[This entry is cross posted at ordinary-times.com]

Welcome once again to POETS Day, that wonderous day where we do our best to usher in Henry Ford’s greatest creation – the weekend – a few hours ahead of schedule by embracing the ethos of the day: Piss Off Early, Tomorrow’s Saturday.

Life’s too short for work, and nobody’s gonna notice if you hoof it mid-afternoon.

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T.S. Eliot will with good reason be best known for The Waste Land, but it’s not uncommon to come across writings that hold up Four Quartets, considered as a whole, as the better work. The former was epochal. There is poetry before The Waste Land and poetry after, the full scope and impact being the subject of numerous heavy books. The Waste Land had the advantage of making a larger splash, not having been presaged by The Waste Land as Four Quartets was. I gladly claim agnosticism; “They can both be great,” and such. Being above the fray hides all manner of deficiencies in judgement.

“Burnt Norton” was the first of the Four Quartets, published in 1936 as part of Eliot’s Collected Poems 1909–1935. In the course of production or during the run up to his play, Murder In the Cathedral, a number of lines were discarded on advice of his director, E. Martin Browne. Eliot held Browne in some esteem – the two would continue to collaborate over the following two decades – and so deferred as to what was appropriate for the stage but he held on to the lines. He hated waste. James Matthew Wilson tells us in an informative video about “Burnt Norton” (one of four in a series on Four Quartets to which I’ll be referring to in this post – well worth your viewing time) that he was slow to write, or if not slow, frustratingly contemplative. “Constipated,” Eliot would say. It wasn’t his desire to waste what was painstakingly crafted, so a priest’s struck dialogue from Murder in the Cathedral begins his poem. In the gardens of Burnt Norton, a manor house Eliot once visited with Emily Hale, he says to her,

Time present and time past
Are both perhaps present in time future,
And time future contained in time past.

“Burnt Norton” is in five parts, as was The Waste Land and later the remaining of the Four Quartets. Eliot wrote extensively on Elizabethan drama and its five act structure is certainly being mirrored, but Wilson points out that Eliot was a devout man and this is a religious work so we see in the five parts the structure of mystical prayer. Here I’m paraphrasing, but first setting, then discovery or imagination of setting followed by a contemplation or inward turn. Fourth is a purgation, some sort of repentance or prayer of hope. Finally, we have a reconciliation.