Greetings,
This blog post analyzes T.S. Eliot's modernist epic poem "The Waste Land" in response to a critical thinking assignment from Professor Barad challenging students to interpret Eliot's dense verses and provocative social commentary.
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"The Waste Land" poem otherwise know as modern epic poem by T.S. Eliot, released in 1922. Initially published in London in The Criterion (October), then in New York City in The Dial , and later as a book with Eliot's footnotes. The poem, consisting of five parts and 433 lines, was dedicated to poet Ezra Pound, who assisted in reducing the original manuscript by almost half its size. Recognized as one of the most impactful works of the 20th century. The Waste Land is considered as central work of the modernist poetry. The poem is divided in five distinct parts. Eliot included numerous references to literature, myths, and religions from various cultures worldwide in his poem.
Central Theme of Poem
There are many themes represented in this modern epic poem, which revolves around the central theme of the poem which is sexual perversion and spiritual degradation. One of the themes is life in death and death in life. The poem explores a difference between two types of life and death. A life without purpose is considered a form of death. On the other hand, making sacrifices, even sacrificing one's life, can be life-affirming, like a new beginning. The poem primarily focuses on this idea and explores various versions of it. The idea that people have forgotten the difference between good and evil prevents them from truly living. This is the reason for seeing the modern wasteland as a place where the inhabitants barely even exist. Epigraph of the poem itself is the example, where immortal Sibyl desire for death.
Fertility & Healing
To revive the wasteland, Eliot drew inspiration from ancient rituals involving vegetation. This idea is influenced by the book "From Ritual to Romance," which traces the development from early pagan celebrations to spiritual journeys in search of the Holy Grail and the healing of the Fisher King. For starting a new journey outside the wasteland, people should confront their fear, sex and religion within their relationship. Eliot's poem could be a search for spiritual thirst in a chaotic world. It's filled with references to mythology, religion, and the supernatural. The poem often compares an individual's struggles in society and nature and explores the dynamics between men and women.
Yet, the poem also features diverse characters like an Austrian Countess, a London pub owner, Cockneys (East Londoners with unique accents and language), a typist with questionable undergarments, a scruffy young clerk, and a Phoenician sailor. It is difficult to read the poem because of numerous references, quotes, and bits of German, French, Italian, and Sanskrit.
It is an important poem as it dragged the modern world out of cultural dismay into a new era of hope and structure. 'The Waste Land' blends the old and new, history and the present, mythology and real life, using symbolism and psychological fragments.
Things to Consider
Q) What are your views on the following image after reading 'The Waste Land'? Do you think that Eliot is regressive as compared to Nietzsche's views? or Has Eliot achieved universality of thought by recalling the mytho-historical answer to contemporary malaise?
Nietzsche presents the idea of the Übermensch, also referred to as the Overman or Superman, in works like "Thus Spoke Zarathustra", "The Gay Science", and "Beyond Good and Evil". By declaring "God is dead," Nietzsche argued that humanity had reached a point where it could seize control of its own fate. According to him, religion, particularly Christianity, had fulfilled its role, and it was time for humans to break free from such dependencies. Nietzsche believed that Christianity falsely offered otherworldly promises, diverting people from earthly concerns. He claims that man has grown up since so long, and has become 'Superman'. Nietzsche considers human being as highest kind of species in universe.
In a sense, Nietzsche's perspectives contrast with those of Eliot. In Eliot's contemporary epic poem, "The Waste Land," he incorporated numerous religious allusions, not limited to Christianity but encompassing various religions globally, including Hinduism. Additionally, Eliot delved into the foundational aspect of literature, which is mythology, referencing various myths to convey the poem's central theme of sexual perversion and spiritual degradation.
Nietzsche perceived the diminishing influence of Christianity and the concept of "God" as a form of liberation. In his view, this presented a chance for individuals to establish their own existential significance instead of being constrained by otherworldly moral standards. The "übermensch" symbolizes the complete fulfillment of human capabilities once these constraints are eliminated. Eliot's poem uses ancient stories, myths, and initiation ceremonies not to go back to them in a backward way but to understand why the hope for meaning and renewal seems empty in the 20th century. Unlike Nietzsche, Eliot is not completely saying no to these old traditions. instead, he is showing how they point to a lack of spiritual fulfillment.
Nietzsche wants us to move forward from the values we've been handed down. On the other hand, Eliot is saying that our modern feeling of being lost is like a sickness caused by not having strong connections to our past.
Nietzsche's Perspective:
- Sees Christian morality as severing people from reality by overly restricting natural impulses and promising fictional afterlife rewards
- Argues this false belief system cultivates childish dependency, preventing people from taking control of their own destiny
- Believes the "death of God" presents opportunity for liberation and revolutionizing values that impoverish life on earth
- Envisions the "übermensch" as the realization of human potential once freed from religious obstructions and slave morality
Eliot's Perspective:
- Deploys myth and rituals not to revive them in regressive sense but to highlight their loss as root of modern spiritual sterility
- Sees characters wandering without purpose in fractured, arid wasteland as symptom of abandoning inherited structures of meaning
- Resurrects symbols of cyclic renewal (Fisher King, Chapel Perilous, etc) to diagnose and remedy cultural fragmentation post-WWI
- Weaves historical echoes and timeless motifs as glints of redemptive possibility against the wilderness of secular modernity
- Laments the loss of connection to tradition: "These fragments I have shored against my ruins"
In conclusion, T. S. Eliot made use of various religious references and mythical allusion to convey the message that what was happening in the past that is still happening in the contemporary time. So, if we look through the lens of historical sense, we come to know that Eliot's views are not so regressive.
[NOTE: I utilized ChatGPT to improve my comprehension for this question]
Q) Prior to the speech, Gustaf Hellström of the Swedish Academy made these remarks: (read in the blog)
What are your views regarding these comments? Is it true that giving free vent to the repressed 'primitive instinct' leads us to a happy and satisfied life? Or do you agree with Eliot's view that 'salvation of man lies in the preservation of the cultural tradition'?
The idea that allowing repressive primitive instincts to roam freely can lead to a happy life is represented by Freud in his work "Civilization and Its Discontents." In contrast, Eliot presents the opposing notion that to avoid unhappiness and achieve salvation, individuals should strike a balance between their primitive instincts and cultural traditions.
I would agree more with Eliot's perspective of balancing primitive desires with cultural traditions for happiness. The poem itself serves as a prime example of the idea that what occurred in the past continues in contemporary times. Thus, we must learn from our cultural traditions to understand what to avoid for salvation. This concept of historical sense is also evident in Eliot's other work, "Tradition and the Individual Talent."
Eliot depicts individuals in his poem who follow their immediate desires in less-than-ideal situations. Yet, these characters feel a lack of meaning and purpose in their lives. The hints of mythology and history amid the poem's disorder imply that redemption comes from re-establishing connections with lasting traditions that link human experiences through generations.
Freud says holding back instincts causes mental problems, and letting them loose brings a more "natural" fulfillment. Eliot disagrees, saying unchecked desires lead to chaotic cravings and more fragmentation. He thinks reconnecting with rituals and shared identity can bring control in the midst of chaos and excessive freedom.
In Eliot's vision of the 1920s wasteland, being relatively free doesn't assure enlightenment.
[NOTE: I utilized ChatGPT to improve my comprehension for this question]
Q) Write about allusions to Indian thoughts in 'The Waste Land'. (Where, How and Why are the Indian thoughts referred?)
T.S. Eliot, a notable Western scholar, was inspired by Indian philosophy, and he incorporated this influence into his major work, "The Waste Land." In the 1920s, Eliot, who was a leading voice in poetry, employed a unique and indirect writing style to express his belief that contemporary Western city life was unproductive and unfulfilling.
In is his poem The Waste Land, he had used many literary, mythical and religious references to carry out the central theme of the poem which is sexual perversion and spiritual degradation.
Jessie Weston's work, "From Ritual to Romance," greatly influenced T.S. Eliot's "The Waste Land." She not only inspired the title but also influenced the overall structure and many symbolic elements of the poem. Weston highlighted similarities between the religious practices of ancient Aryan people in India and those of Western civilizations in classical and medieval times, encompassing Grail stories and contemporary folk customs.
"The Waste Land" came out in 1922 and earned T.S. Eliot the Nobel Prize in 1948. The poem tells the story of the Holy Grail and the Fisher King, mixing in scenes from modern British life. Eliot uses references from Western literature, Buddhism, and Hindu Upanishads in the poem. The phrase "What the thunder said" is borrowed from the Brihadaranyaka Upanishad, where T.S. Eliot's focus is on Vedic ideas. In the most intricate section called "What the Thunder Said," Eliot presents his perspective on the human condition and the challenges people face in the contemporary world. He also suggests a solution based on Vedic principles, encapsulated in three Sanskrit words: Datta (Give), Dayadhvam (Sympathize), and Damyata (Control). The poem concludes with the repetition of the word Shantih, meaning a peace that surpasses all understanding. Eliot implies that if modern individuals learn to give, sympathize, and exercise control, Western culture might improve and attain shantih.
The poem is divided in five different sections,
The Burial of Dead:- Divers themes of disillusionment and despair.
A Game of Chess:- The strategic and symbolic aspect of human connection and power struggles.
The Fire Sermon:- Influence of Augustine and Eastern religion.
Death by Water:- a symbolic immersion, conveying ideas of cleansing, rebirth, and the cyclical rhythm of life and death.
What the Thunder Said:- Features the Indian thoughts on the poet.
First 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
Second Da
Dayadhvam: I have heard the key
Turn in the door once and turn once only
We think of the key, each in his prison
Thinking of the key, each confirms a prison
Only at nightfall, aethereal rumours
Revive for a moment a broken Coriolanus
Third Da
Damyata: The boat responded
Gaily, to the hand expert with sail and oar
The sea was calm, your heart would have responded
Gaily, when invited, beating obedient
To controlling hands……..
Datta. Dayadhvam. Damyata.
Shantih shantih shantih
The Brihadaranyaka Upanishad mentions Prajapathi, the Creator, having a conversation with his three children — Devas, Demons, and Men. In Chapter V of the first Brahmana, it talks about virtues linked to the thunder's voice, representing Damyata (self-control) for the Devas, Datta (self-sacrifice) for humans, and Dayadhvam (compassion) for the Demons. T.S. Eliot was strongly impacted by the Bhagavad Gita. 'The Word of the Thunder' brings a hopeful light into the overall despair of the poem. Eliot once told Bertrand Russell, "Not only the best part but the part that justifies the whole". Eliot uses ideas from Sanskrit texts to form a structure and underpin the various thoughts that make up the human mind's spiritual journey.
This is what the voice of God echoes through thunder, saying 'Da Da Da,' which signifies damyata (self-control), datta (giving), and dayadhvam (compassion). So, the lesson here is to understand and practice these three virtues: controlling oneself, being generous, and showing compassion. This narrative is a part of the ancient Indo-European prose, and in the Great-Forest-Upanishad, it gives these virtues the approval of a supernatural revelation.
The Waste Land portrays a lifeless place of moral and spiritual decay, where people struggle to find spiritual guidance. Even though the setting is Christian, Indian ideas act like revitalizing waters. Starting by the Thames, the poem concludes along the Ganges. The influence of the Rig Veda is evident, seen in the descriptions of nature and references to Indian rituals throughout the poem.
While the specific reason for his interest in Vedic thought is unclear, it is documented that T.S. Eliot engaged with Sanskrit, Pali, and the metaphysics of Patanjali. In "The Waste Land," he emphasizes three key virtues: Restraint, Charity, and Compassion. The last line "Shantih, Shantih, Shantih" in the poem makes Eliot's connection to Vedic ideas clearer. Eliot is conveying that the repetition of "Shantih" three times is both a neutral and a religious practice in the Vedic way of living.
Q) Is it possible to read 'The Waste Land' as a Pandemic Poem?
The Waste Land is a masterpiece by the modern poet, critic and author T. S. Eliot, which published in 1922. Shortly after the first World War, Spanish flu was spread across whole Europe and claimed many lives. The Waste Land is essentially seen as the war poem, a reaction of against first World War, and the aftermath of war. People were became anxious and fall into anarchy and despair. Western culture was grappled with sexual perversion and moral decline as result of war.
Our concern is that, whether we can analyze this poem with Pandemic lens that was going on at that time. Elizabeth Outka give an answer to this question in her book Viral Modernism, and captures the essence that escaped from our cultural memory.
As mentioned above, The Waste Land is primarily seen as war poem until Elizabeth Outka published her book, in which she stated that during the drafting and publication of The Waste Land, T. S. Eliot and his wife, Vivien were caught into this pandemic in December 1918, and influenza was a constant presence in the mind of both during the second wave of the pandemic. Though Eliot's case was not serious but still it 'left him very weak', and there is possibility that it may affected in his writing of the poem. The relation between Eliot and his wife was not going well at that time. Along with the flu, this also become one of the major disruption in writing the poem, for which Eliot writes, 'long epidemic of domestic influenza'.
Similar to recent novel Corona virus pandemic, which captured our imagination and affected our day to day life, it can also be said that Spanish flu also might have captured Eliot's mind as well. Though it is very difficult task to decipher the pandemic references in the poem as writer did not give any direct reference to the war as well.
Rebecca Onion, in her one the interviews says that, this kind of disease or pandemic often fails to become our cultural memory. Despite of it's devastating effects on mankind, similar to war, it escapes from our mind.
Just as with war, pandemics also result in massive loss of life. Yet unlike wartime sacrifices, the individual battles against disease lack the cultural memorialization granted to soldiers who perish on the battlefield. Those who die from illness are not seen to be fighting heroically for their country in the same manner. Additionally, the sick run the risk of spreading infection to others, rather than protecting the public as soldiers are perceived to do. For these reasons, pandemics fail to achieve the same cultural memory status despite their devastating death tolls. However, it remains virtually impossible for something as impactful as a pandemic to not leave its mark on literature in some form, as literature has a capacity to chronicle the comprehensive range of human experiences - including mass tragedy caused by disease. While pandemic victims may not be immortalized to the extent of war heroes, the widespread suffering they endure nonetheless leaves an indelible imprint through literary portrayal of communities grappling with unfolding crisis.
In many letters written by Eliot, there is a reference to the pandemic. During the year 1921, Eliot had a nervous breakdown, his physical, mental and moral vitality was drained which resulted in enervation. Eliot also had fever dreams which also justify the rosery bead structure of the poem, in which one image leads to another one, and this collage of image leads to a whole new meaning of the poem.
Fragmentary Language of the Poem
The Poem's fragmentation, and the broken language speaks to an experience Eliot had experienced, which can be feverish hallucination, and virus's impact on Eliot's consciousness and the physical and spiritual toll of the pandemic. For example, in ' A Game of Chess', there is a reference of sickroom.
Spanish Flu's Delirium
"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."
The hallucinatory effect intensified in a corresponding moment concerning hair in this lines. Hairs turns into fiddle strings, which turn into sound. The eerie forms from the previous passage have morphed into bats with baby faces crawling down walls.
Tolling of Bells
The poem also refers to the constant tolling the bell, which can also be interpreted as tolling of bell in the cemetery, during pandemic period and many corpses would have been burned. These sounds of tolling bell are not of the battlefields but in the very air of the city and its domestic spaces.
"To where Saint Mary Woolnoth kept the hours
With a dead sound on the final stroke of nine."
Wind and Water
Along with hallucinatory thirst, Eliot depicts an opposite state that paradoxically accompanied the dryness and dehydration of the pandemic, and portrays the threat of drowning, Which is illustrated in fear death by water and the drowned Phoenician sailor. Eliot builds a pathogenic atmosphere of the wind, fog, and the air, such as brown fog, the wind under the door, what is the wind doing and wind's home. This thirst and brokenness speaks to the broader theme of spiritual thirst and sexual brokenness of the Western culture. Language also links to literal thirst caused by heavy fever during the pandemic. The poem serves as a memorial to bodily states, not just spiritual or psychological one, but as a record of suffering and confusion translated into language in both its form and its content.
Watch these videos for further understanding,
Word count: 3245
Images Used: 3
Videos Used: 2
References
Thank You.
- Eliot, TS. “The Waste Land by T. S. Eliot.” Poetry Foundation, https://www.poetryfoundation.org/poems/47311/the-waste-land. Accessed 11 February 2024.
- Erdem, Deniz. “(PDF) “Nietzsche introduces the concept of the Übermensch (also known as the Over man or Superman) in texts such as “Thus spoke Zarathustra”, “The Gay Science” and “Beyond Good and Evil.”” ResearchGate, 4 June 2017, https://www.researchgate.net/publication/317342447_Nietzsche_introduces_the_concept_of_the_Ubermensch_also_known_as_the_Over_man_or_Superman_in_texts_such_as_Thus_spoke_Zarathustra_The_Gay_Science_and_Beyond_Good_and_Evil. Accessed 10 February 2024.
- GRENANDER, M. E., and K. S. NARAYANA RAO. “The Waste Land and the Upanishads : What Does the Thunder Say?” Indian Literature, vol. 14, no. 1, 1971, pp. 85–98. JSTOR, http://www.jstor.org/stable/23330564. Accessed 11 Feb. 2024.
- “How Indian thought influenced T.S. Eliot.” The Hindu, 4 October 2018, https://www.thehindu.com/society/history-and-culture/how-indian-thought-influenced-ts-eliot/article25122620.ece. Accessed 11 February 2024.
- Kuiper, Kathleen. “The Waste Land | Modernist Poetry, T.S. Eliot, Criticism.” Britannica, 5 January 2024, https://www.britannica.com/topic/The-Waste-Land. Accessed 11 February 2024.
- Spacey, Andrew. “Analysis of the Poem 'The Waste Land' by T.S. Eliot.” Owlcation, 10 January 2024, https://owlcation.com/humanities/Analysis-of-Poem-The-Waste-Land-by-TSEliot. Accessed 11 February 2024.
Thank You.
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