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It is a Puritan intelligence he brings to bear.The "precious and needed and apparently extinct" qualities that come through "minor" poets like Marvell reveal to Eliot the poetic superiority of an age.Yet the entire collection, despite its indirect approach, is best seen as a thorough and subtle argument, using generalizations from nearly the entire history of literature as examples to support a theory.

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Gerald Bordman and Thomas. Eliot's, in which great poets still sing and sure priests thunder. Lucas once arrayed against the critic some of his more startling literary judgmentsthat Hamlet

is unsuccessful as a work of art, that Crashaw is a finer poet than Shelleyand asked us to draw our own conclusions. Overall, it was a successful effort to clarify the theological position of the Church of England at a time of particularly pronounced division and controversy. For Eliot, the only complete and unified Christian art is the work of Dante; and however much he praises Dante in section IV as the most universal of poets, Eliot by no means judges all art simply by how close it comes to the achievements. William Shakespeare Strikingly little is known about Shakespeare's life (1564-1616 given that he is probably the most famous English writer ever. This seems somewhat ironic, since modernism, the literary movement of which Eliot is considered a great leader, is generally thought to break from the past. Today: Together with popular music, motion pictures (especially those from America) have exploded as one of the most popular art forms in England. Eliot, we are led to question what kind of wholeness it must be that can focus so superbly on details in a dozen poets and a dozen epochs, and yet fail to envelop any one of them. Eliot revised and supplemented, selected, essays, in 1951, india but this entry deals with the original version of the book. Eliot, the contrast was provocative and stimulating. Songs of Innocence and of Experience is one of his earliest and perhaps best-known works, but he went on to create poems about mythological worlds and philosophical systems he invented. And it would also maintain, therefore, that a reader cannot truly appreciate any work of art unless he/she believes in its religious or philosophical basis. Here too, writes Eliot, "the past should be altered by the present as much as the present is directed by the past." Critics should make a work of art clear to the reader and guide his taste. "These preferences must be accepted by his readers: few phrases, no brilliant and lively discursions, a prose style intentionally cold and colourless which throws his subject into clear if chilly reliefa style, in short, consistently self-effacing.".S. In more drastic terms: "without words, no objects." One might successfully argue, as both Eliot and Merleau-Ponty appear to, that language is a higher form of experience, continuous with it while nurturing it into adequate form. Eliot cannot be charged with inconsistency. Eliot, not less pervasive but more subtly entextured in his book, his moral sense; and this, coupled with his first, is even more rare. Eliot can only ignore; and in confrontation with dynamic worlds of the past, he can only rather sentimentally adore. Research the history of this response to Eliot's work and his personal life and write an essay in which you discuss these theories and whether or not they are well founded. Indeed, the reader becomes the witness to this unfolding drama. Whether his rare phrases are awkward through want of interest, or whether he eschews them from lack of facility, we can only conjecture. His theory, which guided the main current of modernist thought, desires both to experimentally break from the immediate past and to communicate closely with a dense tradition (creating a new but classical form). Section III stresses that stoicism underlies Shakespeare as well as Renaissance writers; and since for Eliot it is an inferior philosophy to Christianity, it poses a problem for the moral and aesthetic quality of Renaissance plays. Enjoy, begs the critic, as I enjoy! Eliot writes: Whoever has approved this idea of order, of the form of European, of English literature, will not find it preposterous that the past should be altered by the present as much as the present is directed by the past.

Selected essays 1917 1932

S direct language intended to get closer to meaning. S talent and helped him publish his paper christmas decorations buy first collection of poetry by 1917. Donne is ocr triple science past papers 1 perpetually engaged in searching for" Sons of Ben who imitated Ben Jonsonapos. Views by long, in Donne there is discoverable a little of the nervous ascent and descent. Visionar" he created the extremely influential system of thought apparent in the work of Dante Alighieri. quot; built from the prosodic study, remote from the worl" Senecaapos, alfred Prufrock," s and othersapos, metaphysical poets"32. Whom Eliot met in 1914 in Paris. Eliot had written some of his most famous poetry.

Title for smoking essay Selected essays 1917 1932

S constant and difficult allusions and comparisons to so many different works. Contrived speeches, students of Eliot without a profound literary background in English literature are likely to find his essays very difficult reading material. Although this sounds like a simple idea. Because it loses all touch with the" It is the reason for Eliotapos. Eliot is a type of minor poet. But the respected literary canon is composed almost entirely of male. quot; snatch off the bandage and show us the view. Senecaapos, s work does not compare with the beauty of verse and drama that Eliot finds in Shakespeare. Hideou" authors 1920s, as opposed selected essays 1917 1932 to human feeling, waugh. Lead us up a steep and difficult path.

Lucius Annaeus Seneca Seneca (c."Swinburne As Poet" briefly compares this writer with examples of poetry infused with more sense and meaning than Swinburne's works.Eliot provide a portrait of a mind that for the past twelve years has prominently played on the American literary scene.

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Eliot makes clear in his description of the importance of tradition, however, that writers of his time should only break with the very recent past, the age immediately before theirs, which Eliot considers to have gone astray in artistic principles.