“The Waste Land” By T.S. Eliot
“The Waste Land” Section One “The Burial of the Dead”
“The Burial of the Dead” is the opening section of T.S. Eliot’s “The Waste Land.” It sets the tone for the rest of the poem, exploring themes of despair, decay, and spiritual emptiness. Here’s a stanza-wise analysis of this section:
Stanza 1:
April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
In this stanza, Eliot begins with a contradictory statement, describing April as cruel despite its association with renewal and rebirth. This juxtaposition highlights the speaker’s sense of disillusionment with the natural world. The blooming of lilacs symbolizes the revival of life, but it also reminds the speaker of the inevitability of death. The mixing of memory and desire suggests a longing for the past and the inability to escape from its grasp. The mention of “dull roots” being stirred by spring rain hints at the dormant vitality within the barren landscape.
Stanza 2:
Winter kept us warm, covering
Earth in forgetful snow, feeding
A little life with dried tubers.
Here, Eliot contrasts the harshness of winter with its comforting aspects. Despite its coldness, winter provides insulation from the harsh realities of life. The snow acts as a metaphor for forgetfulness, covering up the pain and suffering beneath. The mention of “dried tubers” suggests a meager sustenance, emphasizing the barrenness and lack of vitality in the speaker’s world.
Stanza 3:
Summer surprised us, coming over the Starnbergersee
With a shower of rain; we stopped in the colonnade,
And went on in sunlight, into the Hofgarten,
And drank coffee, and talked for an hour.
This stanza introduces a brief moment of respite amidst the bleakness. The arrival of summer brings surprise and delight to the speaker, offering a temporary escape from the gloom. The imagery of walking in sunlight and enjoying coffee with conversation evokes a sense of warmth and camaraderie. However, this moment of happiness is fleeting and ultimately overshadowed by the pervasive sense of emptiness.
Stanza 4:
Bin gar keine Russin, stamm’ aus Litauen, echt deutsch.
And when we were children, staying at the arch-duke’s,
My cousin’s, he took me out on a sled,
And I was frightened. He said, Marie,
Marie, hold on tight. And down we went.
This stanza shifts abruptly to a different scene, introducing a memory from the speaker’s past. The mention of the speaker’s ethnicity and childhood experiences adds layers of complexity to the narrative. The memory of sledding with the cousin juxtaposes innocence with fear, hinting at the fragility of human existence. The repetition of “Marie” underscores the intimacy and vulnerability of the moment, while the descent on the sled symbolizes the inevitability of mortality and the passage of time.
Stanza 5:
In the mountains, there you feel free.
I read, much of the night, and go south in the winter.
The final stanza of this section reflects on the speaker’s longing for freedom and escape. The mountains symbolize a sanctuary away from the constraints of society, where one can find solace and liberation. The mention of reading suggests a pursuit of knowledge and enlightenment, while the desire to travel south in the winter implies a quest for warmth and renewal.
Overall, “The Burial of the Dead” sets the stage for the rest of “The Waste Land,” introducing the reader to the speaker’s sense of disillusionment, longing, and despair. Through vivid imagery and introspective reflection, Eliot explores the complexities of human experience in a world plagued by decay and fragmentation.
The Waste Land Section Two”A Game of Chess”
In “A Game of Chess,” the next section of T.S. Eliot’s “The Waste Land,” the poet presents a fragmented narrative that explores themes of love, lust, and the breakdown of communication in modern relationships. Here’s a stanza-wise analysis of this section:
Stanza 1:
The Chair she sat in, like a burnished throne,
Glowed on the marble, where the glass
Held up by standards wrought with fruited vines
From which a golden Cupidon peeped out
In this stanza, Eliot describes the setting of a luxurious room, perhaps a metaphor for the opulence and superficiality of modern life. The “Chair” symbolizes power and authority, yet it also suggests a sense of isolation and emptiness. The imagery of “fruited vines” and “golden Cupidon” evokes themes of fertility and desire, contrasting with the sterile and artificial nature of the environment.
Stanza 2:
Another hid his eyes behind his wing,
Double tiered, potent as king, queen
Beside her, wary and quiet.
Here, Eliot introduces another character, possibly representing the male counterpart to the woman described in the previous stanza. The reference to hiding behind a wing suggests a sense of vulnerability or deceit, while the presence of the king and queen alludes to the power dynamics within the relationship. The mood is tense and apprehensive, hinting at underlying tensions and conflicts.
Stanza 3:
Beneath the stares of rusted spears.
They breathe softly in the moonlight.
The imagery of “rusted spears” suggests a sense of decay and stagnation, reflecting the deterioration of the relationship. Despite the tranquil setting of the moonlight, there is an underlying sense of unease and foreboding. The characters’ soft breathing hints at a fragile facade of normalcy, masking deeper emotional turmoil.
Stanza 4:
Fingering a yellow book of Mallarmé.
This stanza introduces a sudden shift in focus to a character fingering a book by the French symbolist poet, Stéphane Mallarmé. This literary reference adds layers of meaning to the scene, suggesting a longing for intellectual stimulation and artistic inspiration amidst the mundanity of everyday life. The yellow book may symbolize a source of enlightenment or escape from the stifling atmosphere of the room.
Stanza 5:
Who flashed the eyes of years of youth,
But they sat stolidly in their places,
Eating and drinking.
This stanza describes another character, possibly reminiscing about their youthful vigor and vitality. However, despite the fleeting glimpse of youthfulness, the characters remain impassive and resigned to their fate. The act of eating and drinking becomes a ritualistic gesture, devoid of joy or pleasure, highlighting the emptiness and meaninglessness of their existence.
Overall, “A Game of Chess” presents a bleak and fragmented portrait of modern relationships, characterized by disillusionment, apathy, and a sense of disconnection. Through vivid imagery and introspective reflection, Eliot explores the existential angst and emotional turmoil that pervade the human experience in the wasteland of modernity.
The Waste Land By T.S. Eliot Section Three “The Fire Sermon”
“The Fire Sermon,” the third section of T.S. Eliot’s “The Waste Land,” delves into themes of desire, temptation, and spiritual emptiness. Here’s a stanza-wise analysis of this section:
Stanza 1:
The river’s tent is broken: the last fingers of leaf
Clutch and sink into the wet bank. The wind
Crosses the brown land, unheard. The nymphs are departed.
In this opening stanza, Eliot paints a picture of desolation and decay. The river, once a source of life and vitality, now lies broken and deserted. The imagery of the last fingers of leaf clinging to the wet bank symbolizes the final remnants of beauty and fertility being swallowed by the barren landscape. The departure of the nymphs, mythological symbols of nature’s spirit and vitality, further emphasizes the sense of loss and abandonment.
Stanza 2:
Sweet Thames, run softly, till I end my song.
The river bears no empty bottles, sandwich papers,
Silk handkerchiefs, cardboard boxes, cigarette ends
Or other testimony of summer nights.
Here, Eliot addresses the river Thames with a plea for gentleness and tranquility. The river, once a symbol of purity and vitality, now serves as a receptacle for human waste and pollution. The mention of “empty bottles,” “cigarette ends,” and other debris highlights the degradation of the natural environment and the loss of reverence for the sacredness of nature.
Stanza 3:
The nymphs are departed. Sweet Thames, run softly,
Till I end my song. The river bears no ships;
There are no water-rats and the nymphs are departed.
This repetition of the departure of the nymphs underscores the theme of loss and decay. The absence of ships and water-rats further emphasizes the desolation and abandonment of the river. Eliot’s plea for the river to run softly echoes a sense of resignation and acceptance of the inevitable decline of the natural world.
Stanza 4:
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock),
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
In this stanza, Eliot shifts the focus to a dry stone and a red rock, symbols of aridity and barrenness. The speaker invites the reader to come under the shadow of the red rock, suggesting a refuge from the harsh realities of life. The mention of shadows at morning and evening alludes to the passage of time and the inevitability of death, hinting at the transience of human existence.
Stanza 5:
I will show you fear in a handful of dust.
Here, Eliot concludes the section with a powerful and enigmatic statement. The speaker promises to reveal fear in a handful of dust, suggesting the presence of existential dread and spiritual emptiness lurking beneath the surface of everyday life. This line encapsulates the overarching theme of disillusionment and despair that pervades “The Waste Land.”
Overall, “The Fire Sermon” offers a bleak and haunting meditation on the degradation of the natural world and the spiritual malaise of modern society. Through vivid imagery and introspective reflection, Eliot explores the profound sense of loss and alienation that characterizes the human experience in the wasteland of modernity.
The Waste Land By T.S. Eliot Section Four “Death by Water”
“Death by Water,” by T.S. Eliot is a contemplation on mortality and the cyclical nature of life and death. Here’s a stanza-wise analysis:
Stanza 1:
Phlebas the Phoenician, a fortnight dead,
Forgot the cry of gulls, and the deep sea swell
And the profit and loss.
In these lines, Eliot introduces Phlebas, a Phoenician sailor who has been dead for two weeks. The speaker reflects on Phlebas’s demise and the loss of his connection to the natural world, symbolized by the cry of gulls and the deep sea swell. The mention of “profit and loss” hints at the ephemeral nature of worldly concerns in the face of mortality.
Stanza 2:
A current under sea
Picked his bones in whispers. As he rose and fell
He passed the stages of his age and youth
Entering the whirlpool.
Here, Eliot employs vivid imagery to depict Phlebas’s decomposition at the bottom of the sea. The current, symbolizing the passage of time, slowly erodes Phlebas’s bones, whispering secrets of mortality. Phlebas is portrayed as transcending the stages of life, symbolized by his “age and youth,” as he is drawn into the whirlpool of death.
Stanza 3:
Gentile or Jew
O you who turn the wheel and look to windward,
Consider Phlebas, who was once handsome and tall as you.
In this stanza, Eliot addresses the reader directly, urging them to contemplate the universal experience of mortality embodied by Phlebas. Regardless of one’s background or identity, the inevitability of death looms over everyone. The mention of Phlebas’s former beauty and stature serves as a reminder of the transience of human life and the futility of worldly vanity.
Stanza 4:
These fragments I have shored against my ruins
Why then Ile fit you. Hieronymo’s mad againe.
Datta. Dayadhvam. Damyata.
The final stanza of “Death by Water” shifts abruptly to the speaker’s own reflections on mortality. The speaker acknowledges the fragments of wisdom and knowledge they have gathered, perhaps in an attempt to find meaning amidst the ruins of existence. The cryptic phrases “Ile fit you,” “Hieronymo’s mad againe,” and “Datta. Dayadhvam. Damyata.” suggest a longing for enlightenment and guidance in the face of life’s uncertainties.
Overall, “Death by Water” serves as a meditation on the inevitability of death and the transience of human existence. Through vivid imagery and introspective reflection, Eliot invites the reader to confront the existential mysteries that pervade “The Waste Land” and the human condition itself.
The Waste Land By T.S. Eliot Section Five “What the Thunder Said”
“The Waste Land” section Five “What the Thunder Said,” by T.S. Eliot, is a climactic section that explores themes of redemption, renewal, and spiritual awakening. Here’s a stanza-wise analysis:
Stanza 1:
After the torchlight red on sweaty faces
After the frosty silence in the gardens
After the agony in stony places
The shouting and the crying
Prison and palace and reverberation
Of thunder of spring over distant mountains
He who was living is now dead
We who were living are now dying
With a little patience
This stanza opens with a description of a tumultuous scene, marked by torchlight, silence, agony, and tumult. The imagery evokes a sense of chaos and suffering, symbolizing the trials and tribulations of human existence. The mention of thunder over distant mountains hints at the impending revelation or epiphany to come. The repetition of “He who was living is now dead” and “We who were living are now dying” underscores the theme of mortality and the transient nature of life, while the phrase “With a little patience” suggests the possibility of hope or salvation through endurance.
Stanza 2:
Here is no water but only rock
Rock and no water and the sandy road
The road winding above among the mountains
Which are mountains of rock without water
If there were water we should stop and drink
Amongst the rock one cannot stop or think
Sweat is dry and feet are in the sand
If there were only water amongst the rock
Dead mountain mouth of carious teeth that cannot spit
Here one can neither stand nor lie nor sit
There is not even silence in the mountains
But dry sterile thunder without rain
There is not even solitude in the mountains
But red sullen faces sneer and snarl
From doors of mudcracked houses
This stanza depicts a barren and inhospitable landscape, characterized by rocky terrain and a lack of water. The absence of water symbolizes spiritual desolation and a sense of emptiness or deprivation. The speaker describes the discomfort and hardship of traversing the rocky road, highlighting the harsh realities of existence. The imagery of “dead mountain mouth of carious teeth” evokes a sense of decay and decay, while the description of “red sullen faces” suggests a pervasive atmosphere of hostility and resentment.
Stanza 3:
If there were water
And no rock
If there were rock
And also water
And water
A spring
A pool among the rock
If there were the sound of water only
Not the cicada
And dry grass singing
But sound of water over a rock
Where the hermit-thrush sings in the pine trees
Drip drop drip drop drop drop drop
But there is no water
In this stanza, the speaker imagines a scenario where water exists amidst the rocky landscape. The presence of water represents spiritual nourishment and renewal, offering a source of sustenance and vitality in the midst of desolation. The imagery of the “hermit-thrush sings in the pine trees” and the sound of water “drip drop drip drop” evoke a sense of serenity and natural beauty. However, the speaker ultimately concludes that there is no water, emphasizing the prevailing sense of deprivation and longing.
Stanza 4:
Who is the third who walks always beside you?
When I count, there are only you and I together
But when I look ahead up the white road
There is always another one walking beside you
Gliding wrapt in a brown mantle, hooded
I do not know whether a man or a woman
—But who is that on the other side of you?
This stanza introduces a mysterious figure who accompanies the speaker on their journey. The presence of this third figure suggests a spiritual presence or guiding force, perhaps representing a higher power or inner voice. The ambiguity surrounding the figure’s identity adds to the sense of mystery and intrigue. The repetition of the question “Who is that on the other side of you?” invites the reader to ponder the deeper significance of this enigmatic presence.
Stanza 5:
What is that sound high in the air
Murmur of maternal lamentation
Who are those hooded hordes swarming
Over endless plains, stumbling in cracked earth
Ringed by the flat horizon only
What is the city over the mountains
Cracks and reforms and bursts in the violet air
Falling towers
Jerusalem Athens Alexandria
Vienna London
Unreal
In this stanza, the speaker hears a mysterious sound high in the air, described as a “murmur of maternal lamentation.” This haunting sound evokes a sense of sorrow and mourning, perhaps symbolizing the suffering of humanity throughout history. The mention of “hooded hordes swarming” and “endless plains” suggests a sense of chaos and upheaval, while the image of the city “cracks and reforms and bursts in the violet air” conveys a sense of impermanence and instability. The reference to iconic cities such as Jerusalem, Athens, and London underscores the universality of human experience and the transient nature of civilizations.
Stanza 6:
A woman drew her long black hair out tight
And fiddled whisper music on those strings
And bats with baby faces in the violet light
Whistled, and beat their wings
And crawled head downward down a blackened wall
And upside down in air were towers
Tolling reminiscent bells, that kept the hours
And voices singing out of empty cisterns and exhausted wells.
This stanza presents a surreal and unsettling scene, where a woman plays music on her hair while bats with baby faces flutter in the violet light. The imagery evokes a sense of disorientation and unease, as the ordinary is juxtaposed with the bizarre. The mention of towers tolling reminiscent bells and voices singing out of empty cisterns suggests a haunting atmosphere of decay and abandonment. The scene serves as a vivid depiction of the disintegration of civilization and the erosion of human connection.
Stanza 7:
In this decayed hole among the mountains
In the faint moonlight, the grass is singing
Over the tumbled graves, about the chapel
There is the empty chapel, only the wind’s home.
It has no windows, and the door swings,
Dry bones can harm no one.
Only a cock stood on the rooftree
Co co rico co co rico
In a flash of lightning. Then a damp gust
Bringing rain
This stanza describes a desolate scene among the mountains, where grass sings over tumbled graves and an empty chapel stands abandoned. The mention of “dry bones” suggests a sense of death and decay, while the image of a cock crowing in a flash of lightning adds a sense of urgency and impending change. The arrival of rain at the end of the stanza suggests the possibility of renewal and regeneration amidst the desolation.
Stanza 8:
Ganga was sunken, and the limp leaves
Waited for rain, while the black clouds
Gathered far distant, over Himavant.
The jungle crouched, humped in silence.
Then spoke the thunder
DA
Datta: what have we given?
My friend, blood shaking my heart
The awful daring of a moment’s surrender
Which an age of prudence can never retract
By this, and this only, we have existed
Which is not to be found in our obituaries
Or in memories draped by the beneficent spider
Or under seals broken by the lean solicitor
In our empty rooms
In the final stanza, the speaker describes a scene of anticipation and tension as the Ganges river awaits the arrival of rain. The imagery of the jungle crouching in silence adds to the sense of expectancy and foreboding. Then, the thunder speaks, uttering the cryptic word “DA.” This word is followed by a reflection on the nature of existence and the significance of human actions. The speaker reflects on the profound impact of a moment’s surrender, emphasizing the transformative power of decisive action. The stanza concludes with a reflection on the ephemeral nature of human existence and the fleetingness of memory and legacy.
Overall, “What the Thunder Said” is a climactic section of “The Waste Land” that explores themes of redemption, renewal, and spiritual awakening. Through vivid imagery and introspective reflection, Eliot invites the reader to contemplate the mysteries of existence and the possibility of transcendence amidst the desolation of the modern world.
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