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Portrait of T. S. Eliot is a 1938 painting by Wyndham Lewis, depicting the US-born British writer T. S. Eliot. It received publicity when it was rejected by the Royal Academy of Arts. Eliot praised the painting and it became one of Lewis' most celebrated works. It was bought by the Durban Art Gallery in Durban.
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.
The artist is responsible for creating "the pressure, so to speak, under which the fusion takes place." And, it is the intensity of fusion that renders art great. In this view, Eliot rejects the theory that art expresses metaphysical unity in the soul of the poet. The poet is a depersonalised vessel, a mere medium.
Eliot's critique gained attention partly due to his claim that Hamlet is "most certainly an artistic failure." Eliot also popularised the concept of the objective correlative—a mechanism used to evoke emotion in an audience—in the essay. The essay is also an example of Eliot's use of what became known as new criticism. [2]
Topics include Eliot's opinions of many literary works and authors, including William Shakespeare's play Hamlet, and the poets Dante Alighieri and William Blake. [ 1 ] One of his most important prose works, " Tradition and the Individual Talent ", which was originally published in two parts in The Egoist , is a part of The Sacred Wood .
Impressions of Theophrastus Such is a work of fiction by George Eliot (Marian Evans), first published in 1879. It was Eliot's last published writing and her most experimental, taking the form of a series of literary essays by an imaginary minor scholar whose eccentric character is revealed through his work.
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]
Gomez, who has made a fortune since then and Mrs. Carghill, who is now a wealthy widow, have both come back to Claverton's life as agents of Eliot's message. As the play progresses, we see that Gomez manages to lure away Claverton's son Michael, according to whom his father never understood him.