This poem’s title‚ Gerontion‚ is Greek for “little old man”. This title ties in with the poem’s theme of an old man pondering about life and death. Eliot continues his use of dryness; in this poem he uses it to represent hopelessness and purposelessness. However‚ the pervading theme of this poem is death‚ afterlife‚ and Christianity. Lines that particularly reflect these themes are lines 17-20‚ “Signs are taken for wonders. ‘We would see a sign!’/The word within a word‚ unable to speak a word
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Current critical debate discusses contemporary poetry in terms of the Pound‚ Stevens or Williams’ era‚ forgetting T. S. Eliot‚ the poet who presided over the literary scenario for almost half a century. Eliot’s bookishness‚ political conservatism and religious leanings‚ together with the Modernist cultivation of an erudite‚ culturally charged idiom‚ have constituted a serious source of critical discontent. For the adepts of Marxist hermeneutics‚ his work came to represent “a privileged‚ closed‚ authoritative
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’Oh keep the Dog far hence‚ that’s friend to men‚ ’Or with his nails he’ll dig it up again! ’You! Hypocrite lecteur! – mon semblable‚ - mon frère!’ T.S. Eliot‚ “The Burial of the Dead”‚ The Waste Land‚ lines 60-76. T.S. Eliot’s The Waste Land is a Modernist piece of literature. Combining “traditional content” and radical style‚ Eliot has captured the tension between past and present. For him‚ the past is at once nostalgic‚ yet responsible for the present shared post-war “sense of desolation
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How does TS Eliot express his modernist concerns in his poems? TS Elliot represents the views of many artists of the modernist movement who encapsulate the psychological and emotional distress of WW1 and the early events of the 20th Century in his poems. Modernists believe that every individual in an industrialised city is part of a superficial society that reduces the depth and value of human relationships. The alienation and loneliness as a consequence of this superficial society are strong themes
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Modern Language Studies "Till Human Voices Wake Us and We Drown": Community in "The Love Song of J. Alfred Prufrock" Author(s): James C. Haba Reviewed work(s): Source: Modern Language Studies‚ Vol. 7‚ No. 1 (Spring‚ 1977)‚ pp. 53-61 Published by: Modern Language Studies Stable URL: http://www.jstor.org/stable/3194154 . Accessed: 18/03/2013 05:36 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use‚ available at . http://www.jstor.org/page/info/about/policies/terms
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Eliot Spitzer‚ attorney general of New York Investment Protection Bureau‚ was the leading regulator who changed the way many Wall Street firms do business. What he accomplished was nothing short of extraordinary – he has not only stood up for the investors against Wall Street giants‚ but he did so in such an aggressive but rightful manner that required much courage and sophistication. Many criticized Spitzer for his overly aggressive indictments and actions against Wall Street firms‚ which consisted
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George Eliot on God and the Good Well known for her atheism‚ Eliot maintained a serious concern with morality and community throughout her life‚ evidenced in her novels and personal letters. She was persistently concerned with how to live a moral life outside organised religion‚ and how to maintain a sense of personal and community responsibility. First I’ll look at some influences on the development of her atheism‚ (and the limits of their influence)‚ then at the kind of religion she rejected
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Jessica Joy T.S. Eliot’s “The Waste Land” Final Paper Eliot imparts to us the Grail quest’s influence on “The Waste Land” in the notes: “Not only the title‚ but the plan and a good deal of the incidental symbolism of the poem were suggested by Miss Jessie L. Weston’s book on the Grail legend: From Ritual to Romance (Macmillan). Indeed‚ so deeply am I indebted‚ Miss Weston’s book will elucidate the difficulties of the poem much better than my notes can do; and I recommend it (apart
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Land” is a complex and fragmented poem that underwent major revisions before it was published in 1922. The published version we see and read today is actually shorter in comparison to what Eliot had originally written. According to James Torrens’s article “The Hidden Years if the Waste Land Manuscript‚” Eliot had mailed “54 pages of The Waste Land‚ including the unused parts” to John Quinn‚ a “corporation lawyer in New York City‚” which had shortly disappeared after Quinn’s death in July of 1924
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