DOCSLIB.ORG

T. S. Eliot and the Art of Collaboration Richard Badenhausen Frontmatter More Information

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
T. S. Eliot and the Art of Collaboration Richard Badenhausen Frontmatter More Information Cambridge University Press 0521841232 - T. S. Eliot and the Art of Collaboration Richard Badenhausen Frontmatter More information T. S. ELIOT AND THE ART OF COLLABORATION Richard Badenhausen examines the crucial role that collaboration with other writers played in the development of T. S. Eliot’s works from the earliest poetry and unpublished prose to the late plays. He demonstrates Eliot’s dependence on collaboration in order to create, and also his struggle to accept the implications of the process. In case-studies of Eliot’s collaborations, Badenhausen reveals for the first time the complexities of Eliot’s theory and practice of collaboration. Examining a wide range of familiar and uncollected materials, Badenhausen explores Eliot’s social, psychological, and textual encounters with collaborators such as Ezra Pound, John Hayward, Martin Browne, and Vivien Eliot, among others. Finally, this study shows how Eliot’s later work increasingly accommodates his audience as he attempted to apply his theories of collaboration more broadly to social, cultural, and political concerns. RICHARD BADENHAUSEN is Professor and Kim T. Adamson Chair at Westminster College in Salt Lake City, Utah, where he also directs the Honors Program. He has previously taught at Marshall University. His essays on Eliot have appeared in several books and journals, most recently in Gender, Desire, and Sexuality in T. S. Eliot, edited by Cassandra Laity and Nancy Gish (Cambridge, 2004). This is his first book. © Cambridge University Press www.cambridge.org Cambridge University Press 0521841232 - T. S. Eliot and the Art of Collaboration Richard Badenhausen Frontmatter More information T. S. ELIOT AND THE ART OF COLLABORATION RICHARD BADENHAUSEN © Cambridge University Press www.cambridge.org Cambridge University Press 0521841232 - T. S. Eliot and the Art of Collaboration Richard Badenhausen Frontmatter More information PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge CB21RP, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge, CB22RU,UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarco´n 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org # Richard Badenhausen 2004 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2004 Printed in the United Kingdom at the University Press, Cambridge Typeset in 11/12.5 pt Adobe Garamond [PND] A catalogue record for this book is available from the British Library ISBN 0 521 84123 2 hardback © Cambridge University Press www.cambridge.org Cambridge University Press 0521841232 - T. S. Eliot and the Art of Collaboration Richard Badenhausen Frontmatter More information ‘‘No writer is completely self-sufficient’’ T. S. Eliot, ‘‘The Function of Criticism’’ (1923) © Cambridge University Press www.cambridge.org Cambridge University Press 0521841232 - T. S. Eliot and the Art of Collaboration Richard Badenhausen Frontmatter More information Contents Acknowledgments page viii List of abbreviations x Introduction – Reaching the stillness of music 1 1 ‘‘Speaking as ourselves’’: Authorship, impersonality, and the creative process in the early essays 27 2 A conversation about ‘‘the longest poem in the English langwidge’’: Pound, Eliot, and The Waste Land 62 3 ‘‘Helping the poets ...write for the theatre’’: The transitional essays on collaboration, community, and drama 111 4 A dramatist and his midwives: Eliot’s collaborations in the theatre 142 5 The Possum and the ‘‘creating critick’’: Eliot’s collaboration with John Hayward 165 Conclusion – Placing collaboration in perspective: Voice and influence in the late essays 213 Notes 224 Index 249 vii © Cambridge University Press www.cambridge.org Cambridge University Press 0521841232 - T. S. Eliot and the Art of Collaboration Richard Badenhausen Frontmatter More information Acknowledgments This project has had many collaborators. I am grateful to Mrs. T. S. Eliot for her assistance during the writing of this book, and for her permission to examine and quote from unpublished writings. Quotations from the work of T. S. Eliot are the copyright of the Eliot Estate and Faber & Faber, and are included with their permission. Publication of a few of these items is also by permission of the Houghton Library, Harvard University. I would like to thank the following people who, during the research for this book, responded graciously to queries, offered illuminating sugges- tions, or helped secure materials: John Bodley, Jewel Spears Brooker, Ronald Bush, Michael Coyle, Greg Foster, Lyndall Gordon, William Harmon, Victor Li, Jim Loucks, Randy Malamud, William Matchett, James Miller, Christopher Ricks, Ronald Schuchard, Michael Stevens, and Michael Wood. I am grateful to the staffs of numerous libraries for assistance. They include Jacqueline Cox and Rosalind Moad at the Modern Archive Center at King’s College, Cambridge; Colin Harris and the staff at the Bodleian Library, Oxford; Henri Bourneuf, Head Reference Librarian, Harvard College Library; Patrice Donoghue, Assistant Archivist, Harvard University Archives; Katie Dobson at the Tate Picture Library, and librar- ians at Magdalene College, Cambridge, the British Library, Ohio State University, Ohio University, Utah State University, University of Virginia, the Humanities Research Center at the University of Texas, and the Houghton Library at Harvard University. For their creativity in securing essential documents, I am especially grateful to the librarians at Marshall University, especially Tim Balsch and his staff, and at Westminster College, especially David Hales, Jerry Jensen, and their staffs. Friends, colleagues, and mentors have been instrumental in the evolu- tion of this book. I want to acknowledge Susan Cerasano, who first showed me how to write about literature, and George Bornstein, who first taught me how to read Eliot and demonstrated through his stellar example how to balance the lives of teaching and scholarship. I would also like to thank viii © Cambridge University Press www.cambridge.org Cambridge University Press 0521841232 - T. S. Eliot and the Art of Collaboration Richard Badenhausen Frontmatter More information Acknowledgments ix Steve Haslam for help with French editions of Eliot’s poetry, Charles Lloyd for his assistance with classical allusions, Ed Taft for his rich commentaries on Shakespeare, and especially Lee Erickson, who read entire drafts at various stages and whose insightful commentary helped make this book possible. Administrators at my previous institution, Art Stringer, Joan Mead, Sara Denman, and Leonard Deutsch, helped arrange release time and financial support at key moments. Administrators at my current institution, espe- cially Mary Jane Chase, Cid Seidelman, and Steve Baar, have been espe- cially supportive. I have also benefited from the assistance of my colleagues Peter Goldman and Jeff McCarthy, who strengthened the introduction. As usual, Michele Schiavone has made many improvements to my phrasing and caught many errors that I would have otherwise missed. My research assistant, Heather Brown, did a marvelous job helping prepare the manu- script for publication. I am grateful to Ray Ryan, my editor at Cambridge, for his patience and perseverance in shepherding this project forward, and to the press’s anonymous reader, whose astute suggestions helped give focus and shape to the book. Finally, I wish to acknowledge my wonderful family: my parents, Richard and Margot, who always stressed the importance of language and literature; my children, Will and Liza, whose presence gives me joy every day; and Katherine, my first and last collaborator in all things great and small. I dedicate this book to them. © Cambridge University Press www.cambridge.org Cambridge University Press 0521841232 - T. S. Eliot and the Art of Collaboration Richard Badenhausen Frontmatter More information Abbreviations ASG T. S. Eliot, After Strange Gods: A Primer of Modern Heresy (London: Faber and Faber, 1934) CC T. S. Eliot, Christianity and Culture (New York: Harvest, 1968) CFQ Helen Gardner, The Composition of Four Quartets (London: Faber and Faber, 1978) CPP TheCompletePoemsandPlaysofT.S.Eliot(1969; reprint, London: Faber and Faber, 1985) ENL Lyndall Gordon, Eliot’s New Life (New York: Farrar, Straus, Giroux, 1988) IMH T. S. Eliot, Inventions of the March Hare: Poems 1909–1917, ed. Christopher Ricks (New York: Harcourt Brace, 1996) L The Letters of Ezra Pound, 1907–1941, ed. D. D. Paige (New York: Harcourt, Brace, 1950) L1 The Letters of T. S. Eliot, vol. I, ed. Valerie Eliot (San Diego: Harcourt Brace Jovanovich, 1988) LE Literary Essays of Ezra Pound, ed. T. S. Eliot (New York: New Directions, 1968) LM1 F. M. [Vivien Eliot], ‘‘ Letters of the Moment – 1,’’The Criterion 2 (1924) LM2 F. M. [Vivien Eliot], ‘‘ Letters of the Moment – 2,’’The Criterion 2 (1924) MP E. Martin Browne, The Making of T. S. Eliot’s Plays (Cambridge: Cambridge University Press, 1969) OPP T. S. Eliot, On Poetry and Poets (1957; reprint, London: Faber and Faber, 1984) SE T. S. Eliot, Selected Essays, 3rd edn. rev. (1951; reprint, London: Faber and Faber, 1980) SL The Selected Letters of Ezra Pound to John Quinn, 1915–1924, ed. Timothy Materer (Durham: Duke University
Load more

Recommended publications
  • The Force of Poetry, 1987, Christopher Ricks, 019282046X, 9780192820464, Oxford University Press, 1987
    The Force of Poetry, 1987, Christopher Ricks, 019282046X, 9780192820464, Oxford University Press, 1987 DOWNLOAD http://bit.ly/1UaWeNM http://goo.gl/RoskD http://www.amazon.com/s/?url=search-alias=stripbooks&field-keywords=The+Force+of+Poetry "As critic and scholar he calls tremendously on his knowledge of literature past and present to provide new insights, aspects and illuminations....Ricks looks at poetry over a considerable range, a lively critic who assures us through clarifying analysis of its power and force in our lives."--The New York Times Book Review. "A work of enormous brilliance."--Encounter. "The richness and variety of these essays is truly remarkable."--Listener. Though published independently over many years, each of these penetrating essays asks how a poet's words reveal "the force of poetry"--that force, in Dr. Johnson's words, "which calls new powers into being, which embodies sentiment, and animates matter." The poets treated here range from John Gower to Robert Lowell, and include Marvell, Milton, Johnson, Wordsworth, Philip Larkin, and Geoffrey Hill. Ricks has also added four essays on general topics: on cliches, on lies, on misquotations, and on American literature in its relation to the transitory. The Force of Poetry reveals the quality of Ricks's criticism that W.H. Auden responded to when he described him as "exactly the kind of critic every poet dreams of finding." DOWNLOAD http://wp.me/2ZsqO http://bit.ly/1n2tB4N A. E. Housman a collection of critical essays, Christopher B. Ricks, 1968, Literary Criticism, 182 pages. The beginnings of modern poetry , Herbert Walter Piper, 1967, Poetry, 161 pages.
    [Show full text]
  • Christopher Ricks
    CHRISTOPHER RICKS Christopher Ricks has been an officer in the Green Howards, a scholar of Balliol, a Fellow of Worcester, Professor of English at Bristol, King Edward VII Professor at Cambridge, and is now Warren Professor of Humanities at Boston University, Co- Director of its Editorial Institute, and a Fellow of the British Academy. He is a scholar, critic and teacher of enormous distinction, who has a uniquely subtle critical imagination, a graceful, sensitive and stringent intelligence, which, allied with his profound scholarship, makes him an unrivalled lecturer. A lecture by Christopher Ricks is always an exciting, inspiring event. His review of Seamus Heaney’s Death of a Naturalist in the New Statesman helped to launch Heaney’s career, and his review of Philip Larkin’s The Whitsun Weddings in the New York Review of Books helped to win a North American readership for Larkin’s poems. He has written with great insight and intelligence about Paul Muldoon in a compelling essay on Andrew Marvell in The Force of Poetry, and as his recent study of Bob Dylan, Dylan’s Visions of Sin, shows he is keenly aware of popular culture. His critical study, Milton’s Grand Style (1963) challenged the surprisingly successful attempt of Eliot and Leavis to downgrade Milton’s poetry, and initiated the critical and scholarly reclaiming of Milton’s work which has taken place over the last four decades. He has also published Tennyson (1972), Keats and Embarrassment (1974), The Force of Poetry (1984), T.S. Eliot and Prejudice (1988), Allusion to the Poets (2002), Dylan’s Visions of Sin (2003).He has published two anthologies: The New Oxford Book of Victorian Verse (1987) and The Oxford Book of English Verse (1999).
    [Show full text]
  • Literary Scholars Association Critics
    The 14th Annual Conference of The Association of October 24-26, 2008 Literary Scholars Sheraton Society Hill Hotel Critics and Philadelphia, Pennsylvania Literature Titles from Oxford Journals www.adaptation.oxfordjournals.org www.camqtly.oxfordjournals.org www.english.oxfordjournals.org www.alh.oxfordjournals.org www.cww.oxfordjournals.org ADAPTATION AMERICAN LITERARY THE CAMBRIDGE CONTEMPORARY ENGLISH Adaptation provides an HISTORY QUARTERLY WOMEN’S WRITING Published on behalf of international forum to Covering the study of US The Cambridge Quarterly CWW assesses writing The English Association, theorise and interrogate the literature from its origins was established on the by women authors from English contains essays phenomenon of literature through to the present, principle that literature is an 1970 to the present. It on major works of English on screen from both a American Literary History art, and that the purpose of reflects retrospectively on literature or on topics of literary and film studies provides a much-needed art is to give pleasure and developments throughout general literary interest, perspective. forum for the various, enlightenment. It devotes the period, to survey the aimed at readers within often competing voices itself to literary criticism variety of contemporary universities and colleges of contemporary literary and its fundamental aim work, and to anticipate and presented in a lively inquiry. is to take a critical look at the new and provocative and engaging style. accepted views. women’s writing. www.fmls.oxfordjournals.org
    [Show full text]
  • I Organise the Teaching of English at Queen's, As Well As Teaching the Literature Courses at the Modern End of the Syllabus
    Congratulations on being offered a place at Queen's! I organise the teaching of English at Queen's, as well as teaching the literature courses at the modern end of the syllabus. Although you will be taught by a variety of tutors with different specialisms during your time at Oxford, I’ll be advising you and organising your English tutorials for you throughout the course. You’ll be studying four papers in English in the first year: Introduction to English Language and Literature (Paper 1), Early Medieval Literature, 650-1350 (Paper 2), Literature in English, 1830-1910 (Paper 3), and Literature in English, 1910 to the present day (Paper 4). You will study Paper 3 in Michaelmas (autumn) term, and Paper 4 in Hilary (spring). Classes for Paper 1 will run throughout the year, with the Language teaching taking place in Michaelmas, and teaching on the literary section of the paper following in Hilary. The Early Medieval paper will also be studied throughout the year. Reading lists are attached. Given the pressure of work in term, it is vital that you read the texts before you arrive in Oxford: you will not have time to read the ‘primary texts’ (the novels, plays and poetry) for the first time, as well as the ‘secondary texts’ (criticism on the primary material) that you’ll be researching too. Prioritise the texts for the first term (Paper 3 rather than Paper 4), ensuring the novels in particular are all read. A number of them are very substantial works, and students who don’t read them in advance find that they are seriously disadvantaged throughout the first term.
    [Show full text]
  • ALSCW 18Th Annual Conference Friday, March 9, 2012 – Sunday, March 11, 2012 with Special Thanks to Claremont Mckenna College
    1 ALSCW 18th Annual Conference Friday, March 9, 2012 – Sunday, March 11, 2012 with special thanks to Claremont McKenna College Thursday, March 8 Pre-Convention Reading 8:00 pm Open Mike Reading Open to All Members and Guests Freberg Forum, Kravis Center Friday March 9 8:00 am – 12:00 pm: Registration Freberg Forum, Kravis Center 9:30 am – 11:00 am: Seminars I The first two of our four seminars, run concurrently. The seminars take the form of discussing the previously circulated papers, which have all been studied by the contributing participants. The first three-quarters of an hour, or hour, of the occasion should be reserved for discussion among the participants, and then thrown open to auditors. Anyone who, not being a participant, is thinking of attending one or two of the seminars, and who would like to read in advance the sheaf of the circulated papers, should please let the ALSCW office know so that copies may be made. A) THE USE OF NAMES LC 61 Kravis Center Moderator: Debra Fried, Cornell University Annaline Cely, University of South Carolina: “The Bible as Literature: Divine Transcendence Achieving Historical Immanence via Name Changing” Rochelle S. Goodman, University of Southern California: “ ‘And I, Eteokles, alone the cause of weeping’: Nominative Irony in Aeschylus’ Seven Against Thebes” Dylan Godwin, SUNY Stony Brook: “The Speech In Any Case: Lyric Immortality and the Work of Dying” Gary Roberts, Tufts University: “Personal Names in Poetry” 2 Annaline Cely is a first year Comparative Literature Ph.D. student at the University of South Carolina. She received her Master of Arts in Religious Studies from Lutheran Theological Southern Seminary in 2010 and her Bachelor of Arts in Philosophy (Religious Studies minor) from the University of South Carolina in 2008.
    [Show full text]
  • 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.
    [Show full text]
  • Realism Doesn't...: the Challenge of Postmodernism
    ' .."-.;... -. /- ~ ., /I. • .... - .\. • Jo . ",' -, . REALIS1'A DOESN'T ... : . --"':",_--. -~ -- - ..' ---- ._.,. THE CHALLENGE OF POSTMODERNISM ~ - By ,ALISON M. LEE;-M.A. T· A Thesis . Submitted to the School of .Graduate Studies-·· / in Partial Fulfilment C?f the Requirements for the Degree - --'- Doctor of Philosophy McMaster University January 1988 .. /' .. ~ (c) Copyright by. Alison M. Lee. 1988 ~..... ' ..."". , '. " - . , " . / '10 .". -. ' . "- L .... , "' - " . ~EALJSM OOESN"T ..:: ~ ... ~ . 1 • . "' ... ," ,THE CHALLENGE OF POSTMODERNISM.· \ .... " , - . .. ..., "r I ~, !. .. ....;. '--, .' " , :. I , " , " " " " .. , . " . DOcrOR OF PHILOSOPHY (1988) McMASTER· UNIVERSITY (E~gUsh) :. .. TITLE: . Realism Doesn't ... : The Challenge' of Postmodernism, A.UTHOR: Alison M:' Lee, B.A: (MCMaster University) - . M:A.. (McMaster Vhiver~ity) .. ~ SUPERVISOR: Df Linda- Hutcheon .. # , NUMBER OF PAGES: , v.L 257 , " ) ~ M , ); •.•. ""-4 , ., • r,·1 .I • ... ii , Abstract This thesis examines the challenges to the techniques and conven~ .- 'C' , tlons of nineteenth-century .Realism-stili the dominant frame of reference of Iiter~ry studies-by recent postrnodern Brl~sh fiction. Such novels as MidnigMs Children by Salman Rush~le. Waterland by Graham Swift. Flaubert's , .. Parrot by Julian Barnes and Lanark, by Alasdair Gray. among others, In- --- stall what are re~ognizably Realist' conventions•and concepts and then subvert them from Within the very conventions they seek to transgress. " Not only do th75e novels undermine Realist literary conventions. however, . they also call Into question the Ideology behind them. The: novels thus draw attention to notions of common sense. truth, meaning,' and Value ~ , not as'normal', natural and neutral. but as Ideologically produced. Cha~ . \. ' ~ . -_ , . ....·--ter One. therefore. provides ,a background to, and synopsis of, Realist " dictates In the light of critical theories':"'New Criticism, reader-re~ponse , ;' , ' critldsm.
    [Show full text]
  • Read Book the Poems of TS Eliot Volume I
    THE POEMS OF T. S. ELIOT VOLUME I: COLLECTED AND UNCOLLECTED POEMS PDF, EPUB, EBOOK Christopher Ricks, Jim McCue | 1344 pages | 05 Nov 2015 | FABER & FABER | 9780571238705 | English | London, United Kingdom The Poems of T. S. Eliot Volume I: Collected and Uncollected Poems PDF Book Try the new Google Books. He is a member of the Association of Literary Scholars, Critics, and Writers, of which he was president — Buying format see all. This book is not yet featured on Listopia. The latter is fascinating. The first volume respects Eliot's decisions by opening with his Collected Poems in the form in which he issued it, shortly before his death fifty years ago. Collected Poems by T. I've certainly read all of Eliot's poetry. Volume one opens with the poems that Eliot approved for his collected work before his death, followed by uncollected poems. Eliot Nov Eliot this is a godsend. Eliot's poems establishes a new text of the Collected Poems , rectifying accidental omissions and errors that have crept in during the century since Eliot's astonishing debut, "The Love Song of J. Loading, please wait Eliot was born an American, moved to the United Kingdom in at the age of 25 , and became a British subject in at the age of Account Options Sign in. The fool,fixed in his folly,may think He can turn the wheel on which he turns. I have heard the mermaids singing, each to each. Send Report. Mr Mistoffelees - 5 out of 5 stars. The books are also a bit confusing and unwieldy.
    [Show full text]
  • Christopher Ricks
    Judas! from Inside A Prune Hello again folks and welcome to issue 7. Seasons come and seasons go, years pass, decades even; a millennium date change has even happened by and still the not-to-be- called-never-ending-tour, never ending tour rolls by. When this issue hits your door- mats Bob will be mid-European tour. We at Judas! central are off to see two shows in Sweden and participate in the Stockholm convention - and hope to see as many of you there as possible - before the UK tour starts, a set of dates made much more attractive by the later additions of Hammersmith and Brixton. Ah, what memories to be rekindled and hopefully new ones to savour too. Inside these pages we bring you another collection of articles that we trust you will enjoy. Again we have aimed for a balance between well known names and newcomers or relative newcomers. This is something we can only maintain if new writers keep coming forward. There’s a plea elsewhere in these pages for photographs, the same goes for new material. A few out there (you know who you are) have started articles, please keep at them, the more new writing blood in the Dylan fanzine world the better as far as I am concerned. Issue Eight will hopefully feature one or more of these, plus articles by established names. Manuel Vardavas’s bootleg column will be back again (presuming something worthy of discussion is released, that is) and it is quite likely we will be taking an in- depth look at SACD and bootleg DVDs from a ‘technology-and-its-impact-on-your- Dylan-entertainment’ standpoint.
    [Show full text]
  • 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.
    [Show full text]
  • Tennyson's Poems
    Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.
    [Show full text]
  • 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.
    [Show full text]