An indispensable collection of the Nobel Prize winner’s most renowned works. “In ten years’ time,” wrote Edmund Wilson in Axel’s Castle, “Eliot has left upon English poetry a mark more unmistakable than that of any other poet writing in English.” In 1948, Eliot was awarded the Nobel Prize “for his work as a trail-blazing pioneer of modern poetry.” This book is made up of six individual titles: Four Quartets, Collected Poems: 1909–1935, Murder in the Cathedral, The Family Reunion, Old Possum’s Book of Practical Cats, and The Cocktail Party. It offers not only enjoyment of one of the great talents in contemporary literature, but a deeper understanding of such classics as “The Waste Land,” “The Hollow Men,” “Ash Wednesday,” “Prufrock,” “Murder in the Cathedral,” and “The Cocktail Party.” The Complete Poems and Plays of T. S. Eliot is indispensable.
Poet, dramatist, critic and editor, T. S. Eliot was one of the defining figures of twentieth-century poetry. This edition of The Complete Poems and Plays, published for the first time in paperback, includes all of his verse and work for the stage, from Prufrock and Other Observations (1917) to Four Quartets (1943), and includes such literary landmarks as The Waste Land, Old Possum's Book of Practical Cats and Murder in the Cathedral. 'Each year Eliot's presence reasserts itself at a deeper level, to an audience that is surprised to find itself more chastened, more astonished, more humble.' Ted Hughes
When the Eternal Can Be Met excavates the philosophy behind the theology of the twentieth century's most prominent Christian writers: C. S. Lewis, T. S. Eliot, and W. H. Auden. These three literary giants converted to Christianity within little more than a decade of one another, and interestingly, all three theological authors turned to the theme of time. All three authors also came to remarkably similar conclusions about time, positing that the temporal present moment allowed one to meet the eternal. Decades before Lewis, Eliot, and Auden sought to creatively construct a fictive or poetic theology of time, the prominent philosopher Henri Bergson wrote about time's power to transform an individual's emotional and spiritual state, a theory well known by Lewis, Eliot, and Auden. When the Eternal Can Be Met argues that one cannot fully understand Lewis, Eliot, and Auden's theology of time without understanding Bergson's theories. From the secular philosophy of Bergson dawned the most important works of literary theology and treatments of time of the twentieth century, and in the Bergson-influenced literary constructs of Lewis, Eliot, and Auden, a common theological articulation sounds out--time present is where humans meet God.
The subject of this book is the relationship and the difference between the temporal everlasting and the atemporal eternal. This book treats the difference between a temporal postmortem life and eternal life. It identifies the conceptual tension in the religious idea of eternal life and offers a resolution of that tension.
This book includes a collection of essays on the poetry of Thomas Merton (1915-1968), one of the most relevant spiritual masters of the twentieth century. These scholarly inquiries are all glimpses which accurately represent his poetics of dissolution-the dissolution of the old corrupt world in favour of an apocalyptic vision of a new world. Este libro incluye una colección de ensayos sobre la poesía de Thomas Merton (1915-1968), uno de los maestros espirituales más relevantes del siglo XX. Todas estas investigaciones académicas dejan entrever lo que representa exactamente su poética de desintegración: la descomposición del viejo mundo corrupto a favor de una visión apocalíptica de un nuevo mundo, categorizaciones abstractas de lo sobrenatural que dan paso a una experiencia íntima y más dinámica de lo sagrado en el hogar y en el mundo.
This Book Is A Refreshing And Insightful Study Of T.S. Eliot S Poetry, Prose And Plays. Each Chapter Highlights The Contemporary Relevance Of Eliot S Works With Special Emphasis On The Social Dimension. The Study Explores The Wider Meaning Of Life And Literature And Its Interpenetration As They Get Filtered Through The Writings Of This Great Twentieth Century Writer. The Author Never Loses His Perspective And Clearly Achieves His Goal Of Making T.S. Eliot S Works More Enjoyable And Illuminating. Surely, The Book Is A Fine Tribute To Eliot Who Made Our Life More Tolerable, Meaningful And Delightful And Would Immensely Help Students Of Literature.The Book Would Be Of Great Use To The Students And Researchers Of English Literature.
The Encyclopedia of American Poetry: The Twentieth Century contains over 400 entries that treat a broad range of individual poets and poems, along with many articles devoted to topics, schools, or periods of American verse in the century. Entries fall into three main categories: poet entries, which provide biographical and cultural contexts for the author's career; entries on individual works, which offer closer explication of the most resonant poems in the 20th-century canon; and topical entries, which offer analyses of a given period of literary production, school, thematically constructed category, or other verse tradition that historically has been in dialogue with the poetry of the United States.
Worlds of Common Prayer exposes the surprisingly radical potential of nineteenth- and twentieth-century book-length liturgical poetry. Major authors as dissimilar as Christina Rossetti and T.S. Eliot used the Anglican liturgical calendar as a weapon to break the order of clock time and destabilize the secular world order.
An investigation of metaphorical operations in the writing of several contemporary US novelists, including John Updike and Paul Auster. It examines how each author establishes a provisional government over the elusiveness of truth, the ambiguity of experience, and the hardships of language.
The collected dramatic works of the Nobel Prize winner, from Murder in the Cathedral to The Elder Statesman. T. S. Eliot’s plays—Murder in the Cathedral, The Family Reunion, The Cocktail Party (which won a Tony Award for its Broadway production), The Confidential Clerk, and The Elder Statesman—are brought together for the first time in this volume. They summarize the Nobel Prize winner’s achievements in restoring dramatic verse to the English and American stages, an effort of great significance both for the theater and for the development of Eliot’s art. Between 1935, when Murder in the Cathedral was first produced at the Canterbury Festival, and 1958, when The Elder Statesman opened at the Edinburgh Festival prior to engagements in London and New York, Eliot had given three other plays to the theater. His paramount concerns can be traced through all five works. They have been said to be closely related, marking stages in the development of a new and individual form of drama, in which the poet worked out his intention “to take a form of entertainment, and subject it to the process that would leave it a form of art.” What Mark Van Doren said, in reviewing Murder in the Cathedral, is true of all these plays: “Mr. Eliot adapts himself to the stage with dignity, simplicity, and skill.”
Making extensive use of archival materials by Sylvia Plath, John Berryman, and Anne Sexton, Amanda Golden reframes the relationship between modernism and midcentury poetry. While Golden situates her book among other materialist histories of modernism, she moves beyond the examination of published works to address poets’ annotations in their personal copies of modernist texts. A consideration of the dynamics of literary influence, Annotating Modernism analyzes the teaching strategies of midcentury poets and the ways they read modernists like T. S. Eliot, James Joyce, Ezra Pound, Virginia Woolf, and W. B. Yeats. Situated within a larger rethinking of modernism, Golden’s study illustrates the role of midcentury poets in shaping modernist discourse.
The Sonnet provides a comprehensive study of one of the oldest and most popular forms of poetry, widely used by Shakespeare, Milton, and Wordsworth, and still used centuries later by poets such as Seamus Heaney, Tony Harrison, and Carol Ann Duffy. This book traces the development of the sonnet from its origins in medieval Italy to its widespread acceptance in modern Britain, Ireland, and America. It shows how the sonnet emerges from the aristocratic courtly centres of Renaissance Europe and gradually becomes the chosen form of radical political poets such as Milton. The book draws on detailed critical analysis of some of the best-known sonnets written in English to explain how the sonnet functions as a poetic form, and it argues that the flexibility and versatility of the sonnet have given it a special place in literary history and tradition.
The Who were one of the most memorable and influential of the 1960s British Invasion bands—memorable because of their loudness and because they destroyed instruments during performances, and influential because of their success in crafting “Power Pop” singles like “My Generation” and “I Can See for Miles,” long-playing albums Live at Leeds and Who’s Next, and the “rock operas” Tommy and Quadrophenia. The themes that principal songwriter Pete Townshend imparted into The Who’s music drew upon the group’s mostly working-class London upbringings and early Mod audiences: frustration, angst, irony, and a youthful inclination to lash out. Like some of his rock and roll contemporaries, Townshend was also affected by religious ideas coming from India and the existential dread he felt about the possibility of nuclear war. During a career that spanned three decades, The Who gave their fans and rock critics a lot to think about. The remarkable depth and breadth of The Who’s music and their story as one of the most exciting and provocative rock bands over the last half-century are the subjects of the philosophical explorations in this collection.