Alfred Prufrock" Another of his famous and oft-quoted works, The Waste Land (1922) deals with dark and haunting themes of individual consciousness and spiritual desolation against the decline of civilisation.
Alfred Prufrock" Another of his famous and oft-quoted works, The Waste Land (1922) deals with dark and haunting themes of individual consciousness and spiritual desolation against the decline of civilisation.Thomas Stearns Eliot was born 26 September 1888 in St. In 1915 he married Vivien Haigh Wood (they would separate in 1933). Eliot mixes up the dirtiness, smog filled London evening with the dirtiness and seediness of one of Prufrock's sexu...For English readers, however, the stark pictures of Eliot’s poem were startling: “Let us go then, you and I,/ When the evening is spread out against the sky/ Like a patient etherized upon a table.” When appeared in 1917, readers knew that a new and powerful poetic movement was beginning to make itself felt.Tags: Thesis Of Night By Elie WieselEssays On Relationships With GodSurrogate Advertising EssaysFinish DissertationQuantitative Research Proposal ExampleResearch Paper For DummiesTok Essay TopicsFinance In Business PlanTurning Dissertation Into ArticlesHow To Create A Business Plan For A Small Business
Once again, the setting was bleakly urban and the sensibility of the speaker was distinctly modern, which meant that the speaker’s viewpoint was ironic, detached, and resigned. Scholars still debate the impact on subsequent literature of these relatively short prose articles, most of which were written for literary magazines or newspapers.
Students of modern English literature agree, however, that these essays, like the poems that preceded them, permanently altered the way readers assessed poetry.
According to Eliot, the masterful poet, fully conscious of working within the tradition, is very much an instrument of the tradition; that is, he or she is in a way an impersonal medium for the common literary heritage.
In “Hamlet and His Problems,” Eliot introduced the theory of the “objective correlative,” the idea that the words of literature should correspond exactly with things and with emotions.
His early and experimental poetical works depict a bleak and barren soullessness, often in spare yet finely crafted modern verse; LET us go then, you and I, When the evening is spread out against the sky Like a patient etherised upon a table; Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels And sawdust restaurants with oyster-shells: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question … From the first line "April is the cruellest month.." to the last "Shantih shantih shantih" we can intuit the dramatic scope and evolution of Eliot's own life in the Biblical, cultural, historical, and literary references that helped shape one of the 20th century's most profound figures in literature. In 1914 he settled in England and worked as a schoolmaster and eventually met and became friends with many popular writers of the time including Ezra Pound. Eliot HI All, I recently reread the poem after many years, and noticed the following lines in a new light: The yellow fog that rubs its back upon the window-panes, The yellow smoke that rubs its muzzle on the window-panes Licked its tongue into the corners of the evening, Lingered upon the pools that stand in drains, Let fall upon its back the soot that falls from chimneys, Slipped by the terrace, made a sudden leap, And seeing that it was a soft October night, Curled once about the house, and fell asleep Its a sexual encounter.
Eliot (1888-1965), American-British poet and literary critic, author of Prufrock and Other Observations (1917) won numerous awards and honours in his lifetime, including the Nobel Prize for Literature in 1948. Joseph Conrad's Heart of Darkness comes to mind as Eliot innovatively rejects traditional Romantic ideals through allusion and symbolism.
Louis, Missouri, the son of Charlotte Stearns and Henry Ware Eliot. Around the time he was working with Lloyds Bank of London he also started editing the Egoist (1917–1919). I have read, unfortunately can't remember where, that Burnt Norton "grew" out of some lines that Eliot had originally included in Murder in the Cathedral, but were cut because the director felt they were unsuitable for the stage.
He attended Harvard University before studying philosophy at the Sorbonne in Paris, earning a B. Soon after he was publishing his own quarterly literary journal Criterion which would become one of the most acclaimed publications of the genre. Does anybody have any idea what these lines were and what became of them in Burnt Norton? I came across this thread while doing some research on the Objective Correlative.
Eliot not only shaped readers’ perceptions of modern poetry but also reevaluated the poetry of the past, the “tradition,” as Eliot termed it.
Two essays from the collection are particularly important: “Tradition and the Individual Talent” and “Hamlet and His Problems.” In the first, Eliot sets out two key critical ideas: the nature of the tradition and the “impersonal theory of poetry.” For Eliot, the tradition of literature comprised a living body of works that both influenced contemporary writers and, at the same time, were somehow changed by the light cast on them by modern works.