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In his early drafts, Eliot gave the poem the subtitle "Prufrock among the Women." [11]: 41 This subtitle was apparently discarded before publication. Eliot called the poem a "love song" in reference to Rudyard Kipling's poem "The Love Song of Har Dyal", first published in Kipling's collection Plain Tales from the Hills (1888). [17]
The Epicurean paradox or riddle of Epicurus or Epicurus' trilemma is a version of the problem of evil. Lactantius attributes this trilemma to Epicurus in De Ira Dei, 13, 20-21: God, he says, either wishes to take away evils, and is unable; or He is able, and is unwilling; or He is neither willing nor able, or He is both willing and able.
An unusual example is The Stand wherein he uses lyrics from certain songs to express the metaphor used in a particular part. Epigraph, consisting of an excerpt from the book itself, William Morris's The House of the Wolfings. Jack London uses the first stanza of John Myers O'Hara's poem "Atavism" as the epigraph to The Call of the Wild.
The epic poem De rerum natura (Latin for "On the Nature of Things") by Lucretius presents the core arguments and theories of Epicureanism in one unified work. Many Epicurean texts have also been found on scrolls unearthed at the Villa of the Papyri in Herculaneum , mostly works written by the Epicurean philosopher Philodemus or his teacher Zeno ...
"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 ...
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More recently T. S. Eliot's 1915 'The Love Song of J Alfred Prufrock' was influential on the persona poem. [28] "Prufrock" is a dramatic interior monologue of an urban man, stricken with feelings of isolation and an incapability for decisive action that is said "to epitomize frustration and impotence of the modern individual". [29]
T. S. Eliot in 1934. In 1925, Eliot became a poetry editor at the London publishing firm of Faber & Gwyer, Ltd., [1]: 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).