 Critics such as Malcolm Cowley and Delmore Schwartz describe mixed emotions about the religiosity of the poem . Cowley emphasised the mystical nature of the poem and how its themes were closer to Buddhism than Anglicanism while mentioning his appreciation of many of the passages . Schwartz also mentioned the Buddhist images and his admiration for many of the lines in Little Gidding . F. B. Pinion believed that the fourth section of the poem costs " Eliot more trouble and vexation than any passage of the same length he ever wrote , and is his greatest achievement in the Four Quartets . " E. M. Forster did not like Eliot 's emphasis on pain and responded to the poem : " Of course there 's pain on and off through each individual 's life ... You can 't shirk it and so on . But why should it be endorsed by the schoolmaster and sanctified by the priest until the fire and the rose are one when so much of it is caused by disease and bullies ? It is here that Eliot becomes unsatisfactory as a seer . " Writing in 2003 , Roger Scruton wrote that in " Little Gidding " Eliot achieved " that for which he envies Dante — namely , a poetry of belief , in which belief and words are one , and in which the thought cannot be prized free from the controlled and beautiful language " . 
 Critics such as Malcolm Cowley and Delmore Schwartz describe mixed emotions about the religiosity of the poem . Cowley emphasised the mystical nature of the poem and how its themes <a href='uninflect' title='1'><mark>were</mark></a> closer to Buddhism than Anglicanism while mentioning his appreciation of many of the passages . Schwartz also mentioned the Buddhist images and his admiration for many of the lines in Little Gidding . F. B. Pinion believed that the fourth section of the poem costs " Eliot more trouble and vexation than any passage of the same length he ever wrote , and <a href='drop_aux' title='2'><mark>is</mark></a>his greatest achievement in the Four Quartets . " E. M. Forster did not like Eliot <a href='null_genetive' title='3'><mark>'s</mark></a>emphasis on pain and responded to the poem : " Of course <a href='dey_it' title='4'><mark>there</mark></a> 's pain on and off through each individual <a href='null_genetive' title='5'><mark>'s</mark></a>life ... You can 't shirk it and so on . But why should it be endorsed by the schoolmaster and sanctified by the priest until the fire and the rose <a href='drop_aux' title='6'><mark>are</mark></a>one when so much of it is caused by disease and bullies ? It is here that Eliot <a href='uninflect' title='7'><mark>becomes</mark></a> unsatisfactory as a seer . " Writing in 2003 , Roger Scruton wrote that in " Little Gidding " Eliot achieved " that for which he <a href='uninflect' title='8'><mark>envies</mark></a> Dante — namely , a poetry of belief , in which belief and words <a href='drop_aux' title='9'><mark>are</mark></a>one , and in which the thought cannot be prized free from the controlled and beautiful language " . 
Critics such as Malcolm Cowley and Delmore Schwartz describe mixed emotions bout the religiosity of the poem . Cowley emphasised the mystical nature of the poem and how its themes was closer to Buddhism than Anglicanism while mentioning his appreciation of many of the passages . Schwartz also mentioned the Buddhist images and his admiration fir many of the lines in Little Gidding . fuc. B. Pinion believed that the fourth section of the poem costs " Eliot more trouble and vexation than any passage of the same length he ever wrote , and his greatest achievement in da Four Quartets . " E. M. Forster did not like Eliot  emphasis on pain and responded to the poem : " Of course it 's pain on and off through each individual  life ... You can 't shirk it and soo on . But why should it be endorsed by the schoolmaster and sanctified by tdapriest til the fire and the rose one when so much of it is caused by disease and bullies ? It is heaa that Eliot become unsatisfactory as a seer . " Writing in 2003 , Roger Scruton wrote that in " lil Gidding " Eliot achieved " that for which he envy Dante — namely , a poetry of belief , in which belief and words one , and in which the thought cannot be prized free from the controlled and beautiful language " .