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Critical analysis of Eliot's poetry
T.s eliot poetry analysis
T.S.Eliot, critical essays
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Cultural Decay in T.S. Eliot’s poem "The Waste Land" and Yulisa Amadu Maddy’s novel NO Past, NO Present, NO Future
In both T.S. Eliot’s poem "The Waste Land" and Yulisa Amadu Maddy’s novel NO Past, NO Present, NO Future, the characters experience a downfall. It is human nature, though, to experience some sort of self-destruction. W.B. Yeats wrote the line "Things fall apart; the centre cannot hold." Humanity tends to cling to that which is most destructive to itself, whether it is intended or not. Maddy and Eliot both describe their deteriorating cultures as holding together. People are too fearful of breaking away from what is accepted and tend to fall in line, even if it results in the demise of a society.
In the novel No Past, No Present, No Future, Maddy wrote of the destructive relationship that evolved from a brotherly, adolescent friendship between three boys. As teenagers, each of the boys felt a need for emotional security through a deep friendship: Joe had just lost his parents in a house fire, Santigie’s father was deathly ill, and Ade’s parents disgusted him. During these years of bonding, the brothers promised to stay together forever, believing there was nothing they couldn’t accomplish. This promise led to their eventual downfall. After their separate moves to attend college in Europe, their relationships began to shatter. Each boy let his own inhibitions and jealousy of the other get in the way. Ade’s arrogance, due to his success in college, and his cultural denial isolated him from the three boys. Their closeness began to fade and soon nothing could be accomplished when the boys were together. Despite this knowledge, the boys continued to contact each other, even though interaction would end in awkwardnes...
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... right. Although thrown into a situation of hopelessness created by the war, they joined together in a series of immoral acts.
Both Eliot and Maddy described the decay of their own culture. In Maddy’s case, the Bauyans had completely submitted to the oppression caused by the leadership of the minority whites. Rather than rising out of poverty, they clung together in oppression. In Eliot’s case, the culture had erased morality and accountability for selfish needs. They clung together in disgrace, and accepted the new behavior. In both cases society should have taken advantage of its unity to rise above morally and economically.
Works Cited
1. Eliot, T.S. The Waste Land, Prufrock and other Poems. Mineola, New York: Dover Publications, Inc., 1998.
2. Maddy, Yulisa Amadu. No Past, No Present, No Future. Portsmouth, New Hampshire: Reed Publishing Inc., 1996.
People within communities have a large responsibility to one another. Sometimes, however, that responsibility and respect seem to fade, as in “The Lottery”, Shirley Jackson, and “The Masque of the Red Death”, Edgar Allan Poe. Both of these stories describe settings in which communities fell apart either briefly or all together.
She presents two contradictory images of society in most of her fiction: one in which the power and prevalence of evil seem so deeply embedded that only destruction may root it out, and another in which the community or even an aggregate of individuals, though radically flawed, may discover within itself the potential for regeneration. (34)
As “The Blue Hotel,” “The Displaced Person,” “Bernice Bobs her Hair,” and In Dubious Battle demonstrate, the outsiders in each story, though instilling an initial fear in the eyes of society, experience a sudden and considerable downfall in the end. Each of these defeats, some more extreme than others, result from a clash of society’s fixed guidelines with an outsider’s challenge of these rules. Whether this rebellion against society constitutes a conscious or unconscious effort, and whether the punishment results in justifiable or unjustifiable consequences, one pattern emerges. The outsider instills fear in the mind of the community, and as a defense mechanism, society takes it upon itself to conquer the stranger, leading to his or her ultimate downfall.
Eliot, T.S.. "The Love Song of J. Alfred Prufrock." An Introduction to Poetry. 13th ed. of the year.
The Realists focused on the loss of innocence and in Naturalist works innocence is mostly gone. During these periods of American Literature it seems almost as if a hole was being dug, a sort of emptying of innocence, and after World War I the Modernists called this hole the wasteland Many Modernist works focus on society lost in the wasteland, but they hint at a way out. The path out of the wasteland is a return to innocence. This is evident in the Modernist works of The wasteland by T. S. Eliot, "Directive" by Robert Frost, "Babylon Revisited" by F. Scott Fitzgerald, and "Hills Like White Elephants" by Earnest Hemingway as will be shown in an analysis of the inhabitants of the wasteland and their search for innocence, the role of children and pregnancy in the wasteland, and the symbolism of water and rebirth. But before I go on, I believe that I should first clarify what I mean by "a return to innocence.
...ms by which to live. An individual confronts many challenges in society, whether it be crime and punishment, struggle to grow, or other rapid modifications. Cry, The Beloved Country and Things Fall Apart exemplify how societies can be disrupted and how people react to interruptions to their traditional way of life. Some choose to adapt to society’s new ways, while others resist assimilating themselves with the innovative public. Societal change happens no matter where you are, however, how someone allows it to affect them remains determined by that person. Society maintains their own way of punishment, production of a particular type of person, and causes some to prevent from adapting to its evolving ways.
These memories become his "key" to awken the rest of us who are still pretending. The reader is left with two choices at the end of the poem. S/he can either forget about the poem, and go back to living in a waste land, or s/he can stop repressing pain and feeling and leave the waste land. Eliot ends the poem with a man (maybe himself?) sitting on a shore, "[f]ishing, with the arid plain behind me" and asking, "Shall I at least set my lands in order?" (425-36) The man here, by facing his pain, has left the waste land, and is able to move ahead.
... authors conclude that it is through alienation within a small society that ultimately leads to the primary characters’ demise and death. Whether their individual cases are self imposed or externally imposed, the results and the impact are the same, annihilation of the human soul. Their craft make emphatic use of setting to the successful depiction of this theme. Both characters ultimately fall into the abyss of loneliness and despair proving that human existence cut-off and on its own is more destructive than positive . Thus their message seems to suggest that as humans, we need society in order to truly belong and have a connection, purpose and worth in this life, in order to truly live.
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.
...e state of waste is not perpetual, we can find strength and hope for a better future. The ability to convey these messages with such strength along with the ability to powerfully effect his audience and have a tangible effect on the world is what sets T. S. Eliot and The Wasteland apart, and truly gives his poetry the power to change the world.
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.
...to subjects relevant to today, such as religion.Eliot argues that without religion we are all lack direction and more importantly we lack substance in our lives. Without religion, we are superficial and it is due to this that we turn to pop culture. Pop culture is a filler for that which is intellectually rewarding. Eliot recognized this and for this reason he wrote “The Wasteland”. Eliot’s poem made bold statements about what was really happening in the modern world. Whether one argue with Eliot’s positions or not, his work joins the canon of the classic and ironically provides an opportunity for readers to plug into something greater.
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.
Ceremonies are prevalent throughout T.S. Eliot’s poem The Waste Land. Eliot relies on literary contrasts to illustrate the specific values of meaningful, effectual rituals of primitive society in contrast to the meaningless, broken, sham rituals of the modern day. These contrasts serve to show how ceremonies can become broken when they are missing vital components, or they are overloaded with too many. Even the way language is used in the poem furthers the point of ceremonies, both broken and not. In section V of The Waste Land, Eliot writes,
T.S Eliot, widely considered to be one of the fathers of modern poetry, has written many great poems. Among the most well known of these are “The Waste Land, and “The Love Song of J. Alfred Prufrock”, which share similar messages, but are also quite different. In both poems, Eliot uses various poetic techniques to convey themes of repression, alienation, and a general breakdown in western society. Some of the best techniques to examine are ones such as theme, structure, imagery and language, which all figure prominently in his poetry. These techniques in particular are used by Eliot to both enhance and support the purpose of his poems.