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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 ...
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.
One reason Williams deliberated on Paterson was his longstanding concern about the poem The Waste Land by T.S. Eliot, which with its overall tone of disillusionment had tapped into a much larger sense of cultural ennui that had arisen in the aftermath of World War I and become a touchstone for the Lost Generation. [12]
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]
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.
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The essay is significant because it represents Eliot's response to the New Critical perspective which had taken the academic study of literature by storm during Eliot's lifetime. It also presents an analysis of some of its author's own poetic works , an unusual characteristic for modern criticism—it has become far more usual today for poets ...
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