As a major poet T. S. Eliot began in the Waste Land and ended at Little Gidding. That both places are associated with chapels is no accident: even in the depths of the tradition [of Victorian and twentieth-century English poetry] …, the way out is symbolized for believers and unbelievers alike by religious buildings, real or legendary. Since it is in Eliot's later work that major English poetry emerges from its fixation on lost childhood and its spiritual paralysis, we naturally look for reasons that will explain his ability to reverse or (better) to complete the journey that had begun at Tintern Abbey. In The Waste Land (1922) there is already a spiritual prescription for modern man: give, sympathize, control. It is not until his culminating work twenty years later that we see fully the meaning and fruits of this advice.
"Burnt Norton" (1937), the first of the Four Quartets, begins with the observation, today almost hackneyed from frequent quotation that
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