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<a class="vector-toc-link" href="#Music"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.2</span> <span>Music</span> </div> </a> <ul id="toc-Music-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Dante_and_Christianity" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Dante_and_Christianity"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.3</span> <span>Dante and Christianity</span> </div> </a> <ul id="toc-Dante_and_Christianity-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Krishna" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Krishna"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.4</span> <span>Krishna</span> </div> </a> <ul id="toc-Krishna-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Critical_responses" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Critical_responses"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Critical responses</span> </div> </a> <ul id="toc-Critical_responses-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Adaptation" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Adaptation"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Adaptation</span> </div> </a> <ul id="toc-Adaptation-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " 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class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Cuatro_cuartetos" title="Cuatro cuartetos – Spanish" lang="es" hreflang="es" data-title="Cuatro cuartetos" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%DA%86%D9%87%D8%A7%D8%B1_%DA%A9%D9%88%D8%A7%D8%B1%D8%AA%D8%AA" title="چهار کوارتت – Persian" lang="fa" hreflang="fa" data-title="چهار کوارتت" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Quatre_Quatuors" title="Quatre Quatuors – French" lang="fr" hreflang="fr" data-title="Quatre Quatuors" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-fy mw-list-item"><a href="https://fy.wikipedia.org/wiki/Fjouwer_Kwartetten" title="Fjouwer Kwartetten – Western Frisian" lang="fy" hreflang="fy" data-title="Fjouwer Kwartetten" data-language-autonym="Frysk" data-language-local-name="Western Frisian" class="interlanguage-link-target"><span>Frysk</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Quattro_quartetti" title="Quattro quartetti – Italian" lang="it" hreflang="it" data-title="Quattro quartetti" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-ka mw-list-item"><a href="https://ka.wikipedia.org/wiki/%E1%83%9D%E1%83%97%E1%83%AE%E1%83%98_%E1%83%99%E1%83%95%E1%83%90%E1%83%A0%E1%83%A2%E1%83%94%E1%83%A2%E1%83%98" title="ოთხი კვარტეტი – Georgian" 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href="https://fi.wikipedia.org/wiki/Nelj%C3%A4_kvartettoa" title="Neljä kvartettoa – Finnish" lang="fi" hreflang="fi" data-title="Neljä kvartettoa" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Fyra_kvartetter" title="Fyra kvartetter – Swedish" lang="sv" hreflang="sv" data-title="Fyra kvartetter" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/B%E1%BB%91n_kh%C3%BAc_t%E1%BB%A9_t%E1%BA%A5u" title="Bốn khúc tứ tấu – Vietnamese" lang="vi" hreflang="vi" data-title="Bốn khúc tứ tấu" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target"><span>Tiếng Việt</span></a></li> </ul> <div 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Click here for more information."><img alt="This is a good article. Click here for more information." src="//upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/19px-Symbol_support_vote.svg.png" decoding="async" width="19" height="20" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/29px-Symbol_support_vote.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/39px-Symbol_support_vote.svg.png 2x" data-file-width="180" data-file-height="185" /></a></span></div></div> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Poems by T. S. Eliot</div> <p class="mw-empty-elt"> </p> <style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox vcard"><caption class="infobox-title" style="font-size:125%; font-style:italic; padding-bottom:0.2em;">Four Quartets <span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Four+Quartets&rft.author=%5B%5BT.+S.+Eliot%5D%5D&rft.date=1943&rft.pub=%5B%5BHarcourt+%28publisher%29%7CHarcourt%5D%5D+%28US%29&rft.pages=40"></span></caption><tbody><tr><td colspan="2" class="infobox-image"><span class="mw-default-size" typeof="mw:File/Frameless"><a href="/wiki/File:FourQuartets.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/f/f8/FourQuartets.jpg/220px-FourQuartets.jpg" decoding="async" width="220" height="337" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/f/f8/FourQuartets.jpg 1.5x" data-file-width="240" data-file-height="368" /></a></span><div class="infobox-caption">First US edition published by <a href="/wiki/Harcourt_(publisher)" title="Harcourt (publisher)">Harcourt</a></div></td></tr><tr><th scope="row" class="infobox-label">Author</th><td class="infobox-data"><a href="/wiki/T._S._Eliot" title="T. S. Eliot">T. S. Eliot</a></td></tr><tr><th scope="row" class="infobox-label">Language</th><td class="infobox-data">English</td></tr><tr><th scope="row" class="infobox-label">Genre</th><td class="infobox-data">Poetry</td></tr><tr><th scope="row" class="infobox-label">Publisher</th><td class="infobox-data"><a href="/wiki/Harcourt_(publisher)" title="Harcourt (publisher)">Harcourt</a> (US)</td></tr><tr><th scope="row" class="infobox-label"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Publication date</div></th><td class="infobox-data">1943</td></tr><tr><th scope="row" class="infobox-label">Media type</th><td class="infobox-data">Print</td></tr><tr><th scope="row" class="infobox-label">Pages</th><td class="infobox-data">40</td></tr></tbody></table> <p><i><b>Four Quartets</b></i> is a set of four poems written by <a href="/wiki/T._S._Eliot" title="T. S. Eliot">T. S. Eliot</a> that were published over a six-year period. The first poem, <i><a href="/wiki/Burnt_Norton" title="Burnt Norton">Burnt Norton</a></i>, was published with a collection of his early works (1936's <i>Collected Poems 1909–1935</i>). After a few years, Eliot composed the other three poems, <i><a href="/wiki/East_Coker_(poem)" title="East Coker (poem)">East Coker</a></i>, <i><a href="/wiki/The_Dry_Salvages" title="The Dry Salvages">The Dry Salvages</a></i>, and <i><a href="/wiki/Little_Gidding_(poem)" title="Little Gidding (poem)">Little Gidding</a></i>, which were written during <a href="/wiki/World_War_II" title="World War II">World War II</a> and the <a href="/wiki/The_Blitz" title="The Blitz">air-raids on Great Britain</a>. They were first published as a series by <a href="/wiki/Faber_and_Faber" class="mw-redirect" title="Faber and Faber">Faber and Faber</a> in Great Britain between 1940 and 1942 towards the end of Eliot's poetic career (<i>East Coker</i> in September 1940, <i>Burnt Norton</i> in February 1941, <i>The Dry Salvages</i> in September 1941 and <i>Little Gidding</i> in 1942). The poems were not collected until Eliot's New York publisher printed them together in 1943. </p><p><i>Four Quartets</i> are four interlinked <a href="/wiki/Meditation_(writing)" title="Meditation (writing)">meditations</a> with the common theme being man's relationship with time, the universe, and the divine. In describing his understanding of the divine within the poems, Eliot blends his Anglo-Catholicism with mystical, philosophical and poetic works from both Eastern and Western religious and cultural traditions, with references to the <i><a href="/wiki/Bhagavad-Gita" class="mw-redirect" title="Bhagavad-Gita">Bhagavad-Gita</a></i> and the <a href="/wiki/Pre-Socratic_philosophy" title="Pre-Socratic philosophy">Pre-Socratics</a> as well as the <a href="/wiki/Christian_mysticism" title="Christian mysticism">Christian mystics</a>, <a href="/wiki/John_of_the_Cross" title="John of the Cross">John of the Cross</a> and <a href="/wiki/Julian_of_Norwich" title="Julian of Norwich">Julian of Norwich</a>. </p><p>Although many critics find the <i>Four Quartets</i> to be Eliot's last great work, some of Eliot's contemporary critics were dissatisfied with Eliot's overt religiosity. <a href="/wiki/George_Orwell" title="George Orwell">George Orwell</a> argued that religion was not a worthy topic for Eliot's poems.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Later critics disagreed with Orwell's claims about the poems and argued instead that the religious themes made the poem stronger. Overall, reviews of the poem within Great Britain were favourable while reviews in the United States were split between those who liked Eliot's later style and others who felt he had abandoned positive aspects of his earlier poetry. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Background">Background</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Four_Quartets&action=edit&section=1" title="Edit section: Background"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>While working on his play <i><a href="/wiki/Murder_in_the_Cathedral" title="Murder in the Cathedral">Murder in the Cathedral</a></i>, Eliot came up with the idea for a poem that was structured similarly to <i><a href="/wiki/The_Waste_Land" title="The Waste Land">The Waste Land</a></i>.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> The resulting poem, <i>Burnt Norton</i>, named after a manor house, was published in Eliot's 1936 edition of <i>Collected Poems 1909–1935</i>.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> Eliot decided to create another poem similar to <i>Burnt Norton</i> but with a different location in mind. This second poem, <i>East Coker</i>, was finished and published by Easter 1940.<sup id="cite_ref-coker_4-0" class="reference"><a href="#cite_note-coker-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> (Eliot visited <a href="/wiki/East_Coker" title="East Coker">East Coker</a> in Somerset in 1937, and his ashes now repose there at <a href="/wiki/St_Michael_and_All_Angels%27_Church,_East_Coker" title="St Michael and All Angels' Church, East Coker">St Michael and All Angels' Church</a>.)<sup id="cite_ref-coker_4-1" class="reference"><a href="#cite_note-coker-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p><p>As Eliot was finishing his second poem, World War II began to disrupt his life and he spent more time lecturing across Great Britain and helping out during the war when he could. It was during this time that Eliot began working on <i>The Dry Salvages</i>, the third poem, which was put together near the end of 1940.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> This poem was published in February 1941 and Eliot immediately began to plot out his fourth poem, <i>Little Gidding</i>. Eliot's health declined and he stayed in <a href="/wiki/Shamley_Green" class="mw-redirect" title="Shamley Green">Shamley Green</a> to recuperate. His illness and the war disrupted his ability to write and he became dissatisfied with each draft. He believed that the problem with the poem was with himself and that he had started the poem too soon and written it too quickly. By September 1941, he stopped writing and focused on his lecturing. It was not until September 1942 that Eliot finished the last poem and it was finally published.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>While writing <i>East Coker</i> Eliot thought of creating a "quartet" of poems that would reflect the idea of the four elements and, loosely, the four seasons.<sup id="cite_ref-Ackroyd_1984_p._262_7-0" class="reference"><a href="#cite_note-Ackroyd_1984_p._262-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> As the first four parts of <i>The Waste Land</i> have each been associated with one of the four <a href="/wiki/Classical_elements" class="mw-redirect" title="Classical elements">classical elements</a> so has each of the constituent poems of <i>Four Quartets</i>: <a href="/wiki/Air_(classical_element)" title="Air (classical element)">air</a> (<i>BN</i>), <a href="/wiki/Earth_(classical_element)" title="Earth (classical element)">earth</a> (<i>EC</i>), <a href="/wiki/Water_(classical_element)" title="Water (classical element)">water</a> (<i>DS</i>), and <a href="/wiki/Fire_(classical_element)" title="Fire (classical element)">fire</a> (<i>LG</i>). However, there is little support for the poems matching with individual seasons.<sup id="cite_ref-Pinion_1986_p._219_8-0" class="reference"><a href="#cite_note-Pinion_1986_p._219-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Eliot described what he meant by "quartet" in a 3 September 1942 letter to <a href="/wiki/John_Davy_Hayward" title="John Davy Hayward">John Hayward</a>: </p> <blockquote><p>... these poems are all in a particular set form which I have elaborated, and the word "quartet" does seem to me to start people on the right track for understanding them ("sonata" in any case is <i>too</i> musical). It suggests to me the notion of making a poem by weaving in together three or four superficially unrelated themes: the "poem" being the degree of success in making a new whole out of them.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup></p></blockquote> <p>The four poems comprising <i>Four Quartets</i> were first published together as a collection in New York in 1943 and then London in 1944.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> The original title was supposed to be the <i>Kensington Quartets</i> after his time in <a href="/wiki/Kensington" title="Kensington">Kensington</a>.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> The poems were kept as a separate entity in the United States until they were collected in 1952 as Eliot's <i>Complete Poems and Plays</i>, and in the United Kingdom until 1963 as part of Eliot's <i>Complete Poems 1909–62</i>. The delay in collecting the <i>Four Quartets</i> with the rest of Eliot's poetry separated them from his other work, even though they were the result of a development from his earlier poems.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="World_War_II">World War II</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Four_Quartets&action=edit&section=2" title="Edit section: World War II"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The outbreak of <a href="/wiki/World_War_II" title="World War II">World War II</a>, in 1939, pushed Eliot further into the belief that there was something worth defending in society and that Germany had to be stopped. There is little mention of the war in Eliot's writing except in a few pieces, like "Defence of the Islands". The war became central to <i>Little Gidding</i> as Eliot added in aspects of his own experience while serving as a watchman at the <a href="/wiki/Faber_and_Faber" class="mw-redirect" title="Faber and Faber">Faber</a> building during the <a href="/wiki/London_blitz" class="mw-redirect" title="London blitz">London blitz</a>. The <i>Four Quartets</i> were favoured as giving hope during the war and also for a later religious revival movement.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> By <i>Little Gidding</i>, WWII is not just the present time but connected also to the <a href="/wiki/English_Civil_War" title="English Civil War">English Civil War</a>.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Poems">Poems</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Four_Quartets&action=edit&section=3" title="Edit section: Poems"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Each poem has five sections. The later poems connect to the earlier sections, with <i>Little Gidding</i> synthesising the themes of the earlier poems within its sections.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> Within Eliot's own poetry, the five sections connect to <i>The Waste Land</i>. This allowed Eliot to structure his larger poems, which he had difficulty with.<sup id="cite_ref-Bergonzi_1972_p._164_16-0" class="reference"><a href="#cite_note-Bergonzi_1972_p._164-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p><p>According to <a href="/wiki/C._K._Stead" title="C. K. Stead">C. K. Stead</a>, the structure is based on:<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p> <ol><li>The movement of time, in which brief moments of eternity are caught.</li> <li>Worldly experience, leading to <a href="/wiki/Dissatisfaction" class="mw-redirect" title="Dissatisfaction">dissatisfaction</a>.</li> <li>Purgation in the world, divesting the soul of the love of created things.</li> <li>A lyric prayer for, or affirmation of the need of, <a href="/wiki/Intercession" title="Intercession">intercession</a>.</li> <li>The problem of attaining artistic wholeness, which becomes an analogue for and merges into the problem of achieving spiritual health.</li></ol> <p>These points can be applied to the structure of <i>The Waste Land</i>, though there is not necessarily a fulfilment of these but merely a longing or discussion of them.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Burnt_Norton">Burnt Norton</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Four_Quartets&action=edit&section=4" title="Edit section: Burnt Norton"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Burnt_Norton" title="Burnt Norton">Burnt Norton</a></div> <p>The poem begins with two epigraphs taken from the fragments of <a href="/wiki/Heraclitus" title="Heraclitus">Heraclitus</a>: </p> <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote"><div lang="el" class="poem"> <p>τοῦ λόγου δὲ ἐόντος ξυνοῦ ζώουσιν οἱ πολλοί<br /> ὡς ἰδίαν ἔχοντες φρόνησιν </p> </div><div class="templatequotecite">— <cite>I. p. 77. Fr. 2.</cite></div></blockquote> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote"><p><span title="Greek-language text"><span lang="el">ὁδὸς ἄνω κάτω μία καὶ ὡυτή</span></span></p><div class="templatequotecite">— <cite>I. p. 89 Fr. 60.</cite></div></blockquote> <p>The first may be translated, "Though wisdom is common, the many live as if they have wisdom of their own"; the second, "the way upward and the way downward is one and the same."<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> </p><p>The concept and origin of <i>Burnt Norton</i> is connected to Eliot's play <i><a href="/wiki/Murder_in_the_Cathedral" title="Murder in the Cathedral">Murder in the Cathedral</a></i>.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> The poem discusses the idea of time and the concept that only the present moment really matters because the past cannot be changed and the future is unknown.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p><p>In Part I, this meditative poem begins with the narrator trying to focus on the present moment while walking through a garden, focusing on images and sounds like the bird, the roses, clouds, and an empty pool. In Part II, the narrator's meditation leads him to reach "the still point" in which he doesn't try to get anywhere or to experience place and/or time, instead experiencing "a grace of sense." In Part III, the meditation experience becomes darker as night comes on, and by Part IV, it is night and "Time and the bell have buried the day." In Part V, the narrator reaches a contemplative end to his/her meditation, initially contemplating the arts ("Words" and "music") as they relate to time. The narrator focuses particularly on the poet's art of manipulating "Words [which] strain,/Crack and sometimes break, under the burden [of time], under the tension, slip, slide, perish, decay with imprecision, [and] will not stay in place, /Will not stay still." By comparison, the narrator concludes that "Love is itself unmoving,/Only the cause and end of movement,/Timeless, and undesiring." For this reason, this spiritual experience of "Love" is the form of consciousness that most interests the narrator (presumably more than the creative act of writing poetry). </p> <div class="mw-heading mw-heading3"><h3 id="East_Coker">East Coker</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Four_Quartets&action=edit&section=5" title="Edit section: East Coker"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/East_Coker_(poem)" title="East Coker (poem)">East Coker (poem)</a></div> <p>Eliot started writing <i>East Coker</i> in 1939, and modelled the poem after <i>Burnt Norton</i> as a way to focus his thoughts. The poem served as a sort of opposite to the popular idea that <i>The Waste Land</i> served as an expression of disillusionment after <a href="/wiki/World_War_I" title="World War I">World War I</a>, though Eliot never accepted this interpretation.<sup id="cite_ref-coker_4-2" class="reference"><a href="#cite_note-coker-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> The poem focuses on life, death, and continuity between the two. Humans are seen as disorderly and science is viewed as unable to save mankind from its flaws. Instead, science and reason lead mankind to warfare, and humanity needs to become humble in order to escape the cycle of destruction. To be saved, people must recognize Christ as their saviour as well as their need for redemption.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="The_Dry_Salvages">The Dry Salvages</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Four_Quartets&action=edit&section=6" title="Edit section: The Dry Salvages"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/The_Dry_Salvages" title="The Dry Salvages">The Dry Salvages</a></div> <p>Eliot began writing <i>The Dry Salvages</i> at the end of 1940 during air-raids on London, and managed to finish the poem quickly. The poem included many personal images connecting to Eliot's childhood, and emphasised the image of water and sailing as a metaphor for humanity.<sup id="cite_ref-Ackroyd_1984_p._262_7-1" class="reference"><a href="#cite_note-Ackroyd_1984_p._262-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> According to the poem, there is a connection to all of mankind within each man. If we just accept drifting upon the sea, then we will end up broken upon rocks. We are restrained by time, but the <a href="/wiki/Annunciation" title="Annunciation">Annunciation</a> gave mankind hope that it will be able to escape. This hope is not part of the present. What we must do is understand the patterns found within the past in order to see that there is meaning to be found. This meaning allows one to experience <a href="/wiki/Eternity" title="Eternity">eternity</a> through moments of revelation.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Little_Gidding">Little Gidding</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Four_Quartets&action=edit&section=7" title="Edit section: Little Gidding"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Little_Gidding_(poem)" title="Little Gidding (poem)">Little Gidding (poem)</a></div> <p><i>Little Gidding</i> was started after <i>The Dry Salvages</i> but was delayed because of Eliot's declining health and his dissatisfaction with early drafts of the poem. Eliot was unable to finish the poem until September 1942.<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> Like the three previous poems of the <i>Four Quartets</i>, the central theme is time and humanity's place within it. Each generation is seemingly united and the poem describes a unification within <a href="/wiki/Western_civilisation" class="mw-redirect" title="Western civilisation">Western civilisation</a>. When discussing World War II, the poem states that humanity is given a choice between the bombing of London or the Holy Spirit. God's love allows humankind to redeem itself and escape the living hell through purgation by fire; he drew the affirmative coda "All shall be well" from medieval mystic <a href="/wiki/Julian_of_Norwich" title="Julian of Norwich">Julian of Norwich</a>. The end of the poem describes how Eliot has attempted to help the world as a poet, and he parallels his work in language with working on the soul or working on society.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Motifs">Motifs</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Four_Quartets&action=edit&section=8" title="Edit section: Motifs"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Eliot believed that even if a poem can mean different things to each reader, the "absolute" meaning of the poem needs to be discovered. The central meaning of the <i>Four Quartets</i> is to connect to European literary tradition in addition to its Christian themes.<sup id="cite_ref-Ackroyd_1984_p._271_26-0" class="reference"><a href="#cite_note-Ackroyd_1984_p._271-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> It also seeks to unite with European literature to form a unity, especially in Eliot's creation of a "familiar compound ghost" who is supposed to connect to those like <a href="/wiki/St%C3%A9phane_Mallarm%C3%A9" title="Stéphane Mallarmé">Stéphane Mallarmé</a>, <a href="/wiki/Edgar_Allan_Poe" title="Edgar Allan Poe">Edgar Allan Poe</a>, <a href="/wiki/Jonathan_Swift" title="Jonathan Swift">Jonathan Swift</a>, and <a href="/wiki/W._B._Yeats" title="W. B. Yeats">W. B. Yeats</a>.<sup id="cite_ref-Ackroyd_1984_p._271_26-1" class="reference"><a href="#cite_note-Ackroyd_1984_p._271-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Time">Time</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Four_Quartets&action=edit&section=9" title="Edit section: Time"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Time is viewed as unredeemable and problematic, whereas eternity is beautiful and true. Living under time's influence is a problem. Within <i>Burnt Norton</i> section 3, people trapped in time are similar to those stuck in between life and death in <a href="/wiki/Dante_Alighieri" title="Dante Alighieri">Dante</a>'s <i><a href="/wiki/Inferno_(Dante)" title="Inferno (Dante)">Inferno</a></i> Canto Three.<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> When Eliot deals with the past in <i>The Dry Salvages</i>, he emphasises its importance to combat the influence of evolution as encouraging people to forget the past and care only about the present and the future. The present is capable of always reminding one of the past. These moments also rely on the idea of <a href="/wiki/Krishna" title="Krishna">Krishna</a> in the <i>Bhagavad-Gita</i> that death can come at any moment, and that the divine will is more important than considering the future.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p><p>The Jesuit critic William F. Lynch, who believed that salvation happens within time and not outside of it, explained what Eliot was attempting to do in the <i>Four Quartets</i> when he wrote: "it is hard to say no to the impression, if I may use a mixture of my own symbols and his, that the Christian imagination is finally limited to the element of fire, to the day of <a href="/wiki/Pentecost" title="Pentecost">Pentecost</a>, to the descent of the Holy Ghost upon the disciples. The revelation of eternity and time is of an intersection ... It seems not unseemly to suppose that Eliot's imagination (and is this not a theology?) is alive with points of intersection and of descent."<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> He continued with a focus on how time operated within the poem: "He seems to place our faith, our hope, and our love, not in the flux of time but in the points of time. I am sure his mind is interested in the line and time of Christ, whose Spirit is his total flux. But I am not so sure about his imagination. Is it or is it not an imagination which is saved from time's nausea or terror by points of intersection? ... There seems little doubt that Eliot is attracted above all by the image and the goal of immobility, and that in everything he seeks for approximations to this goal in the human order." Lynch went on to point out that this understanding of time includes Asian influences.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> </p><p>Throughout the poems, the end becomes the beginning and things constantly repeat.<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> This use of circular time is similar to the way Dante uses time in his <i>Divine Comedy</i> – <i>Little Gidding</i> ends with a rose garden image that is the same as the garden beginning <i>Burnt Norton</i>. The repetition of time affects memory and how one can travel through their own past to find permanency and the divine. Memory within the poem is similar to how <a href="/wiki/Augustine_of_Hippo" title="Augustine of Hippo">Augustine of Hippo</a> discussed it, in that memory allows one to understand words and life. The only way to discover eternity is through memory, understanding the past, and transcending beyond time. Likewise, in the Augustinian view that Eliot shares, timeless words are connected to Christ as the <a href="/wiki/Logos_(Christianity)" title="Logos (Christianity)">Logos</a> and how Christ calls upon mankind to join him in salvation.<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Music">Music</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Four_Quartets&action=edit&section=10" title="Edit section: Music"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The title <i>Four Quartets</i> connects to music, which appears also in Eliot's poems "Preludes", "Rhapsody on a Windy Night", and "A Song for Simeon" along with a 1942 lecture called "The Music of Poetry". Some critics have suggested that there were various classical works that Eliot focused on while writing the pieces.<sup id="cite_ref-Bergonzi_1972_p._164_16-1" class="reference"><a href="#cite_note-Bergonzi_1972_p._164-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> In particular, within literary criticism there is an emphasis on <a href="/wiki/Beethoven" class="mw-redirect" title="Beethoven">Beethoven</a> serving as a model. Some have disputed this claim.<sup id="cite_ref-Pinion_1986_p._219_8-1" class="reference"><a href="#cite_note-Pinion_1986_p._219-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> However, Lyndall Gordon's biography of T. S. Eliot establishes that Eliot had Beethoven in mind while writing them.<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> The purpose of the quartet was to have multiple themes that intertwined with each other. Each section, as in the musical image, would be distinct even though they share the same performance. <i>East Coker</i> and <i>The Dry Salvages</i> are written in such a way as to make the poems continuous and create a "double-quartet".<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><p>Eliot focused on sounds or "auditory imagination", as he called it. He doesn't always keep to this device, especially when he is more concerned with thematic development. He did fix many of these passages in revision.<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Dante_and_Christianity">Dante and Christianity</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Four_Quartets&action=edit&section=11" title="Edit section: Dante and Christianity"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Critics have compared Eliot to <a href="/wiki/W._B._Yeats" title="W. B. Yeats">W. B. Yeats</a>. Yeats believed that we live in a cyclical world, saying, "If it be true that God is a circle whose centre is everywhere, the saint goes to the centre, the poet and the artist to the ring where everything comes round again."<sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> Eliot believed that such a system is stuck within time. Eliot was influenced by Yeats's reading of Dante. This appears in Eliot's <i>Ash Wednesday</i> by changing Yeats's "desire for absolution" away from a humanistic approach.<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> When Eliot wrote about personal topics, he tended to use Dante as a reference point. He also relied on Dante's imagery: the idea of the "refining fire" in the <i>Four Quartets</i> and in <i>The Waste Land</i> comes from <i><a href="/wiki/Purgatorio" title="Purgatorio">Purgatorio</a></i>, and the celestial rose and fire imagery of <i>Paradiso</i> makes its way into the series.<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> </p><p>The <i>Four Quartets</i> abandons time, as per Dante's conception of the <a href="/wiki/Empyrean" title="Empyrean">Empyrean</a>, and allows for opposites to co-exist together. As such, people are able to experience God directly as long as they know that they cannot fully understand or comprehend him. Eliot tries to create a new system, according to <a href="/wiki/Denis_Donoghue_(academic)" title="Denis Donoghue (academic)">Denis Donoghue</a>, in which he is able to describe a Christianity that is not restricted by previous views that have fallen out of favour in modern society or contradicted by science. Eliot reasoned that he is not supposed to preach a theological system as a poet, but expose the reader to the ideas of religion. As Eliot stated in 1947: "if we learn to read poetry properly, the poet never persuades us to believe anything" and "What we learn from Dante, or the <i>Bhagavad-Gita</i>, or any other religious poetry is what it feels like to believe that religion."<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p><p>According to <a href="/wiki/Russell_Kirk" title="Russell Kirk">Russell Kirk</a>, "Nor is it possible to appreciate Eliot—whether or not one agrees with him—if one comes to <i>Four Quartets</i> with ideological blinders. Ideology, it must be remembered, is the attempt to supplant religious dogmas by political and scientistic dogmas. If one's first premise is that religion must be a snare and a delusion, for instance, then it follows that Eliot becomes an enemy to be assaulted, rather than a pilgrim whose journal one may admire-even if one does not believe in the goal of that quest."<sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Krishna">Krishna</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Four_Quartets&action=edit&section=12" title="Edit section: Krishna"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Eliot's poetry is filled with religious images beyond those common to Christianity: the <i>Four Quartets</i> brings in Hindu stories with a particular emphasis on the <i><a href="/wiki/Bhagavad-Gita" class="mw-redirect" title="Bhagavad-Gita">Bhagavad-Gita</a></i> of the <i><a href="/wiki/Mahabharata" title="Mahabharata">Mahabharata</a></i>.<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> Eliot went so far as to mark where he alludes to Hindu stories in his editions of the <i>Mahabharata</i> by including a page added which compared battle scenes with <i>The Dry Salvages</i>.<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Critical_responses">Critical responses</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Four_Quartets&action=edit&section=13" title="Edit section: Critical responses"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:El_nudo_coronado._Estudio_de_Cuatro_cuartetos.djvu" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/El_nudo_coronado._Estudio_de_Cuatro_cuartetos.djvu/page1-220px-El_nudo_coronado._Estudio_de_Cuatro_cuartetos.djvu.jpg" decoding="async" width="220" height="300" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/El_nudo_coronado._Estudio_de_Cuatro_cuartetos.djvu/page1-330px-El_nudo_coronado._Estudio_de_Cuatro_cuartetos.djvu.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4c/El_nudo_coronado._Estudio_de_Cuatro_cuartetos.djvu/page1-440px-El_nudo_coronado._Estudio_de_Cuatro_cuartetos.djvu.jpg 2x" data-file-width="2894" data-file-height="3945" /></a><figcaption>Miguel Angel Montezanti <i>El nudo coronado. Estudio de Cuatro cuartetos</i>; 1994</figcaption></figure> <p>Reviews were favourable for each poem. The completed set received divided reviews in the United States while it was received overall favourably by the British. The American critics liked the poetry but many did not appreciate the religious content of the work or that Eliot abandoned philosophical aspects of his earlier poetry. The British response was connected to Eliot's nationalistic spirit, and the work was received as a series of poems intended to help the nation during difficult times.<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> <a href="/w/index.php?title=Santwana_Haldar&action=edit&redlink=1" class="new" title="Santwana Haldar (page does not exist)">Santwana Haldar</a> went so far as to assert that the "<i>Four Quartets</i> has been universally appreciated as the crown of Eliot's achievement in religious poetry, one that appeals to all including those who do not share Orthodox Christian creed."<sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/George_Orwell" title="George Orwell">George Orwell</a> believed just the opposite. He argued: "It is clear that something has departed, some kind of current has been switched off, the later verse does not contain the earlier, even if it is claimed as an improvement upon it [...] He does not really feel his faith, but merely assents to it for complex reasons. It does not in itself give him any fresh literary impulse."<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> Years later, <a href="/wiki/Russell_Kirk" title="Russell Kirk">Russell Kirk</a> wrote, "I cannot agree with Orwell that Eliot gave no more than a melancholy assent to doctrines now quite unbelievable. Over the past quarter of a century, most serious critics—whether or not they find Christian faith impossible—have found in the Quartets the greatest twentieth-century achievements in the poetry of philosophy and religion."<sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> Like Orwell, Stead also noticed a difference between the <i>Four Quartets</i> and Eliot's earlier poetry, but he disagreed with Orwell's conclusion: "<i>Four Quartets</i> is an attempt to bring into a more exact balance the will and the creative imagination; it attempts to harness the creative imagination which in all Eliot's earlier poetry ran its own course, edited but not consciously directed. The achievement is of a high order, but the best qualities of <i>Four Quartets</i> are inevitably different from those of <i>The Waste Land</i>."<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> </p><p>Early American reviewers were divided on discussing the theological aspects of the <i>Four Quartets</i>. <a href="/wiki/F._R._Leavis" title="F. R. Leavis">F. R. Leavis</a>, in <a href="/wiki/Scrutiny_(journal)" title="Scrutiny (journal)"><i>Scrutiny</i></a> (Summer 1942), analysed the first three poems and discussed how the verse "makes its explorations into the concrete realities of experience below the conceptual currency" instead of their Christian themes.<sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> Muriel Bradbrook, in <i>Theology</i> (March 1943), did the opposite of F. R. Leavis and emphasised how Eliot captured Christian experience in general and how it relates to literature. D. W. Harding, in the Spring 1943 issue of <i>Scrutiny</i>, discussed the Pentecostal image but would not discuss how it would relate to Eliot's Christianity. Although he appreciated Eliot's work, Paul Goodman believed that the despair found within the poem meant that Eliot could not be a Christian poet. John Fletcher felt that Eliot's understanding of salvation could not help the real world whereas <a href="/wiki/Louis_Untermeyer" title="Louis Untermeyer">Louis Untermeyer</a> believed that not everyone would understand the poems.<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> </p><p>Many critics have emphasised the importance of the religious themes in the poem. Vincent Buckley stated that the <i>Four Quartets</i> "presuppose certain values as necessary for their very structure as poems yet devote that structure to questioning their meaning and relevance. The whole work is, in fact, the most authentic example I know in modern poetry of a satisfying religio-poetic meditation. We sense throughout it is not merely a building-up of an intricate poetic form on the foundation of experiences already over and done with, but a constant energy, an ever-present activity, of thinking and feeling."<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> In his analysis of approaches regarding apocalypse and religious in British poetry, <a href="/wiki/M._H._Abrams" title="M. H. Abrams">M. H. Abrams</a> claimed, "Even after a quarter-century, T. S. Eliot's <i>Four Quartets</i> has not lost its status as a strikingly 'modern' poem; its evolving meditations, however, merely play complex variations upon the design and motifs of Romantic representation of the poets educational progress."<sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> </p><p>Late 20th century and early 21st century critics continued the religious emphasis. <a href="/wiki/Craig_Raine" title="Craig Raine">Craig Raine</a> pointed out: "Undeniably, <i>Four Quartets</i> has its faults—for instance, the elementary <a href="/wiki/Tautology_(rhetoric)" class="mw-redirect" title="Tautology (rhetoric)">tautology</a> of 'anxious worried women' in section I of <i><a href="/wiki/The_Dry_Salvages" title="The Dry Salvages">The Dry Salvages</a></i>. But the passages documenting in undeniable detail 'the moment in and out of time' are the most successful attempts at the mystical in poetry since <a href="/wiki/Wordsworth" class="mw-redirect" title="Wordsworth">Wordsworth</a>'s spots of time in <i><a href="/wiki/The_Prelude" title="The Prelude">The Prelude</a></i>—themselves a refiguration of the mystical."<sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> Michael Bell argued for the universality within the poems' religious dimension and claimed that the poems "were genuinely of their time in that, while speaking of religious faith, they did not assume it in the reader."<sup id="cite_ref-53" class="reference"><a href="#cite_note-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> John Cooper, in regard to the poem's place within the historical context of World War II, described the aspects of the series appeal: "<i>Four Quartets</i> spoke about the spirit in the midst of this new crisis and, not surprisingly, there were many readers who would not only allow the poem to carry them with it, but who also hungered for it."<sup id="cite_ref-54" class="reference"><a href="#cite_note-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> </p><p>In a more secular appreciation, one of Eliot's biographers, the critic <a href="/wiki/Peter_Ackroyd" title="Peter Ackroyd">Peter Ackroyd</a>, has stated that "the most striking characteristic of <i>The Four Quartets</i> is the way in which these sequences are very carefully structured. They echo and re-echo each other, and one sequence in each poem, as it were, echoes its companion sequence in the next poem. . . <i>The Four Quartets</i> are poems about a nation and about a culture which is very severely under threat, and in a sense, you could describe <i>The Four Quartets</i> as a poem of memory, but not the memory of one individual but the memory of a whole civilization."<sup id="cite_ref-55" class="reference"><a href="#cite_note-55"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup> </p><p>In a 2019 interview, conservative philosopher <a href="/wiki/Roger_Scruton" title="Roger Scruton">Roger Scruton</a> stated that "...(T. S. Eliot influenced) my vision of culture. And that’s from school days: I came across Four Quartets aged 16 and that made sense of everything for the first time."<sup id="cite_ref-56" class="reference"><a href="#cite_note-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> American author <a href="/wiki/Ross_Douthat" title="Ross Douthat">Ross Douthat</a> writes of the poem: "This is a poetic counterpart to <a href="/wiki/G._K._Chesterton" title="G. K. Chesterton">Chesterton</a>'s prose. Eliot's verse makes no argument, but distills the religious impulse and his own Christian hope to eloquent perfection."<sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Adaptation">Adaptation</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Four_Quartets&action=edit&section=14" title="Edit section: Adaptation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In 2021 <a href="/wiki/Ralph_Fiennes" title="Ralph Fiennes">Ralph Fiennes</a> directed a theatrical production of <i>Four Quartets</i>. The production toured UK regional theatres and ran at the <a href="/wiki/Harold_Pinter_Theatre" title="Harold Pinter Theatre">Harold Pinter Theatre</a>, London, in November and December 2021. </p><p>A <a href="/wiki/Film_adaptation" title="Film adaptation">film adaptation</a>, directed by <a href="/wiki/Sophie_Fiennes" title="Sophie Fiennes">Sophie Fiennes</a>, Ralph’s sister, was filmed in three days using one camera, preserving the atmosphere of <a href="/wiki/Tim_Lutkin" title="Tim Lutkin">Tim Lutkin</a>’s design for the theatre.<sup id="cite_ref-58" class="reference"><a href="#cite_note-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup> In 2023, the recorded recitation of <i>Four Quartets</i> was released by <a href="/wiki/Kino_Lorber" title="Kino Lorber">Kino Lorber</a>.<sup id="cite_ref-59" class="reference"><a href="#cite_note-59"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Four_Quartets&action=edit&section=15" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><span class="noviewer" typeof="mw:File"><a href="/wiki/File:Wikiquote-logo.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/13px-Wikiquote-logo.svg.png" decoding="async" width="13" height="16" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/20px-Wikiquote-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/27px-Wikiquote-logo.svg.png 2x" data-file-width="300" data-file-height="355" /></a></span> Quotations related to <a href="https://en.wikiquote.org/wiki/Special:Search/Four_Quartets" class="extiw" title="wikiquote:Special:Search/Four Quartets">Four Quartets</a> at Wikiquote</li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Four_Quartets&action=edit&section=16" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <dl><dt>Endnotes</dt></dl> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width reflist-columns-3"> <ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFOrwell,_George,_1903-1950.2008" class="citation book cs1">Orwell, George, 1903-1950. (2008). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/allartispropagan0000orwe"><i>All art is propaganda : critical essays</i></a></span>. Packer, George, 1960- (1st ed.). Orlando: Harcourt. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780151013555" title="Special:BookSources/9780151013555"><bdi>9780151013555</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/214322739">214322739</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=All+art+is+propaganda+%3A+critical+essays&rft.place=Orlando&rft.edition=1st&rft.pub=Harcourt&rft.date=2008&rft_id=info%3Aoclcnum%2F214322739&rft.isbn=9780151013555&rft.au=Orwell%2C+George%2C+1903-1950.&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fallartispropagan0000orwe&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFour+Quartets" class="Z3988"></span><span class="cs1-maint citation-comment"><code class="cs1-code">{{<a href="/wiki/Template:Cite_book" title="Template:Cite book">cite book</a>}}</code>: CS1 maint: multiple names: authors list (<a href="/wiki/Category:CS1_maint:_multiple_names:_authors_list" title="Category:CS1 maint: multiple names: authors list">link</a>) CS1 maint: numeric names: authors list (<a href="/wiki/Category:CS1_maint:_numeric_names:_authors_list" title="Category:CS1 maint: numeric names: authors list">link</a>)</span></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">Ackroyd 1984 p. 228</span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Grant 1997 p. 37</span> </li> <li id="cite_note-coker-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-coker_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-coker_4-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-coker_4-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Ackroyd 1984 pp. 254–255</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Pinion 1986 p. 48</span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Ackroyd 1984 pp. 262–266</span> </li> <li id="cite_note-Ackroyd_1984_p._262-7"><span class="mw-cite-backlink">^ <a href="#cite_ref-Ackroyd_1984_p._262_7-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Ackroyd_1984_p._262_7-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Ackroyd 1984 p. 262</span> </li> <li id="cite_note-Pinion_1986_p._219-8"><span class="mw-cite-backlink">^ <a href="#cite_ref-Pinion_1986_p._219_8-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Pinion_1986_p._219_8-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Pinion 1986 p. 219.</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Gardner 1978 qtd. p. 26</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Kirk 2008 p. 239</span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">Kirk 2008 p. 266</span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Moody 2006 p. 143</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">Bergonzi 1972 pp. 150–154</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">Bergonzi 1972 pp. 172</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">Ackroyd 1984 p. 270</span> </li> <li id="cite_note-Bergonzi_1972_p._164-16"><span class="mw-cite-backlink">^ <a href="#cite_ref-Bergonzi_1972_p._164_16-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bergonzi_1972_p._164_16-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Bergonzi 1972 p. 164</span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Stead 1969 p. 171</span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">Bergonzi 1972 p. 165</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDielsBurnet,_John_Translator" class="citation web cs1 cs1-prop-foreign-lang-source">Diels, Hermann; Burnet, John Translator. <a rel="nofollow" class="external text" href="http://philoctetes.free.fr/heraclite.pdf">"Heraclitus 139 Fragments"</a> <span class="cs1-format">(PDF)</span> (in Greek and English).</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Heraclitus+139+Fragments&rft.aulast=Diels&rft.aufirst=Hermann&rft.au=Burnet%2C+John+Translator&rft_id=http%3A%2F%2Fphiloctetes.free.fr%2Fheraclite.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFour+Quartets" class="Z3988"></span> <span class="cs1-visible-error citation-comment"><code class="cs1-code">{{<a href="/wiki/Template:Cite_web" title="Template:Cite web">cite web</a>}}</code>: </span><span class="cs1-visible-error citation-comment"><code class="cs1-code">|author2=</code> has generic name (<a href="/wiki/Help:CS1_errors#generic_name" title="Help:CS1 errors">help</a>)</span></span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text">Ackroyd 1984 pp. 228–230</span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text">Kirk 2008 pp. 246–247</span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text">Kirk 2008 pp. 250–252</span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text">Kirk 2008 pp. 254–255</span> </li> <li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text">Ackroyd 1984 pp. 263–266</span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text">Kirk 2008 pp. 260–263</span> </li> <li id="cite_note-Ackroyd_1984_p._271-26"><span class="mw-cite-backlink">^ <a href="#cite_ref-Ackroyd_1984_p._271_26-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Ackroyd_1984_p._271_26-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Ackroyd 1984 p. 271</span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text">Bergonzi 1972 pp. 166–7</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text">Pinion 1986 p. 227</span> </li> <li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text">Bergonzi 1972 qtd. p. 168</span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text">Bergonzi qtd. 1972 pp. 168–169</span> </li> <li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text">Gordon 2000 p. 341</span> </li> <li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text">Manganiello 1989 pp. 115–119</span> </li> <li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGordon2000" class="citation book cs1">Gordon, Lyndall (1 November 2000). <i>T. S Eliot: An Imperfect Life</i>. W.W. Norton and company. p. 369. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-393-32093-0" title="Special:BookSources/978-0-393-32093-0"><bdi>978-0-393-32093-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=T.+S+Eliot%3A+An+Imperfect+Life&rft.pages=369&rft.pub=W.W.+Norton+and+company&rft.date=2000-11-01&rft.isbn=978-0-393-32093-0&rft.aulast=Gordon&rft.aufirst=Lyndall&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFour+Quartets" class="Z3988"></span></span> </li> <li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text">Moody 2006 pp. 143–144</span> </li> <li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text">Ackroyd 1984 pp. 265–266</span> </li> <li id="cite_note-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-36">^</a></b></span> <span class="reference-text">Manganiello 1989 p. 150</span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">Manganiello 1989 pp. 150–152</span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text">Bergonzi 1972 pp. 171–173</span> </li> <li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text">Kirk 2008 qtd. pp. 241–243</span> </li> <li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text">Kirk 2008 p. 244</span> </li> <li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text">Pinion 1986 pp. 226–227</span> </li> <li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text">Gordon 2000 p. 85</span> </li> <li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text">Ackroyd 1984 pp. 262–269</span> </li> <li id="cite_note-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-44">^</a></b></span> <span class="reference-text">Haldar 2005 p. 94</span> </li> <li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text">Kirk 2008 qtd p. 240</span> </li> <li id="cite_note-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-46">^</a></b></span> <span class="reference-text">Kirk 2008 p. 240</span> </li> <li id="cite_note-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-47">^</a></b></span> <span class="reference-text">Stead 1969 p. 176</span> </li> <li id="cite_note-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-48">^</a></b></span> <span class="reference-text">Grant 1997 qtd. p. 44</span> </li> <li id="cite_note-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-49">^</a></b></span> <span class="reference-text">Grant 1997 pp. 44–46</span> </li> <li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text">Kirk 2008 qtd. pp. 240–241</span> </li> <li id="cite_note-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-51">^</a></b></span> <span class="reference-text">Abrams 1973 p. 319</span> </li> <li id="cite_note-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-52">^</a></b></span> <span class="reference-text">Raine 2006 p. 113</span> </li> <li id="cite_note-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-53">^</a></b></span> <span class="reference-text">Bell 1997 p. 124</span> </li> <li id="cite_note-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-54">^</a></b></span> <span class="reference-text">Cooper 2008 p. 23</span> </li> <li id="cite_note-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-55">^</a></b></span> <span class="reference-text">T. S. Eliot. <i>Voices and Visions Series</i>. New York Center of Visual History: PBS, 1988.<a rel="nofollow" class="external autonumber" href="http://www.learner.org/resources/series57.html?pop=yes&pid=595">[1]</a></span> </li> <li id="cite_note-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-56">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.newstatesman.com/politics/uk/2019/04/roger-scruton-interview-full-transcript">"The Roger Scruton interview: the full transcript"</a>. <i>New Statesman</i>. 26 April 2019<span class="reference-accessdate">. Retrieved <span class="nowrap">9 April</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=New+Statesman&rft.atitle=The+Roger+Scruton+interview%3A+the+full+transcript&rft.date=2019-04-26&rft_id=https%3A%2F%2Fwww.newstatesman.com%2Fpolitics%2Fuk%2F2019%2F04%2Froger-scruton-interview-full-transcript&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFour+Quartets" class="Z3988"></span></span> </li> <li id="cite_note-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-57">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDouthat2018" class="citation web cs1">Douthat, Ross (15 April 2018). <a rel="nofollow" class="external text" href="https://theweek.com/articles/766887/ross-douthats-6-favorite-books-religion">"Ross Douthat's 6 favorite books on religion"</a>. <i>The Week</i><span class="reference-accessdate">. Retrieved <span class="nowrap">9 April</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Week&rft.atitle=Ross+Douthat%27s+6+favorite+books+on+religion&rft.date=2018-04-15&rft.aulast=Douthat&rft.aufirst=Ross&rft_id=https%3A%2F%2Ftheweek.com%2Farticles%2F766887%2Fross-douthats-6-favorite-books-religion&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFour+Quartets" class="Z3988"></span></span> </li> <li id="cite_note-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-58">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.bbc.co.uk/iplayer/episode/m001d7j0/four-quartets-starring-ralph-fiennes">"Four Quartets, Starring Ralph Fiennes"</a>. <i>iPlayer</i>. BBC<span class="reference-accessdate">. Retrieved <span class="nowrap">15 May</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=iPlayer&rft.atitle=Four+Quartets%2C+Starring+Ralph+Fiennes&rft_id=https%3A%2F%2Fwww.bbc.co.uk%2Fiplayer%2Fepisode%2Fm001d7j0%2Ffour-quartets-starring-ralph-fiennes&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFour+Quartets" class="Z3988"></span></span> </li> <li id="cite_note-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-59">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBaugher2023" class="citation web cs1">Baugher, Lucy (10 February 2023). <a rel="nofollow" class="external text" href="https://tellyvisions.org/article/ralph-fiennes-four-quartets-sets-us-theatrical-release-date">"Ralph Fiennes' 'Four Quartets' Will Release In Theaters This Spring"</a>. <i>Telly Visions</i><span class="reference-accessdate">. Retrieved <span class="nowrap">6 June</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Telly+Visions&rft.atitle=Ralph+Fiennes%27+%27Four+Quartets%27+Will+Release+In+Theaters+This+Spring&rft.date=2023-02-10&rft.aulast=Baugher&rft.aufirst=Lucy&rft_id=https%3A%2F%2Ftellyvisions.org%2Farticle%2Fralph-fiennes-four-quartets-sets-us-theatrical-release-date&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFour+Quartets" class="Z3988"></span></span> </li> </ol></div> <dl><dt>Bibliography</dt></dl> <style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin" style=""> <ul><li><a href="/wiki/M._H._Abrams" title="M. H. Abrams">Abrams, Meyer Howard</a>. <i>Natural Supernaturalism: Tradition and Revolution in Romantic Literature</i>. W.W Norton and Company, 1973. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-393-00609-3" title="Special:BookSources/0-393-00609-3">0-393-00609-3</a></li> <li><a href="/wiki/Peter_Ackroyd" title="Peter Ackroyd">Ackroyd, Peter</a>. <i>T. S. Eliot: A Life</i>. New York: Simon and Schuster, 1984. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-671-53043-7" title="Special:BookSources/0-671-53043-7">0-671-53043-7</a></li> <li>Bell, Michael. <i>Literature, Modernism, and Myth Belief and Responsibility in the Twentieth Century</i>. Cambridge: Cambridge University Press, 1997. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-585-00052-2" title="Special:BookSources/0-585-00052-2">0-585-00052-2</a></li> <li>Bergonzi, Bernard. <i>T. S. Eliot</i>. New York: Macmillan Company, 1972. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/262820">262820</a></li> <li>Cooper, John. <i>T. S. Eliot and the ideology of Four Quartets</i>. Cambridge: Cambridge University Press, 2008. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-521-06091-2" title="Special:BookSources/978-0-521-06091-2">978-0-521-06091-2</a></li> <li>Gallup, Donald. <i>T. S. Eliot: A Bibliography (A Revised and Extended Edition)</i>. New York: Harcourt, Brace & World, 1969. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/98808">98808</a></li> <li><a href="/wiki/Helen_Gardner_(critic)" title="Helen Gardner (critic)">Gardner, Helen</a>. <i>The Composition of "Four Quartets"</i>. New York: Oxford University Press, 1978. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-519989-8" title="Special:BookSources/0-19-519989-8">0-19-519989-8</a></li> <li><a href="/wiki/Lyndall_Gordon" title="Lyndall Gordon">Gordon, Lyndall</a>. <i>T. S. Eliot: An Imperfect Life</i>. New York: W. W. Norton & Company, 2000. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-393-04728-8" title="Special:BookSources/0-393-04728-8">0-393-04728-8</a></li> <li>Grant, Michael, <i>T. S. Eliot: The Critical Heritage</i>. New York: Routledge, 1997. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7100-9224-5" title="Special:BookSources/0-7100-9224-5">0-7100-9224-5</a></li> <li>Haldar, Santwana. <i>T. S. Eliot : A Twenty-first Century View</i>. New Delhi: Atlantic Publishers & Distributors, 2005. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/81-269-0414-3" title="Special:BookSources/81-269-0414-3">81-269-0414-3</a></li> <li>Howard, Thomas. <i>Dove Descending: A Journey Into T. S. Eliot's Four Quartets</i>. Ignatius Press, 2006. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-58617-040-6" title="Special:BookSources/1-58617-040-6">1-58617-040-6</a></li> <li><a href="/wiki/Russell_Kirk" title="Russell Kirk">Kirk, Russell</a>. <i>Eliot and His Age: T. S. Eliot's Moral Imagination in the Twentieth Century</i>. Wilmington: ISI Books, 2008. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/80106144">80106144</a></li> <li>Manganiello, Dominic. <i>T. S. Eliot and Dante</i>. New York: St. Martin's Press, 1989. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-312-02104-6" title="Special:BookSources/0-312-02104-6">0-312-02104-6</a></li> <li>Moody, A. David. "<i>Four Quartets</i>: Music, Word, Meaning and Value" in <i>The Cambridge Companion to T. S. Eliot</i>, ed. A. David Moody, 142–157. Cambridge: Cambridge University Press, 2006. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-521-42080-6" title="Special:BookSources/0-521-42080-6">0-521-42080-6</a></li> <li>Newman, Barbara. "Eliot's Affirmative Way: Julian of Norwich, Charles Williams, and <i>Little Gidding</i>." <i>Modern Philology</i> 108 (2011): 427–61. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1086%2F658355">10.1086/658355</a> <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/10.1086/658355">10.1086/658355</a></li> <li>Oser, Lee. "Coming to Terms with <i>Four Quartets</i>." <i>Blackwell Companion to T. S. Eliot</i>. Ed. David Chinitz. Oxford: Wiley-Blackwell, 2009: 216-227. doi:10.1002/9781444315738</li> <li>Pinion, F. B. <i>A T. S. Eliot Companion</i>. London: MacMillan, 1986. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/246986356">246986356</a></li> <li>Raine, Craig. <i>T. S. Eliot</i>. Oxford: Oxford University Press, 2006.</li> <li>Stead, Christian. <i>The New Poetic: Yeats to Eliot</i>. Harmondsworth: Pelican Books, 1969. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/312358328">312358328</a></li></ul> </div> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist 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S. Eliot"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:T._S._Eliot" title="Template talk:T. S. Eliot"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:T._S._Eliot" title="Special:EditPage/Template:T. S. Eliot"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="T._S._Eliot" style="font-size:114%;margin:0 4em"><a href="/wiki/T._S._Eliot" title="T. S. Eliot">T. S. Eliot</a></div></th></tr><tr><td class="navbox-abovebelow" colspan="3"><div><a href="/wiki/T._S._Eliot_bibliography" title="T. S. Eliot bibliography">Bibliography</a></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Early poems</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li>"<a href="/wiki/The_Love_Song_of_J._Alfred_Prufrock" title="The Love Song of J. Alfred Prufrock">The Love Song of J. Alfred Prufrock</a>"</li> <li>"<a href="/wiki/Portrait_of_a_Lady_(poem)" title="Portrait of a Lady (poem)">Portrait of a Lady</a>"</li> <li>"<a href="/wiki/Preludes_(poem)" title="Preludes (poem)">Preludes</a>"</li> <li>"<a href="/wiki/Whispers_of_Immortality" title="Whispers of Immortality">Whispers of Immortality</a>"</li> <li>"<a href="/wiki/Gerontion" title="Gerontion">Gerontion</a>"</li> <li><i><a href="/wiki/The_Waste_Land" title="The Waste Land">The Waste Land</a></i></li> <li><i><a href="/wiki/The_Hollow_Men" title="The Hollow Men">The Hollow Men</a></i></li> <li><i><a href="/wiki/Ash_Wednesday_(poem)" title="Ash Wednesday (poem)">Ash Wednesday</a></i></li> <li><i><a href="/wiki/T._S._Eliot%27s_Ariel_poems" title="T. S. Eliot's Ariel poems">Ariel Poems</a></i></li> <li>"<a href="/wiki/Journey_of_the_Magi" title="Journey of the Magi">Journey of the Magi</a>"</li> <li>"<a href="/wiki/A_Song_for_Simeon" title="A Song for Simeon">A Song for Simeon</a>"</li></ul> </div></td><td class="noviewer navbox-image" rowspan="8" style="width:1px;padding:0 0 0 2px"><div><span typeof="mw:File"><a href="/wiki/File:T_S_Eliot_Simon_Fieldhouse.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/de/T_S_Eliot_Simon_Fieldhouse.jpg/130px-T_S_Eliot_Simon_Fieldhouse.jpg" decoding="async" width="130" height="167" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/de/T_S_Eliot_Simon_Fieldhouse.jpg/195px-T_S_Eliot_Simon_Fieldhouse.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/de/T_S_Eliot_Simon_Fieldhouse.jpg/260px-T_S_Eliot_Simon_Fieldhouse.jpg 2x" data-file-width="398" data-file-height="510" /></a></span></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Later poems</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Old_Possum%27s_Book_of_Practical_Cats" title="Old Possum's Book of Practical Cats">Old Possum's Book of Practical Cats</a></i></li> <li>"<a href="/wiki/The_Awefull_Battle_of_the_Pekes_and_the_Pollicles" title="The Awefull Battle of the Pekes and the Pollicles">The Awefull Battle of the Pekes and the Pollicles</a>"</li> <li>"<a href="/wiki/Gus:_The_Theatre_Cat" title="Gus: The Theatre Cat">Gus: The Theatre Cat</a>"</li> <li>"<a href="/wiki/Growltiger%27s_Last_Stand" title="Growltiger's Last Stand">Growltiger's Last Stand</a>"</li> <li>"<a href="/wiki/The_Naming_of_Cats" title="The Naming of Cats">The Naming of Cats</a>"</li> <li><i><a href="/wiki/Burnt_Norton" title="Burnt Norton">Burnt Norton</a></i></li> <li><i><a href="/wiki/East_Coker_(poem)" title="East Coker (poem)">East Coker</a></i></li> <li><i><a href="/wiki/The_Dry_Salvages" title="The Dry Salvages">The Dry Salvages</a></i></li> <li><i><a href="/wiki/Little_Gidding_(poem)" title="Little Gidding (poem)">Little Gidding</a></i></li> <li><i><a class="mw-selflink selflink">Four Quartets</a></i></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Plays</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Sweeney_Agonistes" title="Sweeney Agonistes">Sweeney Agonistes</a></i></li> <li><i><a href="/wiki/The_Rock_(play)" title="The Rock (play)">The Rock</a></i></li> <li><i><a href="/wiki/Murder_in_the_Cathedral" title="Murder in the Cathedral">Murder in the Cathedral</a></i></li> <li><i><a href="/wiki/The_Family_Reunion" title="The Family Reunion">The Family Reunion</a></i></li> <li><i><a href="/wiki/The_Cocktail_Party" title="The Cocktail Party">The Cocktail Party</a></i></li> <li><i><a href="/wiki/The_Confidential_Clerk" title="The Confidential Clerk">The Confidential Clerk</a></i></li> <li><i><a href="/wiki/The_Elder_Statesman_(play)" title="The Elder Statesman (play)">The Elder Statesman</a></i></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Prose</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Selected_Essays,_1917%E2%80%931932" title="Selected Essays, 1917–1932">Selected Essays, 1917–1932</a></i></li> <li>"<a href="/wiki/Hamlet_and_His_Problems" title="Hamlet and His Problems">Hamlet and His Problems</a>"</li> <li>"<a href="/wiki/Tradition_and_the_Individual_Talent" title="Tradition and the Individual Talent">Tradition and the Individual Talent</a>"</li> <li><i><a href="/wiki/The_Sacred_Wood_(T._S._Eliot)" class="mw-redirect" title="The Sacred Wood (T. S. Eliot)">The Sacred Wood</a></i></li> <li><i><a href="/wiki/A_Choice_of_Kipling%27s_Verse" title="A Choice of Kipling's Verse">A Choice of Kipling's Verse</a></i> (1941)</li> <li>"<a href="/wiki/The_Frontiers_of_Criticism" title="The Frontiers of Criticism">The Frontiers of Criticism</a>"</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Adaptations</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Murder_in_the_Cathedral_(1951_film)" title="Murder in the Cathedral (1951 film)"><i>Murder in the Cathedral</i> (film)</a></li> <li><i><a href="/wiki/Assassinio_nella_cattedrale" title="Assassinio nella cattedrale">Assassinio nella cattedrale</a></i> (opera)</li> <li><a href="/wiki/Murder_in_the_Cathedral_(1962_film)" title="Murder in the Cathedral (1962 film)"><i>Murder in the Cathedral</i> (TV play)</a></li> <li><i><a href="/wiki/Canticle_IV:_The_Journey_of_the_Magi" title="Canticle IV: The Journey of the Magi">Canticle IV: The Journey of the Magi</a></i></li> <li><i>Cats</i> <ul><li><a href="/wiki/Cats_(musical)" title="Cats (musical)">1981 musical</a></li> <li><a href="/wiki/Cats_(1998_film)" title="Cats (1998 film)">1998 film</a></li> <li><a href="/wiki/Cats_(2019_film)" title="Cats (2019 film)">2019 film</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Publishing</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/The_Criterion" title="The Criterion">The Criterion</a></i></li> <li><a href="/wiki/Faber_and_Faber" class="mw-redirect" title="Faber and Faber">Faber and Faber</a></li> <li><a href="/wiki/T._S._Eliot_Prize" title="T. S. Eliot Prize">T. S. Eliot Prize</a></li> <li><a href="/wiki/T._S._Eliot_Prize_(Truman_State_University)" title="T. S. Eliot Prize (Truman State University)">T. S. Eliot Prize (Truman State University)</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Portrait_of_T._S._Eliot" title="Portrait of T. S. Eliot">Portrait of T. S. Eliot</a></i></li> <li><a href="/wiki/Tom_%26_Viv_(play)" title="Tom & Viv (play)"><i>Tom & Viv</i> (1984 play,</a> <a href="/wiki/Tom_%26_Viv" title="Tom & Viv">1994 film)</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">People</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Eliot_family_(America)" class="mw-redirect" title="Eliot family (America)">Eliot family</a></li> <li><a href="/wiki/Vivienne_Haigh-Wood_Eliot" title="Vivienne Haigh-Wood Eliot">Vivienne Haigh-Wood Eliot <small>(first wife)</small></a></li> <li><a href="/wiki/Valerie_Eliot" title="Valerie Eliot">Valerie Eliot <small>(second wife)</small></a></li> <li><a href="/wiki/Henry_Ware_Eliot" title="Henry Ware Eliot">Henry Ware Eliot <small>(father)</small></a></li> <li><a href="/wiki/Charlotte_Champe_Stearns" class="mw-redirect" title="Charlotte Champe Stearns">Charlotte Champe Stearns <small>(mother)</small></a></li> <li><a href="/wiki/William_Greenleaf_Eliot" title="William Greenleaf Eliot">William Greenleaf Eliot <small>(grandfather)</small></a></li> <li><a href="/wiki/E._Martin_Browne" title="E. Martin Browne">E. Martin Browne</a></li> <li><a href="/wiki/Emily_Hale" title="Emily Hale">Emily Hale</a></li> <li><a href="/wiki/John_Davy_Hayward" title="John Davy Hayward">John Davy Hayward</a></li> <li><a href="/wiki/Ezra_Pound" title="Ezra Pound">Ezra Pound</a></li> <li><a href="/wiki/Jean_Jules_Verdenal" title="Jean Jules Verdenal">Jean Jules Verdenal</a></li> <li><a href="/wiki/William_Butler_Yeats" class="mw-redirect" title="William Butler Yeats">William Butler Yeats</a></li></ul> </div></td></tr></tbody></table></div> <p class="mw-empty-elt"> </p>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Four_Quartets&oldid=1224584766">https://en.wikipedia.org/w/index.php?title=Four_Quartets&oldid=1224584766</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:1943_poetry_books" title="Category:1943 poetry books">1943 poetry books</a></li><li><a href="/wiki/Category:British_poetry_collections" title="Category:British poetry collections">British poetry collections</a></li><li><a href="/wiki/Category:Christian_poetry" title="Category:Christian poetry">Christian poetry</a></li><li><a href="/wiki/Category:Modernist_poems" title="Category:Modernist poems">Modernist poems</a></li><li><a href="/wiki/Category:Poetry_by_T._S._Eliot" title="Category:Poetry by T. 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