The poem makes sparing use of end-rhyme, which is associated with completion and closure. The modernists tended to break from traditional forms of writing and invent new forms or, at the very least, break or fragment more common forms. Just as the one-eyed merchant, seller of currants, melts into the Phoenician Sailor, and the latter is not wholly distinct from Ferdinand Prince of Naples, so all the women are one woman, and the two sexes meet in Tiresias. They suggest that Eliot is drawing on resources even older than Chaucer’s Middle English. While Modernism was a distinct literary movement, of which T.S. Her brain allows one half-formed thought to pass: from Oxford University Ph.D. from St. Andrews University, Top subjects are Literature, History, and Law and Politics, "The Waste Land" is a modern poem and also a Modernist one. Eliot certainly knows his. He emphasizes the role of death and decay in the process of growth, most memorably in the conversation between two veterans who meet near London bridge after the war: “‘Stetson! The resulting cacophony suggests the impossibility of a truly unified understanding of the poem, even if Eliot hoped that all the voices could be subsumed in that of Tiresias. Because of the war, he was unable to return to the United States to receive his degree. These opening lines, then, pose the question of the poet’s originality in relation to a tradition that seems barely capable of nourishing the “dull roots” of the modern poet’s sensibility. Eliot helpfully, if somewhat pedantically, included a set of notes on the poem that allowed even his early readers to identify the sources of these allusions, although he later ridiculed his own notes as “a remarkable exposition of bogus scholarship.” The notes themselves are an indication of what is new about the poem. The poet lives in a modern waste land, in the aftermath of a great war, in an industrialized society that lacks traditional structures of authority and belief, in soil that may not be conducive to new growth. While Modernism was a distinct literary movement, of which T.S. Eliot’s allusive method is a distinctive feature of his poetry, but he developed it in part on the model of some of Pound’s earlier poems, and Pound’s editing of The Waste Land greatly increased its fragmentation. A moment of ragtime music breaks in before the neurotic woman threatens to rush out into the street. So, you might ask how referring to older works of literature or to the Bible or mythology could be in any way new. Frazer and Weston explored the links among the mythology of the ancient near east, the Christ story, fertility rites, folk customs like May Day, and degenerate modern forms of magic such as the Tarot deck. It has, however, other attributes of modernity which overlap with Modernism but may, at any rate, be described as "modern" as well as being "Modernist.". One of the factors that helped to create “high modernism” was the attempt of poets, after the war, to extend the techniques of the pre-war avant-gardes to address broad, historical questions, the sorts of questions normally addressed by epic. / Sighs, short and infrequent were exhaled,” lines 63-4). In a well-known essay, “Tradition and the Individual Talent” (1919), Eliot described how the modern poet, when truly original, enters into a dialogue with tradition. Winter kept us warm, covering you were probably The maid relates her own conversation with Lil. )��貓)I�knL ���p�9��9 �� "4� �l}6�OrG Vz��4��G�X�Y��6.��k��ݫƯ]/�1Qڳ�4�k����������83��c�U��]=�:��>�=�C��-"��1����ыX�`%����mc���b�c�fq�$e�ÃQ< ��#����k���ZŁ�Ϭ�m���8O�W���^�{�{. These lines seem uneven—as if the poet had started to write iambic pentameter but not completed the lines or as if he had intended to write shorter lines with three or four beats each but felt compelled to add the words that appear after the commas. Alienation and the desolation of war are predominant themes in The Waste Land; Eliot originally writes this poem after he suffers a mental breakdown at his bank manager job in London; he felt keenly the destruction and decay of World War I and mourned the loss of innocence and spirituality. He taught grammar school briefly and then took a job at Lloyds Bank, where he worked for eight years. A. Richards influentially praised Eliot for describing the shared post-war “sense of desolation, of uncertainty, of futility, of the groundlessness of aspirations, of the vanity of endeavour, and a thirst for a life-giving water which seems suddenly to have failed.” Eliot later complained that “approving critics” like Richards “said that I had expressed ‘the disillusionment of a generation,’ which is nonsense. I may have expressed for them their own illusion of being disillusioned, but that did not form part of my intention.” Nonetheless, it was as a representative of a postwar generation that Eliot became famous.
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