Wednesday, April 10, 2013

An Analysis of T. S. Eliots Poetry

Eliot attributed a great bus of his early style to the French Symbolists--Rimbaud, Baudelaire, Mallarme, and Laforgue--whom he first encountered in college, in a account book by Arthur Symons called The Symbolist Movement in Literature. It is easy to make why a young aspiring poet would want to obey these glamorous bohemian figures, but their ultimate effect on his poetry is perhaps less profound than he claimed. speckle he took from them their ability to infuse poetry with high intellectualism temporary hookup maintaining a sensuousness of language, Eliot also developed a great deal that was new and original. His early consummations, like The Love Song of J. Alfred Prufrock and The profusion Land, draw on a wide range of heathen reference to depict a red-brick world that is in ruins yet somehow beautiful and deeply meaningful. Eliot uses techniques like miscellanea and juxtaposition to make his points without having to argue them explicitly. As Ezra Pound one time famously said, Eliot truly did modernize himself. In addition to showcasing a variety of poetic innovations, Eliots early poetry also develops a series of characters who fit the type of the modern man as described by Fitzgerald, Faulkner, and others of Eliots contemporaries. The title character of Prufrock is a unblemished example: solitary, neurasthenic, overly intellectual, and utterly incapable of expressing himself to the outside world.

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As Eliot grew older, and particularly after he converted to Christianity, his poetry changed. The later poems punctuate depth of analysis over breadth of allusion; they simultaneously go away more hopeful in tone: Thus, a work such as Four Quartets explores more philosophical territorial dominion and offers propositions instead of nihilism. The experiences of living in England during World War II inform the Quartets, which address issues of time, experience, mortality, and art. Rather than lamenting the ruin of modern culture...

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