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Apologise, but: The Waste Land By Eliot

This website uses cookies to help us give you the best experience when you visit our website. By continuing to use this website, you consent to our use of these cookies. Sign up. You are browsing in private mode. TS Eilot in Show Hide image. It took the magazine a few months before it turned its attention to the verses and, when FL Lucas did so, his judgement was damning. When Athens had decayed and Alexandria sprawled, the new giant-city, across the Egyptian sands; when the Greek world was filling with libraries and emptying of poets, growing in erudition as its genius expired, then The Waste Land By Eliot appeared, as pompous as Herod and as worm-eaten, that Professorenpoesie which finds in literature the inspiration that life gives no more, which replaces depth by muddiness, beauty by echoes, passion by necrophily.

The Waste Land and Other Poems Summary

The fashionable verse of Alexandria grew out of the polite leisure of its librarians, its Homeric scholars, its literary critics. Disconnected and ill-knit, loaded with echo and allusion, fantastic and crude, obscure and obscurantist, such is the typical style of Alexandrianism. Those who conscientiously plunge into the two hundred pages of the former interesting, though credulous, work, will learn that the basis of the Grail story is the restoration of the virility of a Fisher King who is an incarnation, like so many others in Frazer, of the Life-spiritand thereby of the fertility of a Waste Land, the Lance and the Grail itself being phallic symbols. While maintaining due caution and remembering how Diodorus Siculus Made himself ridiculous, By The Waste Land By Eliot thimbles Were phallic symbols, one may admit that Miss Weston makes a very good case.

With that, however, neither she nor Mr Eliot can rest content, and they must needs discover an esoteric meaning under the rags of superstitious Adam. Miss Weston is clearly a theosophist, and Mr Eliot's poem might be a theosophical tract.

The sick king and the waste land symbolise, we gather, the sick soul and the desolation of this material Elior. To attempt here an interpretation, even an intelligible summary of the poem, is to risk making oneself ridiculous; but those who lack the common modern gift of judging poetry without knowing what it means, must risk that.

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The next moment comes a spasm of futile, society conversation from a Swiss resort, followed by a WWaste outburst at the sterile barrenness of life, though not without hope of its redemption. Then, suddenly, a verse of Tristan und Isolde and an echo of Sappho the vanity of human love? The second section contains a dialogue between two jaded lovers in luxury, an interlude about the rape of Philomela the nightingale spiritual beauty violated by the world?

In the third part the Fisher King appears fishing in the first person behind the gashouse, and there recur the motifs of the nightingale and of unreal London, also: Mr.

Eugenides, the Smyrna merchant Unshaven, with a pocket full of currants C. A note explains that Tiresias, being a person of double sex, unites in some way all the other persons in the poem. There is more suburban sordidness, and the section ends gasping half a sentence from St Augustine and another half from Buddha.]