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The Sacred Wood; Essays on Poetry Dante.

1984 - Peter Ackroyd (biographer):[]

The two young men were, in any event, in closeintellectual and imaginative sympathy. They visited galleriestogether, discussed the latest books, and corresponded after Eliot'sreturn to America, It was the kind of friendship which, establishedupon youthful enthusiasm and in the absence of those constraintswhich afflicit young men coming from the same background orcountry, Eliot had never experienced before. (He was to say laterthat there had been very few people at Harvard whom he couldtolerate, and even his friendship with Conrad Aiken was markedby a jocular uneasiness.)

1984 - Peter Ackroyd (biographer):[]

The two young men were, in any event, in closeintellectual and imaginative sympathy. They visited galleriestogether, discussed the latest books, and corresponded after Eliot'sreturn to America, It was the kind of friendship which, establishedupon youthful enthusiasm and in the absence of those constraintswhich afflicit young men coming from the same background orcountry, Eliot had never experienced before. (He was to say laterthat there had been very few people at Harvard whom he couldtolerate, and even his friendship with Conrad Aiken was markedby a jocular uneasiness.)

Eliot talking about his debt to Dante?

Eliot starts his 1929 essay on Dante.T.

Here is the majority of his famous essay “What Dante Means to Me” .IN his critical work Mr.

Eliot's reputation as a poet and man of letters, increasing incrementally from themid-1920s, advanced and far outstripped his theatrical success. As early as 1926 hedelivered the prestigious Clark Lectures at Cambridge University, followed in 1932-1933 bythe Norton Lectures at Harvard, and just about every other honor the academy or theliterary world had to offer. In 1948 Eliot received the Nobel Prize for literature duringa fellowship stay at the Princeton Institute for Advanced Study. By 1950 his authority hadreached a level that seemed comparable in English writing to that of figures like SamuelJohnson or Samuel Taylor Coleridge.

Ironically, after 1925 Eliot's marriage steadily deteriorated, turning his publicsuccess hollow. During the tenure of his Norton year at Harvard he separated from Vivien,but would not consider divorce because of his Anglican beliefs. For most of the 1930s hesecluded himself from Vivien's often histrionic attempts to embarrass him into areconciliation, and made an anguished attempt to order his life around his editorialduties at Faber's and the and around work at his Kensington church. Healso reestablished communication with Emily Hale, especially after 1934, when she begansummering with relatives in the Cotswolds. Out of his thinking of "what might havebeen," associated with their visit to an abandoned great house, Eliot composed"Burnt Norton," published as the last poem in his (1936).With its combination of symbolist indirection and meditative gravity, "BurntNorton" gave Eliot the model for another decade of major verse.

According to Berryman, with this line begins modern poetry (197).

Eliot’s collection of essays on poetry and criticism covers such masters of verse as Dante and Blake.T s eliot essay dante Ngongas auto transmission tower which according to.

Eliot, T.S. , Lawrence Rainey, ed., New Haven: Yale University Press (2005) pp. 144-5, 214-5

Eliot's particular transformation of the dramatic monologue in "Prufrock"depends on the character of the pronouns "you" and "I," whichlinguists call "shifters" because they are mutually defining and depend fortheir meanings on the pragmatic context of the discourses in which they occur. Instead ofnaming something unchanging, these pronouns indicate positions that can be variouslyoccupied.

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The Eliots were a Boston family with roots in Old and New England.


Eliot: Poet as Conscience of the Age" T.

And if Prufrock's problem coincides with the dynamics of Eliot's particularmedium of dramatic monologue, Eliot's problem coincides with the dynamics of thepoetic medium itself; just as Prufrock is paralyzed by his consciousness of theother, his author is paralyzed by his consciousness of the tradition. In theline "It is impossible to say just what I mean!" the dramaticcharacter and his author meet, "uttering the words in unison, thoughperhaps with somewhat different meaning," and displaying the rhetoricaladvantage a dramatic poet holds. And Eliot's imprisoning his speaker in the verymedium of expressive or even confessional speech may register his ownintertextual interment in a medium inscribed with prototypes of original orcentral speech—whether prophetic, like John the Baptist's, or epic, likeDante's, or dramatic, like Shakespeare's—which are codified in and reinforcedby conventions precluding the possibility of saying "just what Imean." Eliot's ironic use of rhyme and meter in "Prufrock"acknowledges the complicity of the poet's conventions with his persona's"de-meaning" language. On the one hand, the "comic" meter oflines like "In the room the women come and go / Talking ofMichelangelo" equates poetic forms that channel force and the social formsof keeping conversation light. On the other hand, dreams of escape from thepre-formulating formulae are them- selves recounted in formulaic lines, for thesolution to Prufrock's problem would be a "solution" for Eliot aswell-forgetting the present and the separate self, surrendering to the oblivionof an unconscious nature and the "natural" meter of English poetry:

The Sacred Wood; Essays on Poetry and M.

Prufrock does not know how to presume to begin to speak, both because heknows "all already"—this is the burden of his lament—and becausehe is already known, formulated. His consciousness of the other's eye—I hauntshis language at its source: "Let us go then, you and I." An"I" who addresses a "you" becomes subject to the laws ofcommunication, and his voice is subsumed by expression. In his critical replayof the poetic process, Eliot remarks that the poet expresses not a personalitybut a particular medium. The particular medium expressed in "Prufrock"is a confession or a dramatic monologue. The you-I split being the formal groundof his medium, Prufrock's problem is in fact the problem the expressive mediumintroduces, and this identification of the formal and rhetorical dimensions ofthe medium with the emotion or psychic burden of the speaker makes for theairless closure of the poem. As in Poe's "Raven," the speaker'srelationship to the form within which his adventure transpires constitutes thenature of his adventure: his form determines the content of his story.

Alfred Prufrock T.S Eliot's The Love Song of J.

The physical and psychological enervation of Eliot's early personae may beread in part as correlatives of his literary situation; this is the way Prufrock,for example, states his problem:

Eliot’s on the order of Dante’s The Divine Comedy, Eliot writes T.S.

Louis, where he became a Unitarian minister, but the New England connection was closely maintained--especially, during Eliot's youth, through the family's summer home on the Atlantic coast in Gloucester, Mass...

Eliot, The Sacred Wood: Essays.T.S.

Louis, Missouri, the seventh and last child of Henry Ware Eliot, a brick manufacturer, and Charlotte (Stearns) Eliot, who was active in social reform and was herself a not-untalented poet.

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