ellauri160.html on line 202: In June, July and August 1917 Pound had the first three cantos published, as "Three Cantos", in Poetry. Twice the length of Paradise Lost and 50 times longer than The Waste Land, Pound's 800-page The Cantos ("Canto I" to "Canto CXVI", c. 1917–1962) became his life's work.
ellauri160.html on line 213: Eliot sent Pound the manuscript of The Waste Land in 1922. Pound edited it with comments like "make up yr. mind", and reduced it by about half. Possum's dedication in The Waste Land was "For Ezra Pound / il miglior fabbro" (the "better craftsman"), from Canto 26 of Dante's Purgatorio.
ellauri189.html on line 84: scenery, especially the so-called Dzikie Pola (“Waste Fields”), a vast area in the South-West of the Ukraine, bordered by the rivers Dnieper and Dniester, where the Russian tanks now sit stuck in the mud. In the seventeenth century it was scarcely populated and continually raided by the Tartars from the Crimea. The Cossacks, who defended this borderland, were originally allies of Poland. However, they resented their disdainful treatment by the szlachta (the Polish gentry) and particularly the magnates, who owned large manors with serfs.
ellauri198.html on line 716: Charlie the Choo-Choo is a "children's book" by Stephen King released in 2016, published under the pseudonym Beryl Evans. It is adapted from a section of King's previous novel The Dark Tower III: The Waste Lands. It was illustrated by Ned Dameron.
ellauri198.html on line 855: Yeats deplored the tremendous enthusiasm among younger poets for Eliot’s The Waste Land, published in 1922. Disdaining Eliot’s flat rhythms and cold, dry mood, Yeats wanted all art to be full of energy and sex.
ellauri260.html on line 395: Tätä Joria peukuttaneet kaverit on voittopuolisesti jotain patakonservatiiveja tai muuten oikeistohenkisiä hörhöjä: Ludi Wittgenstein, Jöns Carlson, Sigmund Freud, TS Eliot (The Waste Basket). Belovin Sale varmaan kerta sillä oli senniminen hahmo Augiessa, ja nyt siis tää Aucken. Hiljattain The Golden Boughia on kritisoitu laajalti imperialistisena, katolisten vastaisena, luokka- ja rasistisena elementtitalona, mukaan lukien Frazerin oletukset siitä, että eurooppalaiset talonpojat, aboriginaalit australialaiset ja afrikkalaiset edustivat kivettyneitä, kulttuurisen kehityksen aikaisempia vaiheita.
ellauri264.html on line 203: Victor Lebow (26. joulukuuta 1902 – 26. elokuuta 1980, alunperin nähtävästi Liebowitz, takuulla ashkenazijuutalainen jostain beyond the pale) oli yhdysvaltalainen yritysjohtaja, esseisti ja aktivisti. Vizikästä kyllä sille ei ole anglosaxisivua Wikipediassa, vain italialaiset kommunistit muistavat. Hänet tunnetaan parhaiten amerikkalaisen kulutuskapitalismin dynamiikan muotoilustaan, joka ilmaistiin vuonna 1955 Journal of Retailing -lehdessä julkaistulla artikkelilla nimeltä Hintakilpailu vuonna 1955. Artikkeli sai jonkin verran huomiota pian ilmestymisensä jälkeen, ja sosiologi Vance Packard mainitsi sen vuoden 1960 teoksessaan The Waste Makers. Lähde
ellauri275.html on line 464: The subsequent fate of the Georgian poets (inevitably known as the Squirearchy) then became an aspect of the critical debate surrounding modernist poetry, as marked by the publication of T. S. Eliot's The Waste Land at just that time. The Georgian poets became something of a by-word for conservatism, but at the time of the early anthologies they saw themselves as modern (if not modernist) and progressive.
ellauri276.html on line 441: Russell hylkäsi ensin Kavanaghin työn, mutta rohkaisi häntä jatkamaan alistumista, ja hän julkaisi Kavanaghin säkeet vuosina 1929 ja 1930. Tämä inspiroi maanviljelijää lähtemään kotoa ja yrittämään edistää toiveitaan. Vuonna 1931 hän käveli 80 mailia (noin 129 kilometriä) tavatakseen Russellin Dublinissa, jossa Kavanaghin veli oli opettaja. Russell antoi Kavanaghille kirjoja, muun muassa Fjodor Dostojevskin, Victor Hugon, Walt Whitmanin, Ralph Waldo Emersonin ja Robert Browningin teoksia, ja hänestä tuli Kavanaghin kirjallinen neuvonantaja. Kavanagh liittyi Dundalk Libraryyn ja ensimmäinen kirja, jonka hän lainasi, oli TS Eliotin The Waste Land.
ellauri321.html on line 294: 2. T. S. Eliot, The Waste Land.
ellauri392.html on line 582: Waste not and want not while you’re here
ellauri392.html on line 954: Hänen opiskelualueensa oli englantilainen ja amerikkalainen kirjallisuus, ja hän painotti Edgar Allan Poen, Nathaniel Hawthornen, Herman Melvillen ja TS Eliotin kirjallisuutta. Hän julkaisi lukuisia kriittisiä esseitä julkaisuissa The Sewanee Review, The Southern Review ja Modern Language Studies, joita hän myös toimitti. Hänen kirjapituisia julkaisujaan ovat Todellisuus ja idea varhaisessa amerikkalaisessa romaanissa (1971) (väitöskirjan perusteella) ja Critical Essays on TS Eliotin "The Waste Land" (1991), toimitettu yhdessä Lois Cuddyn kanssa.
xxx/ellauri075.html on line 37: Wastenmielisempää Wallua
xxx/ellauri087.html on line 463: Eliot also alludes to the lines near the end of Marvell's poem, "Let us roll all our strength and all / Our sweetness up into one ball", with his lines, "To have squeezed the universe into a ball / To roll it toward some overwhelming question," as Prufrock questions whether or not such an act of daring would have been worth it. Eliot returns to Marvell in The Waste Land with the lines "But at my back in a cold blast I hear / The rattle of the bones" (Part III, line 185) and "But at my back from time to time I hear / The sound of horns and motors" (Part III, line 196).
xxx/ellauri120.html on line 353: In Petronius's Satyricon, Trimalchus (pro Trimalchio) finds her shriveled to a tiny lump and kept alive in a jar. He asks her, "Sibyl, what do you want?" (in Greek, Σίβυλλα τί θέλεις; pronounced more or less "Sibylla, ti theleis"). She replies, "I want to die" (in Greek, ἀποθανεῖν θέλω, pronounced "apothanein thelo"). I learned this, as you did, not from reading the Satyricon, but from beating T S Eliot's The Waste Land to death in my English Lit class.
xxx/ellauri186.html on line 215: It’s not that we have a short time to live but that we waste a lot of it. (Sorry, I said it already. Waste of time.)
xxx/ellauri224.html on line 365: Eliot was in love three times (not counting the catamites), and each of those loves became events in his artistic and spiritual lives – and two of the women involved were massively the worse for it. Vivien Eliot was a difficult woman, yet Eliot – who had connived at her affair with Bertrand Russell – treated her, with the agreement of his spiritual advisers, with a coldness that helped break her spirit, perhaps her mind. Emily Hale was the woman he deserted for Vivien; she spent her life at his encouragement waiting for Vivien to die, and it was in her presence that he had some of his deepest moments of spiritual intensity – yet she was eventually dismissed from his life with equal coldness. They were both central to his greatest works: Vivien to The Waste Land and Emily to much of The Four Quartets.
xxx/ellauri225.html on line 384: Provoked and inspired by T. S. Eliot, Crane wrote modernist poetry that was difficult, highly stylized, and ambitious in its scope. In his most ambitious work, The Bridge, Crane sought to write an epic poem, in the vein of The Waste Land, that expressed a more optimistic view of modern, urban culture than the one that he found in Eliot´s work. But he FAILED! In the years following his suicide at the age of 32, Crane has been hailed by playwrights, poets, and literary critics alike (including Robert Lowell, Derek Walcott, Tennessee Williams, and Harold Bloom), as being one of the most influential poets of his generation.
xxx/ellauri225.html on line 392: "Faustus and Helen" was part of a larger artistic struggle to meet modernity with something more than despair. Crane identified T. S. Eliot with that kind of despair, and while he acknowledged the greatness of The Waste Land, he also said it was "so damned dead", an impasse, and characterized by a refusal to see "certain spiritual events and possibilities" Crane´s self-appointed work would be to bring those spiritual events and possibilities to poetic life, and so create "a mystical synthesis of America". But he FAILED!
xxx/ellauri225.html on line 400: His ambition to synthesize America was expressed in The Bridge (1930), intended to be an uplifting counter to Eliot's The Waste Land. The Brooklyn Bridge is both the poem's central symbol and its poetic starting point. He kinda wanted to pick up where Wilt with is Brooklyn Ferry got off the boat.
xxx/ellauri251.html on line 1134: Wastes underfoot, and above
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