Elements in Eliot

An important book by Benjamin G. Lockerd Jr, Aethereal Rumours: T.S. Eliot's Physics and Poetics, does for The Waste Land and the Four Quartets something of what Michael Ward does for the Chronicles of Narnia by C.S. Lewis in Planet Narnia. In his book, Michael Ward shows that each of the seven tales of Narnia was intended by Lewis to correspond with one of the seven astrological planets – taking these as spiritual symbols of perennial value (as he does in his academic works on Medieval and Renaissance literature, and in the Space Trilogy). Similarly, Lockerd shows that Eliot was always concerned with reconciling poetry with science, and unlike other modern poets "increasingly placed his poetry quite consciously and deliberately within
the cosmos described by the ancient philosophical physics" of Heraclitus and Aristotle. He was an admirer of modern science, but not of scientism, meaning the cult of a science deemed purely "objective" in contrast to the "subjective" arts. He sought to overcome this false dualism in his own work, and so was drawn to a "science of essences" that he did not believe had been superseded by modern chemistry or physics. The Waste Land has five sections which correspond symbolically and thematically to the five elements (including the fifth, aether, which Plato in Timaeus 55c associated with the fifth regular solid, the dodecahedron, on which the Demiurge embroidered the constellations). Each of the Four Quartets corresponds to one of the four earthly elements with the fifth present throughout; especially, I would speculate, in the fifth section of each poem. Lockerd's book was encouraged by Russell Kirk and partly written at Piety Hill. It is a valuable contribution to the literature connecting ancient and modern science, as well as science and poetry.

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Diagram of the cosmos

The Cosmati Pavement in Westminster Abbey was underfoot when the Pope met the Archbishop of Canterbury in 2010, and when William married Kate in 2011. It is the traditional site of royal coronations -- 38 kings and queens have been crowned on this spot since 1268 (the symbolism of the ceremony is analysed by Aidan Nichols OP in his book The Realm). The Pavement is a kind of Western "mandala", a representation of the entire cosmos based on squares and circles and sacred numbers. I have posted about it before, but there are things to add. For one thing a much more detailed image of the entire Pavement is available here, on the Getty web-site.

The central disk of onyx represents the world, and the two sets of four roundels around it the four elements and four qualities unified by love, a symbol of the Great Chain of Being that bound the monarch to the lowliest subject and the highest angel under God, as in this fifteenth-century text:

"In this order, hot things are in harmony with cold, dry with moist, heavy with light, great with little, high with low. In this order, angel is set over angel, rank upon rank in the kingdom of heaven; man is set over man, beast over beast, bird over bird and fish over fish, on the earth, in the air and in the sea: so that there is no worm that crawls upon the ground, no bird that flies on high, no fish that swims in the depths, which the chain of this order does not bind in the most harmonious concord. Hell alone, inhabited by none but sinners, asserts its claim to escape the embraces of this order." (Sir John Fortescue, trans. On Nature, 1492.)

There was a Latin inscription to accompany the Pavement which described the age of the world from beginning to end as 19,683 years - the lifespan of the macrocosm conceived as a living creature. However inaccurate this is in terms of modern cosmology, it was an attempt to make the Pavement an image of the whole of space-time. We lost our "Theory of Everything", and modern science has been trying to get it back ever since.

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Cosmology of the Sacraments

Sandro Magister's excellent website has reproduced one of the Pope's Easter homilies where he talks of the symbolism of the four sacramental elements (which correspond I suppose to the ancient "natural" elements of water, earth, fire and air). The Pope goes on to develop the link between oil and the priesthood. The whole thing is fascinating. Here is an extract:

There are four elements in creation on which the world of sacraments is built: water, bread, wine and olive oil. Water, as the basic element and fundamental condition of all life, is the essential sign of the act in which, through baptism, we become Christians and are born to new life. While water is the vital element everywhere, and thus represents the shared access of all people to rebirth as Christians, the other three elements belong to the culture of the Mediterranean region. In other words, they point towards the concrete historical environment in which Christianity emerged. God acted in a clearly defined place on the earth, he truly made history with men. On the one hand, these three elements are gifts of creation, and on the other, they also indicate the locality of the history of God with us. They are a synthesis between creation and history: gifts of God that always connect us to those parts of the world where God chose to act with us in historical time, where he chose to become one of us.

 Photo of Port Meadow by Rosie Caldecott

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Reconnect with nature

The word “ecology” was coined only as recently as 1873, by the German zoologist Ernst Haeckel. He based it on the Greek word oikos meaning “house, dwelling place, habitation” (plus, of course, logos). But though the scientific study of ecology, referring to the complex inter-relationships of biological entities with each other and with their environment, is a modern development, the traditional worldview has a great deal to say on the matter. The medievals did not possess posters showing the fragile earth floating in a dark sea of space, but they were deeply aware of the inter-relatedness of the natural world, and of man as the focus or nexus of that world, which they expressed in the doctrine of correspondences. It was, of course, more poetic than scientific in its formulation, but it expressed a profound insight that remains valid, and the present ecological crisis could only have developed in a world that has forgotten it, or forgotten to live by it. The cosmological principles underlying the quadrivium, even today, can help us learn to dwell more wisely in our common home.

James S. Taylor’s Poetic Knowledge: The Recovery of Education encapsulates the wisdom of the Integrated Humanities Program taught at the University of Kansas in the 1970s and 80s. Taylor writes, for example:

“The implications for education, especially for learning in the poetic mode, as a result of the Cartesian revolution should not be difficult to trace since modern education is dominated, in one way or another, by its influence. Any school of philosophy that claims that one particular science (mathematics and scientific method in the case of Descartes and his followers) must be applied to all other subjects of knowledge, will impose a formal rigor upon the entire curriculum, eliminating even the contemplative nature of mathematics and science. Sooner or later, it is all reduced to ‘facts.’ This approach bypasses the contemplative nature of knowledge, leaving the student disconnected from his nature and the nature out there.”

It is not Taylor’s conviction – and it is certainly not that of Beauty for Truth's Sake – that we can or should do without “rigor” in science or in education; just that we must keep things in right proportion. Contemplative, or poetic, or intuitive ways of knowing can give profound insights into reality. Any education that fails to integrate such knowledge is liable (as most of our schools demonstrate) to produce men and women alienated from their own full humanity and from nature itself.

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