For, if we rush too quickly to Tiresias as a presiding consciousness, along the lines established by Conrad or James, then we lose what the text clearly asks us to retain: To put the matter in still other terms: The Waste Land and Its Protagonist.
The Thames river is not the same.
Since both fail, the quest fails, and the poem ends with a formula for purgatorial suffering, through which Tiresias may achieve the second alternative after patience and self-denial--perhaps after physical death.
However, when the context is widened and the poem read as a motivated operation on an already always existing structure of significations, this technical advance is itself significant as a critique of settled forms of coherence. Like the points of view described in the dissertation, the fragments in The Waste Land merge with one another, pass into one another.
The masses produce a nearly perfect redundancy of citation, the episode suggests; culture and tradition are replaced by verbatim or unmasticated reproduction of earlier verbatim reproductions.
Again, the argument is that this notion has not been sufficiently entertained and tested in earlier commentary on Eliot.
Each of these represents one of the three main characters in the Grail legend and in the mystery cults--the wounded god, the sage woman transformed in some versions of the Grail legend into a beautiful maidenand the resurrected god, successful quester, or initiate.
There is neither repulsion nor any pleasure, and this absence of feeling is a measure of the sterility of the age. The two sexes may, as Eliot suggests, meet in Tiresias, but they do not begin there. The very lack of location and attribute seems to place the speaker beyond the dilemmas of personality, as if Eliot had succeeded in creating the objective voice of male tradition.
We cannot understand the poem without knowing what it meant to its author, but we must also assume that what the poem meant to its author will not be its meaning.
If Tiresias dissolves into constituents, let us remember the moments when those constituents resolve into Tiresias. In the modern world, it seems, freedom cannot be had without fragmentation and loneliness, and community cannot be had without coercion and conformity.
Sexuality in Eliot involves hiddenness not as a mode of concealment, but as an occult mode of access with erotic implications. When I was young, I gave my mind And plied myself to fruitless poetry; Which though it profit the professor naught Yet it is passing pleasing to the world.
What had been a series of fragments of consciousness has become a consciousness of fragmentation: A group or medley of voices cannot attend to a charged, remote silence; for that a single protagonist was necessary, one who could both "do" the group and find in himself the anguish and strength to leave it, repressing the fatal impulse as Moody puts it "towards a renewal of human love" and seeking, instead, the Love Omnipotent.Free Waste Land Essays: Underlying Myths in The Waste Land - Underlying Myths in The Waste Land The underlying myths that Eliot uses to provide a framework for "The Waste Land" are those of the Fisher King and the Grail Quest.
As Martin points out in his introduction to the essays in this volume, "The disagreement evidenced in these pages is the best suggestion possible of the extent to which 'The Waste Land' sensitively reflects the modern and also the eternal human condition.
The Waste Land was written using a fragmented style.
This is a style that is evident in all of Eliot’s writings. There are several reasons for his using this approach, from a feeling of being isolated, to a problem articulating thoughts (Bergonzi 18.
The waste Land killarney10mile.com complcted ‘The Waste Land’ in the autumn ofand with the constructive suggestions of Ezra Pound about the structure of the poem,the present draft of the poem, which was published inhas become a classic.
The Waste Land T.S. Eliot The Waste Land literature essays are academic essays for citation. These papers were written primarily by students and. Given the fact that he was working on “The Waste Land” even as he was writing “Tradition and the Individual Talent” and his essay on Marvell, it is not surprising that “The Waste Land” puts into practice this literary form whose possibilities Eliot lauds in .Download