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Sorry, it does not come up. It’s a lovely page and you may access this page powered by Wikia by entering the following at Google Search: *Et, O ces voix d’enfants, chantant dans la coupole!* Thanks, CR On Sun, Dec 3, 2017 at 6:20 PM Chanan Mittal <[log in to unmask]> wrote: > 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 >>>>>> >>>>>> >>>>>> >>>>>> >>>>>>