T.S. Eliot - Biographical - Nobel Prize

Eliot wrote to Conrad Aiken on New Year's Eve 1914: "I hate university towns and university people, who are the same everywhere, with pregnant wives, sprawling children, many books and hideous pictures on the walls ... Oxford is very pretty, but I don't like to be dead." Escaping Oxford, Eliot spent much of his time in London. This city had a monumental and life-altering effect on Eliot for several reasons, the most significant of which was his introduction to the influential American literary figure . A connection through Aiken resulted in an arranged meeting and on 22 September 1914, Eliot paid a visit to Pound's flat. Pound instantly deemed Eliot "worth watching" and was crucial to Eliot's beginning career as a poet, as he is credited with promoting Eliot through social events and literary gatherings. Thus, according to biographer John Worthen, during his time in England Eliot "was seeing as little of Oxford as possible". He was instead spending long periods of time in London, in the company of Ezra Pound and "some of the modern artists whom the war has so far spared... It was Pound who helped most, introducing him everywhere." In the end, Eliot did not settle at Merton and left after a year. In 1915 he taught English at .

The World of Eliot’s Waste Land George Danis ..

Most of T.S Eliot’s poems are based on religion

ts eliot religion and literature essay ..

The long-distance relationship with Alex McNear after that summer—they would drift apart as time wore on—was conducted mostly through a series of passionate letters sent between his apartment (he was then living at 339 East 94th, in Manhattan) and hers, at 2210 Ridgeview Avenue, in Eagle Rock, California. By her account, the passion was as much about ideas and words as about their romance—what she later called “that dance of closeness through language.” Alex was interested in postmodern literary criticism, and her arguments brimmed with the deconstructionist ideas of Jacques Derrida, the French philosopher. In one letter she told Obama that she was writing a paper in her modern-poetry class at Occidental about T. S. Eliot’s “The Waste Land.” His reply wove its way through literature, politics, and personal philosophy:

What is the place of religion in Eliot’s ..

Eliot has also ignored other traditions that go into social formations. In 'Religion and Literature', he has dealt with the non-poetic elements of tradition at length. He kept on developing his notion of tradition right up to the time he wrote ‘Notes towards a definition on culture’.

The book of the modernist poem, dating from 1923, was published by Hogarth Press, founded by Eliot's friends Leonard and Virginia Woolf.
7. What is the place of religion in Eliot’s work? Howdoes this change over the course of his career?

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than like old women gathering broken pieces of driftwood for fire.'Wipe your hand across your mouth, and laugh; The worlds revolve like ancient women Gathering fuel in vacant lots.' By wiping a hand across the mouth and laughing the persona could be doing so bitterly, due to the obvious way that society is slumping into depression rather than happiness. The fact that the world is likened to the ancient women gathering fuel means that humans try to do so much for happiness by believing that seeking fame and fortune can bring it, but in reality, this quest is in vain (such as looking for something in an empty space) with mankind ending up probably just as satisfied as when he started. Preludes draws greatly from the styles and subjects characteristic of Modernism. The feelings of despair and of the dystopia within the poem (which is meant to reflect reality) are fairly typical of the period. Eliot's concern with the loss of religion and also the destruction of nature are clearly influenced by the ideals and standards of this genre. The Preludes are in fact not preludes to anything better at all, (irony in the title); they speak of how city-life and urban expansion will lead to destruction and spiritual chaos. It is mankind and his spirit who is suffering, but it is also he who is causing the world and all that is in it to suffer as well. Jasandeep Bhatti

27/08/2017 · The World of Eliot’s Waste Land George Danis ..

Culture - Telegraph Online, Daily Telegraph, Sunday Telegraph

This indirect poetical language could help a modern dramatist like Pinter achieve his goal according to the tastes of the modern people of his time. Poetic plays make metaphors and persuade the audience to play essential dramatic games of presence-absence, likeness-difference, identity and contrariety, and so on. A poetic play does not entail the mere use of poetry in the literary sense; instead, it is a play that achieves metaphorical strength through words, actions, visual images, and musicality, one that bears the same qualities noted by great artists of previous centuries but in a modern way. The words of T. S. Eliot (1888–1996), in his essay “Poetry and Drama,” could be helpful in this regard: “A verse play is not a play done into verse, but a different kind of play…. the poet with ambitions of the theater must discover the laws, both of another kind of verse and of another kind of drama” (Eliot , 145).

This set reissues 10 books on TS Eliot originally published between 1952 and 1991

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For much of his career, Eliot’s poetry and prose had, in one sense, been uniformly critical. They had succeeded in pointing out what ought to be present in modern life—in human life— if man were not to be reducible to a beast. But even in , Eliot had succeeded more at gesturing toward the demands of Christian life than in describing the contents of that life. Taking a deleted passage from that play for a starter, Eliot set to work writing what would become his greatest work, . The ambition of that poem was to provide the fullest account of the truly Christian life the modern world had yet seen. Having diagnosed the inadequacy of devotional poetry on several occasions, Eliot’s poetic sequence would avoid them.[38] Rather than expressing a feeling, the poem provides us the dramatic moments as well as the full intellectual architecture of faith necessary for to feel.