The last major verse written by Nobel laureate T. S. Eliot, considered by Eliot himself to be his finest work Four Quartets is a rich composition that expands the spiritual vision introduced in “The Waste Land.” Here, in four linked poems (“Burnt Norton,” “East Coker,” “The Dry Salvages,” and “Little Gidding”), spiritual, philosophical, and personal themes emerge through symbolic allusions and literary and religious references from both Eastern and Western thought. It is the culminating achievement by a man considered the greatest poet of the twentieth century and one of the seminal figures in the evolution of modernism.

Certain of these poems first appeared in Poetry, Blast, Others, The Little Review, and Art and Letters. Contents: Gerontion; Burbank with a Baedeker: Bleistein with a Cigar; Sweeney Erect; A Cooking Egg; Le Directeur; Melange adultere de tout; Lune de Miel; The Hippopotamus; Dans le Restaurant; Whispers of Immortality; Mr. Eliot's Sunday Morning Service; Sweeney Among the Nightingales; The Love Song of J. Alfred Prufrock; Portrait of a Lady; Preludes; Rhapsody on a Windy Night; Morning at the Window; The Boston Evening Transcript; Aunt Helen; Cousin Nancy; Mr. Apollinax; Hysteria; Conversation Galante; La Figlia Che Pianga.

Seminar paper from the year 2003 in the subject American Studies - Literature, grade: 2,0 (B), University of Duisburg-Essen (Institute foreign language philology), course: Modernism and the Poetry of Ezra Pound, language: English, abstract: The literary friendship between Ezra Pound and T.S. Eliot is a great example of a fruitful and influential collaboration of two American poets of the twentieth century. The writers met in 1914 as exiles in Europe where they discovered a mutual commitment to the arts, and foremost to the revitalising of poetry. Their letters, conversations, essays, and poems flow together to form a single commentary on the literary tradition as well as the accomplishments of their time. According to many critics, it is Ezra Pound’s editing of the manuscript of T.S. Eliot’s The Waste Land that contributed to the poem’s becoming a masterpiece of modern poetry. Moreover, this collaboration constituted the climax of their astonishing series of close interactions. Their common endeavours made them the driving force behind modernism in the English and American poetry of the twentieth century. This analysis critically discusses the various fields where the common ground of their lifelong literary friendship is evident. Further, it will give a coherent account of the reasons as well as the results of their close collaboration. This will be exemplified on the basis of the significant essays, letters and poetic work of both that was produced during the period of Eliot and Pound’s immense interaction between 1914 and the publishing of The Waste Land in 1922. The essay is structured as follows: It begins with an explanation of Pound and Eliot’s motives for their exile in Europe. The central biographical facts on both poets are included for clarification. In addition, the chapter sets Pound in context to William Carlos Williams, who decided in the frequent stay-or-put controversy at that time in favor of America. The next chapter examines the common features of their literary theory and criticism. It deals with their common approach to the literary tradition, as well as with the literary models by which they were strongly influenced. Therefore, it mainly takes into consideration the central essays by Pound and Eliot. Further, an excursus on their relation to Walt Whitman is included. Finally, the assignment illustrates the nature of their collaboration concerning The Waste Land. Additionally, the chapter takes a close look on the reception as well as the publishing history of Eliot’s long poem. The essay ends with a conclusion that sums up the main points.

The inspiration for the iconic musical Cats, T. S. Eliot's classic and delightful collection of poetry about cats. These lovable cat poems were written by T. S. Eliot for his godchildren and continue to delight children and adults alike. This collection is a curious and artful homage to felines young and old, merry and fierce, small and unmistakably round. This is the ultimate gift for cat and poetry lovers.

Late in his life T. S. Eliot, when asked if his poetry belonged in the tradition of American literature, replied: “I’d say that my poetry has obviously more in common with my distinguished contemporaries in America than with anything written in my generation in England. That I’m sure of. . . . In its sources, in its emotional springs, it comes from America.” In T. S. Eliot: The Making of an American Poet, James Miller offers the first sustained account of Eliot’s early years, showing that the emotional springs of his poetry did indeed come from America. Miller challenges long-held assumptions about Eliot’s poetry and his life. Eliot himself always maintained that his poems were not based on personal experience, and thus should not be read as personal poems. But Miller convincingly combines a reading of the early work with careful analysis of surviving early correspondence, accounts from Eliot’s friends and acquaintances, and new scholarship that delves into Eliot’s Harvard years. Ultimately, Miller demonstrates that Eliot’s poetry is filled with reflections of his personal experiences: his relationships with family, friends, and wives; his sexuality; his intellectual and social development; his influences. Publication of T. S. Eliot: The Making of an American Poet marks a milestone in Eliot scholarship. At last we have a balanced portrait of the poet and the man, one that takes seriously his American roots. In the process, we gain a fuller appreciation for some of the best-loved poetry of the twentieth century.

A collection of poems, some of which had first appeared in Poetry, Blas, Others, The Little Review, and Arts and Letters.

Julius's critically acclaimed study (looking both at the detail of Eliot's deployment of anti-Semitic discourse and at the role it played in his greater literary undertaking) has provoked a reassessment of Eliot's work among poets, scholars, critics and readers, which will invigorate debate for some time to come.

T.S. Eliot is widely considered the most important and most influential poet of the 20th century. Many consider Four Quartets to be the finest of his poems and his greatest achievement. In this masterful journey into the beauties and depths of Eliot's masterpiece, the bestselling author, professor and critic Thomas Howard unravels the complexities of the sublime poem with such adept adroitness that even its most difficult passages spring to life. During his long years as a professor teaching English and Literature, Howard taught this poem often, and developed what he calls "a reading" approach to the concepts of this masterpiee to render its meaning more lucid for the reader. Therefore, this is not a "scholarly" work, but rather the brilliant insights of a master teacher and writer whose understanding of this profound poem and his deep love for the writing of Eliot are shared here for the great benefit of the reader.

The focal point of this study is one of the masterpieces of Anglo-American poetry, T.S. Eliot’s The Waste Land, tackled from the perspective of translation. In this particular case, translation is deemed to be not only an intra- and inter-linguistic transfer, but also a form of intercultural contact. The book centres on a comparative study of the poem with five of its Romanian translations within the framework of Romanian letters. Thus, it also presents a thorough analysis of the target literary and cultural context of the various moments of the translation production, with particular consideration being given to reception-related issues. Due to this complex approach, this study sketches the most comprehensive contextualisation of Eliot’s poem in Romanian culture. It analyses the source poem as the topos of intercultural exchanges which encourage cultural reconciliation and dialogue. The wide range of cultural references which are recontextualised and reinterpreted in Eliot’s poem suggest the opportunity of seeing The Waste Land as a master work of translation in itself, which accommodates various inter-systemic relations and transfers of meaning. Finally, this study reveals the poet’s activity as a translator guided by the main tenets of modernist production practice. Due to its inter-disciplinary approach and its focus on intercultural dialogue, this book will appeal to a wide range of researchers in the field of Humanities.