A Farewell to Essay-writing (Mar.,1828) (Also appears in #14 #15.)
A Farewell To Essay-Writing (Mar.,1828)
In making that sense, furthermore, Sandover completes Eliot's quest to achievehis criterion for great art--that it commune with the dead (Longenbach, 18-19). It doesso, as I have been arguing, by moving that communion from the realm of imagination to therealm of experience. That move thus becomes the next (or final?) step in the quest Eliotarticulated. As such, Sandover becomes The Waste Land'ssupplement, a point that becomes uncannily clear in yet another way, when we refer tofacsimile of The Waste Land's original draft. There we discover inthe final passage that the original draft contained the line "These fragments I havespelt into my ruins" (Facsimile, 81) instead of "These fragments I have shoredagainst my ruins." Longenbach is correct, I believe, that the earlier versionlends credence to a reading of the poem as attempting to express wholeness:
Chosen as a Notable Essay of 2003 in The Best American Essays, 2004.
This is what Merrill learns in the lessons of the gods which he translates in aschoolroom setting that not only reconstitutes the scribes as students/children (asopposed to "Gidean school teacher") but also the mentors/angels/gods as family,constantly stressing their filial relationship to one another. Because each of thearchangels constitutes a basic element, the elements too exist in an eternal, filialrelationship. The "summer without parents" which is the puzzle in "Lost inTranslation," thus comes to an end as patriarchal and matriarchal authority unite andthe enmity of the Oedipal triangle dissolves in the setting which makes sense of(god-the-) father.