The Conversion of T.S. Eliot
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EXPERIMENT: a Manifesto of Young England, 1928- 1931 Two Volumes
EXPERIMENT: A Manifesto of Young England, 1928- 1931 Two Volumes Vol. 2 of 2 Kirstin L. Donaldson PhD University of York History of Art September 2014 Table of Conents Volume Two Appendix: Full Transcript of Experiment Experiment 1 (November 1928) 261 Experiment 2 (February 1929) 310 Experiment 3 (May 1929) 358 Experiment 4 (November 1929) 406 Experiment 5 (February 1930) 453 Experiment 6 (October 1930) 501 Experiment 7 (Spring 1931) 551 260 EXPERIMENT We are concerned with all the intellectual interests of undergraduates. We do not confine ourselves to the work of English students, nor are we at pains to be littered with the Illustrious Dead and Dying. Our claim has been one of uncompromising independence: therefore not a line in these pages has been written by any but degreeless students or young graduates. It has been our object to gather all and none but the not yet ripe fruits of art, science and philosophy in the university. We did not wish so much that our articles should be sober and guarded as that they should be stimulating and lively and take up a strong line. We were prepared in fact to give ourselves away. But we know that Cambridge is painfully well-balanced just now (a sign, perhaps of anxiety neurosis) and so we were prepared also to find, as the reader will find, rather too guarded and sensible a daring. Perhaps we will ripen into extravagance. Contributions for the second number should be send to W. Empson of Magdalene College. We five are acting on behalf of the contributors, who have entrusted us with this part of the work. -
Issue 5: 2021
Issue 5: 2021 The Taizé Pentecost Window Exploration: This issue was shaped by: Rob Rutherford Eluned Hallas Louise Heffernan Ideas for future content to: Candle@ abingdonparish.org.uk Parish Office: St Helen’s Court, Abingdon. OX14 5BS Tel: 01235 520144 07395943957 E-mail: administrator @sthelens- abingdon.org.uk The moon landing The scientific base at the south pole The deepest part of the ocean Martian landscape taken by the perseverance rover Voyager 1 – the furthest spacecraft from Earth - launched 1977 Rodin’s ‘the thinker’ A Candle in the Window 2021 Issue 5 We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time* T.S. Eliot Susan Halstead In every sense, T. S. Eliot’s life was that of an explorer – in some respects by choice, in others unwillingly. His studies led him from his birthplace of St. Louis to Harvard and to Paris to study philosophy at the Sorbonne. In 1914 he planned to travel to Marburg, but with the outbreak of the First World War his plans changed, and instead – against his parents’ wishes – he went to Oxford to take up a scholarship at Merton College. Restless and disliking ‘university towns and university people …Oxford is very pretty, but I don’t like to be dead’, after a year he moved to London under the patronage of Ezra Pound. He failed to return to Harvard to complete his doctorate, and without his parents’ knowledge, in June 1915, he embarked on what Voltaire termed ‘the only adventure open to the cowardly’ – marriage. -
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. -
T. S. Eliot Collection
T. S. Eliot Collection Books and Pamphlets (unless otherwise noted, the first listing after each Gallup number is a first edition) The Love Song of J. Alfred Prufrock in Poetry. A Magazine of Verse. Edited by Harriet Monroe. June 1915. Gallup C18. The first appearance of the poem. Near fine copy. A2 Ezra Pound: His Metric and Poetry, Alfred A. Knopf, 1917 [i.e. 1918]. Good copy, a bit worn and faded. A4 Ara Vus Prec, The Ovid Press, 1920. Very good copy, light wear. Poems, Alfred A. Knopf, 1920 (first American edition), Head of spine chipped, otherwise very good. A5 The Sacred Wood: Essays on Poetry and Criticism. Alfred A. Knopf, 1921 (American issue). Fine in chipped dust jacket. ----- Alfred A. Knopf, 1930 (American issue). Good, no dust jacket. The Waste Land in The Dial, Vol. LXXIII, Number 5, November 1922. Gallup C135. Published “almost simultaneously” in The Criterion. Extremities of spine chipped, otherwise a very good copy. A8 Poems: 1909-1925, Faber & Gwyer Ltd., 1925 (first edition, ordinary copies). Very good, no dust jacket. ----- Harcourt, Brace and Company, 1932 (first American edition). Good only, no dust jacket. Poems: 1909-1925. Faber & Faber, 1932. Reset edition. Fine in dust jacket. 1 T. S Eliot Collection A9 Journey of the Magi, Faber & Gwyer Ltd., 1927. Very good. ----- Faber & Gwyer Ltd., 1927 (limited copies). Fine copy. ----- William Edwin Rudge, 1927 (first American edition). Copyright issue, one of only 27 copies. Fine copy. A10 Shakespeare and the Stoicism of Seneca, Humphrey Milford, Oxford University Press, 1927. Very good. A11 A Song for Simeon, Faber & Gwyer Ltd., 1928. -
Temtestella1971.Pdf
REPETITION IN POETRY OF T, S. ELIOT THROUGH =-WEDNESDAY A SDlINAR PAPER Presented to the Faculty of the Graduate College Wisconsin State University--La Crosse In Partial Fulfillment of the Requirements for the Degree Master of Science M Stelh Margaret Temte January 1971 WISCONSIN STATE UNIVERSITY--LA CRQSSE CANDIDATE: Stella Margaret Temte f recommend acceptance of this seminar paper to the Graduate College in partial fulfillment of this candidate's requirements for the degree Master of Science in Teach- . Date Seminar Paper Advisor This seminar paper is approved for the Graduate College: Date ' REPETITION IN POETRY OF T. S. ELIOT THROUGH -ASH-WEDNESDAY ABSTRACT With a background of study in the poetry, plays, essays, and literary criticism of T. S. Eliot, I was intrigued by his commit- ment to the potenti- of language and the "music" of poetry. I particularly liked his use of repetition and realized it was a prominent rhetorical device in his poetry and plays. To write a seminar paper about Eliot's use of repetition it was necessary to study the many kinds of repetition as identified in classical rhetoric and to study their uses as described by authors and critics. Very early I became aware that 9 would have to limit my field to the poetry, excluding the plays; further, to selected poems; and finally, to selected poems, excluding the long -Four Quartets. There were several ways of approaching the task. I chose to analyze the poems as individual entities and to analyze them with reference to the repetition as it directs the reader to meaning and to what Eliot called the "deeper, unnamed feeline. -
The Journey of the Magi: a Lyric Monologue for First and Second Voices and Three-In-One Character(S)
Journal of Literature and Art Studies, December 2017, Vol. 7, No. 12, 1511-1529 doi: 10.17265/2159-5836/2017.12.003 D DAVID PUBLISHING The Journey of the Magi: A Lyric Monologue for First and Second Voices and Three-in-One Character(s) Robert Keir Shepherd Universidad Autónoma de Madrid, Madrid, Spain Although T. S. Eliot’s “The Journey of the Magi” is a religious poem in the profoundest sense, the title of my paper is intended to give only a sly wink at Trinitarianism. My real object is to explain how Eliot contrived to manufacture a poem which, at first glance, resembles a dramatic monologue (generally understood as a poem for one voice—that of a historical/fictional/ mythological character addressing a silent listener, group of listeners or reader), yet which is slowly revealed as a lyrical monologue (for the poet’s own voice) which yet—and this quite intentionally—contains considerably more than mere echoes of another two speakers: namely a Magus and the biblical translator and, most famously, sermon writer Archbishop Launcelot Andrewes (1555-1626) court preacher to James 1 and Charles 1 of England. I wish to show how Eliot, in writing what is ultimately confessional verse, goes out of his way to hoodwink the reader by allowing the first two of his “{The} Three Voices of Poetry” (1957) to overlap with and then incorporate the third. His own descriptions of these voices are (i) lyric, defined as “the poet talking to himself”, (ii) that of the single speakerwho gives a (dramatic) monologue1 “addressing an {imaginary} audience in an assumed voice” and (iii) that of the verse dramatist “who attempts to create a dramatic character speaking in verse when he {i.e. -
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 -
The Language of a Voidance in Ts Eliot's Treatment of the Birth And
124 Religion, Literature and the Arts Project 'THE STILL UNSPEAKING AND UNSPOKEN WORD': THE LANGUAGE OF A VOIDANCE IN T.S. ELIOT'S TREATMENT OF THE BIRTH AND DEATH OF CHRIST' Charlotte Clutterbuck Whenever T.S. Eliot writes about the Crucifixion in his poetry, he distances jt by setting it in the past or the future, 1 or by using metaphor and grammatical devices. Only in The Rock does he mention the subject directly in main clauses, and then the reference is liturgical: And the Son of Man was not crucified once for all ... But the Son of Man is crucified always ... Chorus VI In Eliot's poetry, Christ is usually passive, and rarely the centre of attention. Eliot minimises Christ's humanity, never using the word 'Jesus', and only once, in Gerontion, using '011'ist'; instead he speaks of 'the Infant' or 'the Word'. His poetry is not devotional, and shows no compassion for the suffering man or the new-born baby, but concentrates on the theological meaning of Christ's life, on his divinity rather than his humanity. One reason for this may be Eliot's lifelong discomfort with human feelings,2 especially those surrounding 'Birth, and copulation, and death' (Sweeney Agonistes). Another may be the conflicting Catholic and Puritan traditions behind his own faith. Moreover, as Graham Hough has pointed out, the fragmentary mefuods of modernist poetry are not suited to Christian poetry, so that 'Eliot was a poet and a Christian, but he was never a Clu:istian poet - as George Herbert was a Christian poet'. -
'Doctrine' and 'Poetry' in TS Eliot Tony Sharpe
Contribution to Religion and Myth in the Poetry of T.S. Eliot, eds. Michael Bell and Scott Freer (Newcastle: Cambridge Scholars, 2016) 1 Feb 2016. [Published July 2016, pp. 27-47] ‘Somehow Integrated’: ‘Doctrine’ and ‘Poetry’ in T.S. Eliot Tony Sharpe I write this as the semi-centenary occurs of Eliot’s death in January 1965; his wife Valerie’s name has now joined his on the oval tablet at St Michael’s, East Coker, which invokes our ‘charity’ to pray for the repose of their souls. In suddenly-accelerated publication, five volumes of his letters and two of his collected prose have appeared in recent years; a new biography is imminent and a scholarly edition of the complete poetry in prospect. All this offers opportunity to take stock: the time, as might be said, is now propitious. Yet as early as 1938, Wallace Stevens was describing Eliot’s ‘prodigious reputation’ as ‘a great difficulty’ for any reader wishing to approach him ‘out of the pew’.1 Whether this surge of scholarship will increase or abate charitable impulses toward the poet and his oeuvre remains to be seen: Eliot’s visible presence in St Michael’s (not the only church in which he is commemorated), together with the accumulating volumes of his writing, could be viewed as part of an official installation already problematical, as hinted in Stevens’s mischievous formulation. For it almost became a truth universally acknowledged, that Eliot’s poetry was damaged by his Christianity; his faith was travestied as part of an intellectual evasion through which he accepted answers rather than posed questions, and in so doing lost contact with the powerful uncertainties and radical sources of unknowingness that had generated his earlier verse. -
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. -
T.S.Eliots “Journey of the Magi”
T.S.EliotsT.S.Eliots ““JourneyJourney ofof thethe MagiMagi ”” • Submitted By • Vipanjeet AboutAbout thethe poetpoet • Thomas Stearns Eliot (1888 –1965) was an essayist, publisher, playwright, literary and social critic and one of the twentieth century's major poets. • Eliot attracted widespread attention for his poem The Love Song of J Alfred Prufrock (1915), which is seen as a masterpiece of the Modernist movement. It was followed by some of the best- known poems in the English language, including The Waste Land (1922), The Hollow Men (1925), Ash Wednesday ( 1930) and Four Quatrets (1945). He is also known for his seven plays, particularly Murder in the Cathedral (1935). He was awarded the Nobel Prize in Literature in 1948, for his outstanding, pioneer contribution to present-day poetry. AboutAbout thethe PoemPoem • The Journey of the Magi is a poem by T. S. Eliot on the subject of the magi who travelled to Palestine to visit the newborn Jesus according to the Gospel of Matthew. The poem was written after Eliot's conversion to Christianity and confirmation in the Church of England in 1927 and published in Ariel Poems in 1927. • The poem is an account of the journey from the point of view of one of the magi. It picks up Eliot's consistent theme of alienation and a feeling of powerlessness in a world that has changed. In this regard, with a speaker who laments outliving his world NotesNotes • There are at least two formal elements of the poem that are interesting. The first is that the poem maintains Eliot's long habit of using the dramatic monologue. -
The Non-Teleological Progression from Hell to Purgatory in the Poetry of T.S
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1982 The Non-Teleological Progression from Hell to Purgatory in the Poetry of T.S. Eliot Dianne R. Costanzo Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation Costanzo, Dianne R., "The Non-Teleological Progression from Hell to Purgatory in the Poetry of T.S. Eliot" (1982). Dissertations. 2085. https://ecommons.luc.edu/luc_diss/2085 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1982 Dianne R. Costanzo THE NON-TELEOLOGICAL PROGRESSION FROM HELL TO PURGATORY IN THE POETRY OF T. S. ELIOT by Dianne R. Costanzo A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy April 1982 ACKNOWLEDGMENTS I wish to thank Dr. Harry Puckett, whose belief and encouragement helped to focus and clarify my "visions and revisions." Working under his supervision was always a pleasure and a privilege. Sincere appreciation also goes to Dr. Patrick Casey, Dr. Bernard McElroy, and Dr. Agnes Donohue, who also served on this dissertation committee, providing valid sug gestions and valuable time. A most special thanks goes to Lynn, Reggie, and Sean, for they gave laughter, sanity, and real friendship.