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Collected Poems, 1909-1962
T. S. Eliot
- 01 Jan 1936
533
TL;DR: A collection of T. S. Eliot's collected poems from 1909-1962 includes his verse from Prufrock and Other Observations (1917) to Four Quartets (1943) and includes such literary landmarks as The Waste Land and Old Possum's Book of Practical Cats as mentioned in this paper.
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Abstract: 'Each year Eliot's presence reasserts itself at a deeper level, to an audience that is surprised to find itself more chastened, more astonished, more humble.' Ted Hughes Poet, dramatist, critic and editor, T. S. Eliot was one of the defining figures of twentieth-century poetry. This edition of Collected Poems 1909-1962 includes his verse from Prufrock and Other Observations (1917) to Four Quartets (1943), and includes such literary landmarks as The Waste Land and Old Possum's Book of Practical Cats.
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Citations
The function and significance of bilingual code-switching in English poetry with a special focus on the work of Eliot and Pound
TL;DR: In this article, the authors show that code-switching has played a limited but significant role as a literary device throughout the long tradition of English literature, from the days of Chaucer and Wyatt to those of Eliot and Pound.
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Stanislavsky's Production Score for Chekhov's The Cherry Orchard (1904): A Synoptic Overview
TL;DR: In many ways, the Moscow Art Theatre's production of Chekhov's The Cherry Orchard was the most problematic and contentious of all its efforts to stage his plays as mentioned in this paper.
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Taking Care with Words: Everyday Poetics in Christian Pastoral Care
TL;DR: In this article, the role of the pastor as wordsmith is explored in the context of trinitarian understandings of everyday pastoral ministry, and theoretical resources from Paul Ricoeur and Karl Rahner are used to outline a practical theology of "everyday poetics."
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Poetry, Accountability and Forgiveness: Ezra Pound and the Pisan Cantos
TL;DR: In this paper, a reading of the Pisan Cantos is presented to understand the nature and consequences of the very refusal to subordinate the aesthetic to the moral that has led so many of Pound's readers to wish to indict him.
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