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Short essay on "impacts of war on literature
Analysis of t.s eliot waste land
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The Waste Land, written by T.S. Eliot, is poem portraying the lack and/or the corruption of culture in England during the post WWI period. Eliot uses a form of symbolism, in which he uses small pieces from popular literary works, to deliver his message. He begins by saying that culture during the post WWI period is a “barren wasteland.” Eliot goes on to support this claim by saying that people in England are in a sort of shock from the violence of World War I. Eliot believes that the lack of culture open doors for immorality to grow among the populace.
Eliot’s use of symbolism can be very disorienting. It has been proposed that this choppy medley is actually furthering his point by representing the “ruins” of a culture. An article by Glyndŵr University states that, “Eliot wants us to experience that sense of fragmentation for ourselves, and this is why the poem uses a kind of collage technique - assembling chunks of texts together in what seems a random and arbitrary way - to recreate this sense of cultural rubble”. Eliot purposely used fragments of well known literary works to give the appearance that the culture was in pieces. Eliot style complemented the main point of his poetry, adding to the appearance of a culture in ruins.
In the years following WWI, culture was almost nonexistent in England. People were more focused on getting back to living a normal life than arts or music. Eliot echoes several books of the Bible to describe this culture.
What are the roots that clutch, what branches grow
Out of this stony rubbish? Son of man,
You cannot say, or guess, for you know only
A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of ...
... middle of paper ...
...ck of culture on the fact that people were more focused on getting back to normal life than art and music and various other forms of culture. Eliot thought that this emptiness in culture gave way to immorality in society. However, he believed that there was still a chance for the renewal of society. Eliot thought that religion would be able to save England’s society. Eliot’s poem condemns England’s post WWI culture and offers a solution to the problem.
Works Cited
Davis, B. (2003). http://www.rci.rutgers.edu/. Retrieved February 25, 2014, from http://www.rci.rutgers.edu/~bedavis/davisjmhreview.pdf
Eliot, T. S., & Rainey, L. (2005). The Annotated Wasteland with Eliot's Contemporary Prose. Devon, PA: Duke & Company.
Glyndwr University. "Untitled." Glyndŵr University - Home. N.p., n.d. Web. 2 May 2014. .
The most obvious stylistic device used by Eliot is that of personification. She uses this device to create two people from her thoughts on old and new leisure. The fist person is New Leisure, who we can infer to be part of the growth of industry in the 19th century. He is eager and interested in science, politics, and philosophy. He reads exciting novels and leads a hurried life, attempting to do many things at once. Such characteristics help us to create an image of New Leisure as Eliot sees him.
Dickens, A. G. The Age of Humanism and Reformation. Eaglewood Cliffs, New Jersey: Pentice-Hall, Inc. , 1972.
Thomas Stearns Eliot was perhaps one of the most critical writers in the English language’s history. Youngest of seven children and born to the owner of a Brick Company, he wasn’t exactly bathed in poverty at all. Once he graduated from Harvard, he went on to found the Unitarian church of St. Luis. Soon after, Eliot became more serious about literature. As previously stated, his literature works were possibly some of the most famous in history. Dr. Tim McGee of Worland High School said that he would be the richest writer in history if he was still alive, and I have no choice but to believe him. In the past week many of his works have been observed in my English literature class. Of Thomas Stearns Eliot’s poems Preludes, The Journey of the Magi, The Hollow Men, The Waste Land, and Four Quartets, I personally find his poem The Hollow men to be the most relatable because of its musical allusions, use of inclusive language, and his opinion on society.
When read for the first time, The Waste Land appears to be a concoction of sorts, a disjointed poem. Lines are written in different languages, narrators change, and the scenes seem disconnected, except for the repeated references to the desert and death. When read over again, however, the pieces become coherent. The Waste Land is categorized as a poem, but exhibited visually, it appears to be a literary collage. And when standing back and viewing the collage from afar, a common theme soon emerges. Eliot collects aspects from different cultures or what he calls cultural memories. These assembled memories depict a lifeless world, in which the barrenness of these scenes speak of a wasted condition. He concentrates on women, including examples of violence committed against them and the women's subsequent lack of response to this violence, to show how apathetic the world is. But The Waste Land is not a social commentary on the plight of women. Rather, the women's non-reaction to the violence against them becomes a metaphor for the impotence of the human race to respond to pain. Violence recurs throughout time, and as Eliot points to in his essay "Tradition and Individual Talent" in the epigraph, we can break this cycle of violence and move ahead only by learning from the past and applying this knowledge to the present.
Kimberly Tsau, for example, follows De Quincey's lead in her analysis of T. S. Eliot's The Waste Land, suggesting that among the violence, apathy, and disjointedness of the poem is a call to face and learn from suffering. Her essay, "Hanging in a Jar," examines how Eliot collects a variety of "cultural memories," cutting and pasting them together to form a collection that is both terrifying and edifying.
The Modernist era of poetry, like all reactionary movements, was directed, influenced, and determined by the events preceding it. The gradual shift away from the romanticized writing of the Victorian Era served as a litmus test for the values, and the shape of poetry to come. Adopting this same idea, William Carlos Williams concentrated his poetry in redirecting the course of Modernist writing, continuing a break from the past in more ways than he saw being done, particularly by T.S. Eliot, an American born poet living abroad. Eliot’s monumental poem, The Waste Land, was a historically rooted, worldly conscious work that was brought on by the effects of World War One. The implementation of literary allusions versus imagination was one point that Williams attacked Eliot over, but was Williams completely in stride with his own guidelines? Looking closely at Williams’s reactionary poem to The Waste Land, Spring and All, we can question whether or not he followed the expectations he anticipated of Modernist work; the attempts to construct new art in the midst of a world undergoing sweeping changes.
T.S. Eliot’s "The Waste Land" is considered by many to be the most influential work in modern literature. First published in 1922, it captures the feelings and sentiments of modern culture after World War I. Line thirty of "The Waste Land," "I will show you fear in a handful of dust," is often viewed as a symbol of mankind’s fear of death and resulting love of life. Eliot’s masterpiece—with its revolutionary ideas—inspired writers of his era, and it continues to affect writers even today.
The recurring sensory images that Eliot uses appeal to the reader’s fear of the loss
Different speakers in "The Waste Land" mirror the disjointedness of modern experience by presenting different viewpoints that the reader is forced to put together for himself. This is similar to the disassociation in modern life in that life has ceased to be a unified whole: various aspects of 20th-century life -- various academic disciplines, theory and practice, Church and State, and Eliot's "disassociation of sensibilities," or separation of heart and mind -- have become separated from each other, and a person who lives in this time period is forced to shore these fragments against his or her ruins, to borrow Eliot's phrase, to see a picture of an integrated whole.
In order to understand T.S. Eliot’s poem, Choruses from “The Rock,” one must first understand Eliot’s views on contemporary theology and spirituality. He felt as if people were moving away from the Church and were losing their religion in favor of more secular worship. The following passage from Eliot’s poem can summarize his entire argument that he makes in Choruses from “The Rock”.
The influence of World War I was also seen in Eliot’s work. According to Johnson, “…artists clung to the shards of classical culture as a buffer against nihilistic disillusionment. "These fragments I have shored against my ruins," T.S. Eliot wrote in "The Waste Land" (1922)” (1). Eliot’s writing in “The Waste Land” depicts scenes of war and also ties into the destruction of western culture.
In his poem "The Waste Land," T.S. Eliot employs a water motif, which represents both death and rebirth. This ties in with the religious motif, as well as the individual themes of the sections and the theme of the poem as a whole, that modern man is in a wasteland, and must be reborn.
Moody, Anthony David. The Cambridge Companion to T.S. Eliot. Cambridge, England: Cambridge University Press, 1994. 121. Print.
T.S. Eliot’s The Waste Land is an elaborate and mysterious montage of lines from other works, fleeting observations, conversations, scenery, and even languages. Though this approach seems to render the poem needlessly oblique, this style allows the poem to achieve multi-layered significance impossible in a more straightforward poetic style. Eliot’s use of fragmentation in The Waste Land operates on three levels: first, to parallel the broken society and relationships the poem portrays; second, to deconstruct the reader’s familiar context, creating an individualized sense of disconnection; and third, to challenge the reader to seek meaning in mere fragments, in this enigmatic poem as well as in a fractious world.
Michael, Levenson H. A Genealogy of Modernism: A study of English literary doctrine 1908-1922. 28 Feb. 2005 http://www.english.uiuc.edu/maps/poets/a_f/eliot/wasteland.htm.