Eliot was certainly not a typical anti-Semite.

Two ways Eliot conveys his theme is through the persona of Prufrock and repetition .
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Eliot was a Harvard alumnus and was President of the college.

After the war, Eliot wrote no more major poetry, turning entirely to his plays and toliterary essays, the most important of which revisited the French symbolists and thedevelopment of language in twentieth-century poetry. After Vivien died in January 1947,Eliot led a protected life as a flatmate of the critic John Hayward. In January 1957 hemarried Valerie Fletcher and attained a degree of contentedness that had eluded him allhis life. He died in London and, according to his own instructions, his ashes wereinterred in the church of St. Michael's in East Coker. A commemorative plaque on thechurch wall bears his chosen epitaph--lines chosen from :"Inmy beginning is my end. In my end is my beginning."

One method used by Eliot to expose this theme is his use of the persona of J Alfred Prufrock.
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Eliot Change the Face of American Poetry Modernist poets such as E.E.

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.

In 1915 the verse magazine Poetry published Eliot's first notable piece, 'The Love Song of J.
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Mirroring Scrooge's evolution, in George Eliot's Silas Marner, Silas also transitions from a recluse in society to a rejuvenated man because of a little girl who crawls into his heart.

Eliot won the Nobel Prize for literature in 1948 and other major literary awards.
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The mood is integral to understanding Eliot's vision.

Ironically, after 1925 Eliot's marriage steadily deteriorated, turning his publicsuccess hollow. During the tenure of his Norton year at Harvard he separated from Vivien,but would not consider divorce because of his Anglican beliefs. For most of the 1930s hesecluded himself from Vivien's often histrionic attempts to embarrass him into areconciliation, and made an anguished attempt to order his life around his editorialduties at Faber's and the and around work at his Kensington church. Healso reestablished communication with Emily Hale, especially after 1934, when she begansummering with relatives in the Cotswolds. Out of his thinking of "what might havebeen," associated with their visit to an abandoned great house, Eliot composed"Burnt Norton," published as the last poem in his (1936).With its combination of symbolist indirection and meditative gravity, "BurntNorton" gave Eliot the model for another decade of major verse.

It is here that Eliot, compassionately observes scene.

In the decades after his death Eliot's reputation slipped further. Sometimes regardedas too academic (William Carlos Williams's view), Eliot was also frequently criticized (ashe himself--perhaps just as unfairly--had criticized Milton) for a deadeningneoclassicism. However, the multivarious tributes from practicing poets of many schoolspublished during his centenary in 1988 was a strong indication of the intimidatingcontinued presence of his poetic voice. In a period less engaged with politics andideology than the 1980s and early 1990s, the lasting strengths of his poetic techniquewill likely reassert themselves. Already the strong affinities of Eliot's postsymboliststyle with currently more influential poets like Wallace Stevens (Eliot's contemporary atHarvard and a fellow student of Santayana) have been reassessed, as has the toughphilosophical skepticism of his prose. A master of poetic syntax, a poet who shuddered torepeat himself, a dramatist of the terrors of the inner life (and of the evasions ofconscience), Eliot remains one of the twentieth century's major poets.

And mine a word of the modern, the word En-Masse.

Eliot's reputation as a poet and man of letters, increasing incrementally from themid-1920s, advanced and far outstripped his theatrical success. As early as 1926 hedelivered the prestigious Clark Lectures at Cambridge University, followed in 1932-1933 bythe Norton Lectures at Harvard, and just about every other honor the academy or theliterary world had to offer. In 1948 Eliot received the Nobel Prize for literature duringa fellowship stay at the Princeton Institute for Advanced Study. By 1950 his authority hadreached a level that seemed comparable in English writing to that of figures like SamuelJohnson or Samuel Taylor Coleridge.