Chimerically Combining Frivolity with Profundity

Identifying in Beethoven’s late music angelic frivolity,
T. S. Eliot was captivated by a quality
with which neither he nor Beethoven are commonly associated.
Both were producers of great masterpieces that aren’t light-weighted,
more esteemed, I’d like to say, with unpompous pundity,
less for frivolity than for an unangelic profundity,
though while what’s frivolous is not necessarily an inanity —
its unhumorous lack appropriate more for angels than humanity —
it is a quality that rarely is as adoringly admired
as songs whose popularity suggests they are angelically choired,
like ones in which alarmed feline concatenations were not in any limerick
by Eliot with profundity combined, poetically chimeric,
his ailurophobia, unlike his Judephobia, no depravity,
unlike those of his small lettered and unjewish cat, Macavity.