& # 8217 ; s & # 8216 ; The Waste Land & # 8217 ; Essay, Research Paper

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Research Paper

T. S. Eliot

Robin Cook

World Lit II

Professor Wong

January 27, 1997

T. S. Eliot, possibly one of the most controversial poets of modern times, wrote what many critics consider the most controversial verse form of all, The Waste Land. The Waste Land was written utilizing a disconnected manner. This is a manner that is apparent in all of Eliot? s Hagiographas. There are several grounds for his utilizing this attack, from a feeling of being isolated, to a job jointing ideas ( Bergonzi 18, Cuddy 13, Mack 1745, Martin 102 ) .

What influenced Eliot the most in composing poesy was a book he read written by the English critic, Arthur Symon, titled The Symbolist Movement in Literature. This book is about Gallic symbolist authors of the nineteenth century. From this book, the writer who had the greatest influence on Eliot is by far Jules Laforgue. Laforgue? s influence is apparent in many of Eliot? s verse form, sometimes to the point of plagiarism. Like Laforgue, Eliot uses duologue between work forces and adult females that doesn? T seem to pass on a thing. Other writer? s had an influence on Eliot every bit good, like Henry James and Joseph Conrad. All of these poet? s had the common subjects of alienation from people and the universe, isolationism, and the feeling that they were neglecting to joint their ideas ( Bergonzi 7, 50, Cuddy 30, Mack 1743, Martin 41, Unger 8 ) .

Henry James influence on Eliot? s poesy is apparent in the Jamesian qualities he uses. For illustration, the gap poetry of The Waste Land ends with the Jamesian note, & # 8220 ; I

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read, much of the dark, and travel south in the winter & # 8221 ; ( Mack, 1751 ) . Although Lafourge, Conrad, and James were used as beginnings for Eliot when he composed poesy, there is still a distinguishable Eliotic quality whenever his work is read ( Bergonzi 7, 50, Cuddy 55, Mack 1743, Martin 41, 97, Unger 10 ) .

When Eliot began to compose The Waste Land, he used all the different subjects, techniques, and manner? s he had been developing to this point. The Waste Land is developed wholly utilizing fragments and citations. This is symbolic of his desperation in wining in of all time to the full jointing intending. Although it is fragmented, it besides reveals minutes of continuity and integrity quantified with perennial subjects of clip, disaffection, isolation, and articulation. Because Eliot used atomization as his manner when composing this verse form, it survived being cut in half by the redaction of Ezra Pound. Many writer? s argue that Ezra Pound could hold edited many more parts out, without set uping the significance Eliot was seeking to convey ( Bergonzi 11, Mack 1743, Martin 20-22, 110, Ricks 9, Unger 18 ) .

T. S. Eliot? s usage of alienation in verse form is his manner of showing feelings between himself and the universe. His inability to give himself to, or to possess others is an illustration of the greater job of isolation. The isolation subject is prevailing throughout the Waste Land, with many of his characters entwined. This is likely related to his job of jointing. Whatever his ground for utilizing isolation it caused him to turn towards god for replies. In 1927 he was accepted as a member of the Church of England. Prior to this clip he used isolationism and disaffection throughout all his verse forms and dramas, up to, and including The Waste Land ( Mack 1745, Martin 16, Unger 12, 18 ) .

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Possibly it was Eiot? s spiritual strong beliefs, or his ideals towards civilization, faith, and sex that had the greatest impact on the development of The Waste Land. He felt that if all of adult male had set a common end to unite civilization, faith, and sex that it would work out the ailment? s of civilisation. His feeling? s towards sex was that insouciant sex is & # 8220 ; holding sex for the interest of sex & # 8221 ; ( Martin 108 ) . It is apparent in The Waste Land that sex has been dehumanized, no one enjoys it, it appears to be portrayed as a job. This is obvious in poetries II and III. In poetry I, & # 8220 ; The Burial of the Dead & # 8221 ; , Eliot allows an exclusion. In this poetry I see the hyacinth miss as a adult female of beauty and sensualness. However, in poetries II, & # 8220 ; A Game of Chess & # 8221 ; and III, & # 8220 ; The Fire discourse & # 8221 ; , I fail to see where anybody is basking sex. It appears that they are holding sex for the responsibility and non the pleasance, even though at that place appears to be no ground, such as bearing a kid ( Martin 16, Ricks 90 ) .

& # 8220 ; A Game of Chess & # 8221 ; , begins and ends with fragments from Shakespear? s dramas. The following fragment I saw was an disconnected switch to the narrative of Philomel, wh

O was raped by a “barbarous king” . Then it switches to a narrative of a adult female with bad nervousnesss. It is obvious that she is waiting for something, but I do non cognize what. Now the poetry switches to a scene in a saloon where Lil and a friend are speaking about Albert who was merely released from the ground forces. Albert had given Lil, some money for new dentitions, nevertheless, Lil spent the money on pills that would bring on abortions. Lil took five of these pills bespeaking she had five abortions. A side consequence of these pills was that they added 30 old ages to Lil? s looks. I believe that Lil will remain with Albert due to this consequence. Possibly Albert is the lone adult male who will hold her ( Macintosh 1753, Martin 108 ) .

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The get downing poetry of & # 8220 ; The Fire Sermon & # 8221 ; is bespeaking a alteration. The nymphs of old are departed, cipher believes in them any more. The Thames river is non the same. It is now polluted, losing it? s sense of repose. Then it switches to another mention to the colza of Philomel before altering to the scenes with Tiresias. Teresias, who is a unsighted prophesier, has been both male and female ( bisexual? ) . He tells a narrative of more debased sexual dealingss about a affair with a typist. I see the typist, who I think is supposed to look as an titillating object, as person without any titillating entreaty. Her milieus are really uninviting. Her & # 8220 ; stockings, slippers, underbodices, and stays & # 8221 ; ( Mack 1758 ) are piled on the divan, yuck! There is no exhilaration, no energy. I am certainly this has a direct bearing on Eliot? s feelings towards gender. After this scene Eliot switched back to fragmental authorship. Within these fragments there are some reverberation? s of the typist and so the poetry ends with one word, & # 8220 ; firing & # 8221 ; ( Mack 1760 ) standing all entirely on the page ( Cuddy 30, Mack 1750, Martin 109 ) .

The 4th poetry, & # 8220 ; Death by Water & # 8221 ; , is wholly symbolic of decease followed by metempsychosis. It tells of the cadaver that is deteriorated by the sea. The current rise and falling implies regeneration, or hope, for world ( Kenner 80, Mack 1760 ) .

In the fifth poetry, & # 8220 ; What the Thunder Said & # 8221 ; , I see thunder as a promising of rain, which is symbolic of metempsychosis. There is besides symbology of Christ? s reclamation when Eliot refers to the & # 8220 ; 3rd adult male & # 8221 ; who is walking beside the adult male in the lead, but when counted can merely number two. And so once more when he refers to the prick gloating which is connected to the narrative Christ told of Peter? s treachery. The prick could besides bespeak the coming of forenoon and new hope ( Kenner 110, Mack 1761, Ricks 70 ) .

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For me understanding and groking & # 8220 ; The Waste Land & # 8221 ; would hold been impossible without the notes supplied at the terminal of each page in our text book. Although I have read many different books on this verse form it is still impossible for me to wholly grok it. I believe Eliot summed it all up when he said & # 8221 ; In The Waste Land, I wasn? t even trouble oneselfing whether I understood what I was stating & # 8221 ; ( Martin, 42 ) . To me this was really obvious. The manner he jumped from point to indicate, and cite to cite, there was evidently no ground nor rime. But so once more, it is really obvious that Eliot new precisely what he was making and the impact that he would hold on modern literature. I believe that Eliot wanted the verse form to be hard and he no uncertainty conceived of it? s trouble as an of import facet to it? s entire significance. I have learned much of T. S. Eliot in all the assorted readings I have done. What I learned was that Eliot was a really intelligent yet hard adult male. He had really strong moral strong beliefs and was determined to seek and act upon world. I don? T think he had any existent influence on world? s ethical motives, but he surely impacted modern literature ( Unger 36 ) .

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Bergenzi, Bernard. T. S. Eliot, Collier Books, New York New York, 1972

Cuddy, Lois A. , and David H. Hirsch, eds. Critical Essays on T. S. Eliot, The Waste Land. G. K. Hall & amp ; Co. , 1991.

Kenner, Hugh, erectile dysfunction. T. S. Eliot: A Collection of Critical Essays. Prentice Hall Inc. , 1962.

Mack, Maynard. erectile dysfunction. The Norton Anthology of World Masterpieces Sixth Edition. W. W. Norton and Company, 1992: 1743 & # 8211 ; 1770.

Martin, Graham. erectile dysfunction. Eliot in position. Humanities Press, 1970.

Cricks, Christopher. T. S. Eliot and Prejudice. University of California Press, 1988.

Unger, Leonard. T. S. Eliot. University of Minnesota Press, 1970.

T. S. Eliot? s

& # 8220 ; The Waste Land & # 8221 ;


Robin L. Cook

World Lit II

Research Paper

Word Count-1556

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