Romantic Scepticism and the Descent into Nihilism in T.S. Eliot's 'Burnt Norton'

Abstract

The nihilism consequent upon the First World War and which T.S. Eliot's Four Quartets sought in some measure to dispel emerges in Burnt Norton' as the chilling culmination of a putatively redemptive idealism. In common with his Romantic forebears Wordsworth and Coleridge in particular the ambivalent narrator of Eliot's first quartet harbours a desire to transcend the limits of temporality through the positing of an ideal world that he suspects may be illusory. The result is a descent into nihilism as extreme as it is absolute: a nihilism which Nietzsche fifty years earlier had decried as a will to nothingness.'