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We publish here for the first time T.S. Eliots lecture on George Chapman (15591634), the Elizabethan and Jacobean poet, dramatist, and translator, known particularly for his translations of Homer. The following headnote is by Anthony Cuda and Ronald Schuchard, coeditors of volume 2 of the forthcoming eight-volume edition of The Online Complete Prose of T.S. Eliot, in which all essays will appear with scholarly annotation and apparatus. The first two volumes (19051926) will be published in April 2014 on Project MUSE, a provider of digital humanities content made available by Johns Hopkins University Press in collaboration with the Milton S. Eisenhower Library. The Editors T.S. Eliot delivered this unpublished lecture, which scholars have long believed lost, at Cambridge University on Saturday, November 8, 1924. In a letter of May 21, 1924, James Smith, English literary critic and president of the newly revived Cam Literary Club, invited Eliot to speak to the club on any subject connected with the Elizabethan drama. As late as November 6, Eliot told Richard Aldington that the lecture was still in very rough shape. Shortly afterward he wrote to Virginia Woolf that, despite all of his labors, it proved unworthy of subsequent publication. It did, however, dovetail with his creative efforts; on November 30 he told Ottoline Morrell, in reference to the recently published Doriss Dream Songs: They are part of a larger sequence which I am doingI laid down the principles of it in a paper I read at Cambridge, on Chapman, Dostoevski & Dante. Eliot still hoped to revise and publish the essay in the Criterion; it was announced in a subscription flyer as An Aspect of George Chapman for the next issue (April 1925), where he ascribed its delay to severe illness. He later wrote regretfully in the preface to Essays on Elizabethan Drama (1956): I did not, during that period of my life at which these essays were written, have occasion to write about the work of that very great poet and dramatist, George Chapman. It is too late now: to attempt to repair such a gap, after many years neglect, would be almost as futile as to attempt to remove the blemishesin ones early poems.
There is a first part to this paper which is still unwritten. This is one chapter in a whole book of Prolegomena to Elizabethan Literature which is still unwritten. My excuse for not having written the book is that there have been a great many other people, better equipped in many ways than I, who have not written it either. This book should be an examination of the sources and of the assumptionsthe received ideas or categoriesof the Renaissance. There was one manone of your Cambridge menwho might have written this book, had he not been wiped out by a German shelland that was T.E. Hulme.
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Elizabethan plays: that it may easily have been overlooked. Y ou remember that in the first Bussy dAmbois play the downfall of Bussy is compassed largely by the Duke of Guise, and that the motive of the second play was the revenge of Bussy by his brother Clermont. The fact is of course that Clermont, so far from carrying out his design on the body of the most important culprit, actually becomes the passionately devoted servant of the Guise. More than thishis devotion has a distinctly mystical tone. When the Guise is dead Clermont exclaims: [Guise, O my lord, how shall I cast from me The bands and coverts hindering me from thee? The garment or the cover of the mind, The humane soul is; of the soul, the spirit The proper robe is; of the spirit, the blood; And of the blood, the body is the shroud. With that must I begin then to unclothe, And come at thother.]2 (http://www.nybooks.com/articles/archives/2013/nov/07/neglected-aspect-chapman/?
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And there is one very important scene, which is dismissed by such critics as Mr. William Archer as the usual blood and thunder rant, as an attempt at the crudest form of stage pageant without the slightest regard for the plot of the play in which it is introduced. [Music, and the Ghost of Bussy enters, leading the Ghost of the GUISE, Monsieur, Cardinal GUISE, and CHATILLON; they dance about the dead body, and Exeunt.] then the speech [Clermont. How strange is this! The Guise amongst these spirits, And his great brother Cardinal, both yet living,
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(http://w w w .nybooks.com/media/photo/2013/10/16/eliot_2-110713.jpg) Portrait of George Chapm an from the frontis piece to his edition of the w ork s of Hom er, 1616
I get almost equally the impression from the earlier as from the later play, that more or less consciously the personages are acting, and accepting, inevitable roles in this world, and that the real centre of their action is in another Kingdom. And I have a similar feeling from the House of the Seven Gables, and The Wings of the Dove, and especially the Brothers Karamazoff. [end insertion] Readers of Dostoevski will remember the difficulty they had at first in understanding the motives and actions of the characters. They find very soon that a mere charge of irrationality will not do; that there is a true consistency of which one is convinced even without understanding it. I hardly need to give instances: in the behaviour even of minor characters, who would hardly seem important enough to behave irrationally, one finds this peculiarity. (In the Karamazoff, for instance, there is a scene where Dmitri drives out madly with a party in the night to a distant inn where the party carouse with a couple of quite irrelevant Poles.) What one gradually comes to be aware of is that in Dostoevskis novels there are everywhere two planes of reality, and that the scene before our eyes is only the screen and veil of another action which is taking place behind it. The characters themselves are partially aware of this division, aware of the grotesque futility of their visible lives, and seem always to be listening for other voices and to be conducting a conversation with spectres. Hence their distraction, their inability to attend to the business at hand in a practical way. A good deal has been made of the connexion of Dostoevski with psychoanalysis, and I dare say that you know more of the literature of this subject than I do. And I do not want to adventure into a scientific field in which I have no competence, and which is already overrun by amateurs. Psychology is a legitimate field of investigation, but its shortcomings always seem to me to have been most manifest when it has been applied to literature. I will only touch upon one dilemma. Either the author is in some sense a psychoanalyst himself, in which case the work of criticism is merely to interpret the authors analysis of his characters, or he is not: in which case the author himself is the subject of analysis. Now I have no objection to the psychologist finding if he can, an explanation in his own terms of the mind of Dostoevski or of the mind of Chapman. [holograph insertion:] But I question the legitimacy of applying psychology to a fictitious character: apply it to the author if you like, but not to his worldonce you are in it. [end insertion] I only refer to psychology at all in order to point out my belief that it has nothing to do with my question, which is this: what is the meaning of this world of Dostoevski and Chapman, this inexplicable behaviour, this Reconciliation motive? What is the similarity between the behaviour of Clermont toward the Guise, and the behaviour of Prince Muishkine when he lies down beside his old antagonist, and strokes his head, while the woman with whom they were both so occupied lies dead near by? Cannot literary history throw some light on it? [appended holograph insertion:] Psychology is a half way science justified, if at all, by its therapeutic value. It must lead you in the end, either to glands or to theologyboth of which are clear and distinct ideas. But it must in any case, admit the existence of other worlds of discourse than its own: and I am at the moment in one of these other worlds. I speak of psychology only because Dostoevski seems to appeal to the psychological mind, but I am dealing with him from this point of view. [end insertion] Let me digress for a moment to some other poets of the period of Chapman. One characteristic which makes Donne so piquant to the present generation is a peculiar mystical sensuality, which is really similar to the sense of a double world of a Chapman. The reasons for Donnes present popularity, and the minor vogue of certain poets like Lord Herbert who have some of the same qualityare not difficult to find: they are similar to the reasons which make Dostoevski so popular amongst the more hysterical Teutonic nation. It represents a nostalgia for spiritual life amongst peoples deadened by centuries of more and more liberal protestantism. But what is this spiritual sensuality, as found in the seventeenth century? It is in fact a symptom of Dissolution of Christianity in protestant Europe, of the relaxing of the Christian system of the various needs of man. A disorder like this must be referred to some order in decay. Examine the theory of love in Donneit is not a theory at all, it is merely an honest statement of a problem and a paradox. But it is a problem which would never have existed but for Christianity, and Christianity found its own solutionbut left the problem after the solution had been lost. It is curious that Christianity should thus have made problems, solved them, disappeared, and left the problems.
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and with ladies colleges almost in earshotit is difficult for us to understand the Mystery of the Adoration of
the Blessed Virgin. My point is that Chapman and Dostoevski and ourselves are all part of a modern world and that Dante belonged to another and perhaps a wiser one. For Dante knew as well as Chapman and Dostoevski that man belongs to two worlds: that the human life when it is human, is a compromise and a conflict. It is an error to regard Dantes conception of love as romantic. Dante was a practical Latin, and being a practical Latin was therefore more spiritual than the Northerner. Y ou are not to conceive of me in this context as the apologist of Christianity or the champion of obscurantism. That is another story. But I do say that if you accept Christian problems then you should accept Christian conclusions. When I find a writer for whom clearly the Christian other world does not exist, or who has found another other world, then I will not judge him by Christian standards. But I say that Chapman and Donne and Dostoevski, and also James Joyce, accept Christian problems; they are operating with Christian categories; and that they are all inferior to Dante because they do not draw Christian conclusions. This is I think the great distress of the modern world, that it is neither Christian nor definitely something else. I should likeand it is really called for to support my remarks on Danteto proceed by tracing his creation of Beatrice from the Vita Nuova through the Paradiso. I should like to show how deliberately and consciously, with what knowledge of his own needs and limitations he created this figure as a solution of his physical and spiritual needs. [appended holograph insertion:] But I must content myself with a few assertions. I am not making any statements about the truth or falsity of Dantes philosophy. I will say only that it was more sophisticated and more comprehensive than that of Chapman and Dostoevski. He knew, better than they, what he felt, because he had a category for every feeling. Hence he is, even in the most restricted sense, a consummate technician, having standards of precision. [end insertion] Trasumanar significar per verba non si poria; per lesemplo basti a cui esperienza grazia serba.4 (http://www.nybooks.com/articles/archives/2013/nov/07/neglected-aspect-chapman/?
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[appended holograph insertion]: I know that the Elizabethan literature is usually regarded as a golden age, instead of an age of decomposition; and my friend Hermann Hesse, for whose book on Dostoevski Blick ins Chaos [In Sight of Chaos] I have a great admiration, though I do not agree with his conclusions, regards Dostoevski as the prophet of a new religion. But I must consider Chapman, and Donne and Dostoevski simply as struggling, and vainly, against that movement which culminated in Goethethe movement which accepted the divorce of human and divine, denied the divine, and asserted the perfection of the human to be the divine. On the contrary, the perfection of the human is Mr. George Bernard Shaw. The recognition (recognitionfacing unpleasant facts) that neither human nor divine will be denied, that they are inseparable and eternally in conflict, this recognition of duality is the Doctrine of Original Sin. [end insertion] It may strike you that I have said very little about Chapman, and that he has been merely a pretext. What I wanted to do, primarily, was to exhibit Chapman as a representative Elizabethan, in a new light. As the representative of a period which was the beginning of a decay. On the one hand, Chapman is not quite the incompetent bungler that Mr. Archer supposes: he had purposes beyond Mr. Archers comprehension. On the other hand, like the other Elizabethans, he represents not re-birth but decomposition. And of this decomposition Dostoevski is a further stage: they both saw the need, but were unable to realise .5 (http://www.nybooks.com/articles/archives/2013/nov/07/neglected-aspect-chapman/?
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Excerpted with permission from The Online Complete Prose of T.S. Eliot, Eliot prose 2013 Estate of T.S. Eliot; Editorial Apparatus 2014 Faber and Faber Ltd. and Johns Hopkins University Press. Made possible with generous support from the Hodson Trust. 1 New York Review Editors note: Bussy DAmbois, first published in 1607, and its sequel, The Revenge of Bussy DAmbois, first published in 1613, are two of a series of plays Chapman devoted to sixteenth-century French history and politics. The plays are modeled roughly on the life of the real Louis de Bussy dAmboise, murdered in 1579, an aristocrat at the court of Henry III, and a renowned dandy and swordsman. In the first of the plays, Bussy enters into an affair with the wife of a powerful count, which ultimately costs him his life. In the sequel, Clermont
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2 In typescript, Eliot gives only the page numbers for the passages from the Bussy plays that he intended to quote in the lecture; the lines, here editorially supplied, are marked in the margin of his edition.
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3 The coalition government (19161922) of Prime Minister David Lloyd George had passed the Representation of the People Act in February 1918, giving universal suffrage to men age twenty-one and limited suffrage to women age thirty, lowered to age twenty-one for women in 1928. (http://w w w .nybooks.com/articles/archives/2013/nov/07/neglected-aspectchapman/? utm_medium=email&utm_campaign=October+29+2013&utm_content=October+29+2013+CID_3263b3b2a3d3c909e0bcc01a30473ee2&utm_source=Email%20ma rketing%20softw are&utm_term=A%20Neglected%20Aspect%20of%20Chapman#fnr-3)
4 To pass beyond humanity may not be told in words, wherefore let the example satisfy him for whom grace reserveth the experience. (http://w w w .nybooks.com/articles/archives/2013/nov/07/neglected-aspect-chapman/?
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