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503:, who has analysed the presence of anti-Semitic rhetoric in Eliot's work, has cited "Gerontion" as an example of a poem by Eliot that contains anti-Semitic sentiments. In the voice of the poem's elderly narrator, the poem contains the line, "And the Jew squats on the window sill, the owner / Spawned in some estaminet of Antwerp."
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Nasreen Ayaz argues that in the fourth movement of the poem, Gerontion shows that his loss of faith in
Christianity has resulted in an emotional sterility to go along with the physical. In that stanza he remembers a former mistress and regrets that he no longer has the ability to interact with her on
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adds that Eliot, especially in "Gerontion" shows that "it is easier for God to devour us than for us to partake of Him in a seemly spirit." To Kazin, it is religion, not faith that Eliot describes through the narrative of "Gerontion", and that religion is important not because of its spirituality but
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by an elderly character. The use of pronouns such as "us" and "I" regarding the speaker and a member of the opposite sex as well as the general discourse in lines 53–58, in the opinion of
Anthony David Moody, presents the same sexual themes that face Prufrock, only this time they meet with the body
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James
Longenbach argues that these lines show that Gerontion is unable to extract the spiritual meaning of the Biblical text because he is unable to understand words in a spiritual sense: "Gerontion's words have no metaphysical buttressing, and his language is studded with puns, words within words.
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appears to
Gerontion as a scourge because he understands that he must reject the "dead world" to obtain the salvation offered by Christianity. However, other critics disagree; Russell Kirk believes that the poem is "a description of life devoid of faith, drearily parched, it is cautionary". Marion
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describing his household (a boy reading to him, a woman tending to the kitchen, and the Jewish landlord), and mentioning four others (three with
European names and one Japanese) who seem to inhabit the same boarding house. The poem then moves to a more abstract meditation on a kind of spiritual
457:, Eliot explores Bradley's philosophy to determine how the mind relates to reality. By relying on Bradley, Eliot is able to formulate his own scepticism and states: "Everything, from one point of view, is subjective; and everything, from another point of view is objective; and there is no
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To Donald J. Childs, the poem attempts to present the theme of
Christianity from the viewpoint of the modernist individual with various references to the Incarnation and salvation. Childs believes that the poem moves from Christmas Day in line 19 ("in the Juvescence of the year") to the
125:, Pound discouraged him: "I do not advise printing Gerontion as preface. One don't miss it at all as the thing now stands. To be more lucid still, let me say that I advise you NOT to print Gerontion as prelude." The lines were never added to the text and remained an individual poem.
366:", yet Montgomery believes he has "turned from innocent hope to pursue significance in the dark forces of the blood". Gerontion's exploration of sinful pleasures takes place in his mind, according to Montgomery, as he can "discover no vital presence in the sinful shell of his body".
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should have helped to dispel it." Bernard
Bergonzi writes that "Eliot's most considerable poem of the period between 1915 and 1919 is 'Gerontion'". Kirk believes that "To me, the blank verse of 'Gerontion' is Eliot's most moving poetry, but he never tried this virile mode later."
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203:. This is especially true of the internal struggle within the poem and the narrator's "waiting for rain". Time is also altered by allowing past and present to be superimposed, and a series of places and characters connected to various cultures are introduced.
247:, Eric Whitman Sigg describes the poem as "a portrait of religious disillusion and despair", and suggests that the poem, like "The Love Song of J. Alfred Prufrock", explores the relationship between action and inaction and their consequences. To this,
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also states that the poem is centred upon the theme of impotence, arguing that old age brings the poet "not wisdom but confirmed decrepitude and impotence." He also argues that this theme continues into Eliot's later works
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and that Eliot is describing the method of the poem's narrative by saying that the speaker uses several different voices to express the impressions of
Gerontion. Kenner also suggests that the poem resembles a portion of a
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in line 21 as it speaks of "depraved May" and "flowering Judas". He argues that
Gerontion contemplates the "paradoxical recovery of freedom through slavery and grace through sin". In line 20, the narrator refers to
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a physical level. The "closer contact" sought by the narrator represents both the physical longing of intimacy as well as the emotional connection he previously had with the female described in the poem.
415:, as a "wilderness of mirrors". It thence entered and has since become commonplace in the vocabulary of writers of spy novels or of popular historical writing about espionage. It was the title of
340:. To Sharpe, the inability of the narrator to carry out his sexual desires leads him to "humiliated arrogance" and the "apprehension of Judgement without the knowledge of God's mercy.
88:"Gerontion" is one of the handful of poems that Eliot composed between the end of World War I in 1918 and his work on The Waste Land in 1921. During that time, Eliot was working at
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because of "the 'culture' it leaves". Kazin suggests that in lines 33–36 the poem attempts to show how Eliot tells his generation that history is "nothing but human depravity":
358:, equates the loss of these senses with the mindset that controls the narrative of the poem. Gerontion has lost the ability to partake in the same sexual endeavours that face
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Eliot scholar Grover Smith said of this poem, "If any notion remained that in the poems of 1919 Eliot was sentimentally contrasting a resplendent past with a dismal present,
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such as Thomas
Middleton that relied on blank verse in their dramatic monologues. Lines within the poems are connected to the works of a wide range of writers, including
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117:. Pound, who was living in London in 1919, was helping Eliot revise the poem (encouraging him to delete roughly one third of the text). When Eliot proposed publishing
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Another prominent line in the poem, "In depraved May, dogwood and chestnut, flowering judas/To be eaten, to be divided, to be drunk", is the origin of the title of
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through the eyes of a man who has lived most of his life in the 19th century. Two years after it was published, Eliot considered including the poem as a
323:". He argues that the narrator writes each line of the poem with an understanding that he is unable to fulfill any of his sexual desires. Gelpi, in
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The phrase "wilderness of mirrors" from the poem has been alluded to by many other writers and artists. It has been used as the titles of plays by
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42:(an almost identical collection published simultaneously in New York). The title is Greek for "little old man," and the poem is an
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The narrator of the poem discusses sexuality throughout the text, spending several lines, including lines 57–58 where he says:
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12:38 when they say "Master, we would see a sign from thee." The narrator of the poem uses these words in a different manner:
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Two earlier versions of the poem can be found, the original typescript of the poem as well as that version with comments by
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Montgomery writes that Gerontion's "problem is that he can discover no vital presence in the sinful shell of his body".
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Wilderness of Mirrors: Intrigue, Deception, and the Secrets that Destroyed Two of the Cold War's Most Important Agents
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which describes the monologue as the production of the "dry brain" of the narrator in the "dry season" of his age.
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point of view from which a decision may be pronounced." In terms of poetic structure, Eliot was influenced by
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as "Christ the tiger", which emphasizes judgment rather than compassion, according to Jewel Spears Brooker in
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The Waste Land: The Original Facsimile of the Original Drafts Including Annotations of Ezra Pound
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Peter Sharpe states that "Gerontion" is the poem that shows Eliot "taking on the mantle of his
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The passage on history is a series of metaphors that dissolve into incomprehensibility".
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relating the opinions and impressions of an elderly man, which describes Europe after
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forebears" as Gerontion views his life as the product of sin. Sharpe suggests that
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is a pretext of the poem the same way that embarrassment is the pretext of "
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In lines 17–19, Gerontion alludes to the Pharisees' statement to Christ in
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play as it relates its story in fragmented form and lack of a formal plot.
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Modernist Poetics of History: Pound, Eliot, and the Sense of the Past
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took the phrase from this poem when he described the confusion and
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A Starchamber Quiry: a James Joyce Centennial Volume, 1882–1982.
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453:'s views. In Eliot's doctoral dissertation, later published as
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T. S. Eliot's Poetry and Plays: A Study in Sources and Meaning
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Mystery and Escape: T. S. Eliot and the Dialectic of Modernism
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Mystery and Escape: T. S. Eliot and the Dialectic of Modernism
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Knowledge and Experience in the Philosophy of F. H. Bradley
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Ed. Valerie Eliot. Houghton Mifflin Harcourt (1974) p. 127
113:", referring to the name of the Council of the Elders at
38:(his volume of collected poems published in London) and
565:.Continuum International Publishing Group (1997) p. 93
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I have lost my sight, smell, hearing, taste and touch:
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History has many cunning passages, contrived corridors
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I have lost my passion: why should I need to keep it
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A Coherent Splendor: An American Poetic Renaissance
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Signs are taken for wonders. "We would see a sign!"
631:. Eds Carl Woodring, James S. Shapiro. pp. 570–571
1258:The Awefull Battle of the Pekes and the Pollicles
1018:. Continuum International Publishing Group (1997)
627:Bedient, Calvin. "Yeats, Lawrence, and Eliot" in
256:After such knowledge, what forgiveness? Think now
182:suggests that these "tenants" are the voices of
284:The word within a word, unable to speak a word,
262:And issues, deceives with whispering ambitions,
350:How should I use them for your closer contact?
109:. In the typescript, the name of the poem is "
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1074:An omnibus collection of T. S. Eliot's poetry
973:T. S. Eliot, Anti-Semitism, and Literary Form
818:.University of Georgia Press (1970) pp. 74–76
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1051:. Athens: University of Georgia Press, 1970.
162:of an older man. The poem is a monologue in
1526:T. S. Eliot Prize (Truman State University)
1049:T. S. Eliot: An Essay on the American Magus
832:. Archived from the original on 7 May 2006.
816:T. S. Eliot: an Essay on the American Magus
756:Anti-T. S. Eliot Stance in Recent Criticism
356:T. S. Eliot: an Essay on the American Magus
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679:. Univ of Massachusetts Press (1996) p. 99
618:. Cambridge University Press (1994) p. 113
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133:"Gerontion" opens with an epigraph (from
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729:Cambridge University Press (1989) p. 171
655:The Counterfeiters: An Historical Comedy
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174:Thoughts of a dry brain in a dry season.
925:. Chicago: University of Chicago Press.
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307:Since what is kept must be adulterated?
167:malaise. It concludes with the lines,
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629:The Columbia History of British poetry
616:The Cambridge companion to T. S. Eliot
522:. Harcourt, Brace & World, (1969)
433:'s first collection of short stories,
422:where the protagonist is subjected to
857:Douglas McCollam (July–August 2004).
745:Harvard University Press (1996) p. 19
7:
1470:Canticle IV: The Journey of the Magi
1011:. New York: Macmillan Company, 1972.
657:. Dalkey Archive Press (2005) p. 163
417:an episode of the television series
150:But as it were an after dinner sleep
34:that was first published in 1920 in
1406:Tradition and the Individual Talent
1251:Old Possum's Book of Practical Cats
1154:The Love Song of J. Alfred Prufrock
975:. Cambridge University Press, 1996
563:T. S. Eliot: Mystic, Son, and Lover
66:The Love Song of J. Alfred Prufrock
1014:Childs, Donald J. and Eliot, T.S.
796:. Palgrave Macmillan (1997) p. 136
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605:. Poems, Alfred Knopf (1920) p. 1
590:. Penn State Press (2005), p. 351
532:Longenbach, James. "On Gerontion"
435:Flowering Judas and Other Stories
386:, and of albums by bands such as
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783:. Princeton: Princeton UP (1987)
397:Vigil in a Wilderness of Mirrors
60:, but was talked out of this by
1029:David C. Martin (1 July 2003).
758:. Sarup & Sons (2004) p. 17
403:Some commentators believe that
1025:. Wilmington: ISA Books, 2008.
882:"JAG: "Wilderness of Mirrors""
859:"How Chalabi Played the Press"
445:There is a connection between
394:entitled his first solo album
354:Marion Montgomery, writing in
76:, and other general topics of
19:For the Homeland episode, see
1:
449:and Eliot's understanding of
950:Was T. S. Eliot a Scoundrel?
693:The Ground of our Beseeching
480:The Education of Henry Adams
1454:Assassinio nella cattedrale
1420:A Choice of Kipling's Verse
1092:public domain audiobook at
147:Thou hast nor youth nor age
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1576:Vivienne Haigh-Wood Eliot
1428:The Frontiers of Criticism
1392:Selected Essays, 1917–1932
991:Eliot, T. S. "Gerontion."
863:Columbia Journalism Review
520:T.S. Eliot: A Bibliography
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1600:Charlotte Champe Stearns
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842:: CS1 maint: unfit URL (
545:T. S. Eliot, Ezra Pound.
1608:William Greenleaf Eliot
727:The American T. S. Eliot
644:Routledge (1982) pp. 7–8
311:Ian Duncan MacKillop in
245:The American T. S. Eliot
1543:Portrait of T. S. Eliot
1462:Murder in the Cathedral
1446:Murder in the Cathedral
1399:Hamlet and His Problems
1346:Murder in the Cathedral
1272:Growltiger's Last Stand
1175:Whispers of Immortality
675:Brooker, Jewel Spears.
287:Swaddled with darkness.
121:as the opening part of
1367:The Confidential Clerk
1016:Mystic, Son, and Lover
743:An American Procession
614:Moody, Anthony David.
265:Guides us by vanities.
1667:Poetry by T. S. Eliot
921:Grover Smith (1956).
586:Miller, James Edwin.
431:Katherine Anne Porter
370:Other prominent lines
157:The poem itself is a
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1265:Gus: The Theatre Cat
1047:Montgomery, Marion.
814:Montgomery, Marion.
725:Sigg, Eric Whitman.
499:The literary critic
405:James Jesus Angleton
171:Tenants of the house
21:Gerontion (Homeland)
1636:Jean Jules Verdenal
1374:The Elder Statesman
1217:Journey of the Magi
1033:. The Lyons Press.
1007:Bergonzi, Bernard.
792:MacKillop, Duncan.
779:Longenbach, James.
463:Jacobean dramatists
413:Double-Cross System
364:Young Goodman Brown
360:Nathaniel Hawthorne
140:Measure for Measure
1360:The Cocktail Party
1353:The Family Reunion
1279:The Naming of Cats
1161:Portrait of a Lady
830:"School for spies"
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321:Portrait of a Lady
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1224:A Song for Simeon
1066:Works related to
1023:Eliot and His Age
995:. Harcourt, 1963.
487:Critical response
471:Lancelot Andrewes
153:Dreaming of both.
16:Poem by T S Eliot
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1436:
1429:
1425:
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1407:
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1400:
1396:
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1314:Four Quartets
1311:
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1207:
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1203:Ash Wednesday
1200:
1198:
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1193:
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1190:
1186:
1183:
1179:
1176:
1172:
1169:
1165:
1162:
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1079:
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1070:at Wikisource
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1040:1-58574-824-2
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985:
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974:
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917:
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769:
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738:
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728:
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719:
716:Montgomery 76
713:
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686:
682:
678:
672:
669:
663:
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653:Kenner, Hugh
650:
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621:
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583:
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497:
494:
486:
484:
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481:
476:
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468:
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460:
456:
452:
451:F. H. Bradley
448:
440:
438:
436:
432:
427:
425:
421:
420:
414:
410:
409:strange loops
406:
401:
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393:
389:
385:
381:
377:
369:
367:
365:
361:
357:
349:
346:
345:
344:
341:
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337:Four Quartets
333:
332:
331:Ash Wednesday
326:
322:
318:
314:
306:
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295:
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286:
283:
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264:
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226:
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215:
206:
204:
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194:
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185:
181:
173:
170:
169:
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165:
160:
152:
149:
146:
145:
144:
142:
141:
136:
128:
126:
124:
120:
116:
112:
108:
103:
101:
97:
96:
91:
83:
81:
79:
75:
71:
67:
63:
59:
58:
53:
49:
45:
41:
37:
33:
29:
22:
1578:(first wife)
1571:Eliot family
1549:
1541:
1508:
1481:1981 musical
1475:
1468:
1461:
1452:
1445:
1418:
1411:
1390:
1372:
1365:
1358:
1351:
1344:
1337:
1330:
1312:
1305:
1298:
1291:
1286:Burnt Norton
1284:
1249:
1208:
1201:
1194:
1187:
1181:
1139:Bibliography
1088:
1048:
1030:
1022:
1015:
1008:
992:
987:
972:
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949:
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890:the original
885:
875:
867:the original
862:
852:
823:
815:
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794:F. R. Leavis
793:
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623:
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587:
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498:
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478:
467:A. C. Benson
458:
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428:
418:
402:
395:
373:
362:'s hero in "
355:
353:
342:
335:
329:
324:
315:argues that
313:F. R. Leavis
312:
310:
299:
290:
272:
268:
249:Alfred Kazin
244:
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210:
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100:Ara Vos Prec
99:
93:
92:and editing
87:
69:
55:
39:
36:Ara Vos Prec
35:
27:
25:
1552:(1984 play,
1438:Adaptations
1243:Later poems
1210:Ariel Poems
1146:Early poems
1130:T. S. Eliot
1009:T. S. Eliot
945:Gross, John
935:Bergonzi 53
886:JAG Credits
588:T. S. Eliot
475:Henry Adams
230:New England
214:Crucifixion
180:Hugh Kenner
135:Shakespeare
90:Lloyds Bank
48:World War I
32:T. S. Eliot
1662:1920 poems
1656:Categories
1631:Ezra Pound
1621:Emily Hale
1555:1994 film)
1502:Publishing
1293:East Coker
1002:References
956:Commentary
828:Jet Heer.
603:T.S. Eliot
384:Max Frisch
376:Van Badham
164:free verse
107:Ezra Pound
95:The Egoist
62:Ezra Pound
1491:2019 film
1486:1998 film
1464:(TV play)
1182:Gerontion
1089:Gerontion
1068:Gerontion
493:Gerontion
447:Gerontion
317:impotence
296:Sexuality
119:Gerontion
74:sexuality
28:Gerontion
1602:(mother)
1594:(father)
1339:The Rock
1168:Preludes
1094:LibriVox
838:cite web
459:absolute
437:(1930).
207:Religion
189:Jacobean
137:'s play
129:The poem
111:Gerousia
1535:Related
1457:(opera)
707:Kirk 54
574:Kirk 53
441:Sources
388:Waysted
275:Matthew
233:Puritan
84:History
52:preface
1564:People
1448:(film)
1423:(1941)
1037:
979:
805:p. 124
473:, and
237:Christ
195:Themes
115:Sparta
68:" and
1384:Prose
1324:Plays
695:p. 95
507:Notes
219:Jesus
40:Poems
1476:Cats
1035:ISBN
977:ISBN
844:link
392:Fish
378:and
334:and
1076:at
477:'s
419:JAG
243:In
54:to
1658::
971:.
953:,
947:.
884:.
861:.
840:}}
836:{{
734:^
700:^
684:^
595:^
579:^
554:^
538:^
483:.
469:,
426:.
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225:.
80:.
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1156:"
1152:"
1122:e
1115:t
1108:v
1043:.
846:)
26:"
23:.
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