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Ironically, after 1925 Eliot's marriage steadily deteriorated, turning his publicsuccess hollow. During the tenure of his Norton year at Harvard he separated from Vivien,but would not consider divorce because of his Anglican beliefs. For most of the 1930s hesecluded himself from Vivien's often histrionic attempts to embarrass him into areconciliation, and made an anguished attempt to order his life around his editorialduties at Faber's and the and around work at his Kensington church. Healso reestablished communication with Emily Hale, especially after 1934, when she begansummering with relatives in the Cotswolds. Out of his thinking of "what might havebeen," associated with their visit to an abandoned great house, Eliot composed"Burnt Norton," published as the last poem in his (1936).With its combination of symbolist indirection and meditative gravity, "BurntNorton" gave Eliot the model for another decade of major verse.
Eliot, however, was too consumed by domestic anxiety to appreciate his success. In 1923Vivien nearly died, and Eliot, in despair, came close to a second breakdown. The next twoyears were almost as bad, until a lucky chance allowed him to escape from the demands ofhis job at the bank. Geoffrey Faber, of the new publishing firm of Faber and Gwyer (laterFaber and Faber), saw the advantages of Eliot's dual expertise in business and letters andrecruited him as literary editor. At about the same time, Eliot reached out for religioussupport. Having long found his family's Unitarianism unsatisfying, he turned to theAnglican church. The seeds of his future faith can be found in thoughthe poem was read as a sequel to 's philosophical despair when itappeared in (1925). In June 1927 few followers were prepared forEliot's baptism into the Church of England. And so, within five years of his avant-gardesuccess, Eliot provoked a second storm. The furor grew in November 1927 when Eliot tookBritish citizenship, and again in 1928 when he collected a group of politicallyconservative essays under the title of prefacing them with adeclaration that he considered himself a "classicist in literature, royalist inpolitics, and anglo-catholic in religion." Eliot's poetry now addressed explicitlyreligious situations. In the late 1920s he published a series of shorter poems in Faber'sAriel series--short pieces issued in pamphlet form within striking modern covers. Theseincluded "Journey of the Magi" (1927), "A Song for Simeon" (1928),"Animula" (1929), "Marina" (1930), and 'Triumphal March" (1931).Steeped in Eliot's contemporary study of Dante and the late Shakespeare, all of themmeditate on spiritual growth and anticipate the longer and more celebrated (1930). "Journey of the Magi" and "A Song for Simeon" are alsoexercises in Browningesque dramatic monologues, and speak to Eliot's desire, pronouncedsince 1922, to exchange the symbolist fluidity of the psychological lyric for a moretraditional dramatic form.
The Complete Prose of T. S. Eliot: The Critical Edition gathers for the first time in one place the collected, uncollected, and unpublished prose of one of the most prolific writers of the twentieth century. The result of a multi-year collaboration among Eliot's Estate, Faber and Faber Ltd., Johns Hopkins University Press, the Beck Digital Center of Emory University, and the Institute of English Studies, University of London, this eight-volume critical edition dramatically expands access to material that has been restricted or inaccessible in private and institutional collections for almost fifty years.
This project has had many collaborators. I am grateful to Mrs. T. S. Eliot for her assistance during the writing of this book, and for her permission to examine and quote from unpublished writings. Quotations from the work of T. S. Eliot are the copyright of the Eliot Estate and Faber & Faber, and are included with their permission. Publication of a few of these items is also by permission of the Houghton Library, Harvard University.