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The Essence of the Upanishad in T. S. Eliots Poems and Plays
The Essence of the Upanishad in T. S. Eliots Poems and Plays --Damaru Chandra Bhatta Associate Professor of English, Tri-Chandra Campus, Tribhuvan University, Kathmandu, Nepal Email: [email protected] DOI: https://doi.org/10.3126/litstud.v34i01.39520 Abstract This paper attempts to explore the essence of the principal Upanishads of the Hindu philosophy in T. S. Eliot’s selected seminal poems and plays. The principal Upanishads are the Ishavasya, Kena, Katha, Prashna, Mundaka, Mandukya, Taittiriya, Aitareya, Chhandogya, Brihadaranyaka and Shvetashvatara. The famous poems are “Ash- Wednesday” and Four Quartets, and the famous plays are Murder in the Cathedral, The Family Reunion, and The Cocktail Party under scrutiny in this paper. The essence of the principal eleven Upanishads is that Brahman is source of all creations including the human beings, who get results according to their karma and are born again and again until they get moksha (liberation) through the self-realization of Brahman; therefore, our goal should be to attain moksha or Brahman, only through which we can experience perpetual peace and unbound bliss. Likewise, Eliot suggests that we should attempt to go back to our “Home” (Brahman, also a symbol of peace and bliss), for which we must attempt several times until we become qualified through the non-dual knowledge of “the still point” (Brahman) and its self-realization along with the spiritual practices of renunciation and asceticism. The practice of unattached action done without the hope of its fruit (nishkam karma) and unselfish devotion (Bhakti) are secondary paths to attain liberation. Since the path of spiritual knowledge can make us realize Brahman immediately, Eliot prefers this path of knowledge to the progressive or indirect paths of action and devotion. -
The Ferrar Family of Little Gidding C.1625-1637
THE GOOD OLD WAY REVISITED: The Ferrar Family of Little Gidding c.1625-1637 Kate E. Riley, BA (Hons) This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia, School of Humanities, Discipline of History, 2007. ABSTRACT The Good Old Way Revisited: The Ferrar Family of Little Gidding c.1625-1637 The Ferrars are remembered as exemplars of Anglican piety. The London merchant family quit the city in 1625 and moved to the isolated manor of Little Gidding in Huntingdonshire. There they pursued a life of corporate devotion, supervised by the head of the household, Nicholas Ferrar, until he died in December 1637. To date, the life of the pious deacon Nicholas Ferrar has been the focus of histories of Little Gidding, which are conventionally hagiographical and give little consideration to the experiences of other members of the family, not least the many women in the household. Further, customary representations of the Ferrars have tended to remove them from their seventeenth-century context. Countering the biographical trend that has obscured many details of their communal life, this thesis provides a new, critical reading of the family’s years at Little Gidding while Nicholas Ferrar was alive. It examines the Ferrars in terms of their own time, as far as possible using contemporary documents instead of later accounts and confessional mythology. It shows that, while certain aspects of life at Little Gidding were unusual, on the whole the family was less exceptional than traditional histories have implied; certainly the family was not so unified and unworldly as the idealised images have suggested. -
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. -
Unit-1 T. S. Eliot : Religious Poems
UNIT-1 T. S. ELIOT : RELIGIOUS POEMS Structure 1.0 Objectives 1.1 Introduction 1.2 ‘A Song for Simeon’ 1.3 ‘Marina’ 1.4 Let us sum up 1.5 Review Questions 1.6 A Select Bibliography 1.0 Objectives The present unit aims at acquainting you with some of T.S. Eliot’s poems written after his confirmation into the Anglo-Catholic Church of England in 1927. With this end in view, this unit takes up a close reading of two of his ‘Ariel Poems’ and focuses on some traits of his religious poetry. 1.1 Introduction Thomas Stearns Eliot was born on 26th September, 1888 at St. Louis, Missouri, an industrial city in the center of the U.S.A. He was the seventh and youngest child of Henry Ware Eliot and Charlotte Champe Stearns. He enjoyed a long life span of more than seventy-five years. His period of active literary production extended over a period of forty-five years. Eliot’s Calvinist (Puritan Christian) ancestors on father’s side had migrated in 1667 from East Coker in Somersetshire, England to settle in a colony of New England on the eastern coast of North America. His grandfather, W.G. Eliot, moved in 1834 from Boston to St. Louis where he established the first Unitarian Church. His deep academic interest led him to found Washington University there. He left behind him a number of religious writings. Eliot’s mother was an enthusiastic social worker as well as a writer of caliber. His family background shaped his poetic sensibility and contributed a lot to his development as a writer, especially as a religious poet. -
Friends of Little Gidding Newsletter
A VIEW FROM LITTLE GIDDING Tom Gillum shares a personal view on Christian gentleness. FRIENDS OF Since my earliest memories, I have been reminded of my father’s school motto: ‘Manners maketh man’ – at the heart of being a ‘gentleman’. In a nation which LITTLE GIDDING has taken pride in this, it is a bit illogical I think, that in an attempt to help us NEWSLETTER identify more easily with him, some preachers have wanted to emphasise that he is not: gentle Jesus meek and mild. I understand why. May 2009 ‘Gentleness is a quality hard to fi nd in a society which admires toughness and roughness. We are encouraged to get things done fast, even when people get SPRING AND SUMMER AT LITTLE GIDDING hurt in the process. Success, accomplishment and productivity count. Gentle is the one who is attentive to the strengths and weaknesses of the other and enjoys being together more than accomplishing something. A gentle person treads carefully, looks tenderly and touches with reverence. A gentle person knows that true growth requires nurture, not force.’ (Henri Nouwen, Bread for the Journey, 6 February) Would it not be very good if English Christians could again be known for their gentleness? It is part of the risky way of relating in the way of Jesus. St Paul knew gentleness to be a primary characteristic of the Master (2 Corinthians 10.1). Easily hurt, humans cannot be vulnerable with one whose hands are not gentle. It may well be preferable to bottle up pain and guilt unless words of forgiveness are heard spoken with gentleness. -
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. -
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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 -
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
The Newsletter of the International T. S. Eliot Society Number 101 Summer 2020 CONTENTS 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. 100), we Readings II published a set of six first-response pieces to the letters T. S. Eliot wrote to Emily Eliot’s Ghost Story, Hale from the 1930s to the 1950s. In this number of our newsletter, we follow by Jewel Spears Brooker 1 that collection of responses with three more offerings from those readers fortunate enough to visit Princeton’s Firestone Library before the coronavirus necessitated Unbuttoned and Unimportant, the closing of the library and the shutting of this newly opened archive. We are by Anthony Cuda 2 grateful to this issue’s contributors—Jewel Spears Brooker, Anthony Cuda, and Love’s Errors and Effacements, Gabrielle McIntire—for sharing their early responses. We look forward to the day by Gabrielle McIntire 6 when Firestone and its archives are open to us all; we trust that these responses Program of the 41st Annual will illuminate aspects of this important, extensive, extraordinarily complex Meeting of the International correspondence. T. S. Eliot Society 3 Reviews Eliot’s Ghost Story: Reflections on his Letters Faber & Faber: The Untold Story, to Emily Hale by Toby Faber Rev. by David Chinitz 5 Jewel Spears Brooker Christian Modernism in an Age of Eckerd College I feel like the ghost of youth Totalitarianism, by Jonas Kurlberg, At the undertakers’ ball. Rev. by Elena Valli 7 “Opera,” Nov. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) The Compunctuous Poet, Cultural Ambiguity and Hebrew Poetry in Muslim Spain [Review of: R. Brann (1995) -] Schippers, A. Publication date 1995 Document Version Final published version Published in Unknown Link to publication Citation for published version (APA): Schippers, A. (1995). The Compunctuous Poet, Cultural Ambiguity and Hebrew Poetry in Muslim Spain [Review of: R. Brann (1995) -]. In R. Brann (Ed.), Unknown The John Hopkins University Press. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:07 Oct 2021 201 BOEKBESPREKINGEN — ARABICA-ISLAM 202 muwassah as an universal artistic phenoumenon, comparing a means of correspondence in courtly circles and among it with related phenoumena in other literatures and daily life. friends. One of the first poets, who made a living out of Jacque"Hoe Bismuth investigates the influence of the Italian poetry, by travelling around and singing the praise of Jewish dolce stil novo poets, such as Dante Alighieri, in contrast viziers and Maecenates, was the poet Ibn Khalfun (ca. -
“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. -
Guido Guinizzelli
Guido Guinizzelli: Pivotal Poet of Medieval Italian Literature By Peter Lucia, B.A., M.A. As ever, dedicated to Angela De Vito-Lucia Copyright © 2020, Peter Lucia All rights reserved ISBN: 0-9741139-4-8 ISBN 13: 978-0-9741139-4-4 Peter Lucia Projects, Tinton Falls, NJ This work originated in an honors essay by Peter Lucia, Italian Department, Columbia University, 1984 Cover illustration adapted from La Dame de Coeur, Bibliothèque de France, Christine de Pizan. Épître d’Othéa. Paris, vers 1406. !2 Sections Index Introduction 3 Note on the Translations 5 The Poems, Translations and Commentary 7 Two Fine Translations of Guinizzelli’s Poems 85 Bibliography 89 !3 Introduction Guido Guinizzelli di Magnano was born about 1230 in Bologna and died in Monselice in 1276. His importance in Italian literature is that his small body of poems (only about twenty) represents the link between two styles: that of the so-called “Sicilian School,” which represents the official origin of Italian literature (to which one adds a nod to the various poets of central Italy and the still older French troubadours), and that of the Dolce Stil Nuovo (the “Sweet New Style”), which gave Italy its first truly elevated poetry. Actually, among his twenty poems only a few award him his singular position: they caught the eye of Dante, the movement’s most distinguished representative, who was inspired by Guinizzelli’s exulted use of the common tongue (the vernacular or Il volgare) in service of an advanced spiritualization of Love— and his application a kind of scientific rationale to the workings of it all.