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CHAPTER II the EARLY POETRY in Examining the Beginnings of Eliot's

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CHAPTER II THE EARLY POETRY In examining the beginnings of Eliot's poetic career, his Poems Written in Early Youth, edited and published by Valerie Eliot's assumes considerable significance. In the first place, it confirms Eliot's own account of his devel­ opment in The Use of Poetry and the Use of Criticism cited in the last chapter. Secondly it clarifies the nature of the seniblity that confronted the world and helps one to identify and see the origins of the quests that run through his entire poetic career. Thirdly,the book provides some of the missing links in the chain. For instance, the begin­ nings of Eliot's later religious poetry can now be traced back to the earlier "Saint - poems'' like "''The Death of St. Narcissus''. And finally, it also clarifies the ways in which Lafargue influenced Eliot as his pre-Laforguian exer­ cises are now available. Some idea of the type of the sensibility that con­ fronted the world before Eliot came under the influence of Laforgue can be gained through the poems like ""'A Lyric' and ""Song : The moonflower opens to the moth. "'-*•' It is a sensi­ bility nurtured very much on what is popularly known as the Shelley -Keats culture and also possessing a great deal of 24 technical virtuosity. "^A Lyric'' has another version called "Song'', both recalling the rhythm of Ben Jonson's Celia poems. In both the versions, the first stanza is a lyrical meditation on time and space. If time and space are non­ entities,^as sages say', length of time or the size of the living object hardly matter. The fly that lives a single day Has lived as long as we ( ""Song''Poems Written in Early Youth 1"7) OR The sun which does not feel decay No greater is than we ("A Lyric' Poems Written in Early Youth r7 ) Against this backdrop, the lover makes his plea to the beloved in the second stanza. The flowers I gave thee when the dew Was trembling on the vine. Were withered are the wild bee flew To suck the eglantine. So let us haste to pluck anew Nor mourn to see them pine And though our days of love be few 25 Yet let them be divine. (A LYRIC" Poems Written in Early Youth 18) The only changes that occur in the second stanza of the other version "Song' are (1) the first line where in­ stead "gave" we have "sent" and (2) the penultimate line reads "And though the flowers of life be few'. Apart from these verbal differences, the sentiment that what matters in life is not length but intensity has romantic associations. In "Preludes'", the protagonist speaks of being moved by "something infinitely gentle''. The characteristically romantic diction of "A Lyric'' - ""flowers'', ""wine"', ""dew'', ""eglantine'' and so on concretizes that ""some­ thing infinitely gentle''. One more important aspect of this early poem is the way it anticipated in the first stanza Eliot's concern with the theme of Time in the subsequent poems like ""Prufrock'', Ash-Wednesday or Four Quartets, especially, in ""For time is time, and runs away". In this early as well as later poetry, Eliot's protagonist whether as the knight or the saint is concerned with the problem of time, as will be seen in due course. Another significant piece from the juvenilia is ""Song : The moonflower opens to the moth.'' It is short enough to be quoted in full. 26 The moonflower opens to the moth, The mist crauwls in from sea; A great white bird, a snowy owl. Slips from the alder tree Whiter the flowers, Love, you hold. Than the white mist on the sea; Have you no brighter tropic flowers With scarlet life, for me? (Poems Written in Early Youth 28 ) The poem is once again a lover's plea for a more exotic life, symbolized by, ^^brighter tropical flowers / with scarlet life.'' The first stanza depicts a white, snowy and misty background. The second stanza records the lover's complaint that the flowers held by the Beloved are ""^Whit- er'' than the wintry background, when he wants tropical flowers. This poetic procedure of a transition from outword nature to inner feeling is in consonance with the poetic strategies of the Romantics. The lover's wistful question to the beloved in the last two lines is particularly important . If ^A Lyric' starts the quest for divine days of love, this question shows the difficulties in the way of its fulfilment. If thf^ 27 lover's passion is tropical, the love that is offered is "arctic"'. Thus, the lover's rueful question points towards the gap between what is sought after and what is offered, between the ideal and the actual. One of the chief causes of disillusionment is this painful awareness of how the actual falls short of the ideal. The gap was to haunt Eliot practi­ cally during his whole career as a poet, whether he be describing the Thames in The Waste Land or be saying how all shall be well, "~When the fire and the rose are one', in Four Quartets. """A Lyric'" or ^"Song : The moonflower opens to the moth.'' thus, clarify the nature of the quest. In so far as it is a quest for divine days of love or tropical flowers symbolizing an exotic mode of life, the questing-figure can be identified with that of the knight. Had Eliot not seen Symons's book. The Symbolist Movement in Litrature in 1908, on what lines he would have developed is a matter of speculation only. But the influence of French symbolists is evident in the poems that came after Eliot's introduction to the book. In the last chapter, Eliot's dramatization of personal utterance has been com­ mented upon. As a corollary to the dramatic mode of presen­ tation, there is an ironic stance of the persona, suggested by his ambivalent attitude to what is being persented. Even 28 if some emotion is being sought to be conevyed, it is gener-_ ally presented not by direct mention but indirectly by referring to the external surfaces of life.As a result, the poems cease to be romantic confessions and become truly "observations' - Eliot called his first published volume of poetry Prufrock and Other Observations. With the ironic mode of presentation, the reader's attention is deflected from the deeper yearnings of the self to the outward surfaces of life, so that physical objects and setting crowd the poems, blurring the presence of the inner world. Thus, Prufrock's love for the lady, which is clearly out of his reach, is camouflaged by the drawing room, environment or the zigzag streets. In "Portrait of a Lady'', the young man's ironic attitude towards the lady conceals his fear of disposses­ sion. To regard these poems as mere satirical pieces, is to miss the deeper yeanings that do inform them. Irony thus may hold in check the romantic proclivities, but cannot abolish them. The fact that Eliot's protagonists like Prufrock or the young dandy of "Portrait of a Lady' or Gerontion are all divided souls makes these poems resound with many, often comflicting voices. Prufrock is torn between the desire to declare his passion and the fear of doing so; the young man 29 between emotional involvement and detachment. Consequently, in these poems the reader sees a mind or consciousness in process, as in the novels of Virginia Woolf or Joyce and this is where Eliot has radicalized the Victorian dramatic monologue. Whereas the Duke in Browning's "My Last Duchess' or Ulysses in Tennyson's poem offers explanations/ justifi­ cations of chocies already made or actions already taken, Prufrock or the young man struggles with his own mind. The Uuke is not troubled by the possibility of another interpre­ tation of his or the Duchess' behaviour and though Ulysses ackonwledges the existence of the Telemachus point- of view he does not feel called upon to review his decision. Prufrock, on the other hand, remains almost paralyzed by the other possibilities of his experience. A consequence of Eliot's inculcation of Laforguian psychic theatrecraft - dramatization, irony and presentation of mind in action - is to render his poems multivoiced, where different themes compete apd overlap with each other. In our paradigmatic terms, though the basic quest-pattern remains common to the poems, the quests for different ideals often interact or overlap. Either several quests may inform a poem or alternatively a single quest may persist through a series of poems. Thus, in ""Prufrock', there is not only a 30 quest for intimate relationship but also for meaning/signif­ icance in the quotidian world which runs through "Portrait of a Lady', "Preludes' or the earlier """Spleen"'. To regard these separate quests - for beauty, love, meaning or faith - as operating independently, to allocate them atomistically to the poems would be to ignore the psychological and the­ matic complexities of Eliot's poetry. Eliot's poems often achieve unity,like a musical composition through an inter­ play of diverse "themes' and "motifs'. These themes may vary in their dominance in different poems, but as they run through poem after poem, they give Eliot's poetry a kind of subtextual continuity and unity. Though the individual poems may be congeries of different quests and themes, the questes themselves may be classified into four broad catagories : 1) quest for love/relationship 2) quest - for beauty both in its human and natural forms 3) quest for meaning in life and world 4) quest for religious faith. The knight seeks adventures in the world in the interest of love and beauty.
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