Act One sets the story for Hamlet. There is construction to this play. Hamlet is the son of the dead king by the same name. Fortinbras, the prince of Norway, is the son of the king by the same name. Within the court of Claudius (Hamlet’s uncle, new king, married to his mother) is Polonius and his son Laertes. Three young men who are causing trouble for the adults. Generation conflict. This play is modern because for the first time the world witnesses adolescent rebellion. They have cause. But they do rebel. These intergenerational problems do not just stay in the home; they become political as well. Hamlet too is dealing with the grief for his dead father, and the rapid remarriage of his mother. He doubts everything but love. But now, due to this hasty marriage, he doubts love too. A young man lost. The whole Hamlet problem in a nutshell is why does he not act sooner? If the ghost tells him in Act One what to do, why does it take until Act Five before he does something? The problem of Hamlet is the problem of action. Why does he not do what he is told to do?
In the first of the Broadstairs 2015 series, Dr. White covers the early life of T. S. Eliot, addressing who he was, why he is an important figure in modern literature, explaining his family roots in England and the United States. He chronicles his journey from the shallowness of Unitarianism and notes his taking refuge in literature during his childhood. Taught by his Irish nanny that God is the first cause of all things, blessed with a mother who loved and wrote poetry and parents who didn’t make the mistake of forcing him into a vocation that didn’t suit, Eliot grew up in a world where rhythm predominated, even before he could speak. Indeed, Dr. White notes, Scott Joplin was just a few miles away from his house, and popular “rhythm” was everywhere around him, an equal influence to the classic works of literature. Eliot’s first poem as a young boy, as well as his early and later education are also explored. Browsing stacks at Harvard, he was acquainted with French symbolism, and learned that a poet could write from his own experience, beyond conventional limitations. For this reason Eliot shows a tendency of sticking with an image that he burns into his hearer’s minds throughout a poem; indeed, the doctor observes, Eliot used choice images throughout his career.
Dr. White also takes his auditors through an analysis of The Lovesong of J. Alfred Prufrock. Supporting this analysis, the doctor defines poetry, with its union of sound and sense, and explores relevant bits of its history. One learns poetry by recitation, memorization, repetition. Rather than having the meaning of a poem “explained,” one must hear in it the music that communicates a message when intertwined with the structure and sound that becomes apparent in the hearing. Also examined is Eliot’s approach to the role of the poetic persona – he strongly believed that poet should not intrude into poem. In reading his work, we think about the modern world which Eliot’s poetic personae are relating & portraying, and about not the poet himself.
