• fertile and happier past
  • In the modern ..
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On the other hand, in Yulisa Amadu Maddy's book No Past, No Present, No Future death is not poetic at all but very cold and melancholy....

SparkNotes: Eliot’s Poetry: The Waste Land Section I: …

These are meant to reference—but also rework— the literary past, ..

Eliot's The Wasteland and Yulisa Amadu Maddy's No Past No Present No Future
The second dimension of the authority on which rests involves thenew discourse on myth that comes from the revolutionary advances in anthropology inEliot's time associated with the names of Émile Durkheim, Marcel Mauss, and the CambridgeSchool led by Sir James Frazer and Jane Harrison. We know that Eliot was well acquaintedwith these developments at least as early as 1913-14. The importance of these new ideasinvolved rethinking the study of ancient and primitive societies. The impact of theserenovations was swift and profound and corresponds, though much less publicly, to theimpact of on the educated public of midcentury Victorianlife. Modernist interest in primitive forms of art (Picasso, Lawrence, and many others),and, therefore, the idioms and structures of thought and feeling in primitive cultures,makes sense in several ways. Clearly the artistic practices of primitive peoples areinteresting technically to other artists of any era. Interest in the affective world orthe collective mentality of a primitive society is another question altogether. Thatinterest, neutral, perhaps, in scholarship, becomes very easy to formulate as a critiqueof practices and structures in the present that one wants to represent as distortions andcaricatures of some original state of nature from which modernity has catastrophicallydeparted. Eliot's interest in the mythic thought of primitive cultures, beginning atHarvard, perhaps in the spirit of scientific inquiry, takes a different form in theargument of There it functions pointedly as a negative critique ofthe liberal account of the origins of society in the institutions of contract, abstractpolitical and civil rights, and mechanistic psychology.

The World of Eliot’s Waste Land » Writing Program » …

Eliot's The Waste Land and Yulisa Maddy’s No Past No Present No Future
Such misinterpretations involve also misconceptions of Ellot's technique. Eliot's basicmethod may be said to have passed relatively unnoticed. The popular view of the methodused in may be described as follows: Eliot makes use of ironiccontrasts between the glorious past and the sordid present--the crashing irony of

 

The World of Eliot’s Waste Land ..

Eliot's The Waste Land and Yulisa Maddy’s No Past No Present No Future I am immortal.
In contrast, the male voice through which Eliot presents these women has none of thedefinitional attributes of conventionally centered identity. It resists location in timeand space, it conveys emotion through literary quotation, and it portrays experience onlythrough metaphoric figuration: the cruel April at the poem's beginning, the desertlandscape, the rat’s alley, where "dead men lost their bones." Eliot thusturns the shifting figuration that appears as unsurety in "Portrait of a Lady"to a poetic strength. The very lack of location and attribute seems to place the speakerbeyond the dilemmas of personality, as if Eliot had succeeded in creating the objectivevoice of male tradition. But for all this voice seems to offer, the early parts of thepoem imagine men as dead or dismembered: the drowned Phoenician sailor, whose eyes havebeen replaced by pearls, the one-eyed merchant, the fisher king, the hanged man, thecorpse planted in the garden. Thus Eliot allows us to read the sublimation of body andpersonality that mark the poem's voice as a repression of them as well, an escape fromdismemberment by removing the male body from the text.

National Agricultural Research System - past present and future - 5-5-2000
Neo-Expressionists championed the highly unfashionable practice of (condemned as "dead" by postmodernists) and supported everything that the Modernists had tried to discredit: figuration, emotion, symbolism, and narrative.


On The Waste Land - Department of English

Eliot's first long philosophical poem, can now be read simply as itwas written, as a poem of radical doubt and negation, urging that every human desire bestilled except the desire for self-surrender, for restraint, and for peace. Compared withthe longing expressed in later poems for the "eyes" and the "birth,"the "coming" and "the Lady" (in "The Hollow Men," the Arielpoems, and "Ash-Wednesday"), the hope held out in is anegative one. Following Hugh Kenner's recommendation, we should lay to rest the persistenterror of reading as a poem in which five motifs predominate: thenightmare journey, the Chapel, the Quester, the Grail Legend, and the Fisher King. Themotifs are indeed introduced, as Eliot's preliminary note to his text informs us, but if(as this note says) "the plan and a good deal of the incidental symbolism of the poemwere suggested by Miss Jessie L. Weston's book on the Grail legend," the plan canonly have been to question, and even to propose a life without hope for, a quest, orChapel, or Grail in the modern waste land. The themes of interior prison and nightmarecity--or the "urban apocalypse" elucidated by Kenner and Eleanor Cook--make muchbetter sense when seen as furnishing the centripetal "plan" and"symbolism," especially when one follows Cook's discussion of the disintegrationof all European cities after the First World War and the poem's culminating vision of anew Carthaginian collapse, imagined from the vantage point of India's holy men. A passagecanceled in the manuscript momentarily suggested that the ideal city, forever unrealizableon earth, might be found (as Plato thought) "in another world," but thereference was purely sardonic. Nowhere in the poem can one find convincing allusions to existence in another world, much less to St. Augustine's vision of interpenetrationbetween the City of God and the City of Man in world. How, then, can one takeseriously attempts to find in the poem any such quest for eternal life as the Grail legendwould have to provide if it were a continuous motif--even a sardonic one?

The foregoing account of The Waste Land is, ..

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