¶ … Sketch of T.S Eliot
The Life of T.S Eliot
Eliot was born in Missouri in 1888. He studied philosophy and logic at various universities including Harvard. After graduating he spent a year at Sorbonne in Paris reading French literature. He then returned to Harvard where he studied epistemological theory, Indian languages and metaphysics. He later transferred to Oxford where he studied Greek philosophy (Kamm 143).
During these years of study he also wrote many of his poems and several books of his poetry were published. These included the poems 'The Love Song of J. Alfred Prufrock,' 'Preludes,' 'Portrait of a Lady' and 'Rhapsody at Midnight.' His books of poetry included Prufrock and Other Observations in 1917, Poems in 1919 and Ara Vos Prec in 1920 (Kamm 143).
Eliot also offered a criticism of literature in his book The Sacred Wood: Essays on Poetry and Criticism published in 1920 (Kamm 143).
He was married in 1915, with his wife suffering from a long illness in 1920 that forced him to stop writing. He returned to writing in 1922 with the publication of 'The Waste Land' (Kamm 143).
In 1925 he became the director and editor of Faber & Faber, a London-based publisher. He remained in this role for the rest of his life, where he published a long list of now well-known poets (Kamm 143).
In 1925 he published a collection of his poems titled Poems, 1909-1925.
In 1927 he became a British national and also joined the Church of England. In 1944 he published four poems that represented his spiritual and religious changes in the book Four Quartets.
In his later years, Eliot focused more on writing plays. While several
T.S. Eliot and Amy Lowell The poetic styles of T.S. Eliot and Amy Lowell are so dissimilar, that it comes as something of a shock to realize how much the two poets had in common. Each came from a prominent Boston family, and was related to a President of Harvard University -- Eliot was a distant relation to Harvard's President Eliot, and attended Harvard as an undergraduate: Amy Lowell's brother would
TS Eliot REVISED "The Love Song of J. Alfred Prufrock" by T.S. Eliot is indefeasibly a Modernist masterpiece. Yet how do we know it is modernist? Let me count the ways. Modernist poetry is often marked by complicated or difficult disjunctions in tone -- "J. Alfred Prufrock" which is capable of moodily swinging from the depressive lows of "I should have been a pair of ragged claws / scuttling across the
T.S. Eliot and Paul Verlaine The late nineteenth century Symbolist movement in literature was first identified as the primary origin of twentieth century Modernism by Edmund Wilson, in his 1931 work Axel's Castle: A Study in the Imaginative Literature of 1870-1930. Wilson's study ranges widely enough to cover the Modernist prose of Proust and Joyce in addition to the experimental prose-poetry of Gertrude Stein, but he makes a particularly strong case
That is not it, at all." (Eliot, 875) In these lines the poet makes a play upon words with the word "all": it is either to know all, or else not to be able to render one's meaning in a work of art. Eliot finds it impossible to actually unveil the mystery and tell all, it is not only that complete knowledge of the universe is impossible, but that the mystery
More a synopsis of emotional entanglement than a treatise on gender or sexuality, T.S. Eliot’s “The Love Song of J. Alfred Prufrock” encapsulates the ennui and numbness of the modern world. The speaker reveals gender only tacitly, as through two separate mentions of encroaching baldness. The choral incantations of the women who “come and go/ talking of Michelangelo” refer to a bourgeoisie existence and do not reveal gender discrimination (lines
Prince Hamlet is supported by loyal followers such as Prufrock, himself happy "to start a scene or two" (116) and to remain "Deferential, glad to be of use" (118). Women are presented in a series of stereotypes of the social set -- they sip tea, talk about art, eat marmalade, and live among porcelain as they pretend that they are more influential than they are. For Prufrock, the singing
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