The narrator of this section is Tiresias. Tiresias was the ideal judge because he had lived both as a man and as a woman. He judged in favour of Jove. Furious, Juno rendered him blind, but Jove, to compensate, gave him the power to foretell the future. Tiresias recurs in Greek mythology, as one who knows the future.
In his own note to this section, Eliot asserts that Tiresias, a prophet both male and female, unites all of the characters in the poem. Lines Here the Questing Knight walks through a part of London which belies the waste land setting the poet has described to this point.
Nearby is a famous London church, St. Lines The neologisms are meant to imitate the sound of pealing bells, perhaps—and significantly—of a church. Line The reference is to Queen Elizabeth I and her favourite courtier, Robert Dudley, the earl of Leicester, who may have been her lover.
They would sail upon the Thames, flirting in a way that disconcerted onlookers, an apparent reference, again, to the distasteful nature of love in a waste land. Each song references a different Thames community: Richmond, Moorgate, and Margate. The songs also suggest recurring waste land images, especially the inability of couples to communicate.
Line Here the poem, typically, jump cuts from London to Carthage, where St. Part Four: Death by Water: Water is an important symbol throughout the poem. In a waste land, water drowns, as it drowns Phlebas the Phoenician sailor in this section. Eugenides, the currant salesman, in Part Three. Note the pun on current, line Water should also restore life, and, as in Christian baptism, wash sins away, but water has no such effect upon Phlebas.
Lines This passage provides a dramatic physical description of the waste land, a rocky terrain devoid of the water that would bring it life. The cicada line suggests the biblical plague of locusts. The discordant buzz of the cicada silences the beautiful song of the hermit-thrush line The disciples do not recognize him. Line The sound is likely composite—of war planes, sirens, and the cries of mothers. The rest of this section resonates with sounds and images of war and destruction. Line As the Questing Knight gets closer to the Chapel Perilous, where he is to rescue the Fisher King and restore vitality to the waste land, the obstacles he encounters become Gothic in nature, never more so than in this unnerving section of the poem.
Line The crowing of the cock, signals the departure of evil spirits. Sign in with Facebook Sign in options. Join Goodreads. When I count, there are only you and I together But when I look ahead up the white road There is always another one walking beside you Gliding wrapt in a brown mantle, hooded I do not know whether a man or a woman -But who is that on the other side of you? Share this quote:. Like Quote. Recommend to friends. To see what your friends thought of this quote, please sign up!
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This section of The Waste Land is notable for its inclusion of popular poetic forms, particularly musical ones. But Eliot also uses these bits and pieces to create high art, and some of the fragments he uses the lines from Spenser in particular are themselves taken from more exalted forms. Again this provides an ironic contrast to the debased goings-on but also provides another form of connection and commentary.
Another such reference, generating both ironic distance and proximate parallels, is the inclusion of Elizabeth I: The liaison between Elizabeth and Leicester is traditionally romanticized, and, thus, the reference seems to clash with the otherwise sordid nature of this section.
However, Eliot depicts Elizabeth—and Spenser, for that matter—as a mere fragment, stripped of noble connotations and made to represent just one more piece of cultural rubbish. Again, this is not meant to be a democratizing move but a nihilistic one: Romance is dead. The wasteland is cold, dry, and barren, covered in garbage.
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