The Innovator: In Plain Sight (The Hero Series Book 5)

The second beam is in its turn compared to a pilgrim desirous at return. Aeneas is a figure epitomizing fatum, labor, and pietas. He is one who yields obeisance to the authority of divinity and destiny at the cost of personal volition and human passion. What concerned Eliot primarily is that essence of Virgil which gives him a solitary place as nexus between the pre-Christian and the Christian world.

Eliot declares his poetic lineage and instinctive affinity with both Virgil and Dante. Weave, weave the sunlight in your hair— Clasp your flowers to you with a pained surprise— Fling them to the ground and turn With a fugitive resentment in your eyes: Penelope wove a design each day as she waited for her Odysseus, unraveling it each night to stay her suitors until his return Howatson and Chilvers A second best scenario would have found him rebuilding Troy.

Aeneas continually looks back to Troy, throughout the narrative of the early books of the Aeneid, rather than forward to Italy. He follows decrees designed for him to establish an empire; at key points in the text his fate countermands his personal will. Aeneas, on the other hand, continually struggles with his knowledge of his fate and its divergence from his desires. His character must continually and intentionally suffer subsequent forfeiture of personal happiness.

There is something in this suffering that profoundly resonated with Eliot. Even as early as it is clear, Eliot knew his was not a conventional destiny. I believe he felt his greatness. Eliot admired the pietas of the world of Virgil. He found that ethos to ring more true than the haphazard moral world of the Greeks.

Eliot could relate to the agony, moral integrity, and inner torment of an Aeneas. He, also, was an aristrocratic prince of sorts, bred to distinction in a Puritan world of stringent moral values. He leaves his beloved Troy. He reluctantly, but without question, abandons his beloved Dido. He does not appropriate the founding of Rome as his personal vision enacted by his individual force of action and strength of will. In submitting to the will of fate and the divine, Virgil has Aeneas offer himself as an instrument for a destiny beyond himself. Eliot makes of this an important distinction.

Aeneas acting in opposition to his individual desires demonstrates pietas and to Eliot represents a form of demonstrated humility that is importantly prescient of essential superior Christian virtue.

La'Ron Readus

In his account, Virgil made his mark on Eliot long before Eliot became a poet. Aeneas is the penultimate passive hero. This conflict of the soul more than interested Eliot, it portrayed him as a man and an artist. As Eliot sees it, Aeneas is pious towards the gods, and in no way does his piety appear more clearly than when the gods afflict him. He had a good deal to put up with from Juno; and even his mother Venus, as the benevolent instrument of his destiny put him into one very awkward position. There is in Aeneas a virtue—an essential ingredient in his piety—which is an analogue and foreshadow of Christian humility.

He begins in the first stanza with a consistent use of the imperative voice. His is a forlorn passivity. He has not the compensation of a future virile outcome like Aeneas. The gods make good on their fate for Aeneas. They provide him a regal wife to propagate a proper lineage for the Empire of Rome. Eliot shifts from the solid first person speaker of the beginning stanza to a murky third person speaker in the second stanza without explaining why.

Eliot repeatedly returns to the trope Fate versus personal choice throughout his corpus. The epigraph, as mentioned, did not appear in the first printing of the poem but was added later in the version published in Prufrock and Other Observations. I propose the epigraph to effectively corroborate what we find intrinsically within the text. Virgil presents two emotionally electric confrontations between the two lovers, Aeneas and Dido.

Aeneas makes a certain decision to follow duty but not without personal emotional cost, as Virgil makes clear Aen. Aeneas decides that the simplest solution to his in his mind unavoidable commitment to duty is to leave her without a word of farewell.

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No longer set yourself and me afire. Dido is completely unconvinced by this reasoning. In her mind he has left her nothing but suicide. But nothing she can say sways him. They are at a complete impasse. Her eyes are silent, her words aflame. Her eyes express resentment. His Dido in Hades is silent, but harbors anger in her eyes.

Eliot, in his poetic craft, deftly calls on both farewell scenes between Aeneas and Dido, signifying the drama between will and fate and its implications, with these poetic choices. The second confrontation between the two lovers is found in the sixth book of the Aeneid. Virgil draws a stunning picture of a scorned woman. Dido turns away from Aeneas for the second and last time; her face unmoved-Virgil describes her in detail as having been made of stone.

In the scene in Hades in Book VI, her voice is silent but her eyes speak. He emphasizes the point that Aeneas, in the scene in Hades, projects an inability to forgive himself in spite of the fact that he knows that he has taken the only action possible as one who must obey divine commands. His desire is unfulfilled, his memories haunt him, and he is completely alone.

No one speaks to him- not the woman, not the gods, not a friend. He cannot even speak clearly to himself. By telling the woman to stand on the highest pavement of the stair, he is suggesting a desire to move this maddeningly distracting moment of relational failure to a transcendent place of beatitude. It appears a desperate attempt by the speaker to be the agent of his memories rather than the passive recipient of their torment. In this way perhaps he, like Dante before him, can command his memories, transcending them, and make of her a Beatrice.

Laforgue Eliot draws on Laforguian poetic lines and flair to infuse the poem with an attitude of unresolved modern disillusionment regarding life and love. The poem takes place in an artificially constructed setting.

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The second and third stanzas take place apparently completely internally. We, as readers, are given no external markers to identify the setting throughout much of the poem. The speaker is unsure of himself; he is even unsure of his own memories. He does not or cannot seek a divine or oracle as Aeneas seeks out a seer to deliver him from his internal dilemma. The beloved woman of the poem is no longer of value to him as a source of comfort or personal happiness if she ever was.

She still dominates his subterranean existence but, for reasons we are not given, is no longer available to him.

Eliot employs several important Symbolist techniques such as the use of vers libre, dramatic speaker shifts, and nouveau diction. Eliot composed the first stanza in a moderated terza rima but the second stanza dances with a rhythm inherited from a syncopated freedom encouraged by avant-garde French Symbolists.

Two long lines and then a short; two long lines and then a short-creates a modern music not allowed by the traditional structures of the standard iambic pentameter of the English Romantics like Wordsworth or Tennyson. Eliot went to Paris in During that year abroad he studied French Literature with writer Alain-Fornier, deepening in his knowledge of and interest in, the French Symbolist poets and attending lectures by the philosopher, Henri Bergson. Eliot warned of the trajectory of thinking that a complete freedom from structure in poetry as early proponents of vers libre seemed to think it suggested meant automatic advances in innovation and modern poetry of caliber.

In his opinion, agenuine verse- form would have a positive definition. I suggest that while Eliot saw the danger in a complete removal of structure from poetry, he also recognized the necessity of interpolating the new form with the traditions of Parnassus. Eliot drew upon classical forms, rhyme schemes, images, and meters while writing fresh poetry with a new twist, as informed by the innovative philosophical concepts, cosmopolitan themes, and opened up diction, learned from Laforgue and other innovators.

Notable among these are the notebook poems: Eliot evidently regarded these poems as exercise poems; he never allowed them published during his lifetime. Dante and Virgil were the poets Eliot looked to as his true predecessors. They were, in his mind, his proper progenitor oaks of poetic greatness. The striking contrast in tone between the unpublished earlier poem and the subject of our study is important to note. The surprise of interjected urbanity and desolation bring the reader up short as we suddenly find ourselves not in a park but rather: Eliot, CPP 8, The speaker shifts at the end of the poem from his musings on romantic frustration to a plea for divine deliverance.

We recognize in this a hope realized for characters in traditional literature, such as the classical Aeneas or the Christian Dante. It is striking and informative to recognize the similarities in setting, theme, and underlying internal wrestling paralleled in the two poems. The speaker tells us about his frustrations: Laforgue provided an important modernistic counterpoint, bearing witness in verse to the paradigmatic shift to modern poetry.

Laforgue was the first to write in the daring vers libre, a poetic form with ostensibly no form, at least, no recognizable form to the traditional ear. In it, he attacks classical and religious traditions in an ironic outpouring of slangy diction in wildly avant-garde free verse: Juxtaposed with this monumental listing of mildewed traditions—both classical and religious in nature—is the following line: The unity is psychological- the effect, lingering, as Laforgue unravels his lines revealing the edges of disconnected dreams. He issues gut-honest challenges to the authoritative texts and mores of the past.

Hard truths are told. The speaker calls a spade a spade as he sees it. In Laforgue, readers identify a monumental shift away from traditional French values and revered landmarks towards a fragmented modern world of openly meaningless marriages, darkened cathedrals, and empty holy days.

The similarity is striking while the difference significant between the two poems and two poets. It also evokes Francesca and Guinevere Inf. From Dante and Virgil he draws metaphorical force with central tropes: This anxiety deepens as the poem progresses. The understated emotional force of the text expands as the poem moves through the second stanza and into the final stanza, as the speaker continues to struggle unsuccessfully with, and unravels in, his interior state of mind. Can a Beatrice even exist for him in the twentieth century? Eliot poetically demonstrates his acute awareness that social conventions could no longer reliably provide or orchestrate a blueprint for relationships.

He recognized the making way of a bygone Victorian era for a newly arrived fragmented twentieth century. The nineteenth-century drawing room rules have not done their work in this relationship a simple smile and a noncommittal handshake that leads to a committed relationship in a dance both partners can understand. Relational courtship protocols of the previous century are no longer in play in this new century. Prufrock is unsure of any ability to have meaningful contact with women; he laments that even the mermaids will not sing to him Eliot, CPP 7.

In Eliot said of Dante as compared with Laforgue: Of some poets I can say I learned a great deal from them at a particular stage…to teach me the poetic possibilities of my own idiom. Tradition was under attack in , as it so often is from generation to generation, but with the beginning of the twentieth century came an especially intense preponderance of scholars, writers, religious minds, and political activists assailing the gates of traditional ways and thought. The Great War of World War I had recently thoroughly and irrevocably shaken the world; the remaining European monarchies had toppled or were on the verge of going the way of the French royalty; Darwin, Freud, and Nietsche were among the many influential names forever changing future trends of thought and culture.

Emerging thinkers like Henri Bergson and his fellow philosophers were radically challenging traditional Western philosophy. The French Symbolists were among those experimenting with dramatically unconventional poetic prosody. Igor Stravinsky shocked the world with his drastic departure from traditional ballet with his seminal Le Sacre de Printemps, performed by the Ballet Russes in Paris in In the world of painting and sculpture, during this decade, we can point to Pablo Picasso as supreme among others who would drastically change the visual arts, continuing the revolution started by the Impressionists at the end of the previous century.

Yet the young Eliot promoted the idea that tradition must not be dismissed or denied but acknowledged and accommodated as the source for invention. No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison among the dead. His influence continues to reverberate. Eliot shares a potential for greatness time has tested for Dante and Virgil.

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