T.S. Eliots
Little Gidding, a poem that attempts to resolve different
temporal moments to reach a sense of salvation, directly quotes
Julian of Norwichs Revelations of Divine Love in its third part.
The lines read: Sin is Behovely, but / All shall be well, and /
All manner of thing shall be well. The word Behovely is
especially suggestive, given the position Julian writes from as an
anchoress conveying her divine vision. Perhaps she suggests that
there is some necessity to sin or a way it can fit in an eventual
path to reaching God; she does repeat that All shall be well, an
indication that everything will eventually resolve positively. When
pulled into Eliots temporally anxious poem, Julians refrain-like
words carry with them
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is now in pain
and sorrow. Moving away from ambiguous definition of the body, she
fully lays claim to the limitations of the physical, as demarcated
by the experience of pain and sorrow. She further relates that
this was the part of me that felt regret, further relegating the
physical body to an undesirable sphere; in becoming closer to
Jesusthrough her
exploration of the revelations, she places the conceptual, divine
body above all else. This other body is expressed as the inward
part which is an exalted and blessed life which is all peace and
love. The surface-level outward physical body is opposed by the
inward turn towards this ideal lifestyle, something only achievable
through abandoning all attachment to ones physical form. To
Julian, this seems to be mysteriously experienced, a phrase which
captures both a sense of divine mystery as well as the mystery of
the conceptualized body. These simultaneously occurring unknowns
serve to highlight the indescribable power of God, but despite this
unclear area, she says that this is the part in which I strongly,
certainly, and willingly chose Jesus for my heaven. The determined
string of adverbs, once again playing into a theme of triplicates,
highlight Julians utter devotion to God; without doubt, she is
confident of her embrace of the inner self. In her specific choice
to make Jesus for my heaven, she suggests her personal
identification with Jesus in the linkage of their bodies through
self-sacrifice. Following in his footsteps, she is able to
personalize her heaven as something defined by an explicit union
between herself and Jesus. In doing this, Julian closes all gaps,
both bodily and temporal, between the twos bodies in the pursuit
of an absolute
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