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By Jason Harding (editor)

T. S. Eliot's paintings calls for a lot from his readers. The extra the reader is familiar with approximately his allusions and diversity of cultural reference, the extra worthwhile his poems, essays and performs are. This booklet is thoroughly designed to supply an authoritative and coherent exam of these contexts necessary to the fullest realizing of his difficult and debatable physique of labor. It explores a wide diversity of topics in relation to Eliot's lifestyles and occupation; key literary, highbrow, social and historic contexts; in addition to the serious reception of his oeuvre. Taken jointly, those chapters sharpen severe appreciation of Eliot's writings and current a entire, composite portrait of 1 of the 20 th century's pre-eminent males of letters. Drawing on unique study, T. S. Eliot in Context is a well timed contribution to an exhilarating reassessment of Eliot's existence and works, and may offer a beneficial source for students, lecturers, scholars and common readers.

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The other main trend was more anti-Symbolist or anti-Romantic. Under the banner of a renaissance classique, ‘neoclassicism’ was fighting a rearguard action against the ‘decadence’ of Symbolism, seeking to restore the great models of seventeenthcentury French classicism: notably Franc¸ois de Malherbe and Jean Racine. From 1907 periodicals such as Le Divan, Les Gueˆpes and La Revue Critique des Ide´es et des Livres coupled this literary cause with political groups espousing monarchist reaction, the most prominent of which was Charles Maurras’s Action Franc¸aise.

Eliot, ed. Jewel Spears Brooker (Columbia: University of Missouri Press, 1991), pp. 60–76. 16 New England Figure 2 Rockport, near the Dry Salvages, New England. chapter 2 New England Eric Sigg T. S. Eliot often called himself a New Englander. His relationship with New England, however, had a double quality: positive and negative, inherited but also personal, giving him a source of inspiration but failing to provide an environment that would sustain his poetic career. Although Eliot grew up in a large family in St Louis (see Chapter 1 above), his ancestors had lived in New England for more than two centuries.

I am nothing. I see all. The currents of the Universal Being circulate through me; I am part or particle of God . . I am the lover of uncontained and immortal beauty. In the wilderness, I find something more dear and connate than in streets or villages. 12 As Emerson’s ‘I’ becomes his eye, personal identity falls away, to be replaced by an identity between the self and what it sees in nature. If rather different forces call forth Eliot’s visionary moments, those moments resemble Emerson’s when self-consciousness – confined, narrow and exclusive – is transformed into consciousness of something beyond the self – comprehensive and powerful.

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