T. S. Eliot: The PoemsCambridge University Press, 1988年3月10日 - 264 頁 This book is designed to provide a comprehensive and stimulating introduction to T.S. Eliot's poetry for those reading and studying it. The poems, as well as some of the poetic drama (particularly Sweeney Agonistes) and relevant sections of the prose criticism, are discussed in detail and placed in relation to the development of Eliot's œuvre, and more briefly to his life and a wider context of philosophical and religious enquiry. In sections devoted to each major poem or group of poems, Martin Scofield examines Eliot's techniques of personae or masks; his use of musical effects; the tension between fragmentation and cohesion in The Waste Land and other verse; the place in his work of symbolism and imagism, as well as less explored elements such as surrealism and comedy; the relevance to his poetry of concepts worked out in his critical writing; and the criticism of his 'poetic workshop', those essays on other poets which he saw as part of the development of his own verse. One recurring theme in the study is the poetic treatment of the relationship (often conflict) between experience in life and experience in art; another is the relation between Eliot's beliefs and his poetry, and between poetry and belief in general. Eliot in his finest poems is seen above all as a poet of what he called 'the first voice', 'oppressed by the burden which he must bring to birth'. The book concludes with a detailed and helpful study of Four Quartets: here as elsewhere Martin Scofield is concerned to look first of all at the texture of the verse and the qualities of the poetic 'surface', while clarifying obscurities and explaining allusions where appropriate. Both students and general readers will find his book informative and his commitment to the poetry infectious. |
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第 1 到 5 筆結果,共 38 筆
第 vii 頁
... courses at Oxford and London Universities Works with the Colonial and Foreign Department at Lloyds Bank , Queen Victoria Street , London Assistant Editor of The Egoist Gives courses of lectures on Victorian Literature , ' The Makers of ...
... courses at Oxford and London Universities Works with the Colonial and Foreign Department at Lloyds Bank , Queen Victoria Street , London Assistant Editor of The Egoist Gives courses of lectures on Victorian Literature , ' The Makers of ...
第 2 頁
... course say that poetry was not better for being understood ; indeed he goes on : ' The impression can be verified on fuller knowledge . ' But just as the poet may begin ( as Eliot himself said ) with a rhythm or an image which precedes ...
... course say that poetry was not better for being understood ; indeed he goes on : ' The impression can be verified on fuller knowledge . ' But just as the poet may begin ( as Eliot himself said ) with a rhythm or an image which precedes ...
第 4 頁
... course , have agreed with Pound that modern poetry had to ' make it new ' . " The language which is more im- portant to us , ' he wrote in his essay on Swinburne ( 1920 ) , ' is that which is struggling to digest and express new objects ...
... course , have agreed with Pound that modern poetry had to ' make it new ' . " The language which is more im- portant to us , ' he wrote in his essay on Swinburne ( 1920 ) , ' is that which is struggling to digest and express new objects ...
第 8 頁
... course of this study . But whatever our conclusions on this ques- tion , it seems certain that Eliot will retain his place , with W. B. Yeats , as one of the two greatest poets of the first half of this century , because of both the ...
... course of this study . But whatever our conclusions on this ques- tion , it seems certain that Eliot will retain his place , with W. B. Yeats , as one of the two greatest poets of the first half of this century , because of both the ...
第 9 頁
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很抱歉,此頁的內容受到限制.
內容
Aspects of the life of the poet | 9 |
Early poetic influences and criticism and Poems Written in Early Youth | 24 |
Prufrock and Other Observations 1917 | 46 |
Poetic theory and poetic practice | 71 |
Poems 1920 | 89 |
The Waste Land 1922 | 108 |
From The Hollow Men 1925 to Marina 1930 | 137 |
Poetry pattern and belief | 167 |
From Coriolan 1931 to Burnt Norton 1936 | 183 |
Burnt Norton 1936 and the pattern for Four Quartets | 197 |
The wartime Quartets 19402 | 214 |
Notes | 243 |
257 | |
260 | |
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常見字詞
Alfred Prufrock allusion Ash-Wednesday beginning belief Burnt Norton consciousness criticism Dante Dante's dead death discussion Donne dramatic Dry Salvages earlier poems East Coker echoes effect element Eliot wrote Eliot's poem Eliot's poetry emotion epigraph experience exploration eyes F. R. Leavis feeling Figlia Che Piange final follows Four Quartets fragments Gerontion Helen Gardner Hollow Men human idea imagery images imagination important intensity irony kind Lady Laforgue language later lines Little Gidding London Love Song lyric meaning memory Metaphysical Metaphysical Poets mind particular passage pattern perhaps phrase play poet's poetic Poetry and Poets Portrait Pound prose Prufrock question quoted reader reading recalls relation religious rhyme rhythm romantic satire scene seems Selected Essays sense sexual significance spiritual stanza style suggests Sweeney Symbolist T. S. Eliot Thomas Stearns Eliot thought tion Tiresias tone tradition verse verse-paragraph vision voice volume Waste Land whole words