This imaginary film is, in a sense, a real-life documentary: There are no heroes or heroines, and there is no narrator telling readers what to think or how to feel. Instead, Eliot allows multiple voices to tell their individual stories. Many of the stories are contemporary and portray a sordid society without values; other stories are drawn from world culture and include, among other motifs, Elizabethan England, ancient Greek mythology, and Buddhist scriptures.
This surprise continues when we are told that it was winter, rather than spring or summer, that kept the speaker warm, because it covered up the dead land in snow, which made him assuming rather tenuously that the speaker is male forget the fact that it is a dead land — a waste land.
Then we find ourselves faced with several German references: Winter is mentioned once again. What grows out of this dead land?
Here that surprising opening line begins to make even more sense: This can be taken metaphorically as a reference to the devastation caused by the First World War: How can a civilisation rebuild itself in the face of such drastic devastation?
So many dead have been buried so quickly, through war or illness. We then have a woman speaking to us, addressing her presumed lover, recalling how her lover gave her hyacinths. The lover replies that when they returned from the hyacinth garden, he experienced a sense of emptiness which could either be ecstatic euphoria or deadened numbness: The experience was, like many in The Waste Land, difficult for the speaker to analyse or put into words.
Another change of setting next: We leave this scene and find ourselves recognisably in London for the first time, and are told that the speaker witnessed a crowd of people flowing over London Bridge, whom death has undone. Are these the dead? Or the living dead, whose lives have been undone by the deaths of other people — loved ones during the war, for instance?
The speaker then encounters a man he knew, named Stetson. He shouts out to him, and claims they both fought at Mylae — which is quite a feat, given that this battle took place in BC during the First Punic War between Rome and Carthage.
Eliot seems to be anachronistically mixing up the modern the name Stetson, WWI and the classical or ancient Mylae, part of another war of empires fought over two millennia agoperhaps to suggest that nothing much changes.
War continues to be a part of life. The speaker then asks Stetson if the corpse he planted in his garden has begun to sprout.
Once again we have a perverted or unusual idea of new birth or things growing out of the land, where the living and the dead are curiously intertwined.
It also hints at the impact of the First World War on the people of Europe.The phrase "Unreal City" is actually a reference to Charles Baudelaire, a 19th-century French poet whose collection, Fleurs du Mal (), brought light to the unsavory sexual practices and indulgent lifestyles of the poet's time (just like Eliot does in "The Waste Land").
A summary of The Waste Land Section V: “What the Thunder Said” in T. S. Eliot's Eliot’s Poetry. Learn exactly what happened in this chapter, scene, or section of Eliot’s Poetry and what it means.
Mar 05, · This stanza speaks about the view of such wastelanders. but I will try skimming the surface a bit. I do agree with Chris Day's critical analysis of the first 7 lines of the piece.
All the ambiguity, the depression and the beauty has been explained thoroughly. The popular first line of T. S. Eliot's The Waste Land was more likely than.
Chapter Summary Edit. The Golden Bough is name of chapter in Virgil's epic poem Aeneas. T. S. Eliot begins with the contrasting notion of “April”. He alludes to Geoffrey Chacer’s Canterbury Tales, where “April” is not the sweet and joyous time of the year but the torosgazete.com first stanza is filled with similar ironies and juxtapositions.
The Waste Land, T. S.
Eliot’s masterpiece, is a long, complex poem about the psychological and cultural crisis that came with the loss of moral and cultural identity after World War I.
When it. A reading of the first part of The Waste Land ‘The Burial of the Dead’ is the first of five sections that make up The Waste Land (), T. S.
Eliot’s landmark modernist poem. What follows is a short analysis of this opening section, with the most curious and interesting aspects of Eliot’s poem highlighted.