The Waste Land by T. S. Eliot

In “Spring and All”, Williams personifies spring, and the season takes on anthropological attributes, to change the dimension of the poem. When Williams brings up the season, he characterizes “spring” as “sluggish and dazed” (line 14-15). He uses these attributes to describe the season in order to personify the spring season, in order to make it more relatable to the reader. Williams’ poem is personified again, in a way that defines the cyclical nature of plant life. Williams describes plants as entering “the new world naked, cold, uncertain of all save that they enter” (line 16-18) therefore comparing plants to human babies by using the words “naked” and “uncertain”. The use of these keywords furthers his intention for the reader to relate directly with the natural realm. He spends a significant amount of detail in defining the characteristics of dead plants. This image is significant to the poem, as leads us to knowing that winter is truly exanimate and cold. In the context of the entire poem, it tells us that there has to be a death in order for a new life to

     Elliot also presents a theme of regeneration and fertility, which symbolizes a longing for the past. In the opening of The Wasteland, April is shown as a time of revival after the bleak winter. Regeneration is portrayed as painful, because the new spring can’t measure up to the springs of the past. This is portrayed by Marie’s experiences from the past, which become painful when she considers that the time she lives in now is one of great political and cultural consequences.

Olds starts off the poem by saying: “That winter, the dead could not be buried.”’(1) This creates a sad tone for when the rest of the poem. She then talks about the

For years, post-modern writers have foreshadowed what the end of the world would look like through dramatic representations in literary works. Cormac McCarthy’s The Road and Margaret Atwood’s novel, Oryx & Crake, are no exception to this. Delving into the complexities that underlie man’s existence on Earth, these authors use their novels as vehicles to depict a post-apocalyptic world, in which all that once was is reduced to an inconceivable wasteland, both figuratively and literally.

The Age of Innocence by Edith Wharton and The Waste Land by T.S. Eliot has similar recurring imagery. Both literary works portray two women in a way and compare these two women characters. Wharton’s portrayal of gender in the society of Old New York illustrates the “perfect” woman through May Welland along with the “imperfect” woman through Ellen Olenska, whereas in the poem The Waste Land by T.S. Eliot, the role and sexuality of women is shown through the juxtaposition of two women in the section “A Game of Chess.”

A Land More Kind than Home by Wiley Cash definitely fits the category of “grit lit.” It is a novel about the Hall’s, a family who is wracked with grief, anxiety, and guilt after the ‘mysterious’ death of one of their sons, Christopher or Stump. The story encompasses more than just the story of the family though as it is told from the perspective of Adelaide Lyle, an old wise woman from the town, Jess Hall the youngest son of the family, and Clem Barefield, the sheriff of Marshall who also had heartache of his own that is intertwined with this families story in more ways than one. The novel incorporates most if not all of the features that is “grit lit” including: an element of crime, a focus on the bleakness of life, lyrical language, and a central character who wishes to escape their environment or get peace inside it.

The world was de-scribed as a wasteland. The term comes from T. S. Eliot poem The Waste Land, one of the most important poems of the 20th century, which illustrated the omnipresent confusion. The Waste Land was not only a cultural desert. It was described by Currell as “a cultural detri-tus” where the past and present interfere with each and produce chaos. The poem presents the world as barren and infertile but with a chance for a revival. Parts from the text perfect-ly mirror the mood of the Twenties; living in a culture which will not expire, but marked by decay and forced to continue in the shadows of its former glory. However, the term “waste land” is also adequate to portray the people. Its civilization, described as lost, is in a con-stant search for meaning in the wilderness of ideas and faith (2009: 37). The waste land is in their bodies and minds; they suffer from impaired communication abilities and seem to forget their humanity. People are frozen in a sexual failure, a moment of

If it is remembered that ashes circa the turn of the century often referred to garbage, then it is possible to interpret the "valley of ashes" as a "dumping ground." (23) The ash heaps, then, are piles of garbage, and the repeated references to "waste land," as opposed to "wasteland," now make more sense, as does George Wilson's use of "a piece of waste" to wipe his hands. (24-5) For Fitzgerald, the American dream is to get rich and become socially acceptable; Wilson, who has failed, has "wasted" his life, and is now "down in the dumps." He has been cast away by society, just like the rest of the refuse that surrounds him. This, then, seems to be the fate of middle-class dreams--despite being conceived in a land filled with opportunity, they all end up in the landfill.

Given that many plants need to be sown and then reaped when fully grown, the metaphorical conceptualization of people as plants may, accordingly, be elaborated to include a reaper, more specifically a conceptualization of death as the Grim Reaper (Lakoff & Turner, 1989, pp. 16, 75):

T.S. Eliot’s The Waste Land explores modernism, specifically focusing on the troubling of binaries and the breakdown of the traditional. The boundaries between life and death, wet and dry, male and female, and more are called into question in Eliot’s conception of modernity and the waste land. The blurring of gender boundaries—significantly through Tiresias and the hooded figure scene in “What the Thunder Said”— in the poem lends itself to Eliot’s suggestion that traditional masculinity breaks down and decays in the waste land. Traditional masculinity is further challenged through Eliot’s criticism of hyper-masculinity and heterosexual relations in the modern era through allusions to the myth of Philomela and the “young man carbuncular” scene in “The Fire Sermon.” Along with this, Eliot stages scenes charged with homoeroticism to further challenge ideas of traditional masculinity. Homoerotic scenes such as the “hyacinth girl” scene in “The Burial of the Dead” and the Mr. Eugenides scene in “The Fire Sermon” suggest an intensity and enticement towards male-male relations, while also offering a different depiction of masculinity than is laid out in the heterosexual romance scenes. Through scenes depicting queer desire and homosexual behavior, Eliot suggests that masculinity in the modern era does not need to be marked by aggression and

Mankind’s history of burial practices and funeral customs are as old as civilization itself. There is no specific way to planning a funeral. Every civilization and culture has provided for their dead in different ways. Religion and personal beliefs play an important role in the burial practices and funeral customs of a given culture or civilization. Furthermore, each civilization and cultured ever studied have three things in common: some type of funeral rites, rituals, and ceremonies; A sacred place for the dead; and memorialization of the dead. As far back as the time of Christ, burials have been noted to take place. In time burial and funeral customs have become very distinct, interesting and

Cooperation is the key to human survival, and over time humans have been known to group together to survive. This strategy has allowed humans to develop massive cities and countries of immense power. Without the natural instinct to cling to one another, humans would not be as advanced as they are today, and may not have even made it out of the caves. Many authors display our natural instinct to cooperate in their works, allowing the characters to become more real to the readers.

T.S. Eliot in the twentieth-century wrote what is today widely-regarded as one of the most important text of modernist poems, “The Waste Land.” This poem evaluates many aspects of ancient and contemporary culture and customs, and how the contemporary culture has degraded into a wasteland. In “The Waste Land,” Eliot conjures, through allusions to multiple religions and works of literature in five separate sections, a fragmented and seemingly disjointed poem. Eliot repeatedly alludes to western and eastern cultural foundation blocks to illustrate the cultural degradation prevalent in the modern era of England. One specific eastern example is brought up in the third section of the poem, which T.S. Eliot names “Fire Sermon,” an allusion to

Most first time readers of Eliot's work would, probably, agree that his poems read as bleak and depressing. They would also say that many of his poems portray society as having a terminal illness, but when we look deeper you can see that amid the anguish not all is lost and there is hope to be found among the ruins. "The Wasteland", is an amalgamation of fragmented images that are disturbing and, yet, at times beautifully poetic. The juxtaposition of the ugly landscape and the lyricism with which it is conveyed lend the poem an

In this discussion of Eliot’s poem I will examine the content through the optic of eco-poetics. Eco- poetics is a literary theory which favours the rhizomatic over the arborescent approach to critical analysis. The characteristics of the rhizome will provide the overarching structure for this essay. Firstly rhizomes can map in any direction from any starting point. This will guide the study of significant motifs in ‘The Waste Land.’ Secondly they grow and spread, via experimentation within a context. This will be reflected in the study of the voice and the language with which the poem opens. Thirdly rhizomes grow and spread regardless of breakage. This will allow for an