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 waterfall
And the children in the apple-tree
Not known, because not looked for
But heard, half-heard, in the stillness
Between 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 kind
Cannot 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

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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