T.S. Eliot was an American-British poet, playwright, and literary critic born in 1888 in Missouri. Some of his most influential works include The Love Song of J. Alfred Prufrock, The Waste Land, and Four Quartets. Eliot's poetry was characterized by disjointed images and allusions to express the disillusionment of the post-WWI period. He received the Nobel Prize for Literature in 1948 for works that helped shape modern literature.
Sir Philip Sidney (30 November 1554 – 17 October 1586) was an English poet, courtier, scholar, and soldier, who is remembered as one of the most prominent figures of the Elizabethan age. His works include Astrophel and Stella, The Defence of Poesy (also known as The Defence of Poetry or An Apology for Poetry), and The Countess of Pembroke's Arcadia.
His artistic contacts were more peaceful and more significant for his lasting fame. During his absence from court, he wrote Astrophel and Stella and the first draft of The Arcadia and The Defence of Poesy. Somewhat earlier, he had met Edmund Spenser, who dedicated The Shepheardes Calender to him. Other literary contacts included membership, along with his friends and fellow poets Fulke Greville, Edward Dyer, Edmund Spenser and Gabriel Harvey, of the (possibly fictitious) 'Areopagus', a humanist endeavour to classicise English verse.
Both through his family heritage and his personal experience (he was in Walsingham's house in Paris during the St. Bartholomew's Day Massacre), Sidney was a keenly militant Protestant. In the 1570s, he had persuaded John Casimir to consider proposals for a united Protestant effort against the Roman Catholic Church and Spain. In the early 1580s, he argued unsuccessfully for an assault on Spain itself. Promoted General of Horse in 1583,[1] his enthusiasm for the Protestant struggle was given a free rein when he was appointed governor of Flushing in the Netherlands in 1585. In the Netherlands, he consistently urged boldness on his superior, his uncle the Earl of Leicester. He conducted a successful raid on Spanish forces near Axel in July, 1586.
An early biography of Sidney was written by his friend and schoolfellow, Fulke Greville. While Sidney was traditionally depicted as a staunch and unwavering Protestant, recent biographers such as Katherine Duncan-Jones have suggested that his religious loyalties were more ambiguous. He was known to be friendly and sympathetic towards individual Catholics.
An Apology for Poetry(also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage.
Samuel Taylor Coleridge, his life and works
Prepared by Ahmad Hussain, Department of English,
Abdul Wali khan University Mardan.
Email: mr.literature123@gmail.com
Facebook page link for Literary students: www.facebook.com/englitpearls
:-“Mac Flecknoe; or, A satyr upon the True-Blew-Protestant Poet, T.S.” was a lampoon by John Dryden against the poet laureate Thomas Shadwell who superseded him in 1669.
Mac means ‘son of’. So, MacFlecknoe means ‘Son of Flecknoe’, while the word ‘True-Blew’ means an extreme ‘Whig Blue’ which was the colour of the Tories.
Richard Flecknoe (c. 1600 – 1678) was an English dramatist and poet. His works were praised by some critics and derided by others. Why John Dryden used his name to ridicule and satirize Thomas Shadwell, his contemporary and one time friend who later became an enemy, is not clear. Flecknoe was a minor poet having religious inclinations and most of his writings were private writings. So, Dryden calling him ‘the monarch of absolute nonsense’ was similar to Iago’s ‘motive hunting of a motiveless malignity’. Thomas Shadwell was called the ‘son and successor’ of Flecknoe’.
Sir Philip Sidney (30 November 1554 – 17 October 1586) was an English poet, courtier, scholar, and soldier, who is remembered as one of the most prominent figures of the Elizabethan age. His works include Astrophel and Stella, The Defence of Poesy (also known as The Defence of Poetry or An Apology for Poetry), and The Countess of Pembroke's Arcadia.
His artistic contacts were more peaceful and more significant for his lasting fame. During his absence from court, he wrote Astrophel and Stella and the first draft of The Arcadia and The Defence of Poesy. Somewhat earlier, he had met Edmund Spenser, who dedicated The Shepheardes Calender to him. Other literary contacts included membership, along with his friends and fellow poets Fulke Greville, Edward Dyer, Edmund Spenser and Gabriel Harvey, of the (possibly fictitious) 'Areopagus', a humanist endeavour to classicise English verse.
Both through his family heritage and his personal experience (he was in Walsingham's house in Paris during the St. Bartholomew's Day Massacre), Sidney was a keenly militant Protestant. In the 1570s, he had persuaded John Casimir to consider proposals for a united Protestant effort against the Roman Catholic Church and Spain. In the early 1580s, he argued unsuccessfully for an assault on Spain itself. Promoted General of Horse in 1583,[1] his enthusiasm for the Protestant struggle was given a free rein when he was appointed governor of Flushing in the Netherlands in 1585. In the Netherlands, he consistently urged boldness on his superior, his uncle the Earl of Leicester. He conducted a successful raid on Spanish forces near Axel in July, 1586.
An early biography of Sidney was written by his friend and schoolfellow, Fulke Greville. While Sidney was traditionally depicted as a staunch and unwavering Protestant, recent biographers such as Katherine Duncan-Jones have suggested that his religious loyalties were more ambiguous. He was known to be friendly and sympathetic towards individual Catholics.
An Apology for Poetry(also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage.
Samuel Taylor Coleridge, his life and works
Prepared by Ahmad Hussain, Department of English,
Abdul Wali khan University Mardan.
Email: mr.literature123@gmail.com
Facebook page link for Literary students: www.facebook.com/englitpearls
:-“Mac Flecknoe; or, A satyr upon the True-Blew-Protestant Poet, T.S.” was a lampoon by John Dryden against the poet laureate Thomas Shadwell who superseded him in 1669.
Mac means ‘son of’. So, MacFlecknoe means ‘Son of Flecknoe’, while the word ‘True-Blew’ means an extreme ‘Whig Blue’ which was the colour of the Tories.
Richard Flecknoe (c. 1600 – 1678) was an English dramatist and poet. His works were praised by some critics and derided by others. Why John Dryden used his name to ridicule and satirize Thomas Shadwell, his contemporary and one time friend who later became an enemy, is not clear. Flecknoe was a minor poet having religious inclinations and most of his writings were private writings. So, Dryden calling him ‘the monarch of absolute nonsense’ was similar to Iago’s ‘motive hunting of a motiveless malignity’. Thomas Shadwell was called the ‘son and successor’ of Flecknoe’.
An Apology for Poetry was written by the Elizabethan writer Philip Sidney in his defence of poetry from the accusation that was made by Stephen Gosson in his work "School of Abuse".
An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
An Apology for Poetry was written by the Elizabethan writer Philip Sidney in his defence of poetry from the accusation that was made by Stephen Gosson in his work "School of Abuse".
An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
Modern period literature, Modernism, Modern poetry.zainabnawaz15
This Presentation is about Modern Century literature, Modernism, Poetry and important poets and contrast of modernism and Victorian period. also discuss about Poets and Novelists. This era started from 1900 to 1961 .
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As a term to cover the most distinctive writers who flourished in the last years of the 18th century and the first decades of the 19th, “Romantic” is indispensable but also a little misleading: there was no self-styled “Romantic movement” at the time, and the great writers of the period did not call themselves Romantics. Not until August Wilhelm von Schlegel’s Vienna lectures of 1808–09 was a clear distinction established between the “organic,” “plastic” qualities of Romantic art and the “mechanical” character of Classicism.
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T. S. Eliot is a noble prize winning poet who wrote The Waste Land. This presentation deals with the autobiographical element's of Eliot's literary work.
This Presentation is about Modern Century literaure, Modernism, Poetry and Modern Novel. and Stream of Consiousness. also discuss about Poets and Novelists. This era started from 1900 to 1961
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4. life
• He was born in Missouri on September 26, 1888.
• His father, Henry Ware Eliot, was the president of the
Hydraulic Brick Company. His mother, Charlotte Champe
Stearns, was a volunteer at the Humanity Club of St. Louis.
• He lived in St. Louis during the first eighteen years of his
life and attended Harvard University.
• In 1910, he left the United States for the Sorbonne, having
earned both undergraduate and masters degrees and having
contributed several poems to the Harvard Advocate.
• After a year in Paris, he returned to Harvard to pursue a
doctorate in philosophy, but returned to Europe and settled
in England in 1914.
5. life
• The following year, he married Vivienne Haigh-Wood and
began working in London, first as a teacher, and later for
Lloyd's Bank.
• It was in London that Eliot came under the influence of his
contemporary Ezra Pound, who recognized his poetic
genius at once, and assisted in the publication of his work
in a number of magazines.
• In 1927 he became a British citizen .
• After a notoriously unhappy first marriage, Eliot
separated from his first wife in 1933, and was remarried,
to Valerie Fletcher, in 1956.
• In 1948 he received the Nobel Prize for Literature.
• In 1965 he died in London.
6. Eliot’s Works
• Prufrock and Other Observations. (1917).
• Ara Vos Prec. (1919). Republished in the US as Poems. (1920).
• The Sacred Wood. (1920).
• The Waste Land. (1922).
• Homage to John Dryden. (1924).
• Poems 1909-1925 (includes "The Hollow Men"). (1925).
• Sweeney Agonistes (in Criterion). (1926).
• For Lancelot Andrewes. (1928).
• Ash-Wednesday. (1930).
• Anabasis, a Poem by St-John Perse (Eliot translation). (1930).
• Selected Essays 1917-1932. (1932).
• The Use of Poetry and the Use of Criticism. (1933).
• After Strange Gods (1933 lectures at the University of Virginia). (1934).
• The Rock: A Pageant Play. (1934).
• Murder in the Cathedral. (1935).
7. • Essays Ancient and Modern. (1936).
• Collected Poems 1909-1935 (includes "Burnt Norton"). (1936).
• The Family Reunion. (1939).
• Old Possum's Book of Practical Cats. (1939).
• The Idea of a Christian Society. (1939).
• East Coker. (1940).
• The Dry Salvages. (1941).
• Little Gidding. (1942).
• Notes Towards the Definition of Culture. (1948).
• The Cocktail Party. (1949).
• The Complete Poems and Plays, 1909-1950. (1952).
• The Confidential Clerk. (1954).
• On Poetry and Poets. (1957).
• The Elder Statesman. (1959).
• Collected Poems, 1909-1962. (1963).
Posthumous publications:
• The Waste Land: A Facsimile and Transcript of the Original Drafts
Including the Annotations of Ezra Pound, edited and with an
introduction by Valerie Eliot. (1971).Inventions of the March Hare:
Poems 1909-1917, featuring previously unpublished works, edited by
Christopher Ricks. (1996).
8. First period(1911-1922)
1911 The Love Song of J. Alfred
Prufrock 《J.阿尔弗雷德·普鲁弗洛
克的情歌》 —the first masterpiece
of Modernism in English
1917 Prufrock and Other
Observations 《普鲁弗洛克及其他
》 — First volume of poetry
9. The Love Song of J. Alfred Prufrock
1.This poem marked the start of Eliot’s career as
one of the 20th century's most influential
poets.
2.“Prufrock" is about a lonely, timid middle-aged
man who, lacking self-confidence, wants to
propose marriage to a lady but is afraid to do
so, and ultimately does not.
3.This poem showed that he was influenced by
French Symbolism,and his attention to the
predicament of modern civilization and mood
postwar disillusionment appeared in the poem.
10. second period
1922 The Waste Land《荒原》:
Eliot’s epochal masterpiece, a
representative work of the High
Modernism of the 1920s
1925 The Hollow Man《透明人》
: the spiritual and emotional
aridity of modern men,
exhibiting a pessimism
11. The Waste Land
433 lines, mainly free verse
Many quoted lines in German, French, Italian and
references and allusions to English writers as
Spencer, Shakespeare, Middleton, Milton and
Goldsmith with many explanatory notes
A picture of the spiritual ruins in Europe shortly
after the end of WWI and expressed the
disillusionment of a generation of intellectuals
A landmark in English poetry, ending the Romantic
period and signifying the emergence of Modernism
.
12. Third Period
1930 Ash Wednesday
1943 Four Quartets — Noble
Prize for literature in 1948
Literary criticism: Selected
Essays 1932, The Uses of
Poetry 1933, On Poetry and
Poets 1957, etc
1935-1958 verse plays: Murder
in the Cathedral 《大教堂中的
谋杀》
13. Style
Eliot’s poetry is difficult to read.
For one reason, the images and symbols seem very
much disconnected.
And another obvious source of difficulty lies in his
learned quotations and allusions.
To appreciate him it is good to understand that the
essence of his thought lies in the interaction between
the past, the present and the future.
14. Awards & Recognitions
Eliot received:
• the Nobel Prize for Literature in 1948.
• the Order of Merit in January 1948.
• the Hanseatic Gothe Prize in 1954
• the Dante Gold Medal in 1959.
• Eliot was recognized as an Officier de la Legion d’Honneur.