T S Eliot Four Quartets Quotes

For last year's words belong to last year's language And next year's words await another voice.

We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time.

Humankind cannot bear very much reality.

Footfalls echo in the memory, down the passage we did not take, towards the door we never opened, into the rose garden.

Time present and time past Are both perhaps present in time future And time future contained in time past.

Love is most nearly itself When here and now cease to matter.

We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time. Through the unknown, remembered gate When the last of earth left to discover Is that which was the beginning; At the source of the longest river The voice of the hidden waterfall And the children in the apple-tree Not known, because not looked for But heard, half-heard, in the stillness Between two waves of the sea. —T.S. Eliot, from “Little Gidding,” Four Quartets (Gardners Books; Main edition, April 30, 2001) Originally published 1943.

In my end is my beginning.

Footfalls echo in the memory down the passage we did not take towards the door we never opened into the rose garden. My words echo thus, in your mind

The dove descending breaks the air With flame of incandescent terror Of which the tongues declare The one discharge from sin and error. The only hope, or else despair Lies in the choice of pyre or pyre- To be redeemed from fire by fire. Who then devised the torment? Love. Love is the unfamiliar Name Behind the hands that wove The intolerable shirt of flame Which human power cannot remove. We only live, only suspire Consumed by either fire or fire.

The only wisdom we can hope to acquire Is the wisdom of humility: humility is endless. The houses are all gone under the sea. The dancers are all gone under the hill.

Only through time time is conquered

Do not let me hear Of the wisdom of old men, but rather of their folly, Their fear of fear and frenzy, their fear of possession, Of belonging to another, or to others, or to God. The only wisdom we can hope to acquire Is the wisdom of humility: humility is endless.

time past and time future what might have been and what has been point to one end, which is always present.

I am glad you have a Cat, but I do not believe it is So remarkable a cat as My Cat.

The historical sense involves a perception, not only of the pastness of the past, but of its presence

Or music heard so deeply That it is not heard at all, but you are the music While the music lasts.

There are three conditions which often look alike Yet differ completely, flourish in the same hedgerow: Attachment to self and to things and to persons, detachment From self and from things and from persons; and, growing between them, indifference, ... .

Quick now, here, now, always- A condition of complete simplicity (Costing not less than everything) And all shall be well and All manner of thing shall be well When the tongues of flame are in-folded Into the crowned knot of fire And the fire and the rose are one.

What the dead had no speech for, when living, They can tell you, being dead: the communication Of the dead is tongued with fire beyond the language of the living.

A condition of complete simplicity (Costing not less than everything)

Every phrase and every sentence is an end and a beginning, every poem an epitaph.

All time is unreedemable.

So here I am, in the middle way, having had twenty years- Twenty years largely wasted, the years of l'entre deux guerres- Trying to use words, and every attempt Is a wholy new start, and a different kind of failure Because one has only learnt to get the better of words For the thing one no longer has to say, or the way in which One is no longer disposed to say it. And so each venture Is a new beginning, a raid on the inarticulate, With shabby equipment always deteriorating In the general mess of imprecision of feeling, Undisciplined squads of emotion. And what there is to conquer By strength and submission, has already been discovered Once or twice, or several times, by men whom one cannot hope To emulate - but there is no competition - There is only the fight to recover what has been lost And found and lost again and again: and now, under conditions That seem unpropitious. But perhaps neither gain nor loss. For us, there is only the trying. The rest is not our business.

I do not know much about gods;but I think that the river is a strong brown god-sullen, untamed and intractable . . .

At the still point, there the dance is.

Time present and time past Are both perhaps present in time future, And time future contained in time past. If all time is eternally present All time is unredeemable. What might have been is an abstraction Remaining a perpetual possibility Only in a world of speculation. What might have been and what has been Point to one end, which is always present. Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. My words echo Thus, in your mind. But to what purpose Disturbing the dust on a bowl of rose-leaves I do not know. Other echoes Inhabit the garden. Shall we follow?” <...> Go, said the bird, for the leaves were full of children, Hidden excitedly, containing laughter. Go, go, go, said the bird: human kind Cannot bear very much reality. Time past and time future What might have been and what has been Point to one end, which is always present.

Time present and time past / are both perhaps present in time future.

What might have been is an abstraction Remaining a perpetual possibility Only in a world of speculation.

that which is only living Can only die

And the end and the beginning were always there Before the beginning and after the end. And all is always now.

I said to my soul, be still, and let the dark come upon you Which shall be the darkness of God.

The only wisdom we can hope to acquire Is the wisdom of humility: humility is endless.

For our own past is covered by the currents of action, But the torment of others remains an experience Unqualified, unworn by subsequent attrition. People change, and smile: but the agony abides.

I said to my soul, be still, and wait without hope For hope would be hope for the wrong thing; wait without love For love would be love of the wrong thing; there is yet faith But the faith and the love and the hope are all in the waiting. Wait without thought, for you are not ready for thought: So the darkness shall be the light, and the stillness the dancing. Whisper of running streams, and winter lightning. The wild thyme unseen and the wild strawberry, The laughter in the garden, echoed ecstasy Not lost, but requiring, pointing to the agony Of death and birth.

For I have known them all already, known them all - Have known the evenings, mornings, afternoons, I have measured out my life with coffee spoons; I know the voices dying with a dying fall Beneath the music from a farther room. So how should I presume? And I have known the eyes already, known them all - The eyes that fix you in a formulated phrase, And when I am formulated, sprawling on a pin, When I am pinned and wriggling on the wall, Then how should I begin To spit out all the butt-ends of my days and ways? And how should I presume?

You say I am repeating Something I have said before. I shall say it again. Shall I say it agian? In order to arrive there, To arrive where you are, to get from where you are not, You must go by a way wherein there is no ecstasy. In order to arrive at what you do not know You must go by a way which is the way of ignorance. In order to possess what you do not possess You must go by the way of dispossession. In order to arrive at what you are not You must go through the way in which you are not. And what you do not know is the only thing you know And what you own is what you do not own And where you are is where you are not.

the roses Had the look of flowers that are looked at.

We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time. Through the unknown, remembered gate When the last of earth left to discover Is that which was the beginning; At the source of the longest river The voice of the hidden waterfall And the children in the apple-tree Not known, because not looked for But heard, half-heard, in the stillness Between two waves of the sea. Quick now, here, now, always— A condition of complete simplicity (Costing not less than everything) And all shall be well and All manner of thing shall be well When the tongues of flames are in-folded Into the crowned knot of fire And the fire and the rose are one.

Time present and time past Are both perhaps present in time future And time future contained in time past. If all time is eternally present All time is unredeemable. What might have been is an abstraction Remaining a perpetual possibility Only in a world of speculation. What might have been and what has been Point to one end, which is always present.

Human kind Cannot bear very much reality. - Burnt Norton

Ash on an old man's sleeve, Is all the ash the burnt roses leave. Dust in the air suspended Marks the place where a story ended, Dust in breathed was a house- The wall, the wainscot and the mouse. The death of hope and despair, This is the death of air.

Dawn points, and another day Prepares for heat and silence. Out at sea the dawn wind Wrinkles and slides. I am here Or there, or elsewhere. In my beginning.

Here between the hither and the farther shore While time is withdrawn, consider the future And the past with an equal mind.

It seems, as one becomes older, That the past has another pattern, and ceases to be a mere sequence

It is certain that a book is not harmless merely because no one is consciously offended by it.

Words move, music moves Only in time; but that which is only living Can only die. Words, after speech, reach Into the silence … Words, strain, Crack, and sometimes break, under the burden, Under the tension, slip, slide, perish, Decay with imprecision, will not stay in place, Will not stay still.

It seems, as one becomes older, / That the past has another pattern, and ceases to be a mere sequence,” wrote T. S. Eliot. Four Quartets, which meditates on time, age, and memory, goes on to say, “We had the experience but missed the meaning, / And approach to the meaning restores the experience / In a different form, beyond any meaning.

Quick now, here, now, always-- A condition of complete simplicity (Costing not less than everything)

At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is

What was to be the value of the long looked forward to, Long hoped for calm, the autumnal serenity And the wisdom of age? Had they deceived us Or deceived themselves, the quiet-voiced elders, Bequeathing us merely a receipt for deceit? The serenity only a deliberate hebetude, The wisdom only the knowledge of dead secrets Useless in the darkness into which they peered Or from which they turned their eyes. There is, it seems to us, At best, only a limited value In the knowledge derived from experience. The knowledge imposes a pattern, and falsifies, For the pattern is new in every moment And every moment is a new and shocking Valuation of all we have been. We are only undeceived Of that which, deceiving, could no longer harm.

In my beginning is my end. In succession Houses rise and fall, crumble, are extended, Are removed, destroyed, restored, or in their place Is an open field, or a factory, or a by-pass. Old stone to new building, old timber to new fires, Old fires to ashes, and ashes to the earth Which is already flesh, fur and faeces, Bone of man and beast, cornstalk and leaf. from "East Coker

Go, go, go, said the bird: human kind Cannot bear very much reality.

Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. Time present and time past Are both perhaps present in time future And time future contained in time past. (I) What might have been and what has been Point to one end, which is always present. Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. My words echo Thus, in your mind. But to what purpose Disturbing the dust on a bowl of rose-leaves I do not know. (I) Go, go, go, said the bird: human kind Cannot bear very much reality. What might have been and what has been Point to one end, which is always present. Go, said the bird, for the leaves were full of children, Hidden excitedly, containing laughter. Go, go, go, said the bird: human kind Cannot bear very much reality. Time past and time future What might have been and what has been Point to one end, which is always present. (I) At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is... At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is, But neither arrest nor movement. And do not call it fixity, Where past and future are gathered. Neither movement from nor towards, Neither ascent nor decline. Except for the point, the still point, There would be no dance, and there is only the dance. I can only say, there we have been: but I cannot say where And I cannot say, how long, for that is to place it in time. (II) All is always now. Time past and time future Allow but a little consciousness. To be conscious is not to be in time But only in time can the moment in the rose-garden, The moment in the arbour where the rain beat, The moment in the draughty church at smokefall Be remembered; involved with past and future. Only through time time is conquered. (II) Words move, music moves Only in time; but that which is only living Can only die. Words, after speech, reach Into the silence. (V) Or say that the end precedes the beginning, And the end and the beginning were always there Before the beginning and after the end. And all is always now. Words strain, Crack and sometimes break, under the burden, Under the tension, slip, slide, perish, Will not stay still. (V) Desire itself is movement Not in itself desirable; Love is itself unmoving, Only the cause and end of movement, Timeless, and undesiring Except in the aspect of time Caught in the form of limitation Between un-being and being. (V)

For most of us, there is only the unattended Moment, the moment in and out of time, The distraction fit, lost in a shaft of sunlight, The wild thyme unseen, or the winter lightning Or the waterfall, or music heard so deeply That it is not heard at all, but you are the music While the music lasts. from “The Dry Salvages

Because I know that time is always time And place is always and only place And what is actual is actual only for one time And only for one place I rejoice that things are as they are and I renounce the blessed face And renounce the voice Because I cannot hope to turn again Consequently I rejoice, having to construct something Upon which to rejoice

از کاوش دست نخواهیم کشید و در پایان همه کاوشهایمان بدانجا میرسیم که آغاز کرده ایم و آن نقطه را برای نخستین بار می شناسیم.

Dust in the air suspended, Marks the place where a story ended.

Time present and time past Are both perhaps present in time future, And time future contained in time past. If all time is eternally present All time is unredeemable. What might have been is an abstraction Remaining a perpetual possibility Only in a world of speculation. What might have been and what has been Point to one end, which is always present.

The wounded surgeon plies the steel That questions the distempered part; Beneath the bleeding hands we feel The sharp compassion of the healer’s art Resolving the enigma of the fever chart. Our only health is the disease If we obey the dying nurse Whose constant care is not to please But remind of our, and Adam’s curse, And that, to be restored, our sickness must grow worse. The whole earth is our hospital Endowed by the ruined millionaire

The things I like best in T. S. Eliot’s poetry, especially in the Four Quartets, are the semicolons. You cannot hear them, but they are there, laying out the connections between the images and the ideas. Sometimes you get a glimpse of a semicolon coming, a few lines farther on, and it is like climbing a steep path through woods and seeing a wooden bench just at a bend in the road ahead, a place where you can expect to sit for a moment, catching your breath.

Desire itself is movement Not in itself desirable; Love is itself unmoving, Only the cause and end of movement, Timeless, and undesiring Except in the aspect of time Caught in the form of limitation Between un-being and being. Sudden in a shaft of sunlight Even while the dust moves There rises the hidden laughter Of children in the foliage

You are not here to verify, instruct yourself, or inform curiosity or carry report. You are here to kneel where prayer has been valid. And prayer is more than an order of words, the conscious occupation of the praying mind, or the sound of the voice praying.

Time present and time past Are both perhaps present in time future, And time future contained in time past. If all time is eternally present All time is unredeemable.

for history is a pattern Of timeless moments. So, while the light fails On a winter’s afternoon, in a secluded chapel History is now and England.

We had the experience but missed the meaning, And approach to the meaning restores the experience In a different form, beyond any meaning

The only wisdom we can hope to acquire Is the wisdom of humility: humility is endless.

The detail of the pattern is movement, As in the figure of the ten stairs. Desire itself is movement Not in itself desirable; Love is itself unmoving, Only the cause and end of movement, Timeless, and undesiring Except in the aspect of time Caught in the form of limitation Between un-being and being. 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.

The tolling bell Measures time not our time, rung by the unhurried Ground swell, a time Older than the time of chronometers, older Than time counted by anxious worried women lying awake, calculating the future, Trying to unweave, unwind, unravel And piece together the past and the future, Between midnight and dawn, when the past is all deception, The future futureless, before the morning watch When time stops and time is never ending; And the ground swell, that is and was from the beginning, Clangs The Bell

What we call the beginning is often the end And to make and end is to make a beginning. The end is where we start from. — T.S. Eliot, from “Little Gidding,” Four Quartets. (Faber & Faber 1959) Originally published 1943.

On average, twelve hundred Congolese had been killed every day since 1998. Five point four million. And it wasn't nearly over yet.

Christianity is 'A condition of complete simplify (Costing not less than everything.)' Four Quartets

She was the still point of the turning world.

the communication Of the dead is tongued with fire beyond the language of the living.

T.S. Eliot’s “East Coker,” part of Four Quartets: “In my beginning is my end … in my end is my beginning.” I am born to die, but I trust that I die to live again.

Who then devised the torment? Love.

So here I am, in the middle way, having had twenty years— Twenty years largely wasted, the years of l'entre deux guerres Trying to learn to use words, and every attempt Is a wholly new start, and a different kind of failure Because one has only learnt to get the better of words For the thing one no longer has to say, or the way in which One is no longer disposed to say it. And so each venture Is a new beginning, a raid on the inarticulate With shabby equipment always deteriorating In the general mess of imprecision of feeling, Undisciplined squads of emotion.

This is the use of memory: For liberation—not less of love but expanding Of love beyond desire, and so liberation From the future as well as the past. Thus, love of a country Begins as attachment to our own field of action

There is only the fight to recover what has been lost And found and lost again and again: and now, under conditions That seem unpropitious. But perhaps neither gain nor loss. For us, there is only the trying. The rest is not our business.

In order to arrive there, To arrive where you are, to get from where you are not, You must go by a way wherein there is no ecstasy. In order to arrive at what you do not know You must go by a way which is the way of ignorance. In order to possess what you do not possess You must go by the way of dispossession. In order to arrive at what you are not You must go through the way in which you are not. And what you do not know is the only thing you know And what you own is what you do not own And where you are is where you are not.

Old men ought to be explorers Here and there does not matter We must be still and still moving Into another intensity For a further union, a deeper communion Through the dark cold and the empty desolation, The wave cry, the wind cry, the vast waters Of the petrel and the porpoise.

Time present and time past Are both perhaps present in time future And time future contained in time past. If all time is eternally present All time is unredeemable. What might have been is an abstraction Remaining a perpetual possibility Only in a world of speculation. What might have been and what has been Point to one end, which is always present. Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. My words echo Thus, in your mind. But to what purpose Disturbing the dust on a bowl of rose-leaves I do not know. Other echoes Inhabit the garden. Shall we follow? Quick, said the bird, find them, find them, Round the corner. Through the first gate, Into our first world, shall we follow The deception of the thrush? Into our first world. There they were, dignified, invisible, Moving without pressure, over the dead leaves, In the autumn heat, through the vibrant air, And the bird called, in response to The unheard music hidden in the shrubbery, And the unseen eyebeam crossed, for the roses Had the look of flowers that are looked at. There they were as our guests, accepted and accepting. So we moved, and they, in a formal pattern, Along the empty alley, into the box circle, To look down into the drained pool. Dry the pool, dry concrete, brown edged, And the pool was filled with water out of sunlight, And the lotos rose, quietly, quietly, The surface glittered out of heart of light, And they were behind us, reflected in the pool. Then a cloud passed, and the pool was empty. Go, said the bird, for the leaves were full of children, Hidden excitedly, containing laughter. Go, go, go, said the bird: human kind Cannot bear very much reality. Time past and time future What might have been and what has been Point to one end, which is always present.

Time present and time past Are both perhaps present in time future, And time future contained in time past. If all time is eternally present All time is unredeemable. What might have been is an abstraction Remaining a perpetual possibility Only in a world of speculation. What might have been and what has been Point to one end, which is always present. Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden.

The period of general neglect of Eliot's poetry was one in which a revolution was occurring in the theory of interpretation. Existentialist, phenomenologist, structuralist, psychoanalytic, feminist, and poststructuralist theories appeared and stimulated dazzling conversations about how texts mean. Bloom, Miller, Poulet, Gadamer, Foucault, Lacan, Kristeva, and Derrida are just a few of the critics who have contributed to these conversations. These studies have enormous value for critics interested in Eliot. In the first place, they have popularized insights about language which are central in Eliot poetry from "The Love Song of J. Alfred Prufrock" to Four Quartets. Anyone who doubts this should read Derrida "Structure, Sign, and Play in the Discourse of the Human Sciences" and follow up with a reading of part 5 of each of Four Quartets. In the second place, the studies in theory have created an audience that will be able to appreciate Eliot's dissertation and early philosophical work, an audience unthinkable a generation ago.

I said to my soul, be still, and let the dark come upon you Which shall be the darkness of God. As, in a theatre, The lights are extinguished, for the scene to be changed With a hollow rumble of wings, with a movement of darkness on darkness, And we know that the hills and the trees, the distant panorama And the bold imposing facade are all being rolled away-- Or as, when an underground train, in the tube, stops too long between stations And the conversation rises and slowly fades into silence And you see behind every face the mental emptiness deepen Leaving only the growing terror of nothing to think about; Or when, under ether, the mind is conscious but conscious of nothing-- I said to my soul, be still, and wait without hope For hope would be hope for the wrong thing; wait without love, For love would be love of the wrong thing; there is yet faith But the faith and the love and the hope are all in the waiting. Wait without thought, for you are not ready for thought: So the darkness shall be the light, and the stillness the dancing.

And the pool was filled with water out of sunlight, And the lotos rose, quietly, quietly, The surface glittered out of heart of light, And they were behind us, reflected in the pool. Then a cloud passed, and the pool was empty. Go, said the bird, for the leaves were full of children, 40 Hidden excitedly, containing laughter. Go, go, go, said the bird: human kind Cannot bear very much reality. Time past and time future What might have been and what has been Point to one end, which is always present.   II   Garlic and sapphires in the mud Clot the bedded axle-tree. The trilling wire in the blood Sings below inveterate scars And reconciles forgotten wars. The dance along the artery The circulation of the lymph Are figured in the drift of stars Ascend to summer in the tree We move above the moving tree In light upon the figured leaf And hear upon the sodden floor Below, the boarhound and the boar Pursue their pattern as before 60 But reconciled among the stars.   At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is, But neither arrest nor movement. And do not call it fixity, Where past and future are gathered. Neither movement from nor

In my beginning is my end. In succession Houses rise and fall, crumble, are extended, Are removed, destroyed, restored, or in their place Is an open field, or a factory, or a by-pass. Old stone to new building, old timber to new fires, Old fires to ashes, and ashes to the earth Which is already flesh, fur and faeces, Bone of man and beast, cornstalk and leaf. Houses live and die: there is a time for building And a time for living and for generation And a time for the wind to break the loosened pane And to shake the wainscot where the field-mouse trots And to shake the tattered arras woven with a silent motto. In my beginning is my end. Now the light falls Across the open field, leaving the deep lane Shuttered with branches, dark in the afternoon, Where you lean against a bank while a van passes, And the deep lane insists on the direction Into the village, in the electric heat Hypnotised. In a warm haze the sultry light Is absorbed, not refracted, by grey stone. The dahlias sleep in the empty silence. Wait for the early owl. In that open field If you do not come too close, if you do not come too close, On a summer midnight, you can hear the music Of the weak pipe and the little drum And see them dancing around the bonfire The association of man and woman In daunsinge, signifying matrimonie— A dignified and commodiois sacrament. Two and two, necessarye coniunction, Holding eche other by the hand or the arm Whiche betokeneth concorde. Round and round the fire Leaping through the flames, or joined in circles, Rustically solemn or in rustic laughter Lifting heavy feet in clumsy shoes, Earth feet, loam feet, lifted in country mirth Mirth of those long since under earth Nourishing the corn. Keeping time, Keeping the rhythm in their dancing As in their living in the living seasons The time of the seasons and the constellations The time of milking and the time of harvest The time of the coupling of man and woman And that of beasts. Feet rising and falling. Eating and drinking. Dung and death. Dawn points, and another day Prepares for heat and silence. Out at sea the dawn wind Wrinkles and slides. I am here Or there, or elsewhere. In my beginning.

IV.The wounded surgeon plies the steelThat questions the distempered part;Beneath the bleeding hands we feelThe sharp compassion of the healer's artResolving the enigma of the fever chart.Our only health is the diseaseIf we obey the dying nurseWhose constant care is not to pleaseBut to remind of our, and Adam's curse,And that, to be restored, our sickness must grow worse.The whole earth is our hospitalEndowed by the ruined millionaire,Wherein, if we do well, we shallDie of the absolute paternal careThat will not leave us, but prevents us everywhere.The chill ascends from feet to knees,The fever sings in mental wires.If to be warmed, then I must freezeAnd quake in frigid purgatorial firesOf which the flame is roses, and the smoke is briars.The dripping blood our only drink,The bloody flesh our only food:In spite of which we like to thinkThat we are sound, substantial flesh and bloodAgain, in spite of that, we call this Friday good.

In my beginning is my end. In succession Houses rise and fall, crumble, are extended, Are removed, destroyed, restored, or in their place Is an open field, or a factory, or a by-pass. Old stone to new building, old timber to new fires, Old fires to ashes, and ashes to the earth Which is already flesh, fur and faeces, Bone of man and beast, cornstalk and leaf. Houses live and die: there is a time for building And a time for living and for generation And a time for the wind to break the loosened pane And to shake the wainscot where the field-mouse trots And to shake the tattered arras woven with a silent motto. In my beginning is my end. Now the light falls Across the open field, leaving the deep lane Shuttered with branches, dark in the afternoon, Where you lean against a bank while a van passes, And the deep lane insists on the direction Into the village, in the electric heat Hypnotised. In a warm haze the sultry light Is absorbed, not refracted, by grey stone. The dahlias sleep in the empty silence.

The Four Quartets both is and is not a religious poem. It is religious in the sense of religare (Latin, the restoring of bonds): it attempts to restore the bond joining “God, man and world” to a unity. It is not religious in the sense of espousing a collection of doctrines about God’s relation to humanity. Thus Eliot feels no compunction in alluding to Bhagavad Gita in one section of the poem (DS III) and Dante’s Paradiso in the next (DS IV). He neither asserts the rightness nor wrongness of one set of doctrines in relation to the other; nor does he try to reconcile them. Instead, he claims that prior to the differentiation of various religious paths, there is a universal substratum called Word (logos) of which religions are concretions.

Those who delve into the past to escape the boredom of the present are like those who would escape into the future to find clues to the present.

The bitter apple and the bite in the apple. And the ragged rock in the restless waters, Waves wash over it, fogs conceal it; On a halcyon day it is merely a monument, In navigable weather it is always a seamark To lay a course by: but in the sombre season Or the sudden fury, is what it always was.

Love is the unfamiliar Name Behind the hands that wove The intolerable shirt of flame Which human power cannot remove.

We die with the dying: See, they depart, and we go with them. We are born with the dead: See, they return, and bring us with them.

Traditionally, reaching the state of illumination symbolized by the center bestows a different fate from that of the ordinary person who accepts salvation. For the latter, life after death will persist in many different planes of being — higher ones, no doubt, where existence is less painful and burdensome and where spiritual aspiration faces less resistance. But those who attain gnosis are freed from this spiral entirely. They can choose to return to manifestation for a special purpose or can dwell in absorption into God — known in the Christian tradition as the “beatific vision.” They are, to use T. S. Eliot’s famous words in Four Quartets, “at the still point of the turning world.” In the Gospels, one name for this still point is “the eye of the needle.” As Christ says, “It is easier for a camel to go through the eye of a needle, than for a rich man to enter the kingdom of God” (Mark 10:25). This means that the “I” has to be very fine and subtle to reach this still center of being. A “rich man” — one who is encumbered not only with property but with the heavy baggage of a pompous self-image — is too big to make it through. Obviously, this is an inner condition and so does not necessarily refer to all rich people, though in practice it probably applies to most. Francis de Sales, a Catholic spiritual teacher of the early seventeenth century, observes: A man is rich in spirit if his mind is filled with riches or set on riches. The kingfisher shapes its nests like an apple, leaving only a little opening at the top, builds it on the seashore, and makes it so solid and tight that although waves sweep over it the water cannot get inside. Keeping always on top of the waves, they remain surrounded by the sea and are on the sea, and yet are masters of it. Your heart . . . must in like manner be open to heaven alone and impervious to riches and all other transitory things. Money — “mammon,” as Christ called it — is only one of the forms the force of the world takes. There are people for whom money holds no allure but who are beguiled by sex, pleasure, or power. And for those who are indifferent even to these temptations, there is always the trap of apathy (accidie or acedia, derived from a Greek word meaning “not caring,” are names sometimes used in the tradition). There are many variations, which will take on slightly different forms in everyone. Freeing oneself from the world requires overcoming these drives in oneself, however they appear.

In T.S. Eliot’s phrase from his Four Quartets, I was ‘distracted from distraction by distraction’.

T. S. Eliot’s Four Quartets, William Blake’s “Proverbs of Hell,” and Walt Whitman’s Song of Myself. I

I said to my soul, be still, and wait without hope For hope would be hope for the wrong thing; wait without love, For love would be love of the wrong thing; there is yet faith But the faith and the love and the hope are all in the waiting. Wait without thought, for you are not ready for thought: So the darkness shall be the light, and the stillness the dancing. —T. S. Eliot, “East Coker,” Four Quartets

Be still and wait without hope, for hope would be hope for the wrong thing. —T.S. ELIOT, “East Coker” from the Four Quartets

In T. S. Eliot’s phrase from his Four Quartets, I was “distracted from distraction by distraction.