Eliot's Affirmative Way: Julian of Norwich, Charles Williams, and Little Gidding

@article{Newman2011EliotsAW,
  title={Eliot's Affirmative Way: Julian of Norwich, Charles Williams, and Little Gidding},
  author={B. Newman},
  journal={Modern Philology},
  year={2011},
  volume={108},
  pages={427 - 461}
}
  • B. Newman
  • Published 2011
  • History
  • Modern Philology
  • For thousands of poetry lovers, Julian of Norwich is a name first and often last encountered in glosses to Little Gidding (1942), the last poem in T. S. Eliot’s Four Quartets (1943). Her talismanic ‘‘All shall be well,’’ quoted twice in the third movement of that poem and once more at its close, functions as a refrain, much as it does in Julian’s own Revelation of Love. Ever since Eliot’s friend and editor John Hayward first queried the source of those lines in a draft, critics have dutifully… CONTINUE READING
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    References

    SHOWING 1-10 OF 10 REFERENCES
    Shifting Perspectives
    • 26
    dedicated to the memory of Charles Williams, imitates his style and takes as its epigraph a passage from Julian that Williams particularly admired
    • Mendelson
    • 1930
    All the early editions of Julian of Norwich except Cressy use the slightly more common variant behovabil from a manuscript at the British Library
      As I Remember Charles Williams
        Critics today are less certain of this influence. 121. Gardner, Composition
          Imperfect Life, 227, 601; and Clarke, Critical Assessments, 128. 152. Eliot, ''Baudelaire
            Medievalists today understand Julian's ''sensuality'' as the contingent, earthly self, including but not limited to the body, rather than ''sensuality'' in the modern sense
              Of all the metrical and nonmetrical forms Eliot employs in the Quartets, he uses trimeter only in the last sections of
              • Julian, Sixteen Revelations, chap