Titlebook: A T.S.Eliot Companion; Life and Works F. B. Pinion Book 1986 Palgrave Macmillan, a division of Macmillan Publishers Limited 1986 Britain.Ge

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C. Karagiannidis,F. Hesselmann,E. Fanred Prufrock’. As an earnest of his intentions he bought a notebook at Gloucester, entitling it, retrospectively rather than anticipatively, ‘Inventions of the March Hare’. (Appropriate as this description may seem to such poems as ‘Nocturne’ and ‘Conversation Galante’, it applies also to poems of s

Arteriography

J. Tirkkonen,I. Efendijev,M. B. Skrifvarsing only one poem which he chose to include in his . This is the haunting lyric ‘La Figlia che Piange’, the title (suggesting grief, not tears) being that of a sculptured design which Eliot regretted having missed when he was in Italy. In the girl whom he poses for a . with her lover, there may have

lethal

P. Formenti,M. Brioni,D. Chiumello in the length of lines or incidence of rhyme, he knew as well as Ezra Pound that ‘free verse’ could lead to degeneration in the style of writers who were not constantly alert to the necessity of keeping language alive. In . of July 1923 Pound inveighs against ‘the general dilution of vers libre, Am

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A. H. Jonkman,H. J. de Vries,L. M. A. Heunkseviewing of books from 1916 to 1919. The first of his collected essays, ‘Reflections on ., appeared in . of 3 March 1917. In it he states categorically that . does not exist, and ridicules the notion that there is such a school of poetry. This kind of claim arises when society is ‘sluggish’, when tr

motivate

R. Y. Mahida,S. Matsumoto,M. A. Matthayand all three of these in . Together with ‘Eyes that last I saw in tears’, and ‘The wind sprang up at four o’clock’, the third section (‘This is the dead land’) appeared under the title of ‘Doris’s Dream Songs’ in November 1924. Early images of wind, dry grass, rats’ feet, and broken glass indicate

compose

R. Y. Mahida,S. Matsumoto,M. A. Matthaylaire. It has as much to say on Symons as on Baudelaire, and is particularly critical of his transformation, rather than translation, of Baudelaire, a rendering in terms of religious aestheticism, ritual, and confession which recalls Pater, and is as incongruous with Eliot’s own period (he adds with