T. S. Eliot and Virginia Woolf: 1918-1922
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
The purpose of this paper is to explore, from the perspective of biographical criticism, the relationship between T. S. Eliot and Virginia Woolf during the years 1918-1922. Eliot and Woolf’s first encounter at Monk’s House, her residence in 1918, deepened their friendship along with his wife Vivien and her husband Leonard. Eliot’s impressions of Woolf and Woolf’s views on Eliot, and their critical views of each other’s works, vacillate from positive to negative and from worst to best, as can be observed in the publication of Eliot’s Poems (1919) and the Woolfs’ harsh review of Eliot’s The Sacred Wood (1920). Modernist writers including Pound, Lewis, Eliot and Joyce opposed the Bloomsbury Group including the Woolfs. Eliot’s immense admiration and Woolf’s disparaging condemnation are crucially contradictory in their estimation of Joyce’s Ulysses (1922). But their friendly relationship consolidates in Woolf’s high estimation of Eliot’s recited masterpiece “The Waste Land” and the critic’s praise of “The String Quartet” and “A Haunted House” in the novelist’s Monday or Tuesday (1921). Woolf as an intermediary plays a pivotal role in financially helping Eliot to commit himself to writing poems that the poet requests from the Eliot Fund, mainly sponsored by Lady Ottoline Morrell out of Lloyds Bank. Their literary friendship culminates in the publication of Eliot’s Poems by the Hogarth Press, founded by the Woolfs, and in the printing of her co-translation of Dostoevsky’s “Plan of A Novel” as well as the would-be great modernist poem, “The Waste Land,” in The Criterion (1922) edited by the poet-critic.
Abstract
The purpose of this paper is to explore, from the perspective of biographical criticism, the relationship between T. S. Eliot and Virginia Woolf during the years 1918-1922. Eliot and Woolf’s first encounter at Monk’s House, her residence in 1918, deepened their friendship along with his wife Vivien and her husband Leonard. Eliot’s impressions of Woolf and Woolf’s views on Eliot, and their critical views of each other’s works, vacillate from positive to negative and from worst to best, as can be observed in the publication of Eliot’s Poems (1919) and the Woolfs’ harsh review of Eliot’s The Sacred Wood (1920). Modernist writers including Pound, Lewis, Eliot and Joyce opposed the Bloomsbury Group including the Woolfs. Eliot’s immense admiration and Woolf’s disparaging condemnation are crucially contradictory in their estimation of Joyce’s Ulysses (1922). But their friendly relationship consolidates in Woolf’s high estimation of Eliot’s recited masterpiece “The Waste Land” and the critic’s praise of “The String Quartet” and “A Haunted House” in the novelist’s Monday or Tuesday (1921). Woolf as an intermediary plays a pivotal role in financially helping Eliot to commit himself to writing poems that the poet requests from the Eliot Fund, mainly sponsored by Lady Ottoline Morrell out of Lloyds Bank. Their literary friendship culminates in the publication of Eliot’s Poems by the Hogarth Press, founded by the Woolfs, and in the printing of her co-translation of Dostoevsky’s “Plan of A Novel” as well as the would-be great modernist poem, “The Waste Land,” in The Criterion (1922) edited by the poet-critic.