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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.
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 portrait shows Eliot from the front as he sits in an armchair, dressed in a lounge suit and a waistcoat. His hands are crossed and he has a serious facial expression. [ 2 ] [ 3 ] The shapes that make up the painting are stylised; The Guardian describes Eliot's face as "a jigsaw puzzle of shadowy half-moons and sharp planes". [ 2 ]
Mary Ann Evans (22 November 1819 – 22 December 1880; alternatively Mary Anne or Marian [1] [2]), known by her pen name George Eliot, was an English novelist, poet, journalist, translator, and one of the leading writers of the Victorian era. [3]
Romola is a historical novel written between 1862 and 1863 by English author Mary Ann Evans under the pen name of George Eliot set in the fifteenth century. It is "a deep study of life in the city of Florence from an intellectual, artistic, religious, and social point of view". [1]
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]
Little Gidding is the fourth and final poem of T. S. Eliot's Four Quartets, a series of poems that discuss time, perspective, humanity, and salvation.It was first published in September 1942 after being delayed for over a year because of the air-raids on Great Britain during World War II and Eliot's declining health.
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.