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Analysis of waste land
Analysis of waste land
Symbolism in Eliot's poetry
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The Waste Land: Ceremonies and Rituals
Ceremonies are prevalent throughout T.S. Eliot’s poem The Waste Land. Eliot relies on literary contrasts to illustrate the specific values of meaningful, effectual rituals of primitive society in contrast to the meaningless, broken, sham rituals of the modern day. These contrasts serve to show how ceremonies can become broken when they are missing vital components, or they are overloaded with too many. Even the way language is used in the poem furthers the point of ceremonies, both broken and not. In section V of The Waste Land, Eliot writes,
"After the torchlight red on sweaty faces
After the frosty silence in the gardens
After the agony in stony places
The shouting and the crying
Prison and palace and reverberation
Of thunder of spring over distant mountains
He who was living is now dead" (ll. 322-328).
The imagery of a primal ceremony is evident in this passage. The last line of "He who was living is now dead" shows the passing of the primal ceremony; the connection to it that was once viable is now dead. The language used to describe the event is very rich and vivid: red, sweaty, stony. These words evoke an event that is without the cares of modern life- it is primal and hot. A couple of lines later Eliot talks of "red sullen faces sneer and snarl/ From doors of mudcracked houses" (ll. 344-345). These lines too seem to contain language that has a primal quality to it.
From the primal roots of ceremony Eliot shows us the contrast of broken ceremonies. Some of these ceremonies are broken because they are lacking vital components. A major ceremony in The Waste Land is that of sex. The ceremony of sex is broken, however, because it is missing components of love and consent. An example of this appears in section II, lines 99-100, "The change of Philomel, by the barbarous king/ So rudely forced"; this is referring to the rape of Philomel by King Tereus of Thrace. The forcing of sex on an unwilling partner breaks the entire ceremony of sex.
Rape is not the only way a broken sex ceremony can take place. The broken ceremony can also occur when there is a lack of love, as shown in lines 222-256. This passage describes a scene between "the typist" and "the young man carbuncular".
The writing style of Edgar Allan Poe shows the writer to be of a dark nature. In this story, he focuses on his fascination of being buried alive. He quotes, “To be buried alive is, beyond question, the most terrific of these [ghastly] extremes which has ever fallen to the lot of mere mortality.” page 58 paragraph 3. The dark nature is reflected in this quote, showing the supernatural side of Poe which is reflected in his writing and is also a characteristic of Romanticism. Poe uses much detail, as shown in this passage, “The face assumed the usual pinched and sunken outline. The lips were of the usual marble pallor. The eyes were lusterless. There was no warmth. Pulsation had ceased. For three days the body was preserved unburied, during which it had acquired a stony rigidity.” page 59 paragraph 2. The descriptive nature of this writing paints a vivid picture that intrigues the reader to use their imagination and visualize the scene presented in the text. This use of imagery ties with aspects of Romanticism because of the nature of the descriptions Poe uses. Describing the physical features of one who seems dead is a horrifying perspective as not many people thing about the aspects of death.
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There have been many experiments done to test this theory. One of them takes place in an elevator. Multiple confederates were used, one would be the leading confederate and there would be one participant unaware of the experiment taking place. In the elevator the confederates would all be facing to the back and act as if it were normal. The psychologists in charge of the experiment would observe the reactions and actions of the participant to the confederates’ actions. For most of the trials, the participants followed the actions of the confederates when they knew they were odd or abnormal.
He also describes death and particularly the passing of the Hollow men. The title "the hollow men" portrays an image of death. Eliot is suggesting through the title that when we die we become empty and hollow and soulless. This is emphasized later in the first section " remember us- if at all- not as lost violent souls", this suggests that they don't have a soul.
Death is the primary theme in TS Eliot’s The Wasteland. Written just four years after the conclusion of World War I, The Wasteland mirrors the despair felt by much of the post-war generation. The poem begins with a section titled "Burial of the Dead." In this section Eliot deems April "the cruelest month, breeding lilacs out of the dead land, mixing memory and desire, stirring dull roots with spring rain." With these lines, Eliot suggests that springtime’s regeneration of life only causes people to remember what was lost in the past. Eliot again addresses death in the very next stanza:
"The Waste Land" does not merely present an anthropological description of a culture, however, and the solution proposed by Eliot seems as relevant today as it must have been in 1922. Like Blake, Eliot constructs a personal mythology, but Eliot draws on a larger number of sources than Blake does: various religions from both the east and the west, works of literature from around the world, and works of philosophy and anthropology. Eliot refers to the fragmentary references throughout the poem at the end of the poem by saying, "These fragments I have shored against my ruins" -- that is, Eliot has taken fragmentary references and pieced them together in an attempt to come to grips with the modern situation in which he finds himself. (line 431) The references from the poem are nearly always references to the past, when a cultural heritage was common to an entire people, the themes described in the Norton Anthology's introduction were nonexistent (or were problematic to a much lesser degree than in the modern era), and when sexuality found its expression in a context Eliot would have seen as appropriate -- a mature relationship between men and women that expresses both love and physical passion.
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The underlying myths that Eliot uses to provide a framework for "The Waste Land" are those of the Fisher King and the Grail Quest. Both of these myths come to Christian civilization through the ancient Gaelic tradition. Neither is found in the Bible, but both were important enough to Europeans that there was a need to incorporate them into the new European mythology, and so the stories became centered on the story of the death and resurrection of Jesus. Other examples of these myths can be found in Eschenbach's Parsifal, in de Troyes' Quest of the Grail, and in the various stories of the grail quest surrounding King Arthur and his knights. It is described in works of anthropology, as well, two of which Eliot recommends to readers: Jessie L. Weston's From Ritual to Romance and Sir James Frazier's Golden Bough.
T.S. Eliot’s The Waste Land is an elaborate and mysterious montage of lines from other works, fleeting observations, conversations, scenery, and even languages. Though this approach seems to render the poem needlessly oblique, this style allows the poem to achieve multi-layered significance impossible in a more straightforward poetic style. Eliot’s use of fragmentation in The Waste Land operates on three levels: first, to parallel the broken society and relationships the poem portrays; second, to deconstruct the reader’s familiar context, creating an individualized sense of disconnection; and third, to challenge the reader to seek meaning in mere fragments, in this enigmatic poem as well as in a fractious world.