In my own usage, however, ‘Spartan’ is intended as an inclusive cover-term. [ back ] 24. Mansfield 1985:442-487 offers a useful general survey of such rituals. The conventions of performing katalogadēn ‘in the right sequence, catalogue-style’, as I noted earlier, are relevant to the mnēmonikon tekhnēma ‘mnemonic technique’ of Hippias). . On the role of Athena in this myth as the central aetiology of the Panathenaia, see especially Pinney 1988. The sewn fabric may in the end suit a body that is not human but divine. [ back ] 78. the icebox, and which Eliot’s allusive method is a distinctive feature of his poetry, but he developed it in part on the model of some of Pound’s earlier poems, and Pound’s editing of The Waste Land greatly increased its fragmentation. [ back ] 221. "A flourishing state in a forest" (line 3), The word referred to by the phrase "this reasoning vegetable" (line 21) is, In context, "this our broomstick" (line 27) is a, B. Metaphor for man's pretentious character. In this expressionistic landscape the speaker must begin to puzzle out her relationship to others. I must stress once again what I stressed when I first quoted this wording: as we see from the context here, these ‘compositions’ are the poetic creations not only of Hippias but also of master ‘composers’ or poiētai, including Homer himself as the ‘composer’ or poiētēs par excellence. As punishment for his actions, he was condemned to forever hold up the heavens on his shoulders. This sense of "bee" may account for the fact that the villagers all appear to be doing something specifically to or for the speaker and may qualify the speaker’s paranoid response to their attentions toward her. See Lapatin 2001:65 for other reports besides that of Thucydides. The models of their studies will both be artificial. [ back ] 133. [ back ] 81. Here the wording delineates one of two forms of performance. A paradox that reveals a dominant characteristic of Lord Salisbury's character, Disraeli's description of Lord Salisbury as not " a man who measures his phrases" (line 8) is an example of. Like Pound, Eliot drew for his conception of impersonality on Robert Browning’s dramatic monologues, in which he took on the roles of such figures as the Duke who casually tells the story of how he put a stop to his first wife’s suspected adultery (“My Last Duchess,” 1842) or the Renaissance professor who devotes his whole life to the smallest aspects of Greek grammar (“A Grammarian’s Funeral,” 1855). [ back ] 207. Thus, the speaker’s rhetorical and emotional identification with the bees in the first poem, like the other intensely imaginative elements, stems from excesses that the sequence as a whole works to overcome. [ back ] 151. D. Five paragraphs with the first and last about writing, the third about film, and the fourth about both film and writing, All of the following are used in the passage EXCEPT, When the speaker addresses the "summer soldier and the sunshine patriot," he is most likely referring to, D. Those who support the revolution only when convenient, The speaker's style relies on heavy use of, Which of the following does the speaker NOT group with the others, The "God" that the speaker refers to can be characterized as, According to the speaker, freedom would be considered, B. Which of the following best describes how the 2nd and 3rd paragraphs are related? . [ back ] 124. I have further comments on these two forms in the discussion that follows. He would invite people to his home, and when they went to bed, he would either cut off their legs if they were taller than the length of the bed or stretch them out until they were the length of the bed if they were shorter. Eliot’s use of allusion and quotation seems in part a response to the dilemma of coming at the end of a great tradition. The most distinctive feature of "The Bee Meeting" is its gothic tone. Stadter 1989:174 remarks: “Pericles seems to be wearing the [Odeum] (or its pointed roof) as he did the helmet in the Cresilaus portrait: perhaps Cratinus thought that the pyramidal roof of the [Odeum], with its sharp peak, would be suitable for Pericles’ head.” So the joke is inspired by the shape of the roof of the Odeum, with its sharp peak, and by the shape of the head of Pericles the ‘pin-head’. The title “A Game of Chess,” drawn from a Renaissance play about a seduction, and the chess imagery of this section, point to an understanding of marriage and sexuality debased into a game of strategy in which men and women battle over sex. The poet’s struggle to make a new poem out of the inherited language of tradition seems to be mirrored in the unevenness of the poem’s language and form. He emphasizes the role of death and decay in the process of growth, most memorably in the conversation between two veterans who meet near London bridge after the war: “‘Stetson!
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