Abstract
This is a commentary to invite readers to put aside all commentaries, including this one, and to (re-)read Eliot.
Keywords
Textual Cohesion Spring Rain Demonstrative Pronoun Modern Poetry Collect Poem
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Notes
- 1.P. Hobsbaum, ‘Eliot, Whitman and American Tradition’, Journal of American Studies 3 (1969), 239–64.CrossRefGoogle Scholar
- 2.T. S. Eliot, Knowledge and Experience in the Philosophy of F. H. Bradley, ( London: Faber & Faber, 1964 ), 75.Google Scholar
- 3.St. John Perse, Anabasis: A Poem, trans. T. S. Eliot (London: Faber & Faber, 1931), 3rd. edn. 1959, 50.Google Scholar
- 5.T. S. Eliot, On Poetry and Poets ( London: Faber & Faber, 1957 ), 32–3.Google Scholar
- 7.See Grover Smith, T. S. Eliot’s Poetry and Plays: A Study in Sources and Meaning ( Chicago: University of Chicago Press, 1956 ), 86.Google Scholar
- 8.On similarities between Sweeney and WL, see Grover Smith, The Waste Land, ( London: Allen & Unwin, 1983 ), 62–3.Google Scholar
- 11.Cleanth Brooks, Modern Poetry and the Tradition (Chapel Hill, N.C.: University of North Carolina Press, 1967), 137; for the subsequent two quotations, see 172, 171.Google Scholar
- 12.See Nancy D. Hargrove, Landscape as Symbol in the Poetry of T. S. Eliot, ( Jackson, Miss.: University Press of Mississippi, 1978 ), 73–80.Google Scholar
- 13.T. S. Eliot, Collected Poems, 1909–1962, ( London: Faber & Faber, 1963 ), 84.Google Scholar
- 19.Bernard Harris, “’What music crept by me”: Shakespeare and Wagner’ in The Waste Land in Different Voices, ed. A. D. Moody, ( London: Arnold, 1974 ), 110–12.Google Scholar
- 28.T. S. Eliot, Selected Essays ( London: Faber & Faber, 1951 ), 485.Google Scholar
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© Palgrave Macmillan, a division of Macmillan Publishers Limited 1990