THE place has about fifty thousand inhabitants. It has one great industrial occupation, the making of cotton cloth of various kinds. There are more than forty mills used for this manufacture, great buildings, some of them hundreds of feet in length, and six stories high; most of them are of granite, but a few are of brick. They do not occupy any particular region in the city, but are found in nearly every part of it, in the central squares and principal business streets, and even in those in which the most substantial and elegant dwellings are situated, as well as in the poorer quarters and in the suburbs.
Introduction Reaching the stillness of music 1 1 Speaking as ourselves: Authorship, impersonality, and thecreative process in the early essays 27 2 A conversation about the longest poem in the Englishlangwidge: The transitionalessays on collaboration, community, and drama 4 A dramatist and his midwives: Eliots collaborations in the theatre 5 The Possum and the creating critick: Eliots collaborationwith John Hayward Conclusion Placing collaboration in perspective: Voice andinfluence in the late essays Notes vii Acknowledgments This project has had many collaborators.
I am grateful to Mrs. Eliotfor her assistance during the writing of this book, and for her permission toexamine and quote from unpublished writings. Quotations from the workof T. Publication of a few of these items isalso by permission of the Houghton Library, Harvard University.
I would like to thank the following people who, during the research for this book, responded graciously to queries, offered illuminating sugges-tions, or helped secure materials: I am grateful to the staffs of numerous libraries forassistance.
For their creativity in securingessential documents, I am especially grateful to the librarians at MarshallUniversity, especially Tim Balsch and his staff, and at WestminsterCollege, especially David Hales, Jerry Jensen, and their staffs.
Friends, colleagues, and mentors have been instrumental in the evolu- tion of this book.
I want to acknowledge Susan Cerasano, who first showedme how to write about literature, and George Bornstein, who first taughtme how to read Eliot and demonstrated through his stellar example how tobalance the lives of teaching and scholarship. I would also like to thank viii Steve Haslam for help with French editions of Eliots poetry, Charles Lloydfor his assistance with classical allusions, Ed Taft for his rich commentarieson Shakespeare, and especially Lee Erickson, who read entire drafts atvarious stages and whose insightful commentary helped make this bookpossible.
Administrators at my previous institution, Art Stringer, JoanMead, Sara Denman, and Leonard Deutsch, helped arrange release time and financialsupport at key moments. Administrators at my current institution, espe-cially Mary Jane Chase, Cid Seidelman, and Steve Baar, have been espe-cially supportive.
I have also benefited from the assistance of my colleaguesPeter Goldman and Jeff McCarthy, who strengthened the introduction. Asusual, Michele Schiavone has made many improvements to my phrasingand caught many errors that I would have otherwise missed.
My researchassistant, Heather Brown, did a marvelous job helping prepare the manu-script for publication. I am grateful to Ray Ryan, my editor at Cambridge,for his patience and perseverance in shepherding this project forward, andto the presss anonymous reader, whose astute suggestions helped givefocus and shape to the book.
Finally, I wish to acknowledge my wonderful family: I dedicate this book to them. Eliot, After Strange Gods: A Primer of Modern Heresy London: Faber and Faber, CC T. Eliot, Christianity and Culture New York: Eliot ; reprint, London: Eliot, Inventions of the March Hare: Christopher Ricks New York:Paul and Percival Goodman - Communitas.
For Later. save. Info. Embed.
Share. Print. Search. Download. Jump to Page. That's a proud feeling. burning.
but our purpose is a philosophical one: to ask what is socially implied in any such scheme as a way of life. by how we look and move. The explanation is simply laziness.
density of. Ben Hechts Fantazius Mallare celebrates the perversities of delusionary fantasy. Weird Tales begins publication. Dunsanys The King of Elflands Daughter gives Faerie a crucial symbolic role in the politics of re-enchantment.
Margaret Irwins These Mortals and Christopher Morleys Thunder on the Left reverse the conventional. There are two theories with regard to fashionable life in New York, put forward from time to time by essay- ists, satirists, and observers, which are usually regarded as mutually contradic- tory.
One is the plutocratic, the oth- er the exclusive theory. Eliot then defends technique as one of thehighest expressions of art because it requires hard work, which he would setelsewhere against the laziness of the British amateur who shrinks fromworking overtime or at weekends Finally, he identifies Chesterton andAlice Meynell as contemporary examples of the nineteenth-century.
Speaking as ourselves The repugnance due to mere mental laziness is increased by a positive feeling of fear. The conservative instinct hardens into the conservative doctrine that the foundations of society are endangered by any alterations in the structure.
It is only recently that men have been which are of the highest importance in the history of philosophy. [January, ing with its importance, and he paced back and forth in a silence that no lon- ger chafed. Lydia walked very well, and kept his step with rhythmic unison, as if they were walking to music to~,eth- er.