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袙懈斜褉邪薪械
袛芯 泻薪懈卸泻懈 褍胁褨泄褕谢懈 胁懈斜褉邪薪褨 胁褨褉褕褨 褌邪 锌芯械屑懈 薪邪泄胁懈写邪褌薪褨褕芯谐芯 邪薪谐谢芯-邪屑械褉懈泻邪薪褋褜泻芯谐芯 锌芯械褌邪 XX 褋褌芯谢褨褌褌褟, 谢邪褍褉械邪褌邪 袧芯斜械谢褨胁褋褜泻芯褩 锌褉械屑褨褩, 屑懈褌褑褟, 褔懈褟 褌胁芯褉褔褨褋褌褜 胁褨写蟹薪邪褔邪褦褌褜褋褟 屑邪褋褕褌邪斜薪褨褋褌褞 褎褨谢芯褋芯褎褋褜泻芯谐芯 锌芯褕褍泻褍 褌邪 胁懈褋芯泻芯褞 薪邪锌褉褍谐芯褞 褨薪褌械谢械泻褌褍邪谢褜薪芯谐芯 芯褋褟谐薪械薪薪褟 斜褍褌褌褟 褨 锌褉芯斜谢械屑 褋胁褨褌芯胁芯褩 泻褍谢褜褌褍褉懈.
198 pages, Hardcover
First published January 1, 1948
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6927 people want to read
About the author
T.S. Eliot
973听books5,487听followersThomas 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.
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Displaying 1 - 30 of 427 reviews
December 26, 2015
That a poet who rejected modernity because it separated men from God wrote in a contemporary, ground-breaking style that defied classic understanding is not only ironic, but also a prodigy. Eliot鈥檚 creative output is a case of study on its own because the words that compose his verses transcend literal sense through structural frame and allocation. It鈥檚 not until one feels the irresistible pull to recite Eliot鈥檚 poems out loud that the perplexing repetition, the echo of recurrent expressions, placed and misplaced, lost and recovered, in stillness and movement, form a whole unit of sound that possesses an incantatory, almost karmic effect that Seamus Heaney describes as 鈥渟oundscape", that Eliot's verses acquire indomitable meaning.
Take these stanzas in Ash-Wednesday as examples:
鈥淏ecause I know that time is always time
And place is always and only place
And what is actual is actual only for one time
And only for one place鈥�
Or
鈥淚f the lost word is lost, if the spent word is spent
If the unheard, unspoken
Word is unspoken, unheard;
Still is the unspoken word, the Word unheard.
The Word without a word, the Word within鈥�
The wordplay goes deeper than presenting an ambiguous, fragmentary aspect that obscures its possible interpretation, it speaks of an extraordinary feverish state that moves from spiritual barrenness towards resignation, passing through loss and angst that converge in the last section of the poem with a flicker of hope achieved through exhaustion.
The protagonists of the early poems, Mr. Alfred Prufrock, with his unfulfilled yearning and carnal desire, and Mr. Sweeney, the opposite of the former with his directness in addressing basic and more lascivious appetites; get easily entangled with the voice of the poet creating a dramatic pulse that blends with the confessional tone of an inner monologue delivered in rhyme. Still, the numerous literary references to Dante, Shakespeare, the French symbolists and of course, the Bible, enable endless connotations to the poems; satire, parody, paean or ode; all coexist in the polysemic verses that are united by the common musicality of Eliot鈥檚 delivery.
Even though I admired the architectural device of the philosophical meditation on death and self-denial confronted through the prism of Eastern vs. Western aestheticism that permeates 鈥淭he Waste Land鈥� or the hypnotic moralizing of the Choruses from 鈥淭he Rock鈥�, my heart leapt, my soul soared with 鈥淢补谤颈苍补鈥� and the most comforting bleakness tinted my spirit with black emptiness of 鈥淭he Hollow Men鈥�. The first is an allegoric tribute to The Bard and his tendency to present truth as craziness, using the most vivid imagery related to the sea; and the second is a fugue to the inherent isolation that consumes man鈥檚 soul when confronted with its artificial, superficial needs.
In the end, like the yews that offer ominous shade to Eliot鈥檚 poetic landscape, words represent the secret depths of the human ethos, but they will always elude stationary definitions. Their worth is merely symbolical, ethereal, straddling reality and appearance, eternal life and mortality. Them words linger and become more solid when they reverberate in the dark cavities of our consciousness.
鈥淚 made this, I have forgotten
And remember.
The rigging weak and the canvas rotten
Between one June and another September.
Made this unknowing, half conscious, unknown, my own.鈥�
Included in this selection:
鈥� Prufrock and other observations
鈥� Poems 1920, a selection.
鈥� The Waste Land
鈥� The Hollow Men
鈥� Ash-Wednesday
鈥� Choruses from 鈥淭he Rock鈥�
Take these stanzas in Ash-Wednesday as examples:
鈥淏ecause I know that time is always time
And place is always and only place
And what is actual is actual only for one time
And only for one place鈥�
Or
鈥淚f the lost word is lost, if the spent word is spent
If the unheard, unspoken
Word is unspoken, unheard;
Still is the unspoken word, the Word unheard.
The Word without a word, the Word within鈥�
The wordplay goes deeper than presenting an ambiguous, fragmentary aspect that obscures its possible interpretation, it speaks of an extraordinary feverish state that moves from spiritual barrenness towards resignation, passing through loss and angst that converge in the last section of the poem with a flicker of hope achieved through exhaustion.
The protagonists of the early poems, Mr. Alfred Prufrock, with his unfulfilled yearning and carnal desire, and Mr. Sweeney, the opposite of the former with his directness in addressing basic and more lascivious appetites; get easily entangled with the voice of the poet creating a dramatic pulse that blends with the confessional tone of an inner monologue delivered in rhyme. Still, the numerous literary references to Dante, Shakespeare, the French symbolists and of course, the Bible, enable endless connotations to the poems; satire, parody, paean or ode; all coexist in the polysemic verses that are united by the common musicality of Eliot鈥檚 delivery.
Even though I admired the architectural device of the philosophical meditation on death and self-denial confronted through the prism of Eastern vs. Western aestheticism that permeates 鈥淭he Waste Land鈥� or the hypnotic moralizing of the Choruses from 鈥淭he Rock鈥�, my heart leapt, my soul soared with 鈥淢补谤颈苍补鈥� and the most comforting bleakness tinted my spirit with black emptiness of 鈥淭he Hollow Men鈥�. The first is an allegoric tribute to The Bard and his tendency to present truth as craziness, using the most vivid imagery related to the sea; and the second is a fugue to the inherent isolation that consumes man鈥檚 soul when confronted with its artificial, superficial needs.
In the end, like the yews that offer ominous shade to Eliot鈥檚 poetic landscape, words represent the secret depths of the human ethos, but they will always elude stationary definitions. Their worth is merely symbolical, ethereal, straddling reality and appearance, eternal life and mortality. Them words linger and become more solid when they reverberate in the dark cavities of our consciousness.
鈥淚 made this, I have forgotten
And remember.
The rigging weak and the canvas rotten
Between one June and another September.
Made this unknowing, half conscious, unknown, my own.鈥�
Included in this selection:
鈥� Prufrock and other observations
鈥� Poems 1920, a selection.
鈥� The Waste Land
鈥� The Hollow Men
鈥� Ash-Wednesday
鈥� Choruses from 鈥淭he Rock鈥�
January 26, 2023
A woman drew her long black hair out tight
And fiddled whisper music on those strings
And bats with baby faces in the violet light
Whistled, and beat their wings
And crawled head downward down a blackened wall
~ The Waste Land, V.377-81
Reading sent me back to Eliot's poetry with a desire to read it through the frame of 'confessional' poetry rather than the 'impersonal' verse he himself publicly proclaimed. And yes, it works, opening up another dimension to this sometimes difficult poetry shot through with literary, historical, cultural and religious allusions that work to suggest and articulate comparisons and simultaneity.
This selection, made by Eliot himself, comprises some of his most iconic work: The Waste Land, the Prufrock and Sweeney poems with their opposing representations of masculinity-in-the-world, The Hollow Men with its epigraph from Conrad's and the conspicuously Christian Ash Wednesday.
What struck me forcibly on this reading is the incantatory rhythm of Eliot's words and the echoes and repetitions of key images: brown fog, rocks and deserts and dry places, rivers and rain, and the more urban visions of windows, bridges and scattered voices, all broken up into fragments with spaces the reader has to cross for herself.
Something I learned from The Hyacinth Girl is that Eliot's first and troubled wife, Vivienne, had a hand in his poetry, notably the cockney voices in part 2 of the Waste Land: A Game of Chess. And that the almost manic voice in that same section ('My nerves are bad tonight. Yes, bad. Stay with me. | Speak to me. Why do you never speak. Speak. | What are you thinking of? What thinking? What? | I never know what you are thinking. Think') was probably based on Vivienne and one of her 'episodes', juxtaposed by the chilling words-in-silence of her companion: 'I think we are in rats' alley | Where the dead men lost their bones'. The breakdown of a complicated and likely incompatible marriage is layered against the barrenness of a broken civilisation (this was published in 1922) inflected by the multiple anxieties of modernity.
One of the distinctive qualities of Eliot's writing is his spiritual and religious faith, something that Modernism as a movement had largely lost or rejected. But a corollary of that is his recourse to a madonna/whore dichotomy when it comes to thinking about women, and a sense of sinfulness that made him choose celibacy even in marriage and which filters into his tainted view of sex. There's something freer about his early work even taking account of Prufrock's thwarted desires and sexual anxieties, and Sweeney's terrifying and just-submerged violence (the prostitute in Sweeney Erect who takes one look at him holding a razor for shaving and shrieks and falls into an epileptic fit 'curves backward, clutching at her sides').
This selection doesn't include Eliot's great 'Four Quartets' but is a fine and accessible introduction or repeat visit to an iconic body of poetry.
And fiddled whisper music on those strings
And bats with baby faces in the violet light
Whistled, and beat their wings
And crawled head downward down a blackened wall
~ The Waste Land, V.377-81
Reading sent me back to Eliot's poetry with a desire to read it through the frame of 'confessional' poetry rather than the 'impersonal' verse he himself publicly proclaimed. And yes, it works, opening up another dimension to this sometimes difficult poetry shot through with literary, historical, cultural and religious allusions that work to suggest and articulate comparisons and simultaneity.
This selection, made by Eliot himself, comprises some of his most iconic work: The Waste Land, the Prufrock and Sweeney poems with their opposing representations of masculinity-in-the-world, The Hollow Men with its epigraph from Conrad's and the conspicuously Christian Ash Wednesday.
What struck me forcibly on this reading is the incantatory rhythm of Eliot's words and the echoes and repetitions of key images: brown fog, rocks and deserts and dry places, rivers and rain, and the more urban visions of windows, bridges and scattered voices, all broken up into fragments with spaces the reader has to cross for herself.
Something I learned from The Hyacinth Girl is that Eliot's first and troubled wife, Vivienne, had a hand in his poetry, notably the cockney voices in part 2 of the Waste Land: A Game of Chess. And that the almost manic voice in that same section ('My nerves are bad tonight. Yes, bad. Stay with me. | Speak to me. Why do you never speak. Speak. | What are you thinking of? What thinking? What? | I never know what you are thinking. Think') was probably based on Vivienne and one of her 'episodes', juxtaposed by the chilling words-in-silence of her companion: 'I think we are in rats' alley | Where the dead men lost their bones'. The breakdown of a complicated and likely incompatible marriage is layered against the barrenness of a broken civilisation (this was published in 1922) inflected by the multiple anxieties of modernity.
One of the distinctive qualities of Eliot's writing is his spiritual and religious faith, something that Modernism as a movement had largely lost or rejected. But a corollary of that is his recourse to a madonna/whore dichotomy when it comes to thinking about women, and a sense of sinfulness that made him choose celibacy even in marriage and which filters into his tainted view of sex. There's something freer about his early work even taking account of Prufrock's thwarted desires and sexual anxieties, and Sweeney's terrifying and just-submerged violence (the prostitute in Sweeney Erect who takes one look at him holding a razor for shaving and shrieks and falls into an epileptic fit 'curves backward, clutching at her sides').
This selection doesn't include Eliot's great 'Four Quartets' but is a fine and accessible introduction or repeat visit to an iconic body of poetry.
March 6, 2017
Vird啪inija Vulf u stihu 鈥� na to me podse膰a Eliot. Stilski savr拧en, sna啪an, ponekad malo isuvi拧e zahtevan; po mom mi拧ljenju ostaje najpotpuniji ako se osoba mane tuma膷enja, ve膰 prepusti toku misli i slikama u prolazu. Nekim zbirkama sam se malo vi拧e bavio (The Wasteland, Prufrock and Other Observations 膷ija je naslovna definitivno jedna od boljih), nekima malo manje, ali vi拧e mi je ostao ose膰aj nego neki poseban citat: mra膷ne ulice pune dima i slabih, zagasitih svetiljki i ljudi poput njih, lepi ljudi, lepe ulice, putevi, 膷ak i u svojoj ru啪no膰i.
5
5
September 5, 2017
I first read Eliot in college for a survey class appropriately titled The Modern Wasteland. Even though that was nearly 15 years ago, I still remember 鈥淧rufrock鈥� and 鈥淭he Wasteland鈥� itself. We must have also read 鈥淎sh-Wednesday,鈥� because some of its lines were familiar to me (鈥淭each us to care and not to care / Teach us to sit still鈥�). On this reading it was that and 鈥淐horuses from 鈥楾he Rock鈥欌€� that had the strongest impact. I was struck afresh by how Eliot incorporates Christian language and imagery in his often slightly nightmarish visions of modern life, and by how good he is at the level of the individual line 鈥� so many phrases have been borrowed for titles of other books. Most of the poems from the 1917, 1920 and 1925 collections just washed over me, but there are some lines from 鈥淎sh-Wednesday鈥� and 鈥淐horuses from 鈥楾he Rock鈥欌€� that I鈥檝e marked out to read again (and again and again).
March 19, 2019
Brilliant, wonderful poems, selected by Eliot himself. 5 stars!
January 10, 2025
Magic Lantern
A miscellany of musings about old age and decay, striking stylistic flurries and vivid images. It reminded me keenly about Guillaume Apollinaire. Slightly conceited at times.
Quotes:
'Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question ...
Oh, do not ask, 鈥淲hat is it?鈥�
Let us go and make our visit.'
猬も猬も猬も猬も猬も猬も猬も猬も
'April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.'
猬も猬も猬も猬も猬も猬も猬も猬も
'A woman drew her long black hair out tight
And fiddled whisper music on those strings
And bats with baby faces in the violet light
Whistled, and beat their wings
And crawled head downward down a blackened wall
And upside down in air were towers
Tolling reminiscent bells, that kept the hours
And voices singing out of empty cisterns and exhausted wells.'
猬も猬も猬も猬も猬も猬も猬も猬も
'We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats' feet over broken glass
In our dry cellar
Shape without form, shade without colour,
Paralysed force, gesture without motion;
Those who have crossed
With direct eyes, to death's other Kingdom
Remember us-if at all-not as lost
Violent souls, but only
As the hollow men
The stuffed men.'
猬も猬も猬も猬も猬も猬も猬も猬も
'Though you have shelters and institutions,
Precarious lodgings while the rent is paid,
Subsiding basements where the rat breeds
Or sanitary dwellings with numbered doors
Or a house a little better than your neighbour's;
When the Stranger says: " What is the meaning of this city?
Do you huddle close together because you love each other?"
What will you answer? " We all dwell together
To make money from each other"? or " This is a community"?'
猬も猬も猬も猬も猬も猬も猬も猬も
See also:
A miscellany of musings about old age and decay, striking stylistic flurries and vivid images. It reminded me keenly about Guillaume Apollinaire. Slightly conceited at times.
Quotes:
'Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question ...
Oh, do not ask, 鈥淲hat is it?鈥�
Let us go and make our visit.'
猬も猬も猬も猬も猬も猬も猬も猬も
'April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.'
猬も猬も猬も猬も猬も猬も猬も猬も
'A woman drew her long black hair out tight
And fiddled whisper music on those strings
And bats with baby faces in the violet light
Whistled, and beat their wings
And crawled head downward down a blackened wall
And upside down in air were towers
Tolling reminiscent bells, that kept the hours
And voices singing out of empty cisterns and exhausted wells.'
猬も猬も猬も猬も猬も猬も猬も猬も
'We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats' feet over broken glass
In our dry cellar
Shape without form, shade without colour,
Paralysed force, gesture without motion;
Those who have crossed
With direct eyes, to death's other Kingdom
Remember us-if at all-not as lost
Violent souls, but only
As the hollow men
The stuffed men.'
猬も猬も猬も猬も猬も猬も猬も猬も
'Though you have shelters and institutions,
Precarious lodgings while the rent is paid,
Subsiding basements where the rat breeds
Or sanitary dwellings with numbered doors
Or a house a little better than your neighbour's;
When the Stranger says: " What is the meaning of this city?
Do you huddle close together because you love each other?"
What will you answer? " We all dwell together
To make money from each other"? or " This is a community"?'
猬も猬も猬も猬も猬も猬も猬も猬も
See also:
September 2, 2023
Some of these are masterworks I expect to outlast us, whereas others perhaps should've been aborted.
The notion that anyone might think 鈥淚 have measured out my life with coffee spoons鈥� perfectly captures the crude metrics we use to number decidedly not crude things. Recall that this section of 'Prufrock' asks "Do I dare / Disturb the universe? / In a minute there is time / For decisions and revisions which a minute will reverse." The whole 鈥淎nd in short, I was afraid鈥� segment kicks ass.
In the 'Preludes,' we have observations such as "You dozed, and watched the night revealing / The thousand sordid images / Of which your soul was constituted."
Almost an atheist in 'A Cooking Egg' by noting "I shall not want Capital in Heaven," the coarse interpenetration of earthy materialism with ethereal spiritualism, Marlowe's 'massy entrails of the earth,' just in the afterlife.
On the other hand, he is sometimes too showy with his lexicon and classical references ( I know, right?), such as in the generic 'Ode,' stating "Children singing in the orchard / (Io Hymen, Hymen忙e) / Succuba eviscerate." Just why "Polyphiloprogenitive," anyway? Eliot should know that this neologism violates classical compound rules--though such promiscuity might be the point of the poem of its appearance, if not of the entire enterprise.
Then, 'the Waste Land.' Is there a more ostentatious text in English? It reads 100% better if all of the authorial footnotes are skipped; they more interfere than enlighten. That said, "They called me the hyacinth girl" is probably a song waiting to be sung. The notion that Philomela "Filled all the desert with inviolable voice" is picture perfect. Nevertheless, "there is not even solitude in the mountains." I don't have a reasonable interpretation of the poem--it is lovely and weighty, but opaque and potentially dehiscent. At least it can be concluded that 鈥淭hese fragments I have shored against my ruins.鈥�
The volume and 'The Hollow Men' ends with "This is the way the world ends / Not with a bang but a whimper."
Recommended for those who are expert beyond experience.
The notion that anyone might think 鈥淚 have measured out my life with coffee spoons鈥� perfectly captures the crude metrics we use to number decidedly not crude things. Recall that this section of 'Prufrock' asks "Do I dare / Disturb the universe? / In a minute there is time / For decisions and revisions which a minute will reverse." The whole 鈥淎nd in short, I was afraid鈥� segment kicks ass.
In the 'Preludes,' we have observations such as "You dozed, and watched the night revealing / The thousand sordid images / Of which your soul was constituted."
Almost an atheist in 'A Cooking Egg' by noting "I shall not want Capital in Heaven," the coarse interpenetration of earthy materialism with ethereal spiritualism, Marlowe's 'massy entrails of the earth,' just in the afterlife.
On the other hand, he is sometimes too showy with his lexicon and classical references ( I know, right?), such as in the generic 'Ode,' stating "Children singing in the orchard / (Io Hymen, Hymen忙e) / Succuba eviscerate." Just why "Polyphiloprogenitive," anyway? Eliot should know that this neologism violates classical compound rules--though such promiscuity might be the point of the poem of its appearance, if not of the entire enterprise.
Then, 'the Waste Land.' Is there a more ostentatious text in English? It reads 100% better if all of the authorial footnotes are skipped; they more interfere than enlighten. That said, "They called me the hyacinth girl" is probably a song waiting to be sung. The notion that Philomela "Filled all the desert with inviolable voice" is picture perfect. Nevertheless, "there is not even solitude in the mountains." I don't have a reasonable interpretation of the poem--it is lovely and weighty, but opaque and potentially dehiscent. At least it can be concluded that 鈥淭hese fragments I have shored against my ruins.鈥�
The volume and 'The Hollow Men' ends with "This is the way the world ends / Not with a bang but a whimper."
Recommended for those who are expert beyond experience.
January 23, 2023
"by this, and this only, we have existed." brb buying every t.s. eliot collection ever
October 24, 2023
胁懈斜褉邪薪械 褋邪屑懈屑 械谢褨芯褌芯屑. 锌械褉械写屑芯胁谢械薪械 褋芯谢芯屑褨褦褞 锌邪胁谢懈褔泻芯. 褨写械邪谢褜薪芯 馃
袨褌芯卸 褏芯写褨屑, 褍写胁芯褏 褏芯写褨屑
袙 褔邪褋, 泻芯谢懈 胁械褔褨褉 锌褉芯褋褌褟谐薪褍胁褋褜 锌褨写 薪械斜芯屑 褑懈屑 斜谢褨写懈屑,
携泻 褏胁芯褉懈泄 薪邪 褋褌芯谢褨 褏褨褉褍褉谐邪 锌褨写 薪邪褉泻芯蟹芯屑
效懈 褉芯蟹锌芯胁褨褋褌懈, 褟泻 褨褕芯胁 褟 褋屑械褉泻芯屑 褋械褉械写 胁褍谢懈褑褜
袙褍蟹械薪褜泻懈褏, 屑褨卸 谢械谐泻懈褏 写懈屑褨胁 褋懈谐邪褉 锌芯芯写懈薪芯泻懈褏
袙 蟹褍斜邪褏 屑褍卸褔懈薪, 褖芯 写械-薪械-写械 胁懈褋芯胁褍胁邪谢懈褋褟 蟹 胁褨泻芯薪?
袩械褉械褌胁芯褉懈褌懈褋褟 斜 屑械薪褨 薪邪 锌邪褉褍 谐褉褍斜懈褏 泻谢械褕械薪褜,
些芯 写械褋褜 胁芯胁褌褍蟹褟褌褜褋褟 薪邪 写薪褨 屑芯褉褨胁 斜械蟹屑芯胁薪懈褏.
袧邪褌褟谐谢邪 薪褨斜懈 褋褌褉褍薪懈 泻芯褋懈 褔芯褉薪褨-褔芯褉薪褞褖褨
袉 蟹邪谐褉邪谢邪 薪邪 薪懈褏 褋芯斜褨 卸褨薪泻邪 蟹邪褕械锌芯褌褨谢邪
小械褉械写 褨褋泻芯褉 褎褨邪谢泻芯胁懈褏 泻褉懈谢 谢芯锌芯褌褨薪薪褟
袣邪卸邪薪懈 蟹 谢懈褑褟屑懈 薪械屑芯胁谢褟褌 褋胁懈褋褌褨谢懈
袉 褋褌芯褉褔 谐芯谢芯胁芯褞 锌芯胁蟹谢懈 锌芯 褋褌褨薪邪褏 蟹褔芯褉薪褨谢懈褏
袉 褟, 褖芯 谢械卸褍 褌褍褌 褉芯蟹泻褉邪褟薪懈泄,
袟邪锌芯胁褨写邪褞 写褨谢邪 褋胁芯褩 蟹邪斜褍褌褌褞, 邪 谢褞斜芯胁 屑芯褞
袩芯褌芯屑褋褌胁褍 锌褍褋褌械谢褨 泄 褉芯写芯胁褨 谐邪褉斜褍蟹芯胁芯屑褍.
小锌芯写褨胁邪薪械 胁锌芯泻芯褉械薪薪褟, 锌芯谐褨写薪褨褋褌褜 芯褋械薪褨,
小褌邪褉械褔褍 屑褍写褉褨褋褌褜? 效懈 胁芯薪懈 薪邪褋 芯褕褍泻邪谢懈,
效懈 芯褕褍泻邪谢懈 褋邪屑懈褏 褋械斜械 褑褨 褌懈褏芯屑芯胁薪褨 褋褌邪褉懈谐邪薪懈,
些芯 薪邪屑 蟹邪锌芯胁褨谢懈 褋邪屑褨 褌褨谢褜泻懈 褉械褑械锌褌懈 芯褕褍泻邪薪褋褌胁邪?
袨褑褟 锌芯谐褨写薪褨褋褌褜 鈥� 谢懈褕械 芯斜屑褨褉泻芯胁邪薪邪 谐谢褍锌芯褌邪,
袗 屑褍写褉褨褋褌褜 鈥� 谢懈褕械 蟹薪邪薪薪褟 锌芯屑械褉谢懈褏 褌邪褦屑薪懈褑褜,
袙卸械 薪械锌芯褌褉褨斜薪械 胁 褌械屑褉褟胁褨, 胁 褟泻褍 胁芯薪懈 胁写懈胁谢褟谢懈褋褜,
效懈 胁褨写 褟泻芯褩 胁褨写胁械褉褌邪谢懈 芯褔褨. 袘芯, 薪邪 薪邪褕褍 写褍屑泻褍,
袟薪邪薪薪褟, 泻芯褌褉械 锌芯褏芯写懈褌褜 蟹 写芯褋胁褨写褍,
袙褋械 卸 薪械胁械谢懈泻褍 屑邪褦 胁邪褉褌褨褋褌褜
袦懈 薪械 褍薪懈泻薪械屑芯 锌芯褕褍泻褨胁,
袉 泻褨薪褑械屑 薪邪褕懈褏 锌芯褕褍泻褨胁
小褌邪薪械 屑褨褋褑械, 蟹胁褨写泻懈 屑懈 锌芯褔懈薪邪谢懈,
袩褨蟹薪邪薪械, 薪邪褔械 锌械褉褕芯谐芯 褉邪蟹褍.
袛褨屑 鈥� 褑械 屑褨褋褑械, 蟹胁褨写泻懈 褉褍褕邪褞褌褜
May 4, 2008
"Between the idea
And the reality
Between the motion
And the act
Falls the Shadow
For Thine is the Kingdom
Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
Life is very long"
"Because I do not hope to turn again
Let these words answer
For what is done, not to be done again
May the judgement not be too heavy upon us
Because these wings are no longer wings to fly
But merely vans to beat the air
The air which is now thoroughly small and dry
Smaller and dryer than the will
Teach us to care and not to care
Teach us to sit still"
"And indee there will be time
For the yellow smoke that slides along the street
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of toast and tea."
I'll be honest: I understand about 5% of everything Eliot writes. When I read his poems, I first don't understand it, read it again, think I understand it, read some more, and then forget what it was I thought I understood.
But I still love nearly everything I read by him, so I don't feel too bad about this.
And the reality
Between the motion
And the act
Falls the Shadow
For Thine is the Kingdom
Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
Life is very long"
"Because I do not hope to turn again
Let these words answer
For what is done, not to be done again
May the judgement not be too heavy upon us
Because these wings are no longer wings to fly
But merely vans to beat the air
The air which is now thoroughly small and dry
Smaller and dryer than the will
Teach us to care and not to care
Teach us to sit still"
"And indee there will be time
For the yellow smoke that slides along the street
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of toast and tea."
I'll be honest: I understand about 5% of everything Eliot writes. When I read his poems, I first don't understand it, read it again, think I understand it, read some more, and then forget what it was I thought I understood.
But I still love nearly everything I read by him, so I don't feel too bad about this.
January 14, 2023
You鈥檙e either a 鈥淟ove Song鈥� person or a 鈥淲aste Land鈥� person, there is no in between!! And I definitely prefer 鈥淟ove Song鈥� (Sorry to my English teacher who鈥檚 probably reading this 馃槵)
鈥淟ove Song鈥� is by far one of the most brilliant and timeless poems I have ever read.
If I were to post my favourite quotes from the poem, I鈥檇 have to show every line. It鈥檚 beautifully written that every time I read it I have to read it out loud. A bit of an embarrassing story to share, I used to get ready to Tom Hiddleston reading this poem for about a month, truly humiliating but so worth it.
And if my English teacher is still reading my bizarre review: Could we pretty please analyse 鈥淧ortrait of a Lady鈥� in class? (I鈥檇 also ask for 鈥淟ove Song鈥� but I think I鈥檇 faint if you pulled out this poem out of your baby blue folder馃樀鈥嶐煉�)
鈥淟ove Song鈥� is by far one of the most brilliant and timeless poems I have ever read.
If I were to post my favourite quotes from the poem, I鈥檇 have to show every line. It鈥檚 beautifully written that every time I read it I have to read it out loud. A bit of an embarrassing story to share, I used to get ready to Tom Hiddleston reading this poem for about a month, truly humiliating but so worth it.
And if my English teacher is still reading my bizarre review: Could we pretty please analyse 鈥淧ortrait of a Lady鈥� in class? (I鈥檇 also ask for 鈥淟ove Song鈥� but I think I鈥檇 faint if you pulled out this poem out of your baby blue folder馃樀鈥嶐煉�)
February 25, 2017
Best read out-loud for yourself, and remember misogyny and antisemitism does not mean poetry void of beauty and truth. The grimy beauty of Eliot's masterful versification compresses and plants dense metaphysical ideas next to one another which find their expression in a pure and controlled diction. I'm afraid I was often left writhing in some kind of paroxysm of pleasure. This is difficult poetry with an encyclopedic sprawl of references but very rewarding if you're invested. My favourites comprise the first half of this particular collection.
"I am moved by fancies that are curled
Around these images, and cling;
The notion of some infinitely gentle
Infinitely suffering thing."
"I am moved by fancies that are curled
Around these images, and cling;
The notion of some infinitely gentle
Infinitely suffering thing."
February 19, 2016
袗泻芯 蟹薪邪褔械薪懈械褌芯 薪邪 械写薪邪 褌胁芯褉斜邪 胁懈薪邪谐懈 械 褋胁褗褉蟹邪薪芯 褋 胁褗蟹锌褉懈械屑邪褌械谢褟 (锌芯 袪懈褔邪褉写褋), 褌芯 胁 褋褍斜械泻褌懈胁薪芯褌芯 锌褉芯褋褌褉邪薪褋褌胁芯 薪邪 屑芯械褌芯 褔懈褌邪褌械谢褋泻芯 斜懈褌懈械 袝谢懈褗褌 械 械写懈薪 芯褌 锌芯械褌懈褌械, 泻芯懈褌芯 褋邪 芯泻邪蟹邪谢懈 薪邪泄-谐芯谢褟屑芯 胁谢懈褟薪懈械 胁 褉邪蟹胁懈褌懈械褌芯 薪邪 谢懈褌械褉邪褌褍褉薪懈褟 屑懈 胁泻褍褋 锌褉械蟹 谐芯写懈薪懈褌械. 袘械蟹泻褉邪泄薪邪褌邪 褌褗谐邪 胁 锌芯械蟹懈褟褌邪 屑褍, 褋褗褔械褌邪薪邪 褋 斜械蟹屑懈谢芯褋褌薪懈褟 褉械邪谢懈蟹褗屑 薪邪 胁薪褍褕械薪懈械褌芯, 锌褉械胁褗褉褌邪 褋胁械褌芯胁械 懈 褏胁褗褉谢褟 褔懈褌邪褌械谢褟 泻褗屑 械写薪芯 斜械蟹泻褉邪泄薪芯 褔械蟹薪械薪械. 袗 褔械蟹薪械薪械褌芯 械 薪邪泄-屑芯褖薪芯褌芯 芯褉褗卸懈械 褋褉械褖褍 蟹谢芯褌芯 褌邪屑, 泻褗写械褌芯 褌懈褕懈薪邪褌邪 谢械泻褍胁邪.
锘�
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November 17, 2024
鈿狅笍Warning鈿狅笍 this review is dramatic and pretentious. Proceed with caution. I鈥檓 sorry.
ughhhh do you ever read something or listen to a song or consume media in some form and it鈥檚 YOUR SOUL. like you read it and reading it isn鈥檛 enough. Everything Eliot writes feels like it鈥檚 slowly pulling something from my chest or like he鈥檚 pulling out each tissue and vein of my body to write on I DONT KNOW HOW TO EXPLAIN IT! I want to have each word memorized and learn them by heart but also with each word I read it feels familiar, like I knew exactly what he was going to say. I frequently joke about needing to 鈥渆at鈥� books, music, etc. but that鈥檚 the best way I can describe it. Like I need to hold the pages until they just become a part of my body idk. AND HOW HAD I NEVER READ THE CHORUSES BEFORE!!!! Read this!!!!
鈥淭he endless cycle of idea and action,
Endless invention, endless experiment,
Brings knowledge of motion, but not of stillness;
Knowledge of speech, but not of silence;
Knowledge of words, and ignorance of the Word.
All our knowledge brings us nearer to our ignorance,
All our ignorance brings us nearer to death,
But nearness to death no nearer to God .
Where is the Life we have lost in living?
Where is the wisdom we have lost in knowledge?
Where is the knowledge we have lost in information?
The cycles of Heaven in twenty centuries
Bring us farther from God and nearer to the Dust.鈥�
AHHHH ARE YOU JOKING! and that鈥檚 one part of one poem!!!!!! I could give you way more!! Eliot is the panacea to any sadness in my heart
ughhhh do you ever read something or listen to a song or consume media in some form and it鈥檚 YOUR SOUL. like you read it and reading it isn鈥檛 enough. Everything Eliot writes feels like it鈥檚 slowly pulling something from my chest or like he鈥檚 pulling out each tissue and vein of my body to write on I DONT KNOW HOW TO EXPLAIN IT! I want to have each word memorized and learn them by heart but also with each word I read it feels familiar, like I knew exactly what he was going to say. I frequently joke about needing to 鈥渆at鈥� books, music, etc. but that鈥檚 the best way I can describe it. Like I need to hold the pages until they just become a part of my body idk. AND HOW HAD I NEVER READ THE CHORUSES BEFORE!!!! Read this!!!!
鈥淭he endless cycle of idea and action,
Endless invention, endless experiment,
Brings knowledge of motion, but not of stillness;
Knowledge of speech, but not of silence;
Knowledge of words, and ignorance of the Word.
All our knowledge brings us nearer to our ignorance,
All our ignorance brings us nearer to death,
But nearness to death no nearer to God .
Where is the Life we have lost in living?
Where is the wisdom we have lost in knowledge?
Where is the knowledge we have lost in information?
The cycles of Heaven in twenty centuries
Bring us farther from God and nearer to the Dust.鈥�
AHHHH ARE YOU JOKING! and that鈥檚 one part of one poem!!!!!! I could give you way more!! Eliot is the panacea to any sadness in my heart
June 23, 2020
T. S. Eliot's poetry is what made me fall in love with poetry in the first place. It is out of this world - I don't know how I could articulate a review about something so close to my heart. I'll tell you a story, instead.
When I picked out this book out of my parents' shelves, I could speak and roughly understand English, but my vocabulary was nowhere near developed enough to understand all of the words in the poetry. I still felt compelled to read the poems - the sounds made sense, in a way. I loved that I could only understand snippets, and the poem was wholly mine, with its strange sense of tragedy and doom - no demand for a logical understanding of the world. My obsession was 'The Hollow Men'.
Now, I can confidently say I have the vocabulary to analytically approach this book - but I won't. I can't shake the feeling that poetry, especially T S Eliot's, is a way to go beyond words with words.
When I picked out this book out of my parents' shelves, I could speak and roughly understand English, but my vocabulary was nowhere near developed enough to understand all of the words in the poetry. I still felt compelled to read the poems - the sounds made sense, in a way. I loved that I could only understand snippets, and the poem was wholly mine, with its strange sense of tragedy and doom - no demand for a logical understanding of the world. My obsession was 'The Hollow Men'.
Now, I can confidently say I have the vocabulary to analytically approach this book - but I won't. I can't shake the feeling that poetry, especially T S Eliot's, is a way to go beyond words with words.
December 27, 2018
If you're googling the authors name and "anti-semitism" after a couple of pages you're probably not in for a good time.
That just pretty much coloured the rest of my reading this book so it's a hard no really.
That just pretty much coloured the rest of my reading this book so it's a hard no really.
June 29, 2022
Wonderful collection of poetry from a great poet. Here are classics: 'The Love Song of J. Alfred Prufrock', 'The Waste Land', 'Ash-Wednesday', and others. Wonderful.
November 23, 2017
袠屑邪 胁褉械屑械 写邪 褋械 褔械褌械 懈 胁褉械屑械 写邪 褋械 屑懈褋谢懈. 袦懈薪褍褌懈 蟹邪 褋械斜械 褋懈 懈 屑懈薪褍褌懈 写邪 斜褗写械褕. 袩褉懈 袝谢懈褗褌 胁褋懈褔泻芯 械 械写薪芯 斜械蟹泻褉邪泄薪芯 锌褉械锌谢懈褌邪薪械 薪邪 卸懈胁芯褌, 屑懈褋谢懈, 屑懈薪邪谢芯, 薪邪褋褌芯褟褖械, 锌褗褌褍胁邪薪械 懈 斜褗写械薪械, 懈 褌褍泻, 懈 褌邪屑.
袨褌谢邪谐邪褏 泻薪懈谐邪褌邪 褋 屑械褋械褑懈, 锌褉芯褔懈褌邪褏 锌芯 屑邪谢泻芯, 泻邪褌芯 写械褌械 褟写褟褖芯 褌邪泄薪芯 褕芯泻芯谢邪写芯胁懈 斜芯薪斜芯薪懈, 泻褉懈械褏 褋械 芯褌 褋械斜械 褋懈, 写邪 薪械 屑懈 褏邪褉械褋邪 屑薪芯谐芯 懈 懈蟹胁械写薪褗卸 写邪 褋胁褉褗褕懈. 袝谢懈褗褌 褋械 褔械褌械 斜邪胁薪芯, 锌褉械谐谢褗褖邪 褋械 褌褉褍写薪芯, 薪芯 薪芯褋懈 械写薪邪 薪械锌芯蟹薪邪褌邪 褌芯锌谢懈薪邪, 薪邪 写褍屑懈, 泻芯懈褌芯 褌械卸邪褌 薪邪 芯薪械蟹懈 屑械褋褌邪, 懈蟹斜褉邪蟹薪械薪懈 芯褌 械卸锟斤拷写薪械胁薪懈械褌芯.
"袛邪 谐芯 泻邪卸邪 谢懈 锌邪泻? 袟邪 写邪 锌芯褋褌懈谐薪械褕 写芯褌邪屑,
写芯褌邪屑, 泻褗写械褌芯 褋懈, 蟹邪 写邪 褋械 屑邪褏薪械褕 芯褌褌邪屑, 泻褗写械褌芯 薪械 褋懈,
褌褉褟斜胁邪 写邪 懈蟹屑懈薪械褕 锌褗褌, 锌芯 泻芯泄褌芯 薪褟屑邪 械泻褋褌邪蟹.
袟邪 写邪 褋褌懈谐薪械褕 写芯褌邪屑, 泻褗写械褌芯 薪械 蟹薪邪械褕 泻褗写械,
褌褉褟斜胁邪 写邪 懈蟹屑懈薪械褕 锌褗褌, 泻芯泄褌芯 械 锌褗褌褟褌 薪邪 薪械胁械卸械褋褌胁芯褌芯.
袟邪 写邪 锌褉懈褌械卸邪胁邪褌 褌芯胁邪, 泻芯械褌芯 薪械 锌褉懈褌械卸邪胁邪褕,
褌褉褟斜胁邪 写邪 屑懈薪械褕 锌芯 锌褗褌褟 薪邪 谢懈褕械薪懈械褌芯.
袟邪 写邪 写芯褋褌懈谐薪械褕 褌芯胁邪, 泻芯械褌芯 薪械 褋懈,
褌褉褟斜胁邪 写邪 屑懈薪械褕 锌芯 锌褗褌褟, 薪邪 泻芯泄褌芯 薪械 褋懈.
袠 泻芯械褌芯 薪械 蟹薪邪械褕, 械 械写懈薪褋褌胁械薪芯褌芯 薪械褖芯, 泻芯械褌芯 蟹薪邪械褕,
懈 泻芯械褌芯 锌褉懈褌械卸邪胁邪褕, 械 泻芯械褌芯 薪械 锌褉懈褌械卸邪胁邪褕,
懈 褌邪屑 泻褗写械褌芯 褋懈, 械 褌邪屑, 泻褗写锟斤拷褌芯 薪械 褋懈. "
"袥褞斜芯胁褌邪 械 薪邪泄-斜谢懈蟹芯 写芯 褋械斜械 褋懈,
泻芯谐邪褌芯 孝褍泻 懈 小械谐邪 锌褉械写褋褌邪薪邪褌 写邪 懈屑邪褌 蟹薪邪褔械薪懈械."
袨褌谢邪谐邪褏 泻薪懈谐邪褌邪 褋 屑械褋械褑懈, 锌褉芯褔懈褌邪褏 锌芯 屑邪谢泻芯, 泻邪褌芯 写械褌械 褟写褟褖芯 褌邪泄薪芯 褕芯泻芯谢邪写芯胁懈 斜芯薪斜芯薪懈, 泻褉懈械褏 褋械 芯褌 褋械斜械 褋懈, 写邪 薪械 屑懈 褏邪褉械褋邪 屑薪芯谐芯 懈 懈蟹胁械写薪褗卸 写邪 褋胁褉褗褕懈. 袝谢懈褗褌 褋械 褔械褌械 斜邪胁薪芯, 锌褉械谐谢褗褖邪 褋械 褌褉褍写薪芯, 薪芯 薪芯褋懈 械写薪邪 薪械锌芯蟹薪邪褌邪 褌芯锌谢懈薪邪, 薪邪 写褍屑懈, 泻芯懈褌芯 褌械卸邪褌 薪邪 芯薪械蟹懈 屑械褋褌邪, 懈蟹斜褉邪蟹薪械薪懈 芯褌 械卸锟斤拷写薪械胁薪懈械褌芯.
"袛邪 谐芯 泻邪卸邪 谢懈 锌邪泻? 袟邪 写邪 锌芯褋褌懈谐薪械褕 写芯褌邪屑,
写芯褌邪屑, 泻褗写械褌芯 褋懈, 蟹邪 写邪 褋械 屑邪褏薪械褕 芯褌褌邪屑, 泻褗写械褌芯 薪械 褋懈,
褌褉褟斜胁邪 写邪 懈蟹屑懈薪械褕 锌褗褌, 锌芯 泻芯泄褌芯 薪褟屑邪 械泻褋褌邪蟹.
袟邪 写邪 褋褌懈谐薪械褕 写芯褌邪屑, 泻褗写械褌芯 薪械 蟹薪邪械褕 泻褗写械,
褌褉褟斜胁邪 写邪 懈蟹屑懈薪械褕 锌褗褌, 泻芯泄褌芯 械 锌褗褌褟褌 薪邪 薪械胁械卸械褋褌胁芯褌芯.
袟邪 写邪 锌褉懈褌械卸邪胁邪褌 褌芯胁邪, 泻芯械褌芯 薪械 锌褉懈褌械卸邪胁邪褕,
褌褉褟斜胁邪 写邪 屑懈薪械褕 锌芯 锌褗褌褟 薪邪 谢懈褕械薪懈械褌芯.
袟邪 写邪 写芯褋褌懈谐薪械褕 褌芯胁邪, 泻芯械褌芯 薪械 褋懈,
褌褉褟斜胁邪 写邪 屑懈薪械褕 锌芯 锌褗褌褟, 薪邪 泻芯泄褌芯 薪械 褋懈.
袠 泻芯械褌芯 薪械 蟹薪邪械褕, 械 械写懈薪褋褌胁械薪芯褌芯 薪械褖芯, 泻芯械褌芯 蟹薪邪械褕,
懈 泻芯械褌芯 锌褉懈褌械卸邪胁邪褕, 械 泻芯械褌芯 薪械 锌褉懈褌械卸邪胁邪褕,
懈 褌邪屑 泻褗写械褌芯 褋懈, 械 褌邪屑, 泻褗写锟斤拷褌芯 薪械 褋懈. "
"袥褞斜芯胁褌邪 械 薪邪泄-斜谢懈蟹芯 写芯 褋械斜械 褋懈,
泻芯谐邪褌芯 孝褍泻 懈 小械谐邪 锌褉械写褋褌邪薪邪褌 写邪 懈屑邪褌 蟹薪邪褔械薪懈械."
November 14, 2019
I鈥檒l admit that I found this a challenging read - I鈥檓 a good 25 years out of practice in critical poetry reading. To be honest, I鈥檒l probably give this a higher rating after further reading and mulling over the contents. I found that I experienced brief periods of illumination, when I felt I was getting to grips with the material - for example the echoes of the modern digital age in the 鈥淐horuses from the Rock鈥� - but then found myself plunged back into the mire of confusion. Throughout, I had the sense that I was missing something extraordinary. While I consider myself to have had a reasonably good 鈥渓iberal education鈥� - I have a working knowledge of Greek myth, the old and New Testament and the works of Shakespeare - I think I鈥檇 be lucky if I picked up more than 10% of Eliot鈥檚 references. Nevertheless, a quality read, and I do intend to attempt some of these works again in due course.
January 31, 2011
Dear T. S. Eliot,
I had never read your poetry before. But from the first stanza of "The Love Song of J. Alfred Prufrock" you captivated me and I was spellbound by your words.
I find now you hold a place in my heart as one of my favourite poets.
I only regret that this selection of your poems is so short, being less than 100 pages. Also, I did not understand the poems in French very well. Translations would have been appreciated since my personal translations were rather shoddy, not to mention choppy. (Though my attempts did make me laugh.)
Other than that, I have no complaints.
Much love from your newest admirer,
Me
I had never read your poetry before. But from the first stanza of "The Love Song of J. Alfred Prufrock" you captivated me and I was spellbound by your words.
I find now you hold a place in my heart as one of my favourite poets.
I only regret that this selection of your poems is so short, being less than 100 pages. Also, I did not understand the poems in French very well. Translations would have been appreciated since my personal translations were rather shoddy, not to mention choppy. (Though my attempts did make me laugh.)
Other than that, I have no complaints.
Much love from your newest admirer,
Me
October 2, 2017
I have came across T.S Eliot's work before, in the format of the poem "The Wasteland" I rather enjoyed this, and I have always been eager ever since to read more of his works.
I love the sheer complexity of Eliot's poetry, and the level of thought and construction that has gone into the writing, is simply amazing. I liked this collection, but I didn't love it. There were a few poems that particularly stood out for me, and there were some I didn't care for in the least.
There were some poems that focused strongly on religion, and this made it difficult for me to access or relate to them.
Overall, it is worth the time to read, even if it's a book just to dip into every now and again.
I love the sheer complexity of Eliot's poetry, and the level of thought and construction that has gone into the writing, is simply amazing. I liked this collection, but I didn't love it. There were a few poems that particularly stood out for me, and there were some I didn't care for in the least.
There were some poems that focused strongly on religion, and this made it difficult for me to access or relate to them.
Overall, it is worth the time to read, even if it's a book just to dip into every now and again.
June 9, 2021
鈥淲e are the hollow men
听 听 We are the stuffed men
听 听 Leaning together
听 听 Headpiece filled with straw. Alas!
听 听 Our dried voices, when
听 听 We whisper together
听 听 Are quiet and meaningless
听 听 As wind in dry grass
听 听 Or rats' feet over broken glass
听 听 In our dry cellar
听 听
听 听 Shape without form, shade without colour,
听 听 Paralysed force, gesture without motion;
听 听
听 听 Those who have crossed
听 听 With direct eyes, to death's other Kingdom
听 听 Remember us-if at all-not as lost
听 听 Violent souls, but only
听 听 As the hollow men
听 听 The stuffed men.鈥�
听 听 We are the stuffed men
听 听 Leaning together
听 听 Headpiece filled with straw. Alas!
听 听 Our dried voices, when
听 听 We whisper together
听 听 Are quiet and meaningless
听 听 As wind in dry grass
听 听 Or rats' feet over broken glass
听 听 In our dry cellar
听 听
听 听 Shape without form, shade without colour,
听 听 Paralysed force, gesture without motion;
听 听
听 听 Those who have crossed
听 听 With direct eyes, to death's other Kingdom
听 听 Remember us-if at all-not as lost
听 听 Violent souls, but only
听 听 As the hollow men
听 听 The stuffed men.鈥�
May 9, 2013
"Do I dare
Disturb the universe?"
Reading his poetry is such a unique experiance, it is like I know what the next line is going to be before reading it. The ideas and images follow one another so effortlessly, it is so immensely captivating, touching and inspiring.
I had a small piece of paper next to me while reading it, which is now covered in quotes.
Disturb the universe?"
Reading his poetry is such a unique experiance, it is like I know what the next line is going to be before reading it. The ideas and images follow one another so effortlessly, it is so immensely captivating, touching and inspiring.
I had a small piece of paper next to me while reading it, which is now covered in quotes.
May 14, 2021
Sim, Eliot 茅 tudo que dizem que 茅.
October 22, 2024
Me alegro de haber reconectado con mi parte fil贸loga.
Hab铆a partes en las que dec铆a wow esta persona es un genio y otra en las que no entend铆a un caraj0 y ten铆a que fingir que s铆馃榾
Hab铆a partes en las que dec铆a wow esta persona es un genio y otra en las que no entend铆a un caraj0 y ten铆a que fingir que s铆馃榾
December 25, 2021
"For I have known them all already, known them all:
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;"
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;"
March 17, 2016
袧械褋谢褍褔邪泄薪芯 袝谢懈褗褌 械 谢邪褍褉械邪褌 薪邪 袧芯斜械谢芯胁邪褌邪 薪邪谐褉邪写邪 蟹邪 谢懈褌械褉邪褌褍褉邪.
***
"袘懈褏 卸械谢邪谢 写邪 褋褗屑 褟泻懈褌械 泻谢械褖懈 薪邪 褉邪泻,
泻芯懈褌芯 锌褉芯斜懈胁邪褌 锌芯写芯胁械褌械 薪邪 屑褗谢褔邪谢懈胁懈 屑芯褉械褌邪.
(...)
袠 褖械 褋懈 褋褌褉褍胁邪 谢懈 薪邪泻褉邪褟,
懈 褖械 褋懈 褋褌褉褍胁邪 谢懈 薪邪懈褋褌懈薪邪,
褋谢械写 蟹邪谢械蟹懈褌械, 写胁芯褉芯胁械褌械 懈 褍谢懈褔薪邪褌邪 胁谢邪谐邪,
褋谢械写 褉芯屑邪薪懈褌械 懈 褔邪泄芯胁械褌械, 懈 褕褍屑褟褖懈褌械 锌芯谢懈
懈 泻芯谢泻芯 芯褖械?鈥� 袠 写邪谢懈?鈥�
袧械, 薪械胁褗蟹屑芯卸薪芯 械 写邪 褋械 懈蟹泻邪卸械 褌芯胁邪, 泻芯械褌芯 懈屑邪 写邪 褋械 泻邪卸械!
袧芯 薪褟泻邪泻褗胁 屑邪谐懈褔械褋泻懈 褎械薪械褉 胁褗褉褏褍 械泻褉邪薪邪 褖械 锌芯泻邪卸械
褋褏械屑懈褌械 薪邪 屑芯懈褌械 薪械褉胁懈;
写邪谢懈, 写邪谢懈 薪邪泻褉邪褟 褖械 褋懈 褋褌褉褍胁邪
邪 邪泻芯 褌褟, 芯斜谢械谐薪邪谢邪 薪邪蟹邪写 谐谢邪胁邪
懈谢懈 芯褌屑械褌薪邪谢邪 薪邪谐芯褉械 褕邪谢邪,
芯斜褗褉薪邪褌邪 褋褉械褖褍 锌褉芯蟹芯褉械褑邪, 屑懈 泻邪卸械:
鈥炐�, 褋褗胁褋械屑 薪械 械 褌芯胁邪,
褋褗胁褋械屑 薪械 褋褗屑 锌芯屑懈褋谢褟谢邪 褌芯胁邪.鈥�
(...)
些械 褏芯写褟 邪蟹 锌芯 锌谢邪卸邪 褋 斜械谢懈 锌邪薪褌邪谢芯薪懈, 斜芯褋,
褖械 褔褍胁邪屑 锌械褋薪懈褌械 薪邪 屑芯褉褋泻懈褌械 褋懈褉械薪懈 胁褋械 褋褗褋 褋褗褖懈褟 胁褗锌褉芯褋.
袧械 屑懈褋谢褟, 褔械 褖械 锌械褟褌 蟹邪褉邪写 屑械薪械.
袠 邪蟹 谐懈 胁懈卸写邪屑 泻邪泻 褋邪 褟褏薪邪谢懈 胁褗谢薪懈褌械 薪邪 屑芯褉械褌芯,
褌械 褉械褕邪褌 斜械谢芯泻芯褋懈褌械 胁褗谢薪懈, 泻芯懈褌芯 胁褉褗褖邪 胁褟褌褗褉褗褌 薪邪写懈褉械,
锌芯 斜褟谢邪褌邪 懈 褔械褉薪邪褌邪 胁芯写邪, 泻芯谐邪褌芯 胁褟褌褗褉褗褌 蟹邪褋胁懈褉懈.
袧懈械 褖械 斜褉芯写懈屑 胁 蟹邪谢懈褌械, 写褗谢斜芯泻芯 锌芯写 屑芯褉械褌芯,
褋懈褉械薪懈褌械 褖械 薪懈 芯泻懈褔邪褌 褋 胁芯写芯褉邪褋谢懈, 褔械褉胁械薪懈 懈 泻邪褎褟胁懈,
写芯写械褌芯 薪懈 褋褗斜褍写褟褌 褔芯胁械褕泻懈 谐谢邪褋芯胁械 懈 褋械 褍写邪胁懈屑."
("袥褞斜芯胁薪邪褌邪 锌械褋械薪 薪邪 袛卸. 袗谢褎褉械写 袩褉褍褎褉芯泻"/ "The Love Song of J. Alfred Prufrock")
***
II
"小械谐邪, 泻芯谐邪褌芯 谢褞谢褟泻褗褌 褍褏邪械,
褌褟 懈屑邪 胁邪蟹邪 褋 谢褞谢褟泻 胁 褋胁芯泄褌邪 褋褌邪褟
懈 写芯泻邪褌芯 谐芯胁芯褉懈, 泻谢芯薪褔械 斜褉褍谢懈.
鈥炐愌�, 锌褉懈褟褌械谢褞, 薪械 蟹薪邪械褕, 薪械 锌芯蟹薪邪胁邪褕
卸懈胁芯褌邪, 泻芯泄褌芯 褋邪屑 写褗褉卸懈褕 胁 褉褗褑械褌械 褋懈;
(芯谐褗胁邪 斜邪胁薪芯 褋胁芯褟 谢褞谢褟泻)
锌褉械蟹 褌胁芯懈褌械 锌褉褗褋褌懈 写邪 懈蟹褌懈褔邪 谐芯 芯褋褌邪胁褟褕,
邪 屑谢邪写芯褋褌褌邪 械 褌胁褗褉写械 谢芯褕邪 懈 斜械蟹屑懈谢芯褋褌薪邪 鈥�
薪邪写 褌褍泄, 泻芯械褌芯 薪械 写芯谢邪胁褟, 褋械 薪邪写褋屑懈胁邪 褌褟!鈥�
袟邪褋屑懈胁邪屑 褋械 懈 邪蟹, 褉邪蟹斜懈褉邪 褋械,
懈 褔邪褟 褋懈 写芯锌懈胁邪屑.
鈥炐澬� 胁褋械 锌邪泻 褋 褌械蟹懈 蟹邪谢械蟹懈 邪锌褉懈谢褋泻懈 鈥� 胁褉褗褖邪褌 屑械 薪邪蟹邪写
胁 锌芯谐褉械斜邪薪懈褟 屑懈 卸懈胁芯褌, 袩邪褉懈卸 锌褉械蟹 锌褉芯谢械褌褌邪 鈥�
褌邪泻邪 褋锌芯泻芯泄薪邪 褋械 褍褋械褖邪屑 懈 薪邪屑懈褉邪屑, 褔械 褋胁械褌邪
械 胁 泻褉邪泄薪邪 褋屑械褌泻邪 锌褉懈泻邪蟹械薪 懈 屑谢邪写.鈥�
(...)
校褋屑懈胁泻邪褌邪 屑懈 锌邪写邪 褋褉械写 褋褌邪褉懈薪薪懈 胁械褖懈.
(...)
鈥炐澬靶啃狙佇恍敌囱娦� 胁褋械 褋懈 屑懈褋谢褟 鈥� 卸邪谢泻芯 鈥�
(薪芯 芯褌 薪邪褔邪谢芯褌芯 薪械 屑芯卸械 写邪 褋械 胁懈写懈 泻褉邪褟!)
蟹邪褖芯 薪械 褋褌邪薪邪褏屑械 锌褉懈褟褌械谢懈 鈥� 薪械 蟹薪邪褟!鈥�
效褍胁褋褌胁邪屑 褋械 泻邪褌芯 褔芯胁械泻 褍褋屑懈褏薪邪褌, 泻芯泄褌芯 褋械 懈蟹胁褉褗褖邪
懈 懈蟹胁械写薪褗卸 褋懈 胁懈卸写邪 芯褌褉邪卸械薪懈械褌芯 胁 褔邪褕邪.
小邪屑芯芯斜谢邪写邪薪懈械褌芯 屑懈 褋械 褋褌邪锌褟; 屑褉邪泻 械 胁 泻褗褖邪褌邪.
(...)
袨, 械褌芯, 褌邪蟹懈 屑褍蟹懈泻邪 鈥炐沸靶夹秆€邪鈥� 褋 胁械褖懈薪邪
褋械谐邪, 泻芯谐邪褌芯 褋褌邪胁邪 写褍屑邪 蟹邪 邪谐芯薪懈褟 鈥�
懈 斜懈褏 谢懈 懈屑邪谢 锌褉邪胁芯 薪邪 懈褉芯薪懈褟?"
("袩芯褉褌褉械褌 薪邪 械写薪邪 写邪屑邪"/ "Portrait of a Lady")
***
IV
袛褍褕邪褌邪 屑褍 胁褗褉褏褍 薪械斜械褌芯,
泻芯械褌芯 褔械蟹薪械 蟹邪写 谐褉邪写邪
懈谢懈 薪邪褋褌芯泄褔懈胁芯 锌芯褌褗锌泻邪薪邪
胁褗胁 褔械褌懈褉懈, 锌械褌, 褕械褋褌 褔邪褋邪;
泻褗褋懈褌械, 蟹谢懈 锌褉褗褋褌懈, 褌褗锌褔械褖懈 谢褍谢懈褌械,
胁械褔械褉薪懈褌械 胁械褋褌薪懈褑懈, 芯褔懈褌械
薪邪褟褋薪芯 褋 褟褋薪懈褌械 薪械褖邪
泻邪褌芯 褋褗蟹薪邪薪懈械褌芯 薪邪 屑褉褗褋薪邪 褍谢懈褔泻邪,
卸邪写褍胁邪褖邪 写邪 锌芯泻芯褉懈 褋胁械褌邪.
袨泻芯谢芯 芯斜褉邪蟹懈褌械 褌褍泻
褋褗斜懈褉邪褌 褋械 屑械褔褌懈, 卸械谢邪薪懈褟
懈 屑懈褋谢褟 褋懈 蟹邪 薪褟泻邪泻胁懈 薪械褍谢芯胁懈屑芯 薪械卸薪懈
薪械褍谢芯胁懈屑芯 褋褌褉邪写邪褖懈 褋褗蟹写邪薪懈褟.
袠蟹褌褉懈泄 褍褋褌邪褌邪 褋懈 褋 褉褗泻邪, 蟹邪褋屑械泄 褋械;
(...)
("袩褉械谢褞写懈"/"笔谤别濒耻诲别蝉")
***
***
"袘懈褏 卸械谢邪谢 写邪 褋褗屑 褟泻懈褌械 泻谢械褖懈 薪邪 褉邪泻,
泻芯懈褌芯 锌褉芯斜懈胁邪褌 锌芯写芯胁械褌械 薪邪 屑褗谢褔邪谢懈胁懈 屑芯褉械褌邪.
(...)
袠 褖械 褋懈 褋褌褉褍胁邪 谢懈 薪邪泻褉邪褟,
懈 褖械 褋懈 褋褌褉褍胁邪 谢懈 薪邪懈褋褌懈薪邪,
褋谢械写 蟹邪谢械蟹懈褌械, 写胁芯褉芯胁械褌械 懈 褍谢懈褔薪邪褌邪 胁谢邪谐邪,
褋谢械写 褉芯屑邪薪懈褌械 懈 褔邪泄芯胁械褌械, 懈 褕褍屑褟褖懈褌械 锌芯谢懈
懈 泻芯谢泻芯 芯褖械?鈥� 袠 写邪谢懈?鈥�
袧械, 薪械胁褗蟹屑芯卸薪芯 械 写邪 褋械 懈蟹泻邪卸械 褌芯胁邪, 泻芯械褌芯 懈屑邪 写邪 褋械 泻邪卸械!
袧芯 薪褟泻邪泻褗胁 屑邪谐懈褔械褋泻懈 褎械薪械褉 胁褗褉褏褍 械泻褉邪薪邪 褖械 锌芯泻邪卸械
褋褏械屑懈褌械 薪邪 屑芯懈褌械 薪械褉胁懈;
写邪谢懈, 写邪谢懈 薪邪泻褉邪褟 褖械 褋懈 褋褌褉褍胁邪
邪 邪泻芯 褌褟, 芯斜谢械谐薪邪谢邪 薪邪蟹邪写 谐谢邪胁邪
懈谢懈 芯褌屑械褌薪邪谢邪 薪邪谐芯褉械 褕邪谢邪,
芯斜褗褉薪邪褌邪 褋褉械褖褍 锌褉芯蟹芯褉械褑邪, 屑懈 泻邪卸械:
鈥炐�, 褋褗胁褋械屑 薪械 械 褌芯胁邪,
褋褗胁褋械屑 薪械 褋褗屑 锌芯屑懈褋谢褟谢邪 褌芯胁邪.鈥�
(...)
些械 褏芯写褟 邪蟹 锌芯 锌谢邪卸邪 褋 斜械谢懈 锌邪薪褌邪谢芯薪懈, 斜芯褋,
褖械 褔褍胁邪屑 锌械褋薪懈褌械 薪邪 屑芯褉褋泻懈褌械 褋懈褉械薪懈 胁褋械 褋褗褋 褋褗褖懈褟 胁褗锌褉芯褋.
袧械 屑懈褋谢褟, 褔械 褖械 锌械褟褌 蟹邪褉邪写 屑械薪械.
袠 邪蟹 谐懈 胁懈卸写邪屑 泻邪泻 褋邪 褟褏薪邪谢懈 胁褗谢薪懈褌械 薪邪 屑芯褉械褌芯,
褌械 褉械褕邪褌 斜械谢芯泻芯褋懈褌械 胁褗谢薪懈, 泻芯懈褌芯 胁褉褗褖邪 胁褟褌褗褉褗褌 薪邪写懈褉械,
锌芯 斜褟谢邪褌邪 懈 褔械褉薪邪褌邪 胁芯写邪, 泻芯谐邪褌芯 胁褟褌褗褉褗褌 蟹邪褋胁懈褉懈.
袧懈械 褖械 斜褉芯写懈屑 胁 蟹邪谢懈褌械, 写褗谢斜芯泻芯 锌芯写 屑芯褉械褌芯,
褋懈褉械薪懈褌械 褖械 薪懈 芯泻懈褔邪褌 褋 胁芯写芯褉邪褋谢懈, 褔械褉胁械薪懈 懈 泻邪褎褟胁懈,
写芯写械褌芯 薪懈 褋褗斜褍写褟褌 褔芯胁械褕泻懈 谐谢邪褋芯胁械 懈 褋械 褍写邪胁懈屑."
("袥褞斜芯胁薪邪褌邪 锌械褋械薪 薪邪 袛卸. 袗谢褎褉械写 袩褉褍褎褉芯泻"/ "The Love Song of J. Alfred Prufrock")
***
II
"小械谐邪, 泻芯谐邪褌芯 谢褞谢褟泻褗褌 褍褏邪械,
褌褟 懈屑邪 胁邪蟹邪 褋 谢褞谢褟泻 胁 褋胁芯泄褌邪 褋褌邪褟
懈 写芯泻邪褌芯 谐芯胁芯褉懈, 泻谢芯薪褔械 斜褉褍谢懈.
鈥炐愌�, 锌褉懈褟褌械谢褞, 薪械 蟹薪邪械褕, 薪械 锌芯蟹薪邪胁邪褕
卸懈胁芯褌邪, 泻芯泄褌芯 褋邪屑 写褗褉卸懈褕 胁 褉褗褑械褌械 褋懈;
(芯谐褗胁邪 斜邪胁薪芯 褋胁芯褟 谢褞谢褟泻)
锌褉械蟹 褌胁芯懈褌械 锌褉褗褋褌懈 写邪 懈蟹褌懈褔邪 谐芯 芯褋褌邪胁褟褕,
邪 屑谢邪写芯褋褌褌邪 械 褌胁褗褉写械 谢芯褕邪 懈 斜械蟹屑懈谢芯褋褌薪邪 鈥�
薪邪写 褌褍泄, 泻芯械褌芯 薪械 写芯谢邪胁褟, 褋械 薪邪写褋屑懈胁邪 褌褟!鈥�
袟邪褋屑懈胁邪屑 褋械 懈 邪蟹, 褉邪蟹斜懈褉邪 褋械,
懈 褔邪褟 褋懈 写芯锌懈胁邪屑.
鈥炐澬� 胁褋械 锌邪泻 褋 褌械蟹懈 蟹邪谢械蟹懈 邪锌褉懈谢褋泻懈 鈥� 胁褉褗褖邪褌 屑械 薪邪蟹邪写
胁 锌芯谐褉械斜邪薪懈褟 屑懈 卸懈胁芯褌, 袩邪褉懈卸 锌褉械蟹 锌褉芯谢械褌褌邪 鈥�
褌邪泻邪 褋锌芯泻芯泄薪邪 褋械 褍褋械褖邪屑 懈 薪邪屑懈褉邪屑, 褔械 褋胁械褌邪
械 胁 泻褉邪泄薪邪 褋屑械褌泻邪 锌褉懈泻邪蟹械薪 懈 屑谢邪写.鈥�
(...)
校褋屑懈胁泻邪褌邪 屑懈 锌邪写邪 褋褉械写 褋褌邪褉懈薪薪懈 胁械褖懈.
(...)
鈥炐澬靶啃狙佇恍敌囱娦� 胁褋械 褋懈 屑懈褋谢褟 鈥� 卸邪谢泻芯 鈥�
(薪芯 芯褌 薪邪褔邪谢芯褌芯 薪械 屑芯卸械 写邪 褋械 胁懈写懈 泻褉邪褟!)
蟹邪褖芯 薪械 褋褌邪薪邪褏屑械 锌褉懈褟褌械谢懈 鈥� 薪械 蟹薪邪褟!鈥�
效褍胁褋褌胁邪屑 褋械 泻邪褌芯 褔芯胁械泻 褍褋屑懈褏薪邪褌, 泻芯泄褌芯 褋械 懈蟹胁褉褗褖邪
懈 懈蟹胁械写薪褗卸 褋懈 胁懈卸写邪 芯褌褉邪卸械薪懈械褌芯 胁 褔邪褕邪.
小邪屑芯芯斜谢邪写邪薪懈械褌芯 屑懈 褋械 褋褌邪锌褟; 屑褉邪泻 械 胁 泻褗褖邪褌邪.
(...)
袨, 械褌芯, 褌邪蟹懈 屑褍蟹懈泻邪 鈥炐沸靶夹秆€邪鈥� 褋 胁械褖懈薪邪
褋械谐邪, 泻芯谐邪褌芯 褋褌邪胁邪 写褍屑邪 蟹邪 邪谐芯薪懈褟 鈥�
懈 斜懈褏 谢懈 懈屑邪谢 锌褉邪胁芯 薪邪 懈褉芯薪懈褟?"
("袩芯褉褌褉械褌 薪邪 械写薪邪 写邪屑邪"/ "Portrait of a Lady")
***
IV
袛褍褕邪褌邪 屑褍 胁褗褉褏褍 薪械斜械褌芯,
泻芯械褌芯 褔械蟹薪械 蟹邪写 谐褉邪写邪
懈谢懈 薪邪褋褌芯泄褔懈胁芯 锌芯褌褗锌泻邪薪邪
胁褗胁 褔械褌懈褉懈, 锌械褌, 褕械褋褌 褔邪褋邪;
泻褗褋懈褌械, 蟹谢懈 锌褉褗褋褌懈, 褌褗锌褔械褖懈 谢褍谢懈褌械,
胁械褔械褉薪懈褌械 胁械褋褌薪懈褑懈, 芯褔懈褌械
薪邪褟褋薪芯 褋 褟褋薪懈褌械 薪械褖邪
泻邪褌芯 褋褗蟹薪邪薪懈械褌芯 薪邪 屑褉褗褋薪邪 褍谢懈褔泻邪,
卸邪写褍胁邪褖邪 写邪 锌芯泻芯褉懈 褋胁械褌邪.
袨泻芯谢芯 芯斜褉邪蟹懈褌械 褌褍泻
褋褗斜懈褉邪褌 褋械 屑械褔褌懈, 卸械谢邪薪懈褟
懈 屑懈褋谢褟 褋懈 蟹邪 薪褟泻邪泻胁懈 薪械褍谢芯胁懈屑芯 薪械卸薪懈
薪械褍谢芯胁懈屑芯 褋褌褉邪写邪褖懈 褋褗蟹写邪薪懈褟.
袠蟹褌褉懈泄 褍褋褌邪褌邪 褋懈 褋 褉褗泻邪, 蟹邪褋屑械泄 褋械;
(...)
("袩褉械谢褞写懈"/"笔谤别濒耻诲别蝉")
***
March 4, 2018
Mixed bag. Eliot at his best is very good indeed, and he is capable of a dry, satiric humour. On the other hand, there's a studied despair about a lot of these poems that seems superficial or a conscious pose rather than an unfiltered expression of honesty. These are very much head poems, not heart poems, which at their best makes them great, but it makes some of them, notably the later, more overtly Catholic ones, read more like disquisitions than poetry. And the occasional burst of anti-Semitism is disconcerting. "The rats are underneath the piles. / The Jew is underneath the lot." Yikes!
October 6, 2016
I haven't read poetry in a long time, and I'm happy I started my journey through it again with T. S. Eliot. One of my favourite lines of my life is from one of his poems: "I will show you fear in a handful of dust". "Portrait of a Lady" has been very close to my heart for some years now. I enjoy his writings a lot because I can always sense loss and doom on the other side of their meaning, just as well as I can see some rays of hope. He is not one of the greats for nothing...
September 3, 2011
Understanding can come with growth and/or maturity, but how do we know when our dislike of something comes from lack of understanding rather than a simple matter of taste? Eliot lays himself bare, his insecurities and lowest parts offered. He is his audience, he is his reader--the root of the truth in his words. Genius and honesty combined is daunting, but there is beauty to carry you through.
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