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While living in London Eliot became acquainted with literary figures, most notably Pound in 1914, who would help publish Eliot's work and edit The Waste Land. [25] Eliot also met Aldous Huxley and Katherine Mansfield, as well as members of the Bloomsbury Group, in London in 1916, although he did not meet Leonard and Virginia Woolf until two ...
Pound, who was living in London in 1919, was helping Eliot revise the poem (encouraging him to delete roughly one third of the text). When Eliot proposed publishing Gerontion as the opening part of The Waste Land, Pound discouraged him: "I do not advise printing Gerontion as preface. One don't miss it at all as the thing now stands.
Within Eliot's own poetry, the five sections connect to The Waste Land. This allowed Eliot to structure his larger poems, which he had difficulty with. [16] According to C. K. Stead, the structure is based on: [17] The movement of time, in which brief moments of eternity are caught. Worldly experience, leading to dissatisfaction.
The evaluation of Eliot's criticism occurred relatively early; for example, an appraisal of his work focusing exclusively on Eliot the critic (as opposed to Eliot the poet) appeared in 1941 in a book by John Crowe Ransom. Ransom, participating in the New Critical tradition of borrowing from Eliot, writes that
Eliot's work fundamentally changed literary thinking and Selected Essays provides both an overview and an in-depth examination of his theory. [1] It was published in 1932 by his employers, Faber & Faber, costing 12/6 (2009: £32). [2] In addition to his poetry, by 1932, Eliot was already accepted as one of English Literature's most important ...
In character development, both modern and postmodern literature explore subjectivism, turning from external reality to examine inner states of consciousness, in many cases drawing on modernist examples in the "stream of consciousness" styles of James Joyce and Virginia Woolf, or explorative poems like The Waste Land by T. S. Eliot. In addition ...
T. S. Eliot in 1920, in a photo taken by Lady Ottoline Morrell. In 1925, Eliot became a poetry editor at the London publishing firm of Faber and Gwyer, Ltd., [4]: pp.50–51 after a career in banking, and subsequent to the success of his earlier poems, including "The Love Song of J. Alfred Prufrock" (1915), "Gerontion" (1920) and "The Waste Land" (1922). [5]
Structurally, Eliot relied on The Waste Land to put together the fragments of poetry as one set. Bernard Bergonzi argued that "it was a new departure in Eliot's poetry, and it inevitably resulted in the presence of the manipulatory will that [C. K. Stead] has observed at works in the Quartets, and in the necessity for low-pressure linking ...