Mysticism and Myth — I: The Shakespeare Pattern
‘The poet’, Eliot remarked once a propos of the work of Dante and Shakespeare, ‘has something to say which is not even necessarily implicit in the philosophical system, something which is also over and above the verbal beauty.’1 According to Eliot ‘the most extensive, and probably the most inscrutable’ pattern of this sort is to be found in the later plays of Shakespeare.
KeywordsRecognition Scene Musical Structure Symbolist Music Holy Ghost Traditional Poetry
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- 1.T. S. Eliot, ‘Introduction’, in G. Wilson Knight, The Wheel of Fire: Interpretations of Shakespearean Tragedy (London, 1978; first published 1930) p. xiii.Google Scholar
- 4.Helen Gardner, The Art of T. S. Eliot (London, 1949 ) p. 185.Google Scholar
- 13.T. S. Eliot, ‘From Poe to Valéry’, in To Criticize the Critic (London, 1965 ) p. 34.Google Scholar
- 16.See T. S. Eliot, ‘Ulysses, Order and Myth’, as reprinted in Richard Ellmann (ed.), The Modern Tradition: Backgrounds of Modern Literature (Oxford, 1964 ) pp. 679 – 81.Google Scholar
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- 20.Paul Valéry, The Art of Poetry, trans. Denise Folliot (New York, 1958 ) pp. 315 – 17.Google Scholar
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- 58.See Colin Still, Shakespeare’s Mystery Play: A Study of the Tempest (London, 1921) p. 234.Google Scholar
- 95.See T. S. Eliot, ‘Introduction’, in Charles Williams, All Hallows’ Eve (New York, 1948) p. xiv.Google Scholar
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- 102.T. S. Eliot, ‘Scylla and Charybdis’, Agenda, xxiii.1–2 (Spring-Summer 1985) p. 6. (This lecture was originally delivered by Eliot at a conference in Nice on 29 March 1952.)Google Scholar