By David E. Chinitz
Reflecting the surge of serious curiosity in Eliot renewed in recent times, A spouse to T.S. Eliot introduces the 'new' Eliot to readers and educators via studying the complete physique of his works and occupation. prime students within the box offer a clean and entirely accomplished number of contextual and significant essays on his existence and achievement.
- It compiles the main entire and updated remedy on hand of Eliot's paintings and career
- It explores the strong forces that formed Eliot as a author and philosopher, studying his physique of labor and assessing his oeuvre in various contexts: historic, cultural, social, and philosophical
- It charts the surge in serious curiosity in T.S. Eliot because the early 1990s
- It presents an illuminating perception right into a poet, author, and critic who keeps to outline the literary panorama of the final century
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Extra resources for A Companion to T. S. Eliot
They ‘prisoner take/Th’enmarvailed sense’ (my emphasis). 40 Women are like the poet of sensation, subversively attacking entrenched, habitual opinion by dissolving and re-forming associative patterns. Thus they are the real agents of cultural transformation through the imagination. They are at work in the semiotic code, as Kristeva puts it. The conceptualisation of gender is neither as patronising nor as unsubtle as it might seem. And clearly, by asking for a poetry of sensation, Hallam was putting the feminisation of poetry–and men–at the centre of his project.
These poems, with their highly wrought artifice of simplicity, are like fragile-looking objects which weigh unexpectedly heavy in the hand. Poems, Chiefly Lyrical has to be seen as a maverick collection, as wayward and experimental as any avant-garde twentieth-century poetic experiment. The innovative nature of the 1830 poems can best be grasped by seeing what kind of work was acceptable as poetry at the time as a preliminary to a discussion of Poems, Chiefly Lyrical. To do this I shall consider one of the popular album books which Tennyson professed to despise, though he wrote for them.
These links were not simply between the Zeitgeist or a loosely defined ‘spirit of the age’ but involve the conceptualising of what we would now call an ideological relation between literature and the power structure of society. It is typical of Fox that he welcomed album books, popular gatherings of contemporary writing for the middle classes, while Tennyson viewed them with contempt or professed contempt. 7 This political and sociological awareness is part of a Monthly Repository tradition: in 1820, Thomas Noon Talfourd had attacked Hazlitt’s anti-levelling account of art, in which Hazlitt had described the ‘literature of power’ in hierarchical terms as an aristocracy of letters, distinguishing the aristocracy of taste from actual political democracy.
A Companion to T. S. Eliot by David E. Chinitz