By Eric Sigg
In his previous age T.S. Eliot stated on a few events that the yank adventure of his early life and early life had had the inner most impression on his poetry. this can be the 1st publication to discover intimately how Eliot's writings immediately preserved and reacted opposed to his advanced American historical past: his intellectually and socially well-liked family members, their robust Unitarian tradition, and their adventure in nineteenth-century St. Louis and Boston. examining significant poems from "The Love tune of J. Alfred Prufrock" during the Waste Land, and drawing extensively upon the early philosophical writings, essays, and experiences, Dr. Sigg exhibits the impression on Eliot of significant American figures reminiscent of George Santayana, Henry James, and Henry Adams, in addition to of the British thinker F.H. Bradley on whom Eliot wrote a doctoral dissertation at Harvard.
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Additional resources for The American T. S. Eliot: A Study of the Early Writings
Example text
Other images reinforce impressions of painful loneliness, as do Eliot's familiar dismemberments - fingers, feet, eyes, and the palms of hands. These figures imply that urban life mutilates its citizens, rending limb from self. " City life places all souls under pressure, depleting them ethically and spiritually. " From the heavens to the pavement, the poem's atmosphere renders pathos stranded amid indifference, and emphasized by it. Another impulse works against this sorrow, however, and by mitigating it, complicates the poem's mood.
Forward looking, inclined to spleen, and bent on social and aesthetic iconoclasm, Blast survived only long enough to prophesy a strident, chaotic postwar scene. The Great War silenced Blast, but not before the second and final issue delivered "Preludes" to a distracted world. Lewis's edgy Vorticist drawings and Pound's ham-fisted polemic at a minimum reflect their talent to alarm. The pages of Blast still make 36 DIVISIONS AND PRECISIONS 37 unlikely company for Eliot's tentative cameos of urban languor.
Verbally, imaginatively, and philosophically, "Preludes" depends on that implication of opposites, the one suggesting the other when either appears. Understanding "Preludes" requires a habit of irony and a willing resort to ambiguity, imagining what the poem implies, and constructing the poem by constant comparison to what it is not. That "Preludes" ultimately contains its own negation confirms this approach. How can a poem paradoxically render ugly things beautiful, or beautifully? It can do so insofar as it can perform the tricky balancing act of using both disjunctions and identities between word and thing, exploiting natural relations as well as purely verbal ones.