T. S. Eliot's Romantic Dilemma

Tradition's Anti-Traditional Elements

Eugenia M. Gunner

• Publisher: Routledge
• Year: 2015
• ISBN:
  9781317308225
• Edition: 1
• Topic: Literatur
• Subtopic: Literaturkritik

The fact that Eliot disapproved of Romanticism is clear from his critical essays, where he often appears to reject it absolutely. However, Eliot's understanding of the term and his appreciation of literature developed and altered greatly from his adolescence to his years of scholarly study, yet he was never unable to dismiss Romanticism entirely as a critical issue. This study, first published in 1985, analyses Eliot's approach and criticism to Romanticism, with an analysis of The Waste Land, adding to the layers of its meaning, context and content to the poem. This title will be of interest to students of literature.

Notes to Chapter One

¹ Frank Kermode, Romantic Image (London: Routledge and Kegan Paul, 1957), p. 43.

² See C.K. Stead, The New Poetic (London: Hutchinson University Library, 1964).

³ See Edward Lobb, T.S. Eliot and the Romantic Critical Tradition (London: Routledge and Kegan Paul, 1981).

⁴ See Eloise Knapp Hay, T.S. Eliot’s Negative Way (Cambridge, Ma.: Harvard University Press, 1982).

⁵ George Bornstein, Transformations of Romanticism in Yeats, Eliot, and Stevens (Chicago: University of Chicago Press, 1976), p. 95.

⁶ Ibid. p. 95.

⁷ Ibid. p. xii.

⁸ Ibid. p. 23.

⁹ Austin Warren and Rene Wellek, Theory of Literature (New York: Harcourt, Brace and World, Inc., 1970.), p. 266.

¹⁰ Bornstein, p. 19.

¹¹ Ibid. p. 121.

¹² “Wordsworth and Coleridge,” in The Use of Poetry and the Use of Criticism , 2nd ed. (1964; rpt. London: Faber and Faber Ltd., 1968), pp. 68–69; see also “Shelley and Keats,” p. 99 (hereafter cited as The Use of Poetry) .

¹³ “The Modern Mind,” in The Use of Poetry , pp. 128–29.

¹⁴ Victor Brombert, “T.S. Eliot and the Romantic Heresy,” Yale French Studies , No. 13 (1965), pp. 3–16.

¹⁵ “Introduction,” The Use of Poetry , p. 33.

¹⁶ Bornstein, p. 97.

¹⁷ “Byron,” in On Poetry and Poets (1943; rpt. New York: The Noonday Press, 1970), pp. 223–24.

¹⁸ “Byron,” p. 226.

¹⁹ Ibid., p. 239.

²⁰ Ibid., p. 234.

²¹ Ibid., p. 232.

²² See “Swinburne as Poet,” in The Sacred Wood (1920; rpt. London: Methuen & Co. Ltd., 1964), p. 147.

²³ “Shelley and Keats,” in The Use of Poetry , p. 96.

²⁴ Ibid., p. 89.

²⁵ “The Music of Poetry,” in Selected Prose of T.S. Eliot , ed. Frank Kermode (New York: Harcourt Brace Jovanovich and Farrar, Straus and Giroux, 1975), pp. 108–09 (hereafter cited as Selected Prose) .

²⁶ Grover Smith, T.S. Eliot’s Poetry and Plays (Chicago: University of Chicago Press, 1950), p. 3.

²⁷ “What Is a Classic?” in Selected Prose , p. 122.

²⁸ John D. Margolis, T.S . Eliot’s Intellectual Development (Chicago: University of Chicago Press, 1972), p. 8.

²⁹ Irving Babbitt, Kouss e au and Romanticism (New York: Houghton Mifflin Co., 1919), p. 38; p. 145.

³⁰ Margolis, pp. 10–11.

³¹ Babbitt, p. 391

³² F.H. Bradley, Appearance and Reality , 2nd ed. (1893; London: George Allen Unwin Ltd., 1897), p. 22.

³³ Ibid., p. 549.

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Table of contents

• Cover
• Half Title
• Title Page
• Copyright Page
• Dedication
• Table of Contents
• Acknowledgements
• Introduction
• I. Naming the Issue
• II. Tradition, Order, and Romantic Theory
• III. The Poet-Critic's Traditional Tie
• IV. Practical Criticism of Romantic Writers
• V. “Tradition and the Individual Talent” and “The Waste Land”: Critical and Poetic Correspondence
• VI. Coleridge in “The Waste Land”
• Chapter Notes
• A Selected Bibliography