Writing[ edit ] Eliot probably worked on the text that became The Waste Land for several years preceding its first publication in In a May letter to New York lawyer and patron of modernism John QuinnEliot wrote that he had "a long poem in mind and partly on paper which I am wishful to finish".
This is how God addresses Ezekiel, and the use of it in the poem elevates Eliot to a god-like position, and reduces the reader to nothing more than a follower; this could also have been put in as a response to the vast advancements of the time, where science made great leaps of technology, however the spiritual and cultural sectors of the world lay forgotten, according to Eliot.
Eliot himself noted that this is from Ecclesiastes 12, a book within the Bible that discuss the meaning of life, and the borne duty of man to appreciate his life. The references to shadows seems to imply that there is something larger and far more greater than Eliot analysis reader skulking along beside the poem, lending it an air of menace and the narrator an air of omnipotence, of being everywhere at once.
The German in the middle is from Tristan and Isolde, and it concerns the nature of love — love, like life, is something given by God, and humankind should appreciate it because it so very easily disappears. In Tristan and Isolde, the main idea behind the opera is that while death conquers all and unites grieving lovers, love itself only causes problems in the first place, and therefore it is death that should be celebrated, and not love.
Hyacinth was a young Spartan prince who caught the eye of Apollo, and in a tragic accident, Appollo killed him with his discus. Mourning his lover, Apollo turned the drops of blood into flowers, and thus was born the flower Hyacinth.
There are twofold reasons for the reference to Hyacinth: However, to continue with the same theme in the poem, the evidence of love will be lost to death, and there will be nothing more existing. Madame Sosostris, famous clairvoyante, Had a bad cold, nevertheless Is known to be the wisest woman in Europe, With a wicked pack of cards.
Here, said she, Is your card, the drowned Phoenician Sailor, Those are pearls that were his eyes. Here is Belladonna, the Lady of the Rocks, The lady of situations.
Here is the man with three staves, and here the Wheel, And here is the one-eyed merchant, and this card, Which is blank, is something he carries on his back, Which I am forbidden to see.
I do not find The Hanged Man. Fear death by water. I see crowds of people, walking round in a ring. If you see dear Mrs. Equitone, Tell her I bring the horoscope myself: One must be so careful these days. On the surface of the poem the poet reproduces the patter of the charlatan, Madame Sosostris, and there is the surface irony: But each of the details justified realistically in the palaver of the fortune-teller assumes a new meaning in the general context of the poem.
The surface irony is thus reversed and becomes an irony on a deeper level. The items of her speech have only one reference in terms of the context of her speech: But transferred to other contexts they become loaded with special meanings. To sum up, all the central symbols of the poem head up here; but here, in the only section in which they are explicitly bound together, the binding is slight and accidental.
The deeper lines of association only emerge in terms of the total context as the poem develops—and this is, of course, exactly the effect which the poet intends. Unreal City, Under the brown fog of a winter dawn, A crowd flowed over London Bridge, so many, I had not thought death had undone so many.
Sighs, short and infrequent, were exhaled, And each man fixed his eyes before his feet. There I saw one I knew, and stopped him, crying: Will it bloom this year?
Here, Eliot uses it in much the same effect: If he is dug up again, then his spirit will never find rest, and he will never be reborn — here, Eliot, capitalizing on the quote, changes it so that the attempt to disturb rebirth is seen as a good thing.
After all, Eliot is implying, who would want to be reborn in a world without culture? The title is taken from two plays by Thomas Middleton, wherein the idea of a game of chess is an exercise in seduction.The Love Song of J.
Alfred Prufrock study guide contains a biography of T.S. Eliot, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis. Analysis. Eliot attributed a great deal of his early style to the French Symbolists—Rimbaud, Baudelaire, Mallarmé, and Laforgue—whom he first encountered in college, in a book by Arthur Symons called The Symbolist Movement in Literature.
Textual Analysis of T.S. Eliot’s Essay from Notes on a Definition of Culture: a series of Radio talks. Abstract In his essay from a Definition of Culture Eliot proposes that the English language is the richest for the purposes of writing poetry. He uses this claim to support a second one: each culture is renewed when its fundamental nature.
Eliot’s wasn’t the first long modernist poem written about the War: an intriguing poem by Ford Madox Ford, ‘Antwerp’, had been written in and was a poem that Eliot himself admired.
But Eliot’s poem took the techniques of modernism to new heights. Lesson Summary. Eliot was born in and died in Eliot wrote poetry, plays, and critical works that inspired many writers and continue to be influential today. Indeed, Eliot is one of the most defining voices of modernism, which was the artistic attempt to deal with the tremendous changes occurring in the world in the early s.
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