By Shyamal Bagchee
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Extra info for T. S. Eliot Annual No. 1
Sample text
With his reference to the Eliot's Classicism 31 'Dardanelles' in the dedication, then, Eliot deliberately introduced into his work his first reference to Troy in order to provide readers with a hint about the Homeric context of his work and with the starting point and direction for his own poetic odyssey toward 'home'. The subtlety, however, escaped everyone. The Homeric design is further presented, but in veiled fashion, by the sequence of Eliot's poems. While it makes sense that his first poem should introduce us to the Homeric hero, who in the twentieth century becomes Prufrock, an ironic version of the classical Ulysses, the narrative element in his work requires that we begin at the beginning with his earlier poem, 'Portrait of a Lady'.
The first has immediacy and texture; the second, continuity and perspective. The Symbolist aesthetic even suggests that experience occurs apart, as it were, from any experiencer, and the so-called impersonal theories of art, with their corollaries about fragmentation, which are often ascribed to Eliot and others amount mainly to this perception of theirs: that a state of mind or soul, objectively rendered, projected through images that truly convey its feeling, appears to have an independent existence of its own.
From the particular classical sources repeatedly used in his poems, it would appear that Eliot adapted this heroic figure as a Symbolist technique and strategy to express the peregrine, pious spirit of universal man as well as his own personal preoccupations. By using a mythic figure like Ulysses for his 'hero', Eliot could be both poet identifying with the problems and conflicts of his persona and simultaneously the man standing back and observing the errors and weaknesses of the Ulyssean figure.