Elio Vittorini Vittorini, Elio (Vol
The "Marie Lloyd" link above is to the "London Letter" version of theessay (Eliot's "London Letter" essays are kept in a directory seperatefrom his other essays.)
Essays and criticism on Elio Vittorini - Vittorini, Elio (Vol. 9)
In early spring 1915 Eliot's old Milton Academy and Harvard friend Scofield Thayer,later editor of the and then also at Oxford, introduced Eliot to VivienHaigh-Wood, a dancer and a friend of Thayer's sister. Eliot was drawn instantly toVivien's exceptional frankness and charmed by her family's Hampstead polish. Abandoninghis habitual tentativeness with women, in June 1915 he married Vivien on impulse at theHampstead Registry Office. His parents were shocked, and then, when they learned ofVivien's history of emotional and physical problems, profoundly disturbed. The marriagenearly caused a family break, but it also indelibly marked the beginning of Eliot'sEnglish life. Vivien refused to cross the Atlantic in wartime, and Eliot took his place inliterary London. They were to have no children.
Eliot spent the early summer of 1914 at a seminar in Marburg, Germany, with plans tostudy in the fall at Merton College, Oxford, with Harold Joachim, Bradley's colleague andsuccessor. The impending war quickened his departure. In August he was in London withAiken and by September Aiken had shown Eliot's manuscript poems to Pound, who, not easilyimpressed, was won over. Pound called on Eliot in late September and wrote to HarrietMonroe at magazine that Eliot had "actually trained himself andmodernized himself ."The two initiated a collaboration thatwould change Anglo-American poetry, but not before Eliot put down deep English roots.
Essay on Wasteland by TS Eliot - Wasteland by T.S
Whether because of the breakdown or the long needed rest it imposed, Eliot brokethrough a severe writer's block and completed a long poem he had been working on since1919. Assembled out of dramatic vignettes based on Eliot's London life, 'sextraordinary intensity stems from a sudden fusing of diverse materials into arhythmic whole of great skill and daring. Though it would be forced into the mold of anacademic set piece on the order of Miltons "Lycidas," wasat first correctly perceived as a work of jazzlike syncopation--and, like 1920s jazz,essentially iconoclastic. A poem suffused with Eliot's horror of life, it was taken overby the postwar generation as a rallying cry for its sense of disillusionment. Pound, whohelped pare and sharpen the poem when Eliot stopped in Paris on his way to and fromLausanne, praised it with a godparent's fervor. As important, Eliot's old friend Thayer,by then publisher of the decided even before he had seen the finished poem tomake it the centerpiece of the magazine's attempt to establish American letters in thevanguard of modern culture. To secure for the , Thayerarranged in 1922 to award Eliot the magazine's annual prize of two thousand dollars and totrumpet importance with an essay commissioned from the 'salready influential Edmund Wilson. It did not hurt that 1922 also saw the long-heraldedpublication of or that in 1923 Eliot linked himself and Joyce withEinstein in the public mind in an essay entitled "."Meteorically, Eliot, Joyce, and, to a lesser extent, Pound were joined in a singleglow--each nearly as notorious as Picasso.
Eliot The driving force of all life is procreation and re-birth
In 1910 and 1911 Eliot copied into a leather notebook the poems that would establishhis reputation: "The Love Song of J. Alfred Prufrock," "Portrait of aLady," "La Figlia Che Piange," "Preludes," and "Rhapsody ona Windy Night." Combining some of the robustness of Robert Browning's monologues withthe incantatory elegance of symbolist verse, and compacting Laforgue's poetry ofalienation with the moral earnestness of what Eliot once called "Boston doubt,"these poems explore the subtleties of the unconscious with a caustic wit. Their effect wasboth unique and compelling, and their assurance staggered his contemporaries who wereprivileged to read them in manuscript. Aiken, for example, marveled at "how sharp andcomplete and sui generis the whole thing was, from the outset. The isthere, from the very beginning."