The psychological effect the city environment has on both, the characters and authors, can be seen in Virginia Woolf’s Mrs Dalloway and T.S.Elliot’s the wasteland. The lack of unity of Elliot’s text has lead critics to feel the writing is far too fragmented:
My nerves are bad to-night. Yes, bad. Stay with me. Speak to me. Why do you never speak? Speak. What are you thinking of? What thinking? What. I never know what you are thinking. Think. (TWL: 110)
However, as Gareth Reeves suggests in the book T.S.Elliot: The wasteland ‘unprecedented conditions of chaos and disintegration demand unprecedented methods of poetic fragmentation’ (16). Critics, who felt the poem lack form, may have over looked the fact that Elliot has purposely designed the poem as such. ‘My nerves are bad tonight. Yes bad’ sounds like spoken English, which is not always spoken in complete sentences. Add to the fact that the person speaking sounds unnerved to the point of not bearing to be by herself should her thoughts reveal reality.(Selby,106) It is as if the stress of the city has finally poured into the speakers thoughts, making the speaker feel the need to self-reassure.
Point one: 2-v
The modernist perception of a person being produced from a place fits neatly into Virginia Wolfe’s Mrs Dalloway. The book’s namesake if often portrayed as a person framed by her emotions, worried how ‘something awful was about to happen’(Woolf,1). Although the city has allowed more freedom, such as to roam unescorted, being in an alien environment to which Clarissa was bought up in has had a psychological effect. By comparison, Mr Dalloway is externally viewed as a strong character. Although, Richard is good at remaining in control, he has his own issues. Even with h...
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...novels. Basingstoke: Macmillan, 1998. Print
Reeves, G. T.S.Eliot's The Waste Land. Hemel Hempstead: Harvester Wheatsheaf, 1994. Print.
Ried, S. Mrs Dalloway and To the Lighthouse, Virginia Woolf. Basingstoke: Macmillan, 1993. Print
Roe,S. Sellers,S. The Cambridge companion to :Virginia Woolf. Cambridge: Cambridge University Press,2010. Print
Selby,N. T.S.Eliot: The Waste Land: A readers guide to essential criticism .Basingstoke: Macmillan, 1999. Print.
Wallace, J. Beginning Modernism. Manchester: Manchester University Press,2011.Print
"The Waste Land." 1922. Modernism: An Anthology (Blackwell Anthologies). Ed. Lawrence Rainey. Oxford: Wiley-Blackwell, 2005. 123-42. Print.
Willson, R. "Is There Hope in The Waste Land?" Critical Essays on :The Waste Land. Essex: Longman, 1998. 82-93. Print.
Woolf, V. Mrs. Dalloway. London: Wordsworth Editions, 2003. Print.
Physical surroundings (such as a home in the countryside) in works of literary merit such as “Good Country People”, “Everyday Use”, and “Young Goodman Brown” shape psychological and moral traits of the characters, similarly and differently throughout the stories.
Rielly, Edward J. “Out of the Landscape of His Past.” Journal of American Cultuer 16.3 (1993): 47.
Gavin, Hector. Sanitary Ramblings, being Sketches and Illustrations of Bethnal Green, a Type of the Condition of the Metropolis and other Large Towns. London: Cass, 1971.
Eliot, T.S. The wasteland. In The Heath Anthology of American Literature, Volume II. Edited by Paul Lauter et al. Lexington, MA: D.C. Heath and Company, 1991: 1447-1463.
T.S. Eliot had very philosophical and religious meanings behind this poem, and that helped me relate personally very well with this work of his. He used allusions to other poems, letting me make connections with works I have read before. He also used inclusive language and had the same opinion as me portrayed in this work. Based on these, T.S. Eliot has convinced me of his messages in this poem, as well as made this by far my favorite of his.
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.
Set just after one of England’s worst tragedies, Virginia Woolf’s 1925 novel Mrs. Dalloway is a vivid picture of the effects of World War I on London’s high society, often in glaring contrast to the effects of shell shock suffered by war veteran Septimus Smith. For members of high society, the War’s impact is largely indirect, mainly affecting their conversations at posh social functions. Although the war has had little impact on these people, some strive to develop a deeper understanding of the War’s main consequence: death. For Septimus, who has endured the direct impact of the War as a soldier, however, the memories and traumas of the War are more real than the peaceful life to which he has returned. At the urgent pleas of his wife, doctors unsuccessfully attempt to help him regain the blissful ignorance of war that he once had. Woolf illuminates a perpetual clash between those who merely understand the War as a continuing news story, and Septimus, who knows it as a frightening reality.
Eliot, T. S., and Michael North. The Waste Land: Authoritative Text, Contexts, Criticism. New York: W.W. Norton, 2001. Print.
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.
Clarissa Dalloway and Peter Walsh are defined by their memories. Virginia Woolf creates their characters through the memories they share, and indeed fabricates their very identities from these mutual experiences. Mrs. Dalloway creates a unique tapestry of time and memory, interweaving past and present, memory and dream. The past is the key to the future, and indeed for these two characters the past creates the future, shaping them into the people they are on the June day described by Woolf. Peter and Clarissa’s memories of the days spent at Bourton have a profound effect on them both and are still very much a part of them. These images of their younger selves are not broad, all-encompassing mental pictures, but rather the bits and pieces of life that create personality and identity. Peter remembers various idiosyncracies about Clarissa, and she does the same about him. They remember each other by “the colours, salts, tones of existence,” the very essence that makes human beings original and unique: the fabric of their true identities (30).
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.
Woolf, therefore, takes advantage of the lyrical short stories’ structure to create a liminal space that both breaks through barriers to form a unified, impressionistic world and to emphasize the imposing negative aspects of such a transitory structure. As a result, Woolf prompts the reader to question whether the liminal space created within the short story is positive in its ability to unite nature and human or negative in its apparent unsustainability. Regardless, the form and structure of the short story are pivotal in Kew Gardens. Without the liminal space of the short story, it is questionable if Woolf could have succeeded in creating the unstable, yet peaceful, world in Kew Gardens.
...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.
On the most superficial level, the verbal fragments in The Waste Land emphasize the fragmented condition of the world the poem describes. Partly because it was written in the aftermath of World War I, at a time when Europeans’ sense of security as well as the land itself was in shambles, the poem conveys a sense of disillusionment, confusion, and even despair. The poem’s disjointed structure expresses these emotions better than the rigidity and clarity of more orthodox writing. This is evinced by the following from the section "The Burial of the Dead":
Faced with a world lacking variety, viewpoints, vibrancy, and virtue- a world without life- a fearful and insecure T.S. Eliot found himself the only one who realized all of civilization had been reduced to a single stereotype. Eliot (1888-1965) grew up as an outsider. Born with a double hernia, he was always distinguished from his peers, but translated his disability into a love of nature. He developed a respect for religion as well as an importance for the well-being of others from his grandfather at a young age, which reflected in his poetry later in life. After studying literature and philosophy at Harvard, Eliot took a trip to Paris, absorbing their vivid culture and art. After, he moved on to Oxford and married Vivien Haigh-Wood. Her compulsivity brought an immense amount of stress into his life, resulting in their abrupt separation. A series of writing-related jobs led Eliot to a career in banking and temporarily putting aside his poetry, but the publication of “The Waste Land” brought him a position at the publishing house of Faber and Gwyer. His next poem, called “The Hollow Men” reflected the same tone of desolation and grief as “The Waste Land.” Soon after, he made a momentous shift to Anglicanism that heavily influenced the rest of his work in a positive manner. Eliot went on to marry Valerie Fletcher, whom he was with until the end of his life, and win a Nobel Prize in literature. T.S. Eliot articulates his vast dissatisfaction with the intellectual desolation of society through narrators that share his firm cultural beliefs and quest to reinvigorate a barren civilization in order to overcome his own uncertainties and inspire a revolution of thought.