The Waste Land by T. S. Eliot

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This article will explore the poem’s structure, elements, and Mythology. I will also examine its influence on modernist poetry. This is a critical analysis of one of Eliot’s most enigmatic and iconic poems. Continue reading to learn more about The Waste Land. Here are some of the key elements of the poem. This poem is a highly personal piece, and there are numerous reasons why. But first, let’s look at how Eliot creates this feeling of loneliness and hopelessness.

Eliot’s poem
In the poem The Waste Land, Eliot takes a shot at modern society and its degraded culture. It’s a lengthy poem, divided into five sections, and is a criticism of modern culture and its demise. The poem’s epigraph is a quote from a book called Satyricon. It describes the Sibyl, a fictional character who suffers from a terrible disease, but it also reflects Eliot’s own perception of the human condition.

The Waste Land was published in 1922, and although it’s based on ancient myths and religious texts, Eliot’s text makes use of a mythic method to tell its story. This technique was most likely inspired by the work of James Joyce, whose novel Ulysses was published in book form in 1922. It had previously been serialized in the Little Review for several years.

Elements of the poem
In ‘The Waste Land’, Eliot explores themes related to gender roles and sexuality. Eliot contrasts the death of people living in the wasteland with those who survive the destruction. While the waste land is a metaphor for a life that is discarded by the dead, the poems’ use of metaphors is a reflection of the changing nature of society. For example, in ‘Death by Water,’ Phlebas the Phoenician, a metaphor for death, is emphasized in the poem. The poem shows how people in the modern wasteland are separated from their feelings.

Despite the varied views of critics, The Annotated Waste Land focuses on the poems’ linguistic structure and meaning. This edition also focuses on Eliot’s contemporary prose. The poem was published in four editions in various times. The first edition was published in Criterion’s October issue, while the second edition appeared around the twentieth. The third edition came out around twenty-tenth October, and contained notes by Liveright and Boni. The fourth edition appeared in December, with notes from Boni and Liveright. The first edition has been given a high priority, and the poet was also involved in the supervision of this publication.

Mythology used in the poem
The poem’s structure is based on mythology. The primitive vegetation is associated with the seasonal cycle of life and death. The myth of the Grail echoes the Christian belief in resurrection and the never-ending cycle of life and death. This myth is also woven into the poem. While The Waste Land is primarily a religious poem, the use of mythology also suggests a deeper meaning.

The poet T.S. Eliot used mythology to create a sense of place, highlighting the distance between mankind and nature. The poem also explores the human desire to cooperate with the natural world and the complexities of this process. The poem uses a metaphor to portray the fragmented and broken soul of an urbanized culture. The poet acknowledged his influence on anthropology and mythology, gaining a greater understanding of the human condition and using mythology to create an emotional resonance.

Influence of poem on modernist poetry
“Of Modern Poetry” by Wallace Stevens, one of the most influential modernist poets, is a striking example of how form affects meaning. “Of Modern Poetry” opens with the act of finding and ends with the act of finding again. The poem is both poetic and experimental, as it shows that poetic form does not have to conform to a prefabricated form. The Modernists proved that prefabricated forms impede creativity and the progression of ideas.

After the Spanish Civil War and the economic depression of the 1930s, the emergence of overtly political poetry was evident. This was the period when W. H. Auden and Stephen Spender emerged as poets of this period. While they were nominally admirers of T. S. Eliot, Auden and Spender wrote free verse rarely, and they were both highly conservative in form. However, they did share many elements of modernist poetry.

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