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

  title={Eliot's Affirmative Way: Julian of Norwich, Charles Williams, and Little Gidding},
  author={Barbara Newman},
  journal={Modern Philology},
  pages={427 - 461}
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… 
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Select Bibliography
  • Julian of Norwich: “In God's Sight”
  • 2018


Shifting Perspectives
It is concluded that therapists, observers, and prisoners all saw the goals and task aspects of the therapeutic alliance as distinct from the bond component of the Working Alliance Inventory.
Critics today are less certain of this influence. 121. Gardner, Composition
    As I Remember Charles Williams
      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
      Imperfect Life, 227, 601; and Clarke, Critical Assessments, 128. 152. Eliot, ''Baudelaire
        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
        All the early editions of Julian of Norwich except Cressy use the slightly more common variant behovabil from a manuscript at the British Library
          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