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TS Eliot's Secretive Ambition As Poems 1919/1920

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TS Eliot's Secretive Ambition As Poems 1919/1920 Revising a Civilization: T. S. Eliot's Secretive Ambition as Poems 1919/1920 Noriko TAKEDA 1. The collection in chiasmus world including heaven. Fundamentally, the speakers' voice is continued to the final twenty-fourth poem of T. S. Eliot's second collection of poems is the American edition, which is a synlbol ol achievement triplicate; that is, the collection has three distinct but as double dozens. hIoreover, the echoes of the voice interrelated versions, published in 1919 and 1920. reverberate in the reader's mind, all the more because First, the abridged one in pamphlet form was issued the voice is triplicate. by Leonard and Virginia Woolf at the Hogarth Press As a self-corrective bulletin, the interwar in 1919; it was simply entitled Poellzs. In February collection may be characterized by listing the 1920, two versions lollowed, each with almost the journalistic sunlmary of each of the 12 new poems: same 24 poems:' the illustrated London edition, which was entitled Ara Vu.s Prec and published by the 1 . "C;erontion7': recollection ol an old nlan facing Ovid Press,%nd the definitive New York edition, death which was named Poellzs, as with the initial 1919 2 . "Bubank with a Baedeker: Bleistein with a version, and published by Allred - A - Knopf. Cigar": decadent lile in Venice The repeated title, Poern.~, starts the circulative 3 . "Sweeney Erect": ex-combatant's leave transformation of the 191911920 collection, thereby 4 . "A Cooking Egg": aftermath in London foregrounding the oneness of the collection as a 5 . "Le Directeu": French film-maker on the Thames trinity. 6 . "Melange adultBe de tout": spying deployed Published in the interwar session, the collection 7 . "Lune de Miel": promising artist on honeymoon is unstable but fruitful as an antiwar achievement. The 8 . "The Hippopotamus": salvation today repeated reference to wars, such as the Trojan War 9 . "Ilans le Restaurant": cheap trip overseas and the Battle of Thermopylae, is combined with the 10. "Whispers of Immortality": blessing of everyday advent ol the Savior. The bilingual collection is lile dedicated to Jean-Jules Verdenal, a French army 11. "Mr. Eliot's Sunday Morning Service": revelation surgeon who died on the battlefield in 1915." The title of peace in enignlatic three words of the London edition means 12. "Sweeney Anlong the Nightingales": prayer lor "Now I pray you."' The new face in Eliot's poetry, survival Sweeney, is attributed to a real boxer, a simulation of crusader." The collection represents a tragicomedy. In The two 1920 versions are posited as identical the conflict of pessimism, sarcasm, and humor, the by Caroline Behr (89), like many other critics." This heroes of the poems, almost all of whom narrate the is perhaps because both contain almost the same poems, are not successlul but survive in the poetic poems, simultaneously sharing the major territory for 18 Nonko TAKEIIA pul~lication, England and America. There exists, evocative as the succeeding texts in ellipses. Below however, a marked difference with the book size, the the title, the epigraph is frequently long and title, the illustration, and the order of poems, in defanliliarized in various languages, rivaling the main addition to the replacing of one poem ("Ode") by a text. The contracted quatrain lorm ol the text prose poem ("Hysteria"). conceives semantic expansion. For example, a Nonetheless, the enigmatic title in Provenqal, bachelor apartment quietly turns into "snow-deep Aru V~1.sPrrc, tends to escape the average reader's Alps." A French restaurant is suddenly engulfed by recognition, thus almost invisible, as with the basic the Phoenician sea. The thenlatic flexibility is merged title of the 1920 American collection, i.e., Poems. into factuality. From everyday pictures, flashes As for the illustrations, exclusively attached to scientific relinenlent and urban sophistication. Arrr Vz~s Pvec, they are only black and white. Philosophical reasoning blends with theological soar. Moreover, though with complex figures, they From Venice to Oxford, the Latin cohabits with the represent an ornanlental expansion ol the Grst letter ol Anglo-Saxon. Simulating crossed beams, historicisnl each poem in a medieval fashion as a kind of competes with modernism. Idealism is fused into vignettes. They may be considered a reflection of the realism. The overall duality surfaces to the black-and- perplexed reader's unlocused vision at Grst sight ol white embodied by the letters and the sheets ol paper each poem of Eliot's; reputed as difficult, his poems in the self-reproductive book. The interwar collection may well intimidate the reader, and all the more under simulates a funeral altar as a self-effacing duality in the mysterious book title in Proven~al.The decorated conflict. The self-eflacernent equals, however, a letters are also confusing and attractive, with transformation for sublimation. The Trinitarian unidentifiable figures, whether workers or machines. collection's structural principle is chiasmus within Neither the title nor the vignettes may be seen as and beyond each poem. inherent in the collection itself. Then, the dazzlingly The duality, which weaves up the poetic unity, invisible Am V~1.sPPYX becorrles the American version converges itsell into the 1920 American version. With simply named Poerns, if the dillerence in the order ol the covering title, Poems, the conclusive version lines poems is not taken into consideration. up the 12 new poems with the old poems in the same In Aru Vzts Prrc, the square vignettes of alnlost number Iron1 the author's successlul collection, the same size label the poems identical and Prr&cli UM~Other Oh,servution,s,published previously replaceable, making the order unnecessary. From in 1917. another angle, the vignettes efface all the poems Eliot's bilingual 191911920 collection is not so including themselves. highly appreciated as his later reputed works The Eliot's second collection of poems may thus be Wrrstr Land and Fozw Qz/urtrts. Nevertheless, the viewed as bilurcated into the 1919 and 1920 versions, playlul collection embodies dandyism, without the latter 1920 version duplicated as two subtexts, i.e., lacking philosophical depth, which even refers to Avu Vza Pvec and Poems. Buddhist metempsychosis. Dandyism is symbolized Synlbolized by the sell-copied textual body, by "a glass of brandy," a gilt lrom a mermaid, Doris. Eliot's 191911920 collection is, in fact, characterized The semantic aura sparkled from the economized by duality for unity. The dominant form is quatrain, expression sets up the collection as a rhythmic and but the longest poem in the 1920 sequence, engaging artifact, while, at the same time, making "Gerol~tion,"begins with the 14-line stanza collstituting itself a partial symbol of avant-gardism. Sunlnled up a sonnet. Diversity contrasts with singularity. The by the initial poem "Gerontion"'~ metaphor, "a titles filled with anonymous proper nouns are as wilderness ol mirrors," the satiric collection is an Ke~isinga Civilization 19 interwar showcase ol T. S. Eliot's techniques lor evokes a broken egg, named Hunlpty Dumpty, the conscientious refinement. At the time of publication, hero ol a popular nursery rhyme: in particular, the task for defense and peace charged by the collection nlust have been pressing under the Hunlpty Dumpty sat on a wall, menace ol another World War. The Trinitarian Hunlpty Dumpty had a great [all. 191911920 collection may be qualified as symbolic in All the king's horses, the most positive way among T. S. Eliot's artworks, And all the king's men, while simultaneously condensing the features ol the Couldn't put Hunlpty together again. (Hirano 24- Eliotian poetry, as is discussed in the following 25) sections. In other words, the collection represents the poet's will in the double sense of testament and A suite of the characters in Eliot's "A Cooking Egg," ambition, foreboding another war. At its publication, such as "Lucretia Borgia," "great great aunts," and Eliot was in his early 30s, at the age still eligible for "Sir Alfred Mond," correspond to the "men" and enlistment. "horses" in the nursery rhyme, the metamorphoses of an egg. The heroine of the poem, "Pipit," is closely 2. The intertextual fixation related to the broken hero of the rhyme, repeating "pi" in her name, just like the hero's redundant name Besides the usage of two lanppages, English and "Humpty 1)umpty." Both the protagonists open the French, an extensive device lor inlposing duality in poem. Furthermore, she was sitting Iron1 the the 191911920 collection corresponds to the intertextual beginning of the poem, just like Hunlpty who "sat on superposition. Numerous quotations, picked up by a wall." In the central image ol the oval, or circular many critics, are discrete examples.' As a covering egg, the poem is a representative of the trilogic intertext, the Bible, particularly the Apocalypse with collection, foregrounding making, i.e., poiesis, through frequent suggestive numerals, should be mentioned the cooking of language made into various characters. first. The Shakespearean echo is reverberated in the The titling word, "Cooking," is ambiguous and thus 1920 sequence's second poem whose Jewish meaningful. Grammatically, it may be an adjective, or protagonist in Venice, Bleistein, overlaps the a present participle. According to Southam (75), as a merchant, Shylock. phrase, "cooking eggs are usually those which are too In the prevailing duality of the collection, the old to be eaten." The old hero, Humpty Ilumpty, is long gerontologic poem insinuates the older roots ol evoked. The poem also heightens the duality of the English literary history. The contrastive two poems, collection, spreading a constellation of historical "A Cooking Egg" and "The Hippopotamus," which figures such as Sir Philip Sidney and Coriolanus. are apparently intended for children, can be thought to Incidentally, Humpty Dunlpty is a hero who became embody the traditional nursery rhymes in reworked famous in Lewis Carroll's Thvozlgh the Looking forms: the former as an adulterated story on Humpty Glass, adopted from the nursery rhyme.
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