Eliot's The Waste Land

Eliot indicated that it had also non been his use to express the disillusionment of a generation, even though the critics consider his song that way. He was primarily spare-time activityed in lowering and language (Hall, 1963).

Eliot also indicated that The surplus Land was a more complicated work than untold of his later material, mostly because he lacked experience and facility with the language in the older verse. He noted that he thought that he had more to claim in The Waste Land than he had the capability and maturity to express in a simple way. He insist that in The Waste Land he wasn't even bothering to be sure he understood what he was saying. He was at least partly experimenting and trying to communicate things that he could not bring easily into language. In other words, he recognized that the poem was difficult to comprehend, and blamed his own insufficiencies as a poet, rather than the reader's (Hall, 1963). With those comments in mind, how do some critics and readers interpret the themes of The Waste Land?

Eliot himself noted that the title, the plan, and some of the symbolism of the poem were suggested by a book by Jessie Weston about the grail legend. The Grail legend deals with the search for the Grail which is expected to restore verve to the land. Without the Grail, the land will wither and die.

Fundamentally, then, the wasted land of Eliot's poem is analogous to the parched land of the Grail myth, in which the drawing card

Eliot, T.S. (1922). The Waste Land. In M.H. Abrams (Ed.). The Norton Anthology of slope Literature. NY: W.W. Norton & Company, Inc.

Pritchard, W.H. (1993). T.S. Eliot. In J. Parini (Ed.) The Columbia history of Ameri butt joint poetry. NY: Columbia University Press.

In other words, to Wilson, the desolation and spiritual aridity predated World struggle I, rather than arising from it. The wasteland of Eliot's poem does not depend upon the hellish ideals of the young men experiencing a meaningless war and its aftermath. It can arise from the conditions of early modern life itself which was focused on the development of a commercial-industrial civilization that had little meaning to offer.

Wilson, E. (1931). Axel's castle. NY: W.W. Norton & Company.

This is the protracted section and the most complex. The foremost section seems to admit much to do with emptiness and a kind of quietness. Again, the language contributes to this mind with the use of words like "unheard," "nymphs are departed," "end my song." The nymphs keep departed and left no forwarding address, and the river flows silently past, with none of the detritus of civilization.

What does this have to do with boredom? Perhaps the first thing to think about is the essence of boredom itself. tediousness is similar to ennui, or anomie, to states in which the individual lacks vitality, because he or she does not have an activity or object that engages interest or passion.

These are all speculations, however. What does Eliot himself say in the poem? What are the images that he presents to the reader? The one problem with this recital is that Eliot did note that by the end of the poem he did not care about understanding what he was trying to say. Further, as John Updike (1991) noted, he was primarily an auditory poet anyway, interested in voices and repetitions, rather than visual images and meanings. Still, the text is the major document that we have to work with.

It is in this theme
Order your essay at Orderessay and get a 100% original and high-quality custom paper within the required time frame.