It is certainly not an accident. Once more, the poem returns to its description of the rock: the barren, desolate waste land of life that calls back to the cultural waste land that Eliot is so scornful of, the lack of life that corroborates to a lack of human faith. . Eliot gives her a cold and punningly jokes about her “wicked pack of cards.” (An old saying reminds us that even a broken clock is right twice a day. "This music crept by … The castle of the Fisher King was always located on the banks of a river or on the sea shore. The use of it in Eliot’s poem adds to the idea of a welcomed death, of death needing to appear. St Augustine makes an appearance towards the end. There are many kinds of death, but none is perhaps worse than the death of the will to engage life with an active passion. [When April with his showers sweet According to Eliot’s notes, this line and a half of verse echoes a passage in the Purgatorio, where a woman, who identifies herself as “la Pia,” which may be her name or an attribute (in Italian, it would mean “the pious woman”), asks Dante to remember her when he returns to be among the living, telling him: Ricorditi di me, che son la Pia; To venture to write anything further on The Waste Land, particularly after the work of F. R. Leavis and F. O. Matthiessen, may call for some explanation and even apology. And the city directors' heirs have all left too, no forwarding addresses given, just up and gone, leaving the city to fend for itself financially? Commenting on the 19th-century English poet and social critic Matthew Arnold’s observation that poetry is at bottom a criticism of life, Eliot astutely observed that one does not come away with criticism when one hits bottom. Dante was astute enough to consign the majority of the sinners confined to hell proper to Circle Two, where the lustful are punished, and Shakespeare never missed an opportunity to introduce a bit of bawd to liven up an otherwise weighty dramatic moment. In either case, for the metaphor of the quest to be convincing, it must make its passage through the physical realities of a self-defined space, a geography, as it were, even if that space is fictional in its conceptualization, as much as through the lines of verse on the page. Mr. Eugenides, in terms of his former function ought to be inviting the protagonist to an initiation into the esoteric cult which holds the secret of life, but on the realistic surface of the poem, in his invitation to “a week end at the Metropole” he is really inviting him to a homosexual debauch. Finally, the demons, who can be very cruel and have no scruple against hurting others with insults and injury, heard Brahma say, “Dayadhvam,” which means to be merciful or compassionate. In these later poems, Eliot’s efforts to surprise and puzzle his readers with a petulant cleverness and an excessive erudition, including the use of obscure, Greek-based medical terms and other multisyllabic words that were more likely to be found in use in the academy than in the literary salon, may all too often have overwhelmed the reasonably serious themes underlying the poetry of works such as “The Hippopotamus” and “Whispers on Immortality.” Still, Eliot remained something of trailblazer from whom a more somber and sober poetry would emerge with “Gerontion” in 1919, as if he had learned to bring the frivolous erudition of the quatrains to bear with the power of the same sort of tragic vision that had given “Prufrock” and “Rhapsody” their deserved but unassuming gravity. melts into the Phoenician Sailor, and the latter is not wholly distinct from Ferdinand Prince of Naples.” The death by water would seem to be equated with the death described in Ariel’s song in, Farther than this it would not be safe to go, but one may point out that whirling (the whirlpool here, the Wheel of Madame Sosostris’ palaver) is one of Eliot’s symbols frequently used in other poems. This section of the poem also contains some of the most easily apprehended uses of literary allusion. By Richmond I raised my knees There is the empty chapel, only the wind’s home. Oed’ und leer das Meer. A crowd flowed over London Bridge, so many, The Waste Land is developed entirely using fragments and quotations.

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