Journey Of The Magi | T.S. Eliot
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See also: Epiphany | Three Kings | Three Wise Men | Gold, Frankincense, Myrrh
T.S. Eliot’s poem ‘Journey Of The Magi’, written in 1927, explores themes of transformation, faith, and the search for meaning. Inspired by Eliot’s conversion to Anglicanism, the poem tells the story of one of the Magi, the wise men who travelled to witness the birth of Christ.
The poem begins with a vivid and perhaps somewhat bathetic description of hardships faced by the Magi on their journey. Tedious and banal conditions – the over-priced inns and recalcitrant staff – the crappy modern – symbolize a difficult path to spiritual enlightenment, reflecting disorientation and struggle felt during profound spiritual change. This tension between the familiar – and the dullness and the exotic – and the unknown mirrors internal conflict inherent in religious conversion.
As the Magi reflect on their journey, the arrival at the birthplace of Christ marks a significant moment of transformation. The experience represents a shift from old beliefs to new faith, paralleling Eliot’s own spiritual journey. This moment captures the complexity and challenge of embracing new religious understanding.
The journey expresses search for faith and understanding, with the birth of Christ symbolizing a transformative moment in both history and personal belief. The path to enlightenment is depicted as one fraught with obstacles and trials, emphasizing such grinding effort – as tedious as our sins – required to achieve spiritual insight.
Closing lines of the poem capture the Magi’s feelings of alienation from their past lives and uncertainty about their new putative faith. This sense of inner turmoil symbolizes personal trials and ultimate redemption experienced during significant spiritual transformation. The Magi’s reflections on their journey highlight this enduring impact of profound spiritual experiences and continuous search for deeper understanding. The context, in history, remains uncertain, part-remembering, occluded.
Eliot himself discussed the use of religious imagery in his essays, noting that such symbols convey deep spiritual truths. In ‘Journey Of The Magi’, the journey can be read as a metaphor for the soul’s search for divine truth, with hardships endured – the modern – symbolizing trials faced in a turn toward possibility of faith.
Journey Of The Magi | T.S. Eliot
A cold coming we had of it,
Just the worst time of the year
For a journey, and such a long journey:
The ways deep and the weather sharp,
The very dead of winter.’
And the camels galled, sore-footed, refractory,
Lying down in the melting snow.
There were times we regretted
The summer palaces on slopes, the terraces,
And the silken girls bringing sherbet.
Then the camel men cursing and grumbling
And running away, and wanting their liquor and women,
And the night-fires going out, and the lack of shelters,
And the cities hostile and the towns unfriendly
And the villages dirty and charging high prices:
A hard time we had of it.
At the end we preferred to travel all night,
Sleeping in snatches,
With the voices singing in our ears, saying
That this was all folly.
Then at dawn we came down to a temperate valley,
Wet, below the snow line, smelling of vegetation;
With a running stream and a water-mill beating the darkness,
And three trees on the low sky,
And an old white horse galloped away in the meadow.
Then we came to a tavern with vine-leaves over the lintel,
Six hands at an open door dicing for pieces of silver,
And feet kicking the empty wine-skins,
But there was no information, and so we continued
And arrived at evening, not a moment too soon
Finding the place; it was (you may say) satisfactory.
All this was a long time ago, I remember,
And I would do it again, but set down
This set down
This: were we led all that way for
Birth or Death? There was a Birth, certainly,
We had evidence and no doubt. I had seen birth and death,
But had thought they were different; this Birth was
Hard and bitter agony for us, like Death, our death.
We returned to our places, these Kingdoms,
But no longer at ease here, in the old dispensation,
With an alien people clutching their gods.
I should be glad of another death.
‘Domine, non sum dignus, ut intres sub tectum meum, sed tantum dic verbo, et sanabitur anima mea.’ ‘Lord, I am not worthy that you should enter under my roof, but only say the word and my soul shall be healed.’ With these words, so many of us will seek to rid ourselves of bad thoughts before receiving communion. We have recollected ourselves in silent time to examine our consciences, we have confessed, we have listened to readings from Scripture – and even in that short time following there has been time to sin anew, as also there is heightened awareness of our sins, and too of inherent sinfulness [ … ]
Saint Gregory, one of the Cappadocian Fathers and a central figure in fourth-century theology, explores what it means to bear the name ‘Christian’. Drawing heavily from the writings of Saint Paul, he lays out a vision of spiritual transformation in which the believer becomes an ‘alter Christus’ – another Christ [ … ]
Christian Art | George Herbert | The Temple | The Church | The Sinner George Herbert | The Temple | The Church | The Sinner Lord, how I am all ague, when I seek What I have treasur’d in my memorie! Since, if my soul make even with the week, Each seventh note by right is due to thee. I finde there quarries of pil’d vanities, But shreds of holinesse, that dare not venture To shew their face, since crosse to thy decrees. There the circumference earth is, heav’n the centre. In so much dregs the quintessence is small: The spirit and good extract of my heart Comes to about the many hundredth part. Yet Lord restore thine image, heare my call: And though my hard heart scarce to thee can grone, Remember that thou once didst write in stone. George Herbert | The Temple | The Church | The Sinner The poet reflects on his spiritual state, describing a struggle with weakness, sin, and the desire for divine alignment. The poem opens with the poet addressing God, expressing discomfort, likened to an ‘ague’ (fever or chill), when he searches his memory for spiritual treasures. This ‘ague’ suggests both a physical and spiritual unease, revealing the tension the poet feels in self-examination. The second line conveys a sense of regret as the poet searches for ‘treasur’d’ holiness in his memory. He recognizes that, although he might strive to keep his soul ‘even with the week’, dedicating every seventh day to God, he falls short. This phrase reflects the expectation to honour the Sabbath, but the poet’s efforts are met with disappointment in their perceived spiritual emptiness. The poet goes on to examine his inner self, describing ‘quarries of pil’d vanities’ that dominate his mind. Here, ‘quarries’ implies an overwhelming quantity of earthly or superficial concerns, while ‘vanities’ suggests that these concerns are meaningless in the context of divine expectation. In contrast, he finds only ‘shreds of holinesse’, fragmented attempts at righteousness, which he hesitates to bring forward as these elements are ‘crosse to thy decrees’, or in opposition to God’s laws. This imagery underscores the poet’s internal conflict and recognition of shortcomings. Further, the poet contrasts earth and heaven, saying that ‘the circumference earth is, heav’n the centre.’ This phrase symbolizes the poet’s focus on worldly concerns (the circumference) that orbit around a neglected spiritual core (the heavenly center). The poet reflects that his life is filled with ‘dregs’, the lesser, unrefined aspects of his being, while ‘quintessence’, or the purest part of himself, is scarce. This ‘quintessence’ is described as the ‘spirit and good extract’ of the poet’s heart, amounting to a ‘many hundredth part’ — a small fraction of life’s essence. The poet realizes that, despite attempts to cultivate holiness, his internal state largely lacks spiritual substance. The final lines shift to a plea for restoration. The poet calls on God to ‘restore thine image’, asking for renewal and transformation. This restoration request implies a yearning to reflect God’s nature more fully, as humanity is believed to be made in God’s image. The poet acknowledges that his heart ‘scarce… can grone’ to God, reflecting the difficulty he feels in truly connecting with or petitioning the divine. The poem ends with reference to the biblical account of the Ten Commandments, when God ‘didst write in stone’. This allusion serves as both a reminder of God’s past willingness to communicate directly and a plea for a similar intervention to etch divine law into the poet’s heart. The poem examines themes of introspection, human fallibility, and a longing for divine transformation. The poet’s self-examination reveals struggle to balance earthly concerns with spiritual commitments, culminating in a plea for God’s direct action to restore spiritual integrity.
