Death and Dying in T.S. Eliot's The Waste Land and Yulisa Maddy’s No Past No Present No Future
I am immortal. Although I realize that I will die, I don’t believe it. The fear of death motivates me to ignore my mortality and, in motivating me to ignore, allows me to live a jaded, happy life. If death were a predominant thought, then appreciating life would seem difficult—unless of course I changed my name to Harold. Everyone confronts the idea of death sooner or later; different people just deal with death in different ways.
Death or the fear of death can create a greater appreciation of life. I once heard a story about a monk. This monk was on a walk through the woods one day when a bear or a lion or a reasonable facsimile thereof appeared as if from nowhere. The monk’s ‘fight, fly, or hit the fence’ mechanics kicked in, and he was off. He was chased to the face of a cliff, so he began to climb it. Now the cliff was a vertical wall, and the monk was unable to climb very high. He clinged to the smallest of cracks in this wall. When he looked down, there were more of whatever had chased him there, but when he looked back up, he noticed a strawberry growing on the face of this cliff. He ate the strawberry—it was perfect. The strawberry was far from perfect, but because death was ten feet below him, it tasted better than any meal he had ever had. Death created a greater appreciation of life in the monk. Life should be lived out at every moment; death creates immediacy in living life to the fullest. As T. S. Eliot put it, "I will show you fear in a handful of dust."
Eliot’s The Waste Land is the portrait of a society whose culture and infrastructure is dying. The post-WWI-era saw Europe decaying. The massive destruction to its cities combined with the incredible loss of life created disillusion in Europe. But The Waste Land is not merely a picture of European society dying; it is Eliot’s commentary on his society, and his attempt to save it.
Tiresias is the only main character in The Waste Land. He rarely has an active role in the poem, though. He serves as an onlooker—a reporter—to and a narrator of this waste land:
Unreal City,
Under the brown fog of a winter dawn,
In Marge Piercy’s, “Barbie Doll,” we see the effect that society has on the expectations of women. A woman, like the girl described in ‘Barbie Doll’, should be perfect. She should know how to cook and clean, but most importantly be attractive according to the impossible stereotypes of womanly beauty. Many women in today’s society are compared to the unrealistic life and form of the doll. The doll, throughout many years, has transformed itself from a popular toy to a role model for actual women. The extremes to which women take this role model are implicated in this short, yet truthful poem.
Hippie Barbie, written by Denise Duhamel uses the symbols of the contemporary life of the fairy-tale lifestyle into reality. The words and ideas used in this narrative poem give fantasy a different perspective. It is inferred that the speaker is a female Barbie specialist, who reflects her knowledge by using the popular Barbie doll as the main character. Throughout the poem, she gives key points that have female perspective; for instance, kissing Ken, thinking about having mixed-race children, and walking a poodle. She establishes a story-telling tone, which introduces Hippie Barbie as a real woman. The speaker is trying to address to all Americans that know deeper into Barbie doll life. By using the word “hippie” she gives a sense of rejection, opposition and liberalism towards things. Hippie Barbie reveals the ugly truth about the society based on appearances that we live in.
The Barbie is a plastic, man-made female toy, which has perfect facial symmetry, unnatural body dimensions, and perfectly unblemished white skin. In Chris Semansky’s Overview of “Barbie Doll,” he explains that the Barbie “is invented to show women have been socialized into thinking of their bodies and behavior in relation to a male-controlled idea” (Semansky). The title directly alludes to the Barbie toy, which represents a design of a man-made construction of the female image that shows an unnatural human form that could only exist inside the imagination of men. Throughout both “Barbie Doll” and “The Birthmark” you will find the female protagonists seeking an ultimately perfect form, free of the characteristics that those around them see as unworthy. It is as if they are chasing the blueprint of perfection that is present in the Barbie. The original Barbie came with three outfits a bathing suit, a tennis outfit, and a wedding dress (Semansky). Her outfits clearly symbolize restrictions forced on female privilege, identity, and autonomy, where “she embodies the ideals and values of her middle-class American community” who expect her to “spend her days at the country club and her afternoons cooking dinner for her husband” (Semansky). This is directly similar to the “outfits” those around the women in “Barbie Doll” where the girlchild is born
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.
Death is a topic everyone will witness countless times during his or her lifetime. Death of loved ones’, animals, or strangers are just few examples of experiences that can mold one’s impression of death. Since I am rather young, I have only truly experienced death on few occasions. One of which was the death of my grandfather. He was in a lot of pain and was bedridden for months. For him, death was almost inevitable and was an answer to the pain he was feeling. I’m not 100% definite how I personally perceive death, but because of my grandfather, I always think of death as being imperative, yet inevitable. I have a great fear for death, because I know how much pain it causes loved ones.
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.
206 paragraph one, (line 1), Sandra Cisneros reveals a model of how girls see themselves in the future. The girls felt the dolls represent the same story and scenario each time they came together and play with each other. The attitude, style and quality of dolls. The interchanging of clothes, character's likes and dislikes as depicted the deception by a doll; from a child's point of view. The girls noticed that when the male Barbie doll drops by the other Barbie would steal him away. A typical boy meets girls; girl thinks boy is cute; boy leaves with the opposite girl. This is a reflected of Sandra Cisneros’s short story "Barbie-Q, "p. 206 , paragraph 1 , (line 2 , 3 , 4 , and 5 ) . The girls are tired of the social scene the boy Barbie represents. They only want to play among themselves without any boys. The girls enjoyed looking forward to Christmas and receiving gifts of clothes for their Barbie dolls. This is also, reflected in the insults the girls shared among their future Barbie dolls. In the short story "Barbie-Q,” by Sandra Cisneros, the girls enjoyed going to the flea market, purchasing used clothes for Barbie dolls. Barbie dolls meant so much to the two little girls because they didn't care if their Barbie dolls were wearing hand-me-downs; second hand doll clothing sold alongside the street. The joy came from undressing and dressing up the dolls. The girls even found career clothes to match up to their doll's future. In the short
Fear of the unknown, and fear of what is to come in our lives, has generations of people wondering what will our lives be like tomorrow or the next day. Death is always there and we cannot escape it. Death is a scary thing. Our own mortality or the mortality of our loved ones scares us to the point that we sometimes cannot control how we are dealing with such a thing as the thought of death. Why do we fear such a thing as death? We don’t know what happens after we don’t how it feels. The fear of death is different for most but it is most certain to come and we cannot hide from it. For death is just around the corner and maybe it’s will come tomorrow or the next day! We fear not death, but the unknown that comes from death, that is the
When people ponder death they wonder about the unknown with trepidation. As a young man, William Cullen Bryant wrote the "Thanatopsis." His thoughts progress from the fear of death to the acceptance of the event. People should not fear death because everyone dies and becomes a part of nature.
Death, and people's perception of it are a major part of many philosophies. It could be argued that the questions surrounding death and the afterlife form the basis of many philosophic concepts. To some philosophers, not only is the concept of death itself important, but also how people perceive it, and why they perceive it the way they do. Epicurus's claim that the soul is mortal, is an excellent explanation for why we should not fear death.
Many people seem to fear death, but philosophers such as Socrates and Epicurus would argue that one has no reason to fear it. Socrates sees death as a blessing to be wished for if death is either nothingness or a relocation of the soul, whereas Epicurus argues that one shouldn't worry themselves about death since, once we are gone, death is annihilation which is neither good nor bad. Epicurus believes that death itself is a total lack of perception, wherein there is no pleasure or pain. I agree with Epicurus because Socrates doesn't give a sound argument for death as a blessing, whereas Epicurus' argument is cogent. I would also argue personally that death is not something to be feared because, like Epicurus, I see no sufficient evidence showing we even exist after death.
Stone, Tanya Lee. The Good, the Bad, and the Barbie: A Doll's History and Her Impact on Us. New York: Penguin Group, 2010. Print.
The average youth of today isn’t afraid of death because it seems to happen to other people. Death is distant. Every day, we read about people being killed in this or drowned in that but it never happens to someone we know. If someone we know does die, we are shocked and forced to reconsider our lives because, for an instant, we realize that we could die as well.
“No one knows whether death is really the greatest blessing a man can have, but they fear it is the greatest curse, as if they knew well.” –Plato. This quote stresses that death is a natural part of life that everyone will have to deal with, and for most, it is a very uneasy subject which most try to avoid. But why do we all try to avoid the subject of death? I do not believe we are scared of death itself, we fear what will happen after death.
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.