Female authors were published under their own names during Eliot's life, but she wanted to escape the stereotype of women only writing lighthearted romances.

Eliot's The Waste Land is prefaced by a quote from Petronius ' Satyricon ( 1st century AD ) The passage translates roughly as " I saw with my own eyes the Sibyl at Cumae hanging in a jar, and when the boys said to her ' Sibyl, what do you want?

Each college has its own bar, all rebuilt on a larger scale, and originally its own dining hall ( only Rutherford still has a functioning dining hall ; Darwin's is hired out for conferences and events ; Keynes's was closed in 2000 and converted into academic space, but in 2011 Dolche Vita was expanded and became the dining hall for Keynes students in catered accommodation after Keynes ' expansion in 2011 ; and Eliot's was closed in 2006 ).

My own opinion concerning the value of those two lines in the context of the poem itself is not very different from Mr. Eliot's.

Marston's tragic style is Senecan and although his characters may appear, on Eliot's own admission, " lifeless ", they are instead used as types to convey their " theoretical implications " ( Michael Scott, John Marston's Plays ).

In this regard, with a speaker who laments outliving his world, the poem recalls Arnold's Dover Beach, as well as a number of Eliot's own works.

Also closely associated with TS Eliot, she wrote a short but powerful poem, " I Who am Here Dissembled ", full of allusions to images in Eliot's own poems, for the anthology T. S. Eliot: A Symposium in honour of his sixtieth birthday.

At Caroline and Eliot's wedding, Bradley crashes the ceremony and declares his love for Caroline — a split second after Eliot has started his own objection — and Bradley and Caroline live happily ever after, according to Eliot.

This certainly encompassed much of T. S. Eliot's own interest, but whereas Eliot was also seeking a modern language and form, Cawein strove to maintain a traditional approach.

Though the Beat aesthetic posited itself against T. S. Eliot's creed of strict objectivity and literary modernism's new classicism, certain modernist poets were major influences on the Beats, including Ezra Pound, William Carlos Williams, and H. D ..

The most famous English-language modernist work arising out of this post-war disillusionment is T. S. Eliot's epic " The Waste Land " ( 1922 ).

Pound's Homage to Sextus Propertius and Hugh Selwyn Mauberley and Eliot's The Waste Land marked a transition from the short imagistic poems that were typical of earlier modernist writing towards the writing of longer poems or poem-sequences.

* The figure of the tanist has appeared in modernist poetry, such as T. S. Eliot's The Waste Land.

In modern times his story has been used in such varied retellings as T. S. Eliot's modernist poem The Waste Land, Richard Wagner's opera Parsifal, John Boorman's Excalibur and the novel and film The Natural.

" Also, the song " Goodnight Ladies " takes its title refrain from the last line of the second section (" A Game of Chess ") of T. S. Eliot's modernist poem, The Waste Land: " Good night, ladies, good night, sweet ladies, good night, good night.

Thing theory is particularly well suited to the study of modernism, due to the dictates of modernist poets such as William Carlos Williams, who declared that there should be " No ideas but in things " or T. S. Eliot's idea of the objective correlative.

Later modernist works, such as T. S. Eliot's The Waste Land ( 1922 ), were increasingly self-aware, introspective, and often explored the darker aspects of human nature.

Burroughs cited T. S. Eliot's poem, The Waste Land ( 1922 ) and John Dos Passos ' U. S. A. trilogy, which incorporated newspaper clippings, as early examples of the cut ups he popularized.

Marker created a 19-minute multimedia piece in 2005 for the Museum of Modern Art in New York City titled Owls at Noon Prelude: The Hollow Men which was influenced by T. S. Eliot's poem.

T. S. Eliot's first professionally published poem, " The Love Song of J. Alfred Prufrock ," was first published by Poetry.

T. S. Eliot's use of a quotation from Heart of Darkness —" Mistah Kurtz, he dead "— as an epigraph to the original manuscript of his poem The Hollow Men contrasted its dark horror with the presumed " light of civilization ," and suggested the ambiguity of both the dark motives of civilization and the freedom of barbarism, as well as the " spiritual darkness " of several characters in Heart of Darkness.

Yet, though generally speaking intentions in poetry are nothing save as ' realized ', we are unable to ignore the poem, despite Mr Eliot's strictures on its ' exaggerated repute '.

" After responding to Eliot's claims about Kubla Khan, Yarlott, in 1967, argued that " few of us question if the poem is worth the trouble " before explaining that " The ambiguities inherent in the poem pose a special problem of critical approach.

Eliot's poem " Lune de Miel " ( written in French ) describes a honeymooning couple from Indiana sleeping not far from the ancient Basilica of Sant ' Apollinare in Classe, ( just outside Ravenna ), famous for the carved capitals of its columns, which depict acanthus leaves buffeted by the wind, unlike the leaves in repose on similar columns elsewhere.

Consider Phlebas is Banks's first published science fiction novel set in the Culture, and takes its title from a line in T. S. Eliot's poem The Waste Land.

Eliot's poem " The Naming of Cats " ( 1939 ) playfully suggests that every household cat must bear ( besides whatever the family calls him ) two additional names: one an exotic appellation shared by no other cat ; the other forever unutterable because it is known only to the cat himself (" His ineffable effable / Effanineffable / Deep and inscrutable singular Name ").

Both titles are derived from a couplet in T. S. Eliot's poem, The Waste Land ( which appears both in this work and Consider Phlebas as an epigraph ):

* T. S. Eliot's poem " The Waste Land " has a number of mentions and allusions to this myth.

His church St Mary Woolnoth is mentioned in T. S. Eliot's poem The Waste Land ( 1922 ).

T. S. Eliot's seminal poem of cultural disintegration The Waste Land is prefaced by a verbatim quotation out of Trimalchio's account of visiting the Cumaean Sibyl, a supposedly immortal prophetess whose counsel was once sought on all matters of grave importance, but whose grotto by Neronian times had become just another site of local interest along with all the usual Mediterranean tourist traps:

Palmer concludes by invoking George Eliot's poem The Choir Invisible: " Frederick Delius ... belongs to the company of those true artists for whose life and work the world is a better place to live in, and of whom surely is composed, in a literal sense, ' the choir invisible / Whose music is the gladness of the world '".

However, the anapaest's most common role in English verse is as a comic metre, the foot of the limerick, of Lewis Carroll's poem The Hunting of the Snark, Edward Lear's nonsense poems, T. S. Eliot's Book of Practical Cats, a number of Dr. Seuss stories, and innumerable other examples.

Another anthologised poem is Chard Whitlow, a clever satire of T. S. Eliot's Burnt Norton.

She performed T. S. Eliot's poem The Waste Land as a one-person show at the Liberty Theatre in New York to great acclaim in 1996, winning the Drama Desk Award for Outstanding One-Person Show for her performance.

Eliot's famous characterisation of Webster's work in his poem " Whispers of Immortality ".

Linking it to the monologue which forms Eliot's poem adds a comment and a dimension to Prufrock's confession.

Perhaps the most notable product of this fascination is T. S. Eliot's poem The Waste Land ( 1922 ).

In addition, Eliot's poem The Waste Land opens and closes with references to Dante and Daniel.

The poem also contains a reference to Canto XXVI in its line " Poi s ' ascose nel foco che gli affina " (" Then hid him in the fire that purifies them ") which appears in Eliot's closing section of The Waste Land as it does to end Dante's canto.

The phrase " there will be time " occurs repeatedly in a section of T. S. Eliot's " The Love Song of J. Alfred Prufrock " ( 1915 ), and is often said to be an allusion to Marvell's poem.

" This was Eliot's first publication of a poem outside school or university.