Read Collected Poems 1909–1962 by T.S. Eliot Free Online
Book Title: Collected Poems 1909–1962|
The author of the book: T.S. Eliot
Edition: Faber and Faber Limited, London
The size of the: 554 KB
City - Country: No data
Date of issue: 1963
ISBN: No data
ISBN 13: No data
Format files: PDF
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Reader ratings: 7.2
Read full description of the books:
That's all the facts, when you come to brass tacks:
Birth, and copulation, and death.
I've been born and once is enough.
You don't remember, but I remember,
Once is enough.
Well here again that don't apply
But I've gotta use words when I talk to you
When you're alone like he was alone
You're either or neither
I tell you again it don't apply
Death or life or life or death
Death is life and life is death
I gotta use words when I talk to you
But if you understand or if you don't
That's nothing to me and nothing to you. I always find it curious how much Eliot—quite conservative in character and anxious about what he regarded as a modern cultural evolutionary tendency, abetted by the dry rationalism of an increasingly technical society, towards pressing everything downwards unto the lowermost tier of the coarse, the vulgar, the profane, the commonplace—embraced a modernist grasp of language, with all of its form-fluid possibilities and permutations, in order to work his utterly unique manner of lyrical genius. And it is genius, at the very least by any aesthetic measure; combining words into lines and phrases that leap off of the page in all of their graceful poignancy and grab the reader by the soul, pierce the superficial layers of the memory to embed themselves within the selfsame chambers that house such perduring residents as the framed vista of supernally brilliant swathes of colour that suffused with flowering existence a memorable, cloud-garbed sunset; mayhap an instant when, flush with the harmonious pressure of musical gales, impaled and frozen upon a hook sonically plunged in an arc through the soul, your breath seized-up in a drawn interval balancing between the explosion and implosion of life; or perhaps the roseate, winsome, heart-punching smile of a youthful beauty that captured the entirety of your pubescent heart and cranked the inner thermostat to fluttering scorch; or even the first moment when, still as a statue in the midst of a world in constant motion, that sense of limpid, fulsome connexion with the cosmos in its entirety—with its subtle divine pressure to drive you down upon your knees—hummed through every fiber of your being with a tellurian energy ultimately derived from cosmogonic fuel of the most primordial lineage. And when you can, through the application of diligent reasoning and intuitive sleuthing, discern the implicit meaning behind the elegantly moving textual façade, you realize that Eliot truly belongs in that first-tier of twentieth century poets, masterfully forging personal commiserations by means of linguistic elements invariably held at somewhat of a remove—the better to penetrate the obfuscations of an age engaged in the shedding and shoring-up of beliefs—that it might seize and squeeze your spiritual nuts. An early favourite of mine, and this collection contains one marvel after another from the lengthy span of his versified creativity.
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Read information about the authorThomas Stearns Eliot was a poet, dramatist and literary critic. He received the Nobel Prize in Literature in 1948 "for his outstanding, pioneer contribution to present-day poetry." He wrote the poems The Love Song of J. Alfred Prufrock, The Waste Land, The Hollow Men, Ash Wednesday, and Four Quartets; the plays Murder in the Cathedral and The Cocktail Party; and the essay Tradition and the Individual Talent. Eliot was born an American, moved to the United Kingdom in 1914 (at the age of 25), and became a British subject in 1927 at the age of 39.
See also http://en.wikipedia.org/wiki/T.S._Eliot
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