Thematische Bibliographien / Thomas`s poetry

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Auswahl der wissenschaftlichen Literatur zum Thema „Thomas`s poetry“

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Veröffentlicht am 18. Mai 2024

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Zeitschriftenartikel zum Thema "Thomas`s poetry"

Sulaiman, Maha Qahatn. „Woman’s Self-Realisation in the Poetry of Thomas Hardy“. English Language and Literature Studies 8, Nr. 4 (28.11.2018): 58. http://dx.doi.org/10.5539/ells.v8n4p58.

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A comprehensive investigation of Thomas Hardy’s poetry reveals the doctrines of Existentialism which were new and not common during the 19th century. Hardy’s poetry, combining both Modern and Victorian elements, proclaims the emancipation from the fetters of money and religious oriented orthodox heritage. Hardy believes that the struggle for existence is the canon of life and, therefore, human cooperation is a necessity to man’s wellbeing. Though Hardy’s religious beliefs declined, mainly the concepts of divine intervention, absolution, and afterlife, he did not relinquish his faith in the moral principles of the Christian Church. This is expressed in his poetry through an intense desire to elevate man’s status in the world, to secure the transition of man’s existence from insignificance to accomplishment and excellence. The present study examines Hardy’s poetry in the light of the existentialists’ belief that man can achieve supremacy by being conscious of one’s limitations, ethical responsibilities, and duties. The focus of the study is on female characters in Hardy’s poetry, whose elevated consciousness and self-realisation present an ethical model that can assist the development of humanity and improve the world.

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Griffiths, Richard. „R. S. Thomas and the Role of Poetry“. Theology 100, Nr. 796 (Juli 1997): 275–85. http://dx.doi.org/10.1177/0040571x9710000406.

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Kim, Myeong Jin. „Attributes of God in the Poetry of R. S. Thomas“. NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 67 (31.08.2017): 1–21. http://dx.doi.org/10.21087/nsell.2017.08.67.1.

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Hurst, J. S. „Poetry is Religion: The Evolution of R. S. Thomas“. Expository Times 97, Nr. 7 (April 1986): 195–200. http://dx.doi.org/10.1177/001452468609700702.

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Mohammed, Rafed Kawan. „The Effect Of The Nature In Thomas Hardy, S Poetry“. Psychology and Education Journal 58, Nr. 1 (29.01.2021): 1023–26. http://dx.doi.org/10.17762/pae.v58i1.850.

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This research aims to discover the effect of Nature in Thomas Hardy's chosen literary works. The treatment of Hardy's ecology illustrates the roots of thought that have led to our contemporary environmental crisis. Hardy shares affinity by philosophically reconstructing society in the center of natural elements and images by introducing the true meaning of literary art and nature. Hardy self-consciously depicts the naked reality of nature, property, and the place of man as a reaction towards a mechanized and materialized culture that values technological innovations and expositions politically. Hardy has distinguished nature with his distinctive style and insight. Analyzing the work of Hardy helps to know the social and ecological critiques of Victoria on the relationship between the human environment that are biologically and psychologically fascinating and strange when it comes to placing humans into the universe. The research demonstrates how someone such as Hardy represented his knowledge of nature as a mere reflection of man's harmony or disharmony with his climate. Hardy promotes the belief that setting is an important and fundamental factor of human lives that has a direct effect on their lives consciously and unconsciously. Discussing different characters and their various attributes and functions concerning the natural world around them are of great importance for understanding the link between man and the environment. Hardy not only depicts in his novels but also in his poetry the portrayal of the true position of man in nature and the significance of this representation in human life.

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Groom, Nick. „Thomas Chatterton: four ways of literary terra-forming“. Journal of the British Academy 10 (2022): 135–55. http://dx.doi.org/10.5871/jba/010.135.

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This article considers how the 18th-century poet Thomas Chatterton created literary worlds by examining and revealing the connections between four very different areas in which he �terra-formed�: mediaevalism, political satire, anti-slavery poetry, and environmentalism. Although these areas of Chatterton�s writing are usually treated separately by critics, the article argues that they in fact share many common features, and between them characterise Chatterton�s distinctive � if extraordinarily precocious � poetic voices. These shared characteristics have, moreover, been brought into sharp relief by pressing current issues, from the traumas of the pandemic to the debates on the commemoration (and misrepresentation) of historical figures such as Edward Colston and indeed Chatterton himself. The article concludes by showing how readers can find in the poetry of Thomas Chatterton not only an unexpected influence on some of the major cultural touchstones of the 21st century, but contemporary significance and relevance through the consolation of literature.

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Jones, Ethan C. „Forming the imagination: Reading the Psalms with poets“. Scottish Journal of Theology 75, Nr. 4 (14.10.2022): 329–46. http://dx.doi.org/10.1017/s0036930622000618.

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AbstractGenre, parallelism and canonical shaping have long been important to Psalms studies. Scholarly advances on these fronts are easily observed. Instead of working the same ground once more, this article sets off on a different path. It aims to read Hebrew poetry, especially the Psalter, with poets. It intends to listen carefully to three influential voices: George Herbert (1593–1633), R. S. Thomas (1913–2000) and Malcolm Guite (1957–). These poets help shape our imagination and prepare us to read the Psalms as poetry. Specifically, this results in sounds, repetitions, the constraining and freeing possibilities of forms, and theological themes taking centre stage in experiencing the poetry of Psalms.

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[Donald] Allchin, A. M. „1978 Emerging: a look at some of R. S. Thomas’ more recent poems“. Theology 123, Nr. 4 (Juli 2020): 281–88. http://dx.doi.org/10.1177/0040571x20934030.

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A. M. ‘Donald’ Allchin (1930–2010) worked at Pusey House, Oxford, in the 1960s before serving as a Residentiary Canon at Canterbury Cathedral (1973–87). This article reflects his love of the influential poetry of the craggy Welsh poet and Anglican priest R. S. Thomas (1913–2000). Allchin taught himself Welsh by following the daily liturgical readings in Welsh and was fascinated by Celtic culture and ritual and Eastern Orthodoxy, writing a number of devotional books. Editor.

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Davies, William. „Thomas MacGreevy’s Combatant Modernism“. Irish University Review 52, Nr. 2 (November 2022): 283–301. http://dx.doi.org/10.3366/iur.2022.0568.

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This article examines Thomas MacGreevy’s poetry in the context of combatant modernism. It argues that the preoccupations with themes of perception and violence in MacGreevy’s poems represent a prolonged engagement with the First World War and its legacy in Irish and British culture and politics. The article considers how this reframing of MacGreevy’s work helps elaborate on combatant modernism as an intersecting tradition with the more familiar forms of European modernism represented by the work of T. S. Eliot, James Joyce and others, one in which recognizable techniques of fragmentation and disorientation are brought about not just by aesthetic experimentation but the need to find novel modes of poetic witnessing suitable to the new kind of conflict and suffering the First World War represented. This reorientation places MacGreevy alongside writers such as David Jones and Richard Aldington to reveal how combat service generated its own kind of modernist writing.

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VICARY, J. D. „Via negativa: absence and presence in the recent poetry of R. S. Thomas“. Critical Quarterly 27, Nr. 3 (September 1985): 41–51. http://dx.doi.org/10.1111/j.1467-8705.1985.tb00796.x.

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Dissertationen zum Thema "Thomas`s poetry"

Cattle, Simon Matthew James. „Myth, allusion, gender, in the early poetry of T.S. Eliot“. Thesis, University of Edinburgh, 2000. http://hdl.handle.net/1842/8986.

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T.S. Eliot's use of allusion is crucial to the structure and themes of his early poetry. It may be viewed as a compulsion, evident in even the earliest poems, rather than just affectation or elitism. His allusions often involve the reversal or re-ordering of constructions of gender in other literature, especially in other literary treatments of myth. Eliot's "classical" anti-Romanticism may be understood according to this dual concern with myth and gender, in that his poetry simultaneously derives from and attacks a perceived "feminised" Romantic tradition, one which focuses on female characters and which fetishises, particularly, a sympathetic portrayal of femmes fatales of classical myth, such as Circe, Lamia and Venus. Eliot is thus subverting, or "correcting", what are themselves often subversive genderings of myth. Another aspect of myth, that of the quest, is set in opposition to the predatory female by Eliot. A number of early poems place flâneur figures in the role of questers in a context of constraining feminine influence. These questers attempt, via mysticism, to escape from or blur gender and sexuality, or may be ensnared by such things in fertility rituals. A sadomasochistic motivation towards martyrdom is present in poems between 1911 and 1920. With its dual characteristics of disguise and exposure, Eliotic allusion to ritual and myth is itself a ritual (of literary re-enactment) based on a myth (of literature), namely Eliot's "Tradition". Allusive reconfiguration being a two-way process, Eliot's poetry is often implicitly subverted or "corrected" by its own allusions. Thus we are offered more complex representations of gender than may first appear; female characters may be viewed as sympathetic as well as predatory, male ones as being constructed often from representations of femininity rather than masculinity. The poems themselves demonstrate intense awareness of this fluctuation of gender, which appears in earlier poems as a threat, but in The Waste Land as the potential for a rapprochement between genders. This poem comprises multiple layers of re-enactments and reconfigurations of gender-in-myth, centring upon Shakespeare's Venus and Adonis. The Waste Land's treatment of myth should not be seen as merely reflecting a passing interest in anthropology, but as the culmination of concerns with myth and gender dating back to the earliest poetry. The complex interrelation of the two aspects leaves it unclear whether Eliot's allusive compulsion derives principally from a concern with mythologies of literature or from a concern with mythologies of gender.

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Barker, Simon John. „Probing the god-space : R.S. Thomas's poetry of religious experience, with special reference to Kierkegaard“. Thesis, University of Wales Trinity Saint David, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683109.

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Hoffmann, Deborah. „The spirit of sound prosodic method in the poetry of William Blake, W.B. Yeats, and T. S. Eliot“. Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115657.

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Accompanying materials housed with archival copy.
This project focuses on the prosody of three major poets, William Blake, W. B. Yeats, and T. S. Eliot. It explores the relationship between each poet's poetic sound structures and his spiritual aims. The project argues that in Blake's prophetic poems The Four Zoas, Milton, and Jerusalem, in Yeats's middle and late poetry, and in Eliot's post-conversion poetry, the careful structuring of the non-semantic features of language serves to model a process through which one may arrive at the threshold of a spiritual reality.
The introductory chapter situates these poets' works within the genre of mystical writing; establishes the epistemological nature of poetic sound and its relationship to mystical expression; considers the historical and personal exigencies that influence each poet's prosodic choices; and outlines the prosodic method by which their poetry is scanned. Chapter one addresses William Blake's efforts to re-vision Milton's Christian epic Paradise Lost by means of a logaoedic prosody intended to move the reader from a rational to a spiritual perception of the self and the world. Chapter two considers the development of W.B. Yeats's contrapuntal prosody as integral to his attempt to make of himself a modern poet and to his antithetical mystical philosophy. Chapter three explores the liminal prosody of T. S. Eliot by which he creates an incantatory movement that points to a spiritual reality behind material reality. The project concludes with a consideration of the spiritual aims of Gerard Manley Hopkins and H.D. (Hilda Doolittle) and posits a revaluation of Hopkins' sprung rhythm and H.D.'s revisionary chain of sound as prosodic practices intrinsic to their spiritual aims.

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Adams, Stephen D. (Stephen Duane). „"Looking into the Heart of Light, the Silence": The Rule of Desire in T.S. Eliot's Poetry“. Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc935756/.

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The poetry of T. S. Eliot represents intense yet discriminate expressions of desire. His poetry is a poetry of desire that extenuates the long tradition of love poetry in Occidental culture. The unique and paradoxical element of love in Occidental culture is that it is based on an ideal of the unconsummated love relationship between man and woman. The struggle to express desire, yet remain true to ideals that have deep sacred and secular significance is the key animating factor of Eliot's poetry. To conceal and reveal desire, Eliot made use of four core elements of modernism: the apocalyptic vision, Pound's Imagism, the conflict between organic and mechanic sources of sublimity, and precisionism. Together, all four elements form a critical and philosophical matrix that allows for the discreet expression of desire in what Foucault calls the silences of Victorianism, yet Eliot still manages to reveal it in his major poetry. In Prufrock, Eliot uses precisionism to conceal and reveal desire with conflicting patterns of sound, syntax, and image. In The Waste Land, desire is expressed as negation, primarily as shame, sadness, and violence. The negation of desire occurred only after Pound had excised explicit references to desire, indicating Eliot's struggle to find an acceptable form of expression. At the end of The Waste Land, Eliot reveals a new method of expressing desire in the water-dripping song of the hermithrush and in the final prayer of Shatih. Continuing to refine his expressions of desire, Eliot makes use of nonsense and prayer in Ash Wednesday. In Ash Wednesday, language without reference to the world of objects and directed towards the semi-divine figure represents another concealment and revelation of desire. The final step in Eliot's continuing refinement of his expressions of desire occurs in Four Quartets. Inn Four Quartets, the speaker no longer carries the burden of desire, but language at its every evocation carries the cruel burden of ideal love.

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McAlonan, Pauline. „Wrestling with angels : T. S. Eliot, W. H. Auden, and the idea of a Christian poetics“. Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100653.

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This thesis addresses the impact of religious conversion on the later works of Eliot and Auden, and the manner in which they responded to each other as they developed a Christian poetics. Following an introduction which discusses the nature of their relationship as well as their basic theological positions, Chapter One examines their postconversion criticism, and particularly their stance on what is typically formulated as "the problem of belief in poetry," which focuses on how ideology influences a work's creation and reception. Chapter Two considers their transitional poetry, wherein their new religious beliefs figure prominently and their anxiety over the potential conflict between artistic and spiritual values is most acute. Chapter Three looks at their major postconversion poems and specifically at how Eliot's and Auden's understanding of the Incarnation informs their views on time, history, language, and literature, as embodied by these works. Chapter Four centers on their drama, initially comparing their early plays---written when Eliot was a Christian but Auden was not---to show how they employed similar techniques to further different ends, before turning to an examination of Eliot's later verse plays and Auden's libretti. I investigate the ideological motivation behind the adoption of these different dramatic forms, as well as the specific ways in which they affect how belief is conveyed. Throughout the dissertation, the effects of Eliot's and Auden's conversion upon their reputations and the difficulties facing modern Christian artists in general are given particular consideration.

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Estrade, Charlotte. „" Mythomorphoses " écriture du mythe, écriture métapoétique chez Basil Bunting, T. S. Eliot, Ezra Pound et W. B. Yeats“. Phd thesis, Université du Maine, 2012. http://tel.archives-ouvertes.fr/tel-00770332.

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Les mythologies - gréco-romaine, irlandaise, perse, indienne, japonaise, chinoise -sont omniprésentes dans la poésie de Bunting, Eliot, Pound et Yeats. Les prédilections desauteurs pour certaines mythologies, véritables choix identitaires et politiques, montrenttoutefois une péroccupation commune pour les mythes violents, aux niveaux martial et sexuel.Ce premier niveau thématique se combine avec une réflexion plus distanciée sur le mythe,outil critique qui permet la reformulation de croyances rituelles et spirituelles, et de nouvellesthéories poétiques qui visent à ordonner et donner un sens au monde chaotique du XXe siècle.Le mythe, subversif, permet donc l'articulation de nouvelles spiritualités et denouvelles expériences poétiques. Enfin, matériau vivant et modelable, dont la mention est à lafois un raccourci de récits anciens et un horizon élargi vers d'autres références et réécritures,le mythe est objet linguistique. En traduction, le mythe transfert les contenus thématiques,déplace les rythmes et fait circuler et s'entremêler les arts. En effet, retour fantasmé à uneorigine du langage artistique, le mythe est parfois fiction d'un art total où les figuresmythiques seraient à la fois objet linguistique, représentation imaginaire picturale etmanifestation musicale. De cette vision du mythe émane une poésie polyphonique et hybride,à l'image du centaure et des autres créatures monstrueuses présents dans l'oeuvre poétique deBunting, Eliot, Pound et Yeats.

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Cole, Merrill. „The other Orpheus : a poetics of modern homosexuality /“. New York [u.a.] : Routledge, 2003. http://www.loc.gov/catdir/toc/ecip042/2003007030.html.

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Nickerson, Anna Jennifer. „Frontiers of consciousness : Tennyson, Hardy, Hopkins, Eliot“. Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277879.

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‘The poet’, Eliot wrote, ‘is occupied with frontiers of consciousness beyond which words fail, though meanings still exist’. This dissertation is an investigation into the ways in which four poets – Alfred Tennyson, Thomas Hardy, Gerard Manley Hopkins, and T. S. Eliot – imagine what it might mean to labour in verse towards the ‘frontiers of consciousness’. This is an old question about the value of poetry, about the kinds of understanding, feeling, and participation that become uniquely available as we read (or write) verse. But it is also a question that becomes peculiarly pressing in the nineteenth- and early twentieth-centuries. In my introductory chapter, I sketch out some of the philosophical, theological, and aesthetic contexts in which this question about what poetry might do for us becomes particularly acute: each of these four poets, I suggest, invests in verse as a means of sustaining belief in those things that seem excluded, imperilled, or forfeited by what is felt to be a peculiarly modern or (to use a contested term) ‘secularized’ understanding of the world. To write poetry becomes a labour towards enabling or ratifying otherwise untenable experiences of belief. But while my broader concern is with what is at stake philosophically, theologically, and even aesthetically in this labour towards the frontiers of consciousness, my more particular concern is with the ways in which these poets think in verse about how the poetic organisation of language brings us to momentary consciousness of otherwise unavailable ‘meanings’. For each of these poets, it is as we begin to listen in to the paralinguistic sounds of verse that we become conscious of that which lies beyond the realms of the linguistic imagination. These poets develop figures within their verse in order to theorize the ways in which this peculiarly poetic ‘music’ brings us to consciousness of that which exceeds or transcends the limits of the world in which we think we live. These figures begin as images of the half-seen (glimmering, haunting, dappling, crossing) but become a way of imagining that which we might only half-hear or half-know. Chapter 2 deals with Tennyson’s figure of glimmering light that signals the presence, activity, or territory of the ‘higher poetic imagination’; In Memoriam, I argue, represents the development of this figure into a poetics of the ‘glimpse’, a poetry that repeatedly approaches the horizon of what might be seen or heard. Chapter 3 is concerned with Hardy’s figuring of the ‘hereto’ of verse as a haunted region, his ghostly figures and spectral presences becoming a way of thinking about the strange experiences of listening and encounter that verse affords. Chapter 4 attends to the dappled skins and skies of Hopkins’ verse and the ways in which ‘dapple’ becomes a theoretical framework for thinking about the nature and theological significance of prosodic experience. And Chapter 5 considers the visual and acoustic crossings of Eliot’s verse as a series of attempts to imagine and interrogate the proposition that the poetic organisation of language offers ‘hints and guesses’ of a reality that is both larger and more significant than our own.

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Plasa, Stefan. „Knots und Vortices T. S. Eliots und Uzra Pounds Dichtungstheorie zwischen Tradition und Innovation“. Paderborn München Fink, 2010. http://d-nb.info/994036116/04.

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Prothero, James. „The influence of Wordsworth on twentieth-century Anglo-Welsh poets“. Thesis, University of Wales Trinity Saint David, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683327.

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Bücher zum Thema "Thomas`s poetry"

R. S. Thomas. London: Dent, 1996.

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The poetry of R.S. Thomas. Bridgend, Mid Glamorgan: Poetry Wales Press, 1987.

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Davis, William Virgil. R.S. Thomas: Poetry and theology. Waco, TX: Baylor University Press, 2007.

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Davis, William Virgil. R.S. Thomas: Poetry and theology. Waco, Tex: Baylor University Press, 2007.

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Anthony, Thwaite, Hrsg. R.S. Thomas. London: Phoenix Poetry, 2002.

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Strangely orthodox: R. S. Thomas and his poetry of faith. Llandysul: Gomer Press, 2006.

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Puritan sensibility in T.S. Eliot's poetry. New York: P. Lang, 1994.

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Sandra, Anstey, Hrsg. R.S. Thomas: Selected prose. Bridgend: Poetry Wales, 1986.

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S, Thomas R. Collected poems, 1945-1990: R.S. Thomas. London: J.M. Dent, 1993.

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Madeleine, Kisner, und Morgan John H. 1945-, Hrsg. Celebrating T.S. Eliot: On the centennial of his birth, 1888-1988. [Bristol, IN]: Wyndham Hall Press, 1988.

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Buchteile zum Thema "Thomas`s poetry"

Brown, Dennis. „Vernon Watkins and R. S. Thomas“. In British Poetry from the 1950s to the 1990s, 221–36. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25566-5_12.

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Bowen, W. Richard. „Imaginative Expression of Faith and Science: The Poetry of R. S. Thomas“. In Issues in Science and Theology: Do Emotions Shape the World?, 235–47. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-26769-2_18.

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Davis, William V. „The presence of Absence: Mirrors and Mirror Imagery in the Poetry of R. S. Thomas“. In Life the Play of Life on the Stage of the World in Fine Arts, Stage-Play, and Literature, 347–60. Dordrecht: Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-010-0826-6_23.

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Davis, William V. „The Presence of Absence: Mirrors and Mirror Imagery in the Poetry of R. S. Thomas“. In Passions of the Earth in Human Existence, Creativity, and Literature, 221–34. Dordrecht: Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-010-0930-0_16.

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Brown, Dennis. „R. S. Thomas’s “Amen”“. In The Poetry of Postmodernity, 120–33. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1057/9780230372504_9.

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Phillips, D. Z. „Gestures and Challenges“. In R. S. Thomas: Poet of the Hidden God, 1–10. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-08125-7_1.

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Phillips, D. Z. „A Sacrifice of Language?“ In R. S. Thomas: Poet of the Hidden God, 153–71. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-08125-7_10.

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Phillips, D. Z. „Earth to Earth“. In R. S. Thomas: Poet of the Hidden God, 11–23. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-08125-7_2.

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Phillips, D. Z. „Testing the Spirits“. In R. S. Thomas: Poet of the Hidden God, 24–34. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-08125-7_3.

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Phillips, D. Z. „An Inadequate Language?“ In R. S. Thomas: Poet of the Hidden God, 35–51. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-08125-7_4.

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Konferenzberichte zum Thema "Thomas`s poetry"

Cogut, Sergiu. „An Exponential Work of Literary Modernism Reaching its Centenary“. In Conferinta stiintifica nationala "Lecturi în memoriam acad. Silviu Berejan", Ediția 6. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/lecturi.2023.06.17.

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2022 was marked by the 100th anniversary of the publication of two literary creations that over time were appreciated as emblematic works of modernism. They are James Joyce’s famous novel Ulysses and Thomas Stearns Eliot’s poem The Waste Land. The latter had an overwhelming impact on subsequent poetry, propelling the author to the top of the hierarchy of poets of the 20th century, although in that era it was perceived as an obscure poetic creation, thus contradicting the literary criticism of the time. In the process of elaboration of his innovative work in both message and form, T. S. Eliot was deeply influenced by the suggestions of his friend, the great American poet Ezra Pound who had the role of mentor for the English author also born in the United States, as he was actively involved in the drafting of the outstanding poem The Waste Land. Through this creation of his, T. S. Eliot asserted himself as a voice of special resonance that highlighted the disintegration, being thus considered an apostle of postmodernism. It is welcome to mention that for an adequate interpretation of this far-reaching work of the last century, it is necessary to clarify and apply the concept of „objective correlative” which was theorized by the same T. S. Eliot in his essay concerning Hamlet.

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