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English advanced predictions/thoughts (7 Viewers)

kittyc4tkittycar

kittyc4tkittycar

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zodiacocean said:
ohh if you still have it share? i haven't read enough on it to talk about it properly
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He practised French conversation with friends, attended Bergson's lectures, frequented bars and nightclubs, absorbing the atmosphere and looking for some meaning behind the “sordid images” of the streets and cafés. Although we have no documentary evidence, it seems very probable that as a former student of art Eliot attended the Cubist exhibitions. There are striking correspondences between early Cubist art and the poems Eliot was working on at this time—“Prufrock”, the third and fourth parts of “Preludes”, “Rhapsody on a Windy Night” and the almost completed “Portrait of a Lady”. One hesitates to insist on a direct influence, but there are always parallel lines of development, cross currents, links, both conscious and unconscious, between writers, thinkers and artists living at the same time. It is possible that in the canvases being exhibited and discussed in Paris at the time, Eliot found tendencies that chimed with his own. He certainly had not found any inspiration in contemporary poetry. Looking back on this period, Eliot wrote that he could not then think of “a single living poet, in either England or America … at the height of his powers, whose work was capable of pointing the way to a young poet conscious of the desire for a new idiom”.3 It seems therefore not unlikely that Cubist art suggested technical possibilities which reinforced those he had absorbed from his literary mentors, the French poets Baudelaire, Laforgue and Corbière, and the Elizabethan dramatists.

SORRY ABT THE GIANT BLOCK OF TEXT HAHA. This isn't EXACTLY what I read but it's pretty spot on.
 
zodiacocean

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kittyc4tkittycar said:
He practised French conversation with friends, attended Bergson's lectures, frequented bars and nightclubs, absorbing the atmosphere and looking for some meaning behind the “sordid images” of the streets and cafés. Although we have no documentary evidence, it seems very probable that as a former student of art Eliot attended the Cubist exhibitions. There are striking correspondences between early Cubist art and the poems Eliot was working on at this time—“Prufrock”, the third and fourth parts of “Preludes”, “Rhapsody on a Windy Night” and the almost completed “Portrait of a Lady”. One hesitates to insist on a direct influence, but there are always parallel lines of development, cross currents, links, both conscious and unconscious, between writers, thinkers and artists living at the same time. It is possible that in the canvases being exhibited and discussed in Paris at the time, Eliot found tendencies that chimed with his own. He certainly had not found any inspiration in contemporary poetry. Looking back on this period, Eliot wrote that he could not then think of “a single living poet, in either England or America … at the height of his powers, whose work was capable of pointing the way to a young poet conscious of the desire for a new idiom”.3 It seems therefore not unlikely that Cubist art suggested technical possibilities which reinforced those he had absorbed from his literary mentors, the French poets Baudelaire, Laforgue and Corbière, and the Elizabethan dramatists.

SORRY ABT THE GIANT BLOCK OF TEXT HAHA. This isn't EXACTLY what I read but it's pretty spot on.
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thank you so much!!
 
Kat.crazi

Kat.crazi

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kittyc4tkittycar said:
Another way to look at it is whether the poem is before or after the war.
Preludes, Rhapsody, Prufrock are pre-war so they have a modernist context.
Hollow and Magi are also modernist, but they link a lot better to wwI disillusionment.
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Aren’t they all after the war
Oldest one 1915?
 
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