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The third section of 'Burnt Norton' provides a second experience, located not in the Garden but in the City, or rather beneath the City, on an underground platform, no doubt of the Circle Line. The Underground's 'flicker' is a mechanical reconciliation of light and darkness, the two alternately exhibited very rapidly. The traveller's emptiness is 'neither plenitude nor vacancy'. In this 'dim light' we have

                                neither daylight

Investing form with lucid stillness

Turning shadow into transient beauty

With slow rotation suggesting permanence

Nor darkness to purify the soul

Emptying the sensual with deprivation 

Cleansing affection from the temporal.

There is rotation, but it does not suggest permanence; there is darkness, purifying nothing; there is light, but it invests nothing with lucid stillness; there is a systematic parody of the wheel's movement and the point's fixity --

Men and bits of paper, whirled by the cold wind 

That blows before and after time,

not like the souls of Paolo and Francesca, who were somewhere in particular throughout eternity for a particular reason known to them, nor even like de Bailhache, Fresca, and Mrs Cammel, who were disintegrated; but simply

    The strained time-ridden faces 

Distracted from distraction by distraction 

Filled with fancies and empty of meaning 

Tumid apathy with no concentration.

Light and darkness are opposites, apparently united by this flicker. Their actual reconciliation is to be achieved by 'descending lower', into an emptier darkness:

    Descend lower, descend only,

Into the world of perpetual solitude,

World not world, but that which is not world, 

Internal darkness, deprivation

And destitution of all property,

Desiccation of the world of sense,

Evacuation of the world of fancy,

Inoperancy of the world of spirit;

This is the one way ...

Opposites falsely reconciled, then truly reconciled: in the central section of the poem its central structural principle is displayed. The false reconciliation parodies the true one, as the Hollow Men parody the saints, as Gerontion parodies Simeon, as Becket suicide would have parodied Becket martyr, as the leader's eyes in which there is no interrogation parody that certainty which inheres 'at the still point of the turning world'.

In this Underground scene curiously enough, the instructed reader may catch a glimpse of the author, sauntering through the crowd as Alfred Hitchcock does in each of his films. For its locale, Eliot noted, sharing a private joke with his brother in Massachusetts, is specifically the Gloucester Road Station, near the poet's South Kensington headquarters, the point of intersection of the Circle Line with the Piccadilly tube to Russell Square. Whoever would leave the endless circle and entrain for the offices of Faber & Faber must 'descend lower', and by spiral stairs if he chooses to walk. 'This is the one way, and the other is the same'; the other, adjacent to the stairs, is a lift, which he negotiates 'not in movement, but abstention from movement'. As Julia Shuttlethwaite observes in The Cocktail Party, 'In a lift I can meditate'.

After this whiff of the Possum's whimsy, section IV displays the flash of the kingfisher's wing, to offset an instance of the Light which rests. The sun is the still point around which the earth turns, and light is concentrated there; it subtly becomes (for Eliot does not name it) a type of the still point where every variety of light inheres, which transient phenomena reflect. And section V presents language itself as a transience on which sufficient form may confer endurance. The poem ends with a reassertion of the possibility, and the significance, of timeless moments:

Sudden in a shaft of sunlight

Even while the dust moves

There rises the hidden laughter

Of children in the foliage

Quick now, here, now, always --

Ridiculous the waste sad time

Stretching before and after.

In this elusive vision the moving dust in sunlight suggests the conditions of human existence, dust sustained and made visible by whatever power emanates from the still point; 'quick' means both instantaneous and alive; here and now acquire momentarily the significance of 'always'; and the 'before and after' which for Shelley contained those distracting glimpses of 'what might have been', cease to tantalize: they are merely aspects of 'the waste sad time' which the timeless moment has power to render irrelevant.

This remarkable poem, which no one, however well acquainted with Eliot's earlier work, could have foreseen, brings the generalizing style of the author of 'Prufrock' and the austere intuitions of the disciple of Bradley for the first time into intimate harmony. Suggestion does not outrun thought, nor design impose itself on what word and cadence are capable of suggesting. It was a precarious unobtrusive masterpiece, which had for some years no successor. . . .

The five-parted dialectic of 'Burnt Norton' is exactly paralleled three times over, and so raised by iteration to the dignity of a form.

Or so one would say, were not 'Burnt Norton', surprisingly enough, the exact structural counterpart of The Waste Land. That form, originally an accident produced by Pound's cutting, Eliot would seem by tenacious determination to have analyzed, mastered, and made into an organic thing. 'Burnt Norton', terminating the 1935 Collected Poems, appears meant to bear the same relation to The Waste Land as Simeon to Gerontion. Its rose-garden, for instance, with the passing cloud and the empty pool, corresponds to the Hyacinth garden and the despondent 'Oed' und leer das Meer', while 'the heart of light, the silence' that was glimpsed in the presence of the hyacinth girl is the tainted simulacrum of that light which 'is still at the still point of the turning world'.

Each Quartet carries on this structural parallel. The first movement, like 'The Burial of the Dead', introduces a diversity of themes; the second, like 'A Game of Chess', presents first ‘poetically' and then with less traditional circumscription the same area of experience; the third, like 'The Fire Sermon', gathers up the central vision of the poem while meditating dispersedly on themes of death: the fourth is a brief lyric; the fifth, a didactic and lyric culmination, concerning itself partly with language, in emulation of the Indo-European roots exploited in 'What the Thunder said'.


From The Invisible Poet: T.S. Eliot. W.H. Allen & Co., 1959.