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Eliot's "HAMLET AND HIS PROBLEM"

(the element of fire) is the most anthologised of the Quartets. Eliot's experiences as an air raid warden in power the poem, and he imagines meeting during the German bombing. The beginning of the Quartets ("Houses / Are removed, destroyed") had become a violent everyday experience; this creates an animation, where for the first time he talks of Love as the driving force behind all experience. From this background, the Quartets end with an affirmation of : "All shall be well and / All manner of thing shall be well."

One of Eliot’s clearest references to Shakespeare is in his earlier poem

Kirsch, Adam. "So frequently does Eliot disparage Arnold that it is easy to overlook how much he owes him." 67, 3 (Summmer 1998) [sub ser vlex].

Eliot’s Impudence: Objective Correlative, and Formulation

Throughout the play, Hamlet spirals through bouts of insanity, depression, and hostility.

Bradley points out thatHamlet seems depressed ("melancholy") and that this will slow a persondown; early 20th century writers influenced by psychoanalysistalked about a mother-fixation causing the depression.

The nonsense about Hamlet being "unable to make up his mind"begins with his own speeches after hearing the Player King'sspeech on Hecuba (he berates himself for hesitating), and especially after talking to Fortinbras's soldier("thinking too precisely on the event" -- i.e., people whoobsess a lot are the ones who do the least).

Eliot’s Impudence: Objective Correlative, and Formulation "

Hamlet tells Horatio, his friend that he is going to fake madness as he loses his determination....

A pageant play by Eliot called was performed in 1934 for the benefit of churches in the . Much of it was a collaborative effort; Eliot accepted credit only for the authorship of one scene and the choruses. , the , had been instrumental in connecting Eliot with producer for the production of , and later commissioned Eliot to write another play for the in 1935. This one, , concerning the death of the martyr, , was more under Eliot's control. Eliot biographer comments that "for [Eliot], and succeeding verse plays offered a double advantage; it allowed him to practice poetry but it also offered a convenient home for his religious sensibility." After this, he worked on more "commercial" plays for more general audiences: (1939), (1949), , (1953) and (1958) (the latter three were produced by and directed by ). The Broadway production in New York of received the 1950 for Best Play.

After (1922), he wrote that he was "now feeling toward a new form and style". One project he had in mind was writing a play in verse, using some of the rhythms of early . The play featured "Sweeney", a character who had appeared in a number of his poems. Although Eliot did not finish the play, he did publish two scenes from the piece. These scenes, titled (1926) and (1927), were published together in 1932 as . Although Eliot noted that this was not intended to be a one-act play, it is sometimes performed as one.

Polonius then truthfully tells how heforbade Ophelia to see or accept messages from Hamlet.
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Hamlet fakes madness for Polonius's benefit.

Claudius even instructs Rosencrantz and Guildenstern to escort Hamlet to England because "it [is not] safe with us/To let his madness range" (III, iii, 1-2). Essentially, each supporting character questions Hamlet's sanity, and most conclude he is indeed mad.

Hamletcontrasts this with his own passiveness in both word and deed.

As Eliot's conservative religious and political convictions began to seem less congenial in the postwar world, other readers reacted with suspicion to his assertions of authority, obvious in and implicit in the earlier poetry. The result, fueled by intermittent rediscovery of Eliot's occasional anti-Semitic rhetoric, has been a progressive downward revision of his once towering reputation.

Once again, Hamlet's genuineness looks like madness.

Following the publication of , Eliot's reputation as a poet, as well as his influence in the academy, was at its peak. In an essay on Eliot published in 1989, the writer refers to this peak of influence (from the 1940s through the early 1960s) as "the Age of Eliot" when Eliot "seemed pure zenith, a colossus, nothing less than a permanent luminary, fixed in the firmament like the sun and the moon". But during this post-war period, others, like Ronald Bush, observed that this time also marked the beginning of the decline in Eliot's literary influence:

Hamlet and His Problems is an essay written by T.S

The approach taken by Shakespeare in Hamlet has generated countless different interpretations of meaning, but it is through Hamlet's struggle to confront his internal dilemma, deciding when to revenge his fathers death, that the reader becomes aware of one of the more common interpretations in Hamlet; the idea that Shakespeare is attempting to comment on the influence that one's state of min...

Eliot in 1919 that offers a critical reading of Hamlet

Addressing some of the common criticisms directed against "The Waste Land" at the time, Gilbert Seldes stated, "It seems at first sight remarkably disconnected and confused... [however] a closer view of the poem does more than illuminate the difficulties; it reveals the hidden form of the work, [and] indicates how each thing falls into place."

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