routledge+history+of+literature+in+english

More documents

Recommendations

Info

T.S. Eliot 369 understand his poetry. In his essay The Use of Poetry and the Use of Criticism (1933), he sees this as ‘the feeling for syllable and rhythm, penetrating far below the conscious levels of thought and feeling . . . returning to the origin and bringing something back, seeking the beginning and the end’. Bringing together ‘the old and obliterated and the trite’ with ‘the current and the new and surprising’ was Eliot’s poetic intention, and in many ways his achievement. Eliot saw himself as English and the traditions he was working in as European rather than American, although he was born in Missouri. He was considerably influenced by French contemporaries such as Henri Alain-Fournier (author of the novel Le Grand Meaulnes) and by the critic and philosopher Henri Bergson; earlier figures such as Jules Laforgue and Charles Baudelaire helped to shape his Modernism, with its particular intensity and urban imagery. Historically, Dante was a life-long inspiration and influence. Difficulties are created by Eliot’s frequent allusions to other literatures, languages, and cultures. Many of these references are difficult to follow, require a specialised knowledge, or are simply highly personal to Eliot’s own individual reading. The Waste Land contains end notes which Eliot, perhaps not without some irony, supplies himself and which explain some of the more cryptic references. For example, in the lines: Son of Man You cannot say, or guess, for you know only A heap of broken images . . . (The Burial of the Dead, from The Waste Land) the allusion to ‘Son of Man’ is taken from the Bible (the Book of Ezekiel) and refers to God who addresses Ezekiel direct. In Eliot’s poem, communication between God and man is at best indirect, if it takes place at all. The ‘broken images’ are also the false idols of Israel, which God has destroyed. In the modern world the false and broken images are all that remain. Eliot achieves an ironic contrast by highlighting differences between ancient and modern worlds. One possible result of this poetic method is obscurity but it is an important part of Eliot’s overall purpose, as he explains himself: Any obscurity in the poem, on first readings, is due to the
370 The twentieth century: 1900–45 suppression of ‘links in the chain’, of explanatory and connecting matter, and not to incoherence, or love of cryptogram. The justification of such abbreviation of method is that the sequence of images coincides and concentrates into one intense impression of barbaric civilization. Fragments broken from a whole are all that twentieth-century civilisation has to interpret the world. At the end of The Waste Land, however, T.S. Eliot succeeds in suggesting that a spiritual whole can be created from the parts. Timeless values still exist and can be recovered. The wasteland can be regenerated and fragments from the past can be used to survive the ruins of a collapsed civilisation. In an earlier poem, The Love Song of J. Alfred Prufrock (published in Ezra Pound’s Poetry magazine in 1915), Eliot first demonstrates an almost total break with the conventions of Romantic poetry. He applies to poetry a technique similar to that of the stream of consciousness (see pages 418 ff.), giving fragments of the thoughts passing through the mind of the lonely Mr Prufrock, who seems to be a failed lover. It is a poem more in the tradition of the dramatic monologue developed by Robert Browning. It is not an ordinary love poem and Prufrock continually gives voice to feelings of disorientation. The poem is ironic – as suggested by the rather ridiculous name of the main character – and the character cannot be directly equated with the poet himself. Indeed there are, as it were, different Prufrocks. There is no consistent point of view or single self explored in the poem. Let us go then, you and I, When the evening is spread out against the sky . . . In the room the women come and go Talking of Michelangelo. An interesting question is whether Eliot effectively embodies the spirit of his times: that is, whether Eliot uses a technique of fragmentation in order to depict a fragmented society or whether he simply indulges his own personal view of the broken images of a modern world. Critics disagree whether poems like Prufrock or The Waste Land are socially responsible pictures of the modern world or essentially private and personal pieces of self-expression.
Page 2:
The Routledge History of Literature
Page 5 and 6:
First published 1997 by Routledge 1
Page 8 and 9:
Contents List of illustrations Fore
Page 10 and 11:
Contents ix The Gothic and the subl
Page 12 and 13:
Contents xi THE TWENTIETH CENTURY:
Page 14:
Illustrations Figure 1 Linguistic b
Page 17 and 18:
xvi Foreword The Routledge History
Page 19 and 20:
xviii Foreword and burlesque and sa
Page 21 and 22:
From the earliest stages, Malcolm B
Page 24 and 25:
Beowulf, the Dane, dear king of his
Page 27 and 28:
6 Old and Middle English 600-1485 T
Page 29 and 30:
8 Old and Middle English 600-1485 t
Page 31 and 32:
10 Old and Middle English 600-1485
Page 33 and 34:
Page 35 and 36:
Page 37 and 38:
Page 39 and 40:
Page 41 and 42:
Page 43 and 44:
22 Figure 2 The greatest extent of
Page 45 and 46:
Page 47 and 48:
Page 49 and 50:
Page 51 and 52:
Page 53 and 54:
Page 55 and 56:
Page 57 and 58:
Page 59 and 60:
Page 61 and 62:
Page 63 and 64:
Page 65 and 66:
Page 67 and 68:
Page 69 and 70:
Page 71 and 72:
Page 73 and 74:
Page 76:
The Renaissance 1485-1660
Page 79 and 80:
58 The Renaissance 1485-1660 centur
Page 81 and 82:
60 The Renaissance 1485-1660 would
Page 83 and 84:
62 The Renaissance 1485-1660 were n
Page 85 and 86:
64 The Renaissance 1485-1660 ‘To
Page 87 and 88:
66 The Renaissance 1485-1660 I find
Page 89 and 90:
68 The Renaissance 1485-1660 Mid-su
Page 91 and 92:
70 The Renaissance 1485-1660 and a
Page 93 and 94:
72 The Renaissance 1485-1660 I had
Page 95 and 96:
74 The Renaissance 1485-1660 Faustu
Page 97 and 98:
76 The Renaissance 1485-1660 perfor
Page 99 and 100:
78 The Renaissance 1485-1660 Greek
Page 101 and 102:
80 The Renaissance 1485-1660 47); a
Page 103 and 104:
82 The Renaissance 1485-1660 the Re
Page 105 and 106:
84 The Renaissance 1485-1660 years
Page 107 and 108:
86 The Renaissance 1485-1660 Renais
Page 109 and 110:
88 The Renaissance 1485-1660 terms
Page 111 and 112:
90 The Renaissance 1485-1660 Shakes
Page 113 and 114:
92 The Renaissance 1485-1660 1601 2
Page 115 and 116:
94 The Renaissance 1485-1660 The pu
Page 117 and 118:
96 The Renaissance 1485-1660 Shakes
Page 119 and 120:
98 The Renaissance 1485-1660 most o
Page 121 and 122:
100 The Renaissance 1485-1660 And s
Page 123 and 124:
102 The Renaissance 1485-1660 I all
Page 125 and 126:
104 The Renaissance 1485-1660 In mu
Page 127 and 128:
106 The Renaissance 1485-1660 my he
Page 129 and 130:
108 The Renaissance 1485-1660 Thou
Page 131 and 132:
110 The Renaissance 1485-1660 Trahe
Page 133 and 134:
112 The Renaissance 1485-1660 Old T
Page 135 and 136:
114 The Renaissance 1485-1660 misun
Page 137 and 138:
116 The Renaissance 1485-1660 from
Page 139 and 140:
118 The Renaissance 1485-1660 The t
Page 141 and 142:
120 The Renaissance 1485-1660 Middl
Page 143 and 144:
122 The Renaissance 1485-1660 GIOVA
Page 145 and 146:
124 The Renaissance 1485-1660 SIR B
Page 147 and 148:
126 The Renaissance 1485-1660 The s
Page 150 and 151:
Thy wars brought nothing about; Thy
Page 152 and 153:
Contexts and conditions 131 Sea; no
Page 154 and 155:
Early Milton 133 Revolution was the
Page 156 and 157:
Early Milton 135 good and evil as t
Page 158 and 159:
Early Milton 137 the hero from the
Page 160 and 161:
Restoration drama 139 many lives as
Page 162 and 163:
Restoration drama 141 Revenge! PIER
Page 164 and 165:
Restoration drama 143 One of the fi
Page 166 and 167:
Restoration drama 145 prohibiting
Page 168 and 169:
Restoration drama 147 LOVELESS No,
Page 170 and 171:
Restoration drama 149 PRIM Do they
Page 172 and 173:
Rochester 151 The Theatres Licensin
Page 174 and 175:
Dryden 153 what it saw as the highe
Page 176 and 177:
Dryden 155 his best, and his transl
Page 178 and 179:
Pope 157 POPE True wit is nature to
Page 180 and 181:
Journalism 159 And, spite of pride,
Page 182 and 183:
Scottish Enlightenment, diarists an
Page 184 and 185:
Page 186 and 187:
Page 188 and 189:
The novel 167 and the social awaren
Page 190 and 191:
The novel 169 Each serial volume of
Page 192 and 193:
The novel 171 paraphrase Pope: what
Page 194 and 195:
The novel 173 polemic comes when he
Page 196 and 197:
The novel 175 That kingdom he hath
Page 198 and 199:
The novel 177 opportunity to set fo
Page 200 and 201:
The novel 179 sentence of death. He
Page 202 and 203:
Criticism 181 to do with that work.
Page 204 and 205:
Johnson 183 (1712). Swift took the
Page 206 and 207:
Johnson 185 There are some hostile
Page 208 and 209:
Sterne, Smollett and Scottish voice
Page 210 and 211:
Page 212 and 213:
Page 214 and 215:
Page 216 and 217:
Drama after 1737 195 MISS HARDCASTL
Page 218 and 219:
Poetry after Pope 197 Thomas Gray
Page 220 and 221:
Poetry after Pope 199 Nor rural sig
Page 222 and 223:
Poetry after Pope 201 but by no mea
Page 224 and 225:
Melancholy, madness and nature 203
Page 226 and 227:
Page 228 and 229:
Page 230 and 231:
The Gothic and the sublime 209 Burk
Page 232 and 233:
The Gothic and the sublime 211 conc
Page 234:
The Gothic and the sublime 213 all
Page 238 and 239:
Bliss was it in that dawn to be ali
Page 240 and 241:
Contexts and conditions 219 and mor
Page 242 and 243:
Contexts and conditions 221 economi
Page 244 and 245:
Contexts and conditions 223 past, p
Page 246 and 247:
Blake, Wordsworth and Coleridge 225
Page 248 and 249:
Page 250 and 251:
Page 252 and 253:
Page 254 and 255:
Page 256 and 257:
Keats 235 and completing the poetic
Page 258 and 259:
Keats 237 beauty but at the same ti
Page 260 and 261:
Shelley 239 Keats also gives us occ
Page 262 and 263:
Shelley 241 or sail around Venice.
Page 264 and 265:
Byron 243 Each like a corpse within
Page 266 and 267:
Byron 245 What I have done is done;
Page 268 and 269:
Byron 247 Though the night was made
Page 270 and 271:
Romantic prose 249 Bright yellow is
Page 272 and 273:
Romantic prose 251 one of the Immor
Page 274 and 275:
The novel in the Romantic period 25
Page 276 and 277:
Jane Austen 255 the remotest antiqu
Page 278 and 279:
Jane Austen 257 she wrote in her le
Page 280 and 281:
Jane Austen 259 LANGUAGE NOTE Jane
Page 282 and 283:
Scott 261 and scarcely even picture
Page 284 and 285:
Scott 263 She coloured highly, and
Page 286 and 287:
From Gothic to Frankenstein 265 flu
Page 288 and 289:
The Scottish regional novel 267 (18
Page 290:
The nineteenth century
Page 293 and 294:
272 The nineteenth century of Queen
Page 295 and 296:
274 The nineteenth century Smollett
Page 297 and 298:
276 The nineteenth century Hard Tim
Page 299 and 300:
278 The nineteenth century Podsnap
Page 301 and 302:
280 The nineteenth century income a
Page 303 and 304:
282 The nineteenth century cover su
Page 305 and 306:
284 The nineteenth century in some
Page 307 and 308:
286 The nineteenth century earlier
Page 309 and 310:
288 The nineteenth century the end.
Page 311 and 312:
290 The nineteenth century Charlott
Page 313 and 314:
292 The nineteenth century by Dicke
Page 315 and 316:
294 The nineteenth century the ‘v
Page 317 and 318:
296 The nineteenth century LATE VIC
Page 319 and 320:
298 The nineteenth century fathers
Page 321 and 322:
300 The nineteenth century In his l
Page 323 and 324:
302 The nineteenth century An old w
Page 325 and 326:
304 The nineteenth century is a cla
Page 327 and 328:
306 The nineteenth century there ca
Page 329 and 330:
308 The nineteenth century Renaissa
Page 331 and 332:
310 The nineteenth century of Doria
Page 333 and 334:
312 The nineteenth century Most of
Page 335 and 336:
314 The nineteenth century embellis
Page 337 and 338:
316 The nineteenth century Irish; F
Page 339 and 340: 318 The nineteenth century justifie
Page 341 and 342: 320 The nineteenth century However,
Page 343 and 344: 322 The nineteenth century mode of
Page 345 and 346: 324 The nineteenth century the firs
Page 347 and 348: 326 The nineteenth century Its titl
Page 349 and 350: 328 The nineteenth century also saw
Page 351 and 352: 330 The nineteenth century aware so
Page 353 and 354: 332 The nineteenth century Stitch!
Page 355 and 356: 334 The nineteenth century Her robe
Page 357 and 358: 336 The nineteenth century year as
Page 359 and 360: 338 The nineteenth century twentiet
Page 361 and 362: 340 The nineteenth century But if y
Page 363 and 364: 342 The nineteenth century we can r
Page 366: The twentieth century 1900-45
Page 369 and 370: 348 The twentieth century: 1900-45
Page 389: 368 The twentieth century: 1900-45
Page 441 and 442:
420 The twentieth century: 1900-45
Page 443 and 444:
Page 445 and 446:
Page 447 and 448:
Page 449 and 450:
Page 451 and 452:
Page 453 and 454:
Page 455 and 456:
Page 457 and 458:
Page 459 and 460:
Page 461 and 462:
Page 463 and 464:
Page 466:
The twentieth century 1945 to the p
Page 469 and 470:
448 The twentieth century: 1945 to
Page 471 and 472:
Page 473 and 474:
Page 475 and 476:
Page 477 and 478:
Page 479 and 480:
Page 481 and 482:
Page 483 and 484:
Page 485 and 486:
Page 487 and 488:
Page 489 and 490:
Page 491 and 492:
Page 493 and 494:
Page 495 and 496:
Page 497 and 498:
Page 499 and 500:
Page 501 and 502:
Page 503 and 504:
Page 505 and 506:
Page 507 and 508:
Page 509 and 510:
Page 511 and 512:
Page 513 and 514:
Page 515 and 516:
Page 517 and 518:
Page 519 and 520:
Page 521 and 522:
Page 523 and 524:
Page 525 and 526:
Page 527 and 528:
Page 529 and 530:
Page 531 and 532:
Page 533 and 534:
Page 535 and 536:
Page 537 and 538:
Page 539 and 540:
Page 541 and 542:
Page 543 and 544:
Page 545 and 546:
Page 547 and 548:
Page 549 and 550:
Page 551 and 552:
Page 553 and 554:
Page 555 and 556:
Page 557 and 558:
Page 559 and 560:
Page 561 and 562:
Page 563 and 564:
Page 565 and 566:
544 Timelines 802 Egbert of Wessex
Page 567 and 568:
546 Timelines 1189 Accession of Kin
Page 569 and 570:
548 Timelines became King Henry VI
Page 571 and 572:
550 Timelines 1513 Niccolo Machiave
Page 573 and 574:
552 Timelines 1578 Opening of The T
Page 575 and 576:
554 Timelines 1685 Death of Charles
Page 577 and 578:
556 Timelines 1811-12 The campaign
Page 579 and 580:
558 Timelines the USA expanded towa
Page 581 and 582:
560 Timelines USA, which demanded t
Page 583 and 584:
562 Timelines conceded. The phrase
Page 585 and 586:
564 Timelines policy, with enormous
Page 587 and 588:
Acknowledgements W.H. AUDEN, Their
Page 589 and 590:
568 Acknowledgements D.H. LAWRENCE,
Page 591 and 592:
Select bibliography The following b
Page 593 and 594:
572 Select bibliography Dollimore,
Page 595 and 596:
574 Select bibliography Miner, Earl
Page 597 and 598:
576 Select bibliography Burrow, J.W
Page 599 and 600:
578 Select bibliography Sinfield, A
Page 601 and 602:
580 Index Ballantyne, R(obert) M(ic
Page 603 and 604:
582 Index Cockburn, Alison (c.1712-
Page 605 and 606:
584 Index Gaskell, (Mrs) Elizabeth
Page 607 and 608:
586 Index Keats, John (1795-1821) 1
Page 609 and 610:
588 Index Morris, William (1834-96)
Page 611 and 612:
590 Index Seneca, Lucius Annaeus (c
Page 613:
592 Index Waugh, Evelyn (1903-66) 3
show all

routledge+history+of+literature+in+english

Create successful ePaper yourself

Delete template?

Save as template?