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2As one goes along, one comes to realize that the reviewers found it difficult sometimes to reconcile the various aspects of Eliot's activity and personality: we find side by side Eliot the critic shaped by classical ideals, Eliot the poet haunted by romantic longing, and thirdly Eliot the social analyst, the thinker quite uneasy with the tenets of humanism. Sometimes the different Eliots are contrasted (Douglas Goldring), sometimes they are seen as the reflection of one mind, one sensibility (Bonamy Dobrée). Auden distinguishes between three Eliots: "an archdeacon with cool manners, a violent and passionate old man who had witnessed the horrors of history, and a young boy who liked to play pratical jokes". One cannot help being fascinated by the changes, tensions and contradictions affecting Eliot's public image, by the variety of personae (H. Eliot was successively an unhappily married and a happily married man, or again first the champion and then the elder statesman of literary modernism. Or, to put it differently, the self exiled expatriate who used a strategy of power to reach a place of eminence amongst British editors and publishers gradually merged into a polarizing figure in post Second World War literary politics. After 1945, he enjoyed a considerable prestige which culminated in 1948 when he was awarded the Order of Merit and the Nobel Prize. Together with the depiction of the many facets of Eliot's personality, we find recurrent issues concerning his work: reviewers never lose an opportunity of speculating on the genealogy of Modernism and more precisely on Eliot's literary forebears (the Elizabethan and Jacobean dramatists, the French Symbolists, the Decadents). Yet the more perceptive reviewers sensed that Eliot's conversion to Christianity entailed no dramatic reversal of his earlier beliefs and noted that "the surface discontinuity concealed a deeper continuity" (XXVI).
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