Abstract

Peter Knox-Shaw, “The Dry Salvages: T. S. Eliot in Wordsworthian Waters” Since Wordsworth was seen by T. S. Eliot both as a fellow revolutionary and as a cultural adversary, he supplies a particularly rich illustration of Eliot’s contention that the significance of a poem depends on an appreciation of its relation to the great poetry of the past. The Dry Salvages is the poem through which Eliot engages most fully with Romanticism, and it represents, as has long been recognized, his closest approach to the loco-descriptive poem of that movement. Comparison of the many specific motifs that the poem shares with The Prelude allows for a close textured account of the immediate poetic implications of the two writers’ diverging views on the role of the poet, on primitivism, on the rival metaphysics of immanence and transcendence, and on the relative importance of individual and collective identity. The two poems abound in passages sufficiently affined to reveal the differing aims and achievements of each.