| name | T. S. Eliot |
|---|
| birth name | Thomas Stearns Eliot |
|---|
| birth date | September 26, 1888 |
|---|
| birth place | St. Louis, Missouri |
|---|
| death date | January 04, 1965 |
|---|
| death place | London, England |
|---|
| occupation | Poet, dramatist, literary critic |
|---|
| citizenship | American by birth; British from 1927 |
|---|
| education | A.B. in philosophy |
|---|
| alma mater | Harvard UniversityMerton College, Oxford |
|---|
| period | 1905–1965 |
|---|
| movement | Modernism |
|---|
| spouse | Vivienne Haigh-Wood (Vivien) (1915–1947); Esmé Valerie Fletcher (1957–1965) |
|---|
| children | none |
|---|
| awards | Nobel Prize for Literature (1948), Order of Merit (1948) |
|---|
| notableworks | ''The Love Song of J. Alfred Prufrock'' (1915), ''The Waste Land'' (1922), ''Four Quartets'' (1944) |
|---|
| influences | Dante Alighieri, Matthew Arnold, Jules Laforgue, John Donne, T. E. Hulme, Ezra Pound, Charles Baudelaire |
|---|
| influenced | Ezra Pound, Hart Crane, Allen Tate, Ted Hughes, Geoffrey Hill, Seamus Heaney |
|---|
| signature | TS Eliot Signature.svg
}} |
|---|
Thomas Stearns "T. S." Eliot OM (September 26, 1888 – January 4, 1965) was a playwright, literary critic, and arguably the most important English-language poet of the 20th century. Although he was born an American he moved to the United Kingdom in 1914 (at age 25) and was naturalised as a British subject in 1927 at age 39.
The poem that made his name, ''The Love Song of J. Alfred Prufrock''—started in 1910 and published in Chicago in 1915—is regarded as a masterpiece of the modernist movement. He followed this with what have become some of the best-known poems in the English language, including ''Gerontion'' (1920), ''The Waste Land'' (1922), ''The Hollow Men'' (1925), ''Ash Wednesday'' (1930), and ''Four Quartets'' (1945). He is also known for his seven plays, particularly ''Murder in the Cathedral'' (1935). He was awarded the Nobel Prize in Literature in 1948.
Life
Early life and education
Eliot was born into the
Eliot family, a
bourgeois family originally from
New England, who had moved to
St. Louis, Missouri. His father,
Henry Ware Eliot (1843–1919), was a successful businessman, president and treasurer of the Hydraulic-Press Brick Company in St. Louis. Eliot credits his hometown with seeding his literary vision: "It is self-evident that St. Louis affected me more deeply than any other environment has ever done. I feel that there is something in having passed one's childhood beside the
big river, which is incommunicable to those people who have not. I consider myself fortunate to have been born here, rather than in Boston, or New York, or London." His mother,
Charlotte Champe Stearns (1843–1929), wrote poetry and was a
social worker, a new profession in the early 20th century. Eliot was the last of six surviving children; his parents were both 44 years old when he was born. His four sisters were between 11 and 19 years older; his brother was eight years older. Known to family and friends as Tom, he was the namesake of his maternal grandfather Thomas Stearns.
From 1898 to 1905, Eliot attended Smith Academy, where his studies included Latin, Ancient Greek, French, and German. He began to write poetry when he was 14 under the influence of Edward Fitzgerald's ''Rubaiyat of Omar Khayyam'', a translation of the poetry of Omar Khayyam. He said the results were gloomy and despairing, and he destroyed them. His oldest surviving poem, an untitled lyric, dates from January 1905. The first poem that he showed anyone, "A Fable For Feasters," was written as a school exercise when he was 15, and was published in the ''Smith Academy Record'', and later in ''The Harvard Advocate'', Harvard University's student magazine. He also published three short stories in 1905, including "The Man Who Was King", which reflects his exploration of Igorot Village while visiting the 1904 World's Fair of St. Louis.
After graduation, Eliot attended Milton Academy in Massachusetts for a preparatory year, where he met Scofield Thayer, who would later publish ''The Waste Land''. He studied philosophy at Harvard from 1906 to 1909, earning his bachelor's degree after three years, instead of the usual four. Frank Kermode writes that the most important moment of Eliot's undergraduate career was in 1908, when he discovered Arthur Symons's ''The Symbolist Movement in Literature'' (1899). This introduced him to Jules Laforgue, Arthur Rimbaud, and Paul Verlaine. Without Verlaine, Eliot wrote, he might never have heard of Tristan Corbière and his book ''Les amours jaunes'', a work that affected the course of Eliot's life. The ''Harvard Advocate'' published some of his poems, and he became lifelong friends with Conrad Aiken, the American novelist.
After working as a philosophy assistant at Harvard from 1909–1910, Eliot moved to Paris, where from 1910–1911, he studied philosophy at the Sorbonne. He attended lectures by Henri Bergson and read poetry with Alain-Fournier. From 1911–1914, he was back at Harvard studying Indian philosophy and Sanskrit. Eliot was awarded a scholarship to Merton College, Oxford in 1914. He first visited Marburg, Germany, where he planned to take a summer program, but when the First World War broke out, he went to Oxford instead. At the time, so many American students attended Merton that the Junior Common Room proposed a motion "that this society abhors the Americanization of Oxford"; it was defeated by two votes after Eliot reminded the students how much they owed American culture.
Eliot did not settle at Merton, and left after a year. He wrote to Conrad Aiken on New Year's Eve 1914: "I hate university towns and university people, who are the same everywhere, with pregnant wives, sprawling children, many books and hideous pictures on the walls ... Oxford is very pretty, but I don't like to be dead." By 1916, he had completed a PhD dissertation for Harvard on ''Knowledge and Experience in the Philosophy of F. H. Bradley'', but he failed to return for the ''viva voce'' exam.
Marriage
In a letter to Aiken late in December 1914, Eliot, aged 26, wrote, "I am very dependent upon women (I mean female society)." Less than four months later, Thayer introduced Eliot to
Vivienne Haigh-Wood, a Cambridge
governess. They were married at Hampstead Register Office on June 26, 1915.
After a short visit alone to his family in the United States, Eliot returned to London and took several teaching jobs, such as lecturing at Birkbeck College, University of London. The philosopher Bertrand Russell took an interest in Vivienne while the newlyweds stayed in his flat. Some scholars have suggested that she and Russell had an affair, but the allegations were never confirmed. In a private paper written in his sixties, Eliot confessed: "I came to persuade myself that I was in love with Vivienne simply because I wanted to burn my boats and commit myself to staying in England. And she persuaded herself (also under the influence of [Ezra] Pound) that she would save the poet by keeping him in England. To her, the marriage brought no happiness. To me, it brought the state of mind out of which came ''The Waste Land''." (Their relationship was the subject of a 1984 play ''Tom and Viv'', which in 1994 was adapted as a film.)
Teaching, Lloyds, Faber and Faber
After leaving Merton, Eliot worked as a schoolteacher, most notably at
Highgate School, a private school in London, where he taught French and Latin—his students included the young
John Betjeman. Later he taught at the
Royal Grammar School, High Wycombe, a state school in
Buckinghamshire. To earn extra money, he wrote book reviews and lectured at evening extension courses. In 1917, he took a position at
Lloyds Bank in London, working on foreign accounts. On a trip to Paris in August 1920, he met the writer
James Joyce and the artist
Wyndham Lewis. Eliot said he found Joyce arrogant—Joyce doubted Eliot's ability as a poet at the time—but the two soon became friends, with Eliot's visiting Joyce whenever he was in Paris.
In 1925, Eliot left Lloyds to join the publishing firm Faber and Gwyer, later Faber and Faber, where he remained for the rest of his career, eventually becoming a director. Wyndham Lewis and Eliot became close friends, a friendship leading to Lewis's well-known painting of Eliot in 1938.
Conversion to Anglicanism and British citizenship
On June 29, 1927 Eliot converted to
Anglicanism from
Unitarianism, and in November that year he took
British citizenship. He became a
warden of his parish church, Saint Stephen's, Gloucester Road, London, and a life member of the
Society of King Charles the Martyr. He specifically identified as
Anglo-Catholic, proclaiming himself "classicist in literature, royalist in politics, and anglo-catholic [sic] in religion." About thirty years later Eliot commented on his religious views that he combined "a Catholic cast of mind, a Calvinist heritage, and a Puritanical temperament."
Separation and remarriage
By 1932, Eliot had been contemplating a separation from his wife for some time. When Harvard offered him the
Charles Eliot Norton professorship for the 1932-1933 academic year, he accepted and left Vivienne in England. Upon his return, he arranged for a formal separation from her, avoiding all but one meeting with her between his leaving for America in 1932 and her death in 1947. Vivienne was committed to the Northumberland House mental hospital,
Stoke Newington, in 1938, and remained there until she died. Although Eliot was still legally her husband, he never visited her.
From 1946 to 1957, Eliot shared a flat with his friend John Davy Hayward, who gathered and archived Eliot's papers, styling himself "Keeper of the Eliot Archive." Hayward also collected Eliot's pre-Prufrock verse, commercially published after Eliot's death as ''Poems Written in Early Youth''. When Eliot and Hayward separated their household in 1957, Hayward retained his collection of Eliot's papers, which he bequeathed to King's College, Cambridge in 1965.
On January 10, 1957, Eliot at the age of 68 married Esmé Valerie Fletcher, who was 32. In contrast to his first marriage, Eliot knew Fletcher well, as she had been his secretary at Faber and Faber since August 1949. They kept their wedding secret; the ceremony was held in a church at 6.15 a.m. with virtually no one in attendance other than his wife's parents. Since Eliot's death, Valerie has dedicated her time to preserving his legacy; she has edited and annotated ''The Letters of T. S. Eliot'' and a facsimile of the draft of ''The Waste Land''. In the early 1960s, by then in failing health, Eliot worked as an editor for the Wesleyan University Press, seeking new poets in Europe for publication.
Death and honours
Eliot died of
emphysema in London on January 4, 1965. For many years he had had health problems caused by his heavy smoking, and had often been laid low with
bronchitis or
tachycardia. He was cremated at
Golders Green Crematorium. In accordance with Eliot's wishes, his ashes were taken to St Michael's Church in
East Coker, the village from which his ancestors had emigrated to America.
A wall plaque commemorates him with a quotation from his poem "East Coker": "In my beginning is my end. In my end is my beginning."
In 1967, on the second anniversary of his death, Eliot was commemorated by the installation of a large stone in the floor of Poets' Corner in London's Westminster Abbey. The stone, cut by designer Reynolds Stone, is inscribed with his life dates, his Order of Merit, and a quotation from his poem "Little Gidding": "the communication / Of the dead is tongued with fire beyond / the language of the living."
Poetry
For a poet of his stature, Eliot produced a relatively small amount of poetry and he was aware of this early in his career. He wrote to J. H. Woods, one of his former Harvard professors, "My reputation in London is built upon one small volume of verse, and is kept up by printing two or three more poems in a year. The only thing that matters is that these should be perfect in their kind, so that each should be an event."
Typically, Eliot first published his poems individually in periodicals or in small books or pamphlets, and then collected them in books. His first collection was ''Prufrock and Other Observations'' (1917). In 1920, he published more poems in ''Ara Vos Prec'' (London) and ''Poems: 1920'' (New York). These had the same poems (in a different order) except that "Ode" in the British edition was replaced with "Hysteria" in the American edition. In 1925, he collected ''The Waste Land'' and the poems in ''Prufrock'' and ''Poems'' into one volume and added ''The Hollow Men'' to form ''Poems: 1909–1925''. From then on, he updated this work as ''Collected Poems''. Exceptions are ''Old Possum's Book of Practical Cats'' (1939), a collection of light verse; ''Poems Written in Early Youth'', posthumously published in 1967 and consisting mainly of poems published 1907–1910 in ''The Harvard Advocate'', and ''Inventions of the March Hare: Poems 1909–1917'', material Eliot never intended to have published, which appeared posthumously in 1997.
Eliot said of his nationality and its role in his work: "[M]y poetry has obviously more in common with my distinguished contemporaries in America than with anything written in my generation in England ... It wouldn't be what it is, and I imagine it wouldn't be so good ... if I'd been born in England, and it wouldn't be what it is if I'd stayed in America. It's a combination of things. But in its sources, in its emotional springs, it comes from America."
''The Love Song of J. Alfred Prufrock''
In 1915 Ezra Pound, overseas editor of ''Poetry'' magazine, recommended to Harriet Monroe, the magazine's founder, that she publish "The Love Song of J. Alfred Prufrock". Although the character Prufrock seems to be middle-aged, Eliot wrote most of the poem when he was only 22. Its now-famous opening lines, comparing the evening sky to "a patient etherised upon a table," were considered shocking and offensive, especially at a time when Georgian Poetry was hailed for its derivations of the 19th century Romantic Poets. The poem follows the conscious experience of a man, Prufrock (relayed in the "stream of consciousness" form characteristic of the Modernists), lamenting his physical and intellectual inertia, the lost opportunities in his life and lack of spiritual progress, with the recurrent theme of carnal love unattained. Critical opinion is divided as to whether the narrator leaves his residence during the course of the narration. The locations described can be interpreted either as actual physical experiences, mental recollections, or as symbolic images from the sub-conscious mind, as, for example, in the refrain "In the room the women come and go." The poem's structure was heavily influenced by Eliot's extensive reading of Dante Alighieri, in the Italian, and refers to a number of literary works, including ''Hamlet'' and those of the French Symbolists.
Its reception in London can be gauged from an unsigned review in ''The Times Literary Supplement'' on June 21, 1917: "The fact that these things occurred to the mind of Mr Eliot is surely of the very smallest importance to anyone, even to himself. They certainly have no relation to ''poetry''…"
''The Waste Land''
In October 1922 Eliot published ''The Waste Land'' in ''
The Criterion''. Eliot's dedication to ''il miglior fabbro'' ("the better craftsman") refers to Ezra Pound's significant hand in editing and reshaping the poem from a longer Eliot manuscript to the shortened version that appears in publication. It was composed during a period of personal difficulty for Eliot—his marriage was failing, and both he and Vivienne were suffering from nervous disorders. The poem is often read as a representation of the disillusionment of the post-war generation. Before the poem's publication as a book in December 1922, Eliot distanced himself from its vision of despair. On November 15, 1922, he wrote to
Richard Aldington, saying, "As for ''The Waste Land'', that is a thing of the past so far as I am concerned and I am now feeling toward a new form and style." The poem is known for its obscure nature—its slippage between satire and prophecy; its abrupt changes of speaker, location, and time. Despite this, it has become a touchstone of
modern literature, a poetic counterpart to a novel published in the same year,
James Joyce's ''
Ulysses''. Among its best-known phrases are "April is the cruellest month", "I will show you fear in a handful of dust"; and "
Shantih shantih shantih," the Sanskrit ''
mantra'' that ends the poem.
''The Hollow Men''
''The Hollow Men'' appeared in 1925. For the critic
Edmund Wilson, it marked "the nadir of the phase of despair and desolation given such effective expression in ''The Waste Land''." It is Eliot's major poem of the late twenties. Similar to other work, its themes are overlapping and fragmentary: post-war Europe under the
Treaty of Versailles (which Eliot despised); the difficulty of hope and religious conversion; and Eliot's failed marriage.
Allen Tate perceived a shift in Eliot's method, writing that, "The mythologies disappear altogether in ''The Hollow Men''." This is a striking claim for a poem as indebted to Dante as anything else in Eliot’s early work, to say little of the modern English mythology—the "Old Guy Fawkes" of the Gunpowder Plot—or the colonial and agrarian mythos of Joseph Conrad and James George Frazer, which, at least for reasons of textual history, echo in ''The Waste Land''. The "continuous parallel between contemporaneity and antiquity" that is so characteristic of his mythical method remained in fine form. ''The Hollow Men'' contains some of Eliot's most famous lines, notably its conclusion:
''This is the way the world ends''
''This is the way the world ends''
''This is the way the world ends''
''Not with a bang but a whimper.''
''Ash Wednesday''
''Ash Wednesday'' is the first long poem written by Eliot after his 1927 conversion to
Anglicanism. Published in
1930, it deals with the struggle that ensues when one who has lacked faith acquires it. Sometimes referred to as Eliot's "conversion poem," it is richly but ambiguously allusive, and deals with the aspiration to move from spiritual barrenness to hope for human
salvation. The style is different from the poetry that predates his conversion. ''Ash Wednesday'' and the poems that followed had a more casual, melodic, and contemplative method.
Many critics were particularly enthusiastic about it. Edwin Muir maintained that it is one of the most moving poems Eliot wrote, and perhaps the "most perfect," though it was not well-received by everyone. The poem's groundwork of orthodox Christianity discomfited many of the more secular ''literati''.
''Old Possum's Book of Practical Cats''
In 1930, Eliot published a book of
light verse, ''Old Possum's Book of Practical Cats'' ("Old Possum" was Ezra Pound's nickname for him). This first edition had an illustration of the author on the cover. In 1954, the composer
Alan Rawsthorne set six of the poems for speaker and orchestra, in a work entitled ''Practical Cats''. After Eliot's death, the book was adapted as the basis of the musical, ''
Cats'', by
Andrew Lloyd Webber, first produced in London's
West End in 1981 and opening on
Broadway the following year.
''Four Quartets''
Eliot regarded ''Four Quartets'' as his masterpiece, and it is the work that led to his being awarded the
Nobel Prize in Literature. It consists of four long poems, each first published separately: ''
Burnt Norton'' (1936), ''
East Coker'' (1940), ''
The Dry Salvages'' (1941) and ''
Little Gidding'' (1942). Each has five sections. Although they resist easy characterization, each begins with a rumination on the geographical location of its title, and each meditates on the nature of time in some important respect—
theological,
historical, physical—and its relation to the human condition. Each poem is associated with one of the four
classical elements: air, earth, water, and fire.
''Burnt Norton'' asks what it means to consider things that might have been. We see the shell of an abandoned house, and Eliot toys with the idea that all these merely possible realities are present together, invisible to us. All the possible ways people might walk across a courtyard add up to a vast dance we can't see; children who aren't there are hiding in the bushes.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden.
''East Coker'' continues the examination of time and meaning, focusing in a famous passage on the nature of language and poetry. Out of darkness, Eliot offers a solution: "I said to my soul, be still, and wait without hope".
''The Dry Salvages'' treats the element of water, via images of river and sea. It strives to contain opposites: "... the past and future/Are conquered, and reconciled".
''Little Gidding'' (the element of fire) is the most anthologized of the Quartets. Eliot's experiences as an air raid warden in The Blitz power the poem, and he imagines meeting Dante during the German bombing. The beginning of the Quartets ("Houses .../Are removed, destroyed") had become a violent everyday experience; this creates an animation, where for the first time he talks of Love as the driving force behind all experience. From this background, the Quartets end with an affirmation of Julian of Norwich: "all shall be well and/All manner of thing shall be well".
The ''Four Quartets'' cannot be understood without reference to Christian thought, traditions, and history. Eliot draws upon the theology, art, symbolism and language of such figures as Dante, and mystics St. John of the Cross and Julian of Norwich. The "deeper communion" sought in ''East Coker'', the "hints and whispers of children, the sickness that must grow worse in order to find healing," and the exploration which inevitably leads us home all point to the pilgrim's path along the road of sanctification.
Plays
With the important exception of his ''
magnum opus'' ''Four Quartets'', Eliot directed much of his creative energies after ''Ash Wednesday'' to writing plays in verse, mostly comedies or plays with redemptive endings. He was long a critic and admirer of
Elizabethan and
Jacobean verse drama; witness his allusions to
Webster,
Thomas Middleton,
William Shakespeare and
Thomas Kyd in ''The Waste Land''. In a 1933 lecture he said: "Every poet would like, I fancy, to be able to think that he had some direct social utility. ... He would like to be something of a popular entertainer, and be able to think his own thoughts behind a tragic or a comic mask. He would like to convey the pleasures of poetry, not only to a larger audience, but to larger groups of people collectively; and the theatre is the best place in which to do it."
After ''The Waste Land'' (1922), he wrote that he was "now feeling toward a new form and style." One project he had in mind was writing a play in verse with a jazz tempo featuring Sweeney, a character who had appeared in a number of his poems. Eliot did not finish it. He did publish separately two pieces of what he had written. The two, ''Fragment of a Prologue'' (1926) and ''Fragment of an Agon'' (1927) were published together in 1932 as ''Sweeney Agonistes''. Although Eliot noted that this was not intended to be a one-act play, it is sometimes performed as one.
A pageant play by Eliot called ''The Rock'' was performed in 1934 for the benefit of churches in the Diocese of London. Much of it was a collaborative effort; Eliot accepted credit only for the authorship of one scene and the choruses. George Bell, the Bishop of Chichester, had been instrumental in connecting Eliot with producer E. Martin Browne for the production of ''The Rock'', and later asked Eliot to write another play for the Canterbury Festival in 1935. This one, ''Murder in the Cathedral'', concerning the death of the martyr, Thomas Becket, was more under Eliot's control. After this, he worked on commercial plays for more general audiences: ''The Family Reunion'' (1939), ''The Cocktail Party'' (1949), ''The Confidential Clerk'', (1953) and ''The Elder Statesman'' (1958). The Broadway production in New York of ''The Cocktail Party'' received the 1950 Tony Award for Best Play.
Literary criticism
Eliot also made significant contributions to the field of literary criticism, strongly influencing the school of
New Criticism. While somewhat self-deprecating and minimizing of his work—he once said his criticism was merely a “by-product” of his “private poetry-workshop”—Eliot is considered by some to be one of the greatest literary critics of the 20th century. The critic
William Empson once said, "I do not know for certain how much of my own mind [Eliot] invented, let alone how much of it is a reaction against him or indeed a consequence of misreading him. He is a very penetrating influence, perhaps not unlike the east wind."
In his critical essay “Tradition and the Individual Talent,” Eliot argues that art must be understood not in a vacuum, but in the context of previous pieces of art: “In a peculiar sense [an artist or poet] ... must inevitably be judged by the standards of the past.” This essay was a important influence over the New Criticism by introducing the idea that the value of a work of art must be viewed in the context of the artist's previous works, a “simultaneous order” of works (i.e. "tradition"). Eliot himself employed this concept on many of his works, especially on his long-poem ''The Waste Land''.
Also important to New Criticism was the idea—as articulated in Eliot’s essay "Hamlet and His Problems”—of an “objective correlative,” which posits a connection among the words of the text and events, states of mind, and experiences. This notion concedes that a poem means what it says, but suggests that there can be a non-subjective judgment based on different readers’ different—but perhaps corollary—interpretations of a work.
More generally, New Critics took a cue from Eliot in regard to his “‘classical’ ideals and his religious thought; his attention to the poetry and drama of the early seventeenth century; his deprecation of the Romantics, especially Shelley; his proposition that good poems constitute ‘not a turning loose of emotion but an escape from emotion'; and his insistence that ‘poets…at present must be difficult.’”
Eliot’s essays were a major factor in the revival of interest in the metaphysical poets. Eliot particularly praised the metaphysical poets' ability to show experience as both psychological and sensual, while at the same time infusing this portrayal with—in Eliot's view—wit and uniqueness. Eliot's essay "The Metaphysical Poets," along with giving new significance and attention to metaphysical poetry, introduced his now well-known definition of "unified sensibility," which is considered by some to mean the same thing as the term "metaphysical."
His 1922 poem ''The Waste Land'' also can be better understood in light of his work as a critic. He had argued that a poet must write “programmatic criticism"; that is, a poet should write to advance his own interests rather than to advance “historical scholarship". Viewed from Eliot's critical lens, ''The Waste Land'' likely shows his personal despair about World War I rather than an objective historical understanding of it.
In 1946 Eliot was a member of a group otherwise composed of senior clergy which produced a report entitled "Catholicity" published in 1947 as a contribution to the process which resulted in the Church of England's Report on Doctrine (1948).
In 1958, the Archbishop of Canterbury appointed Eliot to a commission that produced ''The Revised Psalter'' (1963). A harsh critic of Eliot, C. S. Lewis, was also a member of the commission, where their antagonism turned into a friendship.
Critical reception
Responses to his poetry
The initial critical response to Eliot's poetry, particularly "The Waste Land," was mixed. Some critics, like
Edmund Wilson,
Conrad Aiken, and
Gilbert Seldes thought it was the best poetry being written in the English language while others thought it was esoteric and wilfully difficult. Edmund Wilson, being one of the critics who praised Eliot, called him "one of our only authentic poets." Nevertheless, it should be noted that Wilson also pointed out some of Eliot's weaknesses as a poet. In regard to "The Waste Land," Wilson admits its flaws ("its lack of structural unity"), but concluded, "I doubt whether there is a single other poem of equal length by a contemporary American which displays so high and so varied a mastery of English verse." And the writers of ''Time'' magazine were similarly baffled by a challenging poem like "The Waste Land". Of course, there were some critics, like
John Crowe Ransom, who wrote mostly negative criticisms of Eliot's work but who also had some positive things to say. For instance, though Ransom negatively criticised "The Waste Land" for its "extreme disconnection," Ransom was not completely condemnatory of Eliot's work (like Powell) and admitted that Eliot was a talented poet.
Addressing some of the common criticisms directed against "The Waste Land" at the time, Gilbert Seldes stated, "It seems at first sight [to be a] remarkably disconnected [and] confused [poem]. . .[however] a closer view of the poem does more than illuminate the difficulties; it reveals the hidden form of the work, [and] indicates how each thing falls into place."
Allegations of anti-Semitism
The depiction of
Jews in some of Eliot's poems has led several critics to accuse him of
anti-Semitism. This case has been presented most forcefully in a study by
Anthony Julius: ''T. S. Eliot, Anti-Semitism, and Literary Form'' (1996). In "
Gerontion", Eliot writes, in the voice of the poem's elderly narrator, "And the Jew squats on the window sill, the owner [of my building],/ Spawned in some estaminet of Antwerp." Another well-known example appears in the poem, "Burbank with a Baedeker: Bleistein with a Cigar." In this poem, Eliot wrote, "The rats are underneath the piles./ The Jew is underneath the lot./ Money in furs." Interpreting the line as an indirect comparison of Jews to rats, Julius writes, "The anti-Semitism is unmistakable. It reaches out like a clear signal to the reader." Julius's viewpoint has been supported by literary critics such as
Christopher Ricks,
George Steiner, and
James Fenton.
In a series of lectures delivered at the University of Virginia in 1933, published under the title ''After Strange Gods: A Primer of Modern Heresy'' (1934), Eliot wrote of societal tradition and coherence: "What is still more important [than cultural homogeneity] is unity of religious background, and reasons of race and religion combine to make any large number of free-thinking Jews undesirable." Eliot never re-published this book nor the lecture.
Craig Raine, in his books ''In Defence of T.S. Eliot'' (2001) and ''T. S. Eliot'' (2006), has sought to defend Eliot from the charge of anti-Semitism. Reviewing Raine's 2006 book, Paul Dean stated that he was not convinced by Raine's argument though he concluded, "Ultimately, as both Raine and, to do him justice, Julius insist, however much Eliot may have been compromised as a person, as we all are in our several ways, his greatness as a poet remains."
Awards
Order of Merit (awarded by King George VI (United Kingdom), 1948)
Nobel Prize for Literature "for his outstanding, pioneer contribution to present-day poetry" (
Stockholm, 1948)
Officier de la Legion d'Honneur (1951)
Hanseatic Goethe Prize (Hamburg, 1955)
Dante Medal (Florence, 1959)
Commandeur de l'Ordre des Arts et des Lettres, (1960)
Presidential Medal of Freedom (1964)
13 honorary doctorates (including Oxford, Cambridge, the Sorbonne, and Harvard)
Tony Award in 1950 for Best Play: The Broadway production of ''The Cocktail Party''.
Two posthumous Tony Awards (1983) for his poems used in the musical ''Cats''
Eliot College of the University of Kent, England, named after him
Celebrated on commemorative postage stamps
A star on the St. Louis Walk of Fame
Works
Poetry
''Prufrock and Other Observations'' (1917)
* ''The Love Song of J. Alfred Prufrock''
* ''Portrait of a Lady (poem)''
* ''Aunt Helen''
''Poems'' (1920)
* ''Gerontion''
* ''Sweeney Among the Nightingales''
* "The Hippopotamus"
*"Whispers of Immortality"
*"Mr. Eliot's Sunday Morning Service"
*"A Cooking Egg"
''The Waste Land'' (1922)
''The Hollow Men'' (1925)
''Ariel Poems'' (1927–1954)
* ''The Journey of the Magi'' (1927)
''Ash Wednesday'' (1930)
''Coriolan'' (1931)
''Old Possum's Book of Practical Cats'' (1939)
''The Marching Song of the Pollicle Dogs'' and ''Billy M'Caw: The Remarkable Parrot'' (1939) in ''The Queen's Book of the Red Cross''
''Four Quartets'' (1945)
Plays
''Sweeney Agonistes'' (published in 1926, first performed in 1934)
''The Rock'' (1934)
''Murder in the Cathedral'' (1935)
''The Family Reunion'' (1939)
''The Cocktail Party'' (1949)
''The Confidential Clerk'' (1953)
''The Elder Statesman'' (first performed in 1958, published in 1959)
Nonfiction
''Christianity & Culture'' (1939, 1948)
''The Second-Order Mind'' (1920)
''Tradition and the Individual Talent'' (1920)
''The Sacred Wood: Essays on Poetry and Criticism'' (1920)
* "Hamlet and His Problems"
''Homage to John Dryden'' (1924)
''Shakespeare and the Stoicism of Seneca'' (1928)
''For Lancelot Andrewes'' (1928)
''Dante'' (1929)
''Selected Essays, 1917–1932'' (1932)
''The Use of Poetry and the Use of Criticism'' (1933)
''After Strange Gods'' (1934)
''Elizabethan Essays'' (1934)
''Essays Ancient and Modern'' (1936)
''The Idea of a Christian Society'' (1939)
''A Choice of Kipling's Verse'' (1941) made by Eliot, with an essay on Rudyard Kipling, London, Faber and Faber.
''Notes Towards the Definition of Culture'' (1948)
''Poetry and Drama'' (1951)
''The Three Voices of Poetry'' (1954)
''The Frontiers of Criticism'' (1956)
''On Poetry and Poets'' (1957)
Posthumous publications
''To Criticize the Critic'' (1965)
''The Waste Land: Facsimile Edition'' (1974)
''Inventions of the March Hare: Poems 1909-1917'' (1996)
Critical editions
''Collected Poems, 1909-1962'' (1963) online edition; also excerpt and text search
''Old Possum's Book of Practical Cats, Illustrated Edition'' (1982) excerpt and text search
'' Selected Prose of T.S. Eliot'' ed. by Frank Kermode (1975) excerpt and text search
'' The Waste Land'' (Norton Critical Editions) ed. by Michael North (2000) excerpt and text search
'' Selected essays'' (1932); enlarged (1960)
''The letters of T. S. Eliot,'' ed. Valerie Eliot, vol. 1: 1898-1922 (1988)
''The letters of T. S. Eliot,'' ed. Valerie Eliot, vol. 2: 1923-1925 (2009)
Notes
Further reading
Alldritt, Keith. ''Eliot's Four Quartets: Poetry as Chamber Music. Woburn Press, 1978.
Ali, Ahmed. ''Mr. Eliot's Penny World of Dreams: An Essay in the Interpretation of T.S. Eliot's Poetry'', Published for the Lucknow University by New Book Co., Bombay, P.S. King & Staples Ltd., Westminster, London, 1942, pages 138.
Lal, P. (Editor), ''T. S. Eliot: Homage from India: A Commemoration Volume of 55 Essays & Elegies'', Writer's Workshop Calcutta, 1965.
Forster, E. M. Essay on T. S. Eliot, in ''Life and Letters'', June 1929.
Harding, W. D. ''T. S. Eliot, 1925-1935'', Scrutiny, September 1936: A Review.
Brown, Alec. ''The Lyrical Impulse in Eliot's Poetry'', Scrutinies vol. 2.
Ackroyd, Peter. ''T. S. Eliot: A Life''. (1984)
Asher, Kenneth ''T. S. Eliot and Ideology'' (1995)
Brand, Clinton A. "The Voice of This Calling: The Enduring Legacy of T. S. Eliot," ''Modern Age'' Volume 45, Number 4; Fall 2003 online edition, conservative perspective
Bush, Ronald. ''T. S. Eliot: A Study in Character and Style''. (1984)
Christensen, Karen. "Dear Mrs. Eliot," ''The Guardian Review.'' (29 January 2005).
Crawford, Robert. ''The Savage and the City in the Work of T. S. Eliot''. (1987).
Dawson, J.L., P.D. Holland & D.J. McKitterick, ''A Concordance to 'The Complete Poems and Plays of T.S. Eliot'.'' Ithaca & London: Cornell University Press, 1995.
Gardner, Helen. ''The Composition of Four Quartets''. (1978).
---''The Art of T. S. Eliot''. (1949)
Hargrove, Nancy Duvall. ''Landscape as Symbol in the Poetry of T. S. Eliot. University Press of Mississippi (1978).
---. ''T. S. Eliot's Parisian Year''. University Press of Florida (2009).
''The Letters of T. S. Eliot''. Ed. by Valerie Eliot. Vol. I, 1898-1922. San Diego [etc.] 1988. Vol. 2, 1923-1925. Edited by Valerie Eliot and Hugh Haughton, London, Faber, 2009. ISBN 9780571140817
Gordon, Lyndall. ''T. S. Eliot: An Imperfect Life''. (1998)
Julius, Anthony. ''T. S. Eliot, Anti-Semitism, and Literary Form''. Cambridge University Press (1995)
Kelleter, Frank. ''Die Moderne und der Tod: Edgar Allan Poe–T. S. Eliot–Samuel Beckett.'' Frankfurt/Main: Peter Lang, 1998.
Kenner, Hugh. ''The Invisible Poet: T. S. Eliot''. (1969)
---, editor, ''T. S. Eliot: A Collection of Critical Essays'', Prentice-Hall. (1962)
Kirsch, Adam. "Matthew Arnold and T. S. Eliot", ''The American Scholar''. Vol 67, Iss 3. Summer 1998
Kirk, Russell ''Eliot and His Age: T. S, Eliot's Moral Imagination in the Twentieth Century''. (Introduction by Benjamin G. Lockerd Jr.). Wilmington: Intercollegiate Studies Institute, Republication of the revised second edition, 2008.
Levy, William Turner and Victor Scherle. ''Affectionately, T. S. Eliot: The Story of a Friendship: 1947-1965''. (1968).
Maxwell, D. E. S. ''The Poetry of T. S. Eliot'', Routledge and Keagan Paul. (1960).
Matthews, T. S. ''Great Tom: Notes Towards the Definition of T. S. Eliot''. (1973)
Miller, James E., Jr. ''T. S. Eliot. The Making of an American Poet, 1888-1922''. The Pennsylvania State University Press. 2005.
Narita, Tatsushi, "The Young T. S. Eliot and Alien Cultures: His Philippine Interactions", ''The Review of English Studies''. Vol 45. (1994)
North, Michael (ed.) ''The Waste Land (Norton Critical Editions)''. New York: W.W. Norton, 2000.
Quillian, William H. ''Hamlet and the New Poetic: James Joyce and T. S. Eliot.'' Ann Arbor, MI: UMI Research Press (1983).
Raine, Craig. ''T. S. Eliot''. Oxford University Press (2006).
Ricks, Christopher.''T. S. Eliot and Prejudice''. (1988).
Robinson, Ian "The English Prophets", The Brynmill Press Ltd (2001)
Ronnick, Michele Valerie, "Eliot's 'The Hollow Men'", ''The Explicator''. Vol 56, Iss 2. (1998)
Schuchard, Ronald. ''Eliot's Dark Angel: Intersections of Life and Art''. (1999).
Scofield, Dr. Martin, "T.S. Eliot: The Poems", Cambridge University Press. (1988).
Seferis, George. "Introduction to T. S. Eliot" in ''Modernism/modernity'' 16:1 ( January 2009), 146-60.
Seymour-Jones, Carole. ''Painted Shadow: A Life of Vivienne Eliot''. (2001).
Sencourt, Robert. ''T. S. Eliot: A Memoir''. (1971)
Spender, Stephen. ''T. S. Eliot''. (1975)
Sinha, Arun Kumar and Vikram, Kumar. ''T. S. Eliot: An Intensive Study of Selected Poems'', Spectrum Books Pvt. Ltd, New Delhi, (2005).
Spurr, Barry, ''Anglo-Catholic in Religion: T. S. Eliot and Christianity'', The Lutterworth Press (2009)
Weidmann, Dirk. ''And I Tiresias have foresuffered all: More Than Allusions to Ovid in T.S.Eliot's The Waste Land?''. In: ''LITERATURA'' 51 (3), 2009, pp.98-108.
Tate, Allen, editor. ''T. S. Eliot: The Man and His Work'', First published in 1966 - republished by Penguin 1971.
Poems by T.S. Eliot and biography at PoetryFoundation.org
Text of early poems (1907-1910) printed in the ''Harvard Advocate''
Yale College Lecture on T.S. Eliot audio, video and full transcripts from Open Yale Courses
Eliot's grave
T. S. Eliot's biographic sketch at Find A Grave
What the Thunder Said: T. S. Eliot
T. S. Eliot at Faber and Faber
T. S. Eliot Collection at Bartleby.com
T. S. Eliot Society Home Page
T. S. Eliot Hypertext Project
Bevis Hillier on Eliot and Cawein (pdf)
Eliot family genealogy, including T. S. Eliot
Recordings of Eliot reading from "Prufrock" and ''The Waste Land''
Biography From T. S. Eliot Lives' and Legacies
T. S. Eliot Collection at the Harry Ransom Center at the University of Texas at Austin
T.S. Eliot collection at University of Victoria, Special Collections
External links
Category:Academics of Birkbeck, University of London
Category:Alumni of Merton College, Oxford
Category:American dramatists and playwrights
Category:American emigrants to the United Kingdom
Category:American literary critics
Category:American Nobel laureates
Category:American poets
Category:Anglican poets
Category:Anglican writers
Category:Anglo-Catholics
Category:Converts to Anglicanism
Category:Deaths from emphysema
Category:Eliot family (America)
Category:British Nobel laureates
Category:Harvard University alumni
Category:Milton Academy alumni
Category:Modernist drama, theatre and performance
Category:Modernist poets
Category:Naturalised citizens of the United Kingdom
Category:Neoclassical writers
Category:New Criticism
Category:Nobel laureates in Literature
Category:Members of the Order of Merit
Category:People from St. Louis, Missouri
Category:Presidential Medal of Freedom recipients
Category:University of Chicago faculty
Category:University of Paris alumni
Category:Wesleyan University people
Category:Writers from Missouri
Category:Writers who illustrated their own writing
Category:1888 births
Category:1965 deaths
Category:Christian mystics
Category:Cats (musical)
af:T. S. Eliot
als:Thomas Stearns Eliot
am:ቲ.ኤስ. ኤልየት
ar:ت. س. إليوت
an:T. S. Eliot
az:Tomas Eliot
bn:টি এস এলিয়ট
zh-min-nan:T. S. Eliot
be:Томас Стэрнз Эліят
be-x-old:Томас Стэрнз Эліёт
bs:Thomas Stearns Eliot
bg:Томас Стърнз Елиът
ca:T. S. Eliot
cs:Thomas Stearns Eliot
cy:T. S. Eliot
da:T.S. Eliot
de:T. S. Eliot
et:T. S. Eliot
el:Τόμας Στερνς Έλιοτ
es:T. S. Eliot
eo:T. S. Eliot
fa:تی. اس. الیوت
fr:T. S. Eliot
ga:T. S. Eliot
gd:Thomas Stearns Eliot
gl:Thomas Stearns Eliot
ko:T. S. 엘리엇
hy:Թոմաս Սթեռնս Էլիոթ
hi:टी एस एलियट
hr:Thomas Stearns Eliot
io:T. S. Eliot
ilo:T. S. Eliot
id:Thomas Stearns Eliot
is:T. S. Eliot
it:Thomas Stearns Eliot
he:טי אס אליוט
ka:ტომას სტერნზ ელიოტი
sw:T. S. Eliot
ku:Thomas Stearns Eliot
la:Thomas Stearns Eliot
lv:Tomass Stērnss Eliots
lt:Thomas Stearns Eliot
hu:T. S. Eliot
mk:Т. С. Елиот
ml:ടി.എസ്. എലിയറ്റ്
mr:टी.एस. इलियट
nl:T.S. Eliot
ja:T・S・エリオット
no:T.S. Eliot
nn:T.S. Eliot
oc:T. S. Eliot
pnb:ٹی ایس ایلیٹ
pl:Thomas Stearns Eliot
pt:T. S. Eliot
ro:T.S. Eliot
ru:Элиот, Томас Стернз
sa:टी. एस. एलियट
simple:T. S. Eliot
sk:Thomas Stearns Eliot
sl:Thomas Stearns Eliot
sr:Томас Стернс Елиот
fi:T. S. Eliot
sv:T.S. Eliot
tl:T. S. Eliot
tg:Т.С. Элиот
tr:T. S. Eliot
uk:Томас Стернз Еліот
ur:ٹی۔ ایس ایلیٹ
vi:T. S. Eliot
war:T.S. Eliot
yo:T. S. Eliot
zh:T·S·艾略特
![Pseudo-Arabic script in the Virgin Mary's halo, detail of Adoration of the Magi (1423) by Gentile da Fabriano. The script is further divided by rosettes like those on Mamluk dishes.[1]](http://web.archive.org./web/20120422075629/http://cdn3.wn.com/pd/e4/03/f53ef5a9a302be917b5605106ea5_medium.jpg "Pseudo-Arabic script in the Virgin Mary's halo, detail of Adoration of the Magi (1423) by Gentile da Fabriano. The script is further divided by rosettes like those on Mamluk dishes.[1]")
