T.S. Eliot, in full Thomas Stearns Eliot, (born September 26, 1888, St. Louis, Missouri, U.S.—died January 4, 1965, London, England), American-English poet, playwright, literary critic, and editor, a leader of the Modernist movement in poetry in such works as The Waste Land (1922) and Four Quartets (1943). Eliot exercised a strong influence on Anglo-American culture from the 1920s until late in the century. His experiments in diction, style, and versification revitalized English poetry, and in a series of critical essays he shattered old orthodoxies and erected new ones. The publication of Four Quartets led to his recognition as the greatest living English poet and man of letters, and in 1948 he was awarded both the Order of Merit and the Nobel Prize for Literature.
Early years
Eliot was descended from a distinguished New England family that had relocated to St. Louis, Missouri. His family allowed him the widest education available in his time, with no influence from his father to be “practical” and to go into business. From Smith Academy in St. Louis he went to Milton, in Massachusetts; from Milton he entered Harvard in 1906; he received a B.A. in 1909, after three instead of the usual four years. The men who influenced him at Harvard were George Santayana, the philosopher and poet, and the critic Irving Babbitt. From Babbitt he derived an anti-Romantic attitude that, amplified by his later reading of British philosophers F.H. Bradley and T.E. Hulme, lasted through his life. In the academic year 1909–10 he was an assistant in philosophy at Harvard.
He spent the year 1910–11 in France, attending Henri Bergson’s lectures in philosophy at the Sorbonne and reading poetry with Alain-Fournier. Eliot’s study of the poetry of Dante, of the English writers John Webster and John Donne, and of the French Symbolist Jules Laforgue helped him to find his own style. From 1911 to 1914 he was back at Harvard, reading Indian philosophy and studying Sanskrit. In 1913 he read Bradley’s Appearance and Reality; by 1916 he had finished, in Europe, a dissertation entitled “Knowledge and Experience in the Philosophy of F.H. Bradley.” But World War I had intervened, and he never returned to Harvard to take the final oral examination for the Ph.D. degree. In 1914 Eliot met and began a close association with the American poet Ezra Pound.
Eliot was to pursue four careers: editor, dramatist, literary critic, and philosophical poet. He was probably the most erudite poet of his time in the English language. His undergraduate poems were “literary” and conventional. His first important publication, and the first masterpiece of Modernism in English, was “The Love Song of J. Alfred Prufrock” (1915).
The most enduring and popular theme of poems and poets is that of love.
Can anyone think of a poet who has not in inky lines described their pursuit of love, their hopes for love, their loss of love, their unrequited love, their love of love ….. No.
The language of poetry is mysterious but yearns to capture the essence and all aspects of its subject.
In ‘Love’ it finds a difficult mistress. Individual poems can capture individual moments but has any one poem found within its lexicon the formula for the attainment of love? Again, the answer is ‘No’.
Love changes, its rhythms pause and pulse on the tiniest of things and the biggest of thrills. Within its shades all other feelings, all other emotions, gently reside, waiting for their moment.
In these fifty poems the many, many shades of love reveal themselves…..
William Blake’s volume of poetry entitled Songs of Innocence and Experience is the embodiment of his belief that innocence and experience were “the two contrary states of the human soul,” and that true innocence was impossible without experience. Songs of Innocence contains poems either written from the perspective of children or written about them. Many of the poems appearing in Songs of Innocence have a counterpart in Songs of Experience, with quite a different perspective of the world. The disastrous end of the French Revolution caused Blake to lose faith in the goodness of mankind, explaining much of the despair found in Songs of Experience. Blake also believed that children lost their innocence through exploitation and from a religious community which put dogma before mercy. He did not, however, believe that children should be kept from becoming experienced entirely. In truth, he believed that children should indeed become experienced but through their own discoveries, which is reflected in a number of these poems. (Summary adapted from Wikipedia by Annie Coleman)
The History of King Lear is an adaptation by Nahum Tate of William Shakespeare's King Lear. It first appeared in 1681, some seventy-five years after Shakespeare's version, and is believed to have replaced Shakespeare's version on the English stage in whole or in part until 1838. Unlike Shakespeare's tragedy, Tate's play has a happy ending, with Lear regaining his throne, Cordelia marrying Edgar, and Edgar joyfully declaring that "truth and virtue shall at last succeed." Regarded as a tragicomedy, the play has five acts, as does Shakespeare's, although the number of scenes is different, and the text is about eight hundred lines shorter than Shakespeare's. Many of Shakespeare's original lines are retained, or modified only slightly, but a significant portion of the text is entirely new, and much is omitted. The character of the Fool, for example, is absent. Although many critics — including Joseph Addison, August Wilhelm Schlegel, Charles Lamb, William Hazlitt, and Anna Jameson — condemned Tate's adaptation for what they saw as its cheap sentimentality, it was popular with theatregoers, and was approved by Samuel Johnson, who regarded Cordelia's death in Shakespeare's play as unbearable. Shakespeare's version continued to appear in printed editions of his works, but, according to numerous scholars, including A.C. Bradley and Stanley Wells, did not appear on the English stage for over a hundred and fifty years from the date of the first performance of Tate's play Actors such as Thomas Betterton, David Garrick, and John Philip Kemble, who were famous for the role of Lear, were portraying Tate's Lear, not Shakespeare's. (Summary by Wikipedia)
CastKing Lear: Bob GonzalezGloster: Martin GeesonKent: Arielle LipshawEdgar: Dublin GothicEdmund, the Bastard: Elizabeth KlettCornwall: David GoldfarbCornwall's Servant/Old Man/Gentleman/Servant: Algy PugAlbany: Noel BadrianBurgundy/Physician: VikingJamesGoneril's gentleman: KristingjAttendant/Messenger: CJacobAArante/Herald: Tiffany Halla ColonnaFirst Ruffian/Officer: Nathaniel W. C. HigginsSecond Ruffian/Captain: Robert HoffmanGonerill: Bev J. StevensRegan: Liberty StumpCordelia: Miss AvariceNarrator: Algy PugIntroduction/Prologue/Dramatis Personae: Martin GeesonAudio edited by Phil Chenevert
This book is all about the poems I have written on the things surrounding me when I'm lonely vs. being around many people. The book will have poems in a sequence to compare having nothing vs having everything. If you are open to new ideas and revelations, this book is specifically for you. Do not let your personal beliefs affect the book's purpose. Just enjoy and be prepared for a rollercoaster of different quality poems.
In a world increasingly cluttered with noise and haste, "Nothing vs Everything Vice Versa" emerges as a beacon of clarity and insight, delving into the profound realms of words, the beauty of life, and the essence of patience with purpose. This audiobook, narrated with a compelling voice that weaves through the intricacies of human experiences and philosophical musings, invites listeners on a journey that challenges perceptions, enlightens minds, and soothes souls. The narrative begins by exploring the power of words—seemingly simple symbols that can uplift or destroy, enlighten or obscure.
"Nothing vs Everything Vice Versa" eloquently argues that words are not mere communication vehicles, but potent tools that shape our realities, beliefs, and identities. Through captivating stories and thoughtful analyses, the audiobook reveals how the words we choose to use and the narratives we tell ourselves and others construct the edifice of our lives. It emphasizes the responsibility that comes with this power and the transformative potential of mindful communication.
As the journey progresses, the audiobook blossoms into celebrating life's beauty. It paints vivid landscapes of the human condition, exploring the depths of sorrow the peaks of joy, and everything in between.
"Nothing vs Everything Vice Versa" does not shy away from the complexities and contradictions inherent in living, but instead embraces them as sources of strength and wisdom.
LibriVox volunteers bring you 19 recordings of Tact by Ralph Waldo Emerson. This was the Fortnightly Poetry project for April 22, 2012.Ralph Waldo Emerson was an American essayist, lecturer, and poet, who led the Transcendentalist movement of the mid-19th century. He was seen as a champion of individualism and a prescient critic of the countervailing pressures of society, and he disseminated his thoughts through dozens of published essays and more than 1,500 public lectures across the United States. ( Summary by Wikipedia )
Free Write Jail Arts and Literacy aims to help troubled youths in Chicago’s Cook County Juvenile Temporary Detention Center address their personal issues by writing poetry about their circumstances and upbringing. Jeffrey Brown talks with poet Reginald Dwayne Betts, who turned around his life with writing and education after eight and a half years in prison.