Foreword | |
Introduction | p. 1 |
God and the Architecture of Reality: The Still Point of the Turning World | |
Introduction | p. 9 |
The Meaning of the Still Point | p. 9 |
The Effect of the Image of the Still Po int on the Poem | p. 14 |
The Language of Relationships | p. 17 |
The Dance | p. 18 |
The Harmonies of Existence | p. 20 |
God and the Architecture of Realty: Three Roses | |
Introduction | p. 23 |
The Rose Garden in "Burnt Norton" I | p. 24 |
The Third Rose | p. 26 |
The Sensual Rose | p. 29 |
The End of the Poem | p. 37 |
The Opening Garden Scene | |
Introduction | p. 51 |
Two Landscapes | p. 51 |
Is the Opening Garden Episode About Eliot Himself? | p. 56 |
The Poem's Own Assessment of the Garden; The Second Appearance of the Garden | p. 57 |
The Disposition of the Other Garden Passages | |
The Final Appearance of the Garden | p. 61 |
Another Appearance of the Garden | p. 62 |
The Waste Land and the Garden | p. 65 |
Approaching the Garden in "Burnt Norton" I Piece by Piece | p. 67 |
Introduction to the Mysticism of "Four Quartets" | |
Introduction | p. 75 |
Eliot's Mysticism | p. 75 |
The Darkness of God | p. 81 |
The Light of the Kingfisher's Wing | p. 86 |
Stillness and Silence | p. 89 |
The Mystical Journey in "Four Quartets" | |
Journey to Little Gidding | p. 97 |
The Oceanless | p. 101 |
Contemplative Knowing | p. 105 |
The Rose Garden | p. 108 |
Fire | p. 112 |
Conclusion | p. 116 |
Notes | p. 117 |
Bibliography | p. 125 |
Index | p. 131 |
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