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Thomas Eliott

His innovations owed much to his study writers and literary currents in such a way that we can paradoxically say that it was at the same time the most modern and the most traditional of the evils and most influential poets. The development of many notions can be summarized as the talents that bind all poetry is just a tool to express the feelings of the poets, the bonds of bullying people, supported the complete objective Impersonality to revive the romantic concept of the poetic subjectivism that he led, above all in working in the east, to avoid the use of the singular perspective and to build logos and dialogues or interior monoliths, which are something, even the most beautiful poems are gradually structured as musical pieces) in words to more long in dialogues between two halves of the same person asserted that the poem must communicate something. We bring out all the rhythm of the rhythm and we can also enjoy a foreign poem, even if we do not know the need to transmit an emulation without a direct affirmation, but the indirect theory of the objective correlative term that denigrates as languaces in which it is written, just leeling. he brought lum to work, he declared his own.A set of objects, a situation, a chain of events must be the formula for a particular emotion; in such a way that, when the exterior affair has to probe into the sensory experience, emotion is instinctively evoked. "For example in A Song for Simeon, the" tender season "(ie winter), for the old Sirieon stands the Roman dominion, a cold and treacherous period - since the values ​​of society had changed and, especially after the First World War, there seemed no longer belief in the spiritual lel, he thought that poetry too had to change and find new expressions to describe emptiness, pessimism, degradation and complexity of the contemporary world So he advocated a kind of difficult and even obscure poetry: in his essay on the "metaphysical poets" he states that probably primitive poets in our civilization, like the present to the present, do not be difficult. our understanding of civilization is very varied and complex and must produce different and complex results.The poet must become ever more understanding, more allusive , more indirect, in order to show, if necessary, the language to its meaning. he revalued the importance of tradition since, he said. past and present, co exisl in man and the past is an active part of the present. A poet Should therelore turn to the past, and write a sort of universal poetry, drawing from all those experiences that have paved the way for our modern culture. Eliot's poetry is so rich in universal symbols, in Italian, from the works of the European literary radiative and in references to ancient, rituals, mythical events and religious allusions, all drawn from modern anthropological studies the Imagists he learns how to avoid uselessly decorative "thetoric" and replace it with clear, precise images. with the minimum number of words when the French Symbolists were impressed by their use of the verses and the way they looked at, through Baudelaire he discovered the poetic possibilities of the sordidness, ugliness and sterility of a modern metropolis. Iris and cynicism and to juxtapose the lyrical and the commonplace, the poetic and the squalid the early poetry up to 1920 close parallel with Henry James, since they both deal with the same problems (iear of involvement in ile) by introducing apparently trivial events. - among the poets of his interest focused on the issue of their use of wit, their striking association of images and the complexity of their poetry. It was above all to Dante that he turned to the model of all poetic art. Dante's influence is in fact evident in his major works and Eliot himself defined as "the most persistent and deepest influence" on his poetry, adding that he had borrowed irom him, in the attempt to reproduce, or ralher to arouse in the reader's mind the mernory of some Dantesque scenes and thus eslablish a relationship between the medieval hell and modern life.
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