The Eliot - Hale Archive: First Readings II the Eliot-Hale Archive: First Our Readers Will Recall That in the Spring Issue of Time Present (No
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Time Present the Newsletter of the T.S
Time Present The Newsletter of the T.S. Eliot Society number 73 spring 2011 contents ESSAYS Un Présent Parfait: T.S. “Un Présent Parfait”: T. S. Eliot in Paris, 1910-1911 Eliot in Paris 1 s Eliot acknowledged in his essay in French “What France Means to You,” he had Alain-Fournier and the Athe “exceptional good fortune” to live in Paris during the academic year 1910-1911. Tutoring of Tom Eliot 2 While he went there with the goals of finding his poetic voice, attending the courses of Henri Bergson at the Collège de France, improving his skills in French and his knowledge of contemporary French literature, and becoming a cosmopolitan young man of the world, Public Sightings 3 he found himself in the French capital during an amazing period of intellectual and artistic developments. Book Reviews 4 It was literally seething with a diversity of ideas that were innovative, exciting, and often conflicting from a host of literary and intellectual figures such as Claudel, Gide, Eliot News 7 Perse, Bergson, Maurras, Durkheim, and Curie. Its cultural riches were never more tan- talizing with extraordinary happenings occurring at an amazing pace: the first exhibition Paris Conference 8 of the Cubists (whose techniques and themes influenced “The Love Song” andThe Waste Land); the daring ballets of the Ballets Russes (whose character Petrouchka was a model for Prufrock); the presentation of Wagner’s Der Ring des Nibelungen for the first time ever Abstracts from the Modern at the Paris Opéra (whose refrain of the Rhine-Daughters is echoed in The Waste Land) , Language Association 10 and the scandalous multimedia extravaganza Le Martyre de Saint Sébastien (which was one inspiration for “The Love Song of Saint Sebastian”). -
TS ELIOT's PLAYS and RECEPTION Eliot's
T.S. ELIOT’s PLAYS and RECEPTION Eliot’s plays, which begin with Sweeney Agonistes (published 1926; first performed in 1934) and end with The Elder Statesman (first performed 1958; published 1959), are, with the exception of Murder in the Cathedral (published and performed 1935), inferior to the lyric and meditative poetry. Eliot’s belief that even secular drama attracts people who unconsciously seek a religion led him to put drama above all other forms of poetry. All his plays are in a blank verse of his own invention, in which the metrical effect is not apprehended apart from the sense; thus he brought “poetic drama” back to the popular stage. The Family Reunion (1939) and Murder in the Cathedral are Christian tragedies—the former a tragedy of revenge, the latter of the sin of pride. Murder in the Cathedral is a modern miracle play on the martyrdom of Thomas Becket. The most striking feature of this, his most successful play, is the use of a chorus in the traditional Greek manner to make apprehensible to common humanity the meaning of the heroic action. The Family Reunion (1939) was less popular. It contains scenes of great poignancy and some of the finest dramatic verse since the Elizabethans, but the public found this translation of the story of Orestes into a modern domestic drama baffling and was uneasy at the mixture of psychological realism, mythical apparitions at a drawing-room window, and a comic chorus of uncles and aunts. After World War II, Eliot returned to writing plays with The Cocktail Party in 1949, The Confidential Clerk in 1953, and The Elder Statesman in 1958. -
J.M. Reibetanz Four Quartets As Poetry of Place One Thinks of Four
J.M. Reibetanz Four Quartets as Poetry of Place One thinks of Four Quartets preeminently as a religious and philosophical poem; yet its argument does not proceed simply or preeminently on an abstract level. Rather, ideas enter our consciousness and our understanding through felt experience. Whether it be the paradox of the still point, the mystical negative way of illumination, the attitude of humility, the nature of time, the relationship of attachement, detachment, indifference and history, the necessity for atonement, or any of the other difficult ideas Eliot argues, the poetry leads us into a full experience of concepts by grounding them in places. Thus, we know the still point primarily through our vision in the rose-garden of Burnt Norton; the negative way of ilJumination is presented spatially as a descent into the darkness beneath the level of the London underground; the attitude of humility is derived out of the atmosphere of death that pervades East Coker; the nature of time is seen through our experience of the river and the sea; the thorny relationship of attachment, detachment, indifference and history is argued through the paradigm of the nettles on the hedgerow of Little Gidding; and the necessity for atonement arises from our experience of the tongues of fire that descend on wartime London. Even the primary religious concept of the Quartets. the Incarnation, is not fully argued in conceptual terms until three quarters of the way through the poem, at the end of The Dry Salvages. Long before that, however, its mystery is revealed to us in particular moments of illumination that transpire in time and also in place. -
The Verse Dramas of TS Eliot
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1959 Search for form| the verse dramas of T. S. Eliot Carol Sue Rometch The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Rometch, Carol Sue, "Search for form| the verse dramas of T. S. Eliot" (1959). Graduate Student Theses, Dissertations, & Professional Papers. 3500. https://scholarworks.umt.edu/etd/3500 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. THE SEARCH FOR FORM; THE VERSE DRAMAS OF T.S. ELIOT by CAROL SUE ROMETCH B.A. Whitman College, 1957 Presented in partial fulfillment of the requirements for the degree of Master of Arts MONTANA STATE UNIVERSITY 1959 Approved by; GhfiHrman, Boàrd of Examiners Dean, Graduate School WAY 2 8 1959 Date UMI Number: EP35735 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ütaMitatton PlAMiing UMI EP35735 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. -
An Examination of TS Eliot's Four Quartets
European Scientific Journal January 2016 edition vol.12, No.2 ISSN: 1857 – 7881 (Print) e - ISSN 1857- 7431 Crisis of the Modern Age and the Way Out: An Examination of T. S. Eliot’s Four Quartets Dr. Fatima Falih Ahmed Al-Badrani Assistant Professor, South Carolina University, USA Dr. Abdullah Fawaz Al-Badarneh Assistant Professor, Department of English, Jerash University, Jerash, JORDAN doi: 10.19044/esj.2016.v12n2p225 URL:http://dx.doi.org/10.19044/esj.2016.v12n2p225 Abstract The twentieth century was one of change and unrest. What characterises the age is that society, up to a high degree, was hostile to spiritual life. The spiritual values seemed to be neglected or totally abandoned for the material, more matter-of-fact values. This left society in a state of increasing confusion that was substantially realised in the outbreak of World War I. The impact of the war revealed the degeneration of the modern world with the breakdown of religion and moral and spiritual traditions. T. S. Eliot was fully aware of the ills of modern civilisation that surrounded people with a number of faiths established haphazardly to fight against the troubles of modern life. These faiths refer to political and social ideologies, parties, and allegiances. Eliot finds that all modern ideologies are poor and futile substitutions for religious faith. He finds that society should be built not upon power and its corruption, but upon a higher system of values which are mainly spiritual and moral. This research paper demonstrates how Eliot's Four Quartets affirms the possibility of spiritual regeneration and gives a positive projection of hope. -
Copyrighted Material
Index Ackroyd, Peter, 350, 360, 364–65, 399 absence of in Poems (1920), 137–43 on TSE’s work, 205, 213, 244 religious, 367, 373 Action française see Maurras, Charles toward popular culture, 67, 68, 69, 75, Adams, Henry, 151–54 162, 186, 317, 320 “The Ad-Dressing of Cats” (poem), toward women, 332 228–29, 237 “American Literature and the American Adelphi, 390, 391–92, 393 Language” (lecture), 24, 284 Adorno, Theodor, 319 “Andrew Marvell” (essay), 306–08, Advocate (Harvard literary magazine), 4, 308–09 108, 311 Andrewes, Lancelot, 148, 152, 192, 201 Aeschylus, 76, 181, 248, 252 in “Journey of the Magi,” 191, 192, Africa, 87, 170, 346 193 African-American culture and black Anglicanism, TSE’s conversion to, 9, 17, ethnicity, 183–84, 186–87, 318, 54, 291, 337, 372, 399 345–48 effect on TSE’s thought, 47, 87, 133, see also jazz; minstrelsy, blackface; ragtime 191–92, 276–77, 298, 301, 331, After Strange Gods (lectures), 23, 88, 289, 357, 379 293, 298, 363, 373–74, 381, 384, negative reaction to, 9, 363, 429 405 see also Christianity and “free-thinking Jews,” 23–24, 150, “Animula” (poem), 194–96, 197, 234–35 335–36, 346, 381 anthropology, 5, 36–37, 55, 79–90, 142, and “Tradition and theCOPYRIGHTED Individual 251, MATERIAL 396 Talent,” 16, 276 and concept of “culture,” 37–38, 88–90, Agrarianism, 418–19 287, 288–89, 292, 295 Aiken, Conrad, 121, 392, 437 see also primitivism and the primitive; letters from TSE, 6, 58–59, 61, 94–95, ritual 348 anti-Semitism, 150, 319, 335, 381, Alain-Fournier, Henri, 5 423–24, 426–27 Aldington, Richard, 80 condemned -
Copyrighted Material
Part I Infl uences COPYRIGHTED MATERIAL 1 The Poet and the Pressure Chamber: Eliot ’ s Life Anthony Cuda Over the course of his long career, T. S. Eliot preferred to think about poetry not as the communication of ideas but as a means of emotional relief for the artist, a momen- tary release of psychological pressure, a balm for the agitated imagination. In 1919, he called poetic composition an “ escape from emotion ” ; in 1953, a “ relief from acute discomfort ” ( SE 10; OPP 98). At fi rst, poetry alleviated for him the mundane pressures of a bank clerk who lived hand - to - mouth, caring for his sick wife during the day and writing for the Times Literary Supplement at night; later, it lightened the spiritual pres- sures of a holy man in a desert of solitude with the devils conniving at his back. Most frequently, though, it eased the pressure of an artist doubting his talent, an acclaimed poet who wrote more criticism than poetry, ever fearful that the fi ckle Muse had permanently left him. The most intensely creative stages of Eliot’ s life often coincided with the periods in which he faced the most intense personal disturbances and upheavals. But where do we, as students of Eliot, begin to account for that pressure? “ The pressure, ” as he himself called it, “ under which the fusion takes place ” and from which the work of art emerges ( SE 8)? We could begin with the bare facts. Eliot was the youngest of seven children, born on September 26, 1888 in St. Louis, Missouri. -
“All Manner of Things Shall Be Well”
School of Languages and Media Studies English Department Master Degree Thesis in Literature, 15 hp Course code: EN3053 Supervisor: Billy Gray “All Manner of Things Shall be Well”: Tractarianism, Eliot, and the Natural World in Four Quartets Monica Murphy Dalarna University English Department Degree Thesis Spring 2016 At Dalarna University it is possible to publish the student thesis in full text in DiVA. The publishing is open access, which means the work will be freely accessible to read and download on the internet. This will significantly increase the dissemination and visibility of the student thesis. Open access is becoming the standard route for spreading scientific and academic information on the internet. Dalarna University recommends that both researchers as well as students publish their work open access. I give my/we give our consent for full text publishing (freely accessible on the internet, open access): Yes ☒ No ☐ Table of Contents Introduction 1 I. The Oxford Movement: Liturgy and Poetics 7 II. Analogy 10 III. Sacramentality 13 IV. Burnt Norton and East Coker: Formed nature 15 V. The Dry Salvages: The Voyage Transformed 21 VI. Little Gidding: Language Transformed 26 Conclusion 30 Works Cited 33 Murphy 1 INTRODUCTION When T. S. Eliot announced his conversion to Christianity in 1928, Virginia Woolf wrote to her sister that “poor dear Tom Eliot [. .] may be called dead to us all from this day forward. He has become an Anglo-Catholic, believes in God and immortality, and goes to church [. .] There’s something obscene in a living person sitting by the fire and believing in God” (qtd. -
A Study of Four Quartets in Poetry
Australian Journal of Basic and Applied Sciences, 5(12): 2159-2161, 2011 ISSN 1991-8178 A Study Of Four Quartets In Poetry 1Hamedreza Kohzadi and 2Fatemeh Azizmohammadi 1,2Department of English Literature, Science and Research Branch, Islamic Azad University, Arak, Iran. Abstract: As the material of poetry, language projects the most faithful and indispensable picture of thought and expression of human experience. Since language offers the greatest opportunity for any kind of symbolic activity, poetry is the most concentrated form of speech known to man. Due to the limited structure of the language we use, an experience is difficult to describe. To experience is to know. In poetry, this knowledge which leads to an understanding of its "depth-structures" can be acquired by the mind which contemplates. The use of metaphor and symbol ultimately project a silence, a state that goes beyond mere speech. Heidegger, the German philosopher, stated that the essence of language lies in stillness –the rest in which all motion is gathered together. Language is "the chime of stillness." Heidegger asserts "Men are capable, in their way, of uttered speech only in so far as they belong to the chime of stillness" (1967). This reality was first made known to philosophers, and then to poets. Though Heidegger's views are not entirely identical with the framework I have chosen for my essay, it is interesting that he highlights through the image of "the chime of stillness" an area of human experience that falls outside the limits of what can be thought or said. Key words: Poetry, Language, Four Quartets, Heidegger, Metaphor, Communication. -
The Intersection of the Timeless Moment: Philosophical Structure
THE INTERSECTION OF THE TIMELESS MOMENT: PHILOSOPHICAL STRUCTURE AND ANTI-STRUCTURE IN T.S. ELIOT’S FOUR QUARTETS by ALAN LAYNE SMITH (Under the Direction of Adam Parkes) ABSTRACT This work is a consideration of a poetic dialectic of structured and anti-structured philosophical thought within T. S. Eliot’s Four Quartets. This dialectic, first perceived by Eliot during his years spent as a candidate for the degree of doctor of philosophy at Harvard University, sets a philosophical structure gleaned from the teachings of F. H. Bradley’s pragmatic idealism and appreciated in the poetry of Dante Alighieri in poetic discourse with an anti-structure first apprehended by Eliot within the metaphysical void of Nāgarjuna’s Mādhyamikan via negativa. This essay proposes a sustained link between philosophical and metaphysical interests explored and qualified within Eliot’s graduate thesis and the poetic expression of the transcendent possibilities of those notions of structure and anti-structure within his Four Quartets. INDEX WORDS: Structure, Anti-structure, F. H. Bradley, Nagarjuna, T. S. Eliot, Four Quartets, Philosophy, Metaphysics, Transcendence, Anglicanism THE INTERSECTION OF THE TIMELESS MOMENT: PHILOSOPHICAL STRUCTURE AND ANTI-STRUCTURE IN T.S. ELIOT’S FOUR QUARTETS by ALAN LAYNE SMITH University of Georgia, 2009 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2009 © 2009 Alan Layne Smith All Rights Reserved THE INTERSECTION OF THE TIMELESS MOMENT: PHILOSOPHICAL STRUCTURE AND ANTI-STRUCTURE IN T.S. ELIOT’S FOUR QUARTETS by ALAN LAYNE SMITH Major Professor: Adam Parkes Committee: Susan Rosenbaum Aidan Wasley Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia August 2009 iv DEDICATION This work is dedicated with love and gratitude to my family. -
Programme and Abstracts
BSA Auto/Biography Study Group Centre for Biography and Education University of Southampton BSA Auto/Biography Summer Conference Wolfson College Oxford, 11-13 July 2014 People and Places People and Places 23rd Auto/Biography Summer Conference Dear Friend, Welcome to the 23rd Auto/Biography Summer Conference Programme. I think you will agree that we have a programme that looks exciting, varied and interesting. Thanks to all of you for your support and assistance in putting the programme together. Apart from the presentations you will also see that we have good opportunities to socialise, enjoy food and wine in the pleasant ambience of Wolfson College. Very best wishes, Jenny and Michael Forthcoming Attractions Your New Yearbook should be with you end of June/beginning of July The fourth A/B Monograph He, Himself and I: reflections on inter/connected lives by Gayle Letherby available from July 2014 Christmas Conference, The British Library, London 12th December 2015 Summer Conference will be at Dartington Hall, Devon, 16-18th July (Topic Formal and Informal Education: lives, works and relationships) 2 People and Places 23rd Auto/Biography Summer Conference Delegate information Wolfson College, Oxford OX2 6UD Lodge telephone: 01865 274100 Conference Office email: [email protected] telephone: 01865 274083 We are delighted that you are staying with us. Whether you are coming with a conference, or independently, you are most welcome! We hope you find this information useful, in advance of your visit. Your Accommodation Your bedroom is a self-contained en-suite single. There is a Kitchen/Lounge area, shared amongst the other 4 – 9 bedrooms in that “set”. -
Cats Study Guide TABLE of CONTENTS
Name:______________________________ Date: / / 1 Cats Study Guide TABLE OF CONTENTS PLOT SUMMARY………………………………………………………………………………………………………… 3 PRODUCTION HISTORY…………………………………………………………………………………………. 5 CAST LIST & ABOUT THE DIRECTOR……………………………………………………………….. 7 THEATRE ETIQUETTE………………………………………………………………………………………………. 8 STUDENT ACTIVITIES WORD SEARCH…………………………………………………………………………………………… 9 CRITIQUE SHEET…………………………………………………………………………………………. 10 ALIGNMENT TO STANDARDS……………………………………………………………………………… 11 Cats Music by Andrew Lloyd Webber Based on Old Possum's Book Of Practical Cats by T.S. Eliot Directed and Choreographed by Sarah Wilcoxon Other showtimes: 25-26, 28 October 7:30 PM 27 October 2:30 PM Craig Hall Coger Theatre Cats Study Guide 3 Plot Summary Cats begins with the gathering of the cats of the Jellicle tribe onstage to explain a bit about their lives and their purpose. After the group describes how they assign names to each cat in the tribe, they assemble in preparation to take part in the annual festival of cat-dom...they send out invitations to attend the Jellicle Ball! At the Ball, each cat tries to prove to Old Deuteronomy (the leader of the Jellicle tribe) why he or she deserves to go the Heavyside Layer – a heavenly feline afterlife. Munkustrap, the show’s feline narrator, introduces the cats one by one starting with Jennyanydots. The Rum Tum Tugger, the wild and inconstant Elvis-esque cat, interrupts her presentation with his grand entrance; he feels no obligation to other cats and does as he feels. Following Tugger’s exuberant performance, the old and greying Grizabella makes her way through the group causing the tribe to scatter. The other cats dislike the lowly Grizabella and somberly sing of her sad state. As Grizabella sulks off into the night, the fat and renowned Bustopher Jones sings of his elite status among his fellow cats.