T. S. Eliot, "The Waste Land"; A Facsmile and Transcript of the Original Drafts Including the Annotations of Ezra Pound.

1972 ◽  
Vol 24 (3) ◽  
pp. 277
Author(s):  
Donal N. Koster ◽  
T. S. Eliot ◽  
Ezra Pound ◽  
Valerie Eliot
Keyword(s):  
2021 ◽  
pp. 1-10
Author(s):  
A. W. Strouse

This introduction describes the surprisingly frequent invocation of circumcision and uncircumcision as a multifaceted metaphor from antiquity, through the medieval period, into modernity. Circumcision as a signifier of sacrality figures heavily in Jewish thought, while in classical and Hellenistic Greece, the presence of an intact foreskin signified self-control and the avoidance of excess. These conceptions influenced novel Christian theological and literary invocations of the prepuce throughout antiquity and the European Middle Ages, persisting down to the modern era, as in the notable case of Ezra Pound musing that he had gestated Eliot’s “The Waste Land” in his foreskin.


Author(s):  
Erin Templeton

Thomas Stearns Eliot (1888–1965) was an essayist, editor, playwright, poet, and publisher. He was awarded the Nobel Prize in Literature in 1948. He is perhaps best known for his long poem The Waste Land. Eliot was born in St. Louis, Missouri and attended Harvard University, where he earned his bachelor’s degree in philosophy. Eliot’s postgraduate studies in philosophy took him to the Sorbonne in 1910/11 and to Oxford in 1914. Once he arrived in England, however, he spent much of his time in London. There he met two of the most influential people of his literary life: the American poet Ezra Pound and a young Englishwoman named Vivienne Haigh-Wood, whom Eliot would marry in 1915 after a four-month courtship. Pound encouraged Eliot, who had been planning an academic career, to keep writing poetry and to submit "The Love Song of J. Alfred Prufrock" to Poetry magazine for publication. In addition to writing poetry, Eliot also took a position with Lloyd’s Bank in 1917, managing foreign accounts. Pound and Eliot frequently collaborated and critiqued each other’s work throughout the 1920s and 1930s and remained friends until Eliot’s death, despite divergent political and religious paths. The most famous of these collaborations, The Waste Land, has been documented in a published facsimile edition of the poem (1972) that reveals Pound’s numerous comments on Eliot’s manuscript. The Waste Land is revolutionary both in its form, free verse, and its subject matter, which links urbanization, technology, sexuality, and post-war alienation to dozens of classical allusions in seven languages. The poem is a pastiche of voices and fragments linked both thematically and tonally.


2015 ◽  
Vol 5 (1) ◽  
pp. 5-24 ◽  
Author(s):  
Stephen Brown

Purpose – In a world where commerce and culture are still somewhat estranged, the purpose of this paper is to show that high culture’s supreme exponents were commercially minded masters of marketing. Design/methodology/approach – Historically situated, the paper adopts a biographical approach to the making of modernism’s literary masterworks. It focuses on Ezra Pound, T.S. Eliot and James Joyce, who were responsible for the modernist classics, Ulysses and The Waste Land. Findings – The analysis identifies five fundamental marketing principles that appear paradoxical from a traditional, customer-centric standpoint, yet are in accord with latter-day, post-Kotlerite conceptualisations. The marketing of modernism did not rely on “modern” marketing. Practical implications – If, at the height of the anti-bourgeois modernist movement, the “great divide” between elite and popular culture was bridged by marketing, there is no reason why contemporary culture and commerce cannot collaborate, co-operate, co-exist, coalesce. Originality/value – The paper complements prior studies of “painterpreneurs”, by drawing attention to the marketing of literary masterworks.


Author(s):  
Erin Templeton

The Waste Land is an influential and experimental 435-line poem written by Thomas Stearns Eliot and first published in 1922. Structurally, it is a pastiche of different verse forms, both traditional and contemporary. The poem is richly allusive and polyvocal. It contains several different languages, as well as allusions to texts as diverse as the Upanishads, Dante Alighieri’s Inferno, and Charles Baudelaire’s Les Fleurs du mal. A pre-publication manuscript of the poem reveals that both Eliot’s first wife Vivienne and his friend Ezra Pound helped revise the poem into its final form before its initial publication in 1922. At its core, The Waste Land is about life in London following the catastrophe of the First World War. The fragmentation of the verse form in The Waste Land mirrors the fragmentation of life in war-torn London and the increasing disorientation of urban experience.


Author(s):  
Claire Barber

Robert Graves was a prolific poet and novelist whose career began with the semi-autobiographical Good-bye to All That (1929) but who became famous after the publication and BBC adaptation of I, Claudius (1934). He was not affiliated with a major literary movement, though many of his works, such as ‘In Broken Images’ (1929), respond to similar modernist concerns as The Waste Land (1922). He had little regard for poets like Ezra Pound and W. B. Yeats, despite the interest in mythology that he shared with Yeats, D. H. Lawrence, and H. D. He was a careful formal craftsman concerned with revision and the preservation of traditional forms, such as the Welsh cynghanedd. Both love and war figure prominently throughout his poetry and prose, particularly in his myth of the White Goddess.


Author(s):  
A. W. Strouse

Why did Saint Augustine ask God to “circumcise [his] lips”? Why does Sir Gawain cut off the Green Knight’s head on the Feast of the Circumcision? Is Chaucer’s Wife of Bath actually—as an early glossator figures her—a foreskin? And why did Ezra Pound claim that he had incubated The Waste Land inside of his uncut member? In this book, A. W. Strouse excavates a poetics of the foreskin, uncovering how Patristic theologies of circumcision came to structure medieval European literary aesthetics. Following the writings of Saint Paul, “circumcision” and “uncircumcision” become key terms for theorizing language—especially the dichotomies between the mere text and its extended exegesis, between brevity and longwindedness, between wisdom and folly. Form and Foreskin looks to three works: a peculiar story by Saint Augustine about a boy with the long foreskin; Sir Gawain and the Green Knight; and Chaucer’s Wife of Bath’s Tale. By examining literary scenes of cutting and stretching, Strouse exposes how Patristic treatments of circumcision queerly govern medieval poetics.


PMLA ◽  
1965 ◽  
Vol 80 (3) ◽  
pp. 285-291 ◽  
Author(s):  
Robert A. Day

T. S. Eliot composed the first draft of The Waste Land at Margate and in Lausanne during the autumn of 1921, when funds secured through Ezra Pound had enabled him to take a long holiday for rest and recuperation. He sorely needed both, and in fact was under the care of a specialist at Lausanne, for overwork in his double capacity as bank clerk and man of letters had brought him to the verge of a nervous breakdown. Though we must allow that he was distressed by postwar chaos and the decay of Europe, themes of a more specific and less elevated nature were certainly among his thoughts. He could hardly escape from the news of the day, which we find reproduced plainly or masked in much of his early work; and he was, in the words of a recent critic, “preoccupied … with the conditions of his servitude to a bank in London”—Lloyd's Bank, where he held a minor post in the foreign exchange department at a starting salary of £120 per annum.


2019 ◽  
Vol 28 (2) ◽  
pp. 197-213
Author(s):  
Sławomir Studniarz

The premise of the article is the contention that Beckett studies have been focused too much on the philosophical, cultural and psychological dimensions of his established canon, at the expense of the artistry. That research on Beckett's work is issue-driven rather than otherwise, and the slender extant body of criticism specifically on his poetic achievements bears no comparison with the massive exploration of the other facets of Beckett's artistic activity. The critical neglect of Beckett's poetry may not be commensurate with the quality of his verse. And it is in the spirit of remedying this oversight that the present article is offered, focusing on ‘Enueg I’, a representative poem from Echo's Bones, which exhibits all the salient features of Beckett's early poetry. It is argued that Beckett's early verse display the twofold influence, that of the transatlantic Modernism of Eliot and Pound, and of French poetry, specifically the visionary and experimental works of Rimbaud, Apollinaire, and the surrealists. Furthermore, the article also demonstrates that ‘Enueg I’ testifies to Beckett's ambition to compose a complex long Modernist poem in the vein of The Waste Land or The Cantos. Beckett's ‘Enueg I’ has much in common with Eliot's exemplary disjunctive Modernist long poem. Both poems are premised on the acutely felt cultural crisis and display the similar tenor in their ending. Finally, they both close with the vision of the doomed and paralyzed world, and the prevalent sense of sterility and dissolution. In the subsequent analysis, which takes up the bulk of the article, careful attention is paid to the patterning of the verbal material, including also the most fundamental level, that of the arrangements of phonemes, with a view to uncovering the underlying network of sound patterns, which contributes decisively to the semantic dimension of the poem.


2000 ◽  
Vol 47 (3) ◽  
pp. 338-339
Author(s):  
JAMES T. BRATCHER
Keyword(s):  

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