T.S. Eliot

Culture Matters!

Culture Matters! on April 25, 2015

From Friday evening, May 1st, to Sunday mid-day, May 3rd, there will be held here in Queen of Martyrs House, Broadstairs, another seminar by Dr. David White, as last year on Charles Dickens, so this year on T.S. Eliot (1888–1965), another giant of English literature with a direct connection to this corner of England. It was in an open-air pavilion overlooking Margate beach about five miles north of Broadstairs that between October and November of 1921 the world famous Anglo-American poet broke a writing-block and composed some 50 lines of the third of five parts of the most influential poem of the 20th century, at any rate in the English language, The Wasteland (1922).

The poem is a brilliant portrait of the nothingness in men’s hearts and minds in the wake of World War I (1914–1918). In The Wasteland Eliot forged a new fragmentary way of writing poetry that captured the broken spiritual condition of modern man. By his broad and deep grasp of the artistic masterpieces from the past, notably Dante and Shakespeare, Eliot was able to give shape to the spiritual poverty of today. For instance in the six lines of the peom which are clearly connected to Margate, one of three working-class girls tells how she gave away her honour, for nothing, and to highlight the emptiness of the lives of all three maidens, their words are framed within fragments from the song of the three Rhine maidens who open and close the cosmic vision of Wagner’s epic Ring of the Nibelungs.

Emptiness and nothingness. Why on earth should Catholics bother with such depressing authors? Salvation is by Our Lord Jesus Christ, not by culture, especially not by nihilistic culture. A particular answer concerns T S Eliot. A general answer concerns all “culture,” defined as those stories, pictures and music with which all men of all ages cannot help furnishing and forming their hearts and minds.

As for T S Eliot, he himself soon dismissed The Wasteland as “rhythmic grumbling,” and a few years later he became a member of the Church of England. He had given brilliant expression to modern nothingness, but he did not wallow in it. He went on to write a number of plays and especially the long poem of the Four Quartets, which are by no means nihilistic, and about which Dr White, who loves Eliot, will also be talking in Broadstairs in a few days’ time. Having grappled honestly with the problem, Eliot came up with no ostrich solution, like countless Catholics that have fallen for Vatican II.

For indeed culture in general is to religion (or irreligion) like the suburbs of a city are to the city centre. And just as a military general with the task of defending a city would be most foolish to leave the suburbs to be occupied by the enemy, so any Catholic concerned for his religion cannot be indifferent to the stories, pictures and music which are moulding the souls all around him. Of course religion (or irreligion) is central to a man’s life, compared with which “culture” is peripheral, because men’s culture is, deep down, a spin-off from their relation with their God. Nevertheless culture and religion interact. For instance, were so many Catholics not under the spell of “The Sound of Music,” would they so easily have fallen for Vatican II? Or had the present leaders of the Society of St Pius X, by contrasting Catholic culture and modern anti-culture, grasped the depth of the modern problem, would they be now so intent on getting back under the perpetrators of Vatican II? Culture can matter like Heaven and Hell!

Kyrie eleison.

Dickens’ Broadstairs

Dickens’ Broadstairs on June 21, 2014

A number of friends have asked me how I like the house newly purchased for the “Resistance” in Kent, England. I like it. It is spacious and it is being beautifully set up by a fellow-exile from the Society of St Pius X, Fr Stephen Abraham. Only Heaven knows how it intends the house to be used in the near and distant future, but it is meanwhile a delightful refuge, five minutes on foot from the sea which God created, and which the liberals cannot touch.

Several famous English artists and writers from the past have also found refuge in this delightful corner of north-east Kent. Most famous of the artists is J.M.W. TURNER (1775–1751). Born in London where he spent most of his working life, from age 11 he spent several formative years in Margate, some four miles up the coast from Broadstairs. Here he discovered the sea, which with its light effects was a lifelong inspiration for his painting, and to Margate he frequently returned later in life.

Also in Margate the most famous poet in English of the 20th century, T.S. ELIOT (1888–1965), composed in an open-air pavilion still standing on Margate’s beach, a substantial section of the third part of his most famous poem, The Wasteland (1922). He had come to the seaside town as a refugee from London where an unhappy marriage had seriously affected his health. He did not stay long, but went on to Lausanne, Switzerland, where thanks to the care of a good doctor he completed his recovery and The Wasteland. But the prospect of the sea at Margate had no doubt helped.

Another famous poet, at least in England, was a frequent visitor to Ramsgate, two miles down the coast from Broadstairs. Samuel Taylor COLERIDGE, one of England’s five outstanding Romantic poets, is best-known for his long poem, The Ancient Mariner. He loved bathing in the sea at Ramsgate, perhaps also for health reasons. In any case, the colder the sea, the more he liked it.

Most famous of all, however, was a frequent visitor to Broadstairs itself, the novelist Charles Dickens (1812–1870). He first resorted to Broadstairs in 1837, as a quiet place in which to complete his first novel, The Pickwick Papers, but he so fell in love with the antiquated little seaside town that he often returned with his family to write, or to rest from writing, through the 1840’s and into the 1850’s. His name and names of his novels, or of characters from his novels, are to be found all over the old town that he knew. It is now surrounded, not to say strangled, by Victorian and modern suburbs, but Broadstairs still celebrates every year its most famous visitor with a Dickens Festival in June.

Dr. David Allen White, a Catholic teacher of literature and music who is well-known to many Catholics striving to keep the Faith all over the English-speaking world, is a great lover of Dickens. Since he is passing through London this summer, he agreed to visit Broadstairs in order to hold on August 2 and 3 a 24-hour weekend seminar on Dickens, open to the public and including three conferences and Sunday Mass, and a visit which he will guide to the Dickens Museum in town, set up in a little old house known to, and visited by, Dickens himself. If you are interested in attending, let us know soon (through info@dinoscopus.org), because if numbers have to be limited, first come will be first served. Meals will be provided in-house, but visitors will have to find their own accommodation outside. Beware, it will be the height of the holiday season.

Dickens was not Catholic, but Dostoevsky called him “a great Christian.” Dickens certainly had a warm and open heart, and a brilliant pen.

Kyrie eleison.

Angelism – II

Angelism – II on February 18, 2012

Alert readers of these “Comments” may have picked up on an apparent contradiction. On the one hand the “Comments” have repeatedly condemned anything modern in the arts (e.g. EC 114, 120, 144, 157, etc.). On the other hand last week the Anglo-American poet T.S.Eliot was called an “arch-modernist,” and praised for launching a new style of poetry more true to modern times, certainly chaotic.

As the “Comments” have often said, modernity in the arts is characterized by disharmony and ugliness, because modern man chooses more and more to live without or against the God who has planted order and beauty throughout his creation. This beauty and order are now so buried beneath the pomps and works of godless man that it is easy for artists to believe they are no longer there. If then their art is to be true to what they perceive of their surroundings and society, only an exceptional modern artist will convey anything of the divine order underlying the disordered surface of modern life. Most modern artists have given up on order and, like their customers, wallow in the disorder.

But Eliot was born and reared in the late 19th century when society was still relatively ordered, and he received in the USA a good classical education when only a few secret villains yet dreamt of replacing education with training in inhuman subjects. So Eliot may have had little or no access in his youth to true religion, but he was well introduced to its by-products since the Middle Ages, the classics of Western music and literature. Sensing and seeking in them an order missing around him, Eliot was thus able to grasp the deep-down disorder of the rising 20th century, a disorder which merely burst out in the first World War (1914–1918). Hence the “Waste Land” of 1922.

But in that poem he is far from wallowing in the disorder. On the contrary he clearly hates it, showing how empty it is of human warmth and value. So the “Waste Land” may bear little trace of Western religion, but it does finish on scraps of Eastern religion, and as Scruton says, Eliot was certainly tracking the religious depths of the problem. In fact a few years later Eliot nearly became a Catholic, but he was scared off by Pius XI’s condemnation in 1926 of the “Action française,” a condemnation in which he recognized more of the problem and not its solution. So out of gratitude to England for all it had given him of traditional order, he settled for a solution less than complete, combining Anglicanism with high culture, and a Rosary always in his pocket. However God does write straight with crooked lines. How many souls in search of order would have stayed away from Shakespeare or Eliot if they thought that either of them, by being fully Catholic, had answers only pre-fabricated, not true to life.

That is sad, but it is so. Now souls may well be deceiving themselves in one way or another if they shy away from Catholic authors or artists on the grounds that these are untrue to real life, but it is up to Catholics to give them no such excuse. Let us Catholics show by our example that we do not have minds made cosy by artificial solutions necessarily false to the depths of the modern problem. We are not angels, but earthy creatures invited to Heaven if we will pick up our modern cross and follow Our Lord Jesus Christ. Such followers can alone remake the Church, and the world!

Kyrie eleison.

Deadly Angelism

Deadly Angelism on February 11, 2012

Discerning what made T.S.Eliot (1888–1965) “indisputably the greatest poet writing in English in the 20th century,” a conservative English writer of our own day, Roger Scruton, has some interesting things to suggest to Catholics hanging on to their Faith by their fingertips in these early years of the 21st century – briefly, in the pain is the solution! If we are being crucified by the world around us, that is the Cross we are meant to be carrying.

Eliot was in poetry an arch-modernist. As Scruton says, “He overthrew the 19th century in literature and inaugurated the age of free verse, alienation and experiment.” One may well question whether Eliot’s final combination of high culture and Anglicanism is a sufficient solution to the problems he was tackling, but who can deny that with his famous poem, the “Waste Land” of 1922, he blazed the trail for contemporary English poetry? The enormous influence of his poems demonstrated at least that Eliot had his finger on the pulse of the times. He is a modern man, and he tackled head on the problem of modern times, summed up by Scruton as “fragmentation, heresy and unbelief.”

However, the “Waste Land” could not be the masterpiece that it is if it did not make some sense out of the chaos. It is in fact a brilliant portrait in a mere 434 lines of the shattered European “civilisation” that emerged from the ruins of World War I (1914 -1918). And how did Eliot manage to do that? Because as Scruton says, Eliot the arch-modernist was also an arch-conservative. Eliot had soaked himself in the great poets of the past, notably Dante and Shakespeare, but also in more modern masters such as Baudelaire and Wagner, and it is clear from the “Waste Land” that it is Eliot’s grasp of the order of the past that enabled him to get a handle on the disorder of the present.

Scruton comments that if then Eliot blew away the great romantic tradition of 19th century English poetry, it is because that romanticism no longer corresponded to the reality of his age. “He believed that his contemporaries’ use of worn-out poetic diction and lilting rhythms betrayed a serious moral weakness: a failure to observe life as it really is, a failure to feel what must be felt towards the experience that is inescapably ours. And this failure is not confined, Eliot believed, to literature, but runs through the whole of modern life.” The search for a new literary idiom on Eliot’s part was therefore part of a larger search – “for the reality of modern experience.”

Now have we not seen, and do we not see, the same “serious moral weakness” inside the Church? One may call “Fiftiesism” that weakness of the Church of the 1950’s which was the direct father of the disaster of Vatican II in the 1960’s. What was it if not a refusal to look squarely at the modern world for what it is? A pretence that everything was nice, and everybody was nice? A pretence that if I just wrap myself up in an angelist sentimentality, then the problems of the Church in the Revolutionary world will just float away? And what is now the pretence that Rome really wants Catholic Tradition if not the same essential refusal of modern reality? As Eliot taught us that sentimentality is the death of true poetry, so Archbishop Lefebvre showed us that it is the death of true Catholicism. The arch-conservative Archbishop was the truest of modern Catholics.

Catholics, today’s reality may be crucifying us in any one of its many corrupt ways, but rejoice, again, says St Paul, rejoice, because in our own acceptance of our modern Cross today is our only salvation, and the only future for Catholicism

Kyrie eleison.