T S Eliot: 'The Love Song of J Alfred Prufrock' and 'The Waste Land'Humanities-Ebooks, 01/01/2007 - 97 من الصفحات Contents: Part 1: Before The Waste Land. Part 2:' The Lovesong of J. Alfred Prufrock'. Part 3: The Waste Land - including The Role of Ezra Pound; The Dramatic Consciousness; The Mythic Consciousness; The Epigraph. Part 4: A Commentary on The Waste Land. Part 5: Bibliography. Part 6: Hyperlinked texts - a valuable compendium of the key works Eliot quotes or alludes to in The Waste Land |
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الصفحة 11
... opening music of Wagner's opera is called up at this point, with all its promise of an intense and disastrous love, that is perhaps a bonus for the reader, but not, I think, quite part of what should be called the primary experience. It ...
... opening music of Wagner's opera is called up at this point, with all its promise of an intense and disastrous love, that is perhaps a bonus for the reader, but not, I think, quite part of what should be called the primary experience. It ...
الصفحة 13
... opening lines depict, then, one speaking to himself, convincing his divided self ('you and I') to get up and go. Prufrock perhaps does not leave his room: the poem may be an imagined journey through certain half-deserted streets ...
... opening lines depict, then, one speaking to himself, convincing his divided self ('you and I') to get up and go. Prufrock perhaps does not leave his room: the poem may be an imagined journey through certain half-deserted streets ...
الصفحة 14
... opening of Shakespeare's Twelfth Night, where Orsino describes such music as the food of love. For Prufrock it remains unsubstantial manna: how should he presume? And he has known the eyes already, known them all: surreal, isolated from ...
... opening of Shakespeare's Twelfth Night, where Orsino describes such music as the food of love. For Prufrock it remains unsubstantial manna: how should he presume? And he has known the eyes already, known them all: surreal, isolated from ...
الصفحة 21
... opening of the poem towards the uncertain contemplation of a different future. The end of the poem (if this dramatic reading is accepted) thus depicts a state of mind very different from that at the beginning: from a state of. 1 Valerie ...
... opening of the poem towards the uncertain contemplation of a different future. The end of the poem (if this dramatic reading is accepted) thus depicts a state of mind very different from that at the beginning: from a state of. 1 Valerie ...
الصفحة 28
... opening lines makes it likely that Eliot's powerful image of suspended life has its roots in his earlier criticism. 4.1.2 Summer surprised us The poet's voice evokes a sense of contemporary rootlessness: displaced trippers in the south ...
... opening lines makes it likely that Eliot's powerful image of suspended life has its roots in his earlier criticism. 4.1.2 Summer surprised us The poet's voice evokes a sense of contemporary rootlessness: displaced trippers in the south ...
عبارات ومصطلحات مألوفة
allusion appears associated aware begins called cards Christian City CLOSE Criticism Dante dead death described desire drowned earlier early echo Eliot’s note essay existence experience eyes Faber Facsimile failure fear feeling figure final Fire gives Grail hair Hands hear heart human Hyacinth garden HYPERLINK intimate John King Lady later lines living London look Lord lost Marie marked means memory mind moment night once opening originally passage past perhaps poem poet poet’s Poetry Pound present Press Prufrock question reader refers remains respond Resurrection Ritual Ritual to Romance ruined says scene seems sense sexual singing Smith song speak spiritual suggests T. S. Eliot tells theme thought Thunder Tiresias tradition translation turn University vision voice Waste Land woman young
مقاطع مشهورة
الصفحة 103 - The barge she sat in, like a burnish'd throne, Burn'd on the water ; the poop was beaten gold, Purple the sails, and so perfumed that The winds were love-sick with them, the oars were silver, Which to the tune of flutes kept stroke, and made The water which they beat to follow faster, As amorous of their strokes.
الصفحة 105 - So on he fares, and to the border comes Of Eden, where delicious Paradise, Now nearer, crowns with her enclosure green, As with a rural mound, the champaign head Of a steep wilderness, whose hairy sides With thicket overgrown, grotesque and wild, Access denied...
الصفحة 25 - Did he live his life again in every detail of desire, temptation, and surrender during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision — he cried out twice, a cry that was no more than a breath —
الصفحة 41 - Call for the robin redbreast, and the -wren, Since o'er shady groves they hover, And with leaves and flowers do cover The friendless bodies of unburied men.
الصفحة 64 - When lovely woman stoops to folly, And finds too late that men betray ; What charm can soothe her melancholy, What art can wash her guilt away ? The only art her guilt to cover, To hide her shame from every eye, To give repentance to her lover, And wring his bosom — is to die.
الصفحة 32 - I sometimes think that never blows so red The Rose as where some buried Caesar bled; That every Hyacinth the Garden wears Dropt in her Lap from some once lovely Head.
الصفحة 40 - So far as we are human, what we do must be either evil or good; so far as we do evil or good, we are human; and it is better, in a paradoxical way, to do evil than to do nothing: at least, we exist.
الصفحة 99 - And bathed every veyne in swich licour. Of which vertu engendred is the flour...
الصفحة 45 - Philostratus, in his fourth book de Vita Apollonii, hath a memorable instance in this kind, which I may not omit, of one Menippus Lycius, a young man twenty-five years of age, that going betwixt Cenchreas and Corinth, met such a phantasm in the habit of a fair gentlewoman, which taking him by the hand, carried him home to her house, in the suburbs of Corinth, and told him she was a Phoenician by birth, and if he would tarry with her, he should hear her sing and play, and drink such wine as never...