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T. eliots use of symbolism
T. eliots use of symbolism
Examine the poetic style of Ts Eliot
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In the twentieth century, T.S. Eliot transformed the traditional poetry form into a more modern style. Eliot was born in St. Louis, Missouri on September 26, 1888. At the age of 25, Eliot moved to England where he began his career as a poet. Eliot greatly attracted the modernist movement, which was poetry written in the reaction of Victorian poetry. His first poem, The Love Song of J. Alfred Prufrock, was known as one of the most famous pieces of the Modernist movement. In his poetry, Eliot combines themes such as aridity, sexuality, and living death. He uses techniques such as narration, historical, literary, and mythic allusions. Using themes and techniques from his earlier work, Eliot publishes The Wasteland.
The Wasteland is a poem Eliot wrote after his divorce with his wife Vivienne Haighwood. Critics say the title of the poem, the wasteland, comes from his thoughts on his marriage. This poem is considered to be “one of the most difficult poems in a difficult literary period”. The Wasteland is a poem that is said to be of his most influential work. At first glance, critics considered the poem to be too modern but then opinions changed as they realized the poem reflected Eliot’s disillusionment with the moral decay of World War I in Europe. T.S. Eliot in The Wasteland combines theme, style, and symbolism to explore life and death.
The Wasteland was written in 1922 and is a long poem divided into five sections. The first section is called “Burial of the Dead” which is a reference to a burial service in a church. In the poem it says that April is the cruelest month, which is ironic because April is normally considered to be the month of renewal. In the beginning of the poem, the passing of seasons, symbolizes a natural c...
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...lore life and death in his poetry. He portrays significant themes of disillusionment and restoration. Eliot believes in restoring the bad having new beginnings. In conclusion, Eliot revolutionizes poetry to a new level and is one of the most prestigious poets to this day.
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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.
Harmon, William, and C. Hugh Holman. Handbook to Literature. Upper Saddle River, N.J.: Prentice Hall, 1986.
Harmon, William, and C. Hugh Holman. Handbook to Literature. Upper Saddle River, N.J.: Prentice Hall, 1986.
During T. S. Eliot’s time many of his contemporaries including himself were in the custom of alluding to classic works of poetry. They incorporated references to notable texts like Dante. Eliot especially is a main perpetrator of alluding. Eliot has the ability create a picture for the reader and provide historical context to his works. A contemporary of Eliot, Pound, once said you should try to “be influenced by as many great artists as [they] can” (Pound 95). Eliot is following what Pound said by incorporating allusions in his works.
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Death is the primary theme in TS Eliot’s The Wasteland. Written just four years after the conclusion of World War I, The Wasteland mirrors the despair felt by much of the post-war generation. The poem begins with a section titled "Burial of the Dead." In this section Eliot deems April "the cruelest month, breeding lilacs out of the dead land, mixing memory and desire, stirring dull roots with spring rain." With these lines, Eliot suggests that springtime’s regeneration of life only causes people to remember what was lost in the past. Eliot again addresses death in the very next stanza:
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.
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.
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