Bergson remains something of an enigma in intellectual history. After the publication ofhis Creative Evolution in 1907, he enjoyed an immense popularity in both America and Europe, poised at the center of controversy with profound implications for philosophy, theology, and science. The factions opposed around Bergson's vision might loosely be labelled Classical and Romantic. Enemies of mechanistic, utilitarian, and rationalistic accounts of the world hailed Bergson as liberator; and many Catholics, anxious to modernize their faith, were also counted among his friends. These disciples fell broadly into the neo-Romantic camp. Bergson's opponents included both defenders of reason such as Bertrand Russell and the Classical Thomist thinkers Julien Benda and Jacques Maritain, who both exerted profound influence on T. S. Eliot's thought. Eliot also admired T. E. Hulme, whose Classicism ironically adapted some ofBergson's ideas. The Roman Catholic Church itselfdidnottake kindly to the vogue of elan vital, and in 1914 the Vaticanplaced Bergson's major works on its index of prohibited books. Itwas surely no accidentthatT. S. Eliot, whose ownwork embodies subtle conflict between Classical and Romantic values, felt obliged to confront the work of so major and controversial thinker. Eliot eventually concurred with Maritain's Thomistic assessment of Bergson, but critics have long recognized thatBergson left apowerful impression on Eliot's poetic mentality. Recentwork on Eliot continues to highlight this debt. 1 Such studies have been inspired partly by Eliot's acknowledgment of a temporary conversion to Bergsonism.2 Further evidence includes letter from Eliot's mother to Bertrand Russell in 1916 stating that she had read Bergson's Creative Evolution and attended
Read full abstract