Tag: The Wasteand

Angelism – II

Angelism – II posted in Eleison Comments 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 posted in Eleison Comments 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.