As per our current Database, T. S. Eliot has been died on 4 January 1965(1965-01-04) (aged 76)\nKensington, London, England.
When T. S. Eliot die, T. S. Eliot was 76 years old.
|Popular As||T. S. Eliot|
|Age||76 years old|
|Born||September 26, 1888 (St. Louis, Missouri, United States, United States)|
|Town/City||St. Louis, Missouri, United States, United States|
T. S. Eliot’s zodiac sign is Libra. According to astrologers, People born under the sign of Libra are peaceful, fair, and they hate being alone. Partnership is very important for them, as their mirror and someone giving them the ability to be the mirror themselves. These individuals are fascinated by balance and symmetry, they are in a constant chase for justice and equality, realizing through life that the only thing that should be truly important to themselves in their own inner core of personality. This is someone ready to do nearly anything to avoid conflict, keeping the peace whenever possible
T. S. Eliot was born in the Year of the Rat. Those born under the Chinese Zodiac sign of the Rat are quick-witted, clever, charming, sharp and funny. They have excellent taste, are a good friend and are generous and loyal to others considered part of its pack. Motivated by money, can be greedy, is ever curious, seeks knowledge and welcomes challenges. Compatible with Dragon or Monkey.
This is the way the world ends
Not with a bang but a whimper.
The Eliots were a Boston Brahmin family with roots in Old and New England. Thomas Eliot's paternal grandfather, william Greenleaf Eliot, had moved to St. Louis, Missouri, to establish a Unitarian Christian church there. His father, Henry Ware Eliot (1843–1919), was a successful businessman, President and treasurer of the Hydraulic-Press Brick Company in St Louis. His mother, Charlotte Champe Stearns (1843–1929), wrote poetry and was a social worker, a new profession in the early 20th century.
Thomas Stearns Eliot, OM (26 September 1888 – 4 January 1965) was a British Essayist, publisher, Playwright, literary and social critic, and "one of the twentieth century's major poets". He moved from his native United States to England in 1914 at the age of 25, settling, working, and marrying there. He eventually became a British subject in 1927 at the age of 39, renouncing his American passport.
From 1898 to 1905, Eliot attended Smith Academy, where his studies included Latin, Ancient Greek, French, and German. He began to write poetry when he was fourteen under the influence of Edward Fitzgerald's Rubaiyat of Omar Khayyam, a translation of the poetry of Omar Khayyam. He said the results were gloomy and despairing and he destroyed them. His first published poem, "A Fable For Feasters", was written as a school exercise and was published in the Smith Academy Record in February 1905. Also published there in April 1905 was his oldest surviving poem in manuscript, an untitled lyric, later revised and reprinted as "Song" in The Harvard Advocate, Harvard University's student magazine. He also published three short stories in 1905, "Birds of Prey", "A Tale of a Whale" and "The Man Who Was King". The last mentioned story significantly reflects his exploration of Igorot Village while visiting the 1904 World's Fair of St. Louis. Such a link with primitive people importantly antedates his anthropological studies at Harvard.
Eliot lived in St. Louis, Missouri for the first sixteen years of his life at the house on Locust St. where he was born. After going away to school in 1905, he only returned to St. Louis for vacations and visits. Despite moving away from the city, Eliot wrote to a friend that the "Missouri and the Mississippi have made a deeper impression on me than any other part of the world."
Following graduation, Eliot attended Milton Academy in Massachusetts for a preparatory year, where he met Scofield Thayer who later published The Waste Land. He studied philosophy at Harvard College from 1906 to 1909, earning his bachelor's degree after three years, instead of the usual four. While a student, Eliot was placed on academic probation and graduated with a pass degree (i.e. no honours). He recovered and persisted, attaining a B.A. in an elective program best described as comparative literature in three years, and an M.A. in English literature in the fourth. Frank Kermode writes that the most important moment of Eliot's undergraduate career was in 1908 when he discovered Arthur Symons's The Symbolist Movement in Literature. This introduced him to Jules Laforgue, Arthur Rimbaud, and Paul Verlaine. Without Verlaine, Eliot wrote, he might never have heard of Tristan Corbière and his book Les amours jaunes, a work that affected the course of Eliot's life. The Harvard Advocate published some of his poems and he became lifelong friends with Conrad Aiken the American Novelist.
After working as a philosophy assistant at Harvard from 1909 to 1910, Eliot moved to Paris where, from 1910 to 1911, he studied philosophy at the Sorbonne. He attended lectures by Henri Bergson and read poetry with Henri Alban-Fournier. From 1911 to 1914, he was back at Harvard studying Indian philosophy and Sanskrit. Eliot was awarded a scholarship to Merton College, Oxford, in 1914. He first visited Marburg, Germany, where he planned to take a summer programme, but when the First World War broke out he went to Oxford instead. At the time so many American students attended Merton that the Junior Common Room proposed a motion "that this society abhors the Americanization of Oxford". It was defeated by two votes, after Eliot reminded the students how much they owed American culture.
Eliot wrote to Conrad Aiken on New Year's Eve 1914: "I hate university towns and university people, who are the same everywhere, with pregnant wives, sprawling children, many books and hideous pictures on the walls ... Oxford is very pretty, but I don't like to be dead." Escaping Oxford, Eliot spent much of his time in London. This city had a monumental and life-altering effect on Eliot for several reasons, the most significant of which was his introduction to the influential American literary figure Ezra Pound. A connection through Aiken resulted in an arranged meeting and on 22 September 1914, Eliot paid a visit to Pound's flat. Pound instantly deemed Eliot "worth watching" and was crucial to Eliot's beginning career as a poet, as he is credited with promoting Eliot through social events and literary gatherings. Thus, according to biographer John Worthen, during his time in England Eliot "was seeing as little of Oxford as possible". He was instead spending long periods of time in London, in the company of Ezra Pound and "some of the modern artists whom the war has so far spared... It was Pound who helped most, introducing him everywhere." In the end, Eliot did not settle at Merton and left after a year. In 1915 he taught English at Birkbeck, University of London.
In 1915, Ezra Pound, overseas Editor of Poetry magazine, recommended to Harriet Monroe, the magazine's founder, that she publish "The Love Song of J. Alfred Prufrock". Although the character Prufrock seems to be middle-aged, Eliot wrote most of the poem when he was only twenty-two. Its now-famous opening lines, comparing the evening sky to "a patient etherised upon a table", were considered shocking and offensive, especially at a time when Georgian Poetry was hailed for its derivations of the nineteenth century Romantic Poets.
By 1916, he had completed a doctoral dissertation for Harvard on "Knowledge and Experience in the Philosophy of F. H. Bradley", but he failed to return for the viva voce exam.
The poem's structure was heavily influenced by Eliot's extensive reading of Dante and refers to a number of literary works, including Hamlet and those of the French Symbolists. Its reception in London can be gauged from an unsigned review in The Times Literary Supplement on 21 June 1917. "The fact that these things occurred to the mind of Mr. Eliot is surely of the very smallest importance to anyone, even to himself. They certainly have no relation to poetry."
His 1922 poem The Waste Land also can be better understood in light of his work as a critic. He had argued that a poet must write "programmatic criticism", that is, a poet should write to advance his own interests rather than to advance "historical scholarship". Viewed from Eliot's critical lens, The Waste Land likely shows his personal despair about World War I rather than an objective historical understanding of it.
The Hollow Men appeared in 1925. For the critic Edmund Wilson, it marked "The nadir of the phase of despair and desolation given such effective expression in The Waste Land." It is Eliot's major poem of the late 1920s. Similar to Eliot's other works, its themes are overlapping and fragmentary. Post-war Europe under the Treaty of Versailles (which Eliot despised), the difficulty of hope and religious conversion, Eliot's failed marriage.
Ash-Wednesday is the first long poem written by Eliot after his 1927 conversion to Anglicanism. Published in 1930, it deals with the struggle that ensues when one who has lacked faith acquires it. Sometimes referred to as Eliot's "conversion poem", it is richly but ambiguously allusive, and deals with the aspiration to move from spiritual barrenness to hope for human salvation. Eliot's style of writing in Ash-Wednesday showed a marked shift from the poetry he had written prior to his 1927 conversion, and his post-conversion style continued in a similar vein. His style became less ironic, and the poems were no longer populated by multiple characters in dialogue. His subject matter also became more focused on Eliot's spiritual concerns and his Christian faith.
By 1932, Eliot had been contemplating a separation from his wife for some time. When Harvard offered him the Charles Eliot Norton professorship for the 1932–1933 academic year, he accepted and left Vivienne in England. Upon his return, he arranged for a formal separation from her, avoiding all but one meeting with her between his leaving for America in 1932 and her death in 1947. Vivienne was committed to the Northumberland House mental hospital, Stoke Newington, in 1938, and remained there until she died. Although Eliot was still legally her husband, he never visited her.
In a series of lectures delivered at the University of Virginia in 1933, published under the title After Strange Gods: A Primer of Modern Heresy (1934), Eliot wrote of societal tradition and coherence, "What is still more important [than cultural homogeneity] is unity of religious background, and reasons of race and religion combine to make any large number of free-thinking Jews undesirable." Eliot never re-published this book/lecture. In his 1934 pageant play The Rock, Eliot distances himself from Fascist movements of the Thirties by caricaturing Oswald Mosley's Blackshirts, who 'firmly refuse/ To descend to palaver with anthropoid Jews'. The 'new evangels' of totalitarianism are presented as antithetic to the spirit of Christianity.
A pageant play by Eliot called The Rock was performed in 1934 for the benefit of churches in the Diocese of London. Much of it was a collaborative effort; Eliot accepted credit only for the authorship of one scene and the choruses. George Bell, the Bishop of Chichester, had been instrumental in connecting Eliot with Producer E. Martin Browne for the production of The Rock, and later commissioned Eliot to write another play for the Canterbury Festival in 1935. This one, Murder in the Cathedral, concerning the death of the martyr, Thomas Becket, was more under Eliot's control. Eliot biographer Peter Ackroyd comments that "for [Eliot], Murder in the Cathedral and succeeding verse plays offered a double advantage; it allowed him to practice poetry but it also offered a convenient home for his religious sensibility." After this, he worked on more "commercial" plays for more general audiences: The Family Reunion (1939), The Cocktail Party (1949), The Confidential Clerk, (1953) and The Elder Statesman (1958) (the latter three were produced by Henry Sherek and directed by E. Martin Browne). The Broadway production in New York of The Cocktail Party received the 1950 Tony Award for Best Play. Eliot wrote The Cocktail Party while he was a visiting scholar at the Institute for Advanced Study.
Eliot regarded Four Quartets as his masterpiece, and it is the work that led to his being awarded the Nobel Prize in Literature. It consists of four long poems, each first published separately: Burnt Norton (1936), East Coker (1940), The Dry Salvages (1941) and Little Gidding (1942). Each has five sections. Although they resist easy characterisation, each poem includes meditations on the nature of time in some important respect—theological, historical, physical—and its relation to the human condition. Each poem is associated with one of the four classical elements, respectively: air, earth, water, and fire.
From 1938 to 1957 Eliot's public companion was Mary Trevelyan of London University, who wanted to marry him and left a detailed memoir.
In 1939, Eliot published a book of light verse, Old Possum's Book of Practical Cats ("Old Possum" was Ezra Pound's nickname for him). This first edition had an illustration of the author on the cover. In 1954, the Composer Alan Rawsthorne set six of the poems for speaker and orchestra in a work titled Practical Cats. After Eliot's death, the book was adapted as the basis of the musical Cats by Andrew Lloyd Webber, first produced in London's West End in 1981 and opening on Broadway the following year.
From 1946 to 1957, Eliot shared a flat at 19 Carlyle Mansions, Chelsea, with his friend John Davy Hayward, who collected and managed Eliot's papers, styling himself "Keeper of the Eliot Archive". Hayward also collected Eliot's pre-Prufrock verse, commercially published after Eliot's death as Poems Written in Early Youth. When Eliot and Hayward separated their household in 1957, Hayward retained his collection of Eliot's papers, which he bequeathed to King's College, Cambridge, in 1965.
On 10 January 1957, at the age of 68, Eliot married Esmé Valerie Fletcher, who was 30. In contrast to his first marriage, Eliot knew Fletcher well, as she had been his secretary at Faber and Faber since August 1949. They kept their wedding secret; the ceremony was held in a church at 6:15 am with virtually no one in attendance other than his wife's parents. Eliot had no children with either of his wives. In the early 1960s, by then in failing health, Eliot worked as an Editor for the Wesleyan University Press, seeking new poets in Europe for publication. After Eliot's death, Valerie dedicated her time to preserving his legacy, by editing and annotating The Letters of T. S. Eliot and a facsimile of the draft of The Waste Land. Valerie Eliot died on 9 November 2012 at her home in London.
During an interview in 1959, Eliot said of his nationality and its role in his work: "I'd say that my poetry has obviously more in Common with my distinguished contemporaries in America than with anything written in my generation in England. That I'm sure of. ... It wouldn't be what it is, and I imagine it wouldn't be so good; putting it as modestly as I can, it wouldn't be what it is if I'd been born in England, and it wouldn't be what it is if I'd stayed in America. It's a combination of things. But in its sources, in its emotional springs, it comes from America."
Eliot's influence extends beyond the English language. His work, in particular The Waste Land, The Hollow Men, and Ash Wednesday strongly influenced the poetry of two of the most significant post-War Irish language poets, Seán Ó Ríordáin and Máirtín Ó Díreáin, as well as The Weekend of Dermot and Grace (1964) by Eoghan O Tuairisc. Eliot additionally influenced, among many others, Virginia Woolf, Ezra Pound, Hart Crane, William Gaddis, Allen Tate, Ted Hughes, Geoffrey Hill, Seamus Heaney, Kamau Brathwaite, Russell Kirk, George Seferis (who in 1936 published a modern Greek translation of The Waste Land,) and James Joyce.
Eliot died of emphysema at his home in Kensington in London, on 4 January 1965, and was cremated at Golders Green Crematorium. In accordance with his wishes, his ashes were taken to St Michael and All Angels' Church, East Coker, the village in Somerset from which his Eliot ancestors had emigrated to America. A wall plaque commemorates him with a quotation from his poem "East Coker", "In my beginning is my end. In my end is my beginning."
In 1967, on the second anniversary of his death, Eliot was commemorated by the placement of a large stone in the floor of Poets' Corner in London's Westminster Abbey. The stone, cut by designer Reynolds Stone, is inscribed with his life dates, his Order of Merit, and a quotation from his poem "Little Gidding", "the communication / of the dead is tongued with fire beyond / the language of the living."
The apartment block where he died, No. 3 Kensington Court Gardens, has had a blue plaque on it since 1986.
Eliot's reputation as a poet, as well as his influence in the academy, peaked following the publication of The Four Quartets. In an essay on Eliot published in 1989, the Writer Cynthia Ozick refers to this peak of influence (from the 1940s through the early 1960s) as "the Age of Eliot" when Eliot "seemed pure zenith, a colossus, nothing less than a permanent luminary, fixed in the firmament like the sun and the moon". But during this post-war period, others, like Ronald Bush, observed that this time also marked the beginning of the decline in Eliot's literary influence:
The depiction of Jews in some of Eliot's poems has led several critics to accuse him of anti-Semitism. This case has been presented most forcefully in a study by Anthony Julius: T. S. Eliot, Anti-Semitism, and Literary Form (1996). In "Gerontion", Eliot writes, in the voice of the poem's elderly narrator, "And the jew squats on the window sill, the owner [of my building] / Spawned in some estaminet of Antwerp." Another well-known Example appears in the poem, "Burbank with a Baedeker: Bleistein with a Cigar". In this poem, Eliot wrote, "The rats are underneath the piles. / The jew is underneath the lot. / Money in furs." Interpreting the line as an indirect comparison of Jews to rats, Julius writes, "The anti-Semitism is unmistakable. It reaches out like a clear signal to the reader." Julius's viewpoint has been supported by literary critics such as Harold Bloom, Christopher Ricks, George Steiner, Tom Paulin and James Fenton.
Craig Raine, in his books In Defence of T. S. Eliot (2001) and T. S. Eliot (2006), sought to defend Eliot from the charge of anti-Semitism. Reviewing the 2006 book, Paul Dean stated that he was not convinced by Raine's argument. Nevertheless, he concluded, "Ultimately, as both Raine and, to do him justice, Julius insist, however much Eliot may have been compromised as a person, as we all are in our several ways, his greatness as a poet remains." In another review of Raine's 2006 book, the literary critic Terry Eagleton also questioned the validity of Raine's defence of Eliot's character flaws as well as the entire basis for Raine's book, writing, "Why do critics feel a need to defend the authors they write on, like doting parents deaf to all criticism of their obnoxious children? Eliot's well-earned reputation [as a poet] is established beyond all doubt, and making him out to be as unflawed as the Archangel Gabriel does him no favours."
Cleo McNelly Kearns notes in her biography that Eliot was deeply influenced by Indic traditions, notably the Upanishads. From the Sanskrit ending of The Waste Land to the "What Krishna meant" section of Four Quartets shows how much Indic religions and more specifically Hinduism made up his philosophical basic for his thought process. It must also be acknowledged, as Chinmoy Guha showed in his book Where the Dreams Cross: T S Eliot and French Poetry (Macmillan, 2011), that he was deeply influenced by French poets from Baudelaire to Paul Valéry. He himself wrote in his 1940 essay on W.B. Yeats: "The kind of poetry that I needed to teach me the use of my own voice did not exist in English at all; it was only to be found in French." ("Yeats," On Poetry and Poets, 1948)
Source: "T. S. Eliot Bibliography". Nobel Prize. Retrieved 25 February 2012.
Bush also notes that Eliot's reputation "slipped" significantly further after his death. He writes, "Sometimes regarded as too academic (William Carlos Williams's view), Eliot was also frequently criticized for a deadening neoclassicism (as he himself—perhaps just as unfairly—had criticized Milton). However, the multifarious tributes from practicing poets of many schools published during his centenary in 1988 was a strong indication of the intimidating continued presence of his poetic voice."