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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 ...
Four Quartets is a set of four poems written by T. S. Eliot that were published over a six-year period. The first poem, Burnt Norton, was published with a collection of his early works (1936's Collected Poems 1909–1935).
Eliot himself employed this concept on many of his works, especially on his long-poem The Waste Land. [93] Also important to New Criticism was the idea—as articulated in Eliot's essay "Hamlet and His Problems"—of an "objective correlative", which posits a connection among the words of the text and events, states of mind, and experiences. [94]
T. S. Eliot in 1934 The Dry Salvages is the third poem of T. S. Eliot 's Four Quartets , marking the beginning of the point when the series was consciously being shaped as a set of four poems. It was written and published in 1941 during the air-raids on Great Britain , an event that threatened him while giving lectures in the area.
The following is a list of books of poetry by T. S. Eliot arranged chronologically by first edition. [Note 1] Some of Eliot's poems were first published in booklet or pamphlet format (such as his Ariel poems.)
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.
Hamka’s death came after Loughnane subjected her to what Justice Christopher Beale described as a "torrent of highly abusive text messages" in which he threatened to torture her, drown her, set ...
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 ...