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T.S. Eliot

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Thomas Stearns Eliot

(1888-1965)
Thomas Stearns Eliot.

T. S. Eliot

1. Life

1888: he was born in St. Louis,


Missouri.

1910: he studied in Paris at the


Sorbonne.

1915: he married the British ballet


dancer Vivienne Haigh-Wood.

1917: he established himself as an


important avant-garde poet.
Thomas Stearns Eliot.

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T. S. Eliot

1. Life

1922: he edited The Criterion, an


intellectual magazine. His
professions included being a
poet, a critic and an editor.

1925: he became director for the


publishers Faber & Faber.

1927: he acquired British


citizenship and converted to
Anglicanism.
Thomas Stearns Eliot.

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T. S. Eliot

1. Life

1930: for the next thirty years he


was considered the most
dominant figure in poetry and
literary criticism in the Englishspeaking world.

1948: he received the Nobel Prize


for literature.

1965: he died in London.


Thomas Stearns Eliot.

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T. S. Eliot

2. Works
Before the conversion
1917: Prufrock and other Observations.
1922: The Waste Land. It is said to be
the single most influential poetic work
of the twentieth century.
1925: The Hollow Men.
Cover for the first edition of Prufrock and
other Observations
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T. S. Eliot

2. Works
After the conversion
1927: Ariel Poems.
1930: Ash-Wednesday.
1935-1942: Four Quartets.
1935: Murder in the Cathedral.
1939: Family Reunion.

A contemporary edition of Murder in the Cathedral

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T. S. Eliot

3. T. S. Eliots world and the 19th-century world


Modern/T. S. Eliots world

19th-century world

Chaotic

Ordered

Futile

Meaningful

Pessimistic

Optimistic

Unstable

Stable

Loss of faith

Faith

Collapse of moral values

Morality/Values

Confused sense of identity

Clear sense of identity

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T. S. Eliot

4. The Waste Land: content


It is an autobiography written in a
moment of crisis in the life of the poet.
It consists of five sections; it reflects
the fragmented experience of the 20thcentury sensibility of the great modern
cities of the West.
A contemporary edition of The Waste Land.

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T. S. Eliot

4. The Waste Land: content


It is an anthology of indeterminate
states of the mind, hallucinations,
impressions, personalities blended
and superimposed beyond the
boundaries of time and place.
The speaking voice is related to
various personalities: Tiresias, a
knight from the Grail legend, the
Fisher King.
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A contemporary edition of The Waste Land.

T. S. Eliot

5. The Waste Land: themes

The disillusionment and disgust of the period after World War I.

Contrast between past fertility and present sterility.

The mythical past linked to a new concept of History repetition of


the same events.

Spring Symbols: different from Chaucer absence of rebirth.


April is the cruelest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
(I section)

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T. S. Eliot

6. The Waste Land: style

Association of ideas past and


present are simultaneous.

Mythical method to give


significance to present futility.

Subjective experiences made


universal.

Use of Juxtaposition.
First draft of The Waste Land, third section.

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T. S. Eliot

6. The Waste Land: style

Quotations from different languages


and literary works.

Fragmentation.

Technique of implication: the active


participation of the reader is required.

Objective correlative.

Repetition of words, images and


phrases.
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First draft of The Waste Land, third section.

T. S. Eliot

7. The objective correlative: T. S.


Eliot and Montale
For Eliot, the objective correlative is a pattern of objects, events, actions,
or a situation that can serve effectively to awaken in the reader an emotional
response without being a direct statement of that subjective emotion.

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T. S. Eliot

7. The objective correlative: T. S. Eliot and Montale


What The Thunder said

Meriggiare pallido e assorto


(Ossi di Seppia)

Here is no water but only rock


Rock and no water and the sandy road
The road winding above among the
mountains
Which are mountains of rock without
water.

Meriggiare pallido e assorto


presso un rovente muro dorto,
ascoltare tra i pruni e gli sterpi
schiocchi di merli, frusci di serpi.

Both Eliot and Montale depict a desolate landscape.


They both refer to a waste land of the spirit.
This landscape is cosmopolitan in Eliot.
It is a domestic landscape in Montale.
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