T. S. Eliot
|T. S. Eliot|
T. S. Eliot in 1934
|Born||Thomas Stearns Eliot
26 September 1888
St. Louis, Missouri, United States
|Died||4 January 1965
Kensington, London, England
|Occupation||Poet, dramatist, literary critic, and editor|
|Citizenship||American by birth; British from 1927|
|Education||AB in philosophy|
|Alma mater||Merton College, Oxford
|Notable work(s)||The Love Song of J. Alfred Prufrock (1915), The Waste Land (1922), Four Quartets (1944)|
|Notable award(s)||Nobel Prize in Literature (1948), Order of Merit (1948)|
|Spouse(s)||Vivienne Haigh-Wood (1915–1947); Esmé Valerie Fletcher (1957–death)|
Thomas Stearns Eliot OM (26 September 1888 – 4 January 1965) was an essayist,(随筆家) publisher,(出版業者,出版社,発行人,発行者,発行元) playwright,(劇作家,脚本家) literary and social critic and "one of the twentieth century's major poets." He was born in St. Louis, Missouri to an old Yankee family. However he emigrated((国外に)移住する) to England in 1914 (at age 25) and was naturalised as a British subject in 1927 at age 39.
Eliot attracted widespread attention for his poem The Love Song of J. Alfred Prufrock (1915), which is seen as a masterpiece(傑作,名人芸) of the Modernist movement. It was followed by some of the best-known poems in the English language, including The Waste Land (1922), The Hollow Men (1925), Ash Wednesday (1930) and Four Quartets (1945). He is also known for his seven plays, particularly Murder in the Cathedral (1935). He was awarded the Nobel Prize in Literature in 1948, "for his outstanding, pioneer contribution to present-day poetry."
- 1 Life
- 2 Poetry
- 3 Plays
- 4 Literary criticism
- 5 Critical reception
- 6 Works
- 7 Notes
- 8 Further reading
- 9 External links
Early life and education
Eliot was born into the Eliot family, a Boston Brahmin family with roots in England and New England. T.S. Eliot's grandfather William Greenleaf Eliot had moved to St. Louis, Missouri in order to establish a Unitarian Church there. His father Henry Ware Eliot (1843–1919) was a successful businessman, president and treasurer(会計係,出納係,会計担当者,出納官) of the Hydraulic-Press Brick Company in St. Louis; his mother Charlotte Champe Stearns (1843–1929) wrote poetry and was a social worker, a new profession in the early twentieth century. Eliot was the last of six surviving children; his parents were both 44 years old when he was born. His four sisters were between eleven and nineteen years older; his brother was eight years older. Known to family and friends as Tom, he was the namesake((ある人の)名をもらった人,同名の者(物)) of his maternal(母らしい,母の,母方の) grandfather Thomas Stearns.
Several factors are responsible for Eliot's infatuation(夢中,のぼせあがり,心酔,夢中にさせるもの) with literature during his childhood. First, Eliot had to overcome physical limitations as a child. Struggling from a congenital(先天的な,生来の) double inguinal hernia(【病名】ヘルニア,脱腸), Eliot could not participate(1.参加する,加わる,の気味がある,2.父親的温情主義,参加する) in many physical activities and thus was prevented from interacting(相互に作用[交流]する,互いに影響し合う) socially with his peers.(じっと見る,凝視する,★自動詞で,たいていinやinto,throughなどを伴う) As Eliot was often isolated,(孤立させる,離す,隔てる,隔離する,絶縁する) his love of literature developed. Once he learned to read, the young boy immediately became obsessed(にとりつく,取り付く,(悪霊・妄想が)〜にとりつく,支配する) with books and was completely absorbed in tales depicting(描写する) savages,(野蛮人,無礼な,下品な,獰猛な,未開の,野蛮な,かみつく) the Wild West, or Mark Twain's thrill-seeking Tom Sawyer. In his memoir(1.回顧録,自伝,伝記,自叙伝,2.学術論文,研究論文,学会誌,3.メモ) of T.S. Eliot, Eliot's friend Robert Sencourt comments that young Eliot "would often curl up in the window-seat behind an enormous book, setting the drug of dreams against the pain of living." Secondly, Eliot also credited his hometown with fuelling 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, 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." Thus, from the onset,(襲撃,攻撃,始まり,着手,手始め) literature was an essential part of Eliot's childhood and both his disability(障害,身体障害) and location influenced him.
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 fourteen 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 first published poem, "A Fable For Feasters", was written as a school exercise and was published in the Smith Academy Record in February 1905. Also published there in April 1905 was his oldest surviving poem in manuscript,(原稿,写本,手書き) an untitled lyric,(竪琴の伴奏にあわせた,叙情的な,叙情の,歌の,叙情詩,歌詞,叙事詩,軽快な柔らかい声の) later revised(訂正する,変える,修正する,改正する,改訂する,再校刷り) and reprinted(1.再版する,翻刻する,重版する,2.再版,重版,増刷) as "Song" in The Harvard Advocate, Harvard University's student magazine. He also published three short stories in 1905, "Birds of Prey", "A Tale of a Whale" and "The Man Who Was King". The last mentioned story significantly(きわめて,意味深く,意味ありげに) reflects his exploration of Igorot Village while visiting the 1904 World's Fair of St. Louis. Such a link with primitive people importantly antedates(実際よりも早い日付けにする) his anthropological((No gloss)) studies at Harvard.
Following graduation, Eliot attended Milton Academy in Massachusetts for a preparatory(入学準備の,準備の,予備となる,予備の,進学準備の) year, where he met Scofield Thayer, who would later publish The Waste Land. He studied philosophy at Harvard College from 1906 to 1909, earning his bachelor's(1.独身の男性,独身の男,独身男性,2.学士(号)) degree after three years, instead of the usual four. Frank Kermode writes that the most important moment of Eliot's undergraduate(大学生,学部学生の) career was in 1908, when he discovered Arthur Symons's The 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(《仏語》恋愛,浮気) jaunes, a work that affected the course of Eliot's life. The Harvard Advocate published some of his poems, and he became lifelong friends with Conrad Aiken, the American novelist.
After working(作業の,実用的な,働くこと,労働,働く,作業用の) as a philosophy assistant at Harvard from 1909 to 1910, Eliot moved to Paris, where from 1910 to 1911, he studied philosophy at the Sorbonne. He attended lectures by Henri Bergson and read poetry with Alain-Fournier. From 1911 to 1914, he was back at Harvard studying Indian philosophy and Sanskrit. Eliot was awarded a scholarship to Merton College, Oxford in 1914. He first 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(ひどく嫌う,ぞっとするほど嫌う,拒否する) the Americanization of Oxford". It was defeated by two votes, after Eliot reminded the students how much they owed American culture.
Eliot wrote to Conrad Aiken on New Year's Eve 1914: "I hate university towns and university people, who are the same everywhere, with pregnant(妊娠している,創意に富んだ,妊娠した,懐妊した,重大な結果をはらむ,満ちている,多産の,満ちた,示唆的な,賢明な) wives, sprawling(1.ばらばらに広がる,だらしなく伸びる,不規則に広がる,ぶざまに手足を投げ出して座るす,大の字に寝そべる,2.不規則に伸びること,広がること,3.スプロール現象(住宅などが無秩序に広がる現象)) children, many books and hideous(恐ろしいほどの,おぞましい(extremely ugly),見るも恐ろしい,ぞっとする,忌まわしい,胸が悪くなる,ぞっとするような) pictures on the walls ... Oxford is very pretty, but I don't(1.《古語》(衣服などを)着る,身に付ける,(帽子などを)かぶる,2.(特にOxford, Cambridge大学でcollegeの)学監(head),指導教官(tutor),特別研究員(fellow),スペインの貴族[紳士],スペイン人,名士,偉人 / Policemen don gas masks and protective clothing.) like to be dead." Escaping Oxford, Eliot actually spent much of his time in London. This city had a monumental(堂々とした,不朽の,重要な,途方もない,墓の,記念の) and life-altering impact on Eliot for multiple(複合の,倍数の,複式の,複合的な,倍数,集合性の,多様な) reasons, the most significant of which was his introduction to the influential literary figure Ezra Pound. A connection through Aiken resulted in an arranged meeting and on 22 September 1914, Eliot paid a visit to Pound's flat. Pound instantly deemed(意見をもつ,思う,判断する) Eliot "worth watching" and was crucial to Eliot's beginning career as a poet as he is credited with promoting Eliot through social events and literary gatherings.(集まること,集会,ギャザー) Thus, according to biographer(伝記作家) John Worthen, during his time in England Eliot "was seeing as little of Oxford as possible". He was instead spending long periods of time in London, in the company of Ezra Pound and "some of the modern artists whom the war has so far spared... It was Pound who helped most, introducing him everywhere." In the end, Eliot did not settle at Merton, and left after a year. In 1915 he taught English at Birkbeck, University of London.
By 1916, he had completed a doctoral((No gloss)) dissertation(論文,学位論文,学術論文) for Harvard on Knowledge and Experience in the Philosophy of F. H. Bradley, but he failed to return for the viva voce exam.(examinationの略)
In a letter to Aiken late in December 1914, Eliot, aged 26, wrote, "I am very dependent upon women (I mean female society)." Less than four months later, Thayer introduced Eliot to Vivienne Haigh-Wood, a Cambridge governess(女性家庭教師). They were married at Hampstead Register Office on 26 June 1915.
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. The 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((誰かが悪いことをした[犯罪を犯した]という十分な証拠のない)主張,申し立て,陳述◆通常法律用語として用いられる) were never confirmed.
The marriage was markedly(目に見えて) unhappy, in part because of Vivienne's health issues. In a letter addressed to Ezra Pound, she covers an extensive(1.広大な,大規模な,広範囲の,広範囲にわたる,幅広い,多量の,2.徹底的な) list of her symptoms,(徴候,柱,兆候,症状,症候,兆し) which included a habitually((No gloss)) high temperature, fatigue,(1.疲労,雑役,2.疲労する,疲れさせる) insomnia,(不眠(症),不眠症) migraines,(【病名】偏頭痛) and colitis.((No gloss)) This, coupled with apparent mental instability,((No gloss)) meant that she was often sent away by Eliot and her doctors for extended periods of time in the hope of improving her health, and as time went on, he became increasingly more detached(引き離す,取り外す,離す) from her. Their relationship became the subject of a 1984 play Tom & Viv, which in 1994 was adapted as a film.
In a private paper written in his sixties, 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."
Teaching, Lloyds, Faber and Faber
After leaving Merton, Eliot worked as a schoolteacher, most notably(明白に,著しく,特に) at Highgate School, a private school in London, where he taught French and Latin—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(作業の,実用的な,働くこと,労働,働く,作業用の) on foreign accounts. On a trip to Paris in August 1920 with the artist Wyndham Lewis, he met the writer James Joyce. Eliot said he found Joyce arrogant—Joyce(傲慢な(haughty),横柄な,尊大な) doubted Eliot's ability as a poet at the time—but the two soon became friends, with Eliot visiting Joyce whenever he was in Paris. Eliot and Wyndham Lewis also maintained a close friendship, leading to Lewis's later making his well-known portrait painting of Eliot in 1938.
Charles Whibley recommended T.S. Eliot to Geoffrey Faber. In 1925 Eliot left Lloyds to join the publishing firm Faber and Gwyer, later Faber and Faber, where he remained for the rest of his career, eventually becoming a director. At Faber and Faber, he was responsible for publishing important English poets like W.H. Auden, Stephen Spender, and Ted Hughes.
Conversion to Anglicanism and British citizenship
On 29 June 1927, Eliot converted(変換させる,転換する,変換する,変える,を改装する,を改心させる,を転用する,変化させる,変化する,転向者,換算される,転向する) to Anglicanism from Unitarianism, and in November that year he took British citizenship(市民権). He became a warden(刑務所長,管理人,看守(長),監視人,番人,学長,校長,長官,教会委員,管理者,監督者,巡視員,理事,役員,監督保護する) of his parish(教区(民),郡,巡回区域,専門分野) church, Saint Stephen's, Gloucester Road, London, and a life member of the Society of King Charles the Martyr. He specifically(明確に,特に,とりわけ,具体的に,具体的には,特別に) identified as Anglo-Catholic, proclaiming himself "classicist in literature, royalist(王党派) in politics,(抜け目のない) and anglo-catholic [sic(《ラテン語》[副]原文のまま)] in religion". About thirty years later Eliot commented on his religious views that he combined "a Catholic cast of mind, a Calvinist heritage,(文化的遺産,遺産,相続財産) and a Puritanical temperament".(性格,激しい気性,気質) He also had wider spiritual interests, commenting that "I see the path of progress for modern man in his occupation with his own self, with his inner being" and citing(注意を喚起する,引用する,列挙する,特記する,〜を引き合いに出す,持ち出す) Goethe and Rudolf Steiner as exemplars of such a direction.
One of Eliot's biographers,(伝記作家) Peter Ackroyd, commented that "the purposes of [Eliot's conversion](転換,換算,兌換,転向,交換,改宗) were two-fold. One: the Church of England offered Eliot some hope for himself, and I think Eliot needed some resting place. But secondly, it attached Eliot to the English community and English culture."
Separation and remarriage
By 1932, Eliot had been contemplating(熟考する,凝視する,熟慮する,予期する,じっくり考える,じっと見つめる,直視する,意図する) 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 one 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. 
From 1946 to 1957, Eliot shared a flat with his friend John Davy Hayward, who collected and managed Eliot's papers, styling himself "Keeper of the Eliot Archive". Hayward also collected Eliot's pre-Prufrock verse, commercially((No gloss)) 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(遺言で譲る,後世に残す,遺贈する,(後世に)伝える,動産を遺譲する) to King's College, Cambridge, in 1965.
On 10 January 1957, at the age of 68, Eliot married Esmé Valerie Fletcher, who was 30. 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(事実上,実質的には,ほとんど) no one in attendance(出席) other than his wife's parents. Eliot had no children with either of his wives. 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. After Eliot's death, Valerie dedicated her time to preserving his legacy,(遺産,遺物,先祖伝来のもの,形見) by editing(編集する,編集の段階で削る) and annotating(注釈をつける) The Letters of T. S. Eliot and a facsimile(ファクシミリ(で送る),複写(する),複製,模写,ファックス;略:FAX) of the draft of The Waste Land. Valerie Eliot died on 9 November 2012 at her home in London.
Death and honours
For many years Eliot had suffered from lung-related health problems including bronchitis(【病名】気管支炎) and tachycardia caused by heavy smoking.[citation(引用(quotation, reference)) needed] He died of emphysema((No gloss)) at his home in Kensington in London, on 4 January 1965, and was cremated(火葬にする) at Golders Green Crematorium. In accordance(一致,授与,調和) with his wishes, his ashes were taken to St. Michael's Church in East Coker, the village in Somerset from which his Eliot ancestors had emigrated((国外に)移住する) to America. A wall plaque(額,飾り版,斑,歯垢,血小板) commemorates(記念する,祝う) him with a quotation(見積書,引用,相場,引用すること,引用文,時価,見積り) from his poem "East Coker", "In my beginning is my end. In my end is my beginning."
In 1967, on the second anniversary of his death, Eliot was commemorated(記念する,祝う) by the installation((取り付けられた)装置,設備,軍事施設,基地,就任) of a large stone in the floor of Poets' Corner in London's Westminster Abbey. The stone, cut by designer Reynolds Stone, is inscribed(にしるす,記入する,(碑文などを)刻む,刻み込む,記す) with his life dates, his Order of Merit, and a quotation(見積書,引用,相場,引用すること,引用文,時価,見積り) from his poem "Little Gidding", "the communication / of the dead is tongued with fire beyond / the language of the living."
For a poet of his stature,(1.身長,2.卓越,成長,卓越,偉大さ,高さ,身長) Eliot produced a relatively small number of poems. He was aware of this even 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."
Typically, Eliot first published his poems individually(個々別々に,個々に,個性的に) in periodicals(定期刊行出版物,定期刊行の,周期的な,定期的な,定期刊行物,雑誌) 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(1.更新する,2.<人・組織などに>最新の情報を与える,3.最新のものにすること,最新情報,最新版,4.最新の,最新式の / Nesweek or Time will update you on international affairs.) 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((No gloss)) published in 1967 and consisting mainly of poems published between 1907 and 1910 in The Harvard Advocate, and Inventions of the March Hare: Poems 1909–1917, material Eliot never intended to have published, which appeared posthumously((No gloss)) in 1997.
During an interview in 1959, Eliot said of his nationality and its role in his work: "I'd say that my poetry has obviously more in common with my distinguished contemporaries(1.現代の,最新の,当代の,同時代の,2.同時期の人,同年齢の人,同時代人) in America than with anything written in my generation in England. That I'm sure of. ... It wouldn't be what it is, and I imagine it wouldn't be so good; putting it as modestly as I can, it wouldn't be what it is 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,(情報源,みなもと,源,水源(地),出所,原因,出典) in its emotional springs, it comes from America."
It must also be acknowledged,(白状する,感謝する,認める,承認する,認めている) as Chinmoy Guha showed in his book Where the Dreams Cross: T S Eliot and French Poetry (Macmillan, 2011), that he was deeply influenced by French poets from Baudelaire to Paul Valéry. He himself wrote in his 1940 essay on W.B. Yeats: "The kind of poetry that I needed to teach me the use of my own voice did not exist in English at all; it was only to be found in French." (On Poetry and Poets, 1948)
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 twenty-two. 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(1.歓呼して迎える,歓迎する,2. (タクシーなどを)呼び止める,大声で呼びかける,3.(物・事)を(〜として)認める,雨,雹,あられが降る,あられのように降る,呼ぶ) for its derivations(誘導,【文法】派生,起源) of the nineteenth 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(悲しむ,嘆く,〜を悲しむ,悔やむ,嘆き,悲嘆,嘆き悲しむ) his physical and intellectual inertia,(慣性,惰性,不活発,ものぐさ,惰力) the lost opportunities in his life and lack of spiritual progress, with the recurrent(再発する,反復) theme(テーマ,主題) of carnal(肉体の,肉感的な,肉欲的な,現世的な,浮世の) love unattained. Critical opinion is divided as to whether the narrator(ナレーター) leaves his residence during the course of the narration. The locations described can be interpreted either as actual physical experiences, mental recollections,(思い出,記憶,想起,追憶,回想,記憶力) or as symbolic(象徴主義の,象徴的な,記号による) images from the unconscious(1.〜を知らない,〜に気づかない,2.意識(正気)を失った,意識不明の,気絶した,3.知らず知らずの,何気なく行動した,何気なく口にした,自覚しない,うっかり出た,4.【心理】無意識の,5.[通例 the 〜]【心理】無意識,無意識,気付いていない,無意識の) mind, as, for example, in the refrain(差し控える,差控える,断つ,抑制する,謹む,こらえる,やめる,我慢する) "In the room the women come and go".
The poem's structure was heavily influenced by Eliot's extensive(1.広大な,大規模な,広範囲の,広範囲にわたる,幅広い,多量の,2.徹底的な) reading of Dante and refers to a number of literary works, including Hamlet and those of the French Symbolists. Its reception in London can be gauged(測る,標準寸法,規格,尺度,計器,レールの軌間,ゲージ,判断基準,基準) from an unsigned review in The Times Literary Supplement on 21 June 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."
The Waste Land
In October 1922, Eliot published The Waste Land in The Criterion. Eliot's dedication(献身すること,献身,献呈の辞,献呈式,奉納) to il miglior fabbro ("the better craftsman")(職人) refers to Ezra Pound's significant hand in editing(編集する,編集の段階で削る) and reshaping the poem from a longer Eliot manuscript(原稿,写本,手書き) to the shortened version(見解,翻訳,訳文,意見,説明,変形,異形,訳書,バージョン) that appears in publication.
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.(無秩序,混乱,の秩序を乱す,不調,乱雑,不規則,騒動,混乱させる) The poem is often read as a representation(説明,代表,表示,表現,描写,肖像,絵画,代理,上演,演出,想像) of the disillusionment of the post-war generation. Before the poem's publication as a book in December 1922, Eliot distanced himself from its vision of despair. On 15 November 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(覆い隠す,見えなくする,世に知られない,人目に付かない,はっきりとしない,ぼんやりした,あいまいな,へんぴな,身分の低い,薄暗い,暗い,隠す,不明瞭な,無名の) nature—its slippage((No gloss)) between satire(風刺,皮肉,当てこすり) and prophecy;(予言的能力,予言,お告げ,天啓,預言) its abrupt changes of speaker, location, and time. This structural(構造(上)の,構造的な) complexity(複雑さ) is one of the reasons that the poem has become a touchstone of modern literature, a poetic(詩の,詩的な,詩のような,詩人の,創造的な) counterpart(よく似た物,写し,相当物,対の片方,同資格者) to a novel published in the same year, James Joyce's Ulysses.
The Hollow Men
The Hollow Men appeared in 1925. For the critic Edmund Wilson, it marked "The nadir(天底,どん底) of the phase(局面,相,段階,1つの姿,面,位相,を段階的に計画する,段階的に計画する,段階的に導入する) of despair and desolation(荒らすこと,荒廃,荒涼とした場所,荒地,廃墟) given such effective expression in The Waste Land." It is Eliot's major poem of the late 1920s. Similar to Eliot's other works, its themes(テーマ,主題) are overlapping(1.一部重ね合わせる,一部重なり合う,2.重複,オーバーラップ) and fragmentary. Post-war Europe under the Treaty of Versailles (which Eliot despised), the difficulty of hope and religious conversion,(転換,換算,兌換,転向,交換,改宗) Eliot's failed marriage.
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(負債がある,借金がある) to Dante as anything else in Eliot's early work, to say little of the modern English mythology—the(神話学,神話(集)) "Old Guy Fawkes" of the Gunpowder Plot—or the colonial and agrarian(土地の,農業の,農地の,野生の,土地の所有権の,農民の,農村生活の,農地改革論者) mythos of Joseph Conrad and James George Frazer, which, at least for reasons of textual history, echo in The Waste Land. The "continuous parallel between contemporaneity and antiquity"(古代) that is so characteristic of his mythical(神話的な,神話の) method remained in fine form. The Hollow Men contains some of Eliot's most famous lines, notably(明白に,著しく,特に) its conclusion:
This is the way the world ends
Not with a bang(1.スリル,興奮,2.バンと音を立てる,バンと音を立てる,がんがん演奏する,ひどく損傷する,ちょうど) but a whimper.(1.(犬が)クンクン鳴く,2.泣き声で言う,しくしく泣く,ぶつぶつ不平をいう,泣き声で言う,(犬が)クンクン鳴く)
Ash-Wednesday is the first long poem written by Eliot after his 1927 conversion(転換,換算,兌換,転向,交換,改宗) to Anglicanism. Published in 1930, it deals with the struggle that ensues(続く,あとで起こる,あとに続く,結果として起こる,続いて起こる / Every day thousand of subway trains transport about 7.5 million commuters, all keeping within seconds of their schedules, But there is margin for error, and chaos can ensue if the system is interrupted for any reason. -Asiaweek(March '95)) when one who has lacked faith acquires it. Sometimes referred to as Eliot's "conversion poem", it is richly but ambiguously allusive,(暗示的な) and deals with the aspiration(熱望(strong desire),野心,抱負,向上心,大志,志望,呼吸,帯気) to move from spiritual barrenness to hope for human salvation(救世(主),救済,魂の救済,救助,救い,救済者,救済手段). Eliot's style of writing in Ash-Wednesday showed a marked shift from the poetry he had written prior(前の,先の,より重要な,優先する,小修道院長,大修道院副院長) to his 1927 conversion,(転換,換算,兌換,転向,交換,改宗) and his post-conversion style would continue in a similar vein.(調子,静脈,血管,葉脈,木目,鉱脈,地下水脈,筋をつける,気質) His style was to become less ironic,(皮肉の好きな,皮肉な,反語の,反語的な,皮肉を言う) and the poems would no longer be populated(に人を居住させる,住む) by multiple(複合の,倍数の,複式の,複合的な,倍数,集合性の,多様な) characters in dialogue.(対話(する),会話体にする) His subject matter would also become more focused on Eliot's spiritual concerns and his Christian faith.
Many critics were particularly enthusiastic about Ash-Wednesday. Edwin Muir maintained that it is one of the most moving poems Eliot wrote, and perhaps the "most perfect", though it was not well received by everyone. The poem's groundwork(土台,基礎) of orthodox(正統派の,ユダヤ教正統派の,伝統的な,正統の,ギリシャ正教の,認められた) Christianity discomfited many of the more secular(俗人の,世俗の,趨勢の,俗人,教区僧,世俗的な) literati.
Old Possum's Book of Practical Cats
In 1939, 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.
Eliot regarded Four Quartets as his masterpiece,(傑作,名人芸) and it is the work that led to his being awarded the Nobel Prize in Literature. 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 characterisation, each poem includes meditations(めい想,瞑想,熟慮) 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 is a meditative poem that begins with the narrator(ナレーター) trying to focus on the present moment while walking through a garden, focusing on images and sounds like the bird, the roses, clouds, and an empty pool. The narrator's(ナレーター) meditation(めい想,瞑想,熟慮) leads him/her to reach "the still point" in which he doesn't try to get anywhere or to experience place and/or time, instead experiencing "a grace of sense". In the final section, the narrator(ナレーター) contemplates(熟考する,凝視する,熟慮する,予期する,じっくり考える,じっと見つめる,直視する,意図する) the arts ("Words" and "music") as they relate to time. The narrator(ナレーター) focuses particularly on the poet's art of manipulating(操作する,巧みに扱う,操る,ごまかす,触診する) "Words [which] strain, / Crack and sometimes break, under the burden [of time], under the tension, slip, slide, perish, decay with imprecision, [and] will not stay in place, / Will not stay still." By comparison, the narrator(ナレーター) concludes that "Love is itself unmoving, / Only the cause and end of movement, / Timeless, and undesiring."
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."(和解させる,仲直りさせる,に甘んじる,満足させる,を調停する,諦めさせる,承諾させる,折り合いをつける / We all live very confortably, everything works smoothly, we are reconcilsed with our neighboring countries. That's something we should be proud of. But when we go abroad, we Germans, with all that history, are shy; we make ourselves small and stay in the background. -Newsweek '95)
Little Gidding (the element of fire) is the most anthologised of the Quartets. Eliot's experiences as an air raid(1.急襲,引き抜き,侵略,奇襲,襲撃,手入れ,不意の侵入,2.かき乱す,急襲する,襲撃する) warden(刑務所長,管理人,看守(長),監視人,番人,学長,校長,長官,教会委員,管理者,監督者,巡視員,理事,役員,監督保護する) 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,(生気,活気) 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(断言) of Julian of Norwich: "All shall be well and / All manner of thing shall be well."
The Four Quartets cannot((No gloss)) be understood without reference(問い合わせ,参照,参考,出典,指示,言及,論及,紹介,証明書,保証書,関連,関係,回付,参考文献,委託,参考資料,照会,照会先) to Christian thought, traditions, and history. Eliot draws upon the theology,(神学) art, symbolism(象徴主義) and language of such figures as Dante, and mystics(神秘主義者,秘伝の,神秘的な,秘教の) 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(不可避的に,必然的に,必ず,確かに,当然のこと) leads us home all point to the pilgrim's(巡礼者,巡礼の,巡礼する,流浪する) path along the road of sanctification.
With the important exception of Four Quartets, Eliot directed much of his creative energies after Ash Wednesday to writing plays in verse, mostly comedies or plays with redemptive(買い戻しの,質受けの,償還の,贖いの) endings. He was long a critic and admirer of Elizabethan and Jacobean verse drama; witness his allusions(ほのめかし,間接的な言及) 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(役に立つこと,役に立つもの,【コンピュータ】ユーティリティ,ユーティリティー,有用性) . . . . 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;((No gloss)) and the theatre((No gloss)) is the best place in which to do it."
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, using some of the rhythms of early jazz. The play featured "Sweeney", a character who had appeared in a number of his poems. Although Eliot did not finish the play, he did publish two scenes from the piece. These scenes, titled 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.
A pageant(ページェント,野外劇,華麗なもの,虚飾,誇示,出し物) 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((No gloss)) effort; Eliot accepted credit only for the authorship(著述業) of one scene and the choruses. George Bell, the Bishop of Chichester, had been instrumental(1.計測(計器)による,2.役に立つ,手段となる,3.楽器の,器械の,器楽の,4.【文法】助格(の)) in connecting Eliot with producer E. Martin Browne for the production of The Rock, and later commissioned Eliot to write another play for the Canterbury Festival in 1935. This one, Murder in the Cathedral, concerning the death of the martyr,(殉教者,犠牲者,絶えず苦しむ人,殺す) Thomas Becket, was more under Eliot's control. Eliot biographer(伝記作家) Peter Ackroyd comments that "for [Eliot], Murder in the Cathedral and succeeding verse plays offered a double advantage; it allowed him to practice poetry but it also offered a convenient home for his religious sensibility."(感受性,感性,鋭敏さ,敏感さ) After this, he worked on more "commercial" plays for more general audiences: The Family Reunion (1939), The Cocktail Party (1949), The Confidential Clerk, (1953) and The Elder Statesman (1958). The Broadway production in New York of The Cocktail Party received the 1950 Tony Award for Best Play.
Regarding his method of playwriting, Eliot explained, "If I set out to write a play, I start by an act of choice. I settle upon a particular emotional situation, out of which characters and a plot will emerge. And then lines of poetry may come into being: not from the original impulse but from a secondary stimulation of the unconscious(1.〜を知らない,〜に気づかない,2.意識(正気)を失った,意識不明の,気絶した,3.知らず知らずの,何気なく行動した,何気なく口にした,自覚しない,うっかり出た,4.【心理】無意識の,5.[通例 the 〜]【心理】無意識,無意識,気付いていない,無意識の) mind."
Eliot also made significant contributions to the field of literary criticism, strongly influencing the school of New Criticism. While somewhat self-deprecating and minimising of his work—he once said his criticism was merely a "by-product" of his "private poetry-workshop"—Eliot is considered by some to be one of the greatest literary critics of the twentieth 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(読み違える,読み違えた) him. He is a very penetrating(1.突き通す,を貫通する,貫く,に染み込む,入る,理解できる,見抜く,仮釈放(する),2.執行猶予,合い言葉) influence, perhaps not unlike(似ていない,異なっている) the east wind."
In his critical essay "Tradition and the Individual Talent", Eliot argues that art must be understood not in a vacuum,(真空,真空地帯,空所,真空の,を掃除機で掃除する,掃除機をかける,掃除機で掃除する,・・を掃除機で掃除する) but in the context of previous pieces of art. "In a peculiar sense [an artist or poet] ... must inevitably(不可避的に,必然的に,必ず,確かに,当然のこと) be judged by the standards of the past." This essay was an 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(概念,構想,コンセプト) on many of his works, especially on his long-poem The Waste Land.
Also important to New Criticism was the idea—as articulated(1.歯切れの良い,発音の明晰な,2.(考え,ものごとを)はっきり述べる,(動・形)はっきり発音する,明瞭に表現する,歯切れの良い) in Eliot's essay "Hamlet and His Problems"—of an "objective(1.目標,目的,2.客観的な,客観の,実在の,目的の,事実に基づく,3.対物レンズ,4.【文法】目的格(の),目的語をとる) correlative(相関関係のある)", which posits(仮定する) a connection among the words of the text and events, states of mind, and experiences. This notion concedes((真実・正当だと)認める,与える,譲歩する,譲与する,譲る) 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((必然的)結果,推論,系,自然の結果) of a work.
More generally, New Critics took a cue(手掛り,合図) from Eliot in regard to his "'classical' ideals and his religious thought; his attention to the poetry and drama of the early seventeenth century; his deprecation of the Romantics, especially Shelley; his proposition(1.提案,事柄,提議,建議,計画,プラン,定理,命題,申し込み,誘い,2.言い寄る) 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'."
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,(官能的な,好色な) while at the same time infusing((思想などを)吹き込む,奮い立たせる) 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",(感受性,感性,鋭敏さ,敏感さ) which is considered by some to mean the same thing as the term "metaphysical".
His 1922 poem The Waste Land 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(1.目標,目的,2.客観的な,客観の,実在の,目的の,事実に基づく,3.対物レンズ,4.【文法】目的格(の),目的語をとる) historical understanding of it.
Late in his career, Eliot focused much of his creative energy on writing for the theatre,((No gloss)) and some of his critical writing, in essays like "Poetry and Drama," "Hamlet and his Problems," and "The Possibility of a Poetic Drama," focused on the aesthetics((芸術の)美の,美学の,審美的な,審美眼をもった,趣味のよい,芸術的な,美的な) of writing drama in verse.
Responses to his poetry
The writer Ronald Bush notes that Eliot's early poems like "The Love Song of J. Alfred Prufrock", "Portrait of a Lady", "La Figlia Che Piange", "Preludes", and "Rhapsody on a Windy Night" had "[an] effect [that] was both unique and compelling, and their assurance(保険,確かさ,確実さ,保証,請合い,言質,安定,安泰,確信,自信) staggered [Eliot's] contemporaries(1.現代の,最新の,当代の,同時代の,2.同時期の人,同年齢の人,同時代人) who were privileged(許される,特権的な) to read them in manuscript.(原稿,写本,手書き) [Conrad] Aiken, for example, marveled at 'how sharp and complete and sui generis the whole thing was, from the outset.(手始め,発端,初め) The wholeness is there, from the very beginning.'"
The initial critical response to Eliot's "The Waste Land" was mixed. Ronald Bush notes that "'The Waste Land' was at first correctly perceived as a work of jazz-like syncopation—and, like 1920s jazz, essentially iconoclastic."(聖像破壊の,因襲打破の) 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(秘密の,難解な,奥義に達した,深遠な) and willfully difficult. Edmund Wilson, being one of the critics who praised Eliot, called him "one of our only authentic(信頼できる,信憑性のある,本物の,誠実な) poets". Wilson also pointed out some of Eliot's weaknesses as a poet. In regard to "The Waste Land", Wilson admits its flaws(割れ目,欠点,傷,ひび,きず,弱点,欠陥,不備) ("its lack of structural(構造(上)の,構造的な) unity"), but concluded, "I doubt whether there is a single other poem of equal length by a contemporary(1.現代の,最新の,当代の,同時代の,2.同時期の人,同年齢の人,同時代人) American which displays so high and so varied a mastery(1.支配力,支配,優勢,優越,2.熟達,精通,専門的知識[技能]) of English verse."
Charles Powell was negative in his criticism of Eliot, calling his poems incomprehensible.(理解できない) And the writers of Time magazine were similarly baffled(1.まごつかせる,くじく,挫折させる,迷わせる,2.挫折,調節板,防音壁) by a challenging poem like "The Waste Land". John Crowe Ransom wrote negative criticisms of Eliot's work but also had 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 and admitted that Eliot was a talented poet.
Addressing some of the common criticisms directed against "The Waste Land" at the time, Gilbert Seldes stated, "It seems at first sight remarkably disconnected(ばらばらにする,絶つ) and confused... [however] a closer view of the poem does((No gloss)) more than illuminate(明るくする,照らす,啓発する,解明する) the difficulties; it reveals the hidden form of the work, [and] indicates how each thing falls into place."
Following the publication of The Four Quartets, Eliot's reputation as a poet, as well as his influence in the academy,(専門学校,学士院,学会,協会,アカデミー) was at its peak. In an essay on Eliot published in 1989, the writer Cynthia Ozick refers to this peak of influence (from the 1940s through the early 1960s) as "the Age of Eliot" when Eliot "seemed pure zenith,(全盛,天頂,頂点,最高点,絶頂 / The righteous reign of Queen Victoria was when the joy of secret sex possibly reached its zenith and pornography proliferated.) a colossus, nothing less than a permanent luminary,((知的)指導者,有名人,(月・太陽など)発光体) fixed in the firmament like the sun and the moon". But during this post-war period, others, like Ronald Bush, observed that this time also marked the beginning of the decline in Eliot's literary influence:
As Eliot's conservative(1.(派・党などの)保守的な,古めかしい,慎重な,地味な,伝統的な,2.保守的な人) religious and political convictions began to seem less congenial(性分にあった,快適な,気の合った,同様の,気心のあった,好みにあった,好みの,相性がよい) in the postwar(戦後の) world, other readers reacted with suspicion to his assertions of authority, obvious in Four Quartets and implicit(絶対の,暗黙の,絶対的な,暗示されている) in the earlier poetry. The result, fueled by intermittent(断続的な) rediscovery of Eliot's occasional anti-Semitic((No gloss)) rhetoric,(【文法】レトリック) has been a progressive(進歩的な,進行する,漸進的な,連続的な,進歩する,発展する,【文法】進行形の,革新主義者,累進の,進行中の) downward revision(改訂,リビジョン,よくrevと略される,改正,改訂版,復習) of his once towering reputation.
Bush also notes that Eliot's reputation "slipped" significantly(きわめて,意味深く,意味ありげに) further after his death. He writes, "Sometimes regarded as too academic (William Carlos Williams's view), Eliot was also frequently criticized for a deadening((No gloss)) neoclassicism (as he himself—perhaps just as unfairly—had criticized Milton). However, the multifarious(多種多様の) tributes(貢ぎ物,贈り物,捧げ物,記念品,年貢,ささげ物,賛辞,証拠) from practicing poets of many schools published during his centenary in 1988 was a strong indication(あらわれ,表示,しるし,指摘,指示,印,兆候 / Although the Kinsey report revealed that nearly all men masturvate, it was still a dark deed in the early 1950s, and there had been no indication of its association with pictures. -Thy Neighbors Wife) of the intimidating(怖がらせる,脅かす) continued presence of his poetic(詩の,詩的な,詩のような,詩人の,創造的な) voice."
Although Eliot's poetry is not as influential as it once was, notable(注目に値する,著しい,著名な,名士,著名な事物) literary scholars, like Harold Bloom and Stephen Greenblatt, still acknowledge(白状する,感謝する,認める,承認する,認めている) that Eliot's poetry is central to the literary English canon.(1.《西》=canyon chili (con carne),ひき肉のチリシチュー(メキシコ料理),2.カノン,規範,規準,規範集,法規,規律,カノン) For instance, the editors of The Norton Anthology of English Literature write, "There is no disagreement(不一致) on [Eliot's] importance as one of the great renovators of the English poetry dialect,(方言) whose influence on a whole generation of poets, critics, and intellectuals generally was enormous. [However] his range as a poet [was] limited, and his interest in the great middle ground of human experience (as distinct from the extremes of saint and sinner)(罪人,罪を犯した人) [was] deficient."(欠けている,不十分な,不完全な) Despite this criticism, these scholars also acknowledge(白状する,感謝する,認める,承認する,認めている) "[Eliot's] poetic(詩の,詩的な,詩のような,詩人の,創造的な) cunning, his fine craftsmanship,(技能) his original accent, his historical and representative importance as the poet of the modern symbolist-Metaphysical tradition".
Allegations of anti-Semitism
The depiction(描画) of Jews in some of Eliot's poems has led several critics to accuse him of anti-Semitism((No gloss)). This case has been presented most forcefully in a study by Anthony Julius: T. S. Eliot, Anti-Semitism, and Literary Form (1996). In "Gerontion", Eliot writes, in the voice of the poem's elderly narrator,(ナレーター) "And the Jew squats(1.無断で居住する,(公有地や建物に)無断で居座る,2.,しゃがむ,うずくまる) on the window sill,(敷居,(柱の下の)土台,窓敷居) the owner [of my building] / Spawned in some estaminet of Antwerp." 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." Interpreting the line as an indirect comparison of Jews to rats, Julius writes, "The anti-Semitism((No gloss)) is unmistakable. It reaches out like a clear signal to the reader." Julius's viewpoint has been supported by literary critics such as Harold Bloom, Christopher Ricks, George Steiner, Tom Paulin and James Fenton.
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,(=coherency,1.(首尾)一貫性,2.調和,統一) "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."(好ましくない,望ましくない,不快な) Eliot never re-published this book/lecture.
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.((No gloss)) 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." In another review of Raine's 2006 book, the literary critic Terry Eagleton also questioned the validity of Raine's defence(弁護) of Eliot's character flaws(割れ目,欠点,傷,ひび,きず,弱点,欠陥,不備) as well as the entire basis for Raine's book, writing, "Why do critics feel a need to defend the authors they write on, like doting parents deaf to all criticism of their obnoxious(嫌いな,いやな) children? Eliot's well-earned reputation [as a poet] is established beyond all doubt, and making him out to be as unflawed as the Archangel Gabriel does((No gloss)) him no favours."
Eliot's influence extended beyond the English language. His work, in particular The Waste Land but also The Hollow Men and Ash Wednesday strongly influenced the poetry of two of the most significant post-War Irish language poets, Seán Ó Ríordáin and Máirtín Ó Díreáin as well as The Weekend of Dermot and Grace (1964) by Eoghan O Tuairisc. Eliot additionally(その上,さらに) influenced, among many others, Virginia Woolf, Ezra Pound, Hart Crane, Allen Tate, Ted Hughes, Geoffrey Hill, Seamus Heaney, and Russell Kirk, and James Joyce[dubious(あいまいな,半信半疑の,うさんくさい,怪しげな,怪しい,心もとない,疑わしい,曖昧な,はっきりしない,心が決まらない,分からない) ] .
- Order of Merit (awarded by King George VI (United Kingdom), 1948)
- Nobel Prize in Literature "for his outstanding, pioneer contribution to present-day poetry" (Stockholm, 1948)
- 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)
- Thirteen honorary doctorates (including Oxford, Cambridge, the Sorbonne, and Harvard)
- Tony Award in 1950 for Best Play: The 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, named after him
- Celebrated on commemorative postage stamps
- A star on the St. Louis Walk of Fame
- "A Fable for Feasters" (1905)
- "[A Lyric:]'If Time and Space as Sages say'" (1905)
- "[At Graduation 1905]" (1905)
- "Song:'If space and time,as sages say'" (1907)
- "Before Morning" (1908)
- "Circe's Palace" (1908)
- "Song: 'When we came home across the hill'" (1909)
- "On a Portrait" (1909)
- "Nocturne" (1909)
- "Humoresque" (1910)
- "Spleen" (1910)
- "[Class]Ode" (1910)
- Prufrock and Other Observations (1917)
- Poems (1920)
- The Waste Land (1922)
- The Hollow Men (1925)
- Ariel Poems (1927–1954)
- Ash Wednesday (1930)
- Coriolan (1931)
- Old Possum's Book of Practical Cats (1939)
- The Marching Song of the Pollicle Dogs and Billy M'Caw: The Remarkable Parrot (1939) in The Queen's Book of the Red Cross
- Four Quartets (1945)
- Sweeney Agonistes (published in 1926, first performed in 1934)
- The Rock (1934)
- Murder in the Cathedral (1935)
- The Family Reunion (1939)
- The Cocktail Party (1949)
- The Confidential Clerk (1953)
- The Elder Statesman (first performed in 1958, published in 1959)
- Christianity & Culture (1939, 1948)
- The Second-Order Mind (1920)
- Tradition and the Individual Talent (1920)
- The Sacred Wood: Essays on Poetry and Criticism (1920)
- Homage to John Dryden (1924)
- Shakespeare and the Stoicism of Seneca (1928)
- For Lancelot Andrewes (1928)
- Dante (1929)
- Selected Essays, 1917–1932 (1932)
- The Use of Poetry and the Use of Criticism (1933)
- After Strange Gods (1934)
- Elizabethan Essays (1934)
- Essays Ancient and Modern (1936)
- The Idea of a Christian Society (1939)
- A Choice of Kipling's Verse (1941) made by Eliot, with an essay on Rudyard Kipling, London, Faber and Faber.
- Notes Towards the Definition of Culture (1948)
- Poetry and Drama (1951)
- The Three Voices of Poetry (1954)
- The Frontiers of Criticism (1956)
- On Poetry and Poets (1957)
- To Criticize the Critic (1965)
- The Waste Land: Facsimile Edition (1974)
- Inventions of the March Hare: Poems 1909–1917 (1996)
- Collected Poems, 1909–1962 (1963) online edition; also excerpt and text search
- Old Possum's Book of Practical Cats, Illustrated Edition (1982) excerpt and text search
- Selected Prose of T.S. Eliot edited by Frank Kermode (1975) excerpt and text search
- The Waste Land (Norton Critical Editions) edited by Michael North (2000) excerpt and text search
- Selected essays (1932); enlarged (1960)
- The letters of T. S. Eliot, edited by Valerie Eliot and Hugh Haughton, Volume 1: 1898–1922 (1988)
- The letters of T. S. Eliot, edited by Valerie Eliot and Hugh Haughton, Volume 2: 1923–1925 (2009)
- The letters of T. S. Eliot, edited by Valerie Eliot and Hugh Haughton, Volume 3: 1926–1927 (2012)
- The letters of T. S. Eliot, edited by Valerie Eliot and John Haffenden, Volume 4: 1928–1929 (2013)
- Bush, Ronald. "T.S. Eliot's Life and Career." American National Biography. Ed. John A Garraty and Mark C. Carnes. New York: Oxford University Press, 1999.
- Thomas Stearns Eliot, Encyclopaedia Britannica, accessed 7 November 2009.
- "The Nobel Prize in Literature 1948". Nobelprize.org. Nobel Media. Retrieved 26 April 2013.
- "The Nobel Prize in Literature 1948 – T.S. Eliot", Nobelprize.org, taken from Frenz, Horst (ed). Nobel Lectures, Literature 1901–1967. Elsevier Publishing Company, Amsterdam, 1969, accessed 6 March 2012.
- Ronald Bush, T.S. Eliot: the modernist in history, (New York, 1991), p. 72
- Worthen, John (2009). T.S. Eliot: A Short Biography. London: Haus Publishing. p. 9.
- Sencourt, Robert (1971). T.S. Eliot, A Memoir. London: Garnstone Limited. p. 18.
- 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 in St. Louis (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 29 November 2011.
- Gallup, Donald. T. S. Eliot: A Bibliography (A Revised and Extended Edition), Harcourt, Brace & World, New York, 1969.
- Eliot, T.S. Poems Written in Early Youth, John Davy Hayward, ed. Farrar, Straus and Giroux, New York, 1967
- Narita, Tatsushi,'The Young T. S. Eliot and Alien Cultures: His Philippine Interactions', The Review of English Studies, New Series, vol. 45, no. 180, 1994, pp. 523–525
- Narita, Tatsush, T. S. Eliot, The World Fair of St. Louis and "Autonomy", Nagoya: Kougaku Shuppan (2013), pp.9–104.
- Bush, Ronald, "The Presence of the Past: Ethnographic Thinking/ Literary Politics". In Prehistories of the Future, ed. Elzar Barkan and Ronald Bush, Stanford University Press,(1995), pp. 3–5; 25–31.
- Marsh, Alex and Elizabeth Daumer, "Pound and T. S. Eliot", American Literary Scholarship, 2005, 182.
- 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.
- Seymour-Jones, Carole. Painted Shadow: The Life of Vivienne Eliot, First Wife of T. S. Eliot, Knopf Publishing Group, p. 1.
- Worthen, John (2009). T.S. Eliot: A Short Biography. London: Haus Publishing. pp. 34–36.
- For a reading of the dissertation, see Brazeal, Gregory (Fall 2007). "The Alleged Pragmatism of T.S. Eliot". Philosophy & Literature 31 (1): 248–264. Retrieved 17 January 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.
- The Letters of T.S. Eliot: Volume 1, 1898–1922. London: Faber and Faber. 1988. p. 533.
- Eliot, T. S. The Letters of T. S. Eliot, Volume 1, 1898–192, p. xvii.
- Ellmann, Richard. James Joyce. pp. 492–495
- Kojecky, Roger (1972). T. S. Eliot's Social Criticism. Faber & Faber. p. 55. ISBN 0571096921.
- T.S. Eliot. Voices and Visions Series. New York Center of Visual History: PBS, 1988.
- plaque on interior wall of Saint Stephen's
- obituary notice in Church and King, Vol. XVII, No. 4, 28 February 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, 25 May 1936, Time
- Eliot, T.S. (1986). On Poetry and Poets. London: Faber & Faber. p. 209. ISBN 0571089836.
- Radio interview on September 26, 1959, Nordwestdeutscher Rundfunk, as cited in Wilson, Colin (1988). Beyond the Occult. London: Bantam Press. pp. 335–336.
- Seymour-Jones, Carole. Painted Shadow: A Life of Vivienne Eliot. Constable 2001, p. 561.
- "Vivienne suffered terribly each month from what we now would recognize as PMS.""A Tribute to Dr. Katharina Dalton". Retrieved 11 July 2014.
- Ronald Bush T. S. Eliot: The Modernist in History 1991 – Page 11 "Mary Trevelyan, then aged forty, was less important for Eliot's writing. Where Emily Hale and Vivienne were part of Eliot's private phantasmagoria, Mary Trevelyan played her part in what was essentially a public friendship. She was Eliot's escort for nearly twenty years until his second marriage in 1957. A brainy woman, with the bracing organizational energy of a Florence Nightingale, she propped the outer structure of Eliot's life, but for him she, too, represented .."
- Leon Surette The Modern Dilemma: Wallace Stevens, T.S. Eliot, and Humanism 2008 Page 343 "Later, sensible, efficient Mary Trevelyan served her long stint as support during the years of penitence. For her their friendship was a commitment; for Eliot quite peripheral. His passion for immortality was so commanding that it allowed him to ..."
- Santwana Haldar T.S. Eliot – A Twenty-first Century View 2005 Page xv "Details of Eliot's friendship with Emily Hale, who was very close to him in his Boston days and with Mary Trevelyan, who wanted to marry him and left a riveting memoir of Eliot's most inscrutable years of fame, shed new light on this period in ..."
- Gordon, Lyndall. T. S. Eliot: An Imperfect Life. Norton 1998, p. 455.
- Gordon, Jane. The University of Verse, The New York Times, 16 October 2005; Wesleyan University Press timeline, 1957
- Lawless, Jill (11 November 2012). "T.S. Eliot's widow Valerie Eliot dies at 86". Associated Press via Yahoo News. Retrieved 12 November 2012.
- "T. S. Eliot Blue Plaque". openplaques.org. Retrieved 23 November 2013.
- 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. Retrieved 2009-08-03.
- Hall, Donald (Spring–Summer 1959). "The Art of Poetry No. 1". The Paris Review. Retrieved 7 November 2009.
- Waugh, Arthur. The New Poetry, Quarterly Review, October 1916, citing the Times Literary Supplement 21 June 1917, no. 805, 299; Wagner, Erica (2001) "An eruption of fury", The Guardian, letters to the editor, 4 September 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.
- The letters of T. S. Eliot, Vol. 1, p. 596
- MacCabe, Colin. T. S. Eliot. Tavistock: Northcote House, 2006.
- Wilson, Edmund. "Review of Ash Wednesday", New Republic, 20 August 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. The Use of Poetry and the Use of Criticism, Harvard University Press, 1933 (penultimate paragraph)
- "Tradition and the Individual Talent. Eliot, T. S. 1920. ''The Sacred Wood''". Bartleby.com. 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. 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. 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. Retrieved 2009-08-03.
- "T. S. Eliot :: The Waste Land and criticism – ''Britannica Online Encyclopedia''". Britannica.com. 4 January 1965. Retrieved 2009-08-03.
- Bush, Ronald. "T.S. Eliot". American National Biography. Ed. John A Garraty and Mark C. Carnes. New York: Oxford University Press, 1999..
- Wilson, Edmund. "The Poetry of Drouth". The Dial 73. December 1922. 611-16.
- Powell, Charles. "So Much Waste Paper". Manchester Guardian. 31 October 1923.
- Time. 3 March 1923, 12.
- Ransom, John Crowe. "Waste Lands". New York Evening Post Literary Review. 14 July 1923. 825-26.
- Seldes, Gilbert. "T. S. Eliot". Nation. 6 December 1922. 614–616.
- Ozick, Cynthia. T.S. Eliot at 100. The New Yorker: November 20, 1989
- Bloom, Harold. The Western Canon: Books and Schools of the Ages. NY: Riverhead, 1995.
- Eds. Stephen Greenblatt, et al. The Norton Anthology of English Literature, Volume 2. "T.S. Eliot". W.W. Norton & Co.: NY, NY, 2000.
- The Norton Anthology of English Literature, Volume 2. "T.S. Eliot". W.W. Norton & Co.: NY, NY, 2000.
- 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 0-521-58673-9
- Eliot, T.S. "Gerontion". Collected Poems. Harcourt, 1963.
- Eliot, T.S. "Burbank with a Baedeker: Bleistein with a Cigar". Collected Poems. Harcourt, 1963.
- Bloom, Harold (7 May 2010). "The Jewish Question: British Anti-Semitism". The New York Times. Retrieved 9 April 2012.
- Dean, Paul (April 2007). "Academimic: on Craig Raine's T.S. Eliot". The New Criterion. Retrieved 7 June 2011.
- London Review of Books, 9 May 1996 
- Kirk, Russell. "T. S. Eliot on Literary Morals: On T. S. Eliot's After Strange Gods", Touchstone Magazine, volume 10, issue 4, Fall 1997.
- Eagleton, Terry. "Raine's Sterile Thunder". The Prospect Magazine. 22 March 2007.
- Irish Poetry
- T.S. Eliot
- When Joyce met TS Eliot
- "Poet T.S. Eliot Dies in London". This Day in History. Retrieved 16 February 2012.
- The three short stories published in the Smith Academy Record (1905) have never been recollected in any form and have virtually been neglected.
- As for a comparative study of this short story and Rudyard Kipling's "The Man Who Would Be King", see Tatsushi Narita, T. S. Eliot and his Youth as "A Literary Columbus" (Nagoya: Kougaku Shuppan, 2011), 21–30.
- Ackroyd, Peter. T. S. Eliot: A Life. (1984)
- 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.
- Asher, Kenneth T. S. Eliot and Ideology (1995)
- Bottum, Joseph, "What T. S. Eliot Almost Believed", First Things 55 (August/September 1995): 25-30.
- 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
- Brown, Alec. The Lyrical Impulse in Eliot's Poetry, Scrutinies vol. 2.
- Bush, Ronald. T. S. Eliot: A Study in Character and Style. (1984)
- Bush, Ronald, 'The Presence of the Past: Ethnographic Thinking/ Literary Politics'. In Prehistories of the Future, ed. Elzar Barkan and Ronald Bush, Stanford University Press. (1995).
- Crawford, Robert. The Savage and the City in the Work of T. S. Eliot. (1987).
- Christensen, Karen. "Dear Mrs. Eliot", The Guardian Review. (29 January 2005).
- 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.
- Forster, E. M. Essay on T. S. Eliot, in Life and Letters, June 1929.
- Gardner, Helen. The Art of T. S. Eliot. (1949)
- Gordon, Lyndall. T. S. Eliot: An Imperfect Life. (1998)
- Guha, Chinmoy. Where the Dreams Cross: T. S. Eliot and French Poetry. (2000, 2011)
- Harding, W. D. T. S. Eliot, 1925–1935, Scrutiny, September 1936: A Review.
- 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).
- Julius, Anthony. T. S. Eliot, Anti-Semitism, and Literary Form. Cambridge University Press (1995)
- Kenner, Hugh. The Invisible Poet: T. S. Eliot. (1969)
- ---, editor, T. S. Eliot: A Collection of Critical Essays, Prentice-Hall. (1962)
- Kirk, Russell Eliot and His Age: T. S, Eliot's Moral Imagination in the Twentieth Century. (Introduction by Benjamin G. Lockerd Jr.). Wilmington: Intercollegiate Studies Institute, Republication of the revised second edition, 2008.
- Lal, P. (Editor), T. S. Eliot: Homage from India: A Commemoration Volume of 55 Essays & Elegies, Writer's Workshop Calcutta, 1965.
- The Letters of T. S. Eliot. Ed. by Valerie Eliot. Vol. I, 1898–1922. San Diego [etc.] 1988. Vol. 2, 1923–1925. Edited by Valerie Eliot and Hugh Haughton, London, Faber, 2009. ISBN 978-0-571-14081-7
- Levy, William Turner and Victor Scherle. Affectionately, T. S. Eliot: The Story of a Friendship: 1947–1965. (1968).
- Matthews, T. S. Great Tom: Notes Towards the Definition of T. S. Eliot. (1973)
- Maxwell, D. E. S. The Poetry of T. S. Eliot, Routledge and Keagan Paul. (1960).
- Miller, James E., Jr. T. S. Eliot. The Making of an American Poet, 1888–1922. The Pennsylvania State University Press. 2005.
- North, Michael (ed.) The Waste Land (Norton Critical Editions). New York: W.W. Norton, 2000.
- 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)
- Schuchard, Ronald. Eliot's Dark Angel: Intersections of Life and Art. (1999).
- Scofield, Dr. Martin, "T.S. Eliot: The Poems", Cambridge University Press. (1988).
- Seferis, George. "Introduction to T. S. Eliot" in Modernism/modernity 16:1 ( January 2009), 146–60.
- Sencourt, Robert. T. S. Eliot: A Memoir. (1971)
- Seymour-Jones, Carole. Painted Shadow: A Life of Vivienne Eliot. (2001).
- Sinha, Arun Kumar and Vikram, Kumar. T. S. Eliot: An Intensive Study of Selected Poems, Spectrum Books Pvt. Ltd, New Delhi, (2005).
- Spender, Stephen. T. S. Eliot. (1975)
- Spurr, Barry, Anglo-Catholic in Religion: T. S. Eliot and Christianity, The Lutterworth Press (2009)
- Tate, Allen, editor. T. S. Eliot: The Man and His Work, First published in 1966 – republished by Penguin 1971.
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- Links to audio recordings of Eliot reading his work
- Works by or about T. S. Eliot in libraries (WorldCat catalog)
- An interview with Eliot: Donald Hall (Spring–Summer 1959). "T. S. Eliot, The Art of Poetry No. 1". Paris Review.
- Yale College Lecture on T.S. Eliot audio, video and full transcripts from Open Yale Courses