Eliot. After 50 years trying to make sense of his verse, and at the risk of admitting to rampant philistinism, I propose three conclusions. At his best, he is one of the finest poets in the language. Partly because he is straining language and thought to the uttermost — an analogy with the final Beethoven piano sonatas — he is sometimes incomprehensible: sometimes, indeed, falls into arrant pseudery.
Already a subscriber? Log in
Get 10 issues
for $10
Subscribe to The Spectator Australia today for the next 10 magazine issues, plus full online access, for just $10.
- Delivery of the weekly magazine
- Unlimited access to spectator.com.au and app
- Spectator podcasts and newsletters
- Full access to spectator.co.uk
Or
Unlock this article
You might disagree with half of it, but you’ll enjoy reading all of it. Try your first month for free, then just $2 a week for the remainder of your first year.
Comments
Don't miss out
Join the conversation with other Spectator Australia readers. Subscribe to leave a comment.
SUBSCRIBEAlready a subscriber? Log in