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The Waste Land
by T. S. (Thomas Stearns) Eliot
- Language
- EN
- Format
- EPUB
- Size
- 82 KB
Description
Set in the aftermath of World War I, the poem reflects the disillusionment and cultural fragmentation of early 20th-century Britain. T. S. Eliot's work, published in 1922, is a modernist poem comprised of 434 lines, characterised by its shifting voices, abrupt changes of narrator, location, and time. Through a series of disjointed and allusive passages, the poem engages with themes of spiritual emptiness, societal decay, and existential despair. Its references span diverse literary sources, from Dante to Chaucer, creating a layered and fragmented narrative structure that mirrors contemporary disillusionment.
Divided into five sections, the poem employs a collage of voices and images that confront the dissonance of modern life. It was initially met with mixed reviews due to its obscurity but later gained recognition as a highly influential work in British literature and modernist poetry. The piece exemplifies the experimental tendencies of post-World War I literature and reflects broader cultural anxieties of the period.
Divided into five sections, the poem employs a collage of voices and images that confront the dissonance of modern life. It was initially met with mixed reviews due to its obscurity but later gained recognition as a highly influential work in British literature and modernist poetry. The piece exemplifies the experimental tendencies of post-World War I literature and reflects broader cultural anxieties of the period.
From the opening pages
Pressing lidless eyes and waiting for a knock upon the door. When Lil’s husband got demobbed, I said— I didn’t mince my words, I said to her myself, 140 HURRY UP PLEASE IT’S TIME Now Albert’s coming back, make yourself a bit smart. He’ll want to know what you done with that money he gave you To get yourself some teeth. He did, I was there. You have them all out, Lil, and get a nice set, He said, I swear, I can’t bear to look at you. And no more can’t I, I said, and think of poor Albert, He’s been in the army four years, he wants a good time, And if you don’t give it him, there’s others will, I said. Oh is there, she said. Something o’ that, I said. 150 Then I’ll know who to thank, she said, and give me a straight look. HURRY UP PLEASE IT’S TIME If you don’t like it you can get on with it, I said. Others can pick and choose if you can’t. But if Albert makes off, it won’t be for lack of telling. You ought to be ashamed, I said, to look so antique. (And her only thirty-one.) I can’t help it, she said, pulling a long face, It’s them pills I took, to bring it off, she said. (She’s had five already, and nearly died of young George.) 160 The chemist said it would be all right, but I’ve never been the same. You are a proper fool, I said. Well, if Albert won’t leave you alone, there it is, I said, What you get married for if you don’t want children? HURRY UP PLEASE IT’S TIME Well, that Sunday Albert was home, they had a hot gammon, And they asked me in to dinner, to get the beauty of it hot— HURRY UP PLEASE IT’S TIME HURRY UP PLEASE IT’S TIME Goonight Bill. Goonight Lou. Goonight May. Goonight. 170 Ta ta. Goonight. Goonight. Good night, ladies, good night, sweet ladies, good night, good night. III. THE FIRE SERMON The river’s tent is broken: the last fingers of leaf Clutch and sink into the wet bank. The wind Crosses the brown land, unheard. The nymphs are departed. Sweet Thames, run softly, till I end my song.
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