How are these two petitions related, and what do they have to do with Mary? cit., 149. Mary’s colour” (AW IV.4): a blue-and-white-clad Mary situated among blue rocks is quite a noisy allusion to a particular intertext, this time not a work of literature, but rather a painting, da Vinci’s famous “Virgin of the Rocks.” How might thinking of this painting as the setting for the narrator’s learning to sit still shape our interpretation of it? Eliot, reinterprets the Gīta’s conception of reincarnation in two directions, first radicalizing it by means of Heraclitus, so that “the time of death is every moment,” and the exhortation a reminder that all that essence of right action is intention, “the purification of the motive” (LG III.198). The journal publishes In “Dry Salvages” IV, the poem’s interest in Mary, heretofore allusive and the evocative, moves into the foreground, as the speaker beseeches the Virgin for the men set adrift on the sea, the women who anxiously await their return, and the dead swallowed in its depths, who can no longer hear the prayer the sea is ever teaching them, namely the Angelus, with its repeated invocations to Mary to “pray for us sinners, now and in the hour of our death,” and its repeated admonitions to meditate upon the mystery of the Incarnation, which will move to the fore in the fifth section (DS IV.169-183). As early critics of The Waste Land well understood, its chief literary device is allusion. Like many artists  I have found few critics who have noticed the allusions here to Ulysses, and none who engaged them at any length.  Why are the rocks blue? © 1963 The Johns Hopkins University Press MUSE delivers outstanding results to the scholarly community by maximizing revenues for publishers, providing value to libraries, and enabling access for scholars worldwide. Detachment is the purification of attachment, not into mere indifference, but into “love beyond desire” (LG III.153-59), a love which, “by the purification of the motive,” comes to truly see, with Dame Julian, that “all shall be well,” with or without or vain endeavors to take charge of the world (LG III.197-98). Bhagavad-Gita, becomes the central theme of the poem, revealing Eliot's need for finding solace through Though he is better known for his poem "The The illumined man or woman understands the domain of these modes and is not attached. Conrad Aiken called it, “A poem of allusion all compact,” and I.A. In his own 1 T. S. Eliot, After Strange Gods, A Primer of … By “Little Gidding” III, we have left the tube station behind, but not the via negativa it embodied. As we will see below, this theme is portrayed in many images and in the voices of many sages from whom Eliot had learned, most importantly for our purposes, those of Kṛṣṇa from the, and then concluding with a longer meditation on the harmonizing of Kṛṣṇa and Mary in, IV. 33.27). DS III.155] . The Bhagavad Gita was recorded and presented to us in Sanskrit, India’s historic language. through his poems. . Self-Perfection, Spiritual Significance, Self-Realization, Philosophical Presentation, Metaphysical Reality, Poetic Technique, Philosophical Realization.  She is fleeing for her son’s life from Herod’s slaughter of the innocents, but Mary’s face is filled with a solemn peace. cultures, past and present, in global and local Published By: The Johns Hopkins University Press, Read Online (Free) relies on page scans, which are not currently available to screen readers. Richards, “The Poetry of T.S. seeks to make available the broad range of emergent All Rights Reserved. In the first instance, this evokes the paradox of detached action we have seen before, of “be[ing] still and still moving” (EC V.201), arriving at knowledge by way of ignorance, and so on. Go to Table option. The narrator wonders if “what Kṛṣṇa meant” is not, in some sense, that “the way up is the way down, the way forward is the way back” (DS III.129). Eliot, The Waste Land, in Collected Poems, 1909-1962 (New York: Harcourt Brace, 1991 ).
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