The Art of T. S. EliotDutton, 1950 - 185 páginas Gardner's now classic book focuses on Eliot's poetic style, a welcome addition to a body of criticism which often neglects the prosodic elements of the poetry in favor of analyzing its images. Tracing Eliot's style in terms of his artistic maturation, Gardner identifies a turning point in his poetry from his earlier work, in which he often imitates the voices of other poets, to a newly developed independent style after "The Waste Land," a style which underscores the musicality inherent in natural rhythms, in part by its use of semi-accentual meter, and allows Eliot equal access to the poetic and the prosaic in his work. A thematic evolution is evident in Eliot's corpus as well, and Gardner does not allow her attention to Eliot's mechanics to overshadow his core ideas. |
Contenido
Auditory Imagination | 1 |
The Music of Four Quartets | 36 |
Poetic Communication | 57 |
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Agatha Agonistes Amy's Annunciation Ash Wednesday audience aware beauty beginning blank verse boredom Burnt Norton chorus Christian climax close common conscious contrast darkness death diction drama dream Dry Salvages duple earlier poetry East Coker Eliot English experience expression eyes Family Reunion feeling Four Quartets garden gives Harry Harry's heroic line hint Hollow Men horror human imagery images imagination kind Lady Langland language later poetry Little Gidding living lyric Mary meaning ment metaphor metre metrical Milton mind Murder mystery myth natural opening passage past pattern phrase Piers Plowman play poet poet's poetic prayer present reader religious rhyme rhythm Samson Agonistes second movement seems sense sestina silent speaks speech stresses style suggest Sweeney syllabic verse symbols T. S. Eliot theme third movement thou thought truth vision voice Waste Land whole poem words write