T. S. Eliot and the Use of MemoryBucknell University Press, 1996 - 186 էջ "This book explores poetry of T. S. Eliot and three plays, Sweeney Agonistes, The Family Reunion, and The Cocktail Party, in the light of his responses to his cultural tradition." "The concept of memory, as an acknowledgment both of a cultural heritage and of its availability for original works of mind and imagination, unifies this study by Grover Smith. Eliot was tradition-oriented, drawing upon various cultures - primitive, Indic, European, and American - for poetic inspiration and models. By education, he was multicultural in a thoroughly legitimate sense." "In separate chapters, Smith, though commenting on a few verbal sources of types familiar from Eliot's practice of stylistic borrowing, focuses on thematic concerns. Included are the psychological labyrinth of death-in-life of Poe's tales and poems; transfigurations of Hamlet from Shakespeare to Goethe, Coleridge, and Freud; popular stage entertainment in nineteenth-century America; poetic stimuli from James Barrie, Arnold Bennett, and Aldous Huxley; twentieth-century speculations on time and serialism; the world of occult phenomena in W. B. Yeats and, later, the novelist Charles Williams; and Eliot's obsessive critiques of primitive myth and ritual." "In various ways, all of these interests intersected. Smith shows in Eliot's dedication to diverse traditions a practical imperative, and to a great extent a moral one, for a poetic art grounded in traditional American reverence for inherited values."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved |
From inside the book
Արդյունքներ 26–ի 1-ից 5-ը:
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... cultural tradition . The concept of memory , as an ac- knowledgment both of a cultural heritage and of its availability for original works of mind and imagination , unifies this study by Grover Smith . Eliot was tradition - oriented ...
... cultural tradition . The concept of memory , as an ac- knowledgment both of a cultural heritage and of its availability for original works of mind and imagination , unifies this study by Grover Smith . Eliot was tradition - oriented ...
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... cultural heritage extended from almost every inhabited continent and became broadly reflected in poetic achievement . The deliberate cultivation of literary memory in the poetry of Eliot and his theoretical interest in " tradition " and ...
... cultural heritage extended from almost every inhabited continent and became broadly reflected in poetic achievement . The deliberate cultivation of literary memory in the poetry of Eliot and his theoretical interest in " tradition " and ...
Էջ 10
... cultural remembering . The most grievous , the most terrifying , thing about the modern world is its insolent repudia- tion of the past ; its tyrannical denial of its origins and their lessons and of its actual inextricability from them ...
... cultural remembering . The most grievous , the most terrifying , thing about the modern world is its insolent repudia- tion of the past ; its tyrannical denial of its origins and their lessons and of its actual inextricability from them ...
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... cultural pietas . 7 It professes that the past forms the present . But only the practical use of tradition is shown ; a moral use which the essay relates to the practical takes over in the poet's " surrender " to the more valuable — not ...
... cultural pietas . 7 It professes that the past forms the present . But only the practical use of tradition is shown ; a moral use which the essay relates to the practical takes over in the poet's " surrender " to the more valuable — not ...
Էջ 21
... cultural abyss of the First World War separated Eliot's rhetoric of dedication to poetry from the protest of the 1890s against didacticism that , if not literally , " All art is quite useless . " Here , however , is a critique of poetry ...
... cultural abyss of the First World War separated Eliot's rhetoric of dedication to poetry from the protest of the 1890s against didacticism that , if not literally , " All art is quite useless . " Here , however , is a critique of poetry ...
Բովանդակություն
5 | |
The Ghost of Poe | 25 |
The Fascination of Hamlet | 37 |
Rattling the Bones in The Waste Land | 52 |
Eliots Poetic Process Barrie Bennett Huxley | 62 |
From Burnt Norton to East Coker The Passing of the Unified Sensibility | 74 |
Yeats Eliot and the Use of Memory | 90 |
Eliot and the Shamans | 106 |
Eliot the Classicist | 122 |
Appendix The Importance of Being Prufrock | 133 |
Notes | 142 |
Bibliography | 157 |
Index | 165 |
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Common terms and phrases
aesthetic Alcestis Aldous Huxley allusion American Babbitt bones Burnt Norton Celia chapter character Christian cited classicism Cocktail Party Coleridge conscious couplet critical Crome Yellow cultural Dante dead death draft dramatic early East Coker echo Eliot's poetry emotional essay Euripides F. H. Bradley Faber faery Family Reunion Four Quartets Fresca Gerontion ghost ghostly Grover Smith Hamlet Harry Henry Ibid imagery Individual Talent J. W. Dunne John Layard lady Laforgue later Lavinia Layard Letters lines literary literature Little Gidding London Maurras memory mind minstrel modern moral motif myth mythic occult Oxford passage past Persephone philosophical play Poe's poem poet poet's poetic Pound present primitive Prufrock psychological rattle religious ritual role romantic Schuchard sense Shakespeare shaman shamanistic significance social Song soul spiritual Sweeney T. S. Eliot tion tradition transformation underworld unified sensibility University Press W. B. Yeats Waste Land William wrote Yeats's York
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Էջ 65 - Excitements of my reason and my blood, And let all sleep? while, to my shame, I see The imminent death of twenty thousand men, \ 60 That, for a fantasy and trick of fame, Go to their graves like beds...
Էջ 35 - Or fountain some belated peasant sees, Or dreams he sees, while overhead the moon Sits arbitress, and nearer to the Earth Wheels her pale course, they, on their mirth and dance Intent, with jocund music charm his ear; At once with joy and fear his heart rebounds.
Էջ 128 - Not that fair field Of Enna, where Proserpine gathering flowers, Herself a fairer flower by gloomy Dis Was gathered, which cost Ceres all that pain To seek her through the world...
Էջ 45 - Oh, lady bright, can it be right— This window open to the night? The wanton airs, from the tree-top, Laughingly through the lattice drop— The bodiless airs, a wizard rout, Flit through thy chamber in and out, And wave the curtain canopy So fitfully— so fearfully— Above the closed and fringed lid 'Neath which thy slumb'ring soul lies hid, That, o'er the floor and down the wall, Like ghosts the shadows rise and fall!
Էջ 42 - Drowned in a bath Of the tresses of Annie. She tenderly kissed me, She fondly caressed, And then I fell gently To sleep on her breast, Deeply to sleep From the heaven of her breast.
Էջ 53 - A lovely, pure, noble, and most moral nature, without the strength of nerve which forms a hero, sinks beneath a burden which it cannot bear and must not cast away.
Էջ 64 - What is a man, If his chief good and market of his time Be but to sleep and feed? a beast, no more. Sure he that made us with such large discourse, Looking before and after, gave us not That capability and god-like reason To fust in us unus'd.
Էջ 90 - Embosomed for a season in nature, whose floods of life stream around and through us, and invite us by the powers they supply, to action proportioned to nature, why should we grope among the dry bones of the past, or put the living generation into masquerade out of its faded wardrobe?
Էջ 60 - The intense feeling, ecstatic or terrible, without an object or exceeding its object, is something which every person of sensibility has known; it is doubtless a subject of study for pathologists.
Էջ 16 - Hodge to be out of countenance, adding, "but he is a very fine cat, a very fine cat indeed.