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Collected Poems, 1909-1962

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Title: Collected Poems, 1909-1962
by T.S. Eliot
ISBN: 0-15-118978-1
Publisher: Harcourt
Pub. Date: 25 September, 1963
Format: Hardcover
Volumes: 1
List Price(USD): $23.00
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Average Customer Rating: 4.94 (17 reviews)

Customer Reviews

Rating: 5
Summary: Prometheus of modern poetry
Comment: I became familiar with Eliot's work chronologically, learning something new at each step. "Prufrock" introduced me to modern poetical structure, "The Waste Land" showed me how literary allusion can enrich verse, "Ash-Wednesday" refreshed the world of religious poetry, and the supernal "Four Quartets" was for me a metaphysical insight of the greatest beauty.

Eliot is without a doubt the finest poet of the 20th century, perhaps the finest poet ever. His contributions to the poets who came after him, and to literature in general, are persistently evident. Eliot doesn't always succeed, and many of his poems seem trite and pretentious, but when he succeeds he hits dead on with poetry perfect in form, balance, and sound. There is the man here, the poet as reflected in his own work, but there is also common human experience through looking at history ("The Waste Land") and meditating on Man's relationship with the Divine and the eternal (Ariel Poems, and most of his output after 1928).

Rating: 5
Summary: Overrated (but deservedly so)
Comment: The most discussed, frequently invoked 20th-century poet in both American as well as British literature academic arenas (the advantage of a St. Louis birth place and brief Harvard education), Eliot offers toe-holds, certainties, and assurances to readers even as he satisfies their need to proclaim their own latter-day modernity. Compare Eliot to his immediate predecessor, Mathew Arnold, the man-of-letters, poet, and cultural critic of his time. Like Eliot's, Arnold's poetic output was relatively modest, and his cultural criticism, like Eliot's, exposed the barrenness, fragmentation, excessive subjectivity and self-consciousness of the present while proclaiming the triumphant unity, objectivity, and visionary perspective of an earlier poetry.

But whereas Arnold lays upon the reader the onerous project of reclaiming Greek epic and tragedy, Eliot asks us merely to make touch with the archetypal landscape of the unconscious self and to reclaim the concrete and clever poetry of Shakespeare's immediate descendants, the "Metaphysics." And whereas Arnold in his poetry struggles to overcome his own romanticism, more often than not demonstrating an inability to produce poetry capable of rising above repetitious elegy and brooding despair, Eliot's offers us a body of work that is remarkably coherent, whole, of a piece.

In the poetry from "Prufrock" through "The Wasteland" and "Hollow Men," the themes and patterns of the collective unconscious provide a solid, dependable substratum to the motifs, the repeated cultural "fragments," the objective correlatives which occur and recur until, more than in any other poetry, they lodge indelibly, memorably in the reader's consciousness. In the poetry from "Ash Wednesday" to "Four Quartets" the seemingly unconnected images and objective correlatives achieve grammatical order and thematic coherence through their elevation to the sacramental, to a vision of the "word" not as the product of the self's struggle with the deep regions of the unconscious but as the incarnation of meaning descending from higher realms of purification and grace.

As the foremost representative, even prototype, of literary "modernism," Eliot's work is at the same time as neat and tidy a body of poetry as that produced by any other poet--orderly to the point of being anal. It's little wonder that he retains his interest and popularity. It's smaller wonder yet that the guy was incapable of understanding let alone appreciating a work as resistent to ready explanation, as "messy" as "Hamlet."

Rating: 5
Summary: ARCANA COELESTIA
Comment: T.S.Eliot Collected Poems are beyond any words of a common person like me.

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