Thomas Stearns Eliot (1888-1965) Thomas Stearns Eliot.

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Thomas Stearns Eliot (1888-1965) Thomas Stearns Eliot.

Only Connect ... New Directions T. S. Eliot 1. Life 1888: he was born in St. Louis, Missouri. 1910: he studied in Paris at the Sorbonne. 1915: he married the British ballet dancer Vivienne Haigh-Wood. 1917: he established himself as an important avant-garde poet. Thomas Stearns Eliot. Only Connect ... New Directions

Only Connect ... New Directions T. S. Eliot 1. Life 1922: he edited The Criterion, an intellectual magazine. His professions included being a poet, a critic and an editor. 1925: he became director for the publishers Faber & Faber. 1927: he acquired British citizenship and converted to Anglicanism. Thomas Stearns Eliot. Only Connect ... New Directions

Only Connect ... New Directions T. S. Eliot 1. Life 1930: for the next thirty years he was considered “the most dominant figure in poetry and literary criticism in the English-speaking world”. 1948: he received the Nobel Prize for literature. 1965: he died in London. Thomas Stearns Eliot. Only Connect ... New Directions

Only Connect ... New Directions T. S. Eliot 2. Works Before the conversion 1917: Prufrock and other Observations. 1922: The Waste Land. It is said to be “the single most influential poetic work of the twentieth century”. 1925: The Hollow Men. Cover for the first edition of Prufrock and other Observations Only Connect ... New Directions

2. Works After the conversion 1927: Ariel Poems. 1930: Ash-Wednesday. T. S. Eliot 2. Works After the conversion 1927: Ariel Poems. 1930: Ash-Wednesday. 1935-1942: Four Quartets. 1935: Murder in the Cathedral. 1939: Family Reunion. A contemporary edition of Murder in the Cathedral Only Connect ... New Directions

3. T. S. Eliot’s world and the 19th-century world Modern/T. S. Eliot’s world 19th-century world Chaotic Ordered Futile Meaningful Pessimistic Optimistic Unstable Stable Loss of faith Faith Collapse of moral values Morality/Values Confused sense of identity Clear sense of identity Only Connect ... New Directions

4. The Waste Land: content T. S. Eliot 4. The Waste Land: content It is an autobiography written in a moment of crisis in the life of the poet. It consists of five sections; it reflects the fragmented experience of the 20th-century sensibility of the great modern cities of the West. A contemporary edition of The Waste Land. Only Connect ... New Directions

4. The Waste Land: content T. S. Eliot 4. The Waste Land: content It is an anthology of indeterminate states of the mind, hallucinations, impressions, personalities blended and superimposed beyond the boundaries of time and place. The speaking voice is related to various personalities: Tiresias, a knight from the Grail legend, the Fisher King. A contemporary edition of The Waste Land. Only Connect ... New Directions

Only Connect ... New Directions T. S. Eliot 5. The Waste Land: themes The disillusionment and disgust of the period after World War I. Contrast between past fertility and present sterility. The mythical past linked to a new concept of History  repetition of the same events. Spring Symbols: different from Chaucer  absence of rebirth. April is the cruelest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain. (I section) Only Connect ... New Directions

T. S. Eliot 6. The Waste Land: style Association of ideas  past and present are simultaneous. Mythical method  to give significance to present futility. Subjective experiences made universal. Use of Juxtaposition. First draft of The Waste Land, third section. Only Connect ... New Directions

T. S. Eliot 6. The Waste Land: style Quotations from different languages and literary works. Fragmentation. Technique of implication: the active participation of the reader is required. Objective correlative. Repetition of words, images and phrases. First draft of The Waste Land, third section. Only Connect ... New Directions

7. The objective correlative: T. S. Eliot and Montale For Eliot, the “objective correlative” is a pattern of objects, events, actions, or a situation that can serve effectively to awaken in the reader an emotional response without being a direct statement of that subjective emotion. Only Connect ... New Directions

Only Connect ... New Directions T. S. Eliot 7. The objective correlative: T. S. Eliot and Montale What The Thunder said Meriggiare pallido e assorto (“Ossi di Seppia”) Here is no water but only rock Rock and no water and the sandy road The road winding above among the mountains Which are mountains of rock without water. Meriggiare pallido e assorto presso un rovente muro d’orto, ascoltare tra i pruni e gli sterpi schiocchi di merli, frusci di serpi. Both Eliot and Montale depict a desolate landscape. They both refer to a waste land of the spirit. This landscape is cosmopolitan in Eliot. It is a domestic landscape in Montale. Only Connect ... New Directions