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T.s. eliot + The Waste Land
Introduction to and extracts from T. S. Eliot's The Waste Land
Analysis of the wasteland ts eliot
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Written in 1922, T.S. Eliot’s The Waste Land is a vastly studied Modernist poem. Among the many literary scholars and analysts, Lawrence Rainey has dedicated much of his professional time to this integral poem. Regarding Eliot’s poem, he has written a book entitled The Annotated Waste Land with Eliot’s Contemporary Prose, which includes the poem in its entirety, Eliot’s original notes regarding the difficult piece, and Rainey’s own annotations of his findings while studying The Waste Land. For many young literary scholars studying the poem, this book can be of huge help because it connects the author’s notes with the historical context and the numerous allusions found in the poem. With the help of Eliot and Rainey’s notes, many of the widely shared confusions concerning this piece can be resolved. Even those who read The Waste Land purely for entertainment recognize the persistent changes in voice after only finishing the first section, “The Burial of The Dead.” The question then arises, who is the speaker of the poem? Keeping T.S. Eliot’s notes and Lawrence Rainey’s annotations regarding The Waste Land, readers can learn that there is, indeed, one sole narrator for the entire length of the poem. Although only directly mentioned in one of the five sections of Eliot’s The Waste Land, Tiresias is the most important persona because of his ability to encompass and represent all of the poem’s characters.
Beginning with “The Burial of The Dead,” one can uncover many different voices by simply listening for subtle changes in expression. Eliot opens this section from a woman’s perspective; this is apparent not only because readers are given her name, but also because of the chatty pace of the lines. Then, something changes in the followi...
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...After just having finished “The Burial of The Dead,” the premier section of The Waste Land, readers can already begin to feel overwhelmed by the constant fluctuations in voice. While it may seem unrealistic to assign one character the job of narrator, with the help of the author’s notes and a scholar’s annotations on the text, the task becomes easier. If it were not for Eliot’s clarifications, readers may not understand the significance of Tiresias. Likewise, without Lawrence Rainey’s annotations in his book The Annotated Waste Land, and other scholar’s research alike, many readers may be left confused while reading this allusive poem. Despite the widely shared confusion regarding the identity of the speaker among many young literary analysts, T.S. Eliot’s The Waste Land is integral in all literary studies and should remain the corner stone of Modernist literature.
In his poem, “Prometheus,” Emery George’s speaker closely aligns himself with the main character to describe his theft of fire and its effects on the story of humankind. Even though the narrator speaks in third person, he knows Prometheus’s thoughts and is very in-tune with his experience suggesting that perhaps Prometheus is actually the speaker. His conversational and easy to understand voice goes from cheeky in the first stanza to serious in the second as the horrific consequences of Prometheus’s actions, the bombing of two cities, become apparent. George’s use of enjambment, punctuation, and diction creates continuity throughout the poem in order to highlight the interconnectedness of all things and ultimately pose questions about inevitability and fate.
Thomas Stearns Eliot was perhaps one of the most critical writers in the English language’s history. Youngest of seven children and born to the owner of a Brick Company, he wasn’t exactly bathed in poverty at all. Once he graduated from Harvard, he went on to found the Unitarian church of St. Luis. Soon after, Eliot became more serious about literature. As previously stated, his literature works were possibly some of the most famous in history. Dr. Tim McGee of Worland High School said that he would be the richest writer in history if he was still alive, and I have no choice but to believe him. In the past week many of his works have been observed in my English literature class. Of Thomas Stearns Eliot’s poems Preludes, The Journey of the Magi, The Hollow Men, The Waste Land, and Four Quartets, I personally find his poem The Hollow men to be the most relatable because of its musical allusions, use of inclusive language, and his opinion on society.
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.
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.
Eliot, T.S. The wasteland. In The Heath Anthology of American Literature, Volume II. Edited by Paul Lauter et al. Lexington, MA: D.C. Heath and Company, 1991: 1447-1463.
Williamson, George. A Reader's Guide to T.S. Eliot; a Poem by Poem Analysis. New York:
Gender conflict is based on the beliefs various societies have established on the roles men and women play in those cultures, and the change and breakdown of these roles is vital in the disintegration of all three texts. Eliot's 'The Waste Land' uses sex as a landmark to illustrate how low society has fallen, the separation of sex from love to Eliot stripped any beauty sex in the modern world could hold, as all significance is lost along with its connection to love. The loss of love is perhaps most clearly shown by the 'carbuncular' clerk for whom love, passion, nor even response is required in order for sexual gratification, his 'Exploring hands encounter no defence; His vanity requires no response, And makes a welcome of indifference.' The typist neither speaks nor acts in her own defence and so the clerk assumes a right to his own pleasure, it seems he almost hopes for her indifference, the attitude shown here starkly contrasts 'The change of Philomel, ...
Many people in the world who are unhappy with their lives can connect with the emptiness the hollow men feel in Eliot’s poem. “We are the stuffed men leaning together headpiece filled with straw” indicates an unoriginal quality that all the men share. Their goals in life are alike because they are not fulfilling. In “The Hollow Men,” the image of scarecrows represent people’s empty lives and their vacant pursuits. The hollow men’s lives have no point or meaning.
Looking closely at Williams’s reactionary poem to The Waste Land, Spring and All, we can question whether or not he followed the expectations he anticipated of Modernist work: the attempts to construct new art in the midst of a world undergoing sweeping changes. A version of Spring and All without the sections of prose that were interspersed with the poems was first published in 1923; a year after The Waste Land first appeared. In titles alone, we can see the opposing ideals peeking through, The Waste Land, a poem embedded with imagery of “breeding /. out of the dead land,” a proposal of life moving forward in the wake of immense death that came with World War One, against the direct presentation of the title Spring and All, which seemingly appears as the solution, the key to rebirth (Ramazani 474).... ... middle of paper ... ...
The influence of World War I was also seen in Eliot’s work. According to Johnson, “…artists clung to the shards of classical culture as a buffer against nihilistic disillusionment. "These fragments I have shored against my ruins," T.S. Eliot wrote in "The Waste Land" (1922)” (1). Eliot’s writing in “The Waste Land” depicts scenes of war and also ties into the destruction of western culture.
Moody, Anthony David. The Cambridge Companion to T.S. Eliot. Cambridge, England: Cambridge University Press, 1994. 121. Print.
T.S. Eliot is often considered one of the greatest and most influential poets of the 20th Century. Not only were his highly regarded poems such as “The Wasteland” and “The Love Song of J. Alfred Prufrock” influential to the literary style of his time, but his work as a publisher highlighted the work of many talented poets. Analyzing his poem, “The Love Song of J. Alfred Prufrock,” with psychoanalytic criticism reveals several core issues in the speaker of the poem, and may reflect Eliot himself.
...to subjects relevant to today, such as religion.Eliot argues that without religion we are all lack direction and more importantly we lack substance in our lives. Without religion, we are superficial and it is due to this that we turn to pop culture. Pop culture is a filler for that which is intellectually rewarding. Eliot recognized this and for this reason he wrote “The Wasteland”. Eliot’s poem made bold statements about what was really happening in the modern world. Whether one argue with Eliot’s positions or not, his work joins the canon of the classic and ironically provides an opportunity for readers to plug into something greater.
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.