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Interpreting The Waste Land by TS Eliot
Interpreting The Waste Land by TS Eliot
Religion in the waste land
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The Waste Land: A Single Protagonist
The idea of a single and unifying protagonist in The Waste Land was briefly proposed by Stanley Sultan in Ulysses, The Waste Land, and Modernism form. I would like to pursue this topic in greater depth. Part I presents no obstacles to reading the poem in this light. On the contrary, the hypothesis of a single speaker and performer adds shadow, depth, drama, and direction to everything in the movement. It discovers a poem of far more seriousness, profundity, and complexity.
Certainly the original working title, "He Do the Police in Different Voices," implies the presence of a single speaker in the poem who is gifted at "taking off" the voices of others--just as the foundling named Sloppy in Dickens's Our Mutual Friend is, according to the doubtless biased and doting Betty Higden, "a beautiful reader of a newspaper. He do the police in different voices." This speaker has a flair for tones of criminality, sensationalism, and outrage--the whole gamut of abjection and judgment; or so the title implies. He shows a relish for such tones, he is virtuosic at rendering them. The working title was thus itself a harsh judgment on the protagonist (whom it travesties). All speech is abjection? The very impulse to perform voice is suspect? A complicity in the fascination of crime--say, murder? To create and to murder are near akin? These severe intimations are of a piece with the contemptus mundi of the poem.
The hypothesis of an all-centering, autobiographical protagonist-narrator is not only consistent with the working title; it explains the confident surfacing, in the latter part of the poem, of an unmistakable religious pilgrim. Unless this p...
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...ough up, a phlegm of speech. By imbuing his protagonist with his own auditory and vocal genius of participation in the abjectness of his times and in approaches to the Absolute (for "the silence" must be heard, and speech must edge it), Eliot made his poem a barometer sensitive both to the foggy immediate air and to the atmospheric pressure high and far off, the "thunder of spring over distant mountains" (part 5). A group or medley of voices cannot attend to a charged, remote silence; for that a single protagonist was necessary, one who could both "do" the group and find in himself the anguish and strength to leave it, repressing the fatal impulse (as Moody puts it) "towards a renewal of human love" and seeking, instead, the Love Omnipotent.
He Do the Police in Different Voices: The Waste Land and Its Protagonist. Chicago, University of Chicago Press, 1986.
According to Ty Kiisel, writer for Forbes magazine, “It’s not what you know, it’s who you know” (Kiisel). In the book Ragged Dick by Horatio Alger, Alger portrays a young New York boot black in the 1860s. Dick rises to become the embodiment of the American Dream through, as Kiisel notes, who he knows. Ragged Dick builds many relationships with upper-class men, fellow boot blacks, and even builds connections within himself, all while keeping his morality in check. The relationships that Ragged Dick forms are what make him achieve the American Dream.
Egbert Austin Williams better known as Bert, was an African American performer during the late 19th and early 20th century. He was born in Nassau, Bahamas on November 12, 1874. He was the child of Frederick, who was a sailor and his mother Julia. When Williams was 11 he and his family moved to Riverside in southern California. While in Nassau, Williams encountered very little racism, southern California however was a much different story which troubled him deeply throughout his lustrous career. Although he faced racism throughout his career he still was extremely successful. By the time he died in March of 1922, he had broken down numerous racial doors that has had an everlasting impact on Broadway. He became a legend as a comedian, songwriter, singer, and dancer in American Musical Theater.
“Modern critics agree… that the novel has unity that its subject is an exploration of human aspiration and fulfillment by individual and social influences…” as a lining for various themes that Eliot uses through imagery and language. (Doyle 118) Beginning wi...
Meinke, Peter. “Untitled” Poetry: An Introduction. Ed. Michael Meyer. 6th ed. Boston: Bedford/ St. Martin’s 2010. 89. Print
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In the Cantos and The Waste Land, it is clear that a radical transformation was taking place in aesthetic structure; but this transformation has been touched on only peripherally by modern critics. R. P. Blackmur comes closest to the central problem while analyzing what he calls Pound's "anecdotal" method. The special form of the Cantos, Blackmur explains, "is that of the anecdote begun in one place, taken up in one or more other places, and finished, if at all, in still another. This deliberate disconnectedness, this art of a thing continually alluding to itself, continually breaking off short, is the method by which the Cantos tie themselves together. So soon as the reader's mind is concerted with the material of the poem, Mr. Pound deliberately disconcerts it, either by introducing fresh and disjunct material or by reverting to old and, apparently, equally disjunct material."
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In the end of the narrator’s consciousness, the tone of the poem shifted from a hopeless bleak
Numerous children are victims of a variety of health problems inflicted by the deficiency of good nutrition and physical activity. Childhood obesity is a national epidemic and is continuously growing rapidly. Obesity is an excessive amount of body fat in relation to body mass, being overweight is your body weight in relation to your height (L. Marcus Ph. D and A. Baron M.S.W.). Obesity is the most distinct medical condition but the most difficult condition to treat. Obesity is the result of calorie imbalance. Obesity is commonly caused by overeating and lack of exercise although there are genetic diseases and hormonal disorders that can cause obesity. When children eat more than they need, the extra calories are stored in fat cells to use for energy later. If this pattern continues over time, they develop more fat cells and may develop obesity. Childhood obesity will cause physical, social and emotional adversities for your child
T.S. Eliot’s "The Waste Land" is considered by many to be the most influential work in modern literature. First published in 1922, it captures the feelings and sentiments of modern culture after World War I. Line thirty of "The Waste Land," "I will show you fear in a handful of dust," is often viewed as a symbol of mankind’s fear of death and resulting love of life. Eliot’s masterpiece—with its revolutionary ideas—inspired writers of his era, and it continues to affect writers even today.
No one can ever have courage without fear because then courage would not require so much heart and strength to muster. Even though Alfred possessed a certain fear, he did not have enough heart to be courageous and take a step bigger than those “measured in coffee spoons.” Therefore, with the use of, imagery, literary allusion, and structure, Eliot was able to create a poem that criticized the modern man that affected his heart. Just think--why men said to themselves--that they finally had a noble and courageous cause to fight for when The Great War began only a few years after this poem was published.
with the Jamesian note, "I read, much of the night, and go south in the
Another proposal is that children learn to produce correct (grammatical) sentences because they are positively reinforced when they say something right, and negatively reinforced when they say something wrong. Roger Brown and his colleagues at Harvard U...
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.
"The point of view which I am struggling to attack is perhaps related to the metaphysical theory of the substantial unity of the soul: for my meaning is, that the poet has, not a personality' to express, but a particular medium, which is only a medium and not a personality, in which impressions and experiences combine in peculiar and unexpected ways."