From: Subject: Daniela Cavallaro - A Song for Virgil: Dantean References in Eliot's "A Song for Simeon" - Journal of Modern Literature 24:2 Date: Mon, 3 May 2004 20:37:40 -0700 MIME-Version: 1.0 Content-Type: multipart/related; boundary="----=_NextPart_000_00EE_01C4314E.7A360FF0"; type="text/html" X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1409 This is a multi-part message in MIME format. ------=_NextPart_000_00EE_01C4314E.7A360FF0 Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/journals/journal_of_modern_literature/v024/24.2cavallaro.html Daniela Cavallaro - A Song for Virgil: Dantean = References in Eliot's "A Song for Simeon" - Journal of Modern Literature = 24:2
Copyright =A9 2001 by Indiana University = Press. All=20 rights reserved.

Journal of Modern=20 Literature 24.2 (2000/2001) 349-352=20
 

A Song for Virgil: Dantean = References in=20 Eliot's "A Song for Simeon"

Daniela=20 Cavallaro =
University of=20 Auckland (New Zealand)

In his study of T.S. Eliot's Ariel poems, John = H.=20 Timmerman writes that after two decades of trying to locate the = sources=20 for Eliot's works, contemporary criticism has changed direction = and that=20 today "it is almost anathema to speak of the sources." 1 However, Timmerman continues, a different = case can=20 be made for the Ariel poems; in them, "[s]pecific echoes to = literary=20 antecedents diminish," and one finds traces of more pervasive = literary=20 influences, such as the Bible or Dante. 2 Thus, without incurring the risk of = anathema,=20 critics such as Timmerman, even in the new climate of Eliot's = criticism,=20 cite examples of key influences in the Ariel poems, most of which = Eliot=20 wrote between 1927 and 1931. 3=20

In his analysis of the second of the Ariel = poems, "A Song=20 for Simeon" (1928)--a poem based on a biblical character 4 --Timmerman stresses particularly the = significance=20 of the Lukan episode: the light that it sheds on Eliot's poetry as = well as=20 on his conversion. 5 Like Timmerman, most critics studying the = sources of=20 "A Song for Simeon," focus on Luke's 6 or Mark's Gospel. 7 Some, such as Leonard Unger, have = connected the=20 image of the stairs to the mystical ascent described by St. John = of the=20 Cross. 8 Yet the presence of Dante, or any Dantean = influence=20 in this poem, has apparently gone unobserved. An analysis of the = Dantean=20 [End Page 349] references in Eliot's "A Song for Simeon," = however,=20 reveals new parallels between the character of Simeon and that of = Virgil.=20

The first example of the Dantean influence = which can be=20 found in "A Song for Simeon" is "the wind that chills towards the = dead=20 land." 9 This wind is similar to that created by = the moving=20 wings of Lucifer which freeze the waters of Cocytus = (Inferno=20 XXXIV). The "cords, scourges and lamentation," furthermore, recall = the=20 punishments of the damned in Hell. And the "stations of the = mountain of=20 desolation," besides their obvious reference to the martyrdom of = Christ on=20 the way to Calvary, can be associated with the various stations = through=20 which Dante, together with Virgil, had to pass on their ascent of = Mount=20 Purgatory.=20

Particularly evocative is a passage from the = fourth=20 stanza of the poem, in which Simeon lists those experiences of=20 Christianity that "are not for him": "Light upon light, mounting = the=20 saints' stair./ Not for me the martyrdom, the ecstasy of thought = and=20 prayer,/ Not for me the ultimate vision." Several images in this = passage=20 resonate with the experience that is offered to Dante in = Purgatory. In the=20 course of his ascent of Mount Purgatory, Dante undergoes a series = of=20 purifications, which include dreams, ecstasies, and visions. In = the third=20 "cornice," images of the meek (Purgatorio XV, 85-114) and = the=20 wrathful (Purgatorio XVII, 13-39) appear to Dante "in = una=20 visione estatica di subito . . . tratto" [rapt of a sudden in = an=20 ecstatic vision] (Purgatorio XV, 85-86). 10 In addition, prayer--above all, = collective=20 prayer--is the most constant means of purification in Purgatory, = as in the=20 case of "Te lucis ante" of the Anti-purgatory (Purgatorio = VIII,=20 13-18), or of the "Our Father," recited by the proud = (Purgatorio=20 XI, 1-24).=20

On the other hand, the martyrdom, the passage = from light=20 to light, the saints' stair, and the ultimate vision may have = their source=20 in Dante's Paradise. Martyrdom, for example, was the necessary = passage for=20 some blessed souls to reach that same peace which Simeon asks of = God, as=20 we see in the case of Boezio: "l'anima santa . . . da martiro e = da=20 essilio venne a questa pace" [the holy soul . . . came from = martyrdom=20 and exile to this peace] (Paradiso X, 125-129). Further on, = in=20 Paradiso XV, Cacciaguida repeats the same words: "venni dal = martiro=20 a questa pace" [and came from martyrdom to this peace] (l. 148).=20

Dante actually goes "from light to light" in = Paradise,=20 since the souls of the blessed appear to him at first only as = lights, as,=20 for example, in Canto X: "Or se tu l'occhio della mente trani = di luce=20 in luce dietro alle mie lode. . . ." [If now thou are bringing = thy=20 mind's eye from light to light after my praises . . .] = (Paradiso X,=20 121-22). The "saints' stair" can be identified with the stair of = Paradiso=20 XXI-XXII, upon which figures of the saved ascend and descend and = upon=20 which Dante himself will ascend to arrive to the heaven of fixed = stars=20 (Paradiso XXII, 100-05). Finally, the ultimate vision is = the divine=20 vision conferred to Dante at the end of his journey through the = three=20 otherworldly kingdoms.=20

All these Dantean memories appear in "A Song = for Simeon"=20 in the negative form ("Not for me . . ."), since the Christian = experience=20 of martyrdom and ecstasy is denied to the poetic voice. Like = Simeon in=20 Eliot's poem, Dante's Virgil was aware of the greatness of = Christianity=20 [End Page 350] but was denied access to it. The Latin poet=20 witnesses to Dante's purgatorial experience but is not allowed to = enjoy=20 the "ultimate vision" of the Divine Being.=20

In addition to the Dantean sources, other = elements of=20 Eliot's poem associate the characters of Simeon and Virgil. First = of all,=20 Virgil, in Dante's poem, is only a shadow without substance=20 (Inferno I, 66-67; Purgatorio XXI, 132-36). So also = Simeon's=20 life is light, comparable to a feather or "dust in sunlight." = Furthermore,=20 just as Simeon "kept faith and fast, provided for the poor," so = also=20 Virgil is one who has lived a "just" life, even though not = illuminated by=20 Grace. He lives in Limbo "con quei che le tre sante virt=F9 non = si=20 vestiro, e sanza vizio conobber l'altre e seguir tutte quante" = [with=20 those who were not clothed with the three holy virtues but without = sin=20 knew the others and followed them every one] (Purgatorio = VII,=20 34-36). Finally, Simeon is characterized in Luke as being "just = and=20 devout," while in Eliot's poem he takes on more particular = aspects. Beyond=20 the fasting, faith, and charity, Eliot's Simeon has "given and = taken=20 honour and ease." The source here again appears to be Virgil in = the city=20 of the wise. Just as Simeon, so also Virgil has walked many years = in that=20 city. But, more importantly, the word "honor" particularly reveals = the=20 connection between the two men. "Honor," in fact, is the most = significant=20 element that characterizes Virgil and the "orrevol gente" = [honourable=20 company] (Inferno IV, 72) who inhabit Dante's Limbo. = 11=20

Further proof of the parallelism between Simeon = and=20 Virgil can be found by studying both the biblical character of = Simeon and=20 the way that Eliot himself describes the Latin poet on other = occasions.=20 Eliot has assigned Virgil the position of "bridge between two = worlds." In=20 his essay, "Virgil and the Christian World" (1951), Eliot = highlights the=20 role of the Latin poet in the transition between the ancient and = the=20 modern world: "Virgil . . . [holds] a significant, a unique place, = at the=20 end of the pre-Christian and at the beginning of the Christian = world. He=20 looks both ways; he makes a liaison between the old world and the = new. . .=20 ." 12 The biblical Simeon forms a bridge as = well between=20 the Old Testament and the New, between the old age [End Page = 351]=20 and the new. 13 There is, however, one major difference = between=20 the destinies of Virgil and Simeon: Virgil did not have the = awareness of=20 the Christian reality, and his desire to see the divine light did = not come=20 about until after his death, in his hopeless state among the wise=20 inhabitants of Limbo. Simeon, on the other hand, although he may = not live=20 the fullness of the Christian reality, does experience in life his = desire=20 to witness the birth of this new reality. In spite of this one = major=20 difference, nevertheless, it appears that through the cluster of = Dantean=20 images present in "A Song for Simeon," Eliot created a connection = between=20 the characters of Simeon and of Virgil. As Gareth Reeves has also = pointed=20 out, Eliot's vision of Virgil was that of an "adventist Christian, = Dante's=20 pious but pagan guide unable to penetrate the Christian = mystery--rather=20 like Simeon in 'A Song for Simeon.'" 14=20

In sum, all these elements allow a new reading = of the=20 poem, which focuses on Simeon's regret that a purifying and = beatifying=20 experience is "not for him." They also allow one to read the = "song" of=20 Simeon not as a manifestation of joy because of the vision of the = Infant,=20 and thus of the fulfillment of a desire that was both individual = and=20 national, as such critics as John T. Hiers claim, 15 but rather, as a lament. Simeon laments = the=20 impossibility of living in a new world, a world of torment indeed = but also=20 one of ecstasy; a world of exile but of triumph as well; a world = which may=20 reject the Messiah, yet one which still offers an ultimate hope = through=20 the very incarnation of the Word.=20

In Eliot's poem, Simeon is characterized as one = who can=20 see but cannot live; he is aware of what will be the fulfillment = of a=20 truly Christian life (the prayer, the ecstasy, the vision, the = martyrdom),=20 but he knows that he will not share that part of the Christian = experience.=20 In fact, Eliot's Simeon suffers from a double awareness. In spite = of a=20 "just and devout" existence, his descendants are destined to pain, = exile,=20 and oblivion. On the other hand, and perhaps more importantly, = Simeon=20 knows that it will be these very sufferings--the necessary marks = of the=20 Christian life--which will allow his descendants to participate in = the=20 peace and the consolation that he asks from the Infant. Simeon, = for=20 obvious chronological reasons, finds himself in a unique = situation: the=20 reality of the Word made flesh, to which he himself is a witness, = is a=20 reality that remains still "unspeaking." The Infant cannot yet = speak, and=20 the Word remains still unspoken. Thus, while Simeon foresees the = suffering=20 and triumph of the incarnate Word, he remains an outsider, unable = to share=20 in that destiny. He prophesies the martyrdom that awaits the = Infant and=20 those who will follow him, yet he is aware that he himself will = not be=20 able to live that part of the Christian life. "A Song for Simeon" = can thus=20 be read as the lament of a just man living at the end of one age = and the=20 beginning of another, a man who expresses the desire to belong to = the=20 Christian world--a world in which the Word will be finally = "speaking and=20 spoken"--and yet knows that such a desire time will not permit.=20

=20

Daniela Cavallaro teaches in the Italian = Department=20 at the University of Auckland. She has published in the field of=20 contemporary Italian fiction and drama, as well as in the = rewriting of=20 Classical literature in the modern age.

Notes

1. John H. Timmerman, T.S. Eliot's Ariel = Poems: The=20 Poetics of Recovery (Bucknell University Press, 1994), p. 69.=20

2. Timmerman, p. 69.=20

3. "The Cultivation of Christmas Trees" (1954) = officially=20 forms part of the group of the so-called Ariel poems.=20

4. Simeon is an old and just man who, having = finally seen=20 the Messiah of the Lord, asks God to be allowed to "go in peace." = See Luke=20 2: 25-35.=20

5. Timmerman, pp. 117-23.=20

6. For example Nancy K. Gish, "The Meaning of = Incarnation=20 in Two 'Ariel Poems,'" Michigan Academician, VI (1973), p. = 65.=20

7. See F.B. Pinion, A T.S. Eliot Companion = (Macmillan, 1986), p. 173. In addition to quoting Luke's and = Mark's=20 Gospels, Anthony Hands also mentions Psalm 104 and Lamentations 5. = See=20 Anthony Hands, Sources for the Poetry of T.S. Eliot = (Hadrian Books,=20 1993), pp. 145-47.=20

8. See Leonard Unger, T.S. Eliot: Moments and=20 Patterns (University of Minnesota Press, 1966), p. 167.=20

9. T.S. Eliot, "A Song for Simeon," The = Complete Poems=20 and Plays 1909-1950 (Harcourt, Brace and World, Inc., 1971), = pp.=20 69-70. All references in the text are to this edition.=20

10. Dante Alighieri, The Divine Comedy, = trans. John=20 Sinclair (London: John Lane, 1948). All references in the text are = to this=20 edition.=20

11. The fourth Canto of the Inferno could = easily be=20 defined as the "canto of honor." Such, in fact, seems to be the = principal=20 quality of these souls who have not sinned, but find themselves in = Limbo=20 because of their forced ignorance of Christian virtues. The word = "honor"=20 and its various derivatives appear frequently in this canto. = Recall the=20 exchange between Dante and Virgil:=20

"O tu ch'onori scienzia ed arte, =
questi=20 chi son c'hanno cotanta onranza,
che dal modo delli altri li = diparte?"
E quelli a me: "L'onrata nominanza
che di lor = suona su=20 nella tua vita
grazia acquista nel ciel che s=EC li avanza." =

["O thou who honourest both science and art, = who are=20 these who have such honour that it sets them apart from the = condition of=20 the rest?=20

And he said to me: "Their honourable fame, = which resounds=20 in thy life above, gains favour in Heaven which thus advances = them"=20 (73-78)].=20

The word "honor" reappears in the greeting that = Virgil=20 receives upon his return to Limbo: "Onorate l'altissimo poeta: = l'ombra=20 sua torna, ch'era dipartita." ["Honour the lofty Poet! His = shade=20 returns that left us"] (80-81). Further on, Virgil mentions that = the=20 inhabitants of Limbo fannomi onore, e di ci=F2 fanno bene" = [give me=20 honourable welcome, and in this do well] (93). Later Dante is = allowed to=20 be part of the "bella scola": "e pi=F9 d'onore ancora assai mi = fenno,=20 ch'e' s=EC mi fecer della loro schiera" [and then they showed = me still=20 greater honour, for they made me one of their number] (100-01). = Finally,=20 we see the treatment reserved to the "maestro di lor che sanno" = [master of=20 them that know]: "Tutti lo miran, tutti onor li fanno" [all of = them=20 regarding him and all showing him honour] (131-133).=20

12. T.S. Eliot, "Virgil and the Christian = World," in On=20 Poetry and Poets (London: Faber and Faber, 1957), p. 123.=20

13. Eliot scholars have also stressed the = "in-betweenness"=20 of the character of Simeon in the poem. See, for example, Grover = Smith,=20 T.S. Eliot's Poetry and Plays: A Study in Sources and = Meaning=20 (University of Chicago Press, 1956), p. 125.=20

14. Gareth Reeves, T.S. Eliot: A Virgilian = Poet=20 (Macmillan, 1989), p. 28. Reeves's analysis of Eliot's poetry, = however, is=20 based not on this later vision of Virgil seen through Dante, but = on an=20 earlier appreciation of Virgil's works on the part of Eliot.=20

15. See John T. Hiers, "Birth or Death: Eliot's = 'Journey=20 of the Magi' and 'A Song for Simeon,'" South Carolina = Review, VIII=20 (1976), p. 45.=20

http://0-muse.jhu.edu.opac.sfsu.edu:80/journals/journal_of_mode= rn_literature/v024/24.2cavallaro.html=20 		 
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