Eliot, review of Selected and edited, with an Essay, by Herbert J.

The poetry of Marvell, marked by ‘extraordinary variety and range,’

The Poetryand Life of Andrew Marvell.New York: Fast Books, 1993.

This allusion was greatly influenced by, and then further developed, asthe literary context in which Marvell composed his poem progressed, andtherefore Donne’s established impression of style and technique becameevident throughout Marvell's later work.

The clinical rather than emotive title of Marvell’s poem,‘Thedefinition of Love’ and ‘the shades of specialisedmathematical or geometric usage’

“ The Metaphysical Poets ” and “ Andrew Marvell ..

And if Prufrock's problem coincides with the dynamics of Eliot's particularmedium of dramatic monologue, Eliot's problem coincides with the dynamics of thepoetic medium itself; just as Prufrock is paralyzed by his consciousness of theother, his author is paralyzed by his consciousness of the tradition. In theline "It is impossible to say just what I mean!" the dramaticcharacter and his author meet, "uttering the words in unison, thoughperhaps with somewhat different meaning," and displaying the rhetoricaladvantage a dramatic poet holds. And Eliot's imprisoning his speaker in the verymedium of expressive or even confessional speech may register his ownintertextual interment in a medium inscribed with prototypes of original orcentral speech—whether prophetic, like John the Baptist's, or epic, likeDante's, or dramatic, like Shakespeare's—which are codified in and reinforcedby conventions precluding the possibility of saying "just what Imean." Eliot's ironic use of rhyme and meter in "Prufrock"acknowledges the complicity of the poet's conventions with his persona's"de-meaning" language. On the one hand, the "comic" meter oflines like "In the room the women come and go / Talking ofMichelangelo" equates poetic forms that channel force and the social formsof keeping conversation light. On the other hand, dreams of escape from thepre-formulating formulae are them- selves recounted in formulaic lines, for thesolution to Prufrock's problem would be a "solution" for Eliot aswell-forgetting the present and the separate self, surrendering to the oblivionof an unconscious nature and the "natural" meter of English poetry:

Throughoutthe poem, there are three separate instances in stanzas six, seven andeight where Marvell uses the image of a line to convey his emotions.

Helen Gardner captures the essence of theMetaphysical Poets’ vision when she describes love as explicitly being‘the great Metaphysical question of the relation between the spirit andthe senses’ This is the prominent emotion that will be displayed, throughthe use of the geometric conceit, in the following dissertation.

The last of the geometric conceits practicedby Marvell is found in the eighth and final stanza of the poem.

"Marina By Ts Eliot" Essays and Research Papers ..

Throughout this lineal conceithowever, Marvell summons the notion of infinity, usually an aspect associatedwith the image of a circle, in an endeavor to convince himself, and perhapshis audience, that his love is of a perfect nature.

The two allusions to Andrew Marvell's poem "To His Coy ..

J. Alfred Prufrock is not just the speaker of one of Eliot's poems. He isthe Representative Man of early Modernism. Shy, cultivated, oversensitive, sexuallyretarded (many have said impotent), ruminative, isolated, self-aware to the point ofsolipsism, as he says, "Am an attendant lord, one that will do /To swell aprogress, start a scene or two." Nothing revealed the Victorian upper classes inWestern society more accurately, unless it was a novel by Henry James, and nothing betterexposed the dreamy, insubstantial center of that consciousness than a half-dozen poems inEliot's first book. The speakers of all these early poems are trapped inside their ownexcessive alertness. They look out on the world from deep inside some private cave offeeling, and though they see the world and themselves with unflattering exactness, theycannot or will not do anything about their dilemma and finally fall back on self-servingexplanation. They quake before the world, and their only revenge is to be alert. After ,poetry started coming from the city and from theintellect. It could no longer stand comfortably on its old post-Romantic ground, ecstaticbefore the natural world.

Selected essays - Thomas Stearns Eliot - Google Books

In this poem the horror of sex seems to come in part from its power to metonymize. LikeAugustine, Eliot sees sex as the tyranny of one part of the body over the whole. ThoughEliot is far too circumspect to name this part, he figures its power in his poetry by therebelliousness of mere members: hands, arms, eyes. Sexual desire pulls the body apart, sothat to give in to it is to suffer permanent dismemberment. This may account for the oddcombination in Eliot's work of sexual ennui and libidinous violence. The tyranny of onepart scatters all the others, reducing the whole to impotence. In this way, the violenceof sex robs the individual of the integrity necessary to action.

Analysis of Andrew Marvell's poem "To His Coy …

Composed in 1652, 'The Definition of Love'by Andrew Marvellfeatures a structured argument that conflatesintellect and passion in an attempt to define the nature of his own personallove.