Moreover, her role as the magician’s girl associates her with witchcraft since it allies her with sorcery as well as with illusion. The influential critic Clive Bell, brother-in-law of Virginia Woolf, described Eliot’s poetry as largely “a product of the Jazz movement,” and saw The Waste Land as part of a “ragtime literature which flouts traditional rhythms and sequences and grammar and logic.” Eliot riffs on a ragtime song (“The Shakespearean Rag”): “O o o o that Shakespeherian rag, / It’s so elegant, so intelligent.” The critic Michael North has shown that many of Eliot’s first reviewers associated his modernism with the Jazz Age. Because of the war, he was unable to return to the United States to receive his degree. Another method of structuring free verse, seldom used by Eliot, is to write very long lines, each of which contains a full syntactic unit, as Whitman often does, thus creating the effect of a formal speech and sometimes even a Biblical tone. The Waste Land was quickly recognized as a major statement of modernist poetics, both for its broad symbolic significance and for Eliot’s masterful use of formal techniques that earlier modernists had only begun to attempt. Thompson 1939:297-298 comments on what Pliny says: “Caelavit means chased and is commonly used for metalwork in relief, certainly not for painting … the shield of the great Athena, being of gold, had no reason whatsoever for being painted inside or out.”. His own imagination resembles the decaying land that is the subject of the poem: nothing seems to take root among the stony rubbish left behind by old poems and scraps of popular culture. [ back ] 5. Philostratus (Lives of Sophists 1.11.3) comments on the political background for the performances of Hippias of Elis in Sparta (Lives of Sophists 1.11.3): διὰ τὸ βούλεσθαι ἄρχειν ‘through their desire for imperial rule [arkhein]’. / "Which is the midwife, is that her blue coat?" Eliot’s original title for The Waste Land was “He do the Police in Different Voices.” The line, another quotation, comes from Dickens’s Our Mutual Friend (1864-65), and describes the foundling Sloppy’s skills as a reader of the newspaper—imitating the voices of the police in the crime reports. It is true, as nearly every reader points out, that the first list of villagers includes the town officials--the rector, the midwife, the sexton, and the agent for bees--and therefore suggests some sort of public ritual. Which of the following identifies an irony between Jim Baker and blue jays? [ back ] 28. As Slatkin puts it, talking about the mythological corpus: “The poet inherits as his repertory a system, extensive and flexible, whose components are familiar, in their manifold variant form, to his listeners. The north metopes show Athena attending a council of the gods. We may not be able to get in touch with the reality of Homeric performances in antiquity, but we can try to get somewhat better in touch with those performances, explicitly or implicitly poetic, which are depicted within the, My subject is not every kind of metonymy and resonance in. His garb is less modern than his fellow philosophers, From the lengthy description of Heraclitus, a logical conclusion is that the speaker, E. Concentrates on Heraclitus's foul disposition and acidic derision for all rivals, The speakers inclusion of not just one but two direct quotes from Heraclitus (lines 38-39) reveals that, E. Heraclitus's own words add depth and humanity to his portrait, The original School of Athens does NOT portray philosophers who are, B. [ back ] 53. Describe the incongruous patterns that make up Washington. Rhodes 1981:671-672. In the Life of Homer traditions, as I noted earlier, Homer himself is represented as performing dialogic commentaries. [ back ] 131. Alternating between s depiction of external reality and internal commentary, The essay's organization could best be described as, E. Comparison of and contrast between the two writers, In context, "candor" (line 28) can be interpreted to mean. For an audience that knows the mythological range of each character, divine or human – not only through this epic song, but through other songs, epic or non-epic – the poet does not spell out the myth in its entirety but locates a character within through allusion or oblique reference.”, Though I do not eschew the word completely (in the absence of a ready substitute), I have reservations regarding the term “allusion.” Among other things, it invites the assumption that some particular text is being alluded to, which is not the case in an oral tradition. [ back ] 76. Eliot’s allusive method is a distinctive feature of his poetry, but he developed it in part on the model of some of Pound’s earlier poems, and Pound’s editing of The Waste Land greatly increased its fragmentation. In Greek mythology, she was a huntress, who promised to marry any man who could outrun her in a footrace. [ back ] 34. D. "I would speak of a man whose chivalry, whose personal bravery, and whose pluck, have won him the respect and the admiration" (lines 41-43), All of the following are present in the opening sentence of the passage EXCEPT, According to the speaker, both a broomstick and a man, According to the passage, the broomstick symbolizes, B. Throughout the sequence she alludes to Daphne, who metamorphosed into a laurel tree to elude Apollo, in contrast to her own human vulnerability. Post your questions for our community of 250 million students and teachers. He [= Hector] was seen from afar by Zeus, gatherer of clouds. Moreover, the setting of the mysterious ritual is borrowed, like the Daphne imagery, from literature and thus gives the poem self-conscious literariness rather than emotional veracity. Which of the following is NOT discussed in passage? The repeated emotional burst of "No, no" as she realizes the red clots are only flowers suggests that the simple reassuring answer is as unnerving to her as the alarming question because their contrast is a measure of her extremity. You can only submit one rating per item, and your rating will be factored in to the item's popularity on our listings. While the townspeople were carrying out their chores, and there is no evidence in the poem that they were doing otherwise, the speaker has nailed her own coffin, so to speak, with her fantastic imaginative constructions. On the concept of the Athenian empire, I follow the model of Meiggs 1972. On the other hand, the speaker depicts herself as inextricably bound in her own humanness. The eve of the festival is an occasion for preparation, both for the festival itself and for the concomitant return of Odysseus, which is on the verge of being accomplished. A central issue of the Bee sequence is the speaker’s autonomy; the sequence, in fact, works to separate her from others. [ back ] 169. My translation ‘has’ not ‘shakes’ reflects a meaning of -okhos that is secondary: this form is derived from the Indo-European root *wegh- ‘shake’, which becomes ekh- / okh- in Greek, homonymous with ekh- / okh- as in ekhein ‘have’, derived from the distinct Indo-European root *segh- ‘have, hold’. Drip drop drip drop drop drop drop The next logical step is to suggest that both the New Year complex and the initiation complex go back to the same “most elementary and primordial scheme of (originally bio-sociological) functions,” which is rehearsed in ritual and myth at points of crisis, such as the turning of the year, or a period of social transition.
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