T.S. Eliot, in full Thomas Stearns Eliot, (born September 26, 1888, St. Louis, Missouri, U.S.—died January 4, 1965, London, England), American-English poet, playwright, literary critic, and editor, a leader of the Modernist movement in poetry in such works as The Waste Land (1922) and Four Quartets (1943). Eliot exercised a strong influence on Anglo- American culture from the 1920s until late in the century. His experiments in diction, style, and versification revitalized English poetry, and in a series of critical essays he shattered old orthodoxies and erected new ones. The publication of Four Quartets led to his recognition as the greatest living English poet and man of letters, and in 1948 he was awarded both the Order of Merit and the Nobel Prize for Literature.

Early years

Eliot was descended from a distinguished New England family that had relocated to St. Louis, Missouri. His family allowed him the widest education available in his time, with no influence from his father to be “practical” and to go into business. From Smith Academy in St. Louis he went to Milton, in Massachusetts; from Milton he entered Harvard in 1906; he received a B.A. in 1909, after three instead of the usual four years. The men who influenced him at Harvard were George Santayana, the philosopher and poet, and the critic Irving Babbitt. From Babbitt he derived an anti-Romantic attitude that, amplified by his later reading of British philosophers F.H. Bradley and T.E. Hulme, lasted through his life. In the academic year 1909–10 he was an assistant in philosophy at Harvard. He spent the year 1910–11 in France, attending Henri Bergson’s lectures in philosophy at the Sorbonne and reading poetry with Alain-Fournier. Eliot’s study of the poetry of Dante, of the English writers John Webster and John Donne, and of the French Symbolist Jules Laforgue helped him to find his own style. From 1911 to 1914 he was back at Harvard, reading Indian philosophy and studying Sanskrit. In 1913 he read Bradley’s Appearance and Reality; by 1916 he had finished, in Europe, a dissertation entitled “Knowledge and Experience in the Philosophy of F.H. Bradley.” But World War I had intervened, and he never returned to Harvard to take the final oral examination for the Ph.D. degree. In 1914 Eliot met and began a close association with the American poet Ezra Pound.

 

Early publications

Eliot was to pursue four careers: editor, dramatist, literary critic, and philosophical poet. He was probably the most erudite poet of his time in the English language. His undergraduate poems were “literary” and conventional. His first important publication, and the first masterpiece of Modernism in English, was “The Love Song of J. Alfred Prufrock” (1915):

Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table.…

Although Pound had printed privately a small book, A lume spento, as early as 1908, “Prufrock” was the first poem by either of these literary revolutionists to go beyond experiment to achieve perfection. It represented a break with the immediate past as radical as that of Samuel Taylor Coleridge and William Wordsworth in Lyrical Ballads (1798). From the appearance of Eliot’s first volume, Prufrock and Other Observations, in 1917, one may conveniently date the maturity of the 20th-century poetic revolution. The significance of the revolution is still disputed, but the striking similarity to the Romantic revolution of Coleridge and Wordsworth is obvious: Eliot and Pound, like their 18th-century counterparts, set about reforming poetic diction. Whereas Wordsworth thought he was going back to the “real language of men,” Eliot struggled to create new verse rhythms based on the rhythms of contemporary speech. He sought a poetic diction that might be spoken by an educated person, being “neither pedantic nor vulgar.”

For a year Eliot taught French and Latin at the Highgate School; in 1917 he began his brief career as a bank clerk in Lloyds Bank Ltd. Meanwhile, he was also a prolific reviewer and essayist in both literary criticism and technical philosophy. In 1919 he published Poems, which contained the poem “Gerontion,” a meditative interior monologue in blank verse; nothing like this poem had appeared in English.

The Waste Land and criticism

With the publication in 1922 of his poem The Waste Land, Eliot won an international reputation. The Waste Land expresses with great power the disenchantment, disillusionment, and disgust of the period after World War I. In a series of vignettes, loosely linked by the legend of the search for the Grail, it portrays a sterile world of panicky fears and barren lusts, and of human beings waiting for some sign or promise of redemption. The poem’s style is highly complex, erudite, and allusive, and the poet provided notes and references to explain the work’s many quotations and allusions. This scholarly supplement distracted some readers and critics from perceiving the true originality of the poem, which lay rather in its rendering of the universal human predicament of man desiring salvation, and in its manipulation of language, than in its range of literary references. In his earlier poems Eliot had shown himself to be a master of the poetic phrase. The Waste Land showed him to be, in addition, a metrist of great virtuosity, capable of astonishing modulations ranging from the sublime to the conversational.

The Waste Land consists of five sections and proceeds on a principle of “rhetorical discontinuity” that reflects the fragmented experience of the 20th-century sensibility of the great modern cities of the West. Eliot expresses the hopelessness and confusion of purpose of life in the secularized city, the decay of urbs aeterna (the “eternal city”). This is the ultimate theme of The Waste Land, concretized by the poem’s constant rhetorical shifts and its juxtapositions of contrasting styles. But The Waste Land is not a simple contrast of the heroic past with the degraded present; it is, rather, a timeless simultaneous awareness of moral grandeur and moral evil. The poem’s original manuscript of about 800 lines was cut down to 433 at the suggestion of Ezra Pound. The Waste Land is not Eliot’s greatest poem, though it is his most famous.

Eliot said that the poet-critic must write “programmatic criticism”—that is, criticism that expresses the poet’s own interests as a poet, quite different from historical scholarship, which stops at placing the poet in his background. Consciously intended or not, Eliot’s criticism created an atmosphere in which his own poetry could be better understood and appreciated than if it had to appear in a literary milieu dominated by the standards of the preceding age. In the essay “Tradition and the Individual Talent,” appearing in his first critical volume, The Sacred Wood (1920), Eliot asserts that tradition, as used by the poet, is not a mere repetition of the work of the immediate past (“novelty is better than repetition,” he said); rather, it comprises the whole of European literature, from Homer to the present. The poet writing in English may therefore make his own tradition by using materials from any past period, in any language. This point of view is “programmatic” in the sense that it disposes the reader to accept the revolutionary novelty of Eliot’s polyglot quotations and serious parodies of other poets’ styles in The Waste Land.

Also in The Sacred Wood, “Hamlet and His Problems” sets forth Eliot’s theory of the objective correlative:

The only way of expressing emotion in the form of art is by finding an “objective correlative”; in other words, a set of objects, a situation, a chain of events which shall be the formula for that particular emotion; such that, when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.

Eliot used the phrase “objective correlative” in the context of his own impersonal theory of poetry; it thus had an immense influence toward correcting the vagueness of late Victorian rhetoric by insisting on a correspondence of word and object. Two other essays, first published the year after The Sacred Wood, almost complete the Eliot critical canon: “The Metaphysical Poets” and “Andrew Marvell,” published in Selected Essays, 1917–32 (1932). In these essays he effects a new historical perspective on the hierarchy of English poetry, putting at the top Donne and other Metaphysical poets of the 17th century and lowering poets of the 18th and 19th centuries. Eliot’s second famous phrase appears here—“dissociation of sensibility,” invented to explain the change that came over English poetry after Donne and Andrew Marvell. This change seems to him to consist in a loss of the union of thought and feeling. The phrase has been attacked, yet the historical fact that gave rise to it cannot be denied, and with the poetry of Eliot and Pound it had a strong influence in reviving interest in certain 17th-century poets.

The first, or programmatic, phase of Eliot’s criticism ended with The Use of Poetry and the Use of Criticism (1933)—his Charles Eliot Norton lectures at Harvard. Shortly before this his interests had broadened into theology and sociology; three short books, or long essays, were the result: Thoughts After Lambeth (1931), The Idea of a Christian Society (1939), and Notes Towards the Definition of Culture (1948). These book-essays, along with his Dante (1929), an indubitable masterpiece, broadened the base of literature into theology and philosophy: whether a work is poetry must be decided by literary standards; whether it is great poetry must be decided by standards higher than the literary.

Eliot’s criticism and poetry are so interwoven that it is difficult to discuss them separately. The great essay on Dante appeared two years after Eliot was confirmed in the Church of England (1927); in that year he also became a British subject. The first long poem after his conversion was Ash Wednesday (1930), a religious meditation in a style entirely different from that of any of the earlier poems. Ash Wednesday expresses the pangs and the strain involved in the acceptance of religious belief and religious discipline. This and subsequent poems were written in a more relaxed, musical, and meditative style than his earlier works, in which the dramatic element had been stronger than the lyrical. Ash Wednesday was not well received in an era that held that poetry, though autonomous, is strictly secular in its outlook; it was misinterpreted by some critics as an expression of personal disillusion

Later poetry and plays of T.S. Eliot

Eliot’s masterpiece is Four Quartets, which was issued as a book in 1943, though each “quartet” is a complete poem. “Burnt Norton” was the first of the quartets; it had appeared in the Collected Poems of 1936. It is a subtle meditation on the nature of time and its relation to eternity. On the model of this, Eliot wrote three more poems—“East Coker” (1940), “The Dry Salvages” (1941), and “Little Gidding” (1942)—in which he explored through images of great beauty and haunting power his own past, the past of the human race, and the meaning of human history. Each of the poems was self-subsistent, but when published together they were seen to make up a single work, in which themes and images recurred and were developed in a musical manner and brought to a final resolution. This work made a deep impression on the reading public, and even those who were unable to accept the poems’ Christian beliefs recognized the intellectual integrity with which Eliot pursued his high theme, the originality of the form he had devised, and the technical mastery of his verse. This work led to the award to Eliot, in 1948, of the Nobel Prize for Literature.

An outstanding example of Eliot’s verse in Four Quartets is the passage in “Little Gidding” in which the poet meets a “compound ghost,” a figure composite of two of his masters: William Butler Yeats and Stéphane Mallarmé. The scene takes place at dawn in London after a night on duty at an air-raid post during an air attack; the master speaks in conclusion:

From wrong to wrong the exasperated spirit
Proceeds, unless restored by that refining fire
Where you must move in measure, like a dancer.
The day was breaking. In the disfigured street
He left me, with a kind of valediction,
And faded on the blowing of the horn.

The passage is 72 lines, in modified terza rima; the diction is as near to that of Dante as is possible in English; and it is a fine example of Eliot’s belief that a poet can be entirely original when he is closest to his models.

Eliot’s plays, which begin with Sweeney Agonistes (published 1926; first performed in 1934) and end with The Elder Statesman (first performed 1958; published 1959), are, with the exception of Murder in the Cathedral (published and performed 1935), inferior to the lyric and meditative poetry. Eliot’s belief that even secular drama attracts people who unconsciously seek a religion led him to put drama above all other forms of poetry. All his plays are in a blank verse of his own invention, in which the metrical effect is not apprehended apart from the sense; thus he brought “poetic drama” back to the popular stage. The Family Reunion (1939) and Murder in the Cathedral are Christian tragedies—the former a tragedy of revenge, the latter of the sin of pride. Murder in the Cathedral is a modern miracle play on the martyrdom of Thomas Becket. The most striking feature of this, his most successful play, is the use of a chorus in the traditional Greek manner to make apprehensible to common humanity the meaning of the heroic action. The Family Reunion (1939) was less popular. It contains scenes of great poignancy and some of the finest dramatic verse since the Elizabethans, but the public found this translation of the story of Orestes into a modern domestic drama baffling and was uneasy at the mixture of psychological realism, mythical apparitions at a drawing-room window, and a comic chorus of uncles and aunts.

Allen TateHelen GardnerThe Editors of Encyclopaedia Britannica

From the 1920s onward, Eliot’s influence as a poet and as a critic—in both Great Britain and the United States—was immense, not least among those establishing the study of English literature as an autonomous academic discipline. He also had his detractors, ranging from avant-garde American poets who believed that he had abandoned the attempt to write about contemporary America to traditional English poets who maintained that he had broken the links between poetry and a large popular audience. During his lifetime, however, his work was the subject of much sympathetic exegesis. Since his death (and coinciding with a wider challenge to the academic study of English literature that his critical precepts did much to establish), interpreters have been markedly more critical, focusing on his complex relationship to his American origins, his elitist cultural and social views, and his exclusivist notions of tradition and of race. Nevertheless, Eliot was unequaled by any other 20th-century poet in the ways in which he commanded the attention of his audience.

 

Irregular adjectives

Good – better – the best

Bad – worse – the worst

Many – more- the most

Old -elder- the eldest

Little – less- the least

Near – nearer – the next

Far – further – the furthest

Write the comparative and superlative of the adjectives

Beautiful – more beautiful – the most beautiful

Good – better – the best

Smart – smarter – the smartest

Clever – more clever – the most clever

Happy – happier- the happiest

Bad – worse – the worst

Many – more – the most

Charming – more charming – the most charming

Strong – stronger – the strongest

Little – less – the least

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Welcome to the “Than Academy for Teachers” course

What i took from this video was that sometimes in life we feel defeated, we feel that life is harder for us we have a disadvantage. This little dog showed the boy that even though he has a disadvantage the way to succeed is to never give up. This is a beautiful story about acceptance. I absolutely love the part when the boy opens a door partially and the tog helps him open in the rest of the way.

Ձուկը և օվկիանոսը

Կար-չկար մի ձուկ կար, հասարակ մի ձուկ: Օվկիանոսի մասին խանդավառ պատմություններ լսելով՝ մի անգամ նա որոշեց, որ պետք է հայտնվի այնտեղ, ինչ գնով էլ ուզում է լինի:

Ձուկը գնաց տարբեր իմաստունների մոտ: Նրանցից մեծ մասն ասելիք չուներ, բայց նրանք ամեն տեսակ անհեթեթույթուններ էին ասում, որպեսզի հիմարների աչքերում մեծ ուսուցիչներ երևային: Այդ ձկներից մեկն ասաց, որ Օվկիանոսին հասնելու համար պետք է աշխատել անթերի լողացող ձկների ութնապատիկ ճանապարհի առաջին աստիճանին դիրք զբաղեցնել: Մյուս գուրու ձուկը սովորեցրեց, որ Օվկիանոս տանող ճանապարհը պայծառատես ձկների աշխարհների ուսումնասիրություններում կգտնի: Երրորդն ավելացրեց.

-Միակ միջոցը անընդհատ կրկնելն է՝ «Ռամ-ռամ-ռամ»: Միայն այդ դեպքում կբացվի ճանապարհը:

Հոգնելով տարբեր ուսմունքներից՝ ձուկը լողաց ջրիմուռներում հանգստանալու: Եվ այնտեղ նա հանդիպեց մի ծեր, ոչ մի բանով աչքի չընկնող ձկան: Նա ասաց ձուկ-պրպտողին.

That is, we do not value or see what we have. We strive to achieve more. But in this way no one achieves his dream until he appreciates what he has.

Վարպետն ու թեյի բաժակը

Վաղո˜ւց, շատ վաղուց մի ծպտված Վարպետ ճամփորդում էր իր աշակերտների հետ: Ո՛չ հագուստով, ո՛չ պահվածքով նա չէր տարբերվում մյուս ճամփորդներից: Նրանք կանգ առան մի պանդոկում՝ գիշերելու: Պանդոկի տերն առավոտյան նրանց թեյ ու նախաճաշ հյուրասիրեց: Մինչ վարպետն ու իր աշակերտները թեյում էին, պանդոկապանը, ի նշան հարգանքի, հանկարծ ընկավ Վարպետի ոտքերը: Աշակերտները խիստ զարմացան. որտեղի՞ց կարող էր նա իմանալ, որ իրենց մեջ Վարպետ կա:

Ո՞վ էր բացահայտել իրենց գաղտնիքը պանդոկի տիրոջը: Վարպետը ծիծաղեց և ասաց.

-Մի՛ զարմացեք, հարցրեք հենց նրան, թե ինչպես ճանաչեց ինձ: 

Աշակերտները հարցրին պանդոկապանին.
-Ինչպե՞ս գլխի ընկար, որ նա Վարպետ է:
-Ես չէի կարող չճանաչել,- ասաց տերը, — տարիներ շարունակ սեղան եմ գցում իմ հյուրերի առաջ: Ես հազարավոր մարդկանց եմ հանդիպել, սակայն չեմ հանդիպել մի մարդու, ով այդքան սիրով կարող է նայել թեյի այս սովորական ու անշուք բաժակին:

In other words, the master always remains a master, because he is an educated person, he modestly approaches everything. And the students do not have the gift of a master, they behave much more freely outside than the master.

So many people you can take to bed
So few you feel like waking up with
Who in the morning when goodbyes are said
You feel like waving to and smiling to,
and then you wait to hear from them all day long

So many people just to live with,
Have coffee in the morning, chat, dispute,
To go on holiday, enjoy the seaside with,
To share joys and sorrows, as you should,
To be by their side… but not to love.

So few to dream together with
To watch the clouds drifting in the skies
To write the words of love on the first snow
To think of nothing else but those eyes
To know or desire no other bliss than that.

So few you can keep silence with
Who understand midsentence, from half a glance
Who are worth devoting year after year to,

For whom you can endure any pain,
Be willing to sacrifice your life at once…

As history repeats itself, the same goes on and on.
People meet easily and part with no regret…
No grief, whatsoever, no concern
Because there are so many you can take to bed
And so few you feel like waking up with.

Life weaves us into its designed pattern
Subdued we go through motions and routine
One who would like to hear, needs to listen,
If you run fast, you’ll notice only flesh
If you slow down, souls will be seen…

When faced with choice, we use both heart and mind
To make decisions… We go crazy within reason
At times being too shy to smile in return…
We open our souls only to people of one kind
The one that makes us feel like waking up with…

1. Choose the correct form of the verb: use simple present and simple past (do not use contractions)

1. I wanted to do that last Monday. (want)

2. You were there, I saw you. (see)

3. Lis is 5 years old now. (be)

4. Does she like chocolate? (like)

5. Sarahi didn’t answer the questions yesterday. (not- answer)

6. Daniela didn’t broke up with him last week. (not- break up)

7. Has she a dog last month? (she- have )

8. It was hot in the room, so I opened the window. (open)

9. The film was very long, it starts at 7:15 and finished at 10:00. (start)

10. You travel around the world every year. (travel)

11. Is he hates me? (hate)

12. The accident was happened last Sunday. (happen)

13. Roberth doesn’t like maths. (not- like)

14. Anna’s grandfather died when he was 90 years old. (die)

15. They enjoyed their free time last weekend. (enjoy)

16. Last year, we enjoyed our free time. (enjoy)

17. Jessica went to the concert last weekend. (go)

18. Paul and Cris always chat in the classroom. (chat)

19. Rocio runs fast. He is one of the best runners in the world. (run)

20. My friend goes to the supermarket every day. (go)

2. Complete the following sentences using an appropriate present continuous or past continuous tense form

1. I am watering (water) the plants in the morning.

2. What are you doing (you/do) at 6 o’clock yesterday evening?

3. They was waiting (wait) for the bus when the accident happened.

4. She is getting (get) impatient at this moment.

5. The boys were playing (play) in the garden when he entered.

6. It is raining (rain) cats and dogs now.

7. I am revising (revise) my lessons now.

8. Somebody is knocking (knock) at the door at that moment.

9. We were waiting (wait) for the guests to turn up yesterday whole evening.

10. The students were shouting (shout) slogans outside the campus last month.

11. The birds are flying (fly) in the sky now.

12. John and Sandra were expecting (expect) their first child when I saw them for the first time.

3. Complete the sentences with Present Perfect tense

1. She was finished the bird house today. (to finish)

2. We weren’t translated the whole text yet. (not/to translate)

3. Have you ever been to Rome? (to be)

4. Where have you been lately? (to be)

5. He was locked the door. (to lock)

5. I wasn’t heard from you for ages. (not/to hear)

6. Tom already was graduated from university. (to graduate)

7. Was the children prepared for the concert? (to prepare for)

8. What was Kate eaten for breakfast today? (to eat)

9. They were watched an interesting program this week. (to watch)

10. He wasn’t eaten an ice- cream since August. (not/to eat)

11. We were found the way. (to find)

12. How was he spent all of his money? (to spend)

13. Jim and Jill were answered the question right. (to answer)

14. Rachel wasn’t talked him since Friday. (not/to talk to)

15. Were you lost your mind? (to lose)

16. What was your mother baked your birthday? (to bake)

17. Was he ever been to Niagara Falls? (to be)

18. They weren’t received any answer yet. (not/to receive)

19. Where were you been this year? (to be)

4. Choose present perfect simple or continuous

1. Have they arrived (they/arrive) already?

2. Lucy has run (run) 2000 metres today.

3. I have been cleaning (clean) all morning – I’m fed up.

4. How long have you known (you/know) Simon?

5. I have been drinking (drink) more water recently, and I feel better.

6. Sorry about the mess! I have been baking. (bake)

7. How many times have you taken (you/take) this exam?

8. He has eaten (eat) six bars of chocolate today.

9. How many times have you taken (you/take) this exam?

10. Julie has cooked (cook) dinner. Let’s go and eat!

11. The students have finished (finish) their exams. They’re very happy.

12. The baby’s face is really dirty. What has he been eating.(he/eat)?

13. Ilona is exhausted these days. She has been working (work) too hard recently.

14. Luke has never been (never/be) abroad.

15. I have been waiting (wait) three hours already!

16. Have you finished (you/finish) your homework yet?

17. How long have you been (you/be) a lawyer?

18. I have been reading (read) your book all day. It’s very interesting, but I’m only on chapter.

19. She has drunk (drink) ten glasses of water!

20. I have had (have) my dog for sixteen years.

21. Help, I have lost (lose) my wallet. How can I get home?

Twenty-year-old Will Hunting of South Boston is a natural genius who is self-taught. He works as a janitor at MIT and spends his free time drinking with his friends Chuckie, Billy, and Morgan. When Professor Gerald Lambeau posts a difficult combinatorial mathematics problem on a blackboard as a challenge for his graduate students, Will solves the problem anonymously, stunning both the students and Lambeau. As a challenge to the unknown genius, Lambeau posts an even more difficult problem. Will flees when Lambeau catches him writing the solution on the blackboard late at night. At a bar, Will meets Skylar, a British woman about to graduate from Harvard College, who plans on attending medical school at Stanford. The next day, Will and his friends fight a gang that contains a member who used to bully Will as a child. Will is arrested after he attacks a responding police officer. Lambeau sits in on his court appearance and watches Will defend himself. He arranges for him to avoid jail time if he agrees to study mathematics under Lambeau’s supervision and participate in psychotherapy sessions. Will tentatively agrees but treats his therapists with mockery. In desperation, Lambeau calls on Dr. Sean Maguire, his college roommate, who now teaches psychology at Bunker Hill Community College. Unlike other therapists, Sean actually challenges Will’s defense mechanisms. During the first session, Will insults Sean’s deceased wife, and Sean threatens him—but after a few unproductive sessions, Will finally begins to open up. Will is particularly struck by Sean’s story of how he met his wife, who later died of cancer, by giving up his ticket to the historic game six of the 1975 World Series, after falling in love at first sight. Sean’s explanation for surrendering his ticket was to «see about a girl,» and he does not regret his decision. This encourages Will to build a relationship with Skylar, though he lies to her about his past and is reluctant to introduce her to his friends or show her his rundown neighborhood. Will also challenges Sean to take an objective look at his own life, since Sean cannot move on from his wife’s death. Lambeau sets up a number of job interviews for Will, but Will scorns them by sending Chuckie as his «chief negotiator», and by turning down a position at the NSA with a scathing critique of the agency’s moral position. Skylar asks Will to move to California with her, but he refuses and tells her he is an orphan, and that his foster father physically abused him. Will breaks up with Skylar and later storms out on Lambeau, dismissing the mathematical research he has been doing. Sean points out that Will is so adept at anticipating future failure in his interpersonal relationships that he deliberately sabotages them in order to avoid emotional pain. Chuckie likewise challenges Will over his resistance to taking any of the positions he interviews for, telling Will he owes it to his friends to make the most of opportunities they will never have, even if it means leaving one day. He then tells Will that the best part of his day is a brief moment when he waits on his doorstep thinking Will has moved on to something greater. Will walks in on a heated argument between Sean and Lambeau over his potential. Sean and Will share and find out that they were both victims of child abuse. Sean helps Will to see that he is a victim of his own inner demons and to accept that it is not his fault, causing him to break down in tears. Will accepts one of the job offers arranged by Lambeau. Having helped Will overcome his problems, Sean reconciles with Lambeau, deciding to take a sabbatical. Will’s friends present him with a Chevrolet Nova for his 21st birthday so he can commute to work. Later, Chuckie goes to Will’s house to pick him up, only to find that he is not there, much to his happiness. Will sends Sean a letter telling him to tell Lambeau that he had to go «see about a girl», revealing he passed on the job offer and instead is heading to California to reunite with Skylar.