TS Eliot a Review of the Life and Poetry of the Ground-Breaking Modernist Poet 1
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Purpose Washington University in St
Purpose Washington University in St. Louis 2017–18 Annual Report $711.8M 25 Research support 2017–18 Nobel laureates associated with the university 4,182 15,396 Total faculty Total enrollment, fall 2017 7,087 undergraduate; 6,962 graduate and professional; 20 1,347 part-time and other Number of top 15 graduate and professional programs U.S. News & World Report, 2017–18 30,463 Class of 2021 applications, first-year students entering fall 2017 18 Rank of undergraduate program 1,778 U.S. News & World Report, 2017–18, National Universities Category Class of 2021 enrollment, first-year students entering fall 2017 138,548 >2,300 Number of alumni addresses on record July 2017 Total acres, including Danforth Campus, Medical Campus, West Campus, North Campus, South Campus, 560 Music Center, Lewis Center, and Tyson Research Center $7.7B Total endowment as of June 30, 2018 22 Number of Danforth Campus buildings on the National 16,428 Register of Historic Places Total employees $248M Amount university provided in undergraduate $3.5B and graduate scholarship support in 2017-18 Total operating revenues as of June 30, 2018 4,638 All degrees awarded 2017–18 TABLE OF CONTENTS 2 Letter from the Chair and Chancellor 18 Purpose 38 Financial Highlights 4 Leading Together 34 Year in Review 4 | Purpose LETTER FROM THE CHAIR AND THE CHANCELLOR Mark S. Wrighton, Chancellor, and Craig D. Schnuck, Chair, Board of Trustees The campaign has laid On June 30, 2018, we marked the conclusion of Leading Together: The Campaign for the foundation for a Washington University, the most successful fundraising initiative in our history. -
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. -
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. -
175 Years in Quincy, Illinois~~~ 100 Years at 1479 Hampshire Street
QUINCY UNITARIAN CHURCH 175 Years in Quincy, Illinois 100 Years at 1479 Hampshire Street Dienna Danhaus Drew & Frieda Dege Marshall Photography Editor - Lisa Wigoda © 2014 Dienna Danhaus Drew & Frieda Dege Marshall QUINCY UNITARIAN CHURCH 1479 Hampshire Street Quincy, Illinois 62301 www.uuquincy.org Printed March 2014 Priority One Printing and Mailing Quincy, Illinois ~ DEDICATION ~ This book is written with appreciation to my husband, Jim Drew, for his love and patience and to my Aunt Frieda for her detailed church histories that show us the warmth, "jl dedication, and activities ofour church members through many years. ' 1 ~ % ~ ARTISTS and PHOTOGRAPHERS ~ Sharon Buzzard - Dogwood parade float, back color page Drew-Danhaus-pages 3T, 22T, 28T, 32B, 33, 41T, 47, 49T Herman Dege - Junior Choir, page 18T Marshall family- 42B John Maxwell- page 29, 1975 large group Carol Meyers - Made the Religious symbols banner, inside back cover Quincy Unitarian Church archives - 1, 3B, 9, 12, 13, 15, 17, 18B, 19, 20, 21, 22B, 23T 25,27,28B,31,35,39,41B,43,44,46B Alan Starkey - Welded steel Chalice sculpture on title page Fred Stephan - Color photos of the sanctuary, inside front cover; the church addition, back cover Unitarian Universalist Minister Files, bMS 1446, Andover-Harvard Theological Library, Harvard Divinity School, Cambridge, Massachusetts - photo of Lyman Greenman, page 7; Celian Ufford, page 16; and Daniel Sands, page 16 Ray White - Rev. Crist, page 23B; Frances Morrison, page 38 Lisa Wigoda, Dedication page, and photos on pages 32T, 34, 37, 40, 42T, 46T, 49B, 50, 51, 52, 53, 54, 55, 56; color photos: Front of the church, four church windows, chalice, organ, plant sale, flowering trees on back cover. -
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. -
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. -
SERMON: “A L Based on Part V of “East Coker” by T.S. Eliot by Dr. John Tamilio III the First Unitarian Church of St. Louis
SERMON: “A LIFETIME BURNING IN EVERY MOMENT” Based on Part V of “East Coker” by T.S. Eliot By Dr. John Tamilio III The First Unitarian Church of St. Louis Sunday, September 27, 2015 © 2015, Dr. Tamilio I bring you greetings from the members and friends of the United Church of Christ in Canton, Massachusetts, where I serve as their Pastor, and from my colleagues at Salem State University, Endicott College, and Andover Newton Theological School where I serve as an assistant professor of philosophy, theology, and literature. I also bring words of deepest gratitude from the T.S. Eliot Society for your generosity in hosting the Sunday program that is part of our annual meeting. It is an honor to preach at the spiritual home of the young T.S. Eliot — and that of his father (Henry Ware Eliot) and his grandfather and founder (William Greenleaf Eliot) before him. It is also strange and a bit liberating to be preaching in a Unitarian Universalist Church. It’s a bit of a guilty pleasure, I must confess. As you may know, we in the United Church of Christ (the UCC) are often referred to as “Unitarians Considering Christ.” This is much better than the name that inevitably arises when someone misspells the word “united” and we become “The Untied Church of Christ.” While my theology is a bit more “traditional” than most UCC pastors, my deep affinity for anything Eliot makes us sisters and brothers of a different mother. In my tradition, the “readings” for worship always come from Scripture: the Hebrew Bible as well as the New Testament. -
Unit-42 Modern British Poetry an Introduction
This course material is designed and developed by Indira Gandhi National Open University (IGNOU), New Delhi. OSOU has been permitted to use the material. Master of Arts ENGLISH (MAEG) MEG-02 BRITISH DRAMA Block – 7 Murder in the Cathedral UNIT-1 T.S. ELIOT’S ESSAYS AND OTHER WORKS RELATED TO THE PLAY UNIT-2 BACKGROUND, PRODUCTION AND PERFORMANCE HISTORY UNIT-3 CRITICAL APPROACHES TO THE PLAY PART-I UNIT-4 CRITICAL APPROACHES TO THE PLAY PART-II UNIT-5 GENERAL COMMENTS AND OTHER READINGS UNIT 1 T.S. ELIOT’S ESSAYS AND OTHER WORKS RELATED TO THE PLAY Structure 1.0 Objectives 1.1 Introduction: Life and Works of T.S. Eliot 1.2 Dramatic Experiments : Sweeney Agonistes and The Rock 1.3 Eliot‘s essays relevant to his plays 1.4 Eliot‘s Poetic dramas 1.5 Exercises 1.0 OBJECTIVES This Unit will familiarise you with T.S. Eliot‘s: a. Life and works b. Dramatic experiments : Sweeney Agonistes and The Rock c. Essays relevant to his plays; and his d. Poetic dramas 1.1 INTRODUCTION : LIFE AND WORKS OF T.S. ELIOT Thomas Steams Eliot was born in St. Louis, Missouri, on 26th September, 1888. William Green Leaf Eliot (Eliot‘s grandfather from his father‘s side) was one of the earliest Eliot settlers in St. Louis. He was a Unitarian minister. Unitarianism arose in America in the mid eighteenth century as a wave against Puritanism and its beliefs in man‘s innate goodness and the doctrine of damnation. Unitarianism perceived God as kind. In 1834 William Green Leaf Eliot established a Unitarian church in St.Louis. -
EIIRJ) ISSN 2277-8721 Bi-Monthlyelectronic Reviewed Journal July/Aug 2012
Electronic International Interdisciplinary Research Journal (EIIRJ) ISSN 2277-8721 Bi-monthlyElectronic Reviewed Journal July/Aug 2012 T.S. ELIOT: INDIAN INFLUENCES AND HIS FAITH Dr. Asha F. Solomon Dept. of English Montfort College, Lucknow Abstract Thomas Sterns Eliot was an American by birth, but an Englishman by adoption. He grew to become a naturalized British citizen. Eliot's interest in Indian thought came largely through the influence of his teachers at Harvard. The most important influence in Eliot's Harvard days seems to have been Irving Babbitt whose system of thought was based upon the study of the Pali manuscripts, the earliest authentic Buddhist documents. In The Waste Land there are two well-known examples of Hindu influence both coming at the end of the poem in the section entitled "What the Thunder Said." At the very end we find the triple use of the word ‘shanti’ which is both Vedic in origin and Upanishad in content. It pacifies all sorts of anguish, anxiousness, hesitation, doubt of our head and makes us calm. The Christian scheme seemed the only possible scheme which found a place for values which he had to maintain or perish. , the belief, for instance, in holy living and holy dying, in sanctity, chastity, humility, austerity. He expressed the discovery of a faith that would last. He felt that modern life was rife with futility and anarchy. It was his interest in the institution of society that led him to see the importance of communal worship, and the significance of religious practice for all nations, as well as for individual souls. -
Simply Eliot
Simply Eliot Simply Eliot JOSEPH MADDREY SIMPLY CHARLY NEW YORK Copyright © 2018 by Joseph Maddrey Cover Illustration by José Ramos Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-25-4 Brought to you by http://simplycharly.com Extracts taken from The Poems of T. S. Eliot Volume 1, The Complete Poems and Plays, The Complete Prose of T. S. Eliot: The Critical Edition, The Letters of T. S. Eliot, Christianity and Culture, On Poetry and Poets, and To Criticize the Critic, Copyright T. S. Eliot / Set Copyrights Limited and Reproduced by permission of Faber & Faber Ltd. Extracts taken from Ash Wednesday, East Coker and Little Gidding, Copyright T. S. Eliot / Set Copyrights Ltd., first appeared in The Poems of T. S. Eliot Volume 1. Reproduced by permission of Faber & Faber Ltd. Excerpts from Ash Wednesday, East Coker and Little Gidding, from Collected Poems 1909-1962 by T. S. Eliot. Copyright 1936 by Houghton Mifflin Harcourt Publishing Company. Copyright renewed 1964 by Thomas Stearns Eliot. Reprinted by permission of Houghton Mifflin Harcourt Publishing Company. All rights reserved. Extracts taken from Murder in the Cathedral, The Cocktail Party, The Confidential Clerk, and The Elder Statesman, Copyright T. -
Ts Eliot “Love Song of J. Alfred Prufrock”
THE COURSE MATERIAL IS DESIGNED AND DEVELOPED BY INDIRA GANDHI NATIONAL OPEN UNIVERSITY (IGNOU), NEW DELHI, OSOU HAS BEEN PERMITTED TO USE THE MATERIAL. BESIDES, A FEW REFERENCES ARE ALSO TAKEN FROM SOME OPEN SOURCES THAT HAS BEEN ACKNOWLEGED IN THE TEXT. BACHELOR OF ARTS (HONOURS) IN ENGLISH (BAEG) BEG-7 20th Century British literature Block-2 20th Century Poems Unit 1 T.S. Eliot “Love Song of J. Alfred Prufrock” Unit 2 W.B. Yeats : “Second Coming” Unit 3 Wilfred Owen: “Strange Meeting” Unit 4 Siegfried Sassoon, “Suicide in The Trenches” UNIT 1: T.S. ELIOT “LOVE SONG OF J. ALFRED PRUFROCK” Structure 1.0 Objectives 1.1 Introduction 1.2 About T.S. Eliot 1.3 Poem 1.4 Analysis 1.5 Check Your Progress 1.6 Let us Sum up 1.0 OBJECTIVE After reading this poem you will be able to: Examine the tortured psyche of the prototypical modern man—overeducated, eloquent, neurotic, and emotionally stilted. Prufrock, the poem’s speaker, seems to be addressing a potential lover, with whom he would like to “force the moment to its crisis” by somehow consummating their relationship. But Prufrock knows too much of life to “dare” an approach to the woman: In his mind he hears the comments others make about his inadequacies, and he chides himself for “presuming” emotional interaction could be possible at all. 1.1 INTRODUCTION The poem moves from a series of fairly concrete (for Eliot) physical settings—a cityscape (the famous “patient etherised upon a table”) and several interiors (women’s arms in the lamplight, coffee spoons, fireplaces)—to a series of vague ocean images conveying Prufrock’s emotional distance from the world as he comes to recognize his second-rate status (“I am not Prince Hamlet’).