time (presumably hour when we are/ Trembling with tenderness,” 1 82) and PTSE “the activity all cohere to point to one end, which is that of a comic-desperate improgression: Here we go round the prickly pear Prickly pear prickly pear Here we go round the prickly pear (PTSE 83: italics in original) At five o’clock in the morning. 1 [Critical commentary] has the paradox implicit in the fact that, as a poet, Eliot seldom repeated himself but as a self-publisher he almost invariably did, recycling volume contents, in part to make up for his scanty poetic output. But there is an additional and more interesting paradox, that if he avoided repetition at the level of the or, within that, at oeuvre the level of the individual poem (at least until the writing of the Quartets), the within individual poem, at the level, say, of line, repetition is a noteworthy feature: heard, for example, in the passage just quoted from Hollow Men,” as well as that quoted earlier “The from where the repeated conjunction together with assonances of the short “Preludes,” “and,” heard there and echoed in and both rhythmically and sonically enact the “a” “at” “assured,” behaviour defined and derided. newspapers” are one item in its litany of deadened “Evening routine, and in Evening Transcript’” that newspaper’s name, entitling this short “The ‘Boston poem and repetitively terminating its first, central and final lines, constitutes a sonic corset, as well as an ideological constraint, within which of life” (PTSE 22) are held rigidly 1 “appetites in check. But in composing the later Quartets, Eliot broke decisively with the advice he had given the younger poet Barker, and that he himself had followed hitherto. in East Coker, which his apostasy from his own creed of ensuring each new poem would be was “different” first made manifest, draws attention to the fact: You say I am repeating Something I have said before. I shall say it again.
time (presumably “the hour when we are/ Trembling with tenderness,” PTSE 1 82) and activity all cohere to point to one end, which is that of a comic-desperate improgression: Here we go round the prickly pear Prickly pear prickly pear Here we go round the prickly pear At five o’clock in the morning. (PTSE 1 83: italics in original) [Critical commentary] has the paradox implicit in the fact that, as a poet, Eliot seldom repeated himself but as a self-publisher he almost invariably did, recycling volume contents, in part to make up for his scanty poetic output. But there is an additional and more interesting paradox, that if he avoided repetition at the level of the oeuvre or, within that, at the level of the individual poem (at least until the writing of the Quartets), within the individual poem, at the level, say, of line, repetition is a noteworthy feature: heard, for example, in the passage just quoted from “The Hollow Men,” as well as that quoted earlier from “Preludes,” where the repeated conjunction “and,” together with assonances of the short “a” heard there and echoed in “at” and “assured,” both rhythmically and sonically enact the behaviour defined and derided. “Evening newspapers” are one item in its litany of deadened routine, and in “The ‘Boston Evening Transcript’” that newspaper’s name, entitling this short poem and repetitively terminating its first, central and final lines, constitutes a sonic corset, as well as an ideological constraint, within which “appetites of life” (PTSE 1 22) are held rigidly in check. But in composing the later Quartets, Eliot broke decisively with the advice he had given the younger poet Barker, and that he himself had followed hitherto. East Coker, in which his apostasy from his own creed of ensuring each new poem would be “different” was first made manifest, draws attention to the fact: You say I am repeating Something I have said before. I shall say it again.
Re_cantationreworked.docx