Charles Williams and T.S. Eliot: Friends and Rivals

Man was born metrical, yet everywhere we find him writing free verse. Why this arrogant and lazy assumption that Parnassus can be climbed without feet? Or that the ascent is valueless?In the eighteenth century versification was a grace and an elegance; in the nineteenth a virtue, perhaps a duty. What is it in the twentieth? A parergon? A morbidity? Versus laudatur et alget? Immo laude caret! Do we regard as an oddity the sixth-former who is prepared to put into practice his belief that language exists to make precise statements in elegant form? We do not; but we are flanked on the right by those who, having denied the utility of Latin in the fourth form, in the sixth know no written English but Latinese; on the left we are flanked by those who have no palate for the waters that inspired A. D. Godley, C. S. Calverley, and Vincent Bourne, preferring, if athirst for the Muse after years in the Waste Land, what Hippocrene is available at the Cocktail Party.

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Exploring the Lyric-Dramatic Interaction in the Work of T.S. Eliot

10.26686/wgtn.17009957.v1 ◽

2021 ◽

Author(s):

◽

Patrick Prashant Coelho

Keyword(s):

Creative Work ◽

Cocktail Party ◽

Critical Spaces ◽

Religious Poetry ◽

The Waste Land ◽

Waste Land ◽

Verse Drama ◽

Poetic Drama

<p>T. S. Eliot's fascination with the interaction between the lyric and the dramatic is evident from the fact that his poetry was often dramatic even before he began to write verse drama. Part of the reason for this interaction in Eliot was a kind of radical modernism that ensured a return to a primitivism where there was little distinction between the lyric and the dramatic. In this thesis I argue that this interaction is central to the nature of Eliot's creative work. The need for an interaction between the lyric and dramatic meant that The Waste Land (1922) possessed several dramatic qualities making it a precursor to Eliot's entry into the realm of poetic drama with the play, Sweeney Agonistes (1932). As part of my thesis, I conducted theatre workshops of the first two parts of The Waste Land in order to discover what dramatic elements emerged from the text and how their presence affected the lyric-dramatic interaction in the work, something which can surface only through performance. I argue that The Waste Land and Sweeney Agonistes occupy critical spaces in the mapping of the lyric-dramatic interaction in Eliot's creative oeuvre. The intensity of the lyric-dramatic interaction in Eliot's poetry builds up to a moment where he comes extremely close to drama in The Waste Land moving him to ultimately write his first play, Sweeney Agonistes. While Eliot's works after these two texts continue to exhibit characteristics of this lyric-dramatic interaction, the nature of this interaction undergoes a transformation after Eliot's conversion, manifesting itself in his religious poetry and drama which turns out to be a cul-de-sac in his experimentations. The intensity of this interaction in his work then gradually reduces to a point where the lyric and the dramatic no longer overlap especially after Eliot's first commercially successful play, The Cocktail Party (1949). By examining the reasons for the slow disassociation of these two crucial elements in Eliot's later work, I aim to stress the centrality of The Waste Land and Sweeney Agonistes to the lyric-dramatic trajectory in his work.</p>

Download Full-text

Exploring the Lyric-Dramatic Interaction in the Work of T.S. Eliot

10.26686/wgtn.17009957 ◽

2021 ◽

Author(s):

◽

Patrick Prashant Coelho

Keyword(s):

Creative Work ◽

Cocktail Party ◽

Critical Spaces ◽

Religious Poetry ◽

The Waste Land ◽

Waste Land ◽

Verse Drama ◽

Poetic Drama

<p>T. S. Eliot's fascination with the interaction between the lyric and the dramatic is evident from the fact that his poetry was often dramatic even before he began to write verse drama. Part of the reason for this interaction in Eliot was a kind of radical modernism that ensured a return to a primitivism where there was little distinction between the lyric and the dramatic. In this thesis I argue that this interaction is central to the nature of Eliot's creative work. The need for an interaction between the lyric and dramatic meant that The Waste Land (1922) possessed several dramatic qualities making it a precursor to Eliot's entry into the realm of poetic drama with the play, Sweeney Agonistes (1932). As part of my thesis, I conducted theatre workshops of the first two parts of The Waste Land in order to discover what dramatic elements emerged from the text and how their presence affected the lyric-dramatic interaction in the work, something which can surface only through performance. I argue that The Waste Land and Sweeney Agonistes occupy critical spaces in the mapping of the lyric-dramatic interaction in Eliot's creative oeuvre. The intensity of the lyric-dramatic interaction in Eliot's poetry builds up to a moment where he comes extremely close to drama in The Waste Land moving him to ultimately write his first play, Sweeney Agonistes. While Eliot's works after these two texts continue to exhibit characteristics of this lyric-dramatic interaction, the nature of this interaction undergoes a transformation after Eliot's conversion, manifesting itself in his religious poetry and drama which turns out to be a cul-de-sac in his experimentations. The intensity of this interaction in his work then gradually reduces to a point where the lyric and the dramatic no longer overlap especially after Eliot's first commercially successful play, The Cocktail Party (1949). By examining the reasons for the slow disassociation of these two crucial elements in Eliot's later work, I aim to stress the centrality of The Waste Land and Sweeney Agonistes to the lyric-dramatic trajectory in his work.</p>

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Beckett's Early Verse and the Modernist Long Poem: A Study of ‘Enueg I’

Journal of Beckett Studies ◽

10.3366/jobs.2019.0268 ◽

2019 ◽

Vol 28 (2) ◽

pp. 197-213

Author(s):

Sławomir Studniarz

Keyword(s):

Long Poem ◽

The Waste Land ◽

Waste Land ◽

Artistic Activity ◽

Underlying Network ◽

Experimental Works ◽

The Cantos ◽

Semantic Dimension ◽

Psychological Dimensions

The premise of the article is the contention that Beckett studies have been focused too much on the philosophical, cultural and psychological dimensions of his established canon, at the expense of the artistry. That research on Beckett's work is issue-driven rather than otherwise, and the slender extant body of criticism specifically on his poetic achievements bears no comparison with the massive exploration of the other facets of Beckett's artistic activity. The critical neglect of Beckett's poetry may not be commensurate with the quality of his verse. And it is in the spirit of remedying this oversight that the present article is offered, focusing on ‘Enueg I’, a representative poem from Echo's Bones, which exhibits all the salient features of Beckett's early poetry. It is argued that Beckett's early verse display the twofold influence, that of the transatlantic Modernism of Eliot and Pound, and of French poetry, specifically the visionary and experimental works of Rimbaud, Apollinaire, and the surrealists. Furthermore, the article also demonstrates that ‘Enueg I’ testifies to Beckett's ambition to compose a complex long Modernist poem in the vein of The Waste Land or The Cantos. Beckett's ‘Enueg I’ has much in common with Eliot's exemplary disjunctive Modernist long poem. Both poems are premised on the acutely felt cultural crisis and display the similar tenor in their ending. Finally, they both close with the vision of the doomed and paralyzed world, and the prevalent sense of sterility and dissolution. In the subsequent analysis, which takes up the bulk of the article, careful attention is paid to the patterning of the verbal material, including also the most fundamental level, that of the arrangements of phonemes, with a view to uncovering the underlying network of sound patterns, which contributes decisively to the semantic dimension of the poem.

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