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• W1978740118 abstract "God, I love ever and always the human voice, The voice of leave-taking and the voice of sorrow, The voice whose prayer has often seemed vain, But which still goes forward down the painful road. charles péguy, jeanne d'arc1 Several years ago, among the unpublished manuscripts of T. S. Eliot in King's College Library, Cambridge, I had the good fortune to come upon a short essay by Eliot titled Types of English Religious Verse. Composed in or around the year 1939 by way of preparation for a British Council Tour in Italy, the talk was never delivered due most probably to the situation in Europe at the time. Toward the end of the paper, Eliot attempted to indicate the probable direction of religious poetry in those years. The tendency, he wrote, is towards something more impersonal than that of 'the last romantics.' . . . It will be much more interested in the dogma and the doctrine; in religious thought, rather than purely religious feeling.2 Eliot then goes on to note that the precursor of this attitude was T. E. Hulme killed in 1917; he was not a religious poet, but his critical ideas took this direction.3 [End Page 56] Eliot is writing exclusively here about poetry composed in England and about the development of critical thought in the English-speaking world. But, outside the shores of England, the great precursor of the attitude to which Eliot is referring, is a man—a soldier—who also, as it happens, was killed like T. E. Hulme in the first quarter of the twentieth century. But this man was not only a considerable critic, he was also a remarkable poet. I am referring, of course, to the French Catholic poet and essayist, Charles Péguy. Péguy among the Poets In 1916, just two years after Péquy's death, Eliot included Péguy in the syllabus for his course in a series of University Extension Lectures at Oxford.4 And, in the autumn of that same year, in a short review of a book about Péguy, Eliot remarked, There may be passages in his verse which are pure poetry; there are certainly passages in his prose which are of the best prose.5 And again, There have been finer poets, more subtle thinkers, than Péguy. But there was no one who had just what Péguy had. Emphatically, he was not fumiste. There is not a trace of affectation about him. And in Paris . . . which was surfeited with criticism, Paris given up to radical and reactionary movements which were largely movements for the sake of moving, Péguy represented something which was real and solid. He stood for a real re-creation, a return to the sources.6 More than twenty years later, in a 1940 article, Eliot spoke, in passing, of the man whom I consider the greatest journalist, in the best sense of the term, of my time: Charles Péguy.7 The enthusiasm is clear. But what Eliot would seem to be suggesting is that Péguy is primarily important as a kind of presence to his generation, a necessary social and religious journalist, a prose writer of sharp and prophetic insight. With regard, however, to Péguy's status as a poet, Eliot, writing in 1916, is far more circumspect: There is not a great deal, certainly, he notes, of the finest verse.8 Whether or not Eliot changed his mind later concerning the poetry of Péguy is difficult [End Page 57] to say. But it may well be significant that there are traces of Péguy's work in Eliot's mature verse. In a letter composed in the autumn of 1956, Eliot openly acknowledged the probable influence of Péguy on one of the most mysterious phrases in Four Quartets: The line, 'Garlic and sapphires..." @default.
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• W1978740118 date "2006-01-01" @default.
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• W1978740118 title "A Man Talking: The Prayer and Poetry of Charles Peguy" @default.
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• W1978740118 doi "https://doi.org/10.1353/log.2006.0039" @default.
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