text:
|T.S. Eliot
T.S. Eliot in 1923 by Lady Ottoline Morrell
Thomas Stearns Eliot
September 26 1888
St. Louis, Missouri
January 4 1965 (aged 76)
London, England
|Poet, dramatist, literary critic
|American by birth; British from 1927
|A.B. in philosophy
|Alma mater
Harvard University
Merton College, Oxford
|Literary movement
|Notable work(s)
|The Love Song of J. Alfred Prufrock (1915), The Waste Land (1922), Four Quartets (1944)
|Notable award(s)
|Nobel Prize for Literature (1948), Order of Merit (1948)
|Vivienne Haigh-Wood (Vivien) (1915–1947); Esmé Valerie Fletcher (1957–1965)
|File:TS Eliot Signature.svg
Thomas Stearns Eliot OM (September 26, 1888 - January 4, 1965) was an American-born English poet, playwright, and literary critic, arguably the most important English-language poet of the 20th century.[3] He was awarded the Nobel Prize in Literature in 1948.[4]
Born in St. Louis, Missouri, Eliot went east for college and was educated at Harvard University. After graduation, he studied philosophy at the Sorbonne for a year, then won a scholarship to Merton College, Oxford in 1914. An expatriate, he became a British citizen at the age of 39.
The poem that made Eliot's name, The Love Song of J. Alfred Prufrock – begun in 1910 and published in Chicago in 1915 – is regarded as a masterpiece of modernist poetry in English. He followed this with what have become some of the best-known poems in the English language, including Gerontion (1920), The Waste Land (1922), The Hollow Men (1925), Ash Wednesday (1930), and Four Quartets (1945).[5] He is also known for his 7 plays, particularly Murder in the Cathedral (1935).
"[M]y poetry has obviously more in common with my distinguished contemporaries in America than with anything written in my generation in England," he said of his nationality and its role in his work. "It wouldn't be what it is, and I imagine it wouldn't be so good ... if I'd been born in England, and it wouldn't be what it is if I'd stayed in America. It's a combination of things. But in its sources, in its emotional springs, it comes from America." Eliot renounced his citizenship to the United States and said: "My mind may be American but my heart is British."[6]
Youth and educationEdit
Eliot was born into the Eliot family, a bourgeois family[7] originally from New England]], who had moved to St. Louis, Missouri.[5] His father, Henry Ware Eliot (1843–1919), was a successful businessman, president and treasurer of the Hydraulic-Press Brick Company in St. Louis. Eliot credits his hometown with seeding his literary vision: "It is self-evident that St. Louis affected me more deeply than any other environment has ever done. I feel that there is something in having passed one's childhood beside the big river [Mississippi], which is incommunicable to those people who have not. I consider myself fortunate to have been born here, rather than in Boston, or New York, or London."[8] His mother, Charlotte Champe Stearns (1843–1929), wrote poetry and was a social worker, a new profession in the early 20th century. Eliot was the last of six surviving children; his parents were both 44 years old when he was born. His 4 sisters were between 11 and 19 years older; his brother was 8 years older. Known to family and friends as Tom, he was the namesake of his maternal grandfather Thomas Stearns.
From 1898 to 1905, Eliot attended Smith Academy, where his studies included Latin, Ancient Greek, French, and German. He began to write poetry when he was 14 under the influence of Edward Fitzgerald's Rubaiyat of Omar Khayyam, a translation of the poetry of Omar Khayyam. He said the results were gloomy and despairing, and he destroyed them. His oldest surviving poem, an untitled lyric, dates from January 1905. The first poem that he showed anyone, "A Fable For Feasters," was written as a school exercise when he was 15, and was published in the Smith Academy Record, and later in The Harvard Advocate, Harvard University's student magazine.[9] He also published 3 short stories in 1905, including "The Man Who Was King", which reflects his exploration of Igorot Village while visiting the 1904 World's Fair of St. Louis.
After graduation, Eliot attended Milton Academy in Massachusetts for a preparatory year, where he met Scofield Thayer, who would later publish The Waste Land. He studied philosophy at Harvard from 1906 to 1909, earning a B.A. after 3 years instead of the usual 4.[5] Frank Kermode writes that the most important moment of Eliot's undergraduate career was in 1908, when he discovered Arthur Symons's Symbolist Movement in Literature (1899). This introduced him to Jules Laforgue, Arthur Rimbaud, and Paul Verlaine. Without Verlaine, Eliot wrote, he might never have heard of Tristan Corbière and his book Les amours jaunes, a work that affected the course of Eliot's life.[10] The Harvard Advocate published some of his poems, and he became lifelong friends with Conrad Aiken, the American novelist.
After working as a philosophy assistant at Harvard 1909-1910, Eliot moved to Paris, where from 1910-1911, he studied philosophy at the Sorbonne. He attended lectures by Henri Bergson and read poetry with Alain-Fournier.[5][10] From 1911 to 1914, he was back at Harvard studying Indian philosophy and Sanskrit.[5][11] Eliot was awarded a scholarship to Merton College, Oxford in 1914. He 1st visited Marburg, Germany, where he planned to take a summer program, but when the First World War broke out, he went to Oxford instead. At the time, so many American students attended Merton that the Junior Common Room proposed a motion "that this society abhors the Americanization of Oxford"; it was defeated by 2 votes after Eliot reminded the students how much they owed American culture.[12]
Eliot did not settle at Merton, and left after a year. He wrote to Conrad Aiken on New Year's Eve 1914: "I hate university towns and university people, who are the same everywhere, with pregnant wives, sprawling children, many books and hideous pictures on the walls ... Oxford is very pretty, but I don't like to be dead."[12] By 1916, he had completed a Ph.D. dissertation for Harvard on Knowledge and Experience in the Philosophy of F.H. Bradley,[13] but he failed to return for the viva voce exam.[5]
In a letter to Aiken late in December 1914, Eliot, aged 26, wrote, "I am very dependent upon women (I mean female society)."[14] Less than 4 months later, Thayer introduced Eliot to Vivienne Haigh-Wood, a Cambridge governess. They were married at Hampstead Register Office on June 26, 1915.[15]
After a short visit alone to his family in the United States, Eliot returned to London and took several teaching jobs, such as lecturing at Birkbeck College, University of London. Philosopher Bertrand Russell took an interest in Vivienne while the newlyweds stayed in his flat. Some scholars have suggested that she and Russell had an affair, but the allegations were never confirmed.[16] In a private paper written in his 60's, Eliot confessed: "I came to persuade myself that I was in love with Vivienne simply because I wanted to burn my boats and commit myself to staying in England. And she persuaded herself (also under the influence of [Ezra] Pound) that she would save the poet by keeping him in England. To her, the marriage brought no happiness. To me, it brought the state of mind out of which came The Waste Land."[17] (Their relationship was the subject of a 1984 play Tom and Viv, which in 1994 was adapted as a film.)
Teaching, Lloyds, Faber and FaberEdit
After leaving Merton, Eliot worked as a schoolteacher, most notably at Highgate School, a private school in London, where he taught French and Latin[5]—his students included the young John Betjeman. Later he taught at the Royal Grammar School, High Wycombe, a state school in Buckinghamshire. To earn extra money, he wrote book reviews and lectured at evening extension courses. In 1917, he took a position at Lloyds Bank in London, working on foreign accounts. On a trip to Paris in August 1920, he met the writer James Joyce and the artist Wyndham Lewis. Eliot said he found Joyce arrogant—Joyce doubted Eliot's ability as a poet at the time—but the two soon became friends, with Eliot's visiting Joyce whenever he was in Paris.[18]
In 1925, Eliot left Lloyds to join the publishing firm Faber & Gwyer, later Faber & Faber, where he remained for the rest of his career, eventually becoming a director. Wyndham Lewis and Eliot became close friends, a friendship leading to Lewis's well-known painting of Eliot in 1938.
Anglicanism and British citizenshipEdit
On June 29, 1927 Eliot converted to Anglicanism from Unitarianism, and in November that year he took British citizenship. He became a warden of his parish church, Saint Stephen's, Gloucester Road, London,[19] and a life member of the Society of King Charles the Martyr.[20] He specifically identified as Anglo-Catholic, proclaiming himself "classicist in literature, royalist in politics, and anglo-catholic [sic] in religion."[21][22] About thirty years later Eliot commented on his religious views that he combined "a Catholic cast of mind, a Calvinist heritage, and a Puritanical temperament."[23]
Separation and remarriageEdit
By 1932, Eliot had been contemplating a separation from his wife for some time. When Harvard offered him the Charles Eliot Norton professorship for the 1932-1933 academic year, he accepted and left Vivienne in England. Upon his return, he arranged for a formal separation from her, avoiding all but 1 meeting with her between his leaving for America in 1932 and her death in 1947. Vivienne was committed to the Northumberland House mental hospital, Stoke Newington, in 1938, and remained there until she died. Although Eliot was still legally her husband, he never visited her.[24]
From 1946 to 1957, Eliot shared a flat with his friend John Davy Hayward, who gathered and archived Eliot's papers, styling himself "Keeper of the Eliot Archive."[25] Hayward also collected Eliot's pre-Prufrock verse, commercially published after Eliot's death as Poems Written in Early Youth. When Eliot and Hayward separated their household in 1957, Hayward retained his collection of Eliot's papers, which he bequeathed to King's College, Cambridge in 1965.
On January 10, 1957, Eliot at the age of 68 married Esmé Valerie Fletcher, who was 32. In contrast to his first marriage, Eliot knew Fletcher well, as she had been his secretary at Faber and Faber since August 1949. They kept their wedding secret; the ceremony was held in a church at 6.15 a.m. with virtually no one in attendance other than his wife's parents. Since Eliot's death, Valerie has dedicated her time to preserving his legacy; she has edited and annotated The Letters of T. S. Eliot and a facsimile of the draft of The Waste Land. In the early 1960s, by then in failing health, Eliot worked as an editor for the Wesleyan University Press, seeking new poets in Europe for publication.[26]
Death and honoursEdit
Eliot died of emphysema in London on January 4, 1965. For many years he had had health problems caused by his heavy smoking, and had often been laid low with bronchitis or tachycardia. He was cremated at Golders Green Crematorium. In accordance with Eliot's wishes, his ashes were taken to St Michael's Church in East Coker, the village from which his ancestors had emigrated to America.
- A wall plaque commemorates him with a quotation from his poem "East Coker": "In my beginning is my end. In my end is my beginning."
- In 1967, on the 2nd anniversary of his death, Eliot was commemorated by the installation of a large stone in the floor of Poets' Corner in London's Westminster Abbey. The stone, cut by designer Reynolds Stone, is inscribed with his life dates, his Order of Merit, and a quotation from his poem "Little Gidding": "the communication / Of the dead is tongued with fire beyond / the language of the living."[27]
For a poet of his stature, Eliot produced a relatively small amount of poetry and he was aware of this early in his career. He wrote to J.H. Woods, one of his former Harvard professors, "My reputation in London is built upon one small volume of verse, and is kept up by printing two or three more poems in a year. The only thing that matters is that these should be perfect in their kind, so that each should be an event."[28]
Typically, Eliot first published his poems individually in periodicals or in small books or pamphlets, and then collected them in books. His first collection was Prufrock and Other Observations (1917). In 1920, he published more poems in Ara Vos Prec (London) and Poems: 1920 (New York). These had the same poems (in a different order) except that "Ode" in the British edition was replaced with "Hysteria" in the American edition. In 1925, he collected The Waste Land and the poems in Prufrock and Poems into one volume and added The Hollow Men to form Poems: 1909–1925. From then on, he updated this work as Collected Poems. Exceptions are Old Possum's Book of Practical Cats (1939), a collection of light verse; Poems Written in Early Youth, posthumously published in 1967 and consisting mainly of poems published 1907-1910 in The Harvard Advocate,[29] and Inventions of the March Hare: Poems, 1909-1917, material Eliot never intended to have published, which appeared posthumously in 1997.
The Love Song of J. Alfred PrufrockEdit
- Main article: The Love Song of J. Alfred Prufrock
In 1915 Ezra Pound, overseas editor of Poetry magazine, recommended to Harriet Monroe, the magazine's founder, that she publish "The Love Song of J. Alfred Prufrock". Although the character Prufrock seems to be middle-aged, Eliot wrote most of the poem when he was only 22. Its now-famous opening lines, comparing the evening sky to "a patient etherised upon a table," were considered shocking and offensive, especially at a time when Georgian Poetry was hailed for its derivations of the 19th century Romantic Poets. The poem follows the conscious experience of a man, Prufrock (relayed in the "stream of consciousness" form characteristic of the Modernists), lamenting his physical and intellectual inertia, the lost opportunities in his life and lack of spiritual progress, with the recurrent theme of carnal love unattained. Critical opinion is divided as to whether the narrator leaves his residence during the course of the narration. The locations described can be interpreted either as actual physical experiences, mental recollections, or as symbolic images from the sub-conscious mind, as, for example, in the refrain "In the room the women come and go." The poem's structure was heavily influenced by Eliot's extensive reading of Dante Alighieri, in the Italian, and refers to a number of literary works, including Hamlet and those of the French Symbolists.
Its reception in London can be gauged from an unsigned review in the Times Literary Supplement on June 21, 1917: "The fact that these things occurred to the mind of Mr Eliot is surely of the very smallest importance to anyone, even to himself. They certainly have no relation to poetry…"[30]
The Waste LandEdit
- Main article: The Waste Land
In October 1922 Eliot published The Waste Land in The Criterion. Eliot's dedication to il miglior fabbro ("the better craftsman") refers to Ezra Pound's significant hand in editing and reshaping the poem from a longer Eliot manuscript to the shortened version that appears in publication.[31] It was composed during a period of personal difficulty for Eliot—his marriage was failing, and both he and Vivienne were suffering from nervous disorders. The poem is often read as a representation of the disillusionment of the post-war generation. That year Eliot lived in Lausanne, Switzerland to take a treatment and to convalesce from a break-down. There he wrote the final section, "What the Thunder Said," which contains frequent references to mountains.[32] Before the poem's publication as a book in December 1922, Eliot distanced himself from its vision of despair. On November 15, 1922, he wrote to Richard Aldington, saying, "As for The Waste Land, that is a thing of the past so far as I am concerned and I am now feeling toward a new form and style." The poem is known for its obscure nature—its slippage between satire and prophecy; its abrupt changes of speaker, location, and time.(Citation needed) Despite this, it has become a touchstone of modern literature, a poetic counterpart to a novel published in the same year, James Joyce's Ulysses. Among its best-known phrases are "April is the cruellest month", "I will show you fear in a handful of dust"; and "Shantih shantih shantih," the Sanskrit mantra that ends the poem.
The Hollow MenEdit
- Main article: The Hollow Men
The Hollow Men appeared in 1925. For the critic Edmund Wilson, it marked "the nadir of the phase of despair and desolation given such effective expression in The Waste Land."[33] It is Eliot's major poem of the late twenties. Similar to other work, its themes are overlapping and fragmentary: post-war Europe under the Treaty of Versailles (which Eliot despised); the difficulty of hope and religious conversion; and Eliot's failed marriage.[34]
Allen Tate perceived a shift in Eliot's method, writing that, "The mythologies disappear altogether in The Hollow Men." This is a striking claim for a poem as indebted to Dante as anything else in Eliot's early work, to say little of the modern English mythology—the "Old Guy Fawkes" of the Gunpowder Plot—or the colonial and agrarian mythos of Joseph Conrad and James George Frazer, which, at least for reasons of textual history, echo in The Waste Land.[35] The "continuous parallel between contemporaneity and antiquity" that is so characteristic of his mythical method remained in fine form.[36] The Hollow Men contains some of Eliot's most famous lines(Citation needed), notably its conclusion:
This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.
Ash WednesdayEdit
- Main article: Ash Wednesday by T.S. Eliot
Ash Wednesday is the first long poem written by Eliot after his 1927 conversion to Anglicanism. Published in 1930, it deals with the struggle that ensues when one who has lacked faith acquires it. Sometimes referred to as Eliot's "conversion poem," it is richly but ambiguously allusive, and deals with the aspiration to move from spiritual barrenness to hope for human salvation. The style is different from the poetry that predates his conversion. Ash Wednesday and the poems that followed had a more casual, melodic, and contemplative method.(Citation needed)
Many critics were particularly enthusiastic about it. Edwin Muir maintained that it is one of the most moving poems Eliot wrote, and perhaps the "most perfect,"[37] though it was not well-received by everyone. The poem's groundwork of orthodox Christianity discomfited many of the more secular literati.[5]
Old Possum's Book of Practical CatsEdit
- Main article: Old Possum's Book of Practical Cats
In 1930, Eliot published a book of light verse, Old Possum's Book of Practical Cats ("Old Possum" was Ezra Pound's nickname for him). This first edition had an illustration of the author on the cover. In 1954, the composer Alan Rawsthorne set six of the poems for speaker and orchestra, in a work entitled Practical Cats. After Eliot's death, the book was adapted as the basis of the musical, Cats, by Andrew Lloyd Webber, first produced in London's West End in 1981 and opening on Broadway the following year.
Four QuartetsEdit
- Main article: Four Quartets
Eliot regarded Four Quartets as his masterpiece, and it is the work that led to his being awarded the Nobel Prize in Literature.[5] It consists of four long poems, each first published separately: Burnt Norton (1936), East Coker (1940), The Dry Salvages (1941) and Little Gidding (1942). Each has five sections. Although they resist easy characterization, each begins with a rumination on the geographical location of its title, and each meditates on the nature of time in some important respect—theological, historical, physical—and its relation to the human condition. Each poem is associated with one of the four classical elements: air, earth, water, and fire.
Burnt Norton asks what it means to consider things that might have been. We see the shell of an abandoned house, and Eliot toys with the idea that all these merely possible realities are present together, invisible to us. All the possible ways people might walk across a courtyard add up to a vast dance we can't see; children who aren't there are hiding in the bushes.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden.[38]
East Coker continues the examination of time and meaning, focusing in a famous passage on the nature of language and poetry. Out of darkness, Eliot offers a solution: "I said to my soul, be still, and wait without hope".
The Dry Salvages treats the element of water, via images of river and sea. It strives to contain opposites: "... the past and future/Are conquered, and reconciled".
Little Gidding (the element of fire) is the most anthologized of the Quartets. Eliot's experiences as an air raid warden in The Blitz power the poem, and he imagines meeting Dante during the German bombing. The beginning of the Quartets ("Houses .../Are removed, destroyed") had become a violent everyday experience; this creates an animation, where for the first time he talks of Love as the driving force behind all experience. From this background, the Quartets end with an affirmation of Julian of Norwich: "all shall be well and/All manner of thing shall be well".
The Four Quartets cannot be understood without reference to Christian thought, traditions, and history. Eliot draws upon the theology, art, symbolism and language of such figures as Dante, and mystics St. John of the Cross and Julian of Norwich. The "deeper communion" sought in East Coker, the "hints and whispers of children, the sickness that must grow worse in order to find healing," and the exploration which inevitably leads us home all point to the pilgrim's path along the road of sanctification.
- Main article: Murder in the Cathedral
With the important exception of his magnum opus Four Quartets, Eliot directed much of his creative energies after Ash Wednesday to writing plays in verse, mostly comedies or plays with redemptive endings. He was long a critic and admirer of Elizabethan and Jacobean verse drama; witness his allusions to Webster, Thomas Middleton, William Shakespeare and Thomas Kyd in The Waste Land. In a 1933 lecture he said: "Every poet would like, I fancy, to be able to think that he had some direct social utility. ... He would like to be something of a popular entertainer, and be able to think his own thoughts behind a tragic or a comic mask. He would like to convey the pleasures of poetry, not only to a larger audience, but to larger groups of people collectively; and the theatre is the best place in which to do it."[39]
After The Waste Land (1922), he wrote that he was "now feeling toward a new form and style." One project he had in mind was writing a play in verse with a jazz tempo featuring Sweeney, a character who had appeared in a number of his poems. Eliot did not finish it. He did publish separately two pieces of what he had written. The two, Fragment of a Prologue (1926) and Fragment of an Agon (1927) were published together in 1932 as Sweeney Agonistes. Although Eliot noted that this was not intended to be a one-act play, it is sometimes performed as one.[40]
A pageant play by Eliot called The Rock was performed in 1934 for the benefit of churches in the Diocese of London. Much of it was a collaborative effort; Eliot accepted credit only for the authorship of one scene and the choruses.[40] George Bell, the Bishop of Chichester, had been instrumental in connecting Eliot with producer E. Martin Browne for the production of The Rock, and later asked Eliot to write another play for the Canterbury Festival in 1935. This one, Murder in the Cathedral, concerning the death of the martyr, Thomas Becket, was more under Eliot's control. After this, he worked on commercial plays for more general audiences: The Family Reunion (1939), The Cocktail Party (1949), The Confidential Clerk, (1953) and The Elder Statesman (1958).
Literary criticismEdit
Eliot also made significant contributions to the field of literary criticism, strongly influencing the school of New Criticism. While somewhat self-deprecating and minimizing of his work—he once said his criticism was merely a "by-product" of his "private poetry-workshop"[41]—Eliot is considered by some to be one of the greatest literary critics of the 20th century. The critic William Empson once said, "I do not know for certain how much of my own mind [Eliot] invented, let alone how much of it is a reaction against him or indeed a consequence of misreading him. He is a very penetrating influence, perhaps not unlike the east wind."[42]
In his critical essay "Tradition and the Individual Talent," Eliot argues that art must be understood not in a vacuum, but in the context of previous pieces of art: "In a peculiar sense [an artist or poet] ... must inevitably be judged by the standards of the past."[41] This essay was a important influence over the New Criticism by introducing the idea that the value of a work of art must be viewed in the context of the artist's previous works, a "simultaneous order" of works (i.e. "tradition"). Eliot himself employed this concept on many of his works, especially on his long-poem The Waste Land.[43]
Also important to New Criticism was the idea — as articulated in Eliot's essay "Hamlet and His Problems"[44] — of an "objective correlative," which posits a connection among the words of the text and events, states of mind, and experiences. This notion concedes that a poem means what it says, but suggests that there can be a non-subjective judgment based on different readers' different — but perhaps corollary — interpretations of a work.
More generally, New Critics took a cue from Eliot in regard to his "'classical' ideals and his religious thought; his attention to the poetry and drama of the early 17th century; his deprecation of the Romantics, especially Shelley; his proposition that good poems constitute "not a turning loose of emotion but an escape from emotion"; and his insistence that "poets…at present must be difficult.'"[45]
Eliot's essays were a major factor in the revival of interest in the metaphysical poets. Eliot particularly praised the metaphysical poets' ability to show experience as both psychological and sensual, while at the same time infusing this portrayal with—in Eliot's view—wit and uniqueness. Eliot's essay "The Metaphysical Poets," along with giving new significance and attention to metaphysical poetry, introduced his now well-known definition of "unified sensibility,"[46] which is considered by some to mean the same thing as the term "metaphysical."[47]
His 1922 poem The Waste Land[48]also can be better understood in light of his work as a critic. He had argued that a poet must write "programmatic criticism"; that is, a poet should write to advance his own interests rather than to advance "historical scholarship". Viewed from Eliot's critical lens, The Waste Land likely shows his personal despair about World War I rather than an objective historical understanding of it.[49]
In 1946 Eliot was a member of a group otherwise composed of senior clergy which produced a report entitled "Catholicity" published in 1947 as a contribution to the process which resulted in the Church of England's Report on Doctrine (1948).
In 1958, the Archbishop of Canterbury appointed Eliot to a commission that produced The Revised Psalter (1963). A harsh critic of Eliot, C.S. Lewis, was also a member of the commission, where their antagonism turned into a friendship.[50]
Critical receptionEdit
Responses to his poetryEdit
The initial critical response to Eliot's poetry, particularly "The Waste Land," was mixed. Some critics, like Edmund Wilson, Conrad Aiken, and Gilbert Seldes thought it was the best poetry being written in the English language while others thought it was esoteric and wilfully difficult. Edmund Wilson, being one of the critics who praised Eliot, called him "one of our only authentic poets."[51] Nevertheless, it should be noted that Wilson also pointed out some of Eliot's weaknesses as a poet. In regard to "The Waste Land," Wilson admits its flaws ("its lack of structural unity"), but concluded, "I doubt whether there is a single other poem of equal length by a contemporary American which displays so high and so varied a mastery of English verse." [52]
Other critics, like Charles Powell, were decidedly negative in their criticism of Eliot, calling his poems incomprehensible. [53] And the writers of Time magazine were similarly baffled by a challenging poem like "The Waste Land".[54] Of course, there were some critics, like John Crowe Ransom, who wrote mostly negative criticisms of Eliot's work but who also had some positive things to say. For instance, though Ransom negatively criticised "The Waste Land" for its "extreme disconnection," Ransom was not completely condemnatory of Eliot's work (like Powell) and admitted that Eliot was a talented poet.[55]
Addressing some of the common criticisms directed against "The Waste Land" at the time, Gilbert Seldes stated, "It seems at first sight [to be] remarkably disconnected [and] confused ... [however] a closer view of the poem does more than illuminate the difficulties; it reveals the hidden form of the work, [and] indicates how each thing falls into place." [56]
Allegations of anti-SemitismEdit
The depiction of Jews in some of Eliot's poems has led several critics to accuse him of anti-Semitism. This case has been presented most forcefully in a 1996 study by Anthony Julius, T.S. Eliot, Anti-Semitism, and Literary Form.[57][58] In "Gerontion", Eliot writes, in the voice of the poem's elderly narrator, "And the Jew squats on the window sill, the owner [of my building],/ Spawned in some estaminet of Antwerp."[59] Another well-known example appears in the poem, "Burbank with a Baedeker: Bleistein with a Cigar." In this poem, Eliot wrote, "The rats are underneath the piles./ The Jew is underneath the lot./ Money in furs." [60] Interpreting the line as an indirect comparison of Jews to rats, Julius writes, "The anti-Semitism is unmistakable. It reaches out like a clear signal to the reader." Julius's viewpoint has been supported by literary critics such as Christopher Ricks, George Steiner, and James Fenton.[61]
In a series of lectures delivered at the University of Virginia in 1933, published under the title After Strange Gods: A Primer of Modern Heresy (1934), Eliot wrote of societal tradition and coherence: "What is still more important [than cultural homogeneity] is unity of religious background, and reasons of race and religion combine to make any large number of free-thinking Jews undesirable."[62] Eliot never re-published this book nor the lecture.[61]
Craig Raine, in his books In Defence of T.S. Eliot (2001) and T.S. Eliot (2006), has sought to defend Eliot from the charge of anti-Semitism. Reviewing Raine's 2006 book, Paul Dean stated that he was not convinced by Raine's argument though he concluded, "Ultimately, as both Raine and, to do him justice, Julius insist, however much Eliot may have been compromised as a person, as we all are in our several ways, his greatness as a poet remains."[61]
A memorial tablet to Eliot was unveiled by his widow on 4 January 1967 in Poets' Corner, Westminster Abbey.[63]
- Order of Merit (awarded by King George VI] (United Kingdom), 1948)
- Nobel Prize for Literature "for his outstanding, pioneer contribution to present-day poetry" (Stockholm, 1948)[4]
- Officier de la Legion d'Honneur (1951)
- Hanseatic Goethe Prize (Hamburg, 1955)
- Dante Medal (Florence, 1959)
- Commandeur de l'Ordre des Arts et des Lettres, (1960)
- Presidential Medal of Freedom (1964)
- 13 honorary doctorates (including Oxford, Cambridge, the Sorbonne, and Harvard)
- Tony Award in 1950 for Best Play: Broadway production of The Cocktail Party.
- Two posthumous Tony Awards (1983) for his poems used in the musical Cats
- Eliot College of the University of Kent, England, is named after him
- Celebrated on commemorative postage stamps
- A star on the St. Louis Walk of Fame
- Prufrock, and Other Observations. London: The Egoist, 1917.
- Poems by T.S. Eliot. Hogarth, 1919.
- Ara Vus Prec (includes Poems by T. S. Eliot, above, London: Ovid Press , 1920
- The Waste Land (first published in Criterion, first issue, October, 1922). New York: Boni & Liveright, 1922. audio
- Poems, 1909-1925 (contains all works cited above and "The Hollow Men"; earlier drafts and sections of "The Hollow Men" appeared in Chapbook, Commerce, Criterion, and Dial, 1924-25). London: Faber, 1925.
- Journey of the Magi (one of the "Ariel Poems"), London: Faber, 1927.
- Animula (one of the "Ariel Poems"). London: Faber, 1929.
- Ash-Wednesday (first 3 parts originally published in French, American, and English magazines, respectively; Part 2, first published as Salutation in Saturday Review of Literature, was intended as another of the "Ariel Poems" and as a complement to Journey of the Magi the publisher also intended to issue this part separately as a Christmas card). Putnam, 1930.
- Marina (one of the "Ariel Poems"), London: Faber, 1930.
- Triumphal March. London: Faber, 1931.
- The Waste Land, and Other Poems. Harcourt, 1934.
- Words for Music. [Bryn Mawr], 1935.
- Collected Poems, 1909-1935. Harcourt, 1936.
- A Song for Simeon (written in the 1920 's; one of the "Ariel Poems"). London: Faber, 1938.
- Noctes Binanianae(with Geoffrey Faber, Frank Morley, and John Hayward - limited edition of 25 copies for the authors and friends; never reprinted). London: privately printed, 1939.
- Old Possum's Book of Practical Cats. Harcourt, 1939.
- East Coker. London: Faber, 1940.
- Burnt Norton. London: Faber, 1941.
- The Dry Salvages. London: Faber, 1941.
- Later Poems, 1925-1935. London: Faber 1941.
- Little Gidding. London: Faber, 1942.
- Four Quartets (Burnt Norton, East Coker, The Dry Salvages, & Little Gidding). Harcourt, 1943.
- A Practical Possum. Harvard Printing Office, 1947.
- Selected Poems. Penguin, 1948, Harcourt, 1967.
- The Undergraduate Poems. Harvard Advocate (unauthorized reprint of poems originally published in the Advocate), 1949.
- Poems Written in Early Youth. Stockholm: privately printed by Bonniers, 1950
- new edition (prepared by Valerie Eliot and John Hayward). New York: Farrar, Straus, 1967.
- The Cultivation of Christmas Trees (one of the "Ariel Poems"). London: Faber, 1954; New York: Farrar, Straus, 1956.
- Collected Poems, 1909-1962. Harcourt, 1963.
- The Waste Land: A facsimile of the original drafts, including the annotations of Ezra Pound. (edited and with introduction by Valerie Eliot). Harcourt, 1971.
- Inventions of the March Hare: Poems, 1909-1917 (edited by Christopher Ricks). Harcourt, 1997.
- Fragment of a Prologue. [London], 1926.
- Fragment of the Agon. [London], 1927.
- Sweeney Agonistes: Fragments of an Aristophanic Melodrama (provisionally titled Wanna Go Home, Baby?during composition; consists of two fragments cited above; first produced in New York at Cherry Lane Theater, March 2, 1952), Faber, 1932.
- The Rock: A Pageant Play (a revue with scenario by E. Martin Browne and music by Martin Shaw; first produced in London at Sadler Wells Theatre, May 9, 1934). Faber, 1934.
- Murder in the Cathedral (provisionally titled Fear in the Way during composition; first produced in an abbreviated form for the Canterbury Festival in the Chapter House of Canterbury Cathedral, June, 1935; produced in London at Mercury Theatre, November 1, 1935; first produced in America at Yale University, January, 1936; first produced in New York at Manhattan Theater, March 20, 1936). Harcourt, 1935.
- The Family Reunion (often cited as a rewriting of the unfinished Sweeney Agonistes; first produced in London at Westminster Theatre, March 21, 1939; produced in New York at Phoenix Theater, October 20, 1958). Harcourt, 1939.
- The Cocktail Party (provisionally titled One-Eyed Riley during composition; first produced for the Edinburgh Festival, Scotland, August, 1949; produced in New York at Henry Miller's Theater, January 21, 1950). Harcourt, 1950.
- The Confidential Clerk (first produced for the Edinburgh Festival, August, 1953; produced in London at Lyric Theatre, September 16, 1953; produced in New York at Morosco Theater, February 11, 1954). Harcourt, 1954.
- The Elder Statesman (first produced for the Edinburgh Festival, August, 1958; produced in London at Cambridge Theatre, September 25, 1958). Farrar, Straus, 1959.
- Collected Plays. Faber, 1962.
- Ezra Pound: His metric and poetry (anonymous). Knopf, 1917.
- The Sacred Wood: Essays on poetry and criticism. Methuen, 1920, 7th edition, 1950, Barnes & Noble, 1960.
- Homage to John Dryden (three essays on 17th-century poetry). London: L. and V. Woolf at Hogarth Press, 1924; Doubleday, 1928.
- Shakespeare and the Stoicism of Seneca (an address). Oxford University Press , for the Shakespeare Association, 1927.
- For Lancelot Andrewes: Essays on Style and Order. Faber, 1928, Doubleday, 1929.
- Thoughts After Lambeth (a criticism of the Report of the Lambeth Conference, 1930). Faber, 1931.
- Charles Whibley: A memoir. Oxford University Press, for the English Association, 1931.
- Selected Essays, 1917-1932. Harcourt, 1932; 2nd edition published as Selected Essays, Harcourt, 1950; 3rd edition, Faber, 1951.
- John Dryden: The poet, the dramatist, the critic (3 essays). New York: T. & Elsa Holiday, 1932.
- The Use of Poetry and the Use of Criticism: Studies in the relation of criticism to poetry in England (the Charles Eliot Norton lectures). Cambridge, MA: Harvard University Press, 1933. 2nd edition, Faber, 1964.
- Elizabethan Essays (includes Shakespeare and the Stoicism of Seneca). Faber, 1934. Haskell House, 1964.
- After Strange Gods: A Primer of Modern Heresy (the Page-Barbour lectures). Harcourt, 1934.
- Essays, Ancient and Modern (first published in part as For Lancelot Andrewes). Harcourt, 1936.
- The Idea of a Christian Society (three lectures). Faber, 1939, Harcourt, 1940.
- Christianity and Culture (contains "The Idea of a Christian Society" and "Notes Towards the Definition of Culture"). Harcourt, 1940.
- Points of View (selected criticism) (edited by John Hayward). Faber, 1941.
- The Classics and the Man of Letters (an address). Oxford University Press, 1942.
- The Music of Poetry (lecture). Glasgow: Jackson, 1942.
- Reunion by Destruction: Reflections on a Scheme for Church Union in South India (an address). London: Pax House, 1943.
- What Is a Classic? (an address), Faber, 1945.
- On Poetry. [Concord], 1947.
- A Sermon. [Cambridge], 1948.
- From Poe to Valery (first published in Hudson Review, 1948), privately printed for friends by Harcourt, 1948.
- Milton (lecture). London: Cumberlege, 1948.
- Notes Towards the Definition of Culture (seven essays). Harcourt, 1949.
- The Aims of Poetic Drama. Galleon, 1949.
- The Value and Use of Cathedrals in England Today. [Chichester], 195?.
- Poetry and Drama (the Theodore Spencer lecture). Harvard University Press, 1951.
- American Literature and the American Language (an address and an appendix entitled The Eliot Family and St. Louis, the latter prepared by the English Department at Washington University). Washington University Press, 1953.
- The Three Voices of Poetry (lecture), Cambridge University Press, for the National Book League, 1953, Cambridge University Press (New York), 1954.
- Selected Prose (edited by John Hayward). Penguin, 1953.
- Religious Drama. New York: House of Books, 1954.
- The Literature of Politics (lecture, foreword by Sir Anthony Eden). Conservative Political Centre, 1955.
- The Frontiers of Criticism (lecture). University of Minnesota, 1956.
- Essays on Elizabethan Drama (contains nine of the eleven essays originally published as Elizabethan Essays). Harcourt, 1956.
- On Poetry and Poets (essays). Farrar, Straus, 1957.
- William Collin Brooks (an address). London: The Statist, 1959.
- Geoffrey Faber, 1889-1961. Faber, 1961.
- George Herbert. Longmans, Green, for the British Council and the National Book League, 1962.
- Elizabethan Dramatists. Faber, 1963.
- Knowledge and Experience in the Philosophy of F.H. Bradley (doctoral dissertation). Farrar, Straus, 1964.
- To Criticize the Critic, and other writings (contains From Poe to Valery; American Literature and the American Language;The Literature of Politics; The Classics and the Man of Letters; Ezra Pound: His Metric and Poetry; and new essays). Farrar, Straus, 1965.
- The Varieties of Metaphysical Poetry: The Clark Lectures at Trinity College, Cambridge, 1926, and the Turnbull Lectures at the Johns Hopkins University, 1933. New York: Harcourt Brace, 1994.
Collected editionsEdit
- Complete Poems and Plays, 1909-1950.Harcourt, 1952.
- Eliot: Poems and prose (edited by Peter Washington). New York: Random House (Everyman's Library Pocket Poets), 1998.
- Letters, Volume I: 1898-1922 (edited by Valerie Eliot). Harcourt, 1988.
- Letters, Volume II: 1923-1925 (edited by Valerie Eliot & Hugh Haughton). Harcourt, 2009.[64]
- Letters, Volume III: 1926-1927 (edited by Valerie Eliot & John Haffenden). Faber & Faber, 2012.[65]
Except where noted, bibliographical informatin courtesy the Poetry Foundation.[66]
Poems by T.S. EliotEdit
Essays by T.S. EliotEdit
See alsoEdit
- Alldritt, Keith. Eliot's Four Quartets: Poetry as Chamber Music. Woburn Press, 1978.
- Ali, Ahmed. Mr. Eliot's Penny World of Dreams: An Essay in the Interpretation of T.S. Eliot's Poetry, Published for the Lucknow University by New Book Co., Bombay, P.S. King & Staples Ltd., Westminster, London, 1942, pages 138.
- Lal, P. (Editor), T. S. Eliot: Homage from India: A Commemoration Volume of 55 Essays & Elegies, Writer's Workshop Calcutta, 1965.
- Forster, E.M. Essay on T.S. Eliot, in Life and Letters, June 1929.
- Harding, W.D. T. S. Eliot, 1925-1935, Scrutiny, September 1936: A Review.
- Brown, Alec. The Lyrical Impulse in Eliot's Poetry, Scrutinies vol. 2.
- Ackroyd, Peter. T. S. Eliot: A Life. (1984)
- Asher, Kenneth T. S. Eliot and Ideology (1995)
- Brand, Clinton A. "The Voice of This Calling: The Enduring Legacy of T. S. Eliot," Modern Age Volume 45, Number 4; Fall 2003 online edition, conservative perspective
- Bush, Ronald. T. S. Eliot: A Study in Character and Style. (1984)
- Christensen, Karen. "Dear Mrs. Eliot," The Guardian Review. (29 January 2005).
- Crawford, Robert. The Savage and the City in the Work of T. S. Eliot. (1987).
- Dawson, J.L., P.D. Holland & D.J. McKitterick, A Concordance to 'The Complete Poems and Plays of T.S. Eliot'. Ithaca & London: Cornell University Press, 1995.
- Gardner, Helen. The Composition of Four Quartets. (1978).
- ---The Art of T.S. Eliot. (1949)
- Hargrove, Nancy Duvall. Landscape as Symbol in the Poetry of T.S. Eliot. University Press of Mississippi (1978).
- ---. T.S. Eliot's Parisian Year. University Press of Florida (2009).
- Lyndall Gordon, T.S. Eliot: An Imperfect Life. (1998)
- Anthony Julius, T.S. Eliot, Anti-Semitism, and Literary Form. Cambridge University Press (1995)
- Kelleter, Frank. Die Moderne und der Tod: Edgar Allan Poe–T. S. Eliot–Samuel Beckett. Frankfurt/Main: Peter Lang, 1998.
- Kenner, Hugh. The Invisible Poet: T.S. Eliot. (1969)
- ---, editor, T.S. Eliot: A Collection of Critical Essays, Prentice-Hall. (1962)
- Kirsch, Adam. "Matthew Arnold and T. S. Eliot", The American Scholar. Vol 67, Iss 3. Summer 1998
- Russell Kirk, Eliot and His Age: T. S, Eliot's moral imagination in the twentieth century. (with introduction by Benjamin G. Lockerd Jr.). Wilmington: Intercollegiate Studies Institute, Republication of the revised 2nd edition, 2008.
- Levy, William Turner and Victor Scherle. Affectionately, T. S. Eliot: The Story of a Friendship: 1947-1965. (1968).
- Maxwell, D.E.S. The Poetry of T. S. Eliot, Routledge and Keagan Paul. (1960).
- Matthews, T.S. Great Tom: Notes Towards the Definition of T. S. Eliot. (1973)
- Miller, James E., Jr. T. S. Eliot. The Making of an American Poet, 1888-1922. The Pennsylvania State University Press. 2005.
- Narita, Tatsushi, "The Young T. S. Eliot and Alien Cultures: His Philippine Interactions", The Review of English Studies. Vol 45. (1994)
- North, Michael (ed.) The Waste Land (Norton Critical Editions). New York: W.W. Norton, 2000.
- Quillian, William H. Hamlet and the New Poetic: James Joyce and T. S. Eliot. Ann Arbor, MI: UMI Research Press (1983).
- Raine, Craig. T. S. Eliot. Oxford University Press (2006).
- Ricks, Christopher.T. S. Eliot and Prejudice. (1988).
- Robinson, Ian "The English Prophets", The Brynmill Press Ltd (2001)
- Ronnick, Michele Valerie, "Eliot's 'The Hollow Men'", The Explicator. Vol 56, Iss 2. (1998)
- Schuchard, Ronald. Eliot's Dark Angel: Intersections of Life and Art. (1999).
- Seferis, George. "Introduction to T. S. Eliot" in Modernism/modernity 16:1 ([1] January 2009), 146-60.
- Seymour-Jones, Carole. Painted Shadow: A Life of Vivienne Eliot. (2001).
- Sencourt, Robert. T. S. Eliot: A Memoir. (1971)
- Spender, Stephen. T. S. Eliot. (1975)
- Sinha, Arun Kumar and Vikram, Kumar. T. S. Eliot: An Intensive Study of Selected Poems, Spectrum Books Pvt. Ltd, New Delhi, (2005).
- Spurr, Barry, Anglo-Catholic in Religion: T. S. Eliot and Christianity, The Lutterworth Press (2009)
- Weidmann, Dirk. And I Tiresias have foresuffered all: More Than Allusions to Ovid in T.S.Eliot's The Waste Land?. In: LITERATURA 51 (3), 2009, pp.98-108.
- Tate, Allen, editor. T. S. Eliot: The Man and His Work, First published in 1966 - republished by Penguin 1971.
- ↑ Hart Crane (1899-1932)
- ↑ Influences by Seamus Heaney, Bostonreview.net, accessed August 3, 2009.
- ↑ Collini, Stefan. "I cannot go on", The Guardian, November 7, 2009.
- ↑ 4.0 4.1 The Nobel Prize in Literature 1948 - T.S. Eliot Biography, Nobelprize.org
- ↑ 5.0 5.1 5.2 5.3 5.4 5.5 5.6 5.7 5.8 Thomas Stearns Eliot, Encyclopaedia Britannica, accessed November 7, 2009.
- ↑ Hall, Donald. "The Art of Poetry No. 1", The Paris Review, Issue 21, Spring-Summer 1959, p. 25, accessed November 7, 2009
- ↑ Ronald Bush, T.S. Eliot: the modernist in history, (New York, 1991), p. 72
- ↑ Letter to Marquis Childs quoted in St. Louis Post Dispatch (15 October 1930) and in the address "American Literature and the American Language" delivered at Washington University (9 June 1953), published in Washington University Studies, New Series: Literature and Language, no. 23 (St. Louis: Washington University Press, 1953), p. 6.
- ↑ Hall, Donald. The Art of Poetry No. 1, The Paris Review, Issue 21, Spring-Summer 1959, accessed November 7, 2009.
- ↑ 10.0 10.1 Kermode, Frank. "Introduction" to The Waste Land and Other Poems, Penguin Classics, 2003.
- ↑ Perl, Jeffry M. and Andrew P. Tuck. "The Hidden Advantage of Tradition: On the Significance of T. S. Eliot's Indic Studies", Philosophy East & West V. 35 No. 2, April 1985, pp. 116–131.
- ↑ 12.0 12.1 Seymour-Jones, Carole. Painted Shadow: The Life of Vivienne Eliot, First Wife of T. S. Eliot, Knopf Publishing Group, p. 1.
- ↑ For a reading of the dissertation, see Brazeal, Gregory (Fall 2007). "The Alleged Pragmatism of T.S. Eliot". Philosophy & Literature 31 (1): 248–264. http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1738642. Retrieved January 17, 2011.
- ↑ Eliot, T. S. The Letters of T. S. Eliot, Volume 1, 1898-1922. p. 75.
- ↑ Richardson, John, Sacred Monsters, Sacred Masters. Random House, 2001, p. 20.
- ↑ Seymour-Jones, Carole. Painted Shadow: A Life of Vivienne Eliot. Knopf Publishing Group, 2001, p. 17.
- ↑ Eliot, T. S. The Letters of T. S. Eliot, Volume 1, 1898-192, p. xvii.
- ↑ Ellmann, Richard. James Joyce. pp. 492–495
- ↑ plaque on interior wall of Saint Stephen's
- ↑ obituary notice in Church and King, Vol. XVII, No. 4, February 28, 1965,−− p. 3.
- ↑ Specific quote is "The general point of view [of the essays] may be described as classicist in literature, royalist in politics, and anglo-catholic [sic] in religion," in preface by T.S. Eliot to For Lancelot Andrewes: essays on style and order, (1929)
- ↑ Books: Royalist, Classicist, Anglo-Catholic, May 25, 1936, Time
- ↑ Eliot, T.S. (1986). On Poetry and Poets. London: Faber & Faber. p. 209. ISBN 0-571-008983-6.
- ↑ Seymour-Jones, Carole. Painted Shadow: A Life of Vivienne Eliot. Constable 2001, p. 561.
- ↑ Gordon, Lyndall. T. S. Eliot: An Imperfect Life. Norton 1998, p. 455.
- ↑ Gordon, Jane. The University of Verse, The New York Times, October 16, 2005; University Press timeline, 1957
- ↑ http://www.tabathayeatts.com/Poets%20Corner.jpg
- ↑ Eliot, T.S. "Letter to J.H. Woods, April 21, 1919." The Letters of T. S. Eliot, vol. I. Valerie Eliot, ed. New York: Harcourt Brace, 1988, p. 285.
- ↑ "''T. S. Eliot: The Harvard Advocate Poems''. Retrieved 5 February 2007". Theworld.com. http://www.theworld.com/~raparker/exploring/tseliot/works/poems/eliot-harvard-poems.html. Retrieved 2009-08-03.
- ↑ Waugh, Arthur. The New Poetry, Quarterly Review, October 1916, citing the Times Literary Supplement June 21, 1917, no. 805, 299; Wagner, Erica (2001) "An eruption of fury", The Guardian, letters to the editor, September 4, 2001. Wagner omits the word "very" from the quote.
- ↑ Miller, James H., Jr. (2005). T. S. Eliot: the making of an American poet, 1888-1922. University Park, PA: Pennsylvania State University Press. pp. 387–388. ISBN 0-271-02681-2.
- ↑ Wraight, John. The Swiss and the British. Michael Russell Publishing, 1987.
- ↑ Wilson, Edmund. "Review of Ash Wednesday," New Republic, August 20, 1930.
- ↑ See, for instance, the biographically oriented work of one of Eliot's editors and major critics, Ronald Schuchard.
- ↑ Grant, Michael (ed.). T. S. Eliot: the Critical Heritage. Routledge & Kegan Paul, 1982.
- ↑ " 'Ulysses', Order, and Myth", Selected Essays T. S. Eliot (orig 1923).
- ↑ Untermeyer, Louis. Modern American Poetry. Hartcourt Brace, 1950, pp. 395-396.
- ↑ Eliot, T.S. Burnt Norton, Tristan.icom43.net, accessed November 7, 2009.
- ↑ Eliot, T. S. The Use of Poetry and the Use of Criticism, Harvard University Press, 1933 (penultimate paragraph)
- ↑ 40.0 40.1 Gallup, Donald. T. S. Eliot: A Bibliography (A Revised and Extended Edition), Harcourt, Brace & World, New York, 1969.
- ↑ 41.0 41.1 "Tradition and the Individual Talent. Eliot, T. S. 1920. ''The Sacred Wood''". Bartleby.com. http://www.bartleby.com/200/sw4.html. Retrieved 2009-08-03.
- ↑ quoted in Roger Kimball, "A Craving for Reality," The New Criterion Vol. 18, 1999
- ↑ Dirk Weidmann: And I Tiresias have foresuffered all.... In: LITERATURA 51 (3), 2009, pp.98-108.
- ↑ "Hamlet and His Problems. Eliot, T. S. 1920. ''The Sacred Wood''". Bartleby.com. http://www.bartleby.com/200/sw9.html. Retrieved 2009-08-03.
- ↑ Burt, Steven and Lewin, Jennifer. "Poetry and the New Criticism." A Companion to Twentieth-Century Poetry, Neil Roberts, ed. Malden, Massachusetts: Blackwell Publishers, 2001. p. 154
- ↑ "Project MUSE". Muse.jhu.edu. http://muse.jhu.edu/journals/journal_of_modern_literature/v027/27.1baker.html. Retrieved 2009-08-03.
- ↑ A. E. Malloch, "The Unified Sensibility and Metaphysical Poetry", College English, Vol. 15, No. 2 (Nov., 1953), pp. 95-101
- ↑ "Eliot, T. S. 1922. ''The Waste Land''". Bartleby.com. http://www.bartleby.com/201/1.html. Retrieved 2009-08-03.
- ↑ "T. S. Eliot :: The Waste Land and criticism - ''Britannica Online Encyclopedia''". Britannica.com. 1965-01-04. http://www.britannica.com/eb/article-2088/TS-Eliot. Retrieved 2009-08-03.
- ↑ Spruyt, Bart Jan. "One of the enemy: C. S. Lewis on the very great evil of T. S. Eliot's work", lecture to the conference Order and Liberty in the American Tradition, July 28–August 3, 2004, Oxford University, accessed November 7, 2009.
- ↑ Wilson, Edmund. "The Poetry of Drouth." The Dial 73. December 1922. 611-16.
- ↑ Wilson, Edmund. "The Poetry of Drouth." The Dial 73. December 1922. 611-16.
- ↑ Powell, Charles. "So Much Waste Paper." Manchester Guardian. October 31, 1923.
- ↑ Time. March 3, 1923, 12.
- ↑ Ransom, John Crowe. "Waste Lands." New York Evening Post Literary Review. July 14, 1923. 825-26.
- ↑ Seldes, Gilbert. "T.S. Eliot." Nation. 6 December 1922. 614-616.
- ↑ Gross, John. Was T.S. Eliot a Scoundrel?, Commentary magazine, November 1996
- ↑ Anthony, Julius. T.S. Eliot, Anti-Semitism, and Literary Form. Cambridge University Press, 1996 ISBN 0521586739
- ↑ Eliot, T.S. "Gerontion." Collected Poems. Harcourt, 1963.
- ↑ Eliot, T.S. "Burbank with a Baedeker: Bleistein with a Cigar." Collected Poems. Harcourt, 1963.
- ↑ 61.0 61.1 61.2 Dean, Paul (April 2007). "Academimic: on Craig Raine's T.S. Eliot". The New Criterion. http://www.newcriterion.com/articles.cfm/academimic-3143. Retrieved 7 June 2011.
- ↑ Kirk, Russell. "T. S. Eliot on Literary Morals: On T. S. Eliot's After Strange Gods", Touchstone Magazine, volume 10, issue 4, Fall 1997.
- ↑ Thomas Stearns Eliot, People, History, Westminster Abbey. Web, July 11, 2016.
- ↑ Jeremy Noel Tod, The Letters of T S Eliot: review, The Telegraph, November 6, 2009, Web, Sep. 9, 2012.
- ↑ The Letters of TS Eliot Volume 3: 1926-1927 edited by Valerie Eliot and John Haffenden – review, The Observer, July 1, 2012, Web, Sep. 9, 2012.
- ↑ T.S. Eliot 1888-1965, Poetry Foundation, Web, Mar. 29, 2012.
External linksEdit
- Poems
- "Portrait of a Lady" in The New Poetry: An anthology
- 2 poems by Eliot: "The Journey of the Magi," "The Love Song of J. Alfred Prufrock"
- Landscapes (5 poems)
- Eliot in Poetry: A magazine of verse, 1912-1922: "The Love Song of J. Alfred Prufrock," "The Boston Evening Transcript," "Aunt Helen," "Cousin Nancy," "Conversation Galante," "La Figlia che Piange," "Mr. Apollinax," "Morning at the Window," "[
- T.S. Eliot profile & 8 poems at the Academy of American Poets.
- T.S. Eliot 1888-1965 at the Poetry Foundation.
- Selected Poetry of Thomas Stearns Eliot (1888-1965) (20 poems) at Representative Poetry Online.
- 10 early poems (1907-1910) printed in the Harvard Advocate
- Additional poems by T.S. Eliot
- T.S. Eliot Hypertext Project
- Thomas Stearns Eliot at PoemHunter (56 poems)
- Prose
- Audio / video
- T.S. Eliot (1888-1965) at The Poetry Archive
- T.S. Eliot at YouTube
- Yale College Lecture on T.S. Eliot audio, video and full transcripts from Open Yale Courses
- Books
- Works by T.S. Eliot at Project Gutenberg
- T.S. Eliot Collection at Bartleby.com
- T.S. Eliot at the Online Books Page
- T.S. Eliot at Amazon.com
- Works by or about T.S. Eliot in libraries (WorldCat catalog)
- About
- T.S. Eliot at Faber & Faber
- T.S. Eliot - Nobel Prize biography.
- The T.S. Eliot Page
- T.S. Eliot at NNDB
- T.S. Eliot: An excerpt from T.S. Eliot by Craig Raine
- T.S. Eliot at Poets' Graves
- T.S. Eliot at Find a Grave
- T.S. Eliot (1888-1965) at Modern American Poetry.
- What the Thunder Said: T.S. Eliot website
- Donald Hall (Spring-Summer 1959). "T. S. Eliot, The Art of Poetry No. 1". Paris Review. http://www.theparisreview.org/interviews/4738/the-art-of-poetry-no-1-t-s-eliot.
- Anti-Semitism
- "T.S. Eliot's On-Again, Off-Again Anti-Semitism"
- "The Poetry of Prejudice" by Anthony Julius
- "T.S. Eliot and the Real World" by Geoge Bornstein (review of T.S. Eliot, Anti-Semitism and Literary Form by Anthony Julius)
- Etc.
- Eliot family genealogy, including T.S. Eliot
- T S. Eliot Society
- Archival material relating to T.S. Eliot listed at the UK National Register of Archives
|This page uses Creative Commons Licensed content from Wikipedia. (view article). (view authors).
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Template:Nobel Prize in Literature Laureates 1926-1950


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Activity restriction contributes to worse mental health in cancer survivors
Activity restriction (AR) appears to mediate the relationship between perceived pain and depression in cancer survivors, a new study has found.
Researchers administered a batter of questionnaires to 61 cancer survivors (mean age, 56.39±11.91 years; 62.3 percent male), including the Pain Catastrophizing Scale, the Cancer Fatigue Scale, the Activity Restriction Scale for Cancer patients, and the Hospital Anxiety and Depression Scale. Prostate cancer was the most prevalent diagnosis in the study sample (60.7 percent).
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"Furthermore, because AR was experienced in the context of a survivorship period, it may need to be treated as a long long-term effect of the cancer diagnosis," they added.


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Sanitary hygiene
In the public restrooms almost nobody closes the toilet seat cover when flushing. At that moment, all the germs that are on the rim of the toilet bowl and under the rim, scatter throughout the room and settle on all surfaces. And on the toilet paper as well.
For the same reason, do not use electric dryers for hands: the strong air stream works for the benefit of the spread of germs.
The best option is antiseptic paper towels, because, as a rule, they are in a special protective containers, respectively, are more hygienic.
Remember that you cannot see the germs, but they are all around! And it is best after visiting a public toilet to wipe your hands with antiseptic tissues.
Take care of the health of your friends: Share the article with them!
Source: newsner.com


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Ele moved the Sanctuary church with her stories and experiences with the motherless babies home that is provided by her sister and brother-in-law in Nigeria. As a founding member of a non-profit working with women in prison (Truth-be-Told) I know the commitment required, and necessity to use every gift but continually surrender to God's will and provision in the face of difficulties. Nothing could be more important than giving infants a chance to grow up surrounded by God's love through human faces and hands and care. I honor this work with all my heart.
I know Lynda Anyanwu's sister, Ele Clay and have been sincerely touched by the communication between the sisters in which they discuss the progress of each baby or child. The excitement expressed over each sign of progress by a baby can only be genuine. It would sound like they were discussing members of their own families. I am convinced of the love that they have for the children and their intentions to provide the best care possible for these babies. I have full confidence that every cent possible is spent on direct care of the children. I have never been so fond of any charitable organization before. Nan King Austin, Texas This is the first charity of which I have been personally aware that spends every penny possible to provide services to the children. I feel confident that any money I donate is used in the most beneficial way possible.
I sat on the first board with Ele and several others, including my wife. We saw quickly how Lynda and Ambrose could take very little and do great things to help people. I was very fortunate to meet Lynda and Amborse and can tell you that their gentle spirit and concern for others drives them to help everyone they encounter. They live out Christ's concern for humanity in what they are doing where they live. Mark Sneed
I met Ambrose and Lynda Anyanwu a few years ago. I was excited to here about the work they were doing for the children in Eziama. I felt compelled to help in any way I could. The Anyanwus are a people of integrity and true faith. There ministry is one worth supporting.
It is very touching watching the presentation of the growth of the home, schools, hospital, etc. that our donations have helped provide to a very caring organization. It certainly is a God Thing and He is still at work for Eziama Grace. Seeing the grown young men that were the start of a great program is so exciting and rewarding. Whatever donation that is sent is of great assistance to them and their work. They are really working hard to keep EGSN going and multiple their good deeds. God Bless them all.
It was a while after I met the parents that I met Linda and Elenor face to face in Anguilla. Linda was married to an African, Mr. Anyanwu, and living in Nigeria as missionaries, while Ele had gone off to the USA. Bro. and Sis. 'B' were what their parents were affectionately called by the brethren at Central Baptist Church in Anguilla in the Caribbean. They made sure that I knew Linda and Ele as if I actually grew up with them. I got acquainted with the Anyanwu's ministry in Nigeria via Bro 'B'. Our church quickly became financial supporters to their ministries. At that time, I believe the school was started and also the motherless babies home. Linda's heart went out to babies who lost their mothers. When Linda and her husband finally came to Anguilla, the stories of survival they told us were amazing, incredible, awsome and ...!!! I can't imagine myself in her position. I do admire her for her endurance in adversity. I am encouraged to carry on in my little section of God's vinyard and the scripture "Be not weary in well doing..." comes to mind and is made very real to me. I have seen pictures,newsletters, updates, telephone calls and emails from Ele especially since I became a part of EGSN. Their ministries are growing. In addition to the babies home and the school, is the hospital. In spite of all kinds of oppositions, they refuse to 'throw in the towel'. They are of great assistance to their people and anyone connected to this great cause would not regret being a part. Lives are being saved both phisically and spiritually. I encourage all who know about EGSN to support it. In this way we are laying up 'treasures in heaven'. Keep up the good work y'all. God will bless abundantly!!!
I met Ele 30+ years ago in San Juan, PR, at Calvary Baptist Church where my deceased husband served as pastor. Ele quickly became involved in the church and our friendship has been long lasting. Because of Ele's passion and commitment to Eziama Grace Ministry, I have financially supported this wonderful ministry. The ministry gives great hope, love, guidance, opportunities and support to those they serve.
We met Ele and her family many years ago when we were doing some missionary dentistry for the people of Anguilla. We heard Ele sing in her father's church and you could hear a pin drop it was so beautiful. The Lord was with her that night and has continued to bless her as she works so hard for Eziama Mission. We think that this is so important for the people of that region who have very little in the way of material things. May God continue to bless this work among his creation.
I am so proud of the accomplishments and progress this work of God has made. It continues to thrive and strive through countless obsticles, relentless with their quest and goal to give these children a better life. It is ran by selfless workers who give of themselves over and over again. God is good.
When I first heard about Eziama Grace, my heart was moved to be involved. I was moved by Lynda and Ambrose's ministry and how they give of themselves so willingly and without thought. I was so moved that I wanted to go and see these beautiful children and help in anyway that I could. I was fortunate enough to go to Nigeria, meet Ambrose and Lynda, and be welcomed into a loving community of children and teachers. My time there was life changing and all their smiles melted my heart. This place has many needs and only with the help of others can we even begin to touch the surface of their needs. It was after my trip that I became a board member. It has been a pleasure to work with Ele and to see her passion to help as well. All people involved, the board members and Lynda and Ambrose, are people of integrity that all work towards a common goal of being used by the Lord to serve these children and adults of the Eziama community.
When I first heard Ele talk about the work her sister was doing in Nigeria, I felt an immediate tug on my heartstrings and something close to shock. It seemed so close because I was looking at a direct connection. This wasn't an anonymous phone call not letting me hang up. It wasn't an invitation to a semi-formal event wanting me to bid on donated items. It was my friend who sat behind me at church, and she was talking about her sister and brother-in-law. They had been doing this incredible work for 'how many years'? How had I not heard of this? In our information age, we think we have our stethoscope on everything happening in our world. Just turn to CNN each day, and you've got it, right? Thirty years, a home for hundreds of babies, two schools, a hospital and all with inconsistent utility service and no promise of long term finicial support. How can that be? While Linda and Ambrose are doing all the things Jesus taught us to do, I'm just over here trying for the 'American Dream' and struggling to watch after a few children and grandchildren of my own. My first thought was that I wanted to be there. Knowing that couldn't be realized soon, I next wanted to know how I could help. Sending money, that is what I could do. And then the realization that the money didn't have to go through Washington D.C. or a large corporation that I would read about next year when money had been siphoned for some insider's personal use. I already knew of the character of this family and trusted them implicitly. Tears filled my eyes the day Ele showed the slides of the children and their beautiful smiles. I couldn't shake the feelings that swelled in me as she told of their accomplishments even as they had lost their mother at birth and their families had deserted them. It was later that I realized there was a second reason why I was so moved. It was Nigeria. Although, in today's world, the perception and information we have of this country includes stories of negative impact, in my world, the country was part of my beginning. Many times I have read the letters my father wrote to my mother from Nigeria when I was born. He and I didn't meet until I was two (2) years old. World War II separated him from our family as he resided in Nigeria. He commanded an Air Force Base there and flew aircraft to India and back as the war continued. This deep connection says to me how close we are to a nation and its troubles across a large ocean. It shows me that God is the Father of us all and our 'brothers' and 'sisters' don't have to have skin color that matches ours.
I first became aware of the efforts of Eziama Grace Support Network in providing support for Eziama Grace Ministries when my friend, Ele Clay, gave a presentation to our church. What I found so magnetic was the very basic nature of the ongoing needs of these folks in Nigeria - needs which we in America could so easily meet. The goals were realistic and specific. But it was Ele's proximity to the situation - her direct line (as Lynda's sister) to the Anyanwu's "boots on the ground" - that made me want to sign up to help in whatever way I could. There are no layers and layers of administration in this organization. No great headquarter buildings. No extravagant salaries. No Wall Street investment funds. That which is taken in is quickly dispersed. Donations are forwarded to Eziama in a simple and direct line. The 2008-09 Annual Report confirmed my initial reaction to the organization. After the fundraising & administrative costs for the year were paid - a mere $1100 - every penny taken in by EGSN was distributed save $23. Dollars given to EGSN make a tangible positive difference in the lives of the folks in Eziama.
Being convinced that we are all inseparably linked together, it seems that helping each other is the only way to fulfill our place in society. In 1975 I had opportunity to see first hand how others in less fortunate situations are forced to live. For five years we assisted in various ways the young and elderly in Central India. That experienc led to my interest in Eziama Grace. Eziama Grace seems to share that same "sharing" objective. Those in charge have dedicated themselves unselfishly to others. They, in turn deserve our complete support. It pleases me to be able to do that. Reid Schaub


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Herbal Therapy for Psoriasis
Received Date: Mar 19, 2018 / Accepted Date: Mar 21, 2018 / Published Date: Mar 26, 2018
The term "Psoriasis" has been derived from greek language meaning roughly itching condition and is a complex skin disease involving various factors in its pathogenesis such as T cells, Antigen Presenting Cells (APC's), keratinocytes, macrophages, natural killer cell's and growth factors such as vascular endothelial growth factor (VEGF) [1]. Psoriatic lesions involve polymorphonuclear leukocytes that lead to higher levels of reactive oxygen species, causing peroxidative damage to the skin membrane and also stimulate production of higher levels of PGE2 that leads to psoriasis [2].
Psoriasis can be further classified into five types viz. plaque psoriasis, guttate psoriasis, flexural or inverse psoriasis, pustular psoriasis and erythrodermic psoriasis. Of the several factors leading to psoriasis, the common causes are the genetic factors, microbes, alcohol consumption, food related triggers, cold or dry weather, stress, excessive exposure to sunlight, smoking, obesity, scratches, bites and as side effects related to use of certain medications such as steroids and β-blockers. Herbal remedies have always been a mainstay for therapies due to safety and lesser side effects and several plants have been reported till date for the treatment of psoriasis such as Capsicum annum, Aloe barbadensis, Silybum marianum, Angelica sinensis, Curcuma longa, Mahania aquifolium, Nigella sativa etc.
Capsaicin which is a chief component of Capsicum annum reduces itching, redness and other inflammatory reactions during psoriasis by inhibiting substance P which is known to activate the inflammatory process [3]. Anthraquinones from Aloe vera are known to possess antimicrobial efficacy which may act as a rationale for their therapeutic efficacies in the treatment of psoriasis. Silymarin from Silybum marianum have proven efficacy for the treatment of psoriasis which may be due to its ability to improve endotoxin removal by the liver and inhibition of leukotriene synthesis. Psoralen, a potent furocoumarin from Angelica sinensis acts as a photosensitizer in the presence of UVA. Exposure to UV-A causes ingestion of epidermal DNA and thus decreases the rate of epidermal DNA synthesis. Similarly, curcuminoids from Curcuma longa have also been used for the treatment of psoriasis as the levels of phosphorylase kinase are high during psoriasis and curcuminoids act by inhibiting phosphorylase kinase and thereby get rid of dermatitis infection. Berberine, barbamine and oxycanthine from Mahania aquifolium have also shown efficacy in the treatment of psoriasis via inhibition of keratinocytes. Tazarotene from Nigella sativa have shown to produce significant epidermal differentiation during orthokeratosis thereby showing effectiveness in the treatment of psoriasis [3].
Thus medicinal plants offer alternative therapy for the treatment of psoriasis as they are more safer to used relatively in terms of the side effects produced. Psoriasis is an autoimmune disease which is not having a permanent cure but various treatment options can be implemented for controlling the severity of symptoms produced by it and thus herbal drugs provide a mainstay for the therapy of psoriasis.
- Das RP, Jain AK, Ramesh V (2009) Current concepts in the pathogenesis of psoriasis. Indian J Dermatol 54: 7-12.
- Srivastava AK, Nagar HK, Chandel HS, Ranawat MS (2016) Antipsoriatic activity of ethanolic extract of Woodfordia fruticosa (L) Kurz flowers in a novel in vivo screening model. Indian J Pharmacol 48: 531-536.
- Tabassum N, Hamdani M (2014) Plants used to treat skin diseases. Pharmacogn Rev 8: 52-60.
Citation: Gupta P (2018) Herbal Therapy for Psoriasis. J Tradit Med Clin Natur 7: e145. DOI: 10.4172/2573-4555.1000e145
Copyright: © 2018 Gupta P. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.
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Portugal Steel 2016
The Portugal Steel ISEP 2016 seminar was organized by the Civil Engineering Department (DEC) from ISEP (Instituto Superior de Engenharia do Porto) in partnership with the Portuguese Metallic and Mixed Construction Association (CMM). After the first edition in 2013, the initiative returned under the theme "The Challenges of BIM in Metallic Construction", and took place on May 11 at the Auditório E.
The Portugal Steel ISEP 2016 in ISEP happened during a period of a good implementation of the BIM (Building Information Modeling) methodology in the Master in Civil Engineering (MEC) course, which culminated in the development of several dissertations and internships in business environment and in the constitution of an academic group – ISEPBIM.
In this edition, the organizing committee aimed to increase the national and international projection of the Portuguese metallic and mixed construction sector, highlighting the advantages of using the BIM methodology, as well as giving greater emphasis to metallic and mixed construction in the academic context in Portugal.
The program of the event was attended by distinguished figures and framed with the topic under discussion, namely: Professor Miguel Azenha (DEC of the University of Minho); Eng. Emília Cabral (Construsoft); Eng. Inês Grilo and Arq. Nuno Rocha and Porfírio (A1V2); Eng. Adriano Lopes (SE2P); Eng. Bruno Costa (Garsteel); Eng. Luís Santos (Leica Geosystems), among others.
Portugal Steel ISEP 2016 was intended for all faculty, researchers and professionals in the field of AECO (Architecture, Engineering, Construction and Promotion) industry, as well as students of Higher Education.


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Selkirk College, Attn: Lori Barkley
301 Frank Beinder Way, Castlegar BC, V1N 4L3, Canada
This area has bright students, who rarely are made aware of their enormous potential in academia. To see these students gain confidence and strong academic skills, enabling them to flourish at a larger university in upper level courses is a source of pride in what can be accomplished when faculty and students work together to realize the full potential of students.
I started teaching anthropology at Selkirk College in 1999, and since that time have also taught sociology and peace studies. Prior to arriving at Selkirk, I worked at Simon Fraser University for over a decade in various capacities, all directly related to teaching and learning, as well as other post-secondary institutions in BC. I came to post-secondary education after a couple of other careers, including management, and many other work experiences too numerous and varied to mention.
My research interests focus on constructions of identity, place, home, and landscape based on oral narrative research and print media. Most recently, this research is being conducted with Sinixt, Indigenous people declared extinct by the Canadian government in 1956, yet still very much alive and living in the Slocan Valley. This work is part of a much larger digital humanities initiative at Hamilton College in Clinton, NY, where I am a research fellow.


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Yacon Syrup vs Forskolin
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text: Further to my below post, you can find Debra Jacksons's beautiful miniatures on Etsy, meantime I gave in to temptation and bought one! I am nearly finished My French themed room, I have hand painted some furniture to match the decor, my Debra Jackson piece fits in really well. Can you see it?


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|Bernadette Le Tigre De La Rivière
|November 20th
|Long blonde hair
Blue eyes
Short stature
|Voice Actor
|Mikako Takahashi
|Game Appearance
|Muv-Luv Alternative Chronicles Adoration (mentioned)
Muv-Luv Unlimited The Day After
Bernadette Le Tigre De La Rivière is a Second Lieutenant in French Army 13th Tactical Dragoon Regiment's 131st TSF Group. Storm Vanguard, callsign Lorraine 4. Also known as a "Gunslinger" or "Quatre Quarts" (Four Corners) due to being an expert Storm Vanguard with Gun Sweeper loadout for close-range combat in her Rafale. "Petite Tigre" is probably all you really need to know here.
Background, Personality and Skills[edit | edit source]
As implied by her name, Bernadette has a noble bloodline with a military tradition dating back to the French Revolution which she takes pride in, although this is hidden and only revealed to outsiders in a negative manner. Her rose emblem is a simplified version of House La Riviere's family crest.
She is described by Ilfriede von Feulner as: meddlesome, arrogant, smug, "A Fierce Beast" who complains a lot during combat, sarcastic, uses indiscriminate Force despite being small, and pilots a "Graceless" Purple Rafale with a Rose Emblem. Makabe Seijyurou noted that she has passionate eyes when he briefly met her.[1]
Bernadette is a Storm Vanguard, and an expert in this role. Unlike other Storm Vanguards, she uses 4 Assault Cannons at once in close range combat. She has a tendency to use indiscriminate force. Other than that, it can be assumed that she is more able and familiar with being a soldier than Ilfriede, at least when they first met.
The Day After[edit | edit source]
Episode 03[edit | edit source]
Bernadette is first seen on the Canadian side of the border during the Four Country Conference, now a Captain in the French army. She appears unenthusiastic, almost lethargic as she is told to remain on standby for new orders.
Later, she is a part of the 13th Tactical Dragoon Regiment's compliment that had taken over the NORAD facilities. As her subordinates argue over the extent Major Lea Gegranne was willing to go with the use of nuclear weaponry, she listened with barely hidden discomfort. Still quite apathetic to the world around her, she told them to pay attention to their surroundings lest they die.
After the Imperial Royal Guard begin to push the French back during the battle, Bernadette is drawn away from her position to reinforce the line elsewhere. She is frustrated that her commanding officer cannot be reached as she believes the French needed to regroup.
After the nuclear weapon is launched, Bernadette orders her unit to immediately withdraw from the area. Despite her subordinates' complaining that it goes against their original plan to hunt down the retreating enemy, she argues that they needed to be flexible and that they had already won the battle by making the US/Japanese forces retreat.
Tactical Surface Fighters In Action (TSFIA)[edit | edit source]
Featured in :
- #23: The Euro Front #4: Fresh Breeze Strikes
- #28: The Euro Front #6: Fire Discipline
- #36: The Euro Front #8: Natural Born Gunslingers
History[edit | edit source]
- May 26th, 2000: Multinational Large Scale thinning operation for the Deutsch-Franzosische Brigade
- July 16th, 2000: Multinational Large Scale thinning operation for the Deutsch-Franzosische Brigade
- Early August 2000: Participates in the cross-national force and training cooperation (DANCCT) operations under the the callsign "Mullhouse 7", along with Ilfriede.
Gallery[edit | edit source]
Trivia[edit | edit source]
- "Quatre Quarts" is also the traditional name of pound cake in French.
- Has been compared to by fans to Taiga Aisaka from Toradora, and many other Tsundere-type characters.


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04 October, 2016
On October 04, 2016 by GaRf in things to consider before playing blackjack, what to think about before playing blackjack, why is playing blackjack a bad idea No comments
Why is playing blackjack at a casino a bad idea? on Quora
Thought people might be interested in checking out my answer. What do you think? Here is my reply:
"Are you trying to discourage a friend from playing Blackjack? I will imagine you're.
Thought people might be interested in checking out my answer. What do you think? Here is my reply:
"Are you trying to discourage a friend from playing Blackjack? I will imagine you're.
So listen here, pal, playing Blackjack is a real bad idea and let me tell you why. It's a gambling game which is simple to understand but hard to master. Even playing with a basic strategy guide on your phone you will have some hard time making difficult decisions on the table. When your money is at stake you may feel the sweat of hitting for another card. The chance to bust and go over 21 or for the dealer to beat you is there at each hand and your moves can help you win or lose.
In other words, that's excitement and stress you don't need. Moreso, you make the difficult decisions first and the dealer plays second. This gives the casino the advantage of allowing you to make mistakes when you play and bust - taking your money before the dealer has to draw any cards to bust himself.
So you're playing from a disadvantage at each turn and you're relying on luck even if you're very skilled.
So what did we learn here? That casino games are made to give the house profit and your luck is very important in playing the game. So many people who have never gambled are quick to point out and feel smug. In fact for most gamblers that's like saying the sky is blue. That should be basic knowledge for anyone contemplating to gamble his or her money. The thrill of gambling is there because you can lose your money.
I have played poker without betting money and it was the dullest game ever. And even in strip poker you bet something so that's not a counter-argument :)"
If you still want to learn how to play blackjack after reading all that you can do that under my article over here.
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