VII. T. S. Eliot& k; B# O! ?6 `7 H% ^' C
1. life: O' c1 J) s5 e# e2 {
2. works
[6 o# o- w& m$ g h (1) poems
' {! j' Y2 P" U3 O2 T The Love Song of J. Alfred Prufrock' w) G% d$ y8 E. n' C( E" D
The Waste Land (epic)
1 {6 X! E. K8 M$ w c5 M! i' r Hollow Man: Q! Z2 J* [7 \5 D& p
Ash Wednesday
( c5 n2 ~2 S' U z. `7 U Four Quarters
+ x7 X9 _5 g0 `8 X3 M( Z/ ] (2) Plays
6 x6 H6 l; I7 h: p o# z Murder in the Cathedral/ }* Y" s+ a8 F1 o, @0 h5 U2 U& v
Sweeney Agonistes+ s( U3 g8 y& w1 X+ C; Y7 `; T
The Cocktail Party
2 A% M! I9 A/ \ The Confidential Clerk4 J# k) m5 G$ p2 _$ h& V
(3) Critical essays" P/ f C: a" I( I5 | E% {# w
The Sacred Wood
; y! M) K& \5 B0 C Essays on Style and Order% }8 f+ Y5 l3 M
Elizabethan Essays( q, r3 o( X& G6 [5 x6 f6 P$ Z
The Use of Poetry and The Use of Criticisms
! Q$ n/ o2 n, C( s After Strange Gods# K4 I. W, d5 g
3. point of view
. i6 B2 }' ]. T. L* G& } (1) The modern society is futile and chaotic.$ q! H* r" P+ F$ ?4 L1 p) y
(2) Only poets can create some order out of chaos.
1 z* t N ?; b+ S% | (3) The method to use is to compare the past and the present.
1 p8 k- Y$ k1 U 4. Style1 {( w7 Z! I4 _3 s) k
(1) Fresh visual imagery, flexible tone and highly expressive rhythm
+ D6 D6 H7 O, o3 W* P% \- ~ (2) Difficult and disconnected images and symbols, quotations and allusions( g0 M! Y5 o/ q; }- e# j
(3) Elliptical structures, strange juxtapositions, an absence of bridges
4 p+ ~3 _: y4 m0 ~: B b7 W; F 5. The Waste Land: five parts0 t$ R7 x) k! W L3 W, z
(1) The Burial of the Dead
! `$ S6 C6 p" J3 @; T6 g# G (2) A Game of Chess
5 S* o" Z7 W$ t6 z8 Y (3) The Fire Sermon
% \6 H/ z- b# w5 u) H% o (4) Death by Water9 h3 }6 g) H. }; x& j
(5) What the Thunder Said* g, z& I8 y- J
VIII. Robert Frost
/ Z6 e- b1 V& B9 x3 p" S 1. life Z U+ n+ W9 Y: g8 X% v" h, i, L# K
2. point of view& J& N& I* w! ]; g/ U
(1) All his life, Frost was concerned with constructions through poetry. “a momentary stay against confusion”.' Z3 X# E( X0 Q3 i% O: s1 g
(2) He understands the terror and tragedy in nature, but also its beauty.4 A x- c! V# t( r
(3) Unlike the English romantic poets of 19th century, he didn’t believe that man could find harmony with nature. He believed that serenity came from working, usually amid natural forces, which couldn’t be understood. He regarded work as “significant toil”.' Q9 C3 ~/ ~6 S2 O
3. works – poems
" w& i( ]% Q1 z6 R$ y' V the first: A Boy’s Will
, d: U# x& f9 o6 J collections: North of Boston, Mountain Interval (mature), New Hampshire; F5 M( I- l( K1 h! p( R) y
4. style/features of his poems
# ^* O4 h- X8 s0 r |' ]. h (1) Most of his poems took New England as setting, and the subjects were chosen from daily life of ordinary people, such as “mending wall”, “picking apples”.
) H8 y6 B% X) k+ X (2) He writes most often about landscape and people – the loneliness and poverty of isolated farmers, beauty, terror and tragedy in nature. He also describes some abnormal people, e.g. “deceptively simple”, “philosophical poet”.
h% N) r6 H1 R# J (3) Although he was popular during 1920s, he didn’t experiment like other modern poets. He used conventional forms, plain language, traditional metre, and wrote in a pastured tradition.
" d& y3 h" {2 ], `* T' G+ J! o2 P IX. e. e. cummings7 g2 Z- F" W$ i
“a juggler with syntax, grammar and diction” – individualism, “painter poet” |