Eliot wanted TWL to be in 4 parts but Pound insisted on the parallerl
to an Elizabethan drama. McLuhan gave a paper on this at some point.
I'll look it up.
When you say "dramatic" do you mean structurally,
or emotionally -- as in the opera's not over until the fat lady sings?
Quoting Chokh Raj <[log in to unmask]>:
> Thank you, Rickard and Mike, for your kind nod. It's heartening.
> And now, it was time I risked an observation.
> It's an acknowledged fact that Eliot had an essentially dramatic imagination.
> Most of his poetic compositions including 'Prufrock', 'Gerontion', 'The Waste
> Land', 'Ash-Wednesday' and 'Four Quartets' are dramatic in nature. As for his
> plays written expressly for the stage, while some of them, like The Cocktail
> Party, play well on the stage, almost all of them, IMHO, play exceedingly
> well on the stage of the reader's "inward eye", i.e. those that do not play
> well on the stage do read so well as dramas. I wonder if it would be a
> stretch to claim for 'The Waste Land' the status of a five-act play, albeit
> unconventional, that reads exceedingly well as a verse play. I visualize the
> conventional Chorus as a major character here. ----- Original Message -----
> From: Chokh Raj
> >To: [log in to unmask]
> >Sent: Monday, September 05, 2011 5:25 AM
> >Subject: TS Eliot and Poetic Drama
> >where "the verse has new levels to climb to"
> >T.S. Eliot and Poetic Drama
> >By Brian Johnston
> >a fascinating critique