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Critical analysis essay on the waste land
The waste land analysis
‘The Waste Land’
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Love and Sex in The Waste Land
Attitudes toward love and sex are one of the major themes of the poem. The introduction to "The Waste Land" in The Norton Anthology of English Literature states that "This is a poem about spiritual dryness," and much of this spiritual dryness relates to the nature of the modern sexual experience (although there are also other aspects of spiritual dryness the introduction also notes that major themes include a lack of a "regenerating belief" that gives "significance and value to people" and a type of death that "heralds no resurrection"). (Introduction 2146) Comparisons of different types between past and present are often used to highlight the nature of this modern sexual experience, which is pictured as empty, as lacking in both romance and passion, and as fruitless. Lil's rejection of her offspring (line 160) has already been mentioned; other examples abound throughout the poem. One example is furnished by the seduction of the typist by the "young man carbuncular," described by Tiresias in lines 230-256. This scene describes a seduction seemingly without any love or passion. The typist seems to have no desire for sex, but no desire to resist seduction, either -- the young man's "caresses are unreproved, if undesired." (lines 236-237) Her single emotion expressed in the passage is a vague relief when the episode ends. Eliot follows the scene of seduction with these lines:
When lovely woman stoops to folly and
Paces about her room again, alone,
She smoothes her hair with automatic hand,
And puts a record on the gramophone. (lines 253-256)
These lines parody a song from Oliver Goldsmith's The Vicar of Wakefield, in which a woman who had been seduced earlier...
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... life cycle cannot continue and a large context for meaning in life is lost.
Works Cited and Consulted:
Abrams, M.H., et al. Footnotes to "The Waste Land" in The Norton Anthology of English Literature, Sixth Edition, Volume 2. General Ed. M.H. Abrams. New York: W.W. Norton & Company, 1993.
Abrams, M.H., et al. Introduction to "The Waste Land" in The Norton Anthology of English Literature, Sixth Edition, Volume 2. General Ed. M.H. Abrams. New York: W.W. Norton & Company, 1993.
Eliot, Thomas Stearns. Footnotes to "The Waste Land" in The Norton Anthology of English Literature, Sixth Edition, Volume 2. General Ed. M.H. Abrams. New York: W.W. Norton & Company, 1993.
Eliot, Thomas Stearns. "The Waste Land" in The Norton Anthology of English Literature, Sixth Edition, Volume 2. General Ed. M.H. Abrams. New York: W.W. Norton & Company, 1993.
Damrosch, David, et al., ed. The Longman Anthology of British Literature: Vol. B. Compact ed. New York: Longman - Addison Wesley Longman, 2000. p. 2256
Stillinger, Jack, Deidre Lynch, Stephen Greenblatt, and M H. Abrams. The Norton Anthology of English Literature: Volume D. New York, N.Y: W.W. Norton & Co, 2006. Print.
Greenblatt, Stephen, and M. H. Abrams. The Norton Anthology of English Literature. 9th ed. Vol. A. New York: W.W. Norton, 2012. Print
*Abrams, M.H., ed., et al. The Norton Anthology of English Literature. Sixth Edition. Vol.I. New York: W.W. Norton & Company, 1993.
The wasteland of the world. 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. Fitzgerald, F. Scott.
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.
Abrams, M.H., et al. ed. The Norton Anthology of English Literature. 6th ed. 2 Vols. New York: Norton, 1993.
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.
Myer, Michael. The Compact Bedford Introduction to Literature. 7th ed. : Bedford - St. Martin's, 2006.
Greenblatt, Stephen. The Norton Anthology Of English Literature. 8th. A. W W Norton & Co Inc, 2006.
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.
...ie, ed. T. S. Eliot The Waste Land: A Facsimile and Transcript of theOriginal Drafts Including the Annotations of Ezra Pound (1971; rpt. Faber, 1980)
Abrams, M.H., ed. The Norton Anthology of English Literature. 6th ed. Vol. 2. New York: Norton, 1993.
Abrams, M. H., et al., The Norton Anthology of English Literature. Vol. 1. New York: Norton, 1986.
Cheryll, Glotfelty and Fromm, Harold. The Eco criticism Reader: Landmarks in Literary Ecology. Athens and London: University of Georgia Press, 1996. Print.