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into the wild literary analysis
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T.S. Eliot's The Wasteland
Traditionally, authors begin their compositions at the beginning and then proceed to an end, creating a logical flow of information towards a conclusion. T.S. Eliot threw most traditional form out the window as he composed The Waste Land. The voice changes, the structure varies, his allusions are elusive, and the first section of the poem is entitled “The Burial of The Dead.” This of course does not speak to a beginning, but to the conclusion of what could be one or many lives. Even before this heading, the epigraph evokes the feeling of something, (a something that the reader must work to comprehend) almost eternal, reflecting on a lifetime (an ‘almost eternal’ lifetime) with a melancholic eye. The reader of the poem begins with reflections on a life, a universal life, and with this understanding we can begin to unpack some of the images and make sense of the major themes of the poem.
Without reading the entire poem, one can not hope to catch the significance of the initial passage or the epigraph; conversely, one might not comprehend the poem as a cohesive unit without its opening lines. Unlike Eliot, let us start with the genesis of the poem; ‘The Burial of The Dead.’
A major difficulty of this poem is its apparent lack of a single speaker. If there is an identifiable or specific speaker, they are contained within a few lines and then disappear into the background of the poem. The first seven lines are second or third person, singular or plural is not made clear. We are not given any perspective for these lines; therefore, the reader has nothing with which to orient himself. The vertigo continues once the language is taken into consideration. What do we make of his confl...
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...events from ancient to present, coming together in one piece to produce a single feeling. Eliot sums up this feeling with the title. At once everything is connected through the poem and yet disconnected by time, place, and experience. I mentioned that the poem’s epigraph implied a reflection on an almost eternal life, The Sibyl (as well as Tiresias later in the poem) mirrors civilization’s history and the poem itself. Where Sibyl will not die she is in the process of decay, where history has not stopped it has broken down to a waste land. By bringing together these ‘broken images,’ Eliot constructed a summation of thousands of years of history. Many voices all speaking at once, alienated from one another by different times, different thoughts, and different experiences but connected through society’s common sub-consciousness and brought together by The Waste Land.
Part I is particularly anecdotal, with many of the poems relating to the death of Trethewey’s mother. The first part begins with an epitaph from the traditional Wayfaring Stranger, which introduces the movement of the soul after death, and the journey towards the ‘home’ beyond. In “Graveyard Blues”, Trethewey examines the definition of “home” as a place of lament, in contrast to the comforting meaning in the epitaph beginning Part I, and the significance of the soul’s movement after death. The ‘home’ described in the epitaph is a place of comfort and familiarity, where the speaker returns to their mother. In contrast, Trethewey describes the ‘home’ she returns to after her mother’s death as a hollow place, the journey back to which is incredibly
..., the content and form has self-deconstructed, resulting in a meaningless reduction/manifestation of repetition. The primary focus of the poem on the death and memory of a man has been sacrificed, leaving only the skeletal membrane of any sort of focus in the poem. The “Dirge” which initially was meant to reflect on the life of the individual has been completely abstracted. The “Dirge” the reader is left with at the end of the poem is one meant for anyone and no one. Just as the internal contradictions in Kenneth Fearing’s poem have eliminated the substantial significance of each isolated concern, the reader is left without not only a resolution, but any particular tangible meaning at all. The form and content of this poem have quite effectively established a powerful modernist statement, ironically contingent on the absence and not the presence of meaning in life.
Once one realizes that Emily Dickinson is talking about a stone burial vault in "Because I could not stop for Death," an image that expands the metaphoric power of the poem, one can appreciate more fully related imagery in her poems. The figure of the "House" in "Because I could not stop for Death" and "I died for Beauty" expands the symbolism immeasurably beyond the moldy receptacle of an underground grave, to a hospitable dwelling.
To begin in “South”, Trethewey alludes to a battlefield where the bodies of African-American soldiers are left to decompose. “Unburied until earth’s green sheet pulled over them, unmarked by any headstones.” (46) This is the only time in the collection that the speaker ever refers to an unmarked grave. This is significant as these men were intentionally left to decompose and in the present, there is nothing to serve as a reminder to them, to the sacrifices which they made. Because of this we do not remember them, and they are lost to history. The bodies are left for such a long period of time that the earth, which moves extremely slowly, has to take action and bury the dead. This same idea is articulated within “Providence” where there is “a swamp where graves had been.” (42) This is significant as it is a callback to an image seen at the beginning of the collection in “Theories of Time and Space.” In this poem, there is a man-made beach that is referred to “26 miles of sand dumped on the mangrove swamp” (1). If the reader remembers this line it brings up the idea of a person purposely dumping sand on these graves, erasing them from sight and therefore from
Eliot's Themes of Death and Futility in the Poem Remind Your Self of The Hollow Men
Jumping right into the first line of the poem one sees that it begins by stating, “Because I could not stop for Death”. Since this line was selected for the title of the piece, it can be inferred that it must hold some strong significance. Over the course of this poem the reader is drawn to the concl...
The diction Kenyon employs for her description of the poem’s physical and psychological setting serves as Kenyon’s primary means for presenting her argument regarding the nature of the mourning process and its failure to help those who have lost loved ones. The poem’s first stanza begins as follows, “Like primitives we buried the cat with his bowl. Bare-handed we scraped sand and gravel back into the hole(1-4).” The first two words, “like primitives,” give the reader immediate insight into Kenyon’s opinion regarding the nature of the burial itself. She sees it as a means of coming to grips with death that is less evolved than the mental state of those that it attempts to help. When the first stanza is interpreted as a whole, the reader is...
In his poem "The Waste Land," T.S. Eliot employs a water motif, which represents both death and rebirth. This ties in with the religious motif, as well as the individual themes of the sections and the theme of the poem as a whole, that modern man is in a wasteland, and must be reborn.
...In "The Waste Land," Eliot delivers an indictment against the self-serving, irresponsibility of modern society, but not without giving us, particularly the youth a message of hope at the end of the Thames River. And in "Ash Wednesday," Eliot finally describes an example of the small, graceful images God gives us as oases in the Waste Land of modern culture. Eliot constantly refers back, in unconsciously, to his childhood responsibilities of the missionary in an unholy world. It is only through close, diligent reading of his poetry that we can come to understand his faithful message of hope.
The Wasteland describes how humans cling together as the world falls apart by depicting a world from a much different point of view then we are used to. Instead of seeing the world in a positive view, Eliot depicts the world in despair. As this world falls apart, humans cling together and cooperate to get through the bad times. Lines 139-172 depict a scene in a pub that illustrates how we cling to one another even though we may not be supportive of each other. In this scene, Albert tells his wife how he thinks she is ugly and can’t fulfill what he desires of her. As he goes on, she makes excuses about why she is ugly and can’t...
One of the things about this poem that makes it so interesting, is the fact that despite the ever-present theme of death, Eliot throws in a few images of creation to counteract it. In stanza four, the lines “Sightless, unless The eyes reappear As the perpetual star, Multifoliate rose Of death’s twilight kingdom. The hope only Of empty men” creates the image of re-creation as a possibility of these “hollow men”. This is their only hope, and in a way, is like the creation of the world for them. The reappearing eyes almost serve as their saviour. “Between the conception And the creation, Between the emotion And the response Falls the Shadow” is also an image of creation. It is a subtle implication of life and death falls in to existence after creation. Eliot’s poetic style here is simply outstanding.
Indeed, there are quite a few other examples throughout the poem that suggest such thing. In each case, I fill out the directed ambiguity with their individual interpretive view of the poem's context. For example, “we shovel a grave into winds where we lie unconfined” shows the natural disruption order of life that is lost during the war. Such mind-blowing image shows how the world has become where death is not only unceremoniously buried in conventional graves in the ground, but also above in the winds, a call of disturbance in the order of nature. The souls of those innocent prisoners crave for a peaceful death where they imagine their graves dug up in the wind. This is perhaps a reference to mass graves that the Nazis made stretching for long miles. To prisoners, they see the ground is full of cadavers that they could not any longer or alluding to the fact that many Jews were cremated during the Holocaust in which the hair of Shulamith later turned to ash. It is true that the Nazis stripped the Jews from the right of having proper Jewish burial. The Nazis see more convenient to burn their bodies in crematoriums where the victims’ remains scatter in the
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.
T.S Eliot’s poem, The Waste Land, is written in the mood of society after World War I. By using these allusions, The Waste Land reflects on mythical, historical, and literary events. The poem displays the deep disillusionment felt during this time period. In the after math of the great war, in an industrialized society that lacks the traditional structure of authority and belief, in the soil that may not be conductive to new growth (Lewis). Eliot used various allusions that connected to the time period and the effect of the war on society in his poem. Aided by Eliot’s own notes and comments, scholars have been able to identify allusions to: the Book of Common Prayer, Geoffrey Chaucer, Charles-Louis Philippe, James Thomas, Guillaume Appollinaire, Countess Marie Larsich, Wyndham Lewis, nine books of the Bible, John Donne, Alfred Lord Tennyson, Richard Wagner, Sappho, Catullus, Lord Byron, Joseph Campbell, Aldous Huxley, J.G. Frazer, Jessie L. Weston, W.B. Yeats, Shakespeare, Walter Pater, Charles Baudelair, Dente, Ezra Pound, James Joyce, and John Webster—all within the first section of 72 lines, about one allusion every two lines (Lewis). Using various allusions, Eliot was able to connect to the fact that he lived in a modern day waste land as a result of the destruction caused by World War I. Eliot used the allusions to show that death brings new beginnings and change, and love still flourishes.
The Wasteland is a poem Eliot wrote after his divorce with his wife Vivienne Haighwood. Critics say the title of the poem, the wasteland, comes from his thoughts on his marriage. This poem is considered to be “one of the most difficult poems in a difficult literary period”. The Wasteland is a poem that is said to be of his most influential work. At first glance, critics considered the poem to be too modern but then opinions changed as they realized the poem reflected Eliot’s disillusionment with the moral decay of World War I in Europe. T.S. Eliot in The Wasteland combines theme, style, and symbolism to explore life and death.