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Eliot’s “the waste land
Eliot’s “the waste land
An essay about waste land
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The Waste Land: A New Understanding
The Waste Land, Eliot's first long philosophical poem, can now be read simply as it was written, as a poem of radical doubt and negation, urging that every human desire be stilled except the desire for self-surrender, for restraint, and for peace. Compared with the longing expressed in later poems for the "eyes" and the "birth," the "coming" and "the Lady" (in "The Hollow Men," the Ariel poems, and "Ash-Wednesday"), the hope held out in The Waste Land is a negative one. Following Hugh Kenner's recommendation, we should lay to rest the persistent error of reading The Waste Land as a poem in which five motifs predominate: the nightmare journey, the Chapel, the Quester, the Grail Legend, and the Fisher King. The motifs are indeed introduced, as Eliot's preliminary note to his text informs us, but if (as this note says) "the plan and a good deal of the incidental symbolism of the poem were suggested by Miss Jessie L. Weston's book on the Grail legend," the plan can only have been to question, and even to propose a life without hope for, a quest, or Chapel, or Grail in the modern waste land. The themes of interior prison and nightmare city--or the "urban apocalypse" elucidated by Kenner and Eleanor Cook--make much better sense when seen as furnishing the centripetal "plan" and "symbolism," especially when one follows Cook's discussion of the disintegration of all European cities after the First World War and the poem's culminating vision of a new Carthaginian collapse, imagined from the vantage point of India's holy men. A passage canceled in the manuscript momentarily suggested that the ideal city, forever unrealizable on earth, might be found (as Plato thought) "in another world," but the reference was purely sardonic. Nowhere in the poem can one find convincing allusions to any existence in another world, much less to St. Augustine's vision of interpenetration between the City of God and the City of Man in this world. How, then, can one take seriously attempts to find in the poem any such quest for eternal life as the Grail legend would have to provide if it were a continuous motif--even a sardonic one?
It seems that only since Eliot's death is it possible to read his life forward--understanding The Waste Land as it was written, without being deflected by our knowledge of the writer's later years.
Wenstrup, R. J., Meyer, R. A., Lyle, J. S., Hoechstetter, L., Rose, P. S., Levy, H. P., Francomano, C. A. (2002). Prevalence of aortic root dilation in the Ehlers-Danlos syndrome. Genet. Med. 4: 112-117. [PubMed:12180144] [Full Text: Lippincott Williams & Wilkins]
In the society we currently live in today, medical careers are a vital factor regarding the well-being of citizens in the United States. Neonatal nurses make up a very small part of this field, but still play a huge role. Our population depends on neonatal nurses, for the reason that they assist newborns, who were just brought into this world, in becoming stable and healthy. Evidently, in order to become a neonatal nurse, a particular education is required. In addition, with this career comes both a number of benefits and burdens. Overall, in our country, even in the world for that matter, neonatal nurses are needed and the demand for them will continue to grow in the future.
When read for the first time, The Waste Land appears to be a concoction of sorts, a disjointed poem. Lines are written in different languages, narrators change, and the scenes seem disconnected, except for the repeated references to the desert and death. When read over again, however, the pieces become coherent. The Waste Land is categorized as a poem, but exhibited visually, it appears to be a literary collage. And when standing back and viewing the collage from afar, a common theme soon emerges. Eliot collects aspects from different cultures or what he calls cultural memories. These assembled memories depict a lifeless world, in which the barrenness of these scenes speak of a wasted condition. He concentrates on women, including examples of violence committed against them and the women's subsequent lack of response to this violence, to show how apathetic the world is. But The Waste Land is not a social commentary on the plight of women. Rather, the women's non-reaction to the violence against them becomes a metaphor for the impotence of the human race to respond to pain. Violence recurs throughout time, and as Eliot points to in his essay "Tradition and Individual Talent" in the epigraph, we can break this cycle of violence and move ahead only by learning from the past and applying this knowledge to the present.
“The Hollow Men” by T.S. Eliot is a poem of struggle for meaning amongst the meaningless. T.S. Eliot shows the reader how in this day and age society is becoming less and less active and beginning to become more careless in the way in which we live and behave, as represented throughout the poem. It brings out all of our worlds weaknesses and flaws. Eliot brings out the fact that the human race is disintegrating. We are compared to as hollow men with no emotions, cares, and nothing inside. Hollow men all look different in some way, but inside we are all the same. We shift in whatever direction we are being blown in. In The Hollow Men, by T.S. Eliot examines the absence of spiritual guidance, lack of communication between individuals, and absence of direction of outstanding and pro founding leadership.
...hoices, Eliot shows the opposite outcome of depression and regret from a lifetime of indecision. Whether it is a far-away land of fantastical beings, the woods down the street, or perhaps the nearest city, a journey will always yield a different experience, and indecision is just as much a decision as any other. Choosing to remain inactive in a world that calls for action is to choose to grow old and have nothing of substance to look back on, since nothing was ever done.
Fitzgerald manages to evoke the spiritual insolvency of the valley through the glaring imagery of the `spasms of dust' and the `foul river', generating a world built furtively and inescapably by the hands of the faceless `ash-grey men' screened by `the impenetrable cloud' of dust. It is a world of stratified shades of grey, where all will ultimately return to nature in the form of the primal matter of ash. It has often been suggested that Fitzgerald's valley `recalls the moral wilderness' of T.S Eliot's `The Wasteland' as both dolefully reflect upon dead land. The portrayal of the valley in all its destructive bleakness is of a similar kind as American abstract expressionist Willem de Kooning's `Ashville'. The aura of ashen greyness carries its way through to the `anaemic', `spiritless' character of George B. Wilson. Phantasmal, cadaverous, emaciated and having the hallucinatory quality of a `ghastly' dream, he represents the individual leeched of all individuality by the workings of a society governed by consumption and social hierarchy, a society ...
Kimberly Tsau, for example, follows De Quincey's lead in her analysis of T. S. Eliot's The Waste Land, suggesting that among the violence, apathy, and disjointedness of the poem is a call to face and learn from suffering. Her essay, "Hanging in a Jar," examines how Eliot collects a variety of "cultural memories," cutting and pasting them together to form a collection that is both terrifying and edifying.
In T.S. Eliot’s Poem, The Waste Land, modernism is strewn across every page. In the time period it was composed, The Waste Land was a very unique poem that displayed many modern characteristics. Here, the concept behind modernism was to show the rejection away from society. Eliot was living during the period where the traditional norms of the 1800’s were cast aside and writers wrote more realistic and how life really was. The poem breaks traditional form by not having customary stanzas and lines; not to mention the random spurts of foreign language. Unlike the typical poems of its time, it did not use excessive imagery to paint a picture or rhyming. Eliot sought out a new type of poetry that used individual fragments to create a sense of desolation that he thought the world was suffering...
Knowles is credited with being a fundamental influence in the development of the humanist learning theory. During his illustrious career, he authored over 230 articles and 18 books.
... power from the water and hurricane stresses the fundamental issue of the novel: Janie’s semi-religious mission identify her role in her world full of threatening, ambiguous, and sometimes random forces. The hurricane invites all of these forces on a grand scale as all of the characters are put in their place as insignificant and powerless. The vast expanse of the sea in The Awakening serves as the foundation of Edna’s whole transition throughout the novel. It encompasses not only the rebirth provided by the water, but also the sexual aspect that harbors her freedom in her promiscuity and independence. Eliot’s “The Waste Land” uses water as a symbol of fertility, infertility, and power to critique modern society in its “waste land” of alcohol, atheism, and self-complacency. The arid land and absence of water shows spiritual infertility of the contemporary society.
Aristotle and Plato both view the state as a basic necessity for humans; however the purpose of the state varies from Aristotle’s to Plato’s ideologies. Within Aristotle’s ideal state “the true purpose of government is to enable its citizen to live the full and happy life,” (“The Man” 32), the best government for Aristotle is one that allows individualism among its citizens, rather than rule in favor of the majority. In Plato’s view “A just state […] is achieved in a situation in which everyone knows one’s own job, where...
There are a number of these images in the works. Many of Picasso's are fairly evident the burning man in the right corner for example or the severed head on the bottom. These show the devastation of the world, as we know it. Eliot has recurring images not unlike these in The Waste Land. Eliot continually refers to the unnatural lack of water in the wasteland or the meaningless broken sex in the society of his day.
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.
Different speakers in "The Waste Land" mirror the disjointedness of modern experience by presenting different viewpoints that the reader is forced to put together for himself. This is similar to the disassociation in modern life in that life has ceased to be a unified whole: various aspects of 20th-century life -- various academic disciplines, theory and practice, Church and State, and Eliot's "disassociation of sensibilities," or separation of heart and mind -- have become separated from each other, and a person who lives in this time period is forced to shore these fragments against his or her ruins, to borrow Eliot's phrase, to see a picture of an integrated whole.
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.