Eliot in the underworld: the politics of fragmentary form
2006; Taylor & Francis; Volume: 20; Issue: 3 Linguagem: Inglês
10.1080/09502360600828893
ISSN1470-1308
Autores Tópico(s)Modernist Literature and Criticism
ResumoClick to increase image sizeClick to decrease image size Notes 1 For example, Frank Kermode, The Sense of an Ending (New York: Oxford University Press, 1967), p. 108, or Michael North's extrication of the actual poetry from this unity in The Political Aesthetic of Eliot, Yeats and Pound (Cambridge: Cambridge University Press, 1991), 20ff. 2 K. Asher, T. S. Eliot and Ideology (Cambridge: Cambridge University Press, 1995), p. 161; Terry Eagleton, Criticism and Ideology (London: Verso, 1978), pp. 148–50. Harriet Davidson poses the same question in ‘Improper Desire: Reading The Waste Land’, in The Cambridge Companion to T. S. Eliot, ed. A David Moody (Cambridge: Cambridge University Press, 1994), pp. 123–24. 3 Preface to the 1928 edition, The Sacred Wood (London: Methuen, 1964), p. viii. Cf. Hannah Sullivan, ‘“But we must learn to take literature seriously”: T.S. Eliot and the little magazines of modernism, 1917–1920’, Critical Quarterly, 46:2 (2004), p. 67. 4 Ronald Schuchard, Eliot's Dark Angel (Oxford: Oxford University Press, 1999), pp. 27–8. 5 Ibid., p. 27. 6 M. North, ‘Eliot, Lukacs and the Politics of Modernism’, T. S. Eliot: The Modernist in History, ed. Ronald Bush (Cambridge: Cambridge University Press, 1991), p. 175. 7 Eliot confirmed Schiller's influence in 1952. See Peter Dale Scott, ‘The Social Critic and his Discontents’, The Cambridge Companion to T. S. Eliot, ed. A. David Moody (Cambridge: Cambridge University Press, 1994), p. 74. 8 North's Reading 1922: A Return to the Scene of the Modern (New York: Oxford University Press, 1999) argues that the unity and disunity of the modern world (and by extension The Waste Land) are effects of one another. 9 Cf. David Trotter, Paranoid Modernism (Oxford: Oxford University Press, 2001), pp. 8–9. 10 Eliot, Knowledge and Experience in the Work of F. H. Bradley (London: Faber and Faber, 1964), p. 146. 11 ‘The Metaphysical Poets’, Selected Prose of T. S. Eliot, ed. Frank Kermode (London: Faber and Faber, 1975), pp. 63, 65, 61. 12 St.-John Perse, Anabasis, trans. T. S. Eliot (London: Faber and Faber, 1930), p. 10. 13 Fragment numbered 580, in F. Schlegel, Kritische Ausgabe, vol. 18, Philosophische Lehrjahre 1796–1806, ed. Ernst Behler (München: Schöningh, 1963), p. 369. 14 Jean‐Luc Nancy, The Sense of the World, trans. Jeffrey S. Librett, (Minneapolis: University of Minnesota Press, 1997), pp. 124–30; J. M. Bernstein, ed., Classic and Romantic German Aesthetics (Cambridge: Cambridge University Press, 2003), p. viii. On the politics of fragmentary collage, see Jacques Rancière, Malaise dans l'ésthetique (Paris: Galilée, 2004), pp. 67–84. 15 Eliot acknowledged his debt to Irving Babbitt in the Classic-Romantic debate in To Criticise the Critic (London: Faber and Faber, 1965), p. 17. 16 Babbitt, Rousseau and Romanticism (Boston: Houghton Mifflin, 1919), pp. 64–5. 17 Schuchard, Eliot's Dark Angel, pp. 28, 27. 18 Babbitt, Rousseau and Romanticism, p. 298. 19 Eliot, ‘Reflections on Vers Libre’, New Statesman, 3 March 1917, pp. 518–519; ‘Reflections on Contemporary Poetry, III’, Egoist, 5 (1917), p. 151. 20 A. W. Schlegel, A Course of Lectures on Dramatic Art and Literature, trans. John Black, rev. ed. A. J. W. Morrison (London: Bohn, 1846), p. 342. 21 Babbitt, Rousseau and Romanticism, 94–5; A. Schlegel, A Course of Lectures, p. 342. Further references are cited in the text. 22 Published anonymously and translated as The Continental System, and its Relations with Sweden (London: J. J. Stockdale, 1813), p. 71. 23 Claude Lefort, The Political Forms of Modern Society, ed. John B. Thompson (Cambridge, Polity Press, 1986), p. 279; Alan Keenan, Democracy in Question: Democratic Openness in a Time of Political Closure (Stanford: Stanford University Press, 2003), pp. 9–10. 24 Babbitt, Rousseau and Romanticism, p. 95. 25 F. Schlegel, On the Study of Greek Poetry, trans. and ed. Stuart Barnett (Albany: SUNY Press, 2001), pp. 48, 54. Hereafter cited in text. 26 Friedrich Schlegel's Lucinde and the Fragments, trans. and ed. Peter Firchow (Minneapolis: University of Minnesota, 1971), p. 189. 27 Ibid., p. 196. 28 Rodolphe Gasché, foreword to Schlegel's Philosophical Fragments, trans. Peter Firchow (Minneapolis: University of Minnesota Press, 1991), p. xiv. 29 Critical Fragments 65, in Firchow, Lucinde and the Fragments, p. 150. 30 ‘Chain’, Athenaeum Fragments 77, ibid., p. 170. ‘Divine breath … buffo’, Critical Fragments 42, ibid., p. 148. Babbitt quotes this very fragment to show how Romantic ironist is aimlessly self-differing, ‘subject to no centre’ (Rousseau and Romanticism, p. 266). 31 Note 776 in Literary Notebooks, ed. Hans Eichner (London: Athlone, 1957), p. 91. 32 Athenaeum Fragments 297, in Firchow, Lucinde and the Fragments, p. 204. 33 Ideas 95, ibid., p. 250. 34 Eliot, Knowledge and Experience, pp. 147–8. 35 Eliot, Selected Essays of T. S. Eliot (London: Faber and Faber, 1954), p. 14. 36 Ibid., p. 24 (my italics). 37 Ibid., p. 15. 38 F. Schlegel, Kritische Ausgabe, 17, Fragmente zur Poesie und Literatur, ed. by Ernst Behler (Paderborn: Schöningh, 1991), Abt. 23, nos. 18–30, 40. Cf. Ingrid Altenhöner, Die Sibylle als literarische Chiffre bei Johann Georg Hamann – Friedrich Schlegel – Johann Wolfgang Goethe (Frankfurt a/M: Peter Lang, 1997). 39 ‘Virgil and the Christian World’, On Poetry and Poets (London: Faber and Faber, 1957), p. 122. 40 Novalis, Werke, Tagebücher und Briefe, ed. Hans-Joachim Mähl and Richard Samuel (München: Carl Hanser, 1978) 2:495, n. 122. 41 Edward Comentale, Modernism, Cultural Production and the British Avant‐Garde (Cambridge: Cambridge University Press, 2004), p. 79 recognises this contradiction in Eliot's classicism, but then claims The Waste Land's homogeneity reveals Eliot's capitulation to the bureaucratic subordination of poetic particulars (p. 105), at once standardizing and isolating their subjects, rather than seeing its metamorphoses as the antithesis of any hierarchical organisation. By contrast, North thinks the Sybil's endless sameness indicates Eliot's ‘deep fear of totalisation’ (‘Eliot, Lukács and the Politics of Modernism’, p. 178). 42 P. Lacoue-Labarthe and J.-L. Nancy, The Literary Absolute, trans. Philip Barnard and Cheryl Lester (Albany: SUNY Press, 1988), p. 46. 43 Maurice Blanchot, The Infinite Conversation, trans. Susan Hanson (Minneapolis: University of Minnesota Press, 1993), p. 358; Paul de Man, ‘The Rhetoric of Temporality’, Blindness and Insight, 2nd edition (London: Routledge, 1983), p. 220; Paul Hamilton, Metaromanticism (Chicago: University of Chicago Press, 2003), p. 18. Gerald N. Izenberg attacks de Man's position throughout Impossible Individuality: Romanticism, Revolution and the Origins of Modern Selfhood, 1787–1802 (Princeton: Princeton University Press, 1992). 44 Walter Benjamin, ‘The Concept of Criticism in German Romanticism’, in Selected Writings, 1, 1913–1926, eds Marcus Bullock and Michael W. Jennings (Cambridge, MA: Belknap, 1996), p. 175. 45 Athenaeum Fragment 116, in Firchow, Lucinde and the Fragments, p. 175. 46 Athenaeum Fragment 366, ibid., p. 221. 47 Ideas 131, ibid., p. 253. 48 The links between Eliot and Virgil have been most fully documented in Gareth Reeves, T. S. Eliot: A Virgilian Poet (London: Macmillan, 1987). The significance of the Sybil for Eliot's philosophy is also discussed in Jewel Spears Brooker and Joseph Bentley, Reading The Waste Land: Modernism and the Limits of Interpretation (Amherst: University of Massachusetts Press, 1990), pp. 44–48. 49 Aeneid VI: pp. 44, 45. Text and all subsequent translations taken from Loeb edition. 50 ‘What is A Classic?’, Selected Prose of T. S. Eliot, ed. Kermode, p. 123. 51 Eliot, ‘Tradition and the Individual Talent’, Selected Essays, p. 21. 52 Freud, ‘Mourning and Melancholia’, Standard Edition of the Works of Sigmund Freud, trans. and ed. James Strachey (London: Hogarth Press, 1957), 14:253. 53 Note to l. 218 of The Waste Land. 54 Benjamin, ‘The Concept of Criticism’, Selected Writings, 1, p. 167. 55 F. Schlegel, Critical Fragments 117, in Firchow, Lucinde and the Fragments, p. 157. 56 F. Schlegel, Kritische Ausgabe 18:255, n. 740. 57 Schlegel, Athenaeum Fragment 262, in Firchow, Lucinde and the Fragments, p. 200. 58 R. Gasché, ‘The Sober Absolute: On Benjamin and the Early Romantics’, in Walter Benjamin and Romanticism, eds Andrew Benjamin and Beatrice Hanssen (London: Continuum, 2002), p. 62. 59 Walter Benjamin, The Origin of German Tragic Drama, trans. by John Osborne (London: Verso, 2003), p. 176. 60 In Firchow, Lucinde and the Fragments, p. 190. 61 Schuchard, Eliot's Dark Angel, p. 28. 62 Schlegel's 1801 lectures on Transcendental Philosophy accept that all forms of earthly political freedom are relative, but then make this part of a justification for principles of hierarchy and aristocracy. See The Early Political Writings of the German Romantics, ed. and trans. Frederick C. Beiser (Cambridge: Cambridge University Press, 1996), pp. 155–58. 63 Benjamin, ‘The Concept of Criticism’, Selected Writings 1, p. 177. 64 See Gillian Rose, Mourning Becomes the Law (Cambridge: Cambridge University Press, 1996), 122ff, and Ronald Bush, ‘T. S. Eliot and Modernism and the Present Time’, in R. Bush, ed., T. S. Eliot: The Modernist in History (Cambridge: Cambridge University Press, 1991), p. 202.
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