor of Poets' Corner in London's Westminster Abbey. The stone, cut by designer Reynolds Stone, is inscribed with his life dates, his Order of Merit, and a quotation from his poem ""Little Gidding"", ""the communication / of the dead is tongued with fire beyond / the language of the living."" The apartment block where he died, No. 3 Kensington Court Gardens,"
"the result of a development from his earlier poems. The outbreak of World War II, in 1939, pushed Eliot further into the belief that there was something worth defending in society and that Germany had to be stopped. There is little mention of the war in Eliot's writing except in a few pieces, like ""Defence of the Islands"". The war became central to ""Little Gidding"" as Eliot added in aspects of his own experience while serving as a watchman at the Faber building during the London blitz. The ""Four Quartets"" were favoured as giving hope during the war and also"
"is within time. Life is described metaphorically as travelling in a boat and humanity's fixation on science and future gain keeping the travellers from reaching their destination. Within the poem, Eliot invokes the image of Krishna to emphasise the need to follow the divine will instead of seeking personal gain. Eliot began working on ""The Dry Salvages"" during World War II at a time when London was experiencing air-raids near the end of 1940. During the time, he moved around often and spent his time writing mostly lectures or tiny poems. However, he was able to find time to work"
"for a later religious revival movement. By ""Little Gidding"", WWII is not just the present time but connected also to the English Civil War. Each poem has five sections. The later poems connect to the earlier sections, with ""Little Gidding"" synthesising the themes of the earlier poems within its sections. Within Eliot's own poetry, the five sections connect to ""The Waste Land"". This allowed Eliot to structure his larger poems, which he had difficulty with. According to C.K. Stead, the structure is based on: These points can be applied to the structure of ""The Waste Land"", though there is not"
"at Burnt Norton. Other sources include Stéphane Mallarmé's poetry, especially ""Le Tombeau de Charles Baudelaire"" and ""M'introduire dans ton histoire"" and St. Augustine's ""Confessions"". Likewise, many of the lines are fragments that were removed from his earlier works. Structurally, Eliot relied on ""The Waste Land"" to put together the fragments of poetry as one set. Bernard Bergonzi argued that ""it was a new departure in Eliot's poetry, and it inevitably resulted in the presence of the manipulatory will that [C. K. Stead] has observed at works in the ""Quartets"", and in the necessity for low-pressure linking passages. As I have"
"humanity needs to become humble in order to escape the cycle of destruction. To be saved, people must recognize Christ as their savior as well as their need for redemption. Eliot began writing ""The Dry Salvages"" at the end of 1940 during air-raids on London, and managed to finish the poem quickly. The poem included many personal images connecting to Eliot's childhood, and emphasised the image of water and sailing as a metaphor for humanity. According to the poem, there is a connection to all of mankind within each man. If we just accept drifting upon the sea, then we"
"was part of the landscape his ancestor Andrew Eliott travelled to in 1669. Part of ""The Dry Salvages"" refers to Eliot's joining the Anglican Church and his personal pursuit of the divine. There are also many references to events and places that Eliot knew as a child. In terms of literary allusions, Eliot brings in Krishna's and Arjuna's discussion from the ""Bhagavad-Gita"" on acting according to the divine will along with allusions to Dante's ""Paradiso"", the philosophy of Heraclitus, and the ""Book of Common Prayer"". In regard to these allusions, Eliot would mark up his own editions of the works"
"on discussing the poem in terms of its content and not its style. In the ""Southern Review"", James Johnson Sweeney, Spring 1941, and Curist Bradford, Winter 1944, discussed paraphrases of the poems and the sources of various passages. However, Andrews Wanning, Spring 1941, stated that ""Burnt Norton"" was a better poem than ""East Coker"" and that ""'Burnt Norton' is a poem of suggestion, 'East Coker' a poem of argument and explanation"". Another American critic, Delmore Schwartz, did not appreciate the tone within ""East Coker"", especially that expressed in the fifth section. East Coker (poem) East Coker is the second poem"
"parallels to Gray's poem, but ""Little Gidding"" is deeply indebted to the Elegy's meditation on a ""neglected spot"". Of the similarities between the poems, it is Eliot's reuse of Gray's image of ""stillness"" that forms the strongest parallel, an image that is essential to the poem's arguments on mortality and society. On the basis of some 2000 examples, one commentator has argued that “Gray’s Elegy has probably inspired more adaptations than any other poem in the language”. It has also been suggested that parody acts as a kind of translation into the same tongue as the original, something that the"
"necessarily a fulfilment of these but merely a longing or discussion of them. The poem begins with two epigraphs taken from the fragments of Heraclitus: The first may be translated, ""Though wisdom is common, the many live as if they have wisdom of their own""; the second, ""the way upward and the way downward is one and the same"". The concept and origin of ""Burnt Norton"" is connected to Eliot's play ""Murder in the Cathedral"". The poem discusses the idea of time and the concept that only the present moment really matters because the past cannot be changed and the"
"a book called ""Sketch of the Eliot Family"". The location, East Coker, was where Andrew Eliott, T. S. Eliot's ancestor, left when joining the pilgrimage. ""East Coker"" sold almost 12,000 copies during its initial publication. Eliot's response was to claim that its popularity proved that it was a bad poem. Regardless of the truthfulness of the statement, he enjoyed the fact that the poem could inspire people during the war. Eliot's friend, Emily Hale, liked the poem so much that she read the poem to her Smith College students ""as if it were a love-letter from God"". Early reviews focused"
"as an imagined reality. Also, the narrator's statement that words exist in the mind allows this imagined reality to be shared between the narrator and the reader. This is then destroyed by the narrator claiming that such a place has no purpose. The garden image has other uses within the poem beyond creating a shared imaginative space; it serves to invoke memories within the poem, and it functions in a similar manner in other works by Eliot, including ""The Family Reunion"". A key source for many of the images that appear in ""Burnt Norton"" is Eliot's childhood and his experience"
"Gerontion ""Gerontion"" is a poem by T. S. Eliot that was first published in 1920. The work relates the opinions and impressions of a gerontic, or elderly man, through a dramatic monologue which describes Europe after World War I through the eyes of a man who has lived the majority of his life in the 19th century. Eliot considered using this already published poem as a preface to ""The Waste Land"", but decided to keep it as an independent poem. Along with ""The Love Song of J. Alfred Prufrock"" and ""The Waste Land"", and other works published by Eliot in"
"""New Tuxedo"", ""No Groundhog's Life"", ""Praying Mantis"", and ""We Take Mama Out"". The first three were included in the ""Honor Roll."" The thirties and forties was a productive period for him as a creative author. His early reputation was established by short stories that are anthologized with the likes of William Faulkner, Ernest Hemingway, Katherine Porter, Eudora Welty and John Steinbeck. His first major work was a collection of short stories, ""The Cock's Funeral,"" published in 1937 with an introduction by Erskine Caldwell. This was followed by three novels, ""Outside Leaf"", ""Piper Tompkins"", ""The Last Freshet"", all published in the"
"by earlier writers Lancelot Andrewes and Matthew Arnold. In 1925, Eliot became a poetry editor at the London publishing firm of Faber and Gwyer, Ltd., after a career in banking, and subsequent to the success of his earlier poems, including ""The Love Song of J. Alfred Prufrock"" (1915), ""Gerontion"" (1920) and ""The Waste Land"" (1922). In these years, Eliot gravitated away from his Unitarian upbringing and began to embrace the Church of England. He was baptised into the Anglican faith on 29 June 1927 at Finstock, in Oxfordshire, and was confirmed the following day in the private chapel of Thomas"
"Modernist movement. It was followed by some of the best-known poems in the English language, including ""The Waste Land"" (1922), ""The Hollow Men"" (1925), ""Ash Wednesday"" (1930), and ""Four Quartets"" (1943). He was also known for his seven plays, particularly ""Murder in the Cathedral"" (1935) and ""The Cocktail Party"" (1949). He was awarded the Nobel Prize in Literature in 1948, ""for his outstanding, pioneer contribution to present-day poetry"". The Eliots were a Boston Brahmin family with roots in Old and New England. Thomas Eliot's paternal grandfather, William Greenleaf Eliot, had moved to St. Louis, Missouri, to establish a Unitarian Christian"
"first published as now known on 23 November 1925, in Eliot's ""Poems: 1909–1925"". Eliot was known to collect poems and fragments of poems to produce new works. This is clear to see in his poems ""The Hollow Men"" and ""Ash-Wednesday"" where he incorporated previously published poems to become sections of a larger work. In the case of ""The Hollow Men"" four of the five sections of the poem were previously published: ""The Hollow Men"" has had a profound effect on the Anglo-American cultural lexicon—and by a relatively recent extension, world culture—since it was published in 1925. One source states that"
"need of the individual to focus on the present moment and to know that there is a universal order. By understanding the nature of time and the order of the universe, mankind is able to recognise God and seek redemption. Many reviewers of ""Burnt Norton"" focused on the uniqueness and beauty of the poem. However, others complained that the poem does not reflect Eliot's earlier greatness and that the use of Christian themes harmed the poem. The concept of ""Burnt Norton"" is connected to Eliot's ""Murder in the Cathedral""; he worked on the poem while the play was being produced"
"Swift, and William Butler Yeats. Time is viewed as unredeemable and problematic, whereas eternity is beautiful and true. Living under time's influence is a problem. Within ""Burnt Norton"" section 3, people trapped in time are similar to those stuck in between life and death in ""Inferno"" Canto Three. When Eliot deals with the past in ""The Dry Salvages"", he emphasises its importance to combat the influence of evolution as encouraging people to forget the past and care only about the present and the future. The present is capable of always reminding one of the past. These moments also rely on"
"of the first Scots to write in standard English. His major work was ""Diophantus and Charidora"". ""Inconstancy Upbraided"" is perhaps the best of his short poems. He is credited with a little poem, ""Old Long Syne"", which probably suggested Robert Burns's famous ""Auld Lang Syne"". He is also the author of a ballad called ""Bothwell"" about the battle fought by James Hepburn, 4th Earl of Bothwell with the border reiver, John Elliot of Park, also known as Little Jock Elliot or Little Jock of the Park. The ballad recounts how Bothwell, in attempting to arrest Little Jock Elliot, suffers life-threatening"
"control [...] embodied in Deity and in human equipoise"". She argued that its ""best quality"" was ""in its reminders of how severe, strenuous, and practical was the poet's approach toward the present enlargement of his philosophical vision."" Rolfe Humphries declared, ""How beautifully [...] Eliot winds the theme, from the simple statement that perhaps any dialectical materialist would accept [...] to the conclusion that any revolutionist might find difficulty in understanding [...] How beautifully it is done!"" However, George Orwell disapproved of ""Burnt Norton"" and stated that the religious nature of the poem coincided with Eliot's poems no longer having what"
"drinking. Keyt left children The estate became known as Burnt Norton and the garden remained as an attraction. It was after visiting the garden that T. S. Eliot wrote ""Burnt Norton"" the first of his ""Four Quartets"". Sir William Keyt, 3rd Baronet Sir William Keyt, 3rd Baronet (8 July 1688 –1741) of Norton House, Gloucestershire, was a British landowner and politician who sat in the House of Commons from 1722 to 1735. He died at his house in a catastrophic fire of his own creation and the garden which remained, and was restored, gave rise to the poem ""Burnt Norton"""