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Eliot wrote "The Love Song of J. Alfred Prufrock" between February 1910 and July or August 1911. Shortly after arriving in England to attend Merton College, Oxford in 1914, Eliot was introduced to American expatriate poet Ezra Pound, who instantly deemed Eliot "worth watching" and aided the start of Eliot's career.
In 1915, Ezra Pound, overseas editor of Poetry magazine, recommended to Harriet Monroe, the magazine's founder, that she should publish "The Love Song of J. Alfred Prufrock". [68] Although the character Prufrock seems to be middle-aged, Eliot wrote most of the poem when he was only twenty-two.
A detached tone, or an opposite tone than the reader would expect, are sometimes purposely employed to elicit more of a response. In the opening lines of "The Love Song of J. Alfred Prufrock", T. S. Eliot quickly sets a certain tone, and then creates effect by juxtaposing it with a very different tone: Let us go then, you and I,
"The Love Song of J. Alfred Prufrock" was set to music by Tony Garone and Scott Harris. The video was made by Tony Garone himself, with illustrations by Julian Peters. [10] [11] In the album I am Nothing, Versus Shade Collapse has produced a musical adaptation of the poem called "An Adaptation of The Love Song of J. Alfred Prufrock." [citation ...
The video conveys the message that, while education is good, educational institutions leave much to be desired. It features Suli Breaks rhyming his dislike of the unnecessary strictures of formal schooling. In the video, Breaks also outlines why young people are encouraged to get a formal education. [1]
The long quotation from Dante's Inferno that prefaces T. S. Eliot's "The Love Song of J. Alfred Prufrock" is part of a speech by one of the damned in Dante's Hell. The epigraph to E. L. Doctorow's Ragtime quotes Scott Joplin's instructions to those who play his music, "Do not play this piece fast. It is never right to play ragtime fast."
Selected Essays, 1917–1932 is a collection of prose and literary criticism by T. S. Eliot.Eliot's work fundamentally changed literary thinking and Selected Essays provides both an overview and an in-depth examination of his theory. [1]
An extended metaphor, also known as a conceit or sustained metaphor, is the use of a single metaphor or analogy at length in a work of literature. It differs from a mere metaphor in its length, and in having more than one single point of contact between the object described (the so-called tenor) and the comparison used to describe it (the vehicle).