Hire Writer What is speaker truly stating in this ill-famed transition? There are two of import dimensions to the line. How can a fragment be seen as something of value. Eliot used atomization in his poesy to show the helter-skelter.
See Article History Alternative Title: Thomas Stearns Eliot T. Louis, MissouriU. Eliot exercised a strong influence on Anglo-American culture from the s until late in the century. His experiments in dictionstyle, and versification revitalized English poetry, and in a series of critical essays he shattered old orthodoxies and erected new ones.
The publication of Four Quartets led to his recognition as the greatest living English poet and man of letters, and in he was awarded both the Order of Merit and the Nobel Prize for Literature. Early years Eliot was descended from a distinguished New England family that had relocated to St.
From Smith Academy in St. The men who influenced him at Harvard were George Santayanathe philosopher and poet, and the critic Irving Babbitt. From Babbitt he derived an anti-Romantic attitude that, amplified by his later reading of British philosophers F.
Hulmelasted through his life. In the academic year —10 he was an assistant in philosophy at Harvard. From to he was back at Harvard, reading Indian philosophy and studying Sanskrit. In Eliot met and began a close association with the American poet Ezra Pound. Early publications Modernist writer T.
He was probably the most erudite poet of his time in the English language. Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table. It represented a break with the immediate past as radical as that of Samuel Taylor Coleridge and William Wordsworth in Lyrical Ballads The significance of the revolution is still disputed, but the striking similarity to the Romantic revolution of Coleridge and Wordsworth is obvious: Eliot and Pound, like their 18th-century counterparts, set about reforming poetic diction.
Meanwhile, he was also a prolific reviewer and essayist in both literary criticism and technical philosophy. The Waste Land expresses with great power the disenchantment, disillusionment, and disgust of the period after World War I.
In a series of vignettesloosely linked by the legend of the search for the Grailit portrays a sterile world of panicky fears and barren lusts, and of human beings waiting for some sign or promise of redemption. This scholarly supplement distracted some readers and critics from perceiving the true originality of the poem, which lay rather in its rendering of the universal human predicament of man desiring salvationand in its manipulation of language, than in its range of literary references.
In his earlier poems Eliot had shown himself to be a master of the poetic phrase. The Waste Land showed him to be, in addition, a metrist of great virtuosity, capable of astonishing modulations ranging from the sublime to the conversational.
But The Waste Land is not a simple contrast of the heroic past with the degraded present; it is, rather, a timeless simultaneous awareness of moral grandeur and moral evil.
The poet writing in English may therefore make his own tradition by using materials from any past period, in any language.
Two other essays, first published the year after The Sacred Wood, almost complete the Eliot critical canon: In these essays he effects a new historical perspective on the hierarchy of English poetry, putting at the top Donne and other Metaphysical poets of the 17th century and lowering poets of the 18th and 19th centuries.
This change seems to him to consist in a loss of the union of thought and feeling. The phrase has been attacked, yet the historical fact that gave rise to it cannot be denied, and with the poetry of Eliot and Pound it had a strong influence in reviving interest in certain 17th-century poets.
Shortly before this his interests had broadened into theology and sociology; three short books, or long essays, were the result: These book-essays, along with his Dantean indubitable masterpiece, broadened the base of literature into theology and philosophy: The great essay on Dante appeared two years after Eliot was confirmed in the Church of England ; in that year he also became a British subject.
The first long poem after his conversion was Ash Wednesdaya religious meditation in a style entirely different from that of any of the earlier poems. Ash Wednesday expresses the pangs and the strain involved in the acceptance of religious belief and religious discipline. This and subsequent poems were written in a more relaxed, musical, and meditative style than his earlier works, in which the dramatic element had been stronger than the lyrical.
Ash Wednesday was not well received in an era that held that poetry, though autonomousis strictly secular in its outlook; it was misinterpreted by some critics as an expression of personal disillusion.
It is a subtle meditation on the nature of time and its relation to eternity. Each of the poems was self-subsistent, but when published together they were seen to make up a single work, in which themes and images recurred and were developed in a musical manner and brought to a final resolution.
This work led to the award to Eliot, inof the Nobel Prize for Literature. Eliot right receiving the Nobel Prize for Literature, December The scene takes place at dawn in London after a night on duty at an air-raid post during an air attack; the master speaks in conclusion:An Essay on the Waste Land.
1 RANDY ABLACK # The Moderns Mr. C.
Dial 09 Assignment #1 Discuss Eliot’s portrayal of the absence of communication and love in ‘The Wasteland’ as a major element in his vision of an emotionally and physically sterile landscape.
This student essay consists of approximately 5 pages of analysis of Modernism in T.s. Eliots's the Wasteland. There is no inquiry that atomization is an of import motive throughout The Wasteland. The full verse form is an odorous assortment of duologue.
images. scholarly thoughts. foreign words.
formal manners. and tones.
The reader’s journey through this proverbial barren is a seeking one. to state the least. Unless one is endowed with a depthless. The Waste Land soon became known as “the work that best expressed the mood of a postwar generation disillusioned by the loss of ideals and faith in progress” (Duper 7).
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