DOCSLIB.ORG

The Love Song of J. Alfred Prufrock T. S. Eliot 1888–1965

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Love Song of J. Alfred Prufrock T. S. Eliot 1888–1965 The New POETRY The LOVe Song of J. Alfred Prufrock Poem by T. S. Eliot READING 3 Understand THE STRUCTURe and elements oF VIDEO TRAILER KEYWORD: HML11-968A POETRY. Analyze the efFECts oF METRICS, rhyme schemes, and other cONVENtions in American POETRY. RC-11(A) REFLECT on -EET the AUTHOR understanding To monitOR COMPRehension. T. S. Eliot 1888–1965 When he was alive, T. S. Eliot was one of Monroe of Poetry magazine. In 1915, Eliot’s the most influential poets in the English- masterpiece “The Love Song of J. Alfred speaking world. His invention of new Prufrock” appeared in Poetry. That same poetic rhythms, forms, and themes had year, Eliot married Vivien Haigh-Wood, an DId You know? an enormous impact on other writers and Englishwoman. Struggling to make a living T. S. Eliot . helped usher in a new era in poetry. Eliot, as a writer, Eliot worked as a teacher, a bank • Was also an acclaimed remarked the composer Igor Stravinsky, clerk, and finally as an editor. was “not only a great sorcerer of words, but PLAYWRIGHT. BrEAKTHRoughs in POETRy The 1917 the very key keeper of the language.” • WRote the book publication of Eliot’s first book, Prufrock THAT inspired the A LOVer of Philosophy Eliot grew up in St. and Other Observations, signaled a distinct CAts. musical Louis, Missouri, in a household steeped break with the past. Using colloquial • Won the Nobel Prize in culture and tradition. His mother, speech laced with slang, Eliot created a in literATURe in 1948. Charlotte Champe Stearns, was an amateur new, highly original poetic diction. He poet, and his father, Henry Ware Eliot, also explored new poetic themes, such as was a successful businessman with New the splendors and horrors of modern life England roots. Eliot received a broad and the effects of alienation. With the education, studying at Milton Academy appearance of The Waste Land in 1922, and Harvard University. After earning Eliot’s reputation was solidified. In this both bachelor’s and master’s degrees from poem, Eliot articulated the disgust and Harvard, Eliot continued his studies in disillusionment felt by his generation in philosophy at the Sorbonne in Paris and the wake of World War I, as well as then back at Harvard. However, he never its longing for meaning in a chaotic, ccompletedompleted tthosehose stustudies.die While sometimes frightening, world. oonn a traveling ffellowshipe Inspired by Religion Though a pioneer iinn Europe, hhee met the in poetry, Eliot became increasingly ppoetoet Ezra PPound,o who conservative in his personal views. eencouragedncouraged Eliot’s Struggling with anxiety over his domestic ppoeticoetic amambitions.b troubles, he joined the Church of England LLiterARyITERARY SUSucCESSC in 1927 and embraced its traditional pieties. PPoundound hhelpedelp Eliot In his later collections, Ash Wednesday ggainain entry iinton (1930) and Four Quartets (1943), he used London’sLondon’s avant-gardeavan poetry to stress the significance of accepting circlecircle ofof writers,writer and religious discipline. hehe introducedintroduced Eliot’s poetrypoetry to HarrietH Author Online Go To THINKCENTRal.COM. KEYWORD: HML11-968B 968 LITERARy analYsis: sTREAm of cONSCIOUSNESS Modern poets explored many ways of breaking free from the standard conventions of poetic form and even content, What is changing the nature of both narrative and lyric poetry. One of the most dramatic breaks from convention in the modern era alienation? was the development of stream of consciousness. Used by both poets and fiction writers, this technique presents a sometimes So many of us know the feeling of chaotic flow of images and ideas, meant to represent the standing aT the edge of a parTY, wANting unfiltered thoughts of the speaker or protagonist. “The Love To join but having no idea whaT To say Song of J. Alfred Prufrock” is a dramatic monologue in which or do. EVERYone else is having more Prufrock, the speaker, addresses a silent listener with a tumble fun, making better jokES, or wearing of associative thoughts, allusions, and daydreams. NICer clothes. And it’s all the worse if And indeed THERe will be TIME You are hoping To approach the objecT For the yELLOw smoke THAT slides along the strEET Of your afFECtions; do you eVen stand a Rubbing its back upon the windoW-panes CHANCe? In this poem, J. Alfred Prufrock APPRoaches a party with a similar sense As you read the poem, try not to be put off by the nonsensical Of alienation. Full of dread and self- nature of the verse, but be alert to any feelings or ideas that DOUBT and fEARful of female rEJECtion, the images seem to suggest. he wonders whether he dares To step in READIng sTRATEGY: suMMarize sTANZAS and drAw aTTENtion To himself. The difficult thing about reading stream of consciousness is N5)#+72)4% CrEAte a list of images figuring out how to connect seemingly unrelated ideas. A THAT sugGEST alienation or isolation To writer will often jump from one thought to the next without You. They could be explicit, such as THAT any clear transition. Fortunately, Eliot has done us the favor Of a person hesitating aT the edge of a of grouping his thoughts in stanzas. If you read the stanzas GROUP, or implicit, such as the image of a closely, you will notice that each one expresses a fairly lonely window lit in the darkness. coherent idea. Once you SUMMARIZE and identify the central idea or image of each stanza, you will have an easier time tracing the arc, and the sense, of the entire poem. As you read, record your summary of each stanza in a chart like the one shown. Some stanzas have only two or three lines; in these cases, don’t worry about providing a summary as much as a brief description of the central idea or image. Stanza Summary/Central Idea 1 Speaker suggests that listener join him on an evening trip through the lonely city streets. COMPLETe tHe acTIVITIEs in yOUr READER/WRITER NOTEBOOK. 969 The Love Song of J. Alfred Prufrock T. S. Eliot S’io credessi che mia risposta fosse S’iocredessi...tirispondo: These a persona che mai tornasse al mondo, lines are from the InfERNO, written in the early 14th cENTURy by Italian questa fiamma staria senza più scosse. POET Dante Alighieri. As Dante visits Ma per ciò che giammai di questo fondo hell, one of the damned agrees To non tornò vivo alcun, s’i’odo il vero, speak of his TORMENT only because he BELIEVes THAT Dante cannot return To senza tema d’infamia ti rispondo. the living world To rEPEAT the TALE. Let us go then, you and I, When the evening is spread out against the sky Like a patient etherised upon a table; 3 etherised: given ether, a liquid Let us go, through certain half-deserted streets, used as an anesthetic. 5 The muttering retreats Of restless nights in one-night cheap hotels And sawdust restaurants with oyster-shells: Streets that follow like a tedious argument Of insidious intent 9 insidious (Gn-sGdPC-Es): more 10 To lead you to an overwhelming question . DANGERous than it seems. Oh, do not ask, “What is it?” Let us go and make our visit. In the room the women come and go Talking of Michelangelo. 15 The yellow fog that rubs its back upon the window-panes, The yellow smoke that rubs its muzzle on the window-panes, Licked its tongue into the corners of the evening, Lingered upon the pools that stand in drains, Let fall upon its back the soot that falls from chimneys, 970 unit 5: the harlem renaissance and modernism 20 Slipped by the terrace, made a sudden leap, TEKS 3 And seeing that it was a soft October night, Curled once about the house, and fell asleep. A A STREAM OF CONSCIOUSNESS And indeed there will be time Stream of cONSCIOUSNESS is a writing technique THAT prESENTS For the yellow smoke that slides along the street a narrATor’s flow of THOUGHTS 25 Rubbing its back upon the window-panes; as THEy mighT in reality ocCUR, There will be time, there will be time enabling the reader To see To prepare a face to meet the faces that you meet; “inside” the narrATor’s head. There will be time to murder and create, RERead lines 1–22, and cONSIDER the drEAMLIKe quality of THE And time for all the works and days of hands NARRATor’s wandering THOUGHts. 30 That lift and drop a question on your plate; WhaT mood is crEAted by THE Time for you and time for me, NARRATor’s puzzling comparisons? And time yet for a hundred indecisions, As you rERead the first 22 LINES, write down any details And for a hundred visions and revisions, THAT indicate the stream oF Before the taking of a toast and tea. Consciousness TECHNIQUE. 35 In the room the women come and go Talking of Michelangelo. Language Coach And indeed there will be time PrEFIXes A prefix is a wORd parT Attached To the beginning of a To wonder, “Do I dare?” and, “Do I dare?” WORd. Re- means “AGain.” Read Time to turn back and descend the stair, lines 31–34. How do VISIONS and 40 With a bald spot in the middle of my hair— REVISIONS difFer in meaning? How (They will say: “How his hair is growing thin!”) does the wORd INDECISIONS rELAte My morning coat, my collar mounting firmly to the chin, To line 33? My necktie rich and modest, but asserted by a simple pin— (They will say: “But how his arms and legs are thin!”) 45 Do I dare Disturb the universe? In a minute there is time For decisions and revisions which a minute will reverse.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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’).
    [Show full text]
  • TS Eliot a Review of the Life and Poetry of the Ground-Breaking Modernist Poet 1
    IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347-4564; ISSN (E): 2321-8878 Vol. 6, Issue 6, Jun 2018, 459-468 © Impact Journals T.S. ELIOT: A REVIEW OF THE LIFE AND POETRY OF THE GROUND-BREAKING MODERNIST POET Abdul Rashid Dar Taught as an Assistant Professor, Department of English (Contractual), Central University of Kashmir, Srinagar, Jammu and Kashmir, India Received: 13 Jun 2018 Accepted: 18 Jun 2018 Published: 23 Jun 2018 ABSTRACT Thomas Stearns Eliot (1888-1965), was an American who made England his home and left behind him a wealth of influential literary works in prose, poetry, and drama. He came under the sway of contemporary European trends of art and literature and became one of the influential leaders of the modernist movement in poetry. He was a profound scholar and thinker, a product of diverse influences- literary, anthropological and philosophical. The literary influences of Elizabethan dramatists, English metaphysical, French symbolists and imagists are paramount in his poetry. As he had deeply studied the French imagist and symbolist poets, he gave imagism a dialect as well as a symbolist dimension and a tone of intellectual irony. His poetry marks a complete break from the nineteenth-century tradition. Reacting against subjectivism of romantic theory, he advocated his famous theory of impersonality of poetry. He demanded an objective authority of art and appreciated the order and completeness of classical poetry, the qualities which he tried to achieve in his own practice as a poet. His philosophy grew from continuous meditation through which he blossomed into a spiritualist.
    [Show full text]
  • A Song for Simeon” Dr
    Eliot’s Faith: “A Song for Simeon” Dr. Asha Solomon Department of English, Montfort College, Lucknow ABSTRACT T.S. Eliot was born in St. Louis, Missouri, in 1888. His grandfather, William Greenleaf Eliot, was a graduate of Harvard Divinity School who moved as a missionary Unitarian minister to St Louis, Mississippi, and stayed there. He was steadily fearless in the face of cholera, slavery, and the Civil War. In St Louis, he founded schools and, most famously, Washington University. Eliot published his first poetic masterpiece, "The Love Song of J. Alfred Prufrock," in 1915. In 1921, he wrote the poem "The Waste Land" which is regarded as the most important poems of the 20th Century and gave a whole new genre of literature. For his lifetime of poetic innovation, Eliot won the Order of Merit and the Nobel Prize in Literature in 1948. He died in London, England, in 1965. ‘A Song for Simeon’ first appeared in a series of Christmas booklets from Faber. Each booklet had one or two illustrations and a poem. Eliot wrote four poems for the series. Journey of the Magi, the first, appeared in August 1927, the next was A Song for Simeon. Simeon, the subject of Eliot's poem is drawn from the Bible and is found in the Gospel of Luke 2:25-35. The early Christian canticle Nunc dimittis has been derived from this passage in the Bible. Luke, the disciple of Jesus, writes an account of Simeon, an aged and devout Jew, who sees Mary and Joseph bringing infant Jesus to the Temple of Jerusalem.
    [Show full text]
  • Copyright © 2011 by Earl K. Holt III. All Rights Reserved · Published by Village Publishers, Inc
    Copyright © 2011 by Earl K. Holt III. All rights reserved · Published by Village Publishers, Inc. · www.villagepublishers.com William Greenleaf Eliot Conservative Radical Six essays on the life and character of the nineteenth-century Unitarian minister, educator, and philanthropist, based on the 1983 Minns Lectures by Earl K. Holt III Minister Emeritus First Unitarian Church of St. Louis With an introductory essay on Eliot’s early life by William A. Deiss Winchester, Virginia second edition IllaG ublisHe 2011 Copyright © 2011 by Earl K. Holt III. All rights reserved · Published by Village Publishers, Inc. · www.villagepublishers.com Contents Illustrations ix Foreword xi Dr. William H. Danforth, Chancellor Emeritus, Washington University Preface xiii About the Minns Lectures xix Chronology xxi introductory essay William Greenleaf Eliot: The Formative Years (1811–1834) xxv William A. Deiss one “St. Louis, Near Alton” (1834) 1 two “The Whole City Was His Parish” (1849) 33 three Eliot Seminary (1857) 55 four “Loyalty and Religion” (1861) 85 five From Chancel to Chancellor (1870) 115 six “Looking Unto Jesus” (1887) 139 appendices a The First Family of American Unitarianism 161 b Bringing Eliot to St. Louis 174 c Abby Eliot Remembers the Early Years in St. Louis 179 d Charter and Constitution of Eliot Seminary 184 e “Christ and Liberty” 192 f An Eliot Memorial 215 index 218 vii Copyright © 2011 by Earl K. Holt III. All rights reserved · Published by Village Publishers, Inc. · www.villagepublishers.com Illustrations William Greenleaf Eliot, Jr.,
    [Show full text]
  • Unravelling Eliot
    Cambridge University Press 978-1-107-03701-4 — The New Cambridge Companion to T. S. Eliot Edited by Jason Harding Excerpt More Information 1 JASON HARDING Unravelling Eliot There is a kind of fun in unravelling the twists & obliquities of this remarkable man. Virginia Woolf , diary entry on T. S. Eliot, 14 September 1925. In 1927, T. S. Eliot told the Shakespeare Association: “About anyone so great as Shakespeare , it is probable that we can never be right; and if we can never be right, it is better that we should from time to time change our way of being wrong” (CP3 245). In this lecture, Eliot wittily disposes of several “up-to- date” Shakespeares proposed by contemporary critics. His gesture reveals an awareness of the difi culties of addressing a scholarly audience on the subject of the most studied author in the English language. Eliot’s approach to the canon was often marked by iconoclasm: Hamlet was judged “most certainly an artistic failure”; Milton “writes English like a dead language”; Shelley was “humourless, pedantic, self-centred”; Tennyson’s poetry is con- descendingly placed as “beautiful but dull.”1 These extravagant judgements are indicative of an anxiety about the potentially numbing dead weight of canonical reputations. For today’s readers of Eliot, seeking fresh interpret- ations of his work, the challenge that “we should from time to time change our minds” (CP3 245) is no less daunting than the position that confronted Eliot when he addressed the Shakespeare Association. The relationship of an author’s life to his work is crucial in reassessing Eliot’s achievement as a poet, critic and dramatist but can require a certain amount of careful unravelling or untangling of the received opinions that have shaped his reputation.
    [Show full text]
  • T.S. Eliot an Author for All Seasons
    LIDIA VIANU T.S. ELIOT AN AUTHOR FOR ALL SEASONS EDITURA PENTRU LITERATURĂ CONTEMPORANĂ CONTEMPORARY LITERATURE PRESS 2010 2 Lidia Vianu: T.S. Eliot – An Author for All Seasons Editor: Cristina Ioana Vianu Technical editing and proofreading: Carmen Dumitru, Georgiana Mîndru Cover: VIC (CRISTINA IOANA VIANU) Text: © Revised LIDIA VIANU, 2010 EDITURA PENTRU LITERATURĂ CONTEMPORANĂ CONTEMPORARY LITERATURE PRESS http://mttlc.ro/editura/ Volume published by Editura Paideia, 1997; Editura Universitǎţii din Bucureşti, 2002. ISBN: 978-606-92167-5-0 EDITURA PENTRU LITERATURĂ CONTEMPORANĂ CONTEMPORARY LITERATURE PRESS 3 Lidia Vianu: T.S. Eliot – An Author for All Seasons Contents I. T.S. ELIOT AND THE DIGNITY OF CULTURE ......................................................................... 4 II. AN AGE OF IMPRECISION (ORDER DENIED) .............................................................................. 6 III. ‘MY DAYS AND WAYS’ (ELIOT AND HIS TIME, ELIOT ON HIS TIME) ............................... 13 1. COHERENCE IN FRAGMENTARINESS .................................................................................... 31 2. MISREADINGS OF ELIOT’S OVER- AND UNDER-STATEMENTS (Faltering between Believing and Wishful Thinking) ............................................................................................................. 55 3. THE HOLLOW POEMS: ELIOT EXPLICIT ................................................................................... 78 4. HUMOUR DESCENDING ..............................................................................................................
    [Show full text]
  • The Cambridge Companion to the Waste Land Edited by Gabrielle Mcintire Frontmatter More Information
    Cambridge University Press 978-1-107-05067-9 - The Cambridge Companion to the Waste Land Edited by Gabrielle Mcintire Frontmatter More information The Cambridge Companion to THE WASTE LAND T. S. Eliot’s The Waste Land is often considered the most important poem written in English in the twentieth century. The poem dramatically shattered old patterns of form and style, proposed a new paradigm for poetry and poetic thought, demanded recognition from all literary quarters, and changed the ways in which it was possible to approach, read, and write poetry. The Waste Land helped defi ne the literary and artistic period known as modernism. This Companion is the fi rst dedicated to the work as a whole, offering thirteen new essays by an impressive group of international scholars on an extensive range of topics. Written in a style that is at once sophisticated and accessible, these fresh critical perspectives will serve as an invaluable guide for scholars, students, and general readers alike. Gabrielle McIntire is Associate Professor in the Department of English at Queen’s University, Canada. She is the author of Modernism, Memory, and Desire: T. S. Eliot and Virginia Woolf (Cambridge University Press, 2008) and has published articles on T. S. Eliot, Virginia Woolf, Joseph Conrad, Nella Larsen, and James Joyce in journals and collections including Modern Fiction Studies , Modernism/modernity , Narrative , and Callaloo . Her poetry has also appeared internationally, and she sits on the editorial boards of Twentieth-Century Literature and T. S. Eliot Studies Annual . A complete list of books in the series is at the back of this book.
    [Show full text]
  • Unravelling Eliot', Pp
    Durham Research Online Deposited in DRO: 24 January 2017 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Harding, J. (2016) 'The new Cambridge companion to T. S. Eliot.', Cambridge: Cambridge University Press. Cambridge companions to literature. Further information on publisher's website: http://www.cambridge.org/gb/academic/subjects/literature/english-literature-1900-1945/new-cambridge- companion-t-s-eliot?format=PBisbn=9781107691056 Publisher's copyright statement: This material has been published in The New Cambridge Companion to T. S. Eliot / edited by Jason Harding. This version is free to view and download for personal use only. Not for re-distribution, re-sale or use in derivative works. c 2016 Cambridge University Press Additional information: Sample chapter deposited. Chapter 1: 'Unravelling Eliot', pp. 1-25. Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk 1 Jason Harding Unravelling Eliot “There is a kind of fun in unravelling the twists & obliquities of this remarkable man.” Virginia Woolf, diary entry on T.
    [Show full text]
  • Depiction of City in T.S. Eliot's Poetry
    Ministry of Higher Education And Scientific Research University of Al-Qadisiyah College of Education Department of English Depiction of City in T.S. Eliot’s Poetry Submitted By Zainab Dhafir Mohammed Manhal Supervised By Lect. Ali Abdul Jalil Dedication To our prophet Muhammad (peace and prayer upon him) who has guided us from the darkness to the lightness. ii Acknowledgements We thank our supervisor Lect. Ali Abdul Jalil For his advice. Also our thank to our friends for their material and immaterial support. iii Contents Dedication ii Acknowledgements iii Contents iv Abstract v Section One 1.1 T. S. Eliot’s Life and Career 1 1.2 Image of The City in Modern Literature 7 Notes 9 Section Two 2.1 Image of The City in "The Love Song of J. Alfred Prufrock” 11 2.2 Image of The City in “The Hollow Men” 18 Notes 23 Conclusion 25 Bibliography 26 iv Abstract Thomas Stearns Eliot was a major innovator in modern English poetry, famous above all for his revolutionary poetry. Eliot has in many of his poems, portrayed as hero that man who feels a sense of his own inadequacy and impotence, and who is painfully aware of the banality and futility of his own life as well as of life in general. In his poems, Eliot points out that the degeneration of modern civilization is caused by loss of faith in religion, lack of human relationship, commercialism of love, mental tension and politics and wars. This paper highlights on his view about the futility of the 20th century people in the cities.
    [Show full text]