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Ezra Pound belatedly conceded that T.S.Eliot "was the true Dantescan voice" of the modern world. With this assertion in mind, this study examines the relationship between the two poets. It attempts to show how Dante's total vision impinges on Eliot's craft and thought.
Dante Micheaux's superb poetic aptitude is wedded to an eually superb poetic amplitude. Intimate soliloquy, lyric address, and linguistic allegory merge with resonating voices and personae. This poem is masterful, paradoxical and spiritual. The "holiness in all its unholy rejoicing" is variously scored in Dante Micheaux's commanding Circus. --TERRANCE HAYES I still stand by words I wrote almost twenty years ago, when I read Dante Micheaux's poems for the first time: "I am impressed by the serious depth and masterful technique of Micheaux's poems. He is a true man of the world, mature beyond his years, one whose voracious intelligence and richly diverse background uniquely equip him for the literary vocation. Circus promises to be received as a masterpiece reminiscent of the best of Melvin Tolson's work, and some of Micheaux's poems bear an a nity to the delicate music and wisdom of Robert Hayden. But Micheaux's in uences are not limited to the stars of African American poetry; his experience and reading ranges wide. Dante Micheaux is a code-switcher fluent in many languages. Some of his lines bring this reader close to heartbreak." --MARILYN NELSON Dante Micheaux's Circus commands the reader's attention. In this long poem, each line is tuned by breath and image, serious play and heartfelt critiue, but also by the modern urban motifs of grief and love. At times, signifying can get us to a desperate truth. The reader or listener has to possess a sense of history in order to be transported to the here and now. In Circus, the borders between the imaginary and the real dissolve as the poem delivers us into verisimilitude. --YUSEF KOMUNYAKAA
T. S. Eliot's work demands much from his readers. The more the reader knows about his allusions and range of cultural reference, the more rewarding are his poems, essays and plays. This book is carefully designed to provide an authoritative and coherent examination of those contexts essential to the fullest understanding of his challenging and controversial body of work. It explores a broad range of subjects relating to Eliot's life and career; key literary, intellectual, social and historical contexts; as well as the critical reception of his oeuvre. Taken together, these chapters sharpen critical appreciation of Eliot's writings and present a comprehensive, composite portrait of one of the twentieth century's pre-eminent men of letters. Drawing on original research, T. S. Eliot in Context is a timely contribution to an exciting reassessment of Eliot's life and works, and will provide a valuable resource for scholars, teachers, students and general readers.
T. S. Eliot greatly enhanced Dante's profound influence on European literature. The essays in this volume explore Dante's importance through a focus on Eliot. Probing the questions what Eliot made of Dante, and what Dante meant to Eliot, the essays here assess the legacy of modernism by engaging its "classicist" roots, covering a wide spectrum of topics stemming from Dante's relevance to the poetry and criticism of Eliot. The essays reflect on Eliot's aesthetic, philosophical, and religious convictions in relation to Dante, his influence upon literary modernism through his embracing and championing of the Florentine, and his desire to promote European unity. The first section of the book deals with aesthetic and philosophical issues related to Eliot's engagement with Dante, beginning with Jewel Spears Brooker's masterful essay on the concepts of immediate experience and primary consciousness in Eliot's work, and moving on to essays considering his idea of a "unified sensibility," as well as Eliot's engagement with Hindu-Buddhist and Christian themes and motifs. The second part of the book focuses on Dante's importance to Eliot's founding work in the modernist movement. In what ways did Dante directly and indirectly influence the exemplary path that Eliot blazed for his contemporaries, especially Ezra Pound? How early did Dante's influence show itself in Eliot's work? Why was he unable to complete the great trilogy he seems to have sought to write, based on Dante's Inferno, Purgatorio, and Paradiso? These questions and their answers lead to the book's final section, which considers Eliot's (and Dante's) role in the formation of a twentieth-century concept of Europe. Incisive essays on Eliot's varied sources of "tradition" in his attempt to promote the idea of a European union and his anxiety over the heritage of Romanticism are capped by a magisterial contribution from Dominic Manganiello showing precisely how Eliot's reformulation of the Dantesque "European Epic" continues to influence the work of Anglo-European and Commonwealth writers.
These influential essay and lectures by T. S. Eliot span nearly a half century--from 1917, when he published The Love Song of J. Alfred Prufrock, to 1961, four years before his death. With the luminosity and clarity of a first-rate intellect, Eliot considers the uses of literary criticism, the writers who had the greatest influence on his own work, and the importance of being truly educated. Every thoughtful person who yearns to do more than simply get through the day will be reinforced by The Aims of Education. Other pieces include To Criticize the Critic, From Poe to Valäry, American Literature and the American Language, What Dante Means to Me, The Literature of Politics, The Classics and the Man of Letters, Ezra Pound: His Metric and Poetry, and Reflections on Vers Libre.
The great fourteenth-century poet has been an unequaled influence on many writers in the twentieth century, whose "confessions" may well foster a deeper appreciation of Dante. Previously published essays by some of this century's most renowned poets-Pound, Eliot, Mandelstam, Robert Fitzgerald, Borges, Merrill, Montale, Lowell, Duncan, Auden, Yeats, Charles Williams, Nemerov, Heaney-join new essays commissioned by the editors. Contemporary poets Mary Campbell, W. S. Di Piero, J. D. McClatchy, W. S. Merwin, Robert Pinsky, Rosanna Warren, Alan Williamson, and Charles Wright reflect on Dante as well as on their own complex (and often contentious) relationship to his legacy. Their engagement with his work offers a fresh perspective on the Commedia and its author that more academic writing does not provide.
Tracks the great Italian poet following his exile from Florence in 1302, his travels as a fugitive from justice over the next twenty years, and the influence of his journeys on the creation of his poetic masterpiece, "The Divine Comedy."
This book is a history of the influence of Dante on English poetry. The focus us not primarily upon stylistic influences or attempts to imitate Dante's manner of writing, but rather on the different guises in which the enormous presence of Dante has made itself felt, and how that presence has affected some of the central concerns of the poets in question. The poets considered are Shelley, Byron, Browning, Rossetti, Yeats, Pound and Eliot. In addition to analysing the way Dante is approached by these poets in their major poetry, Dr Ellis also discusses relevant critical works: Shelley's Defence of Poetry, Pound's The Spirit of Romance and Yeats' A Vision. The critical survey is unified by the attempt to show certain recurrent preoccupations in the work of these writers, such as the need to define a tradition in which Dante is a necessary forerunner. Ellis also shows that Dante has been read in a very partial way by these poets and the images of him which emerge in their works are inevitably varied and contradictory.
Using the works of Dante as its critical focus, María Rosa Menocal's original and imaginative study examines questions of truth, ideology, and reality in poetry as they occur in a series of texts and in the relationship between those texts across time. In each case, Menocal raises theoretical issues of critical importance to contemporary debates regarding the structure of literary relations. Beginning with a reading of La vita nuova and the Commedia, this literary history of poetic literary histories explores the Dantean poetic experience as it has been limited and rewritten by later poets, particularly Petrarch, Boccaccio, Borges, Pound, Eliot, and the all but forgotten Silvio Pellico, author of Le mie prigioni. By blending discussions of Dante's own marriage of literature and literary history with those investigations into the imitative qualities of later works, Writing in Dante's Cult of Truth presents an intertextual literary history, one which seeks to maintain the uncanniness of literature, while imagining history to be neither linear nor clearly distinguishable from literature itself.