Boston Evening Transcript Poem Analysis Essays

read poems by this poet

Thomas Stearns Eliot was born in St. Louis, Missouri,  on September 26, 1888. He lived in St. Louis during the first eighteen years of his life and attended Harvard University. In 1910, he left the United States for the Sorbonne, having earned both undergraduate and masters degrees and having contributed several poems to the Harvard Advocate.

After a year in Paris, he returned to Harvard to pursue a doctorate in philosophy, but returned to Europe and settled in England in 1914. The following year, he married Vivienne Haigh-Wood and began working in London, first as a teacher, and later for Lloyd's Bank.

It was in London that Eliot came under the influence of his contemporary Ezra Pound, who recognized his poetic genius at once, and assisted in the publication of his work in a number of magazines, most notably "The Love Song of J. Alfred Prufrock" in Poetry in 1915. His first book of poems, Prufrock and Other Observations, was published in 1917, and immediately established him as a leading poet of the avant-garde. With the publication of The Waste Land in 1922, now considered by many to be the single most influential poetic work of the twentieth century, Eliot's reputation began to grow to nearly mythic proportions; by 1930, and for the next thirty years, he was the most dominant figure in poetry and literary criticism in the English-speaking world.

As a poet, he transmuted his affinity for the English metaphysical poets of the seventeenth century (most notably John Donne) and the nineteenth century French symbolist poets (including Baudelaire and Laforgue) into radical innovations in poetic technique and subject matter. His poems in many respects articulated the disillusionment of a younger post–World War I generation with the values and conventions—both literary and social—of the Victorian era. As a critic also, he had an enormous impact on contemporary literary taste, propounding views that, after his conversion to orthodox Christianity in the late thirties, were increasingly based in social and religious conservatism. His major later poetry collections include Ash Wednesday (1930) and Four Quartets (1943); his books of literary and social criticism include The Sacred Wood (1920), The Use of Poetry and the Use of Criticism (1933), After Strange Gods (1934), and Notes Towards the Definition of Culture (1940). Eliot was also an important playwright, whose verse dramas include Murder in the Cathedral, The Family Reunion, and The Cocktail Party.

He became a British citizen in 1927; long associated with the publishing house of Faber & Faber, he published many younger poets, and eventually became director of the firm. After a notoriously unhappy first marriage, Eliot separated from his first wife in 1933, and remarried Valerie Fletcher in 1956. T. S. Eliot received the Nobel Prize for Literature in 1948. He died in London on January 4, 1965.


Selected Bibliography

Poetry

Collected Poems (1962)
The Complete Poems and Plays (1952)
Four Quartets
(1943)

Burnt Norton (1941)
The Dry Salvages
(1941)
East Coker (1940)
Ash Wednesday (1930)
Poems, 1909–1925 (1925)
The Waste Land (1922)
Poems (1919)
Prufrock and Other Observations
(1917)

Prose

Religious Drama: Mediaeval and Modern(1954)
The Three Voices of Poetry(1954)
Poetry and Drama(1951)
Notes Towards the Definition of Culture(1949)
The Classics and The Man of Letters(1942)
The Idea of a Christian Society(1940)
Essays Ancient and Modern(1936)
Elizabethan Essays(1934)
The Use of Poetry and the Use of Criticism(1933)
After Strange Gods(1933)
John Dryden(1932)
Thoughts After Lambeth(1931)
Tradition and Experimentation in Present-Day Literature(1929)
Dante(1929)
For Lancelot Andrews(1928)
Andrew Marvell(1922)
The Sacred Wood (1920)

Drama

The Elder Statesman(1958)
The Confidential Clerk(1953)
The Cocktail Party(1950)
The Family Reunion(1939)
Murder in the Cathedral(1935)
The Rock(1934)
Sweeney Agonistes (1932)

 

An Analysis of 'The Boston Evening Transcript' From TSEliot's Prufrock and Other Observations

In 'Tradition and the Person Talent' (1919), an essay Eliot developed quickly right after the

Prufrock 

assortment, the creator outlines his creative technique to poetry. He defends thenotion of 'tradition' in artwork, believing the finest performs are infused with an appreciation ofthe past. Eliot defines this appreciation with what he calls 'historical sense', relating to customin literature as not basically being a repetition of previous functions, but as a expertise andincorporation of them within the current.dai ly ve may possibly bayEliot's 'historical sense' is amply demonstrated by the endless allusions interspersed duringthe

Prufrock 

poems, apparent in 'The

Boston

Night Transcript' with the evocation of thedetermine of La Rochefoucauld.Francois La Rochefoucauld was a seventeenth-century French creator, very bestremembered for his 'Reflections or Aphorisms and Ethical Maxims' (1665). The reference isdeliberate, supposed to delineate the variety of personal who reads the

Boston 

Evening Transcript 

as self-content and distinctly lifeless. Although these attributes are also conveyedin the traces: 'When night quickens faintly in the road / Wakening the appetites of life in some / And to others bringing the

Boston 

Night Transcript 

', in which the term 'life' is attributed to'some', but not to the 'others' who go through the

Boston 

Night Transcript 

, it is the allusion toLa Rochefoucauld which consolidates the audience of this provincial organ as lifeless.vé máy bay quá»c tếThe artwork of presenting La Rochefoucauld's maxims is a lot more essential than the ethicalconvictions guiding them, and in their presentation moral attitudes are struck, frequently withthe intention of undermining hypocrisy relatively than demonstrating a reasoned moralstandpoint. The poet persona's weary farewell to La Rochefoucauld: 'If the avenue had beentime and he at the stop of the street', subtly signifies an undercutting of a self-mindfulperspective by its very own self-consciousness. It also shows an recognition of the pleasingequilibrium between expression and conviction - some thing that is beyond thecomprehension of the 'Cousin Harriet' of the poem and her fellow

Boston 

Evening Transcript 

viewers.The subject matter matter of 'The

Boston

Evening Transcript' and referencing of LaRochefoucauld is also indicative of Eliot's fascination with European literary background anddisdain for the society of the New Globe. It was written about the time Eliot experiencedsuccessfully produced his changeover from The united states to Europe and is permeatedwith opinions in regard to his homeland.vé máy bay ná»i Äá»aThe concision of the poem's opening line, the place

Boston 

Night Transcript 

readers aredemonstrated to 'Sway in the wind like a discipline of ripe corn', as if they have been quicklyto be reaped, also implies that Eliot experienced adopted some of the inventive approachesinstituted by the so-named Imagists. Eliot's affiliate Ezra Pound was a significant proponent

One thought on “Boston Evening Transcript Poem Analysis Essays

Leave a Reply

Your email address will not be published. Required fields are marked *