Beruflich Dokumente
Kultur Dokumente
RANDY ABLACK
#00020156
The Moderns
Mr. C. Dial
10. 03. 09
Assignment #1
Discuss Eliot’s portrayal of the absence of communication and love in ‘The
Wasteland’ as a major element in his vision of an emotionally and physically sterile
landscape.
“The only way of expressing emotion in the form of art is by finding an "objective
correlative"; in other words, a set of objects, a situation, a chain of events which shall be the
formula of that particular emotion; such that when the external facts, which must terminate in
The epigraph that prefaces ‘The Waste Land’ where the ancient Cumaean Sibyl begs for
death, serves to symbolically present the essence of Eliot’s vision of a post- World War 1 Europe.
The agony of a pyrrhic victory from which the victor must soldier on indefinitely also parallels
the failure of Eliot’s marriage at the time of writing. Both are linked to an absence of
communication and a lack of love. In the case of the Sibyl, it manifests in the unending
sterility of old age, resulting from a misunderstanding of the true nature of a wish
throughout the poem is consistent, in form, with that of a mind close to madness. Eliot
uses these voices and their relationships as “objective correlatives” to structure his
impression of an ailing landscape, when the poem is taken as a whole and placed in
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context (i.e. viewed objectively). This technique is further evident in the alternative
choice of epigraph and title (“The horror! The horror! ”-Heart of Darkness; and “He Do
the Police in Different Voices”), which are emotionally consistent with the final titles
chosen. The poem continues as a progression of blighted pastoral images alternating with
from the very first section. The switching of voices (that do not actually speak to each
other), the multi-lingual interjections coupled with the absence of punctuating markers,
all seem to conspire to place the reader into a state of miscommunication. This is actually
what is being communicated. The landscape of the living dead and the dead living,
mixed, is the action of “The Burial of the Dead”. The spirits speak unclearly to Europe’s
wisest woman. Spring brings no renewal, no reproduction and no romance, only a brown
confusing fog. Wagner’s tragic opera prefaces a memory of unreciprocated love by the
hyacinth girl. Meanwhile, the monotony of the then familiar crowd, covers London
Bridge in a cold uncommunicative flurry of activity. Even the voice of God (?)
challenges the ‘Son of Man’ to emerge from under the red rock of the Unreal (false) City,
to confront this dust (death). There exists naught but a passing familiarity and uneasy
anxiety among the inhabitants of the snowy / rocky landscape. It kills intimacy. It denies
love.
So, “Why do you never speak?”…When a marriage is bereft of love, the very
actions that are listed as expressions of affection take on an entirely different tenor. A
man watching his wife brush her hair in front of a mirror transforms into a mocking
façade. Every detail but her beauty is listed. And every last beautiful detail twinkles
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meaninglessly. …Then, “What shall we ever do?” Here calculation replaces passion and
time becomes a waiting game. Such is the confessional of Part Two: “Ä Game of Chess”.
It is the rape of romance. Eliot now hears a bird calling her mate, as an eternal
announcement of violation. He hears a soldier coming in cuckold from the war. The
killing field levels into that of a chessboard where partners are adversaries, who stare
across an ornate eternity, hoping for death to break the silence. There are no winners in
this battle, for love has become war and lovers, mere allies. What is clear is that time is
no friend to these faux strategists; it shouts to them the urgency of change (“HURRY UP
PLEASE IT’S TIME”). Yet every attempt to abort their infertile existential ennui ends in:
“Nothing again nothing.” Eliot is yet to impose insight or understanding upon the
landscape.
The third section of the poem, “The Fire Sermon”, identifies what was once the
source of regeneration of the land, as being polluted. It is also the confluence of Eliot’s
various religious allusions: from ancient fertility rituals to St. Augustine’s ‘plucking’
deliverance. The title itself refers to the Buddha’s assertion that pure burning lust, greed
and attachment causes a corruption of the Real. The Arthurian legend and the myth of the
Fisher King also feature prominently, to suggest sickness on the sands. The riverbank is
haunted by the ghosts of empty sexual liaisons, such as Sweeny’s (the sensual man’s)
threesome with Mrs. Porter and her daughter; an uninterruptible typist and her
carbuncular clerk; and even Queen Elizabeth’s trysts with The Earl of Leicester, her
reputed lover. None of these unions are shown to produce continuity. Instead, the blind
woman’s sexual pleasure) stands in impotent assessment. Love has left the river Thames;
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it is gone with the nymphs. What remains, is activity, industrialization and alienation as
Eliot digs deeper in Margate Sands, for deliverance. At long last, he can finally connect
“Nothing with nothing” and so constructs “The Waste Land” (Oct. 1921). Eliot has
unearthed the Rhine-maiden’s treasure (the stuff of legends: i.e. From Ritual to Romance;
1920). He discovers the archetypical figures common to all elemental religions which
These metaphors concerning death and recycle of the seasons, and the symbolism
most early cultures. It is equality in death that is the central theme of “Death by Water”.
The Waste Land, being a self-referent poem, still continues with an image of refuse in
this section. In this instance, it reveals the decomposing body of an ancient trader. The
landscape is under water. Greed has laid the Phoenician low; like Europe, he has gone
overboard and the very element that once sustained his wealth, now sterilizes him. Eliot
communicates by counter-example: we are all made equal under the water; rich or poor
(profit and loss), young or old (age and youth), lucky or unlucky (rose and fell), Gentile
or Jew, handsome or tall. The forgotten fertility cult is an uncomfortable reminder that,
the individual will die as the species continue. The archetype of Immortality has stymied
the warring Christian nations: the lust for everlasting life also, is greed. God must die for
love to be made flesh and blood. Mercifully, the deity is sacrificed somewhere between
As Eliot concludes his ritual with “What the Thunder Said”, we witness a crowd
heal the land has been dismembered. The solution now lies in the individual effort of
each and every ordinary man. King Eliot ends the ceremony by asserting, in three loud
thundering claps, that the cure for (t)his insanity, is indeed charity, control and
The Master) throughout the land. Ironically the advice is easier given than followed. Not
only did it prove an ineffectual repair of Eliot’s own marriage but soon enough, Europe
was embroiled in the most devastating conflict ever to afflict the entire planet (World
War II). Tragically, his vision of an absence of communication and love had become
increasingly accurate.