Post-War Trauma: ‘A Game of Chess’ in T. S. Eliot’s The Waste Land

2013 ◽  
pp. 141-152
Author(s):  
Jason Harding

This chapter employs concepts and terms drawn from Russian Formalism to assist reading key moments of non-translation in The Waste Land. Treated as avant-garde linguistic ‘shifts’ that disrupt and estrange the poetic form, particular instances of non-translation in the poem—from the epigraph to the wild cacophony of different languages at the end of the poem—are seen as covert and coded expressions of powerful affect. This chapter considers these experimental disruptions of form in the social and political contexts of post-war avant-garde revolt and recognition of individual and collective trauma.


Author(s):  
Erin Templeton

Thomas Stearns Eliot (1888–1965) was an essayist, editor, playwright, poet, and publisher. He was awarded the Nobel Prize in Literature in 1948. He is perhaps best known for his long poem The Waste Land. Eliot was born in St. Louis, Missouri and attended Harvard University, where he earned his bachelor’s degree in philosophy. Eliot’s postgraduate studies in philosophy took him to the Sorbonne in 1910/11 and to Oxford in 1914. Once he arrived in England, however, he spent much of his time in London. There he met two of the most influential people of his literary life: the American poet Ezra Pound and a young Englishwoman named Vivienne Haigh-Wood, whom Eliot would marry in 1915 after a four-month courtship. Pound encouraged Eliot, who had been planning an academic career, to keep writing poetry and to submit "The Love Song of J. Alfred Prufrock" to Poetry magazine for publication. In addition to writing poetry, Eliot also took a position with Lloyd’s Bank in 1917, managing foreign accounts. Pound and Eliot frequently collaborated and critiqued each other’s work throughout the 1920s and 1930s and remained friends until Eliot’s death, despite divergent political and religious paths. The most famous of these collaborations, The Waste Land, has been documented in a published facsimile edition of the poem (1972) that reveals Pound’s numerous comments on Eliot’s manuscript. The Waste Land is revolutionary both in its form, free verse, and its subject matter, which links urbanization, technology, sexuality, and post-war alienation to dozens of classical allusions in seven languages. The poem is a pastiche of voices and fragments linked both thematically and tonally.


2019 ◽  
Vol 10 (5) ◽  
pp. 77
Author(s):  
Nazmul Haque ◽  
Fahmida Pervin

This paper’s overriding concern is to analyze the moral degradation, spiritual sterility, fragmentation, damaged psyche of humanity, the disillusionment of early twentieth-century post-war modern Europe and of course the path of salvation that are enormously manifest in the Thomas Stearns Eliot’s poem ‘The Waste Land’. In the question of regeneration or salvation, Eliot in this poem instructs the morally and spiritually sterile modern man to follow the Indian philosophy, Vedas and Upanishads, the storehouse of knowledge, relief, and source of spiritualism, redemption and salvation. And also he concludes the poem with the sense that if they practise them in their life as instructed, there will be nothing but Shantih, shantih, shantih (peace and tranquility) in their life. This paper thus attempts to dissect how the poem develops exerting the acute sense of spiritual infertility, moral degradation, sexual perversion, meaninglessness in the human relationship of the post-war-devastated and dysfunctional world and concludes with the instruction of the path of salvation.


2019 ◽  
Vol 28 (2) ◽  
pp. 197-213
Author(s):  
Sławomir Studniarz

The premise of the article is the contention that Beckett studies have been focused too much on the philosophical, cultural and psychological dimensions of his established canon, at the expense of the artistry. That research on Beckett's work is issue-driven rather than otherwise, and the slender extant body of criticism specifically on his poetic achievements bears no comparison with the massive exploration of the other facets of Beckett's artistic activity. The critical neglect of Beckett's poetry may not be commensurate with the quality of his verse. And it is in the spirit of remedying this oversight that the present article is offered, focusing on ‘Enueg I’, a representative poem from Echo's Bones, which exhibits all the salient features of Beckett's early poetry. It is argued that Beckett's early verse display the twofold influence, that of the transatlantic Modernism of Eliot and Pound, and of French poetry, specifically the visionary and experimental works of Rimbaud, Apollinaire, and the surrealists. Furthermore, the article also demonstrates that ‘Enueg I’ testifies to Beckett's ambition to compose a complex long Modernist poem in the vein of The Waste Land or The Cantos. Beckett's ‘Enueg I’ has much in common with Eliot's exemplary disjunctive Modernist long poem. Both poems are premised on the acutely felt cultural crisis and display the similar tenor in their ending. Finally, they both close with the vision of the doomed and paralyzed world, and the prevalent sense of sterility and dissolution. In the subsequent analysis, which takes up the bulk of the article, careful attention is paid to the patterning of the verbal material, including also the most fundamental level, that of the arrangements of phonemes, with a view to uncovering the underlying network of sound patterns, which contributes decisively to the semantic dimension of the poem.


2000 ◽  
Vol 47 (3) ◽  
pp. 338-339
Author(s):  
JAMES T. BRATCHER
Keyword(s):  

2005 ◽  
Vol 12 (1) ◽  
pp. 27-84 ◽  
Author(s):  
Lawrence S. Rainey
Keyword(s):  

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