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Dramatic Projection in Early Eliot
T. S. Eliot's dramatic projection in his early poetry is one of the most important techniques of impersonality. With no systematic theorization by Eliot, it cannot be discussed without referring to his studies on individual authors in 1910s, which shows his early fascination with the Elizabethan dramatists, the metaphysical poets, and the French Symbolists. The objective of this essay is to trace how these three traditions meet in Eliot's dramatic method, evaluating both their influences and his revisions. It defines first Eliot's peculiar use of the term “dramatic sense” as something that specifically indicates the quality of human mind capable of both “self-dramatization” and “self-deception” which is rooted in “self-consciousness.” Then the present essay looks into Eliot's poetic application of it in “The Love Song of J. Alfred Prufrock,” “Portrait of a Lady,” and “Preludes.” Especially Browning's dramatic monologue, James's multiple point of view, and Laforgue's irony are focused as sources of Eliot's dramatic method, but his remake of them into the modern is equally stressed. Eliot is truly eclectic by devouring various strands of tradition and by transcending their limits as well, which finally results in a higher form of dramatic poetry, with a type of modern man, Prufrock, both self-dramatic and highly self-deceptive.
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