Preludes | T. S. Eliot - Line by Line Explanation

hello and welcome back to nimblepub in

this class

we will be taking up ts iliad's preludes

now there are hundreds of videos on this

poem

which begin with a very detailed

biography of

t.s eliot as well as of modern poetry

i'm not going into those things

i have complete faith in illiot

that this poem itself will make you

understand what modern poetry is and

what

eliot is going to write throughout his

life

after this is published now the preludes

is

actually a combination of four poems

which elliot wrote when he was in early

20s

and around 1910 to 12

that phase it was published

with proofrock in 1917

and then in 1922 comes the most

important

poem the wasteland which you will be

reading when you will be going for your

masters preludes

literally means introduction it was

specifically used

in context of music you know when you

start a musical program

you fine tune your instruments and you

play

a test run that is

technically called a prelude this is

iliad's test run

in this poem he is going to tell us

about what he thinks about poetry

what he thinks about life in general and

what we are to expect from him

in your syllabus you also have proofrock

and once you

get to know elite through preludes

it will be far easier for you to

understand what he's talking about

in proofrock therefore without

any background information let's just

approach the text

and maybe then we can talk about the

background

the themes the motif the symbols

which are relevant

to this poem in particular

okay so stay with me till the end of

this lecture

because i am sure once you listen to

what i have to say

this poem will be far easier to tackle

all right so if you haven't still

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any new

videos which i make so let's just

begin with the text preludes as

i have already said is an introduction

as like a preface to something greater

that is about to come remember what i

talked about

uh invocation when i was teaching

paradise lost

it is very similar to that it kind of

states the purpose of a poet's life

is going to state the purpose of

what he is about to give us through his

writings okay look at

the four stanzas as four

individual poems

and then as

a combination which elliot

wants us to make a connection which

eliot wants us to make

that all these are so very connected all

these

are individual preludes to

his understanding of the world

now how does preludes begin

let's look at the first prelude

the winter evening settles down with

smell of steeks and passageways

six o'clock the burnt out ends of smoky

days

and now august shower wraps the grimy

scraps

of withered leaves about your feet and

newspapers from vacant lots

the showers beat on broken blinds and

chimney pots

and at the corner of the street a lonely

cab horse

steams and stamps and then the lighting

of the lamps

this is so different from the kind of

points

that you have read till now it is so

different from

shelley's west wind or

was words uh poems which you have

had in your syllabus even from

coleridges

kubla khan there you have

a certain narrative there you have

a certain voice speaking to you

here that is so absent

who is speaking to you who is giving

an introduction to you you don't see

the eyes behind the

lens it is as if a cinematographer

or a photographer is taking on pictures

okay so there is the cinematic

description

of a cityscape now

in our discussion of victorian poetry

we had talked about the transition

in the minds of

londoners in the minds of english

english people

this transition is reflected

in a greater way when we are reading

preludes look at the timeline of elite

he is writing this just when the world

was what was on the verge of

the most devastating thing it had ever

seen

in its history the first world war okay

so 1910 1912 that part you know it is

approaching a catastrophe

on the other hand so far as eliot is

concerned

elite was born in america and

he went on to study in harvard and

therefore

you can call him an american poet as

well as a

british poet now london in

1912 1910

was a city

that was affluent you know people were

flocking towards london people were

ambitiously encouraging

the the modernization of the world

and at the same time there was this

massive

exodus massive transition

from the pastoral life from the village

life

from the rustic life okay so

the emergence

of an industrialized

as well as a metropolitan life

this made man so much away

from that benevolent presence of nature

which sustained the romantics this

transition this alienation

of man from that rejuvenating force

is reflected in the images of city life

which illiad is giving you in the first

prelude itself

and let's look at the images one by one

the winter evening settles down with

smell of steeks in passageways

now evening is a very favorite

uh setting for elliot in proofrock we

also

see evening as the starting point

you know in the evening lays out itself

like a patient authorized

on a table therefore this evening

uh which is you know which is which

carries in it

the the elements of decay

of of something ah you know dying off

like autumn is

different from the evening or the autumn

which we see in the works of romantic

poets

there is no hope

or optimism which we found in case of

shelley you know winter comes can spring

be far behind

and in keats we have when he says in

autumn

uh that autumn has its music too that

optimism

that resilience that

feeling of confidence is something which

we don't find here

because the winter evening which

elliot is writing about

is going to have a hangover

what kind of an hangover hangover is

something

you have it's headache and fatigue

and feeling of being extremely tired

if you spend the evening drinking

it is as if the whole civilization

the urban civilization is senselessly

wasting away in intoxication

in misery and it's going to wake up

in a hangover no optimism there

and certainly no hope here the winter

evening

settles down with smell of sticks in

passageways

so for setting elliot is not choosing

uh you know wide landscapes and

beautiful lake district he is using

the alleys the dark places of london

where you find

the flavors of london which is not

glamorized at all

and they are not just flavors of london

they are the

stench of city life which is so

universal

okay six o'clock

now in the first two lines you have

a very regularized rhythm

an iambic rhythm you know if you read it

it will be like

the winter evening settles down with

smell of stakes and passageways

it is as if eliot is inviting you

into a regular rhythm

uh where you begin to expect

a conventionality and then in the third

line

he breaks he says six o'clock

and six o'clock is

a moment of transition when the evening

settles down

okay and he is giving you a very

short stop there it is as if

to jerk you out of your

non-challenge or your indifference you

know

he will stop you midway with a break of

rhyme and break of rhythm the burnt out

ends of smoky days

and now a gusty shower wraps the grimy

scraps

the burnt out end of smoky days it is

like a

metaphor of a cigarette or a cigar

where after the

intoxication is over all you are left

with

is a burnt out end so it is as if

when man is passing his days then

he is ending up in a same

monotony in the same wastefulness

as a cigarette end okay so

and plus he also refers to the pollution

the actual literal pollution

of london

and now a gusty shower wraps the grimy

scraps

you know the grimy scraps means the

tidbits are lying around

the pollutants the waste which

are littering all about and

the shower which is again uh

usually a poetic symbol of rejuvenation

of beauty of grace of happiness

becomes an agent of turning things even

messier so the shower does

not purify the water does not purify

it makes things worse muddier all right

so here you are repeatedly

uh given images

which are taken out of their traditional

poetic

significance you are having a new

look at the words at the images

which have been used traditionally in a

different

way by uh other poets conventional poets

or previous poets

the grimy scraps of withered leaves

about your feet and newspapers from

vacant lots

the showers beat on broken blinds and

chimney pots

look at the objects he is referring to

here

withered leaves because it's winter

and the fall is over so leaves are

scattered all about

the streets and his description of the

streets

is replete with images

of withered and vacant

and muddy objects okay

the showers beat on broken blinds

and chimney pots blinds are

special kinds of windows okay

which have uh this small slits through

which you can

peep okay that is a blind and these

blinds are also broken

so i would ask you to look at this first

stanza

and identify the adjectives

those adjectives will help you

understand

what this whole thing is about

so what are the adjectives he is using

here

smoky grimy

withered vacant

broken so

all these objectives they all

create an

atmosphere of loss and atmosphere

of boredom sordidness

wasted feeling of

being alive but not alive so that

is the kind of impression which elliot

wants to project through the first

stanza

and at the corner of the street a lonely

cab horse steams and stamps

and then the lighting of the lamps so on

one hand

you hardly have any human figure in the

first stanza

except the part about feet

so the feet is the only word

which he uses which refer to a

human body otherwise there is absolute

absence of any human being

the only living creature he mentions is

the horse

it is as if he is dehumanizing the whole

scene

or rather he is presenting you

a scene which is dehumanized and what is

the horse doing

the horse is not you know racing through

a wide expanse of greenery the horse is

stamping its feet it's impatient

and it is not given the opportunity

to explode its full potential so the

horse becomes

not just the animated figure the only

animated figure in the

paragraph in the stanza but

it also becomes a metaphor of impatience

and now i will bring you to the last

line of the first preludes

and then the lighting of the lamps now

during the evening time

the street lamps were lit up one by one

those were usually gas lights

and they gave out a very few me smokey

kind of

light it is

almost similar to what you know milton

uh

said in his description of hell

it's very infernal like the darkness

visible

which serves only to illuminate

suffering

okay regions of sorrow dole full shade

remember from your

study of paradise lost so those

spots of inferno which milton brought

through that expression darkness visible

is something which haunts us when we

read this

again why i'm talking about milton when

i'm talking about iliad because eliot

failed that

no poet no writer

wrote alone when he writes or when she

writes

it is as if an entire

body an entire history

writes with him this is the

tradition of poetry where

any new poet participates he might have

his individuality

he might might have his individual

talent but he is never

completely you know broken from his past

so when he late is writing milton is

writing when elite is writing

shakespeare is writing when he later is

writing definitely dante's writing

and in our understanding of prelude it

is

no mistake

it is not a crime

if you remember moments

of literary history seeping through

these images

okay

therefore what the first stanza is about

the first stanza is about a scene in

london

or rather a collection of images

on a london street and all the images

are sorted are

non-vital and they give out

a sense of frustration

here i want you to remember one phrase

which which uh elliot

and the phrase is objective correlative

what is objective correlative in very

simple terms

uh although he used it in context of

uh his criticism of hamlet

as an artistic failure but the basic

idea is a poet

a writer need not give you

his emotions on a plate served on a

platter

he will give you objects and

those objects or those

you know objective information

that will have its adequate

emotional response in you for example

when you hear the expression burnt out

end of smoky days

you don't feel joyful you feel

the frustration uh and and the sense of

wastefulness when you look at that image

when you think about that image

a horse stamping at the corner of the

street do you feel

uh feel it feel very

very uplifted by that image you don't

which means that these images

are creating in you an emotional

response

which is basically the subject of this

poem these objects are not the subject

of this poem the subject of this poem

is that emotion that response

which it generates

in the readers

coming to the second preludes while the

first preludes talk about

a street of london in the evening

let us look at the second prelude

the morning comes to consciousness of

faint stale

smells of beer so while

we still had some

[Music]

expectation that the evening was still

the evening was sorted maybe when uh

morning comes the sun comes up

things will be more joyful and

maybe the poet will talk in a different

manner but no

because see i told you about that

hangover and that hangover is worse

the next day okay the morning comes to

consciousness on one side

it feels as if consciousness is

associated with

awareness uh with rejuvenation

okay it's like a rebirth we all know

that uh

when we wake up from our sleep it's like

we are getting a new life

but here that happiness that joy is

denied

the morning comes to consciousness but

with that

idea with that memory

of a sordid evening so it

carries on to the next morning

from the sawdust trampled street with

all its muddy feet that press too early

coffee stands and what

do people do in the morning in city

lives

they flock towards their workplaces

their schools their colleges their

offices their banks

and this is such a monotony of routine

that you are no longer a human being

going for your work you are a feat

trampling on the street you are a hand

which picks up a coffee

mug and you have lost your

human elements because

how is a human being a human being

because of the consciousness of being a

man because of the

presence of this idea

of humanity

and what makes a man or a woman human

is assertion of agency

you know agency is what i want to do

something as an agent i am making a

decision

i am making a choice that makes you

human but when in the morning you get up

you have no

choice but to go to your workplace you

have no

choice but to you know buy coffee from

the same

vendor and get newspaper

as a habit uh smoke on a pipe as a habit

you are a creature of habit and you no

longer deserve to be called a whole

human being

so you end up being only feet and hand

nothing more than that

so from the sawdust trample street with

all its muddy feet

that pressed to early coffee style now

because it's uh

it rained in the previous evening

therefore the

sawdust was sprinkled on the streets

uh to to

hide that mud it's like a temporary

measure

it is as if similar

it is as if similar to the temporary

measures

we take to a cover up

the mud the griminess

the dirt which our lives contain

but these are so temporary measures

because you see when you

sprinkle sawdust on a street and the

next day

people start walking on that again it

becomes even

muddier so instead of cleaning up your

consciousness when you cover

it up temporarily with the sawdust all

you end up

with is even a worse situation so this

is what

the street has become

with the other masquerades the time

resumes

one thinks of all the hands that are

raising dingy shades

in a thousand furnish rooms

this is the central idea

in illiot which he developed

so beautifully in his later poetry the

idea of

masquerade it is like we do not

want to express

freely anymore we do not want to

show people who we are or rather

we assume multiple personalities

and this is so relevant even in today's

context you open somebody's facebook

profile

you see that the person is so happy in

their domestic life

and then you see two three years later

that that marriage didn't even work

you open a person's profile on

tinder and you see that that person is

looking for a

girlfriend and later on you find out

that that person is married with two

kids

so why do we do this why do we assume

these

identities and even when we are not

lying blatantly about ourselves do we

actually

tell people how we are feeling about

things

no it's not even about bravery and

cowardice

it's about the fact that we feel

vulnerable

we feel that if we let people see who we

are

we will be hurt and then there is this

sense of

competition that uh you know she is

uh doing this so let me just do even

better

at least show that i can do it better

so life has become only a rat race and

this is what

elliot was writing in 1910

and it is so relevant even in 2020.

this concept of masquerade so now i'm

going to

uh take from

iliad's later poetry reference to this

masquerade

if you look at the holomen this drop of

masquerade

continues you know i'm reading from the

hollow men

let me also wear such deliberate

disguises

disguise means when you hide yourself

daily but it means when you choose to do

that on your own

when you want to do it consciously

so disguises are deliberate all right

humans uh become their own shadows

when you wear a mask

you impersonate somebody else and at the

same time

a part of yourself remains stuck in that

mask

okay in wasteland and this in wasteland

illiad writes so beautifully about this

whole

concept of masquerade uh where he says

i will show you something different from

either your shadow at morning striding

behind you

or your shadow at evening rising to meet

you so

we have our shadows one shadow for the

morning one shadow for the evening and

those are different from our bodies our

individualities

human beings are seen

as just a collection of

organs and scattered fragmented organs

you notice the word hands raising

shades now when you lift up

a shade usually light floods in but

what is revealed it reveals not a home

but a thousand furnished houses

so what you see is no more

the hearth or the core

of somebody's life but just another

setting where now we take selfies

to show people that we are in a

beautiful setting

we are so obsessed

with how people see us that we

end up showing them

something which we are definitely not

this hypocrisy this fragmentation

is the curse of a metropolitan life

is the curse of an urban life which

in the pre-world war period elliot

identifies the third part of brilliance

is perhaps the most ingenious one

okay now i'll just take you through that

you tossed a blanket from the bed you

lay upon your back and waited

you dozed and watched the night

revealing

the thousand sordid images of which your

soul was constituted

they flickered against the ceiling and

when all the world came back

and the light crept up between the

shutters and you heard the sparrows in

the cutters

you had such a vision of the street as

the street hardly understands

sitting along the bed's edge where you

curl the papers from your hair

or clasp the yellow soles of feet in the

palms of both soiled hands

who is you is it the reader

whomever is directly talking to or is it

somebody else

now going through milton's own notes

will

know that he is definitely talking about

a prostitute

and when she wakes up in the morning

with the memory of the last night's

burden her way of looking at life

her way of understanding things is

highlighted here

ironically in stanza 1 and

2 you don't have any complete human

figure

you have office goers feet you have

hands

lifting up windows you have

feet trampling the street so

you have fragmented bodies in the third

stanza

you can find a complete human being

lying on the bed and what is this person

doing

you tossed a blanket from the bed you

lay upon your back and waited

so this waiting is very significant here

what is she waiting for the morning has

come and it has brought

no respite no

rest for her this brings us to the

concept of

[Music]

waiting for something which will never

come

which later develops in beckett's

waiting for goto

so this this concept

of feeling frustrated

yet this urge to carry on because you

are waiting for something to happen

is seen in this image of this prostitute

because you know that the last evening

was assorted evening

today's evening is going to be equally

sorted evening

but despite this reputation she is

waiting

you dosed and watched the night

revealing the thousand sordid images of

which your soul was constituted

so she was lying back and the images

from

the previous evening previous night

projected on her imaginary

canvas as if she was looking at

those images and trying to figure out

the meaning of at all the meaning of

or the purpose of our existence

so while in the first two stanzas we do

not have any human being interpreting

anything

here you have an interpreter

of experience a very sordid experience a

very low life experience but

she is an interpreter they flickered

against the ceiling

and when all the world came back and the

light crept up between the shutters when

morning is is finally there

when she is supposed to feel very happy

and rejuvenated because

night is over and it's a new day what

does she hear

you heard the sparrows in the cutters

so there are no nightingales or larks

anymore

sparrows are very urban birds and

the moment elliot is mentioning sparrows

in the gutters he is taking away

again all those preconceived ideas

which have formed for so many years in

the minds of the readers

he is presenting you with an

image dissociating it

from what you think about that image

and giving you a different meaning to it

in a new light altogether okay

you had such a vision of the street as

the street hardly understands our street

is a non-living thing

here even if you consider the street to

be

a metaphor of people on the street

even then you will see that

eliot is placing that woman

or that woman's understanding of the

world on a higher level

than the people who are assuming

masquerades

that woman doesn't need a masquerade

that woman doesn't need

to cover her identity the world has

rejected her

she's a low woman and she doesn't have

to hide herself

in iliad's poetry you have this constant

crossing over you know you talk about a

human being and then you talk about the

street

you talk about the experience of what is

happening inside the home

and then he brings you straight to the

gutters

to the chimney pots and it's like

he is not allowing you to stay

in a place and feel secure

now in my other videos i'm usually

bothered by traffic

sounds and you know the bike or swishing

past my house

people uh tutoring about but in this

video

i'm feeling less bothered

somehow i feel this gives me the

appropriate backdrop

to understand what elliot is trying to

tell you

that this world is not a soundproof

room where you can record uninterrupted

this is a real place

where you have no consolation

of any idyllic land or any utopia

this is dystopia this is

the experience of a city life

which gives man no scope of

going beyond this boundary

all right and this is what that

prostitute understands

that woman understands because this is

what

makes her superior in iliad's eyes

so the street doesn't understand the

futility of its existence

she understands and in her understanding

she is superior

you curl the papers from your hair or

clasp the

yellow soles of feet in the palms of

both soiled hands

yellow soles of feet you know feet of

people

from the working class people who do not

have a pampered way of life so he is

talking about

the newly formed

lower middle class working class society

and at the same time extends that

to include the whole of urban

civilization

so this one image yellow souls

that gives you the sense of wastedness

the sense of

decay degeneration yellow which is

usually a very bright color and when

poets use yellow they use it too

to communicate images of vitality you

know the sun is yellow

and yellow you know a host of golden

daffodils

remember those yellow images of beauty

so eliot

is taking that word and he is

making a new meaning out of it so in the

third stanza or rather in the third

preludes

we have the image of a woman who is

aware

of the limitations of a life who is

aware

of the futility of

the cyclic patterns of routine

which the street people are not aware of

they reveal in it they think that it is

their ambition

which is driving them but it is mere

routine it is mere laziness

you know which which stops them from

doing something which they really want

to do

fourth preludes again brings us back to

the street

the first prelude was about the street

the fourth prelude

is also about the street

his soul stretched tight across the

skies

obviously it's about the street but at

the same time this whole image

of somebody's soul stretching out

into eternity has almost

christ-like implications

now eliot later on in his life uh

towards 1930s he turned into an

anglicist

and he even wrote religious poems after

that but

here he is questioning the

connection between that one greater man

which milton writes about

and humanity in general

so it is as if human beings are

trampling on that belief system

trampling on that street which is

stretching out

all right or trampled by

insistent feet at four

and five and six o'clock so look at the

repetition of time

and this creates an

element of regularized monotony

four and five and six o'clock okay like

human beings are working like a

clockwork mouse

and going about the same business

without understanding why they are doing

it

and what are human beings doing in uh

at four and five and six o'clock and

short square fingers stuffing pipes you

know

putting tobacco inside pipes and they're

going to smoke

an evening newspaper so we have a return

to the first stanza through the images

so here also he talks about people

smoking

buying newspaper right so it is as if he

is bringing his poem to a full circle

in the same way that urban

man or urban woman goes through

the monotony of their lives it all comes

to

a full circle and short square fingers

stuffing pipes and evening newspapers

and eyes

so you have another body part here the

eyes

assured of certain certainties i'm going

to get up in the morning

i'm going to catch the bus i'm going to

go to my college

then i'm going to go to tuition then i'm

going to

go to my friend's house come back

you are certain that

when you get up in the morning then i'm

going to do these things

throughout the day

somebody thinks that i'm going to get up

go to the bank

get some money buy a ticket to hawaii

i'll go there with the person i love

and spend a lovely vacation there so

these are all illusions

of certainty are you certain that you

are going to survive the day are you

certain you're going to survive the

flight to hawaii no

but that is what makes us go on

through this monotony of life

and this monotony gives us a certainty

assures us that okay

yesterday i went to my office these

these things happened

so today in the morning i'll go in the

same manner

therefore things will happen in the same

manner in the evening too

so in that way this routine is giving us

an assurance of continuity

while we are working in this clockwork

fashion

what we stop understanding is that

this continuity is taking away from us

eternity

this continuity is taking away from us

our greatness

unless you break that routine unless you

do something uncertain

your whole existence becomes

fragmented feet hands and eyes

right the conscience of a blackened

street

impatient to assume the world the while

on one hand

we have people assured of certainties

people who know what they want from life

and they think they know what they want

from life

and on the other hand that street is

getting impatient

because that street has suffered through

all these masquerades through all this

trampling

and you can equate this impatience

with the impatience of the horse in the

first stanza

so this is how he comes back to the

first part

of the poem okay i am moved by

fancies that are curled around these

images

and cling the notion of some infinitely

gentle infinitely suffering thing

i the first person pronoun brings

us to the poet finally this is what the

poet

tells us about himself

and what does he say he says that these

images

are like his access

to understand what is wrong with the

world

these images are offered to him he looks

at these

images you know people walking

collecting newspaper horse stamping

that woman waking up in a sordid mood

and all these images this evening light

this gloominess

they trigger in him a conclusion

and what does he conclude he has

this image of this is fancy

of um this

infinitely gentle and suffering thing

who was the

the epitome of suffering and gentleness

jesus so here we have a direct delusion

a direct connection to this

christian concept of

redemption offered by the gentleness

offered by the kindness of christ

but here he is questioning he is using

the word notion

notion is a very less

imaginative word notion is something

which you gather from

logic and sometimes in logic but notion

has a duality of meaning

it can be either true or false nobody

knows

and fancy is something which definitely

doesn't depend on logic it is something

which depends on imagination

so all these images which he talks about

creates an elliot an impression

that there is

a super consciousness

which is reflected in very few people

and the super consciousness is suffering

so this is what this whole poem is about

wipe your hand across your mouth and

laugh

when do we wipe our mouth across and

love when we are nervous when we

are self-conscious when we think that

i'm not going to look at these images

because i feel

uncomfortable so he's saying that

i don't know how you're going to react

to my poem i don't know how to react to

these images

you can simply ignore what i'm trying to

say you can simply wipe out your mouth

and laugh and

he is not bothered much about our

reactions

because he knows that even in

today's reality we are

only re-enacting the rituals

that have been going on for ages

the last lines are simply very

fascinating

the walls revolve like ancient women

gathering fuel in vacant lots

so remember the vacant lots where the

newspapers

he talks about newspapers and vacant

lots so how is the world turning

the world is following the same

cyclic pattern it followed earlier

so women gathering fuel for their houses

to nurture to light a fire for cooking

for

warmth for their families so

this urge to have a meaningful life is

content in that image of gathering fuel

you gather fuel for sustenance but where

are these women gathering fuel now they

are gathering fuel in vacant lots

they are no more they don't have these

free access to

resources of nature anymore

this means that we have a city life to

lead

we have an urban existence to suffer

through

but we have no option but to gather

sustenance from that

to go on in the same cyclic pattern

that has been going on since ages and

when he

talks about ancient women gathering fuel

he definitely triggers an image of

the sisters of fate you know kind of

writing the history

of humanity so on one hand we have

images bombarding on the reader's

mindscape

and on the other hand he is talking

about

the condensed

one single image of

a cyclic pattern so what is

the preludes all about preludes

is an introduction

to iliad's idea of what poetry should be

poetry should not be what he criticized

was what to be saying about poetry that

it's a spontaneous outflow of powerful

feelings it's not that

you don't give out your feelings you

give out the images the images will

speak for themselves

many of the students

are afraid to approach modern poetry

many people say that modern poetry is

difficult to understand

but what i personally think is that

modern poetry

is easiest to approach because

it talks about a life

or a pattern of living which you

know about because you don't know about

uh how people thought and believed and

and what people did uh during

the time when beowulf was

written or when chaucer was writing

you are given information about those

ages by books or authors of

historians but you know what modern life

is you know what urban life is

so here the poet doesn't need an

interpreter

to reach out to you yes you need to

understand

that in some or in most modern poems

you have references very very

condensed images but

still they are images

of a life which you identify with

illya's preludes is not just about

illiot's

understanding of poetry only it is also

about how the modern poets looked at

the genre of poetry i hope today's

discussion

will prepare you to have

a better understanding and appreciation

of

uh the love song of g alpha trifrock

which we will be taking up next

and i believe after we complete

proofrock

again i'll be simply going through the

poem with you reading through the poem

with you

i believe then you will have some

conclusive idea

already formed in your mind about what

to expect from modern poetry or from

modern poets

maybe in future i will be making a

consolidated video on modernism or

modern poetry

or maybe on illiad separately but i

think that

understanding preludes just as a poem

even without understanding anything

about delia's background or

background of modern age understanding

preludes

is the right way to start understanding

this is what elliot wanted he wanted us

to know about him through these images

which he is spreading out before you on

a platter

if you need any written material you can

go through the link given in description

box

and you can ask me any question you like

concerning iliad concerning this poem or

in

or any other poem that you want me to

explain to you

i hope you have enjoyed today's class

and i hope to see you all very soon

again

have a nice day bye

[Music]

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