Ts Eliot Metaphysical Poets Essay

Ts Eliot Metaphysical Poets Essay-27
Because no one narrator appears to be speaking the poem, the work seems as impersonal as a crowded London street.The five sections of also constitute Eliot’s “objective correlative,” a chain of events that sparks a particular emotional mood.Many of the poems of this period, such as “The Hollow Men,” reflect his desperation.

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Alfred Prufrock” was Eliot’s use of intensely urban imagery: Prufrock is a citizen of the modern city, an acute observer of its confusion, grime, and poignancy.

The poem’s opening lines are reminiscent of images that French readers had found in the work of Baudelaire.

He did this through his many influential essays on poetry, beginning with those in , and through the way he transformed the style of modern poetry.

Every young poet writing in English after Eliot has had either to imitate or to reject him (often both).

Eliot as a thinker was profoundly interested in the role of literary tradition—the impact of earlier great writers on later ones. Eliot, Pound wrote, “has actually trained himself and modernized himself on his own.” Sometime in the period from 1908 through 1910, Eliot managed to create a new poetic style in English.

However, he himself in a sense started from scratch. During this time, he had been reading the French Symbolist poets, who had flourished in the last half of the nineteenth century. The kind of poetry that I needed, to teach me the use of my own voice, did not exist in English at all; it was only found in French.” The immediate result of this new style was “The Love Song of J. Modernism was an artistic movement that lasted, in American and English literature, from about 1900 to 1940, although most literature since that time continues to be heavily influenced by modernist techiques.is unquestionably one of the most important poems of the twentieth century.Its importance lies in its literary excellence—its insight and originality—and in its influence on other poets.In the poem, the speaker is far less impersonal than in earlier works: There is no reason to suppose, in fact, that the narrator is not Eliot himself, a man desperately seeking his God.By 1930, Eliot was firmly established as an influential man of letters.Writing about the poetry of Eliot is difficult for a number of reasons.One major difficulty is that Eliot himself helped dictate the rules for how critics interpret poetry.Poets were no longer able to join the intellect and the emotions to produce true masterworks.These three ideas—the impersonal theory of poetry, the objective correlative, and the dissociation of sensibility—certainly changed the way American and British scholars studied poetry: Innovative critical schools, such as the American New Criticism of the late 1920’s and 1930’s, were the result, and university training in literature was also changed by these principles.Eliot was especially drawn to Laforgue, whose dramatic monologues contained a mixture of highly sophisticated irony and an original, difficult style. These techniques, first developed largely by Pound and Eliot, involved the use of free verse (poetry without regular meter and rhyme), multiple speakers (or personas) within one poem, and a disjointed, nonlinear style.“The form in which I began to write,” Eliot later commented, “was directly drawn from the study of Laforgue. Another clear influence of French Symbolist poetry on “The Love Song of J.


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