Abstract:Much recent critical interest in the relationship between modernism and religion has concerned itself with the occult, spiritualism and theosophy as opposed to institutional religion, relying on an implicit analogy between the experimental in religion and the experimental in art. I argue that considering Christianity to be antithetical to modernism not only obscures an important facet of modernist religious culture, but also misrepresents the atonce tentative and imaginative thinking that marks the modernist response to religion.I explore the ways in which the poet-painter David Jones combined sources familiar from cultural modernism -namely Frazer's The Golden Bough -with Catholic thinking on the Eucharist to constitute a modernism that is both hopeful about the possibilities for aesthetic form and cautious about the unavoidable limitations of human creativity. I present Jones's openness to the creative potential of the Mass as his equivalent to the more recognisably modernist explorations of non-Western and ancient ritual: Eliot's Sanskrit poetry, Picasso's African masks and Stravinsky's shamanic rites and suggest that his understanding of the church as overflowing with creative possibilities serves as a counterweight to the empty churches of Pericles Lewis' seminal work, Religious Experience and the Modernist Novel. 12For Jones, churches are not deserted monuments, but rather lively centres of creativity and humour and my exploration of this perspective not only emphasises an aspect of religious 6 culture much neglected in recent work on modernism and religion, but also sets out a different form of modernism, one in which the commitment to imaginative transformation is nevertheless weighed against its provisional, limited and ultimately hopeful character.

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AN UNNOTICED LITURGICAL PARALLEL IN T. S. ELIOT'S 'A SONG FOR SIMEON''Not for me the ultimate vision', 1 Simeon, in Eliot's poem dedicated to the biblical personage, claims. Critics have, on the whole, heard the utterance as a lament and read this spiritual languor into the poem at large. 2 Eliot, like Tennyson in Idylls of the King, takes a pointedly sparse narrative -in which Simeon is described as 'waiting for the consolation of Israel' (KJV, Luke 2:25) -and populates it with psychological or spiritual anxiety. The poem ventriloquizes the resignation of a seer who cannot see clearly, a disappointed visionary. However, the identification of an echo of The Book of Common Prayer's translation of the 'Agnus Dei' adds an antiphonal rejoinder to this monotonous reading. This established reading arises from the poem's perceived reliance -albeit supplemented with some additional details from the gospel -upon a single liturgical text, the 'Canticle of Simeon', included in the 'Order for Evening Prayer' in The Book of Common Prayer or the Roman Catholic Compline service in the Liturgy of the Hours. 3 For instance, Eliot's 'let thy servant depart/having seen thy salvation' (106) recalls 'Lord, now lettest thou thy servant depart in peace: according to thy word/ For mine eyes have seen: thy salvation'; 4 the poem also repeats the phrase 'according to thy word' (105). 'A Song for Simeon' asks the reader to hear, in the way the poetic persona`s words echo the canticle, the timeless or forall-time liturgical enactment of waiting.The peace for which the Evening Prayer calls is the peace to sustain one through the night and to face the Father in the event of death. The 'peace' Eliot's Simeon requests in 'Grant us thy peace' seems strangely removed from this nexus of meaning. The phrase occurs once before Simeon recounts his long commitment to moral living and once in the stanza in which 1 T.S. Eliot, The Complete Poems & Plays (London, 1965), 105. All further references to Eliot's poetry are from this edition and are given in the body of the text.