The Waste Land

The Waste Land

by T. S. Eliot
The Waste Land

The Waste Land

by T. S. Eliot

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Overview

The text of Eliot's 1922 masterpiece is accompanied by thorough explanatory annotations as well as by Eliot's own knotty notes, some of which require annotation themselves. For ease of reading, this Norton Critical Edition presents The Waste Landas it first appeared in the American edition (Boni & Liveright), with Eliot's notes at the end. Contexts provides readers with invaluable materials on The Waste Land's sources, composition, and publication history. Criticism traces the poem's reception with twenty-five reviews and essays, from first reactions through the end of the twentieth century. Included are reviews published in the Times Literary Supplement, along with selections by Virginia Woolf, Gilbert Seldes, Edmund Wilson, Elinor Wylie, Conrad Aiken, Charles Powell, Gorham Munson, Malcolm Cowley, Ralph Ellison, John Crowe Ransom, I. A. Richards, F. R. Leavis, Cleanth Brooks, Delmore Schwartz, Denis Donoghue, Robert Langbaum, Marianne Thormählen, A. D. Moody, Ronald Bush, Maud Ellman, Christine Froula, and Tim Armstrong. A Chronology and Selected Bibliography are included.

About the Series: No other series of classic texts equals the caliber of the Norton Critical Editions. Each volume combines the most authoritative text available with the comprehenive pedagogical apparatus necessary to appreciate the work fully. Careful editing, first-rate translation, and thorough explanatory annotations allow each text to meet the highest literary standards while remaining accessible to students. Each edition is printed on acid-free paper and every text in the series remains in print. Norton Critical Editions are the choice for excellence in scholarship for students at more than 2,000 universities worldwide.

Author Biography: Michael North is Professor of English at the University of California, Los Angeles. He is the author of The Dialect of Modernism: Race, Language, and Twentieth-Century Literature, The Final Sculpture: Public Monuments and Modern Poets, Reading 1922: A Return to the Scene of the Modern, The Political Aesthetic of Yeats, Eliot, and Pound, and Henry Green and the Writing of His Generation, as well as many articles on various aspects of twentieth-century literature.


Product Details

ISBN-13: 9781504050197
Publisher: Open Road Media
Publication date: 01/09/2018
Sold by: Barnes & Noble
Format: eBook
Pages: 30
Sales rank: 217,818
File size: 1 MB

About the Author

T.S. Eliot (1888-1965) was a British poet of American descent. Born in St. Louis, Missouri to a prominent family from Boston, Eliot was raised in a religious and intellectual household. Childhood ailments left Eliot isolated for much of his youth, encouraging his interest in literature. At the age of ten, he entered a preparatory school where he studied Latin, Ancient Greek, French, and German. During this time, he also began writing poetry. From 1906 to 1909, he studied at Harvard University, earning a Master of Arts in English literature and introducing himself to the poetry of the French Symbolists. Over the next several years, he studied Indian philosophy and Sanskrit at the Harvard Graduate School before attending Oxford on a scholarship to Merton College. Tiring of academic life, however, he abandoned his studies and moved to London, where he met the poet Ezra Pound. With Pound’s encouragement and editing, Eliot published such poems as “The Love Song of J. Alfred Prufrock” (1915) and “The Waste Land” (1922), works that earned him a reputation as one of the twentieth century’s leading poets and a major figure in literary Modernism. Living in England with his wife Vivienne—from whom he would separate in 1932—Eliot worked as a prominent publisher for Faber and Faber, working with such poets as W.H. Auden and Ted Hughes. He converted to Anglicanism in 1927, an event that inspired his poem “Ash-Wednesday” (1930) and led to the composition of his masterpiece Four Quartets (1943). Eliot was awarded the Nobel Prize in Literature in 1948.

Read an Excerpt

CHAPTER 1

I. The Burial of the Dead

  April is the cruellest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain.
  What are the roots that clutch, what branches grow Out of this stony rubbish? Son of man,
  Madame Sosostris, famous clairvoyante,
  Unreal City,
II. A Game of Chess

The Chair she sat in, like a burnished throne,
Above the antique mantel was displayed As though a window gave upon the sylvan scene The change of Philomel, by the barbarous king So rudely forced; yet there the nightingale Filled all the desert with inviolable voice And still she cried, and still the world pursues,
"My nerves are bad tonight. Yes, bad. Stay with me.
  I think we are in rats' alley Where the dead men lost their bones.

  "What is that noise?"
  I remember Those are pearls that were his eyes.
  But O O O O that Shakespeherian Rag —
  The hot water at ten.
  When Lil's husband got demobbed, I said —
Now Albert's coming back, make yourself a bit smart.
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.
A rat crept softly through the vegetation Dragging its slimy belly on the bank While I was fishing in the dull canal On a winter evening round behind the gashouse Musing upon the king my brother's wreck And on the king my father's death before him.

White bodies naked on the low damp ground And bones cast in a little low dry garret,
Twit twit twit Jug jug jug jug jug jug So rudely forc'd.
Unreal City Under the brown fog of a winter noon Mr. Eugenides, the Smyrna merchant Unshaven, with a pocket full of currants C.i.f. London: documents at sight,
At the violet hour, when the eyes and back Turn upward from the desk, when the human engine waits Like a taxi throbbing waiting,
Exploring hands encounter no defence;
She turns and looks a moment in the glass,
"This music crept by me upon the waters"
  The river sweats
  Elizabeth and Leicester
"Trams and dusty trees.
"My feet are at Moorgate, and my heart Under my feet. After the event He wept. He promised 'a new start.'
"On Margate Sands.
  la la

To Carthage then I came Burning burning burning burning O Lord Thou pluckest me out O Lord Thou pluckest

burning

IV. Death By Water

Phlebas the Phoenician, a fortnight dead,
V. What the Thunder Said

  After the torchlight red on sweaty faces After the frosty silence in the gardens After the agony in stony places The shouting and the crying Prison and palace and reverberation Of thunder of spring over distant mountains He who was living is now dead We who were living are now dying With a little patience

Here is no water but only rock Rock and no water and the sandy road The road winding above among the mountains Which are mountains of rock without water If there were water we should stop and drink Amongst the rock one cannot stop or think Sweat is dry and feet are in the sand If there were only water amongst the rock Dead mountain mouth of carious teeth that cannot spit Here one can neither stand nor lie nor sit There is not even silence in the mountains

But dry sterile thunder without rain There is not even solitude in the mountains But red sullen faces sneer and snarl From doors of mudcracked houses
Who is the third who walks always beside you?
What is that sound high in the air Murmur of maternal lamentation Who are those hooded hordes swarming Over endless plains, stumbling in cracked earth Ringed by the flat horizon only What is the city over the mountains Cracks and reforms and bursts in the violet air Falling towers Jerusalem Athens Alexandria Vienna London Unreal

A woman drew her long black hair out tight And fiddled whisper music on those strings And bats with baby faces in the violet light Whistled, and beat their wings And crawled head downward down a blackened wall And upside down in air were towers Tolling reminiscent bells, that kept the hours And voices singing out of empty cisterns and exhausted wells.

In this decayed hole among the mountains In the faint moonlight, the grass is singing Over the tumbled graves, about the chapel There is the empty chapel, only the wind's home.
Ganga was sunken, and the limp leaves Waited for rain, while the black clouds Gathered far distant, over Himavant.
Turn in the door once and turn once only We think of the key, each in his prison Thinking of the key, each confirms a prison Only at nightfall, aetherial rumours Revive for a moment a broken Coriolanus DA
  I sat upon the shore Fishing, with the arid plain behind me Shall I at least set my lands in order?
  Shantih shantih shantih

(Continues…)



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Table of Contents


Introduction     7
Biographical Sketch     14
The Story Behind the Story     19
List of Characters     22
Summary and Analysis     26
Critical Views     53
Eleanor Cook on Maps of The Waste Land     53
Louis Menand on Nineteenth Century Style     57
Sandra M. Gilbert on Eliot's Mourning of a Friend     68
Michael Levenson on Eliot's Views of Postwar London     74
Juan A. Suarez on the Meaning of the Gramophone     85
Shawn R. Tucker on Anxiety in The Waste Land     89
Thomas Dilworth on Sex Between the Typist and the Young Man     94
Camelia Elias and Bent Soerensen on the Influence of Ovid     97
Works by T.S. Eliot     101
Annotated Bibliography     103
Contributors     105
Acknowledgments     108
Index     110

What People are Saying About This

Anthony Burgess

The Waste Land remains the best manifesto of modernism in poetry — a triumph of concision, eloquence, colloquialism, symbolism, cinematic cutting, collage of existing literature as well as popular song, all in the service of a kind of purgatorial philosophy, civilization was decaying, man was growing impotent, salvation lay in the injunctions of a Sanskrit Upanishad: "Give, sympathize, control." (Anthony Burgess, from One Man's Chorus)

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