THE INFLUENCE OF MYSTICISM IN THE POETRY OF T. S. ELIOT

Abstract

It is general belief among the critical society that, after a brief hiatus with the mysticism in the early stages of his career, T. S. Eliot reverted to Christian faith that informed the bulk of his best poems of his career. This article will attempt to contest this notion claiming that mysticism had always been a significant guide to Eliot and has massively influenced not only his early works but remained persistently present until his “Four Quartets”, which is his last great poem. The reasons for the avoidance of mystic relations, at least publicly, were many: Eliot’s conversion to the Anglican church in the first place, his position as a respected member of the well known establishments like the Lloyd's and subsequently as the chief editor in Faber and Faber, and lastly the bad reputation of various mystical societies in London at the time due to the many scandals associated with its fellow members, most notably Alistair Crowley. In general, an unlike the times before the WWI which marked the golden age of mystic England, it was deemed inappropriate for a serious artist to acknowledge the influence of mystical and esoteric literature in his work. In reality, and despite the careful masking, everybody seemed to understand the meaning of the symbols, allusions and direct references that had nothing to do with the writings of the Ecclesiastes. Eliot used the mystical order of the universe to contest the historical narrative that was prevalent in the period between the two wars. Heralded by the 19th century philosophy, historical developments did not bring better society. The reverse course towards older non historical readings of the mystic thought seemed like a logical solution.