By Eliot, Thomas Stearns; Flaubert, Gustave; Gott, Henry Michael; Eliot, Thomas Stearns; Flaubert, Gustave
Gott examines Eliot’s The Waste Land (1922) together with Gustave Flaubert’s los angeles Tentation de Saint Antoine (1874). He presents a hugely unique studying of either texts and argues stylistic affinity exists among the 2 works
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Extra info for Ascetic Modernism in the Work of T S Eliot and Gustave Flaubert
Saint Julien’ has none of the exuberance or extravagance of style or of theme with which Flaubert imbues his depiction of Saint Anthony, and suggests itself to be a fairly straightforward exercise for both author and reader. However, as Reed identifies, due to a doubling device at its close, the text at the last moment resists the clinch of linear narrative: Moving forward from the beginning, ‘St. 99 The image of the stained glass window at the end of Flaubert’s account of Saint Julien is in fact doubly subversive, because it both reflects back – providing a convenient narrative tableau on which to close – and projects forward, generating instead of arresting narrative.
143 If art could provide an escape, it should not, however, effect a complete separation; like the desert, the world it provided was not completely autonomous and still depended, in a redefined sense, on the world left behind. 144 Contempt for the world did not entail a complete removal from it. 151 A sense of exaggerated age linked to a feeling of mar- 28 Ascetic Modernism in the Work of T. S. 155 The evocation of burning rain relates also to the arrows that fall on his hero in ‘The Death of Saint Narcissus’, which in turn suggests the martyrdom of Saint Sebastian (the subject of another early poem), forging a link between religious and military askesis that defines the saint as both a physical and a spiritual hero.
Both reflect Flaubert’s elevation of the aesthetic above any ethical concerns, either heavenly or mundane. Here, and particularly in his Tentation, we have not only l’art pour l’art, but art for the sake of those additional categories – politics and religion – that it subsumes. The Tower of Art Perhaps the most satisfying juxtaposition of Eliot and Flaubert among secondary material arises not in the wealth of biographical and critical work on the respective authors but, almost incidentally, in F.