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Symbolism used by ts eliot
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Voice in T.S. Eliot's The Hippopotamus, The Hollow Men, and Journey of the Magi
Poetry has meaning. This meaning is usually a message, and a message
is projected though a voice. When we read poetry we hear this voice.
The voices projected in the T.S. Eliot poems 'The Hippopotamus', 'The
Hollow Men' and 'Journey of the Magi' are particularly strong, and the
voice carries a lot of meaning to the readers. The voice is three
things; the voice of the poetry in relation to Eliot, the voice of the
poetry, and the individual reader's interpretation of the voice. If
something changes in Eliot's life, or if he is influenced by
something, it may be reflected in his poetry. T.S. Eliot once said 'a
large part of ay poet's "inspiration" must come from his reading and
from his knowledge of history.'[1] As he is writing the poem, his
voice is sounded in the voice of the poem. The voice projected through
a poem is a solid message projected by poetic techniques, but the
voice that is heard inside the readers head varies from reader to
reader, depending on their background. There are some core things that
alter the voice that Eliot's poetry projects: the nationality of the
reader and whether or not they are familiar with the society Eliot is
writing about, what religion, if any, they belong to, and how well
read a reader is (Eliot makes many allusions in his poetry) will
effect the voice that they hear from Eliot's work. From studying
Eliot's poetry, however, the voice Eliot intended to project can be
determined. All of these three elements (Eliot, the poem, and the
reader) create the final voice of the poem. Because the voices that
the readers hear ar...
... middle of paper ...
... do in this life, and the people who we consider
great people (eg. Political leaders) are still flawed. There is most
definitely a distinct voice in all poetry, especially in T.S. Eliot's,
and voices of these poems influence the readers response to a large
extent. If voices were not heard through poetry, poetry would not have
had the effect on society and history that it has had.
Bibliography
B.C. Southam A Student's Guide to the Selected Poems of T.S. Eliot
Faber and Faber Limited, London, 1994
M. Herbert T.S. Eliot Selected Poems YORK PRESS London, 2000
T.S. Eliot Selected Poems Faber and Faber Limited, London, 2002
Nicol, Andrew http://www.philosophyclassics.com/essays/680/ (April
2004)
[1] T.S. Eliot To-Day September 1918
[2] M. Herbert T.S. Eliot Selected Poems York Press London 2000
Frederick Douglass wrote in his 1845 autobiography, Narrative of the Life of Frederick Douglass, an American Slave, about the devastation associated with slavery and the destruction from which comes desperation. Douglass intends to summon upon the guilt and empathy of his white audience by giving an account from which the reader is able to coax up a new perspective on the dreadful oppression. Seen especially in the third paragraph where Douglass provides a series of rhetorical devices including: apostrophe, anaphora, personification, exemplum, and epithet in his sorrowful bellowing to passing ships.
The most obvious stylistic device used by Eliot is that of personification. She uses this device to create two people from her thoughts on old and new leisure. The fist person is New Leisure, who we can infer to be part of the growth of industry in the 19th century. He is eager and interested in science, politics, and philosophy. He reads exciting novels and leads a hurried life, attempting to do many things at once. Such characteristics help us to create an image of New Leisure as Eliot sees him.
... is shown moreover through these pauses. We also see that he places question marks at the end of sentences, which is another way he is showing us the uncertainty in the voice of society. Through his punctuation and word placement, we clearly see the voice of society in his poem, but in a way that tells us not to conform to it.
Often time, parents want their children to succeed; however, they have differing reasons for why they want their children to succeed. In Chesterfield’s case, it is for the advancement of his family reputation. While Lord Chesterfield acts like he is only in favor of his son, it is quite evident that he wants to control his son’s life to uphold his family name. Throughout the letter, Chesterfield constantly brings up the responsibilities his son has towards society. With every reminder of the obligations his son has, Chesterfield reveals his own values.
The poetry written by Thomas Stearns Eliot, Portrait of a Lady has a strong connection with the novel by Henry James. Both deal with almost the same issues. In the poem Eliot talks about how a person will live his or her life during the 19th century. How they would always do exactly what was considered right during that era in society.
Literary; associated with literary works or other formal writing; having a marked style intended to create a particular emotional effect. Term; a word or phrase used to describe a thing or to express a concept, especially in a particular kind of language or branch of study. Device; a thing made or adapted for a particular purpose. Literary terms/devices is defined as the typical structures used by writers in their works to convey his or her messages in a simple manner to the readers. When employed properly, the different literary devices help readers to appreciate, interpret and analyze a literary work. Hello, I am Miya Cole and today I will explain to you my four literary terms/devices.
Jane Smiley’s novel, A Thousand Acres, is a contemporary interpretation of William Shakespeare’s classical tragedy King Lear. Comparisons are clearly visible in the very beginning of A Thousand Acres when Smiley begins with a vivid description of the landscape. Even the characters are similar and having read King Lear, I already had an impression of them before reading A Thousand Acres. But they are not completely similar as there are some differences due to the perspectives through which the stories are told.
Much has been said about Emily Dickinson’s mystifying poetry and private life, especially during the years 1860-63. Allegedly it was during these years that the poetess, at the most prolific phase of her career, withdrew from society, began to wear her “characteristic” white dress and suffered a series of psychotic episodes. Dickinson tended to “theatricalize” herself by speaking through a host of personae in her poems and by “fictionalizing” her inner life as a gothic romance (Gilbert 584). Believing that a poem is “the best words in the best order” (to quote S.T. Coleridge) and that all the poems stemming from a single consciousness bring to surface different aspects / manifestations of the same personal mythology, I will firstly disregard biographical details in my interpretation of Dickinson’s poems 378, 341 and 280 and secondly place them in a sort of “continuum” (starting with 378 and ending with 280) to show how they attempt to describe a “plunge” into the Unconscious and a lapse into madness (I refrain from using the term “journey,” for it implies a “telos,” a goal which, whether unattainable or not, is something non-existent in the poems in question). Faced with the problem of articulating and concretizing inner psychological states, Dickinson created a totally new poetic discourse which lacks a transcendental signified and thus can dramatize the three stages of a (narrated) mental collapse: existential despair, withdrawal from the world of the senses and “death” of consciousness.
In letters to his father Mozart remarks on the kind of voice he enjoys in a tenor. He then talks about his friends Anton Raaff and Joseph Meissner, tenors. He complains of the unnatural way that Meissner’s voice does vibrato, and praises Raaff for never doing vibrato. It would seem as if Mozart does not like vibrato, but he claims that when the “human voice trembles naturally” it has a beautiful effect. Mozart commends Raaff on his bravura singing. He is very pleased with Raaff’s breath control and his amazing diction. Mozart is very fond of Raff and later wrote the lead part of Idomeneo for Raaff.
Dickenson’s use of diction creates figurative imagery that further reveals the manner in which the speaker’s attitude evolves. The word choice not only allows readers to mentally visualize the events but also to easily understand the speaker’s feelings that change throughout the poem. Although the word “infinite” (16) describes the speaker’s jealousy toward the woman, it also refers to the divine creator and His place of eternal happiness. The connotation associated with the word shows that the speaker believes in life after death, which clarifies why jealousy arose within her in the fourth stanza. She experiences a conflicting response because the woman grows closer to every believer’s ultimate goal: heaven. Moreover, the personification,
I have noticed that the kids were singing in a call and response pattern, where the leader sings a line and the other kids chants along repeatedly. It was really difficult to find who the leader of the group was, but the leader’s has very clear projection and energetic voice. This is related to what we have experienced with Ysaye Barnwell in many ways; First, we learnt the lyrics of the song through call and response, then we kept on repeating the lines over and over again. Second, she then added complex rhythmic patterns and movements just like the kids when they repeated the lines and starting jumping up and down together. I have noticed that the pitch level is mainly in the higher register and they sang together in unison. The quality of
Videnov, Valentin A. "Human voices in silent seas: a reading of Eliot's Love Song." The Explicator 67.2 (2009): 126+. Literature Resource Center. Web. 1 May 2012.
"The point of view which I am struggling to attack is perhaps related to the metaphysical theory of the substantial unity of the soul: for my meaning is, that the poet has, not a personality' to express, but a particular medium, which is only a medium and not a personality, in which impressions and experiences combine in peculiar and unexpected ways."
T.S. Eliot distinguished what was incomplete about the aesthetics of society and overcame his introverted nature to bring the rest of the world to the realization of what needed to be changed in order to make their lives righteous. He uncovered that many individuals lose their true personalities to thoughts that they have to be a certain way or fit a certain stereotype. His work communicated that one cannot be completely free until they understand and believe in whatever their personal meaning of life is; Eliot found cultural diversity and truth to be of great importance. Eliot taught an important lesson that virtually anything can be accomplished and overcome with the right beliefs, perseverance, and determination to succeed.
T.S Eliot, widely considered to be one of the fathers of modern poetry, has written many great poems. Among the most well known of these are “The Waste Land, and “The Love Song of J. Alfred Prufrock”, which share similar messages, but are also quite different. In both poems, Eliot uses various poetic techniques to convey themes of repression, alienation, and a general breakdown in western society. Some of the best techniques to examine are ones such as theme, structure, imagery and language, which all figure prominently in his poetry. These techniques in particular are used by Eliot to both enhance and support the purpose of his poems.