Abstract

In this essay, I elaborate a reading of the Buddhist allusions throughout T.S. Eliot's poetry as being not confessions of Buddhist faith or merely syncretic experiments, but rather ‘conceptual rhymes’ with the crisis of personal connection that preoccupies Eliot across multiple texts. In the Buddhist concepts of pratītya-samutpāda, śūnyatā, saṃsāra, and the pretas, Eliot finds thematic resonances with his own emotional and psychological concerns and so alludes to these concepts in ‘The Fire Sermon’ section of The Waste Land and ‘Burnt Norton’ of Four Quartets as part of his characteristic poetic collage. By examining the connection between Eliot's personal poetic practice and the cross-cultural traditions upon which he drew, my argument intervenes in a long-standing debate regarding the meaning of Asian religio-philosophical influences in the poet's key texts. Moreover, by close reading the third movement of ‘Burnt Norton’ for Buddhist allusions, I attempt to refocus scrutiny of Buddhism in Eliot from the oft-discussed ‘Fire Sermon’ section of The Waste Land to Eliot's later Four Quartets, which remains under-examined for its Buddhist influences by scholars who instead attend to the latter text's more pronounced Vedic references.