The work of modernist poet and visual artist David Jones provides a retrospective vantage of the central claims of Liturgy, Ritual, and Secularization in Nineteenth-Century British Literature. Jones saw the nineteenth century as a moment of breakage with the past. This rupture, according to Jones, threatens the work of the artist by depleting the sacramental meaning of reality – that is, the ability of concrete things to signify unseen spiritual depths. In both a dramatic biographical encounter with the Mass during his time on the front lines of World War I and in his subsequent art and poetry, Jones turns to liturgical forms to confront the breakage that began in the nineteenth century. Viewed from Jones’s perspective, the Romantic and Victorian interest in liturgy takes on new significance for the overarching genealogy of modernity and secularization. These liturgical fascinations intervene in – and resist – the long story of modernity’s separation of the material and spiritual, the natural and supernatural.

This chapter moves from the macro-level of social and narrative imagination to the micro-level of speaking and seeing. It continues to consider the interplay of inheritance and originality in these practices: the constitutive underdetermination or equivocity of what we see and say. The chapter illuminates the ways in which even at the smallest levels, we construct the world imaginatively. It then begins to discuss how art and poetry loosen the grasp of automated perception and do not impose an alternative vision but rather grant a double vision of our lives, allowing us to see it from new perspectives or in new ways. The chapter concludes with a consideration of liturgical and biblical renewals of perception.