DOCSLIB.ORG

Critical Companion to T.S. Eliot : a Literary Reference to His Life And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Critical Companion to T.S. Eliot : a Literary Reference to His Life And CRITICAL COMPANION TO T. S. Eliot i-x_Eliot-fm.indd i 9/5/07 11:34:07 AM i-x_Eliot-fm.indd ii 9/5/07 11:34:08 AM CRITICAL COMPANION TO T. S. Eliot A Literary Reference to His Life and Work RUSSELL ELLIOTT MURPHY i-x_Eliot-fm.indd iii 9/5/07 11:34:08 AM Critical Companion to T. S. Eliot Copyright © 2007 by Russell Elliott Murphy All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Murphy, Russell E. (Russell Elliott) Critical companion to T. S. Eliot: a literary reference to his life and work / Russell Elliott Murphy. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8160-6183-9 (acid-free paper) 1. Eliot T. S. (Thomas Stearns), 1888–1965—Encyclopedias. 2. Poets, American—20th century—Biography—Encyclopedias. I. Title. PS3509.L43Z7887 2007 821′.912—dc22—[B] 2006034076 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by Erika K. Arroyo Cover design by Cathy Rincon/Anastasia Plé Printed in the United States of America VB Hermitage 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper. i-x_Eliot-fm.indd iv 9/5/07 11:34:08 AM CONTENTS Acknowledgments vii Introduction ix Part I: Biography 1 Part II: Works A to Z 31 Part III: Related People, Places, and Topics 495 Part IV: Appendices 575 1. T. S. Eliot Chronology 577 2. Significant Publications by T. S. Eliot 583 3. Selected Bibliography of Secondary Sources 585 Index 590 i-x_Eliot-fm.indd v 9/5/07 11:34:08 AM i-x_Eliot-fm.indd vi 9/5/07 11:34:08 AM ACKNOWLEDGMENTS ven in the age of Google, one cannot approach indeed, there is any purpose to what we in literary Ean exhaustive treatment of a poet as erudite studies do, it is to influence and inspire each other and well-read as T. S. Eliot without virtually con- in the same ways that we have been influenced stant recourse to one of the several works of stellar and inspired in the classroom and the library. So, scholarship that the poet’s achievement has gener- then, if at any point I seem to be echoing the ated. In particular, I must single out Grover Smith’s thoughts or feelings of others who have “said it remarkable T. S. Eliot’s Poetry and Plays: A Study much better,” I can honestly say that I was in no in Sources and Meanings, a classic of its kind. Peter way mindful of the borrowing either at the time of Ackroyd’s T. S. Eliot: A Life is a veritable font of my writing or subsequently, and I must therefore data and anecdote detailing the poet’s day-to-day be left to hope that others will be satisfied with the experiences and was another welcome source of flattery supplied by my unconscious imitation, if bibliographical as well as biographical information, not tribute. as was Christopher Rick’s T. S. Eliot: Inventions of Still, let it be known that the major influences the March Hare, Poems 1909–1917, a truly indis- on my own understanding of Eliot, whatever that pensable reference for anyone interested in the may mean, are most certainly Cleanth Brooks, Eliz- poet’s early career. Finally, there is Jewel Spears abeth Drew, Helen Gardner, F. O. Matthiessen, and Brooker’s recent and valuable T. S. Eliot: The Con- Hugh Kenner . always Hugh Kenner. temporary Reviews to be noted as well. I would also like to take this opportunity to I have been reading, studying, reading about, thank Jerry Weist and Dana Hawkes of Eastern writing about, and teaching the poetry and criti- Point in Gloucester, Massachusetts, the present cism of T. S. Eliot for going on four decades now. owners of the Eliots’ one-time summer home there, It is impossible for me, by now, to distinguish for graciously allowing us to photograph its exterior neatly and honestly among my own most original and interior. thoughts and feelings regarding Eliot’s work and I will close by acknowledging that all transla- significance and those thoughts and feelings that tions of Dante are mine, as is the translation of took shape in me thanks only to my exposure to Hadrian’s “Animula” and anything else that may the ideas of other teachers, scholars, and critics. If, have required translating. vii i-x_Eliot-fm.indd vii 9/5/07 11:34:08 AM i-x_Eliot-fm.indd viii 9/5/07 11:34:08 AM INTRODUCTION his book is not a shortcut to an apprecia- scholarship and authentic interpretation. This vol- Ttion and understanding of the writing of T. ume hopes to add to the impressive and extensive S. Eliot for the simple reason that there can be no quantity of scholarship and criticism that Eliot’s life shortcut to the inner workings of such a complex and work have inspired virtually from the begin- literary achievement as his. Rather, this book is ning of his literary career with the publication of as comprehensive a guide to Eliot as has yet been Prufrock and Other Observations in 1917. published. To discuss Eliot’s work requires the recogni- That is no small claim, nor is this a small book. tion of genuine limitations. Although students all Eliot is one of the more difficult poets of the 20th too often imagine that the way to come to grips century, perhaps of all time. Doc Ock, a charac- with the “meaning” of a particular Eliot poem is to ter in the movie Spider-Man 2, put it well. Dur- decode the meaning of every single line, such an ing a conversation with young Peter Parker, alias attempt often provides just the illusion of clarifica- Spider-Man, when the good doctor has not yet tion at the expense of admitting complexity. Any morphed into a supervillain and is still only just so-called meaning in a line of Eliot’s can often be Dr. Otto Octavius, he relates how his future wife, refuted by the next line. And then there are all the a literature student when they met in college, various allusions to deal with as well—to mythol- learned science for his sake and how he in turn ogy and to literature, to the Bible and to other reli- attempted to learn literature for hers. His future gious texts, to operatic pieces, to ragtime music, wife had been much more successful at mastering and to much more. Many an academic career has his field of study than he had been at mastering been made and unmade in the effort to explain hers. “She was studying T. S. Eliot,” he explains Eliot’s allusions, many of which are not even in to Parker, “and, compared to science, Eliot is very English. complicated.” The truth is, Eliot’s style of poetry, very much That admission of Dr. Octavius’s is a fact: Eliot unintelligible at times, is often intentionally that is very complicated, and there is no easy way to way. The poet of “The Love Song of J. Alfred understand his work. Nonetheless, this book is Prufrock” and The Waste Land, “Gerontion” and designed to assist the student in doing so. While “The Hollow Men,” to cite but a few of the titles the entries in this volume on Eliot’s poetry, verse for which he is best known, was never one to drama, and literary and social criticism recognize make his readers’ lives easier. So, then, it would and address the complexity of Eliot’s thought and be both unfair to the poet and unwise for his technique, they are written with an aim toward readers to expect any teacher or book to make trying to defuse rather than compound that com- Eliot’s poetry so readily accessible that no ques- plexity, although never at the expense of sound tions remain. ix i-x_Eliot-fm.indd ix 9/5/07 11:34:08 AM x Critical Companion to T. S. Eliot The commentaries in this book recognize and major influences and developments in Eliot’s life in respect Eliot’s complexity by seeking constantly to narrative fashion. Part II offers extensive treatment interpret and to contextualize, but they also aim to of Eliot’s individual poems, plays, and major works provide readers with as much detailed background of prose. Entries on all these works are arranged in and peripheral information as can be gathered, all alphabetical order. Part III provides detailed entries in the hopes that readers can then judge those on individuals, places, and works by others that interpretations for themselves, in good Eliot fash- helped shape the poet’s interests and writing. Part ion. They may even be inspired to come up with IV contains a chronology and an extensive bibliog- interpretations of their own. raphy of works by and about Eliot. To indicate a cross-reference, any name or How to Use This Book term that appears as an entry in Part III is printed This book is divided into four principal sections.
Load more

Recommended publications
  • Time Present the Newsletter of the T.S
    Time Present The Newsletter of the T.S. Eliot Society number 73 spring 2011 contents ESSAYS Un Présent Parfait: T.S. “Un Présent Parfait”: T. S. Eliot in Paris, 1910-1911 Eliot in Paris 1 s Eliot acknowledged in his essay in French “What France Means to You,” he had Alain-Fournier and the Athe “exceptional good fortune” to live in Paris during the academic year 1910-1911. Tutoring of Tom Eliot 2 While he went there with the goals of finding his poetic voice, attending the courses of Henri Bergson at the Collège de France, improving his skills in French and his knowledge of contemporary French literature, and becoming a cosmopolitan young man of the world, Public Sightings 3 he found himself in the French capital during an amazing period of intellectual and artistic developments. Book Reviews 4 It was literally seething with a diversity of ideas that were innovative, exciting, and often conflicting from a host of literary and intellectual figures such as Claudel, Gide, Eliot News 7 Perse, Bergson, Maurras, Durkheim, and Curie. Its cultural riches were never more tan- talizing with extraordinary happenings occurring at an amazing pace: the first exhibition Paris Conference 8 of the Cubists (whose techniques and themes influenced “The Love Song” andThe Waste Land); the daring ballets of the Ballets Russes (whose character Petrouchka was a model for Prufrock); the presentation of Wagner’s Der Ring des Nibelungen for the first time ever Abstracts from the Modern at the Paris Opéra (whose refrain of the Rhine-Daughters is echoed in The Waste Land) , Language Association 10 and the scandalous multimedia extravaganza Le Martyre de Saint Sébastien (which was one inspiration for “The Love Song of Saint Sebastian”).
    [Show full text]
  • 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.
    [Show full text]
  • 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]
  • The Hollow Men by T. S. Eliot
    The Hollow Men The stuffed men. by T. S. Eliot (1925) II Mistah Kurtz–he dead.1 Eyes I dare not meet in dreams In death’s dream kingdom 20 A penny for the old Guy2 These do not appear: There, the eyes are I Sunlight on a broken column We are the hollow men There, is a tree swinging We are the stuffed men And voices are 25 Leaning together In the wind’s singing Headpiece filled with straw. Alas! More distant and more solemn Our dried voices, when 5 Than a fading star. We whisper together Let me be no nearer Are quiet and meaningless In death’s dream kingdom 30 As wind in dry grass Let me also wear Or rats’ feet over broken glass Such deliberate disguises In our dry cellar 10 Rat’s coat, crowskin, crossed staves In a field Shape without form, shade without colour, Behaving as the wind behaves 35 Paralysed force, gesture without motion; No nearer– Those who have crossed Not that final meeting With direct eyes, to death’s other Kingdom In the twilight kingdom Remember us–if at all–not as lost 15 Violent souls, but only III As the hollow men This is the dead land This is cactus land 40 Here the stone images 1 Quotation from Heart of Darkness, a story by the English writer Joseph Conrad (1857-1924). KurtZ went into the African jungle as an official of a trading Are raised, here they receive company, and there degenerated into an evil, tyrannical man. His dying words The supplication of a dead man’s hand were “the horror!” Under the twinkle of a fading star.
    [Show full text]
  • 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.
    [Show full text]
  • Movielistings
    6b The Goodland Star-News / Friday, August 10, 2007 Like puzzles? Then you’ll love sudoku. This mind-bending puzzle will have FUN BY THE NUMBERS you hooked from the moment you square off, so sharpen your pencil and put your sudoku savvy to the test! Here’s How It Works: Sudoku puzzles are formatted as a 9x9 grid, broken down into nine 3x3 boxes. To solve a sudoku, the numbers 1 through 9 must fill each row, col- umn and box. Each number can appear only once in each row, column and box. You can figure out the order in which the numbers will appear by using the numeric clues already provided in the boxes. The more numbers you name, the easier it gets to solve the puzzle! ANSWER TO TUESDAY’S SATURDAY EVENING AUGUST 11, 2007 SUNDAY EVENING AUGUST 12, 2007 6PM 6:30 7PM 7:30 8PM 8:30 9PM 9:30 10PM 10:30 6PM 6:30 7PM 7:30 8PM 8:30 9PM 9:30 10PM 10:30 E S E = Eagle Cable S = S&T Telephone E S E = Eagle Cable S = S&T Telephone Family Family Family Family: Coreys: Wing Two Coreys Confessn Confessions Family Family Flip This House (TV G) Flip This House: The American Justice (TVPG) American Justice: Who Flip This House (TV G) 36 47 A&E 36 47 A&E (R) Montelongo Bunch (N) (R) Whacked Zack? (R) (R) Jewels (R) Jewels (R) Jewels (R) Genetopia Man (R) (TV14) (R) Jewels (R) Jewels (R) aa Extreme Makeover: Desperate Housewives: Brothers & Sisters: All in the KAKE News (:35) KAKE (:05) Lawyer (:35) Paid “Charlie’s Angels: Full Throttle” (‘03) Masters of Science Fiction KAKE News (:35) American Idol Re- (:35) Enter- 4 6 ABC 4 6 ABC Cameron Diaz.
    [Show full text]
  • Adroddiad Blynyddol / Annual Report 1974-75
    ADRODDIAD BLYNYDDOL / ANNUAL REPORT 1974-75 WILLIAM GRIFFITHS 1975001 Ffynhonnell / Source The late Miss A G Jones, M.A., Aberaeron, per Miss Olive M Jones, Aberaeron. Blwyddyn / Year Adroddiad Blynyddol / Annual Report 1974-75 Disgrifiad / Description Correspondence, journals, diaries, etc., of Rev William Griffiths (1788-1861), Calvinistic Methodist minister in Gower, co. Glamorgan, including journals for the years 1816-19, 1822-7 (numbered vol. 5), 1827-34 (vol. 6), 1834-42 (vol. 7), 1842-7 (vol. 8), and 1848-55 (vol. 9) (for vol. 4, 1819-22, see Calvinistic Methodist Archives 8710); printed diaries 1837; 1943-5; 1850-1 (very few entries); a `day book' or diary, 1854-61, with additional entries at the end by his son also named William Griffiths; a note-book containing autobiographical data compiled at intervals ? up to 1860; thirteen letters, 1825-6, addressed by him to his future wife Miss A. G. Jones, and one letter, 1826, written by him to his wife; twenty-five miscellaneous letters, 1840-60 and undated, received by him; thirty letters, 1846-9 and undated, received by him and his wife from their son William; printed copies of reports and notices of general meetings of the Glamorganshire Banking Company, 1845-58, addressed to him; bundles of sermon notes, 1817-61 ; two note-books containing a record of subscriptions towards the support of the ministry at Bethesda Church, Gower, 1838-43; a manuscript volume described on the title-page as `A Series of Questions and Answers on the more prominent doctrines of the Holy Bible written for the use of the Sabbath Schools belonging to Burry Green and Cherriton Chaples (sic) by Rev.
    [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]
  • 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]
  • Hollow Men: Colonial Forms, Irish Subjects, and the Great Famine in Modernist Literature, 1890-1930
    Graduate Theses, Dissertations, and Problem Reports 2016 Hollow Men: Colonial Forms, Irish Subjects, and the Great Famine in Modernist Literature, 1890-1930 Aaron Matthew Percich Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Percich, Aaron Matthew, "Hollow Men: Colonial Forms, Irish Subjects, and the Great Famine in Modernist Literature, 1890-1930" (2016). Graduate Theses, Dissertations, and Problem Reports. 6399. https://researchrepository.wvu.edu/etd/6399 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Hollow Men: Colonial Forms, Irish Subjects, and the Great Famine in Modernist Literature, 1890-1930 Aaron Matthew Percich A dissertation submitted to the Eberly College of Arts and Sciences at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English. Lisa Weihman, Ph.D., Chair Dennis W. Allen, Ph.D. Gwen Bergner, Ph.D. John B. Lamb, Ph.D. Enda Duffy, Ph.D.
    [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]
  • Club, Community and Coal: a Case Study of Dunfermline Athletic Football Club in the 1980S James Canavan MA Sports History and Cu
    Club, Community and Coal: A Case Study of Dunfermline Athletic Football Club in the 1980s James Canavan MA Sports History and Culture De Montfort University August, 2015 Acknowledgements Over the past year I have been overwhelmed by the support and guidance by many people associated with Dunfermline Athletic Football Club. From an initial, exploratory post on fans’ forum dafc.net in late July, 2014, I was immediately contacted by Donald Adamson and Jason Barber, who offered to help. Through Jason I was able to interview Jim Leishman and Ian Westwater, and Donald provided me with a high level of information about the club, in addition to the links with coal mining. I cannot thank Donald and Jason enough for their assistance. The following people have also provided help and information along the way: Gordon Baird, Alan Bairner, Kenny Cowan, Joe Graham, Jim Leishman, Duncan Simpson, John Simpson, and Ian Westwater. Every single person is a credit to themselves and to Dunfermline Athletic Football Club for giving up their free time to help me with this dissertation. I would also like to apologise to the staff at the temporary library at St Margaret’s House for my inability to work the microfiche readers, and to thank them for their help. At DMU, Matt Taylor has been very helpful in terms of the structure of the dissertation, and Neil Carter provided initial guidance. Lastly, I would like to thank my Father, Frank Canavan, for being a constant inspiration to complete this project. Since his death in 2009, I have visited Dunfermline every year, taking in a Pars match as a personal tribute.
    [Show full text]