This brilliantly allusive and gracefully written study is focused
on T. S. Eliot's developing commitment to Christianity, but the
essay is by no means procrustean or reductive in its strategies,
nor is it theological.
Montgomery shows how Eliot's intellectual and emotional
uneasiness in the early poems is reflected in such technical
devices as point of view and imagery. The questions of the poem's
voice and the poet's mask (which are often ironic in nature) become
less pressing as time goes on, and finally Eliot comes to a dynamic
stillness--a frozen point in the sea of change that is variously
called nature, history, and society. This stillness embodies the
poet's rendering of Christian incarnation--the Word within the
word. The author finds too that Eliot's imagery grows richer during
the progress of his spiritual journey. As the imagery becomes more
religious it also grows more complex and more concrete.
Eliot in the end decides the poet's personal struggle to know
his world is more important than the poetry which "does not
matter," as he says in East Coker. Paradoxically the poetry of T.
S. Eliot takes on an increasingly classical quality as it steadily
becomes more personal and Christian. Montgomery accordingly shows
how Eliot ultimately arrives "where he started and sees the place
for the first time."
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