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Incidentally,

Et, O ces voix d’enfants, chantant dans la coupole!

http://tseliotsthewasteland.wikia.com/wiki/Et,_O_ces_voix_d%E2%80%99enfants,_chantant_dans_la_coupole
!

CR

On Sun, Dec 3, 2017 at 11:21 AM Chanan Mittal <[log in to unmask]> wrote:

> Mystique of Romance
>
> *Et, O ces voix d’enfants, chantant dans la coupole!*
>
>
> *the walls*
>
> *Of Magnus Martyr hold*
> *Inexplicable splendour of Ionian white and gold.*
>
>
>
>
>
> *The voice of the hidden waterfallAnd the children in the apple-treeNot
> known, because not looked forBut heard, half-heard, in the stillnessBetween
> two waves of the sea.  *
>
> *the fire and the rose are one *
>
> CR
>
> On Fri, Dec 1, 2017 at 1:06 PM Chanan Mittal <[log in to unmask]> wrote:
>
>>
>>
>>
>>
>> *Dry the pool, dry concrete, brown edged,And the pool was filled with
>> water out of sunlight,And the lotos rose, quietly, quietly,The surface
>> glittered out of heart of light...Then a cloud passed, and the pool was
>> empty.*
>>
>>
>> *Go, go, go, said the bird: human kindCannot bear very much reality.*
>>
>> This is it.
>> CR
>>
>> On Thu, Nov 30, 2017 at 6:32 PM Chanan Mittal <[log in to unmask]> wrote:
>>
>>> Classicism of Eliot’s poetry is, in fact, a consummation of Romanticism,
>>> not its negation. It’s a triumph of imagination.
>>>
>>>                                        “Here, said she,
>>> Is your card, the drowned Phoenician Sailor,
>>> (Those are pearls that were his eyes. Look!)”
>>>
>>> The personal here acquires a more universal character without ceasing to
>>> be personal:
>>>
>>>                               “I sat upon the shore
>>> Fishing, with the arid plain behind me
>>> Shall I at least set my lands in order?”
>>>
>>> And the images soar as much on wings of Romantic poesy:
>>>
>>> “The river’s tent is broken: the last fingers of leaf
>>> Clutch and sink into the wet bank. The wind
>>> Crosses the brown land, unheard. The nymphs are departed.”
>>>
>>> A transformation of Romanticism, if you like. Its spirit vibrant and
>>> alive.
>>>
>>> CR
>>>
>>> On Mon, Nov 27, 2017 at 8:12 PM Chanan Mittal <[log in to unmask]>
>>> wrote:
>>>
>>>> In point of fact the point I’m making is nothing new. It was raised as
>>>> earlier as that. It was made by Grover Smith too (TS Eliot’s Poetry and
>>>> Plays: A Study in Sources and Meaning). Eliot, he wrote, was admittedly a
>>>> classicist only ‘in tendency.’ Temperamentally a romantic, he abhorred the
>>>> gap between the actual and the ideal. All the same Eliot paved the way for
>>>> a new idiom of poetry.
>>>>
>>>> CR
>>>>
>>>>
>>>>
>>>> On Mon, Nov 27, 2017 at 6:06 PM Cox, Carrol <[log in to unmask]> wrote:
>>>>
>>>>>
>>>>> The New Poetic: Yeats to Eliot (Classic Criticism) C.K. Stead:
>>>>> Continuum
>>>>>
>>>>> -------
>>>>>
>>>>> This alleged "new poetic" is over a century old; in other words,
>>>>> critics who treat Pound, Eliot, Yeats etc  as "new" are duplicating the
>>>>> critics of 1920 who regarded Wordsworth and Shelley as the cutting edge of
>>>>> poetic practice.
>>>>>
>>>>> Is there anyone on the list deeply familiar with the criticism &
>>>>> scholarship of the last 20 hears who can give real information on what
>>>>> 'now' is regard as "new"?
>>>>>
>>>>> At the time when LBJ" rape of democracy in the Dominican Republic
>>>>> abruptly shifted my focus of energy, I was reading Merwin, Snodgrass, et al
>>>>> as "new," though my personal preferences were Pound & Pope.  And even by
>>>>> 1965 the "New" critics were looking a bit moldy alongside Frye, Kenner,
>>>>> Davie, & others.
>>>>>
>>>>> Carrol
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>