The Dry Salvages
The Dry Salvages is the third poem of T. S. Eliot's Four Quartets, marking the beginning of the point when the series was consciously being shaped as a set of four poems. It was written and published in 1941 during the air-raids on Great Britain, an event that threatened him while giving lectures in the area. The title comes from the name of a marine rock formation off the coast of Cape Ann, Massachusetts, where he spent time at as a child.
The poem discusses the nature of time and what humanity's place is within time. Life is described metaphorically as travelling in a boat and humanity's fixation on science and future gain keeping the travellers from reaching their destination. Within the poem, Eliot invokes the image of Krishna to emphasise the need to follow the divine will, instead of seeking personal gain.
Background
Eliot began working on The Dry Salvages during
According to a note by Eliot under the title, "The Dry Salvages—presumably les trois sauvages—is a small group of rocks, with a beacon, off the north east coast of
Poem
The poem is described as a poem of water and hope.[5] It begins with images of the sea, water, and of Eliot's past; this water later becomes a metaphor for life and how humans act. This transitions into an image of a ringing bell and a discussion on time and prayer. Images of men drowning dominate the section before leading into how science and ideas on evolution separate mankind from a proper understanding of the past. The section ends with Krishna stating that the divine will, and not future benefits or rewards, matters. The fourth section is a prayer to the Virgin Mary for fishermen, sailors, and the drowned.[6]
The end of The Dry Salvages starts with a discussion about how people attempt to see the future through various superstitious means.[7] Then the narrator tries to convince the reader that resignation about death is necessary. However, such resignation should be viewed as pushing the self towards redemption and the eternal life in the next world. By acting properly, one would be able to overcome life and move towards the next world.[8]
Themes
The central image of The Dry Salvages is water and the sea. The images are similar to the Odyssey but represent internal aspects. Humanity loses itself to technology and theories like evolution that separate mankind philosophically from the past.[9] According to Eliot, within each man there is a connection to all of mankind. If we just accept drifting upon the sea, then we will end up broken upon rocks. We are restrained by time, but the Annunciation gave mankind hope that he will be able to escape. This hope is not part of the present. What we must do is understand the patterns found within the past to see that there is meaning to be found. This meaning allows one to experience eternity through moments of revelation. Through Christ, we are able to overcome time unless we do not know him. Our corruption can be overcome and that we are able to join the eternal.[10]
Eliot invokes images of
Many of the images connect back to his earlier works. The images of life as boat adrift with a leak is similar to the "Death by Water" section of The Waste Land. Like images about old age and experience found in East Coker, this image reinforces the need to look at the whole of life and try to see things beyond the limitations of time. Men are supposed to progress, but they aren't supposed to focus on what they can gain in the future. The prayer to the Virgin Mary is intended to help guide the journey which would end with understanding eternity and the Annunciation. It is Mary who will guide the metaphorical sailors to their proper harbour.[13] While connecting back to his earlier works, Eliot also connects back to his family's past; the "Dry Salvages" was part of the landscape his ancestor Andrew Eliott travelled to in 1669.[14]
Sources
Part of The Dry Salvages refers to Eliot's joining the Anglican Church and his personal pursuit of the divine.
Reception
A review in the Times Literary Supplement dated 4 September 1941 stated that there was a "note of quiescence, even of bleak resignation" in the poem and that it "lost that spice of wit which was woven into the logic of the earlier poems".[18] Later, Bernard Bergonzi claimed that "The Dry Salvages is the least satisfactory of the sequence, though at the same time it contains some of its best lines. The opening lines are poor, in a weakly sub-Whitmanesque fashion. Yet the writing suddenly picks up at the words, 'The river is within us,' and from there to the end of the section we have a magnificently sustained sequence".[19] F. B. Pinion believed that "'The Dry Salvages' is a complicated, uneven, and rather prosy poem, in which Eliot continues to say the same thing, with some progression, mainly in maritime imagery".[20]
See also
Notes
- ^ Pinion 1986 p. 48
- ^ Ackroyd 1984 p. 262
- ^ Eliot 1980 p. 130
- ^ Ackroyd 1984 pp. 262–263
- ^ Kirk 2008 p. 254
- ^ Pinion 1986 pp. 226–228
- ^ Pinion 1986 p. 228
- ^ Kirk 2008 p. 242
- ^ a b Pinion 1986 pp. 226–227
- ^ Kirk 2008 pp. 254–257
- ^ Pinion 1986 pp. 227–228
- ^ Schuchard 1999 p. 188
- ^ Manganiello 1989 pp. 33–35
- ^ Gordon 2000 pp. 336–337
- ^ Pinion 1986 p. 36
- ^ Ackroyd 1984 p. 263
- ^ Gordon 2000 p. 85
- ^ Grant 1997 qtd p. 43
- ^ Bergonzi 1972 p. 170
- ^ Pinion 1986 p. 226
References
- Ackroyd, Peter. T. S. Eliot: A Life. New York: Simon and Schuster, 1984.
- Bergonzi, Bernard. T. S. Eliot. New York: Macmillan Company, 1972.
- Eliot, T. S. The Complete Poems and Plays 1909–1950. New York: Harcourt Brace & Company, 1980.
- Gordon, Lyndall. T. S. Eliot: An Imperfect Life. New York: W. W. Norton & Company, 2000.
- Grant, Michael, T. S. Eliot: The Critical Heritage. New York: Routledge, 1997.
- Kirk, Russell. Eliot and His Age. Wilmington: ISA Books, 2008.
- Manganiello, Dominic. T. S. Eliot and Dante. New York: St. Martin's Press, 1989.
- Pinion, F. B. A T. S. Eliot Companion. London: MacMillan, 1986.
- Schuchard, Ronald. Eliot's Dark Angel. Oxford: Oxford University Press, 1999.