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T.S. Eliot,[object Object],1888—1965,[object Object]
Biography,[object Object],BIRTH:,[object Object],Thomas Stearns Eliot ,[object Object],September 26, 1888 in Missouri.  ,[object Object],CHILDHOOD:,[object Object],father, Henry Ware Eliot, ,[object Object],the president of the Hydraulic Brick Company.  ,[object Object],mother, Charlotte Champe Stearns, ,[object Object],volunteer at the Humanity Club of St. Louis.  ,[object Object],was a teacher. ,[object Object],At the time of Eliot’s birth, his parents were in their mid-forties ,[object Object],siblings were already grown.,[object Object],EDUCATION:,[object Object],attended Harvard University ,[object Object],left with a masters and undergraduate degrees.  ,[object Object],returned to Harvard to receive a doctorate degree in philosophy.,[object Object]
Biography,[object Object],Toured the continent after Harvard,[object Object],1915 married first wife, Vivienne Haigh-Wood,[object Object],1917 began working at Lloyd’s bank in London,[object Object],1925 left the bank to work at a publishing firm,[object Object],1927 converted to Anglicanism, dropped U.S. citizenship, became a britishsubject,[object Object],1933 separated from Vivienne,[object Object],Vivienne’s possible affair with Bertrand Russell?,[object Object],Eliot: "I came to persuade myself that I was in love with Vivienne simply because I wanted to burn my boats and commit myself to staying in England. And she persuaded herself that she would save the poet by keeping him in England. To her, the marriage brought no happiness. To me, it brought the state of mind out of which came The Waste Land.“,[object Object],avoiding all but one meeting with her between 1932 and her death in 1947. ,[object Object],1938 Vivien was committed to the Northumberland House mental ,[object Object],remained there till her death. ,[object Object],Eliot remained her husband during this time though he never visited.,[object Object]
Biography,[object Object],1948 won Nobel prize,[object Object],1957 married Esme Valerie Fletcher,[object Object],Had been his secretary at the publishing house since 1949,[object Object],37 years his junior (he was nearly 70, she was 32),[object Object],Preserved his literary legacy after Eliot’s death,[object Object],In 1965, he died of emphysema in London at the age of seventy-seven.,[object Object],1983 won two posthumous Tony Awards for “Cats”,[object Object]
Themes,[object Object],Eliot’s theories about modern poetry are enacted in his work:,[object Object],his writing exemplifies not only modernity, but also the modernist mode,[object Object],it seeks to put the reader off balance so as to capture the incoherence and dislocations of a bewildering age.,[object Object],the modern individual is “no longer at ease here” ,[object Object],he has witnessed the birth of something new and unprecedented, and finds the change to be a “[h]ard and bitter agony”,[object Object],he also attempts to counteract its disorderliness:,[object Object], bringing disparate elements into some sort of conceptual unity. ,[object Object],“The poet’s mind is in fact a receptacle for seizing and storing up numberless feelings, phrases, images, which remain there until all the particles which can unite to form a new compound are present together”,[object Object]
Aesthetic Views,[object Object], A poem should be an organic thing in itself, a made object.,[object Object], Once it is finished, the poet will no longer have control of it. ,[object Object],It should  be judged, analyzed by itself without  the interference of the poet’s personal influence and intentional  elements and other elements.,[object Object]
Reflection of Life:,[object Object],Modern life is chaotic, futile,  fragmentary,[object Object],Eliot argues that modern poetry “must be difficult” to match the intricacy of modern experience. ,[object Object],[object Object],“ The poet must become more and more comprehensive, more allusive, more indirect, in order to force, to dislocate if necessary, language into his meaning”,[object Object],this nature of life should be projected, not analyzed.,[object Object]
The Poet Should Draw Upon Tradition:,[object Object],use the past to serve the present and future,[object Object],“simultaneous order” ,[object Object],how the past, present, future interrelate,[object Object],Sometimes at the same time,[object Object],borrow from authors that are:,[object Object],remote in time,[object Object],alien in language ,[object Object],diverse in interest,[object Object],use the past to underscore what is missing from the present.,[object Object]
Style/Technique,[object Object],disconnected images/symbols,[object Object],literary allusions/references,[object Object],Sometimes VERY obscure!!!,[object Object],highly expressive meter ,[object Object],rhythm  of free verses,[object Object],metaphysical whimsical images/whims,[object Object],flexible tone,[object Object]
The Waste Land & Prufrock,[object Object],The Love Song of J.AlfredPrufrock,[object Object],love,[object Object],indecision,[object Object],Powerlessness, impotence ,[object Object],Stream-of-conciousness,[object Object],The Waste Land,[object Object],Written in 1922 ,[object Object],Marriage failing,[object Object],Both he and Vivienne were suffering from “nervous disorders”,[object Object],He was in convalescence, recovering from a “break-down”,[object Object],Emotionally distanced himself from the work before it was published in book form,[object Object],The impotence and sterility of the modern world; cultural fragmentation ,[object Object],disaffected sexual relationships in the modern, faithless world,[object Object],The disrupted cycles of:,[object Object],death and regeneration,[object Object],decay and growth; ,[object Object],the possibility of spiritual and aesthetic unity:,[object Object], through religious belief and mythic structure; ,[object Object]
techniques: ,[object Object],fragments, images accumulated, suggestions, allusions,[object Object],Imagery of death and rebirth,[object Object],contrasts:,[object Object],Song: ,[object Object],grey, listless, lack of vitality, life,  energy,[object Object],Land: ,[object Object],despair, more gloomy, bleaker,[object Object],death can also lead to rebirth,[object Object]
The Wasteland,[object Object],This attempt at order/consolidation,[object Object],uses myth as a unifying idea. ,[object Object],resists narrative closure and easy resolutions,[object Object],Loosely based on:,[object Object],an anthropological study of the medieval grail romances,[object Object],primitive fertility rites,[object Object],presents the reader with dissimilar textual fragments:,[object Object],woven together in a kind of mantra,[object Object],restore some sort of order and life to a civilization,[object Object],spiritually empty and sterile by World War I. ,[object Object]
The Wasteland,[object Object],WWI/Modern age:,[object Object],unprecedented slaughter,[object Object],eradication of all faith in God, in nature, and even in literature ,[object Object],has rendered the soil—and modern culture—barren. ,[object Object],Eliot’s personal brand of religious faith and his belief in the unifying elements of myth offer possibilities for spiritual and aesthetic consolation,[object Object], albeit in a very abstract sense. ,[object Object]
Influences:,[object Object],1. Sir James George Frazer(1854-1941): ,[object Object],The Golden Bough 1890-1922) ,[object Object],primitive rituals which indicated similar patterns of behavior and belief,[object Object],diverse and widely separated cultures:,[object Object],Ie: ritual king killing,[object Object],2. Miss Weston(1850-1928): ,[object Object],From Ritual to Romance: ,[object Object],Fisher King is impotent, ,[object Object],to be healed by finding answers to the riddle and then the curse can be  removed ,[object Object]
Major motifs, images, symbols,[object Object],Rejuvenation:,[object Object],quest for regeneration in a kaleidoscopic landscape of sexual disorder and spiritual desolation,[object Object],fertility(love, sex, vitality ) vs sterility(impotence),[object Object],death vs. rebirth ,[object Object],death in life,[object Object],rebirth in death,[object Object],cycle of seasons,[object Object],external barren landscape mirroring an internal barren landscape:,[object Object],wilderness, barren land, desert, rock,[object Object],cause of this sterility of modern life: lack of belief,[object Object],god is buried, god is dead,[object Object]
Complexity/Ambiguity of the Poem,[object Object],Double/conflicting meanings,[object Object],water: life, death, rebirth; ,[object Object],rock: sterility and hope,[object Object],Stumbling blocks:,[object Object],many allusions, vague in origin,[object Object],Exploration on the nature of life, of modern world, complexity of experience,[object Object],symbols are not two-dimensional, thin, but rich in meaning; the poem was not meant to be a didactic allegory,[object Object]
Discussion,[object Object]
Titles of five parts,[object Object],I The Burial of the Dead,[object Object],II A Game of Chess,[object Object],(two women, high and low, but both are frustrated and unhappy. Lil the low woman, her life is arbitrary and like a game of chess),[object Object],III The Fire Sermon,[object Object],(the river past and present, also the scene of sordid love affairs),[object Object],IV Death by Water,[object Object],V What the Thunder Said,[object Object]
Delving Deeper,[object Object],Why is April the “cruelest month” (line 1)?,[object Object], What do we usually associate with spring:,[object Object],new growth, flowers, warmth, life, planting seeds,[object Object],Christian belief: the resurrection of Christ celebrated at Easter,[object Object], What kinds of things do we associate with winter?,[object Object],death,  coldness, sterility, bare trees, a lack of growth,[object Object], And why are “memory and desire” (line 3) painful? ,[object Object],elaboration of these concepts throughout the poem:,[object Object],a fertile and joyous new world might spring from the site of mass slaughter ,[object Object],“so many, / I had not thought death had undone so many” [lines 62–63]) is grotesque and unreal. ,[object Object],The death and destruction of war is a major presence here: ,[object Object],“That corpse you planted last year in your garden, / Has it begun to sprout? Will it bloom this year?” (lines 71–72). ,[object Object]
Delving Deeper:,[object Object],No rebirth is possible in this barren landscape. ,[object Object],Not surprisingly, arid human relations provide no more consolation than nature. ,[object Object],Sex is not life-affirming but sordid, and brings no pleasure. ,[object Object],The “bored and tired” typist yields with indifference to her clumsy lover, a “young man carbuncular” (lines 256, 231),[object Object],Lil’s friend advises her to smarten herself up a bit so that her husband, returning from his stint in the army, won’t look elsewhere for “a good time” (line 148). ,[object Object],inability of these disaffected couplings to sustain growth in a spiritual and emotional sense. ,[object Object],Note the sudden, sometimes jarring changes in tone, diction, and rhyming patterns, which add to the sense of disjunction.,[object Object], The bartender’s repeated interruption into Lil’s conversation with her friend:,[object Object],“HURRY UP PLEASE ITS TIME” (lines 141, 152, 165, 168, 169),[object Object],disrupts the continuity of the exchange while emphasizing its crass nature. ,[object Object]
“What the Thunder Said”,[object Object],enigmatic concluding section, ,[object Object],Eliot’s note this section addresses themes about:,[object Object],Christ,[object Object],the Grail myth,[object Object],conflict in Eastern Europe. ,[object Object],There are many different ways to read this section:,[object Object],convergence of Eliot’s themes:,[object Object],Grail legend,[object Object],faith in Christ ,[object Object],have something to offer all desperate souls, although that offering does not take place within the poem itself. ,[object Object],If myth can impose order on chaos, then the allusions to the Chapel Perilous (lines 386-95) imply:,[object Object],“tumbled graves,” “the empty chapel,” and “Dry bones” (lines 388, 389, 391),[object Object],that if the questing knight continues his journey and participates correctly in the ritual, ,[object Object],vitality will return to the land. ,[object Object]
“What the Thunder Said”,[object Object],The Chapel Perilous passage:,[object Object],illuminates the previous references to Christ’s journey to Emmaus, ,[object Object],implying that if one can have faith in the resurrected Christ, ,[object Object],figuratively seeing “the third who walks always beside you” (line 360),,[object Object],then spiritual sustenance will be forthcoming. ,[object Object],Religious faith may in some way alleviate the misery caused by political turmoil and cultural dislocation.,[object Object]

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