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Thomas Stearns Eliot OM (26 September 1888 – 4 January 1965) was a poet, essayist and playwright. [1] He was a leading figure in English-language Modernist poetry where he reinvigorated the art through his use of language, writing style, and verse structure.
George Bell, the Bishop of Chichester, was instrumental in getting Eliot to work as writer with producer E. Martin Browne in producing the pageant play The Rock (1934). Bell then asked Eliot to write another play for the Canterbury Festival in 1935. Eliot agreed to do so if Browne once again produced (he did).
Eliot allowed Pound a high degree of control over the shape and contents of the final version, deferring to his judgement on matters such as using Eliot's previous poem "Gerontion" as a prelude, or using an excerpt from the death of Kurtz in Conrad's Heart of Darkness as the epigraph (Pound rejected both of these ideas). [45]
"The Hollow Men" (1925) is a poem by the modernist writer T. S. Eliot. Like much of his work, its themes are overlapping and fragmentary, concerned with post–World War I Europe under the Treaty of Versailles, hopelessness, religious conversion, redemption and, some critics argue, his failing marriage with Vivienne Haigh-Wood Eliot. [2]
Vivienne Haigh-Wood Eliot (also Vivien, born Vivienne Haigh; 28 May 1888 – 22 January 1947) was the first wife of American-British poet T. S. Eliot, whom she married in 1915, less than three months after their introduction by mutual friends, when Vivienne was a governess in Cambridge and Eliot was studying at Oxford.
T. S. Eliot in 1934. Burnt Norton is the first poem of T. S. Eliot's Four Quartets. He created it while working on his play Murder in the Cathedral, and it was first published in his Collected Poems 1909–1935 (1936). The poem's title refers to the manor house Eliot visited with Emily Hale in the Cotswolds. The manor's garden serves as an ...
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Eliot complied. Hoellering also thought the knights' final speeches were a problem because "in stage productions these speeches amused the audience instead of shocking them, and thereby made them miss the point—the whole point of the play." He asked Eliot for changes; and Eliot made major reductions to the speeches and added a shorter speech. [5]