Perhaps the best way to approach the Four Quartets is to view it as Eliot’s spiritual autobiography. This long work is by far the poet’s most personal poem. In it, he drops the many masks of his earlier verse—Prufrock or the multiple speakers of The Waste Land—and meditates on the meaning of life and God. The poem is divided into four sections, the “quartets” of the title: “Burnt Norton,” the name of an English country house with a memorable garden; “East Coker,” the village from which Eliot’s English ancestors left for the New World; “The Dry Salvages,” a group of small islands off the New England coast, to which Eliot would sail as a young man; and “Little Gidding,” the name of a religious community led by Nicholas Ferrar, a seventeenth century Christian mystic.
Much of the language in this poem is undramatic, abstract, and philosophical. In fact, it is important to remember that Eliot was trained as a philosopher, so that when he uses common words such as “time” or “future,” he has thought carefully about a very particular definition. As the poem makes clear, for Eliot “time” was not at all a vague concept.
“Burnt Norton” opens, as did The Waste Land, with a memory of childhood, although this time the memory is Eliot’s own. He recalls a garden where children played hide-and-seek. The surroundings are calm, quiet, and lovely—like the memories themselves. The following parts of this first section approach the passage of time in different ways: the change of seasons as it is charted by the movement of constellations, the “still point” of religious illumination and its contrast with the “internal darkness”...
(The entire section is 700 words.)