Thursday, 30 March 2023

Assignment paper number 109

 Name: Nirali Madhabhai Dabhi

Batch: M.A Sem. 2 (2022-2024)

Enrollment Number: 4069206420220006

Roll Number: 13

Subject code: 22402

Paper Number: 109- Literary Theory & Criticism and Indian Aesthetics 

Email Address: niralidabhi95@gmail.com

Submit to: Smt S.B. Gardi, Department of English, M.K.B.U


Natyasastra and nine Rasa


What is Natyasastra ?


The Natyasastra is a Sanskrit text on the performing arts that dates back to the 2nd century BCE. It is attributed to Bharata Muni, who is believed to have been a sage and a scholar of the Vedas. The Natyasastra covers a wide range of topics related to theater, dance, music, and aesthetics, and is considered one of the foundational texts of Indian performing arts.


The Natyasastra is divided into 36 chapters and includes detailed instructions on various aspects of theatrical performance, such as stage design, makeup, costumes, acting, and music. It also discusses the theory of aesthetics and the emotional impact of performance, and identifies the nine basic emotions or feelings (rasas) that are central to dramatic performance.


The Natyasastra has had a significant impact on the development of Indian performing arts, and its principles and techniques continue to be used in classical dance, theatre, and music. It is also considered an important text in the study of Indian philosophy and culture, and has been translated into many languages.


Rasa Theory


The Rasa theory is a key concept in Indian aesthetics, particularly in the context of dramatic performance. It is based on the idea that art is meant to evoke emotions and feelings in the audience, and that these emotions can be classified into a set of basic emotions, known as the nine rasas.


The nine rasas are: Shringara (erotic or romantic), Hasya (comic or humorous), Karuna (pathetic or sorrowful), Raudra (angry or violent), Veera (heroic or brave), Bhayanaka (fearful or terrifying), Bibhatsa (disgusting or revolting), Adbhuta (wondrous or marvellous), and Shanta (peaceful or tranquil). Each rasa is associated with specific emotions, moods, and mental states, and is often depicted through particular gestures, facial expressions, music, and other elements of performance.


According to the Rasa theory, the goal of a dramatic performance is to evoke these emotions in the audience through the use of appropriate techniques and elements of performance. This is achieved through the creation of a "rasa" or emotional flavour, which is communicated through the characters, story, and other elements of the performance. The audience is then able to experience the emotions associated with the rasa, which can lead to a heightened sense of emotional awareness and appreciation of the performance.


According to Bharata's theory of rasa, the audience experiences a particular emotion or sentiment, known as rasa, when they witness a creative work. This rasa is realized through a sthayibhav, which is a permanent or dominant emotion that is evoked in the audience. The sthayibhav is then transformed into rasa, which is a heightened aesthetic pleasure.


Bharata also emphasizes the importance of a proper combination of vibhav, anubhav, and sancharibhav for the realization of rasa. Vibhav refers to the causal factors or stimuli that evoke emotions in the audience, anubhav refers to the physical and emotional responses that are expressed by the actors or characters, and sancharibhav refers to the complementary emotions and expressions that accompany the sthayibhav.


Therefore, a play that has a good combination of these bhavas is considered to be perfect and full of rasa, providing a pleasurable experience for the audience. Overall, Bharata's theory of rasa emphasizes the importance of emotions and their proper expression in creative works, highlighting the role of art in evoking aesthetic pleasure and emotional experiences.


The Rasa theory has had a profound influence on Indian arts and aesthetics, and has been a key element of classical dance, theater, and music for centuries. It is also considered an important philosophical and spiritual concept, as it offers a way of connecting with the divine and exploring the human experience through the medium of art.


Rasa

  1. Śṛngāram (शृङ्गारं)

  2. Hāsyam (हास्यं)

  3. Raudram (रौद्रं)

  4.  Kāruṇyam (कारुण्यं)

  5.  Bībhatsam (बीभत्सं)

  6.  Bhayānakam (भयानकं)

  7. Vīram(वीरं)

  8. Adbhutam (अद्भुतं)

  9. Śāntam

Associated Emotions

  1. Love, Attractiveness

  2. Laughter, Mirth, Comedy

  3. Fury

  4. Compassion, Tragedy

  5.  Disgust, Aversion

  6. Horror, Terror

  7. Heroism, courage, bravery

  8. Wonder, Amazement

  9. Peace or tranquillity

Colour

  1. Green

  2. White

  3. Red

  4. Dove coloured

  5. Blue

  6. Black

  7. Whitish Brown

  8. Yellow

  9. White


1. Shringaram



Shringaram rasa is presided over by god Vishnu, the god of love and romance and the colour of this rasa is a colour of youth, green colour, which also suggests nature in which love evokes. In most of the description and implication of love there is a presence of nature. Shringaram is a Rasa which suggests erotic pleasure, attraction and the expression which suggests romance and love between hero and heroine. This is the special Rasa which is considered as the ‘king’ of all the Rasas. It includes the beauty of women and men and the sensuous description of the love of both.

2. Hasyam



This rasa is presided over by lord Ganesha, the god of happiness and laughter. And the colour which is connected with this rasa is white, a peaceful colour which suggests the peace of mind which can be gained by laughter. In hasyam rasa there are comic elements by the characters of the drama by which they try to make the audience laugh and fresh, if there is any tragic scene one after one, dramatists used to use the comic scene to make the audience fresh and ready for the next tragic scene. In British literature there is also this kind of technique that has been used by Christopher Marlow in Dr. Faustus. Sometimes dramatists put such characters which are specially set in drama to evoke hasya rasa so the audience feels relief. Hasya rasa is another important rasa as per Bharat Muni. Hasya is also a therapy as per science which can help to relief the pain.

3. Raudram



This rasa is presided over by Rudra, the angry nature of Shiva is considered as Rudra, and its colour is red, which suggests fire too. Rudra is also considered as a destroyer. This rasa evokes when there is any sequence of anger and the situation is very furious and characters are full of passion and violence. This a very important rasa as far as veer rasa is concerned because both are connected with each other, after anger there is a depiction of veer rasa and the story goes on. The depiction of Raudra rasa suggests that in the story something worse will happen soon, for example in Abhigyan Shakuntalam appearance of Durvasa suggests the fear of the departure of lovers. As anger spoils the relationship, in Rasa theory it suggests the downfall in the life of characters.

4. Karunyam



This rasa is presided over by Yama, the God of death and the colour of this rasa is gray, colour of ashes, which itself suggests that its about tragedy and departure. Karuna is the second important Rasa. As per Bharatmuni, any story cannot be completed without Karuna rasa. Compassion is very important for drama; the audience can be more involved by the tragic incidents than comic or any other. This emotion touches the heart of an audience more than any other rasas. Tragic elements are necessary for drama; because of tragic elements one can get pleasure from hasyam and shrungar. Karun rasa also has its own beauty, if a character is in pain the audience can get tragic aesthetic pleasure. That is the reason that the experience over tragedy we find as much enjoyment as in that of a comedy.

5. Bibhatsam



Bibhatsa rasa is preciding by Lord Shiva, shiva is considered as a tribal man, the colour of this rasa is blue. It suggests disgust and hesitation. Bibhats rasa evokes when there is a description of such unwillingly things and such kind of situation which is not accepted and which has not morally and ideally good perception. This rasa is rarely used, but when it is in use it fills the heart of audience with disgust.

6. Bhayanakam



This rasa is presided over by the goddess Kali, the angry part of parvati goddess. The image of Kali, even the description of it, is also horrible. The colour of Bhayanaka rasa is black; ‘kali’ a word itself suggests the black colour. The colour is also used to horrify. In the drama, it cultivates the fearin the audience by the characters. In mythological drmas, an entrance of the devil or any evil power, it evokes the terror in the mind of the audience which is Bhayanakam rasa.

7. Viram


Veer rasa is to show power and strength of the character. It is presided over by lord Indra which suggests power and strenghth of all the Gods. The colour of this rasa is wheatish brown, near to gold colour. This rasa evokes when thre is a time of fight and the character has to show his ability and physical strength. It suggests heroic presentation by the character in the drama.

8. Adbhutam



Adbhutam rasa is presided over by Lord Brahma, Brahma is a writer of destiny and Adbhutam rasa is about wonder in life of character. The colour of adbhutam is yellow; it is also a colour of brightness. It evokes when an unexpected incident or thing happens, it creates wonder in the mind of character as well as the audience.

9. Shantam

The last rasa is shantam; it means peace. The colour of shantam rasa is white and it is a symbol of peace and also it suggests purity. The rasa is presiding by Vishnu. It evokes when all the characters are happy in their life and feeling pleasure. Most of the time it comes in the end of the drama, when there is a happy ending.

Conclusion

Thus, if rasa is created between actor and audience but yet there are types in rasa also. We can’t say it is only one but there are nine rasa and through it we can enjoy any dance or performance. So after all we can say that rasa are very important to judge any dance or performance. We are unable to judge without these nine rasa. It helps us to understand or evaluate an art so it is very important. These all rasa are related to human nature. We can find it in human beings.

(Word count - 1710)






Assignment Paper Number 110A

Name: Nirali Madhabhai Dabhi

Batch: M.A Sem. 2 (2022-2024)

Enrollment Number: 4069206420220006

Roll Number: 13

Subject code: 22403

Paper Number: 110A- History of English Literature – From 1900 to 2000 

Email Address: niralidabhi95@gmail.com

Submit to: Smt S.B. Gardi, Department of English, M.K.B.U

Modernism

What is Modernism?


Modernism is a period in literary history which started around the early 1900s and continued until the early 1940s. Modernist writers in general rebelled against clear-cut storytelling and formulaic verse from the 19th century. Instead, many of them told fragmented stories which reflected the fragmented state of society during and after World War I.

Many Modernists wrote in free verse and they included many countries and cultures in their poems. Some wrote using numerous points-of-view or even used a “stream-of-consciousness” style. These writing styles further demonstrate the way the scattered state of society affected the work of writes at that time.

Emily Dickinson and Walt Whitman are thought to be the mother and father of the movement because they had the most direct influence on early Modernists. Some time after their deaths, the Imagist poets began to gain importance. The University of Toledo’s Canaday Center has a rich collection of poetry and critical work from that era.

Imagist poets generally wrote shorter poems and they chose their words carefully so that their work would be rich and direct. The movement started in London, where a group of poets met and discussed changes that were happening in poetry. Ezra Pound soon met these individuals, and he eventually introduced them to H.D. and Richard Aldington in 1911. In 1912, Pound submitted their work to Poetry magazine. After H.D.’s name, he signed the word "Imagiste" and that was when Imagism was publicly launched. Two months later, Poetry published an essay which discusses three points that the London group agreed upon. They felt that the following rules should apply when writing poetry. 

In the following month’s issue, Pound’s two-line poem “In a Station at the Metro” was published. In addition to the previously published works of Aldington and H.D., it exemplifies the tenets of Imagism in that it is direct, written with precise words, and has a musical tone which does not depend on a specific rhythm:

In a Station at the Metro

The apparition of these faces in the crowd;

Petals on a wet, black bough.

Over the next four years, four anthologies of Imagist poetry were published. They included work by people in that London group (Pound, F.S. Flint, H.D., and Aldington), but they also contained the works of Amy Lowell, William Carlos Williams, James Joyce, D.H. Lawrence, and Marianne Moore.

Modernism refers to a cultural and intellectual movement that emerged in the late 19th and early 20th centuries, particularly in Europe and North America. It is characterized by a rejection of traditional forms and values, and an emphasis on experimentation, individualism, and self-expression.

In art, literature, and architecture, modernism is marked by a focus on the individual consciousness and subjective experience, a rejection of traditional techniques and forms, and a willingness to experiment with new styles and methods. This includes the use of abstraction, fragmentation, and the exploration of the inner self.

In society and politics, modernism was associated with a rejection of traditional social and political structures, and a call for greater individual freedom and social equality. This included the rise of political movements such as socialism, feminism, and civil rights.Modernism was also subject to criticism from some quarters, who saw it as a rejection of traditional values and a threat to established cultural and intellectual institutions. In addition, some critics have argued that modernism was elitist and inaccessible to the general public.

Modernism was a complex and multi-faceted movement that reflected the rapid social, cultural, and technological changes of the time. It challenged traditional values and norms, and paved the way for the artistic and cultural innovations of the 20th century.While it was often subject to criticism and controversy, it played a key role in shaping the artistic, cultural, and political landscape of the 20th century and beyond.

Characteristics of the Modernist Movement

Rejection of tradition: Modernist writers often rejected traditional forms and techniques in favor of experimentation and individual expression.

Focus on the inner self and consciousness: Modernist writers were interested in exploring the inner workings of the human mind and consciousness, often using stream-of-consciousness narration and other innovative techniques.

Disillusionment with society: Many modernist writers were disillusioned with traditional social, political, and religious structures and sought to challenge them.

Emphasis on subjectivity and individualism: Modernist writers often focused on subjective experience and the individual rather than on objective reality or universal truths.

Interest in psychology and psychoanalysis: Modernist writers were often influenced by the work of Freud and other psychologists, and used psychological themes and motifs in their writing.

Experimentation with form and style: Modernist writers often experimented with form and style, including the use of fragmented narratives, multiple narrators, and non-linear storytelling.

Relativism: Modernist writers rejected the idea of absolute truth and embraced relativism, the belief that all things are relative and dependent on one's perspective or context.

A sense of alienation: Many modernist writers depicted characters who felt alienated from society or disconnected from their own identities.

Interest in the urban experience: Modernist writers often focused on the experiences of city dwellers and the changes brought about by modern urban life.

Use of symbolism: Modernist writers often used symbolism to convey deeper meanings and explore complex ideas.

These are some of the key characteristics of modernism. However, it's important to note that modernism was a diverse and complex movement, and not all modernist writers shared the same beliefs or techniques.

Modernism Influenced by

Charles Darwin, who forwarded a theory of evolution and natural selection

Sigmund Freud, who pioneered psychoanalysis and revolutionized the way people thought about the brain

Karl Marx, who analyzed class inequalities.

Friedrich Nietzsche, who turned the world on its head when he proclaimed that “God is dead.”

Authors and their writings

There are numerous authors who are associated with the modernist movement, and their works cover a wide range of genres and styles. Here are some notable authors and their most famous works:

Elizabeth Bishop (February 8, 1911 – October 6, 1979) was an American poet and short-story writer. She was Consultant in Poetry to the Library of Congress from 1949 to 1950, the Pulitzer Prize winner for Poetry in 1956, the National Book Award winner in 1970, and the recipient of the Neustadt International Prize for Literature in 1976. She is the author of Question of Travel

Ernest Miller Hemingway (July 21, 1899 – July 2, 1961) was an American novelist, short story writer, and journalist. His economical and understated style had a strong influence on 20th-century fiction, while his life of adventure and his public image influenced later generations. Hemingway produced most of his work between the mid-1920s and the mid-1950s, and won the Nobel Prize in Literaturein 1954. He is the author of the Old Man and the Sea

Francis Scott Key Fitzgerald (September 24, 1896 – December 21, 1940), known professionally as F. Scott Fitzgerald, was an American novelist and short story writer, whose works illustrate the Jazz Age. While he achieved limited success in his lifetime, he is now widely regarded as one of the greatest American writers of the 20th century. Fitzgerald is considered a member of the “Lost Generation” of the 1920s. He finished four novels: This Side of Paradise, The Beautiful and Damned, The Great Gatsby, and Tender Is the Night. A fifth, unfinished novel, The Last Tycoon, was published posthumously. Fitzgerald also authored 4 collections of short stories, as well as 164 short stories in magazines during his lifetime.

Virginia Woolf - "Mrs. Dalloway," "To the Lighthouse," "The Waves"

James Joyce - "Ulysses," "Dubliners," "Portrait of the Artist as a Young Man"

T.S. Eliot - "The Waste Land," "Four Quartets," "Prufrock and Other Observations"

Franz Kafka - "The Trial," "The Metamorphosis," "The Castle"

Samuel Beckett - "Waiting for Godot," "Endgame," "Molloy"

William Faulkner - "The Sound and the Fury," "As I Lay Dying," "Absalom, Absalom!"

Marcel Proust - "In Search of Lost Time," "Swann's Way," "Within a Budding Grove"

Gertrude Stein - "The Autobiography of Alice B. Toklas," "Three Lives," "Tender Buttons"

F. Scott Fitzgerald - "The Great Gatsby," "Tender Is the Night," "This Side of Paradise"

Ezra Pound - "The Cantos," "Hugh Selwyn Mauberley," "Lustra"

These authors and their works are just a small selection of the many writers who contributed to the modernist movement.

Modernism in Art


Beginning in the late 1900s, artists played with new materials and techniques to create works they believed better portrayed modern societies and daily life. From early modernism in art came Impressionism, followed by Expressionism, and later Fauvism, Cubism, and abstract art. Below are brief definitions of each influential Modernist movement: 

Impressionism: a 19th-century movement characterized by small, thin brush strokes, open composition, and emphasis on the accurate depiction of light, ordinary subjects, and perceived movement in time and space. Key influencers include French artists Claude Monet, Pierre-Auguste Renoir, Édouard Manet, and Paul Cézanne.

Expressionism: an early 20th-century movement that initially emerged in poetry and painting and originated in Germany. Expressionists present the world solely from a subjective perspective, portraying distortions meant to evoke meaning or emotional experience instead of physical reality. Notable Expressionists include El Greco, Wassily Kandinsky, and Edvard Munch.

Fauvism: the artistic style of les Fauvres, French for “the wild beasts,” which was a 20th-century group of modern artists who painted with strong colors and strayed away from the more realistic values of Impressionists. André Derain and Henri Matisse became known as the leaders of the Fauvist movement, which lasted from around 1904 to 1910.

Cubism: an avant-garde movement that began in Europe in the early 20th century. It is considered the most influential art movement of the 20th century, and revolutionized painting and sculpture. Started by Pablo Picasso and Georges Braque, it involved the representation of three-dimensional forms (origins of the movement can be seen in Paul Cézanne’s later works). Cubists like Picasso became famous for depicting broken up and reassembled objects, in abstract form with multiple viewpoints.

Today, the terms modernism and modern art describe the succession of art movements including those mentioned above. Following Fauvism and Cubism, abstract art – art that incorporates complete, partial, or slight abstraction, or a departure from realism in representation – extended into other movements of the mid-20th century.

By the 1960s, abstract art was widespread, and modernist ideas across art, literature, and design were considered dominant. 

Modernism in Literature


The modernist movement in literature, or literary modernism, involved experimentations among writers with new forms and expressions. Starting with Ezra Pound’s “Make it new,” the movement in literature covers technological advances, changes in culture and society, and the transition into the 20th century.

Early Modernist writers, like their artist counterparts, stemmed away from traditional values and abandoned their duty of representing mainstream culture and ideas to the public. Instead, they developed the concept of the unreliable narrator. Writers also addressed discoveries introduced by Charles Darwin, Sigmund Freud, Albert Einstein, and others. Thus, other techniques in literature emerged like stream-of-consciousness, multiple points-of-view, and interior monologue.

Modernism in literature began with works like Joseph Conrad‘s 1899 novella Heart of Darkness, and later Sherwood Anderson’s 1919 short story Winesburg, Ohio, which became known for plain-spoken words and characters’ psychological insight. Another notable modernist writer is James Joyce, famous for his 1922 novel Ulysses which uniquely described events over a 24-hour period in his protagonist’s life. This piece of literature came to define the Modernist approach to fiction.

Other instrumental works of the period include T.S. Eliot’s 1922 poem The Waste Land, fragmented and lacking a central narrative, and Gertrude Stein’s 1914 book Tender Buttons, which was also fragmented and incorporated multiple perspectives. It has thus been compared to her good friend Pablo Picasso’s Cubist paintings.

While moving towards the new, modernist writers and musicians made reference to past works by employing techniques like reprise, rewriting, revision, and parody. 

(Word count - 2050)





Wednesday, 29 March 2023

Assignment Paper number 106

Name: Nirali Madhabhai Dabhi

Batch: M.A Sem. 2 (2022-2024)

Enrollment Number: 4069206420220006

Roll Number: 13

Subject code: 22399

Paper Number: 106- The Twentieth Century Literature: 1900 to World War II

Email Address: niralidabhi95@gmail.com

Submit to: Smt S.B. Gardi, Department of English, M.K.B.U


Brief Introduction of Author:


T.S.Eliot





Thomas Stearns Eliot (1888-1965) was born in St. Louis, Missouri, of an old New England family. He was educated at Harvard and did graduate work in philosophy at the Sorbonne, Harvard, and Merton College, Oxford. He settled in England, where he was for a time a schoolmaster and a bank clerk, and eventually literary editor for the publishing house Faber & Faber, of which he later became a director. He founded and, during the seventeen years of its publication (1922-1939), edited the exclusive and influential literary journal Criterion. In 1927, Eliot became a British citizen and about the same time entered the Anglican Church.He won the Nobel Prize for Literature in 1948; from then until his death he achieved public admiration unequalled by any other 20th-century poet.


Introduction of Poem:




"The Waste Land" is a poem by T.S. Eliot, first published in 1922. It is considered one of the most important and influential poems of the 20th century. The poem is known for its complex structure, its use of multiple voices and languages, and its exploration of themes of disillusionment, fragmentation, and despair in the aftermath of World War I. In this thematic study, I will examine some of the major themes in "The Waste Land" and how they contribute to the overall meaning of the poem.


Themes:


  1. Life in Death and Death in Life

  2. Sexual perversion

  3. Loss of faith and moral values

  4. Lack of human relationships

  5. Death

  6. Rebirth

  7. The Seasons

  8. Lust

  9. Water

  10. History


The critics have commented on the theme in different words: "vision of desolation and spiritual drought" (F. R. Leavis); "the plight of the whole generation" (I. A. Richards).


  1. Life in Death and Death in Life

Eliot has stated the matter quite explicitly in one of his essays. In his ‘Baudelaire’ he says: ‘I think, that Baudelaire has perceived that what distinguishes the relations of man and woman from the copulation of beasts is the knowledge of God and Evil (of moral Good and Evil which are not natural Good and Bad or puritan Right and Wrong). Having an imperfect, vague romantic conception of Good, he was at least able to understand that the sexual act as evil is more dignified, less boring, than as the natural, ‘life-giving’, cherry automatism of the modern world … So far as we are human, what we do must be either evil or good; so far as we do evil or good, we are human; and it is better, in a paradoxical way, to do evil than to do nothing: at least, we exist.’

 The last statement is highly important for an understanding of The Waste Land. The fact that men have lost knowledge of good and evil, keeps them from being alive, and is the justification for viewing the modern waste land as a realm in which the inhabitants do not even exist.

This theme is stated in the quotation which prefaces the poem.

"Nam Sibyllam quidem Cumis ego ipse oculis meis

vidi in ampulla pendere, et cum illi pueri dicerent:

Sibylla ti theleis; respondebat illa: apothanein thelo."


This is life-in-death, a life of complete inactivity, listlessness and apathy. That is why winter is welcome to them and April is the cruellest of months, for it reminds them of the stirring of life and, they dislike to be roused from their death-in-life.

April is the cruellest month, breeding

Lilacs out of the dead land, mixing

Memory and desire, stirring

Dull roots with spring rain.

Winter kept us warm, covering

Earth in forgetful snow, feeding

A little life with dried tubers.


The Waste Land is primarily regarded as a poem that epitomises the chaotic life of both individuals and society in the twentieth century. Thematically, it reflects the disillusionment and despair of the post World War I generation. 


  1. Sexual perversion

According to Eliot, sex is an important aspect of life. It is an expression of love and means of procreation. Today, sex has been perverted from its proper function and is utilised for animal pleasure and monetary benefits. It has, therefore, become a source of degeneration and disease. It has also led to the erosion of moral values and become a hurdle in man's spiritual progress. Easy sexual relationships are found in all sections of the society. Eliot cites the instance of a German princess in the first part of the poem. This is the parallel to the love affairs of Queen Elizabeth with the Earl of Leicester in the Tudor period. There is also another instance of freedom of sex in high society. Eliot mentions it in the career of the lady of the situation. In the second part of the poem, the perversion of sex, prevails among the lower access of society. Eliot mentions the story of Lil and the experience of three daug relationships between the typist girl and her boyfriend. In the poem, three daughters of Thames. Another example is that of mechanical sex another example is a homosexual relationship exemplified by Mr. Eugenides. Eliot sums up the story of European lust through the line of The Fire Sermon:

"To Carthage then I came

Burning burning burning burning"

He means that the whole of Europe is being destroyed by the fire of sexuality.


  1. Loss of faith and moral values

In ancient times, the source of inspiration for life and achievement was faith. People really believed in Christian values. Tradition increases the importance of moral conduct. Elderly people were respected. Character and saintliness were regarded as important assets. Moreover, more important than money and position were character and achievement. Today the values have changed. Money is the god of modern people. Older people are hated. Christians go to the church as a matter of routine. There is a gulf between profession and practice. Hypocrisy is at a premium. Flattery is more important than merit. The result is that Christian faith and compassion are no longer regarded as objects of life. This has resulted in general deterioration of standard of life and yard-sticks of reputation:


"And upside down in air were towers

Tolling reminiscent bells, that kept the hours

And voices singing out of empty cisterns and exhausted wells."


  1. Lack of human relationships

In older times, people believed in intimate human relationships. There was the joint family system, under which resources were cooled and the needs of all were supplied. Today there is the fashion of nocular families. In olden times there were certain loyalties to the community and loyalty to the nation. Such loyalties no longer exist. People have become self-centred and egoistic. There is no sentiment of sympathy and compassion for the members of distant families and the community. Each one thinks only of his own interest and how he can gain at the expense of others. Exploitation is the order of the day. Eliot mentions it in the last Section. As the poet feels that we are like Coriolanus and the embodiment of selfishness. Each one is imprisoned in his own self. We have lost the key to human sympathy and brotherhood:


"We think of the key, each in his prison

Thinking of the key, each confirms a prison"


  1. Death

Two of the poem’s sections -- “The Burial of the Dead” and “Death by Water” --refer specifically to this theme. What complicates matters is that death can mean life; in other words, by dying, a being can pave the way for new lives. Eliot asks his friend Stetson: “That corpse you planted last year in your garden, / Has it begun to sprout? Will it bloom this year?” Similarly, Christ, by “dying,” redeemed humanity and thereby gave new life. The ambiguous passage between life and death finds an echo in the frequent allusions to Dante, particularly in the Limbo-like vision of the men flowing across London Bridge and through the modern city.


  1. Rebirth

The Christ images in the poem, along with the many other religious metaphors, posit rebirth and resurrection as central themes. The Waste Land lies fallow and the Fisher King is impotent; what is needed is a new beginning. Water, for one, can bring about that rebirth, but it can also destroy. What the poet must finally turn to is Heaven, in the climactic exchange with the skies: “Datta. Dayadhvam. Damyata.” Eliot’s vision is essentially of a world that is neither dying nor living; to break the spell, a profound change, perhaps an ineffable one, is required. Hence the prevalence of Grail imagery in the poem; that holy chalice can restore life and wipe the slate clean; likewise, Eliot refers frequently to baptisms and to rivers – both “life-givers,” in either spiritual or physical ways.


  1. The Season

"The Waste Land" opens with an invocation of April, “the cruellest month.” That spring be depicted as cruel is a curious choice on Eliot’s part, but as a paradox it informs the rest of the poem to a great degree. What brings life brings also death; the seasons fluctuate, spinning from one state to another, but, like history, they maintain some sort of stasis; not everything changes. In the end, Eliot’s “waste land” is almost seasonless: devoid of rain, of propagation, of real change. The world hangs in a perpetual limbo, awaiting the dawn of a new season.


  1. Lust

Perhaps the most famous episode in "The Waste Land" involves a female typist’s liaison with a “carbuncular” man. Eliot depicts the scene as something akin to a rape. This chance sexual encounter carries with it mythological baggage – the violated Philomela, the blind Tiresias who lived for a time as a woman. Sexuality runs through "The Waste Land," taking center stage as a cause of calamity in “The Fire Sermon.” Nonetheless, Eliot defends “a moment’s surrender” as a part of existence in “What the Thunder Said.” Lust may be a sin, and sex may be too easy and too rampant in Eliot’s London, but action is still preferable to inaction. What is needed is sex that produces life, that rejuvenates, that restores – sex, in other words, that is not “sterile.”


  1. Water

"The Waste Land" lacks water; water promises rebirth. At the same time, however, water can bring about death. Eliot sees the card of the drowned Phoenician sailor and later titles the fourth section of his poem after Madame Sosostris’ mandate that he fear “death by water.” When the rain finally arrives at the close of the poem, it does suggest the cleansing of sins, the washing away of misdeeds, and the start of a new future; however, with it comes thunder, and therefore perhaps lightning. The latter may portend fire; thus, “The Fire Sermon” and “What the Thunder Said” are not so far removed in imagery, linked by the potentially harmful forces of nature.


  1. History

History, Eliot suggests, is a repeating cycle. When he calls Stetson, the Punic War stands in for World War I; this substitution is crucial because it is shocking. At the time Eliot wrote "The Waste Land," the First World War was definitely a first - the "Great War" for those who had witnessed it. There had been none to compare with it in history. The predominant sensibility was one of profound change; the world had been turned upside down and now, with the rapid progress of technology, the movements of societies, and the radical upheavals in the arts, sciences, and philosophy, the history of mankind had reached a turning point.


Eliot revises this thesis, arguing that the more things change the more they stay the same. He links a sordid affair between a typist and a young man to Sophocles via the figure of Tiresias; he replaces a line from Marvell’s “To His Coy Mistress” with “the sound of horns and motors”; he invokes Dante upon the modern-day London Bridge, bustling with commuter traffic; he notices the Ionian columns of a bar on Lower Thames Street teeming with fishermen. The ancient nestles against the mediaeval, rubs shoulders with the Renaissance, and crosses paths with the centuries to follow. History becomes a blur. Eliot’s poem is like a street in Rome or Athens; one layer of history upon another upon another.


(Word count-2060)



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