Abstract
Eliot’s affinity for the dark side of Virgil’s ‘divided genius’ shows at its most intense in The Waste Land, but it never left him. Certainly there is a change of emphasis between Eliot’s earlier and later appreciations of Virgil. As Chapter 2 argued, however, Eliot remained alert to the dark side even when leaning toward a neoclassical version of Virgil. This chapter will trace the path by which Eliot arrived at his later, comprehensive view of Virgil, which reconciles the opposing tendencies of the Aeneid itself.
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Notes
E. J. Stormon, S. J., ‘Virgil and the Modern Poet’, Meanjin, 6 (Aut. 1947), 15n.
E. Adelaide Hahn, ‘Aeneid 6.739-751’, The Classical Weekly, 20 (May 23, 1927), 215
Wendell Clausen, ‘An Interpretation of the Aeneid’, in Virgil: A Collection of Critical Essays, ed. Steele Commager, pp. 87–8. For the theory that the gates of horn and ivory have to do with ‘an ancient superstition... that dreams before midnight were false; after midnight true’, Clausen refers to the edition by Eduard Norden of Aeneid VI (Stuttgart, 1927). The theory was propounded by W. Everett, Classical Review, 14 (1900), 153ff
See Donald Gallup, T. S. Eliot: A Bibliography, 2nd ed. (London: Faber and Faber, 1969), p. 211.
William M. Chace, The Political Identities of Ezra Pound & T. S. Eliot (Stanford: Stanford U.P., 1973), pp. 159
Maurras, pp. 39–40. F. O. Matthiessen, The Achievement of T. S. Eliot (Boston and New York: Houghton Mifflin, 1935), pp. 82–3
Aspects de la France, 25 April 1948; and James Torrens, S. J., ‘Charles Maurras and Eliot’s “New Life”’, 89 (March 1974), 316.
Donald Davie, ‘Anglican Eliot’, read at the thirty-first session of the English Institute, Harvard University, Sept. 2–5, 1972, published in Eliot in His Time: Essays on the Occasion of the Fiftieth Anniversary of ‘The Waste Land’, ed. A. Walton Litz (Princeton and London: Princeton U.P. and Oxford U.P., 1973), p. 183.
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© 1989 Gareth Reeves
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Reeves, G. (1989). Virgilian Limbo: ‘The Hollow Men’, Ash-Wednesday and ‘Coriolan’. In: T. S. Eliot: A Virgilian Poet. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-20221-8_4
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