The Waste Land - T.S. Eliot
Important Notes
- The Waste Land was written in 1920, which was after World War I, an important event that influences Eliot's writing.
- His pessimistic and nihilistic is emphasized in Sibyl's words "I just want to die," in the epigraph.
- The Fisher King myth: the king, who was wounded in the genitals when he raped a woman, could not reproduce. Because of this his land turned into a wasteland that could not be fixed until the king was healed. Eliot uses this myth as an inspiration except there is no specific person to heal and possibly no chance for regeneration at all.
- "The overall range of allusions in The Waste Land, suggests no overarching paradigm but rather a grab bag of broken fragments that must somehow be pieced together to form a coherent whole. While Eliot employs a deliberately difficult style and seems often to find the most obscure reference possible, he means to do more than just frustrate his reader and display his own intelligence: He intends to provide a mimetic accound of life in the confusing world of the twentieth century."
Summary by stanza:
THE BURIAL OF THE DEAD
1.1 - An aristocratic woman remembers a moment from her childhood (sledding with her cousin). The barren description of the weather is meant to mirror her own empty state of existence. (Written in autobiographical form) Although April is generally known as renewal, it can be difficult because along with renewal comes the pain of memories of the past that won’t come back. Her childhood compared to her current existence shows a transition from a simple life to the political and emotional consequences of war.
1.2 - A prophetic description of life as journey through the desert mixed with a childhood memory of a “Hyacinth Garden” (which juxtaposes the image of the desert). The relationship with the girl of the past leads to a nihilistic outlook due to the failure to act and the realization that there is no second chance. The reference to the sea is evidence of that because is this case the sea is essential nothingness
1.3 - An imagined tarot card reading. Demonstrates Eliot’s obsession with transformation, in this case transformation is associated with vulgarity and frand. There is a hint of commentary on failed religious mysticism and prophecy.
1.4 - The Speaker walks through crowds of ghosts in London (True waste land: the modern city)and confronts a man he has fought with in the battle of Mylae (this war is meant to show the parallel between WWI and the wars between ancient Rome and Carthage, as they were both very futile and caused much destruction. The corpse in the garden can represent sins we bury. Nothing will grow from the corpse: no regeneration. The final line is from “Fleurs de mal” and is meant to accuse the reader of the same sins as the poet.
A GAME OF CHESS
2.1 - This section portrays a wealthy, highly groomed woman who is waiting for her lover and becomes frantic (and eventually reduces to screaming). In the end she plans an excursion and a game of chess. It’s written in blank verse, the structure falls apart as the woman becomes more frantic, there are also lines of dialogues and snippets of songs. This woman’s sexuality is barren, sterile and closely tied to her neurosis. The whole encounter is fruitless, sterile and meaningless
2.2 - Taking place in a London barroom, two women discuss a third woman (Lil) whose husband (Albert) has just been discharged by the army. Lil has been chided for her appearance as they think her husband will seek out other women. Lil blames her appearance on the pills she’s had to take for her abortion (as her last child nearly killed her). There is a rampant sexuality indicated in this section, commonly associated with those who lack culture. Again, sex brings no regeneration. The bartender continuously calls “HURRY UP PLEASE IT’S TIME” to indicate the closing of the bar and the women part with a chorus of “goodnight” mirroring Orphelia’s farewell speech in Hamlet. The Ophelia goodnight lines also relate back to the suicide references in the first section. Form is dialogue interrupted by the barman, a loose series of phrases with “I said” and “she said.”
THE FIRE SERMON
3.1 - Begins by describing the abandonment of summer and coming of winter, all the while implying desolation. The nymphs represent maidens, like Philomela, who have been abandoned by aristocratic youths, archetype of betrayal, like King Tereus. The river is a clean slate, devoid of any sign of modern life. Death is referred to, and then the narrator takes on the role of a fisherman - alluding to the Fisher King of Jessie L. From Ritual to Romance, where the Fisher King is struck with illness (caused by raping a young maiden - Philomela connection) and then a natural disaster hits, transforming his fruitful kingdom into a wasteland. Eliot continues with this character to describe the waste land; naked bodies, bones, etc. There is a strong presence of dying, decaying; a kind of present-day hell. Next, Eliot alludes to the myth of Actaeon and Diana through Sweeney and Mrs Porter (respectively) implying spring as well as death/cruelty. The stanza ends with a direct quotation from Verlaine’s “Parsifal.” The river scene is contrasted with “Sweet Thames” which indicates beauty.
3.2 - This stanza represents the noises made by birds, and is a direct reference to the rape of Philomela, a tale where she, her sister, and her rapist turn into a nightingale, a sparrow, and a hawk respectively.
3.3 - The second reference of an “unreal city,” we are back in London. Mr Eugenides, a merchant from Smyra (present day Ismir in western Turkey) is probably the one-eyed merchant mentioned earlier. He is unkempt, with dried fruits which have been shipped (C.i.f. means cost insurance and freight) to London. He asks the narrator to lunch at a hotel, which some sources suspect to be a blatant (homo)sexual invitation, some not. This is one of the sexual encounters in this section, but like all of them, it is fruitless, homosexuality in itself not being a regenerative sexual encounters.
3.4 - The stanza is about the sexual tryst between a “man carbuncular” and a young typist, perhaps referring to the Cannon Street Hotel which was made into offices in 1931 for typists. Both are obviously lower-working class. Tiresias, the blind prophet who speaks of sexuality as both a man and a woman, sees her pre-coital. The scene cannot be described as rape, but it also cannot be described as two lovers; the ambiguity makes it hard to judge. Tiresias also describes his own love life. The lack of light at the end portrays the lack of pleasure. Tiresias remains motionless and listless, like Sybil, he is not quite able to escape his life.
3.5 - This stanza describes the post-coital woman in her bedroom; an image of almost-perfect, had it not been for her “folly,” however Eliot does describe her indifference to the “man carbuncular.
3.6 - The first line is a direct quote from The Tempest, and takes the reader back from the woman’s bedroom to the streets of London, to the life of the working-class. Magnus Martyr refers to a Church of England. This is a Church that Eliot liked for its aestetically pleasing nature, as well as its utility when he was a sinner. “Splendour of Ionian white and/gold refers to the inside.) Ironically, Ionian white and gold are colors of Eastertide and resurrection, two concepts repeatedly denied in The Waste Land.
3.7 - This stanza recalls the distinctly industrial, working class side of the Thames, where it is polluted, no longer devoid of any sign of life, the Thames is now full of signs of the industry. Eliot quotes Wagner’s Die Gotterdammerung, where the women of the Rhine sing a song of grief and sorrow, having lost their gold.
3.8 - This stanza reflects a supposed tryst between Elizabeth - the “Virgin Queen” - and her suitor the Earl of Leicester. Leicester was one of Elizabeth’s many suitors, but was the only one that Elizabeth did not bestoy power or land upon, because he was the only one whom had any control over her and, had he any real power, she’d be but “half a queen.” However, this stanza reflects a boat ride between the two, and the “peal of bells” is a reminder that it still takes place in London. The allusion to the “Virgin Queen” can also be seen as juxtaposition to the Fisher King, who caused terror to his kindom because of his promiscuity. There is a river song, mentioning a bar and sailors. The Thames-daughter song, with it’s nonsense chorus.
3.9 - This stanza is a maiden, telling the reader that she is from Highbury (suburb in Northern England,) but admitting that she is no longer a maiden; she was seduced in Richmond and Kew (two riverside districts of London) on the floor of a canoe.
3.10 - This stanza outlines the seduction of a second maiden, who was seduced in Moorgate (poor eastern area of London) and she bitterly recalls him promising her a “new start” after regretting the event altogether.
3.11 - This stanza reflects a third maiden who was seduced on Margate Sands (seaside resort on the Thames estuary,) and is now in such a state of distress her situation reflects that of “broken fingernails of dirty hands.” She “can connect/nothing with nothing” because she is so vacant and hurt by the assault.
3.12 - This stanza refers back to Buddha’s Fire Sermon where he advises humans to avoid earthly passions, and instead find freedom in earthly things. It is also a referenceto St. Augustine’s Confessions. Either way, it is describing the dangers of youthful lust. The repetition of “burning” describes man’s futility of struggling. Also brings Hell to mind again. Augustine and Buddha represent the Western and Eastern disciplines. Both are unable to transcend and simply repeat themselves. The form is related to popular song structure. There is much ironic contrast and cheap sexual encounters. Notice that romance is dead.
DEATH BY WATER
4.1 - This short stanza recalls Phlebas, a Phoenician sailor and merchant (judging by “the profit and loss” who has died; perhaps he had been sailing for money or glory? It is here that Madame Sosostris’ warning of “Fear death by water” has been proven true.
4.2 - Death leads to rebirth in two ways; here Eliot alludes to Jessie Weston’s novel From Ritual to Romance, where people in ALexandria will make an effigy of their god and throw it into the sea, where it is carried by the sea current to Babylos, where he is “reborn,” and on the way “passes the stages of his age and youth.”
4.3 - Another warning, this is another form of rebirth; using the death of one to stop the death of another. Eliot draws the reader in by threatening their own life, whomever they may be.
WHAT THE THUNDER SAID
5.1 - This stanza refers to the death of Christ - “he who was living is now dead,” where the “torchlight red on sweaty faces” indicate the guards who take Christ away. The “garden” referred to is Gethsemane, and the “agony in stony places” is the torture and execution. “Thunder of spring over distant mountains” refers to an earthquake which followed the crucifixion.
5.2 - Eliot describes another kind of wasteland; one with no water and only rock, where mountains are “Death” with “carious teeth.” There is a repetitive longing for water, grief at its’ absence, and the thunder, which generally signifies rain, brings none. This stanza emphasizes the themes of desolation and betrayal.
5.3 - It appears that the narrator is going vaguely insane with the obsession of no water, however this stanza (as opposed to the last) focuses more on imagery and what’s around him rather than solely the fact that there is still no water. This stanza also reflects the themes of desperation and betrayal.
5.4 - Here there is a direct reference to Luke 24, where there are two travellers, and the resurrected Christ joins them and they do not recognize Him as the third traveller. It could also be seen as further insanity from the lack of water.
5.5 - “Violet” is a color that represents baptism, and therefore rebirth - just like the “cracks and reforms” of the “Falling towers” of the five cities mentioned. However violet also suggests twilight, not only of the day, but of all of western civilization, especially the cities mentioned. Not only this, but the reference that these cities are unreal indicate that these cities resemble phantoms - like they are dying. However, the narrators vision goes from very specific to overlooking all of Europe with a sweeping gaze, looking at “hooded hordes” and “endless plains.”
5.6 - Above, when violet is mentioned, it may also allude to the Perilous Chapel of Weston’s From Ritual to Romance. Here, knights must pass through a chapel in order to attain the Grail. In this stanza, this “perilous chapel” is described as a nightmarish place that puts knights to the test. It also recalls the lacking of water and the grief and pain that is occurring because of this.
5.7 - A decaying chapel is then described, referring to the chapel in the legend of the holy grail. Rain comes and renews life in the land. There is no heoric figure described as having allowed this to happen, therefore suggested that the rain comes as it wishes and without reason. This is the first water that we see throughout the poem, bringing a small form of hope. Notice the structured nature at the end (after the mess of repetition about no water in the middle) comes as a relief.
5.8 - The stanza begins by putting the protagonist in an Eastern-culture setting, where the sacred Ganges river is mentioned and the black clouds create an imagery of hope. The thunder then speaks of Datta (give,) Dayadhvam (sympathise,) and Damyata (control.) The fable of the Thunder speaking and its meaning is found in Brihadaranyaka-Upanishad. Eliot, through Datta, points out that all we have given is given into the sexual act, and this is not something that can be “retracted,” nor will it be something read in wills, but nonetheless he points out that giving into this is never beneficent and always destructive. Through Dayadhvam, Eliot speaks of a non-existent freedom, where all individuals think of is the “key” to their prison, and oblivious to everything but ethereal rumors. (Coriolanus: a tragedy based on a historical character, a Roman who turned his back on Rome, he is an example of an outcast) This is also a reference to Dante’s Inferno, where Count Ugolino is starved to death because he is locked in a tower for committing treason. Lastly, through Damyata Eliot conveys a more positive message, referring back to the sea and perhaps the beginnings of a love story. However, he focuses more one what could have been than what was.
5.9 - The non-western words indicate many things. They are literally taken as a ultimate resignation. But they also suggest that the Eastern culture is where our hope for regeneration can be found. The scene shift from the destructive european culture to a more eastern setting and perspective. The Fisher King (from section 3) sits on the shore and reflects on his deeds, wondering if he can put his land back in order, after his original sin (the raping of a maiden, which caused the original disaster.) The poem ends in a series of children’s songs from various cultures. Using the English nursery rhyme, Eliot implies that all of civilization is crumbling. However, all of the poems together brings a sense of meditation about the thunder’s power of reconciliation. The Fisher King is giving up his land which means the possibility of regeneration has been lost, and meaning that the king is giving up his power, or perhaps dying. The many allusions and languages at the end are meant to give a sense of falling apart. Dante is quoted again, this time referring to a crumbling or destroyed tower. Thomas Kyd's The Spanish Tragedie is quoted, embodying the protagonist lapsing into insanity. The final line, "Shantih, shantih, shantih" is a formal ending to an Upanishad and can be interpreted as "the peace which passeth understanding." The juxtaposition in this final stanza, between insanity and destruction, and calm, peaceful endings embodies Eliots entire poem and its constantly changing nature, however is an appropriate ending to The Waste Land.
Summary by section:
I. The Burial of the Dead
The title 'Burial of the Dead' comes from an ancient Anglican burial service. This section of the poem is broken into 4 stanzas, each with a different speaker and story, similar to dramatic monologues. However they all relate, in some way, to the idea of war. Also, each speaker eventually describes their personal “wasteland.” The characters are distraught with their need to talk about their experiences but the only audience they address are is the dead. The confusing quality of the text and speakers is supposed to emphasize the idea of being trapped in a crowd of strangers instead of giving a whole picture of a single character. The idea of having multiple languages throughout that the reader does not immediately understand is a comment on the confusing and cosmopolitan nature of modern culture and how we can never truly understand each other.
II. A Game of Chess
This section is broken into 2 opposing scenes. One is of a high society woman and the other of lower class women. (The moves in the game of chess denotes stages of seduction)
III. The Fire Sermon
Taken from the Buddha's Fire Sermon about letting go of earthly possessions and embracing freedom in earthly things. The section has much ironic contrast and cheap sexual encounters, emphasizing romance being dead. The form of this section closely mimics that of popular song structure.
IV. Death by Water
The title of this section recalls the tarot card that appeared in the first section of the poem. A man, Phlebas, who never recognized his mortality has drowned and his body is decaying in the ocean. This is meant to rebut the ideas of renewal and regeneration as well as affirm nihilism as nothing happens in his death, his soul does not go on to anything, his body simply decays in the ocean. The reader is asked to consider his/her own mortality at the end. The idea of this section is that reality and death trump all else. The form of this section is the most structured (four pairs of rhyming couplets). The structure form gives it a very serious feeling.
V. What the Thunder Said
The title of this section comes from an old hindu fables that say thunder can give (Datta), sympathize (Dayadhvam) and control (Damyata) through it’s “speech.” The form of this section mimics that of philosopher and religion, adding an abstract, reflective tone to the text.
THE BURIAL OF THE DEAD
1.1 - An aristocratic woman remembers a moment from her childhood (sledding with her cousin). The barren description of the weather is meant to mirror her own empty state of existence. (Written in autobiographical form) Although April is generally known as renewal, it can be difficult because along with renewal comes the pain of memories of the past that won’t come back. Her childhood compared to her current existence shows a transition from a simple life to the political and emotional consequences of war.
1.2 - A prophetic description of life as journey through the desert mixed with a childhood memory of a “Hyacinth Garden” (which juxtaposes the image of the desert). The relationship with the girl of the past leads to a nihilistic outlook due to the failure to act and the realization that there is no second chance. The reference to the sea is evidence of that because is this case the sea is essential nothingness
1.3 - An imagined tarot card reading. Demonstrates Eliot’s obsession with transformation, in this case transformation is associated with vulgarity and frand. There is a hint of commentary on failed religious mysticism and prophecy.
1.4 - The Speaker walks through crowds of ghosts in London (True waste land: the modern city)and confronts a man he has fought with in the battle of Mylae (this war is meant to show the parallel between WWI and the wars between ancient Rome and Carthage, as they were both very futile and caused much destruction. The corpse in the garden can represent sins we bury. Nothing will grow from the corpse: no regeneration. The final line is from “Fleurs de mal” and is meant to accuse the reader of the same sins as the poet.
A GAME OF CHESS
2.1 - This section portrays a wealthy, highly groomed woman who is waiting for her lover and becomes frantic (and eventually reduces to screaming). In the end she plans an excursion and a game of chess. It’s written in blank verse, the structure falls apart as the woman becomes more frantic, there are also lines of dialogues and snippets of songs. This woman’s sexuality is barren, sterile and closely tied to her neurosis. The whole encounter is fruitless, sterile and meaningless
2.2 - Taking place in a London barroom, two women discuss a third woman (Lil) whose husband (Albert) has just been discharged by the army. Lil has been chided for her appearance as they think her husband will seek out other women. Lil blames her appearance on the pills she’s had to take for her abortion (as her last child nearly killed her). There is a rampant sexuality indicated in this section, commonly associated with those who lack culture. Again, sex brings no regeneration. The bartender continuously calls “HURRY UP PLEASE IT’S TIME” to indicate the closing of the bar and the women part with a chorus of “goodnight” mirroring Orphelia’s farewell speech in Hamlet. The Ophelia goodnight lines also relate back to the suicide references in the first section. Form is dialogue interrupted by the barman, a loose series of phrases with “I said” and “she said.”
THE FIRE SERMON
3.1 - Begins by describing the abandonment of summer and coming of winter, all the while implying desolation. The nymphs represent maidens, like Philomela, who have been abandoned by aristocratic youths, archetype of betrayal, like King Tereus. The river is a clean slate, devoid of any sign of modern life. Death is referred to, and then the narrator takes on the role of a fisherman - alluding to the Fisher King of Jessie L. From Ritual to Romance, where the Fisher King is struck with illness (caused by raping a young maiden - Philomela connection) and then a natural disaster hits, transforming his fruitful kingdom into a wasteland. Eliot continues with this character to describe the waste land; naked bodies, bones, etc. There is a strong presence of dying, decaying; a kind of present-day hell. Next, Eliot alludes to the myth of Actaeon and Diana through Sweeney and Mrs Porter (respectively) implying spring as well as death/cruelty. The stanza ends with a direct quotation from Verlaine’s “Parsifal.” The river scene is contrasted with “Sweet Thames” which indicates beauty.
3.2 - This stanza represents the noises made by birds, and is a direct reference to the rape of Philomela, a tale where she, her sister, and her rapist turn into a nightingale, a sparrow, and a hawk respectively.
3.3 - The second reference of an “unreal city,” we are back in London. Mr Eugenides, a merchant from Smyra (present day Ismir in western Turkey) is probably the one-eyed merchant mentioned earlier. He is unkempt, with dried fruits which have been shipped (C.i.f. means cost insurance and freight) to London. He asks the narrator to lunch at a hotel, which some sources suspect to be a blatant (homo)sexual invitation, some not. This is one of the sexual encounters in this section, but like all of them, it is fruitless, homosexuality in itself not being a regenerative sexual encounters.
3.4 - The stanza is about the sexual tryst between a “man carbuncular” and a young typist, perhaps referring to the Cannon Street Hotel which was made into offices in 1931 for typists. Both are obviously lower-working class. Tiresias, the blind prophet who speaks of sexuality as both a man and a woman, sees her pre-coital. The scene cannot be described as rape, but it also cannot be described as two lovers; the ambiguity makes it hard to judge. Tiresias also describes his own love life. The lack of light at the end portrays the lack of pleasure. Tiresias remains motionless and listless, like Sybil, he is not quite able to escape his life.
3.5 - This stanza describes the post-coital woman in her bedroom; an image of almost-perfect, had it not been for her “folly,” however Eliot does describe her indifference to the “man carbuncular.
3.6 - The first line is a direct quote from The Tempest, and takes the reader back from the woman’s bedroom to the streets of London, to the life of the working-class. Magnus Martyr refers to a Church of England. This is a Church that Eliot liked for its aestetically pleasing nature, as well as its utility when he was a sinner. “Splendour of Ionian white and/gold refers to the inside.) Ironically, Ionian white and gold are colors of Eastertide and resurrection, two concepts repeatedly denied in The Waste Land.
3.7 - This stanza recalls the distinctly industrial, working class side of the Thames, where it is polluted, no longer devoid of any sign of life, the Thames is now full of signs of the industry. Eliot quotes Wagner’s Die Gotterdammerung, where the women of the Rhine sing a song of grief and sorrow, having lost their gold.
3.8 - This stanza reflects a supposed tryst between Elizabeth - the “Virgin Queen” - and her suitor the Earl of Leicester. Leicester was one of Elizabeth’s many suitors, but was the only one that Elizabeth did not bestoy power or land upon, because he was the only one whom had any control over her and, had he any real power, she’d be but “half a queen.” However, this stanza reflects a boat ride between the two, and the “peal of bells” is a reminder that it still takes place in London. The allusion to the “Virgin Queen” can also be seen as juxtaposition to the Fisher King, who caused terror to his kindom because of his promiscuity. There is a river song, mentioning a bar and sailors. The Thames-daughter song, with it’s nonsense chorus.
3.9 - This stanza is a maiden, telling the reader that she is from Highbury (suburb in Northern England,) but admitting that she is no longer a maiden; she was seduced in Richmond and Kew (two riverside districts of London) on the floor of a canoe.
3.10 - This stanza outlines the seduction of a second maiden, who was seduced in Moorgate (poor eastern area of London) and she bitterly recalls him promising her a “new start” after regretting the event altogether.
3.11 - This stanza reflects a third maiden who was seduced on Margate Sands (seaside resort on the Thames estuary,) and is now in such a state of distress her situation reflects that of “broken fingernails of dirty hands.” She “can connect/nothing with nothing” because she is so vacant and hurt by the assault.
3.12 - This stanza refers back to Buddha’s Fire Sermon where he advises humans to avoid earthly passions, and instead find freedom in earthly things. It is also a referenceto St. Augustine’s Confessions. Either way, it is describing the dangers of youthful lust. The repetition of “burning” describes man’s futility of struggling. Also brings Hell to mind again. Augustine and Buddha represent the Western and Eastern disciplines. Both are unable to transcend and simply repeat themselves. The form is related to popular song structure. There is much ironic contrast and cheap sexual encounters. Notice that romance is dead.
DEATH BY WATER
4.1 - This short stanza recalls Phlebas, a Phoenician sailor and merchant (judging by “the profit and loss” who has died; perhaps he had been sailing for money or glory? It is here that Madame Sosostris’ warning of “Fear death by water” has been proven true.
4.2 - Death leads to rebirth in two ways; here Eliot alludes to Jessie Weston’s novel From Ritual to Romance, where people in ALexandria will make an effigy of their god and throw it into the sea, where it is carried by the sea current to Babylos, where he is “reborn,” and on the way “passes the stages of his age and youth.”
4.3 - Another warning, this is another form of rebirth; using the death of one to stop the death of another. Eliot draws the reader in by threatening their own life, whomever they may be.
WHAT THE THUNDER SAID
5.1 - This stanza refers to the death of Christ - “he who was living is now dead,” where the “torchlight red on sweaty faces” indicate the guards who take Christ away. The “garden” referred to is Gethsemane, and the “agony in stony places” is the torture and execution. “Thunder of spring over distant mountains” refers to an earthquake which followed the crucifixion.
5.2 - Eliot describes another kind of wasteland; one with no water and only rock, where mountains are “Death” with “carious teeth.” There is a repetitive longing for water, grief at its’ absence, and the thunder, which generally signifies rain, brings none. This stanza emphasizes the themes of desolation and betrayal.
5.3 - It appears that the narrator is going vaguely insane with the obsession of no water, however this stanza (as opposed to the last) focuses more on imagery and what’s around him rather than solely the fact that there is still no water. This stanza also reflects the themes of desperation and betrayal.
5.4 - Here there is a direct reference to Luke 24, where there are two travellers, and the resurrected Christ joins them and they do not recognize Him as the third traveller. It could also be seen as further insanity from the lack of water.
5.5 - “Violet” is a color that represents baptism, and therefore rebirth - just like the “cracks and reforms” of the “Falling towers” of the five cities mentioned. However violet also suggests twilight, not only of the day, but of all of western civilization, especially the cities mentioned. Not only this, but the reference that these cities are unreal indicate that these cities resemble phantoms - like they are dying. However, the narrators vision goes from very specific to overlooking all of Europe with a sweeping gaze, looking at “hooded hordes” and “endless plains.”
5.6 - Above, when violet is mentioned, it may also allude to the Perilous Chapel of Weston’s From Ritual to Romance. Here, knights must pass through a chapel in order to attain the Grail. In this stanza, this “perilous chapel” is described as a nightmarish place that puts knights to the test. It also recalls the lacking of water and the grief and pain that is occurring because of this.
5.7 - A decaying chapel is then described, referring to the chapel in the legend of the holy grail. Rain comes and renews life in the land. There is no heoric figure described as having allowed this to happen, therefore suggested that the rain comes as it wishes and without reason. This is the first water that we see throughout the poem, bringing a small form of hope. Notice the structured nature at the end (after the mess of repetition about no water in the middle) comes as a relief.
5.8 - The stanza begins by putting the protagonist in an Eastern-culture setting, where the sacred Ganges river is mentioned and the black clouds create an imagery of hope. The thunder then speaks of Datta (give,) Dayadhvam (sympathise,) and Damyata (control.) The fable of the Thunder speaking and its meaning is found in Brihadaranyaka-Upanishad. Eliot, through Datta, points out that all we have given is given into the sexual act, and this is not something that can be “retracted,” nor will it be something read in wills, but nonetheless he points out that giving into this is never beneficent and always destructive. Through Dayadhvam, Eliot speaks of a non-existent freedom, where all individuals think of is the “key” to their prison, and oblivious to everything but ethereal rumors. (Coriolanus: a tragedy based on a historical character, a Roman who turned his back on Rome, he is an example of an outcast) This is also a reference to Dante’s Inferno, where Count Ugolino is starved to death because he is locked in a tower for committing treason. Lastly, through Damyata Eliot conveys a more positive message, referring back to the sea and perhaps the beginnings of a love story. However, he focuses more one what could have been than what was.
5.9 - The non-western words indicate many things. They are literally taken as a ultimate resignation. But they also suggest that the Eastern culture is where our hope for regeneration can be found. The scene shift from the destructive european culture to a more eastern setting and perspective. The Fisher King (from section 3) sits on the shore and reflects on his deeds, wondering if he can put his land back in order, after his original sin (the raping of a maiden, which caused the original disaster.) The poem ends in a series of children’s songs from various cultures. Using the English nursery rhyme, Eliot implies that all of civilization is crumbling. However, all of the poems together brings a sense of meditation about the thunder’s power of reconciliation. The Fisher King is giving up his land which means the possibility of regeneration has been lost, and meaning that the king is giving up his power, or perhaps dying. The many allusions and languages at the end are meant to give a sense of falling apart. Dante is quoted again, this time referring to a crumbling or destroyed tower. Thomas Kyd's The Spanish Tragedie is quoted, embodying the protagonist lapsing into insanity. The final line, "Shantih, shantih, shantih" is a formal ending to an Upanishad and can be interpreted as "the peace which passeth understanding." The juxtaposition in this final stanza, between insanity and destruction, and calm, peaceful endings embodies Eliots entire poem and its constantly changing nature, however is an appropriate ending to The Waste Land.
Summary by section:
I. The Burial of the Dead
The title 'Burial of the Dead' comes from an ancient Anglican burial service. This section of the poem is broken into 4 stanzas, each with a different speaker and story, similar to dramatic monologues. However they all relate, in some way, to the idea of war. Also, each speaker eventually describes their personal “wasteland.” The characters are distraught with their need to talk about their experiences but the only audience they address are is the dead. The confusing quality of the text and speakers is supposed to emphasize the idea of being trapped in a crowd of strangers instead of giving a whole picture of a single character. The idea of having multiple languages throughout that the reader does not immediately understand is a comment on the confusing and cosmopolitan nature of modern culture and how we can never truly understand each other.
II. A Game of Chess
This section is broken into 2 opposing scenes. One is of a high society woman and the other of lower class women. (The moves in the game of chess denotes stages of seduction)
III. The Fire Sermon
Taken from the Buddha's Fire Sermon about letting go of earthly possessions and embracing freedom in earthly things. The section has much ironic contrast and cheap sexual encounters, emphasizing romance being dead. The form of this section closely mimics that of popular song structure.
IV. Death by Water
The title of this section recalls the tarot card that appeared in the first section of the poem. A man, Phlebas, who never recognized his mortality has drowned and his body is decaying in the ocean. This is meant to rebut the ideas of renewal and regeneration as well as affirm nihilism as nothing happens in his death, his soul does not go on to anything, his body simply decays in the ocean. The reader is asked to consider his/her own mortality at the end. The idea of this section is that reality and death trump all else. The form of this section is the most structured (four pairs of rhyming couplets). The structure form gives it a very serious feeling.
V. What the Thunder Said
The title of this section comes from an old hindu fables that say thunder can give (Datta), sympathize (Dayadhvam) and control (Damyata) through it’s “speech.” The form of this section mimics that of philosopher and religion, adding an abstract, reflective tone to the text.