“The Waste Land” by T.S Eliot is considered, by many, to be the single most influential poetic work of the 20th century (“T. S. Eliot”). Eliot writes the poem at a pivotal time: World War I had just ended in 1918 and there was a movement towards post-theological thinking, otherwise known as the shift away from teleological idea: everything in the world has an intrinsic purpose. This post-theological cosmo finds itself at the center of this literary masterpiece, to which it invokes a profound sense of purposelessness and pessimism. When analyzing I.
It is not long T.S Eliot published the poem “The Waste Land” after The World War I. The poem addresses the modern Europe after the warfare which is the poem title suggested – A waste land, the loss of civilization culture and order. With all those premise, it is not hard to know why the imagery of water and fire significantly fascinating repeat between stanza to stanza, in exterior, spirit level, and religious level, since water and fire is meaning the Europe’s circumstance after the World War I, the flow of river represents the flow of life and the religious meaning of fire and water in the poem. First of all, Fire and water superficially presenting the Europe’s circumstance after the World War I. “Dull roots with spring rain.” (Eliot 9)
He invented the name and in 1912 he set up school of Imagist poets, consisting of himself and two friends, Richard Aldington and Hilda Doolittle. T. S. Eliot: The ruins created across Europe as a result of the First World War entered the world of Eliot’s poetry. The Wasteland, published in 1922 depicts a cultural and spiritual wasteland, a land populated by people who are, physically and economically, living a kind of death in the minds of their routine lives. This is reflected in the lines: “A crowd flowed over London Bridge, so many I thought death had undone so many” (Larkin, The Oxford Book of Twentieth Century English Verse 228 ). The people move across a desolate landscape of fragmented images; they do not relate to one another.
Other languages such as French play a small part there are a few times when Eliot changes from English to another language to get his point across. This is not a new concept, this has been seen before and Kenner backs this up saying ‘‘Fragments quoted from several languages with no one present to whose mind they can occur’ (Kenner, 131) Eliot plays with musical techniques, quoting a well known nursery rhyme but only one line of it, where words
However, these years clearly had their grimmer side too like the major economic depression, mass unemployment and the shock of war, which made a fertile ground for despair and disintegration among the people that T.S. Eliot tried to portray in his themes with as in the exaggerated setting of the higher class women’s Room in “The Game of Chess” from The Waste Land as he wrote at the beginning of the mentioned section: The Chair she sat in, like a burnished throne, Glowed on the marble, where the glass Held up by standards wrought with fruited vines From which a golden Cupidon peeped out (The Waste Land, 77-80). Virginia Wolf’s Mrs. Dallowy (1925) is an honest analysis of the divided nature of the 1920’s. The psyche of the individual is a shallow and fragmented, they suffer spiritually and mentally, they feel
The entirety of Eliot’s poem is written from the perspective of Prufrock and outlines all of his thoughts through a constant stream of consciousness. This allows the reader to view his thoughts as they come from his mind rather than only hearing what he decides to say through dialogue. The things
S. Eliot has employed modernism in The Hollow Men to dazzle every generation of English readers, who totally fail to appreciate the depth of his language and meaning. Compared with his earlier masterpiece, The Waste Land, this poem is a highly successful "drama of modern life" centred on more or less the same "furnished flat sort of people" who always recur throughout his writing (Bush 1985, 81). But nobody has yet explained whose portraits are exactly suggested by the characters on this occasion, or why no appropriate names are given to them as modern life 's special representatives good enough to justify any separate treatment for us. The truth is that the blacks in North America who come up for scrutiny really have no serious appeal to T. S. Eliot and his prospective readers as Anglo-Catholics, Tories, and Classicists with whom he shares a lasting political and socio-cultural sympathy. Intellectually, of course, the poet is alienated from his contemporaries to such an extent that he can tease them at all levels and get away with his ingenious method.
Akin to many modernist writers, Eliot wanted his poetry to articulate the fragile psychological state of humanity throughout the twentieth century. It is very apparent that the key theme throughout this poem is the enigmatic, depressing nature of modern urban life with a strong emphasis on powerful imagery throughout the poem. The dark and powerful imagery suggests the drab, dispiriting nature of urban life, a theme which is incredibly common throughout the work of T. S Eliot. Initially, the first prelude portrays the city in a bleak light, using such negative adjectives as ‘grimy’ ‘withered’ ‘vacant’ ‘broken’ and ‘lonely’ to directly convey a truly dark vision. Similar to ‘The Love Song of J. Alfred Prufrock’, this poem is incredibly dramatic in style.
Eliot, The Waste Land (1922) which can be understood as a social document about the spiritual death of Europe. Ulysses (1922) is the greatest novel that defined Modernism, and the masterpiece of James Joyce who used the styles of the stream of consciousness, and the interior monologue to display the fragmented spirit of the individual and to delineate the themes of the remorse of the conscience and the disintegration of the family. The second disturbing factor besides the wars is the revolutionary sense in the colonies such as that in Ireland, the Irish poet W.B. Yeats (1865-1939) in his poem Easter,1916 (1921) mourns the death of the revolutionaries, such dispute draw the main lines for the theme of anarchy of religion that T.S. Eliot involved in his play Murder in The Cathedral (1935).