T. S. Eliot on Dante

HOS

Is there atctcnything better than T. S. Eliot talking about his debt to Dante? Here is the majority of his famous essay “What Dante Means to Me” (hence my own “What Eliot Means to Me”), which can be found in his collection of essays, To Criticize the Critic and Other Writings. The essay was originally presented as a speech given at the Italian Institute of London, on July 4, 1950, when Eliot was sixty-one:

May I explain first why I have chosen, not to deliver a lecture about Dante, but to talk informally about his influence upon myself? What might appear egotism, in doing this, I present as modesty; and the modesty which it pretends to be is merely prudence. I am in no way a Dante scholar; and my general knowledge of Italian is such, that on this occasion, out of respect to the audience and to Dante himself, I shall refrain from quoting him in Italian. And I do not feel that I have anything more to contribute, on the subject of Dante’s poetry, than I put, years ago, into a brief essay. As I explained in the original preface to that essay, I read Dante only with a prose translation beside the text. Forty years ago I began to puzzle out the Divine Comedy in this way; and when I thought I had grasped the meaning of a passage which especially delighted me, I committed it to memory; so that, for some years, I was able to recite a large part of one canto or another to myself, lying in bed or on a railway journey. Heaven knows what it would have sounded like, had I recited it aloud; but it was by this means that I steeped myself in Dante’s poetry. And now it is twenty years since I set down all that my meagre attainments qualified me to say about Dante. But I thought it not uninteresting to myself, and possibly to others, to try to record in what my own debt to Dante consists. I do not think I can explain everything, even to myself; but as I still, after forty years, regard his poetry as the most persistent and deepest influence upon my own verse, I should like to establish at least some of the reasons for it. Perhaps confessions by poets, of what Dante has meant to them, may even contribute something to the appreciation of Dante himself. And finally, it is the only contribution that I can make.

The greatest debts are not always the most evident; at least, there are different kinds of debt.  The kind of debt that I owe to Dante is the kind which goes on accumulating, the kind which is not the debt of one period or another of one’s life. Of some poets I can say I learned a great deal from them at a particular stage. Of Jules Laforgue, for instance, I can say that he was the first to teach me how to speak, to teach me the poetic possibilities of my own idiom and speech. Such early influences, the influences which, so to speak, first first introduce one to oneself, are, I think, due to an impression which is in one aspect, the recognition of a temperament akin to one’s own, and in another aspect the discovery of a form of expression which gives a clue to the discovery of one’s own form. These are not two things, but two aspects of the same thing. But the poet who can do this for a young writer, is unlikely to be one of the great masters. The latter are too exalted and too remote. They are like distant ancestors who have been almost deified; whereas the smaller poet, who has directed one’s first steps, is more like an admired elder brother.

Then, among influences, there are the poets from whom one has learned some one thing, perhaps of capital importance to oneself, though not necessarily the great contribution these poets have made. I think that from Baudelaire I learned first, a precedent for the poetical possibilities, never developed by any poet writing in my own language, of the more sordid aspects of the modern metropolis, of the possibility of the fusion between the sordidly realistic and the phantasmagoric, the possibility of the juxtaposition of the matter-of-fact and the fantastic. From him, as from Laforgue, I learned that the sort of material I had, the sort of experience that an adolescent had had, in an industrial city in America, could be the material for poetry; and that the source of new poetry might be found in what had been regarded hitherto as the impossible, the sterile, the intractably unpoetic. That, in fact, the business of the poet was to make poetry out of the unpoetical; that the poet, in fact, was committed by his profession to turn the unpoetical into poetry. A great poet can give a younger poet everything that he has to give him, in a very few lines. It may be that I am indebted to Baudelaire chiefly for half a dozen lines out of the whole of Fleurs du Mal

I may seem to you very far from Dante. But I cannot give you any approximation of what Dante has done for me, without speaking of what other poets have done for me. When I have written about Baudelaire, or Dante, or any other poet who has had a capital importance in my own development, I have written because that poet has meant so much to me, but not about myself, but about that poet and his poetry. That is, the first impulse to write about a great poet is one of gratitude; but the reasons for which on is grateful may play a very small part in a critical appreciation of that poet.

…There are also the great masters, to whom one slowly grows up. When I was young I felt much more at ease with the lesser Elizabethan dramatists than with Shakespeare: the former were, so to speak, playmates nearer my own size. One test of the great masters, of whom Shakespeare is one, is that the appreciation of their poetry is a lifetime’s task, because at every stage of of maturing—and that should be one’s whole life–you are able to understand them better. Among these are Shakespeare, Dante, Homer and Virgil… And no verse seems to demand greater literalness in translation than Dante’s, because no poet convinces one more completely that the word he had used is the word he wanted, and that no other will do.

…Certainly I have borrowed lines from [Dante], in the attempt to reproduce, or rather to arouse in the reader’s mind the memory, of some Dantesque scene, and thus establish a relationship between the medieval inferno and modern life. Readers of my Waste Land will perhaps remember that the vision of my city clerks trooping over London Bridge from the railway station to their offices evoked the reflection “I had not thought death had undone so many”; and that in another place I deliberately modified a line of Dante by altering it—“sighs, short and infrequent, were exhaled.” And I gave the references in my notes, in order to make the reader who recognized the allusion, know that I meant him to recognize it, and know that he would have missed the point if he did not recognize it. Twenty years after writing The Waste Land, I wrote, in Little Gidding, a passage which is intended to be the nearest equivalent to a canto of the Inferno or the Purgatorio, in style as well as content, that I could achieve. The intention, of course, was the same as with my allusions to Dante in The Waste Land: to present to the mind of the reader a parallel, by means of contrast, between the Inferno and the Purgatorio, which Dante visited and a hallucinated scene after an air-raid…. This section of a poem—not the length of one canto of the Divine Comedy—cost me far more time and trouble and vexation than any passage of the same length that I have ever written….

…Of what one learns, and goes on learning, from Dante I should like to make three points. The first is, that of the very few poets of similar stature there is none, not even Virgil, who had been a more attentive student to the art of poetry, or a more scrupulous, painstaking and conscious practitioner of the craft. Certainly no English poet can be compared with him in this respect, for the more conscious craftsmen—and I am thinking primarily of Milton—have been much more limited poets, and therefore more limited in their craft also. To realize more and more what this means, through the years of one’s own life, is itself a moral lesson; but I draw a further lesson from it which is a moral lesson too. The whole study and practice of Dante seems to me to teach that the poet should be the servant of his language, rather than the master of it. This sense of responsibility is one of the marks of the classical poet, in the sense of “classical” which I have tried to define elsewhere, in speaking of Virgil. Of some great poets, and of some great English poets especially, one can say that they were privileged by their genius to abuse the English language, to develop an idiom so peculiar and even eccentric, that it could be of no use to later poets. Dante seems to me to have a place in Italian literature—which, in this respect, only Shakespeare has in ours; that is, they give body to the soul of the language, conforming themselves, the one more and the other less conspicuously, to what they divined to be its possibilities. And Shakespeare himself takes liberties which only his genius justifies; liberties which Dante, with an equal genius, does not take. To pass on to posterity one’s own language, more highly developed, more refined, and more precise than it was before one wrote it, that is the highest possible achievement of the poet as poet. Of course, a really supreme poet makes poetry also more difficult for his successors, but the simple fact of his supremacy, and the price a literature must pay, for having a Dante or a Shakespeare, is that it can have only one. Later poets must find something else to do, and be content if the things left to do are lesser things. But I am not speaking of what a supreme poet, one of those few without whom the current speech of a people with a great language would not be what it is, does for later poets, or of what he prevents them from doing, but of what he does for everybody after him who speaks that language, whose mother tongue it is, whether they are poets, philosophers, statesmen or railway porters.

That is one lesson: that the great master of a language should be the great servant of it. The second lesson of Dante—and it is one which no poet, in any language known to me, can teach—is the lesson of width of emotional range. Perhaps it could be best expressed under the figure of the spectrum, or of the gamut. Employing this figure, I must say that the great poet should not only perceive and distinguish more clearly than other men, the colours or sounds within the range of ordinary vision or hearing; he should perceive vibrations beyond the range of ordinary men, and be able to make men see and hear more at each end than they could ever see without his help. We have for instance in English literature great religious poets, but they are, by comparison with Dante, specialists. That is all they can do. And Dante, because he could do everything else, is for that reason the greatest “religious” poet, though to call him a “religious poet” would be to abate his universality. The Divine Comedy expresses everything in the way of emotion, between depravity’s despair and the beatific vision, that man is capable of experiencing. It is therefore a constant reminder to the poet, of the obligation to explore, to find words for the inarticulate, to capture those feelings which people can hardly even feel, because they have no words for them; and at the same time, a reminder that the explorer beyond the frontiers of ordinary consciousness will only be able to return and report to his fellow-citizens, if he has all the time a firm grasp upon the realities with which they are already acquainted.

These two achievements of Dante are not to be though of as separate or separable. The task of the poet, in making people comprehend the incomprehensible, demands immense resources of language; and in developing the language, enriching the meaning of words and showing how much words can do, he is making possible a much greater range of emotion and perception for other men, because he gives them the speech in which more can be expressed….

…Dante is, beyond all other poets of our continent, the most European. He is the least provincial—and yet that statement must be immediately protected by saying that he did not become the “least provincial” by ceasing to be local. No one is more local; one never forgets that there is much in Dante’s poetry which escapes any reader whose native language is not Italian; but I think that the foreigner is less aware of any residuum that must for ever escape him, than any of us is in reading any other master of a language which is not our own. The Italian of Dante is somehow our language from the moment we begin to try to read it; and the lessons of craft, of speech and of exploration of sensibility are lessons which any European can take to heart and try to apply in his own tongue.

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