T. S. Eliot is one of the greatest poets that 20th century has produced, for which, of course, I have no objection. Many books about T. S. Eliot adore him and in a sense, he has become Almighty God rather than a man with deep insight, fragile heart and sensitive feeling. The above may be one of the standpoints in reading and appreciating his poems but I want to analyze his works from metapsychological standpoint. He has the same weakness and the same suffering as we have. He suffered from nervous collapse all through his life, the reason of which may mainly have been in his family, especially in his mother. In spite of his nervous depression, he wrote many splendid works. I have interpreted his poems in the light of his life story referring chiefly to "The Love Song of J. Alfred Prufrock" and "Lune de Miel. " By metapsychological approach to T. S. Eliot, I intended to give a new (not traditional) and different interpretation of his poems and to find his attitude towards life, religion, and salvation of human soul. Through this brief survey, I could find that he had been a lonely traveller with a longing for human love which he could not have in his early childhood.

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The use of computers for translating human affective communication into symbolic form, and for conveying rudimentary simulated emotions, has been little explored. In this short article we introduce an emotion reasoning engine called the Affective Reasoner based, in part, on the ideas of Ortony et al. (1988), along with its recent multi-media extensions, with which we attempt to address this problem. In the paper we suggest that users may best be maximally engaged with the computer, for certain tasks, by taking advantage of what appear to be innate human tendencies toward social, and emotional, interchange. We discuss two preliminary areas of exploration, based on speech recognition technology, in which we develop the spoken communication lexicon between user and computer. The first of these has to do with parsing emotion inflection in simple human utterances. The second has to do with interactively extending a base lexicon of spoken phrases that includes 198 emotion words, as well as tokens describing relationship, mood, and emotional intensity, so that users may add simple non-emotion tokens of their own choosing. This allows them to communicate about emotion situations, in diverse domains, without programmer intervention. Lastly we discuss emotionally expressive channels the multi-media computer has at its disposal. Among these are rudimentary emotionally inflected speech; indexed sub-second access to affect-inducing, and enhancing, music; schematic facial expression supporting over 60 expressions, as well as over 3000 dynamically constructed morphs; and explicit emotion content in utterances generated by the underlying emotion engine. The current implementation runs on an IBM (compatible) PC while still maintaining sub-second response time to (spoken) user utterances, to dynamic generation of new content in spoken text, to morphed changes in facial expression, and to retrieval and presentation of affect-bearing music, constraints we consider essential for supporting plausible affective interaction with the user.

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L'influenza di Dante su T.S.Eliot era indiscutibilmente grande. Anche prima di scrivere un saggio dantesco nel 1929, Eliot aveva citato tanti versi danteschi nei propri e, cosi facendo, aveva aumentato la tensione poetica. Questo metodo letterario di adattamento era il risultato inevitabile della sua piena convinzione alla ricorrenza della tradizione letteraria(la medesima tendenza si riscontra nei testi di Dante). Leggendo il trattato intitolato "Dante", i lettori non possono fare a meno di essere colpiti dal suo aspetto, cosi differente da quello del poeta "impersonale" giovanile ; in questo saggio si presenta un Eliot non solo amatore della tecnica poetica di Dante, ma anche seguace dell'etica dantesca("posso credere a cio che Dante credeva, proprio perche egli era piu puro - di Goethe - come poeta"). Questa espressione, un po' velata, secondo l'A., e basata sul frutto dialettico di Eliot, che si vibrava fra la poesia propria che egli voleva sempre far prevalere e la personalita propria che lasciava in disparte nella poesia. In questo senso l'A.pensa che questo saggio si limiti ad assistere al "turning point" della carriera letteraria del poeta.

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To elucidate T. S. Eliot's idea of poetic drama, we must consider his essay, "A Dialogue on Dramatic Poetry". In it he says that the tendency at any rate, of prose drama is to emphasise the ephemeral and superficial ; if we want to get at the permanent and universal we tend to express ourselves in verse, and the plays of Shakespeare are the most poetic and the most dramatic, and this not by a concurrence of two activities, but by the full expansion of one and the same activity. But it is of the highest importance that he writes on the "doubleness" of poetic drama in his essay, "John Marston". From these essays we must think his idea of poetic drama is formed on the ground that he aims to enlarge the world of expression by the "doubleness" of poetic drama, and the direct duty of the poet is to his language, first to preserve, and second to extend and improve. T. S. Eliot's belief in the value of poetic drama is based on the ground poetic drama is the fine resources which can express the permanent struggles and conflicts of human beings transcending the ephemeral and superficial.

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Classification of the various characters according to Jung's psychological type reveals that each character lives at ease without paying any attention to the depth of his own mind -the inner world of unconsciousness. The situation seems rather strange for us, because neither Claude nor Elizabeth identifies his or her own son. At the same time, Colby doesn't know his own parents. Kaghan, Lucasta's fiancdoesn't know his parents, either. In short, this drama shows alienation among human beings in general. By the pursuit of the process of finding Colby's parents and his establishing his own identity, that is, by the pursuit of his own individuation process we may give light to the psychic totality of the characters in this work.

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T. S. Eliot was born in St Louis Missouri, on 26 September 1888. The Eliots were the aristocrats of the 19th century America. He could spend a happy childhood surrounded by intelligent parents, gentle sisters and a devout nurse. He studied at Harvard and some other universities in Europe. He began to write poems at his very young age, which could gain a good reputation, . Those works suggest his hypersensitivity; in other words, his personal waste land within him. This paper intends to give light to the waste land within him from the psychoanalytical point of view: First, the circumstances in which he was brought up are studiedchiefly on the relationship between Eliot and his mother because the traumatic experience in his childhood is the basic standpoint to know his personal waste land. Second, his too long psychosocial moratorium. This may be the key element to explain his failure to establish a normal ego identity. Lastly, his psychosexual moratorium. This leads him to somewhat homosexual relationship with Jean Verdenal, to hasty marriage to Vivien and to life-long enslavement in the devastation of soul. In order to analyze his own waste land, The Waste Land is chiefly referred to here.

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