Burnt Norton
The poem "Burnt Norton" is the first poem of T. S. Eliot's Four Quartets. It was the first of Eliot's that relied on speech, with a narrator who speaks to the audience, directly. Described as a poem of early summer, air, and grace, it begins with a narrator recalling a moment in a garden. The scene provokes a discussion on time and how the present, not the future or past, really matters to individuals. Memories connect the individual to the past, but the past cannot change. The poem then transitions from memory to how life works and the point of existence. In particular, the universe is described as orderly and that consciousness is not found within time even though humanity is bound by time. The scene of the poem moves from a garden to the London underground where technology dominates. Those who cling to technology and reason are unable to understand the universe or the Logos ("the Word", or Christ). The underworld is replaced by a churchyard and a discussion of death. This, in turn, becomes a discussion of timelessness and eternity, which ends the poem.
The poem begins with two epigraphs taken from the fragments of Heraclitus:
— I. p. 77. Fr. 2.
the many live as if they had a wisdom of their own 人像有自智
— I. p. 89 Fr. 60.
The way upward and the way downward 上下相同
is one and the same
The Fragments of the Presocratics (Heraclitus)
The actual Burnt Norton is a manor located near the village of Aston Subedge in Gloucestershire that Eliot visited with Emily Hale during 1934. The original Norton House was a mansion burned down in 1741 by its owner, Sir William Keyt, who died in the fire. The actual manor does not serve as an important location within the poem. Instead, it is the garden surrounding the manor that became the focus.
- threshold
- road, path, way Synonym: οὔθα (oútha)
- journey, trip, expedition
- The way, means, or manner to some end, method
- Everything flows and nothing is left (unchanged), or
- Everything flows and nothing stands still, or
- All things are in motion and nothing remains still.
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