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Unit 31: Hughes and T.S. Eliot




                   DA                                                                                Notes
                   Dayadhvam: I have heard the key
                   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
                   Damyata: The boat responded
                   Gaily, to the hand expert with sail and oar
                   The sea was calm, your heart would have responded
                   Gaily, when invited, beating obedient
                   To controlling hands

                                         I sat upon the shore
                   Fishing, with the arid plain behind me
                   Shall I at least set my lands in order?

                   London Bridge is falling down falling down falling down

                   Poi s’ascose nel foco che gli affina
                   Quando fiam ceu chelidon—O swallow swallow
                   Le Prince d’Aquitaine à la tour abolie
                   These fragments I have shored against my ruins
                   Why then Ile fit you. Hieronymo’s mad againe.
                   Datta. Dayadhvam. Damyata.

                         Shantih    shantih    shantih
            “The Waste Land” is not quite the poem Eliot originally drafted. Eliot’s close friend and colleague,
            Ezra Pound, significantly revised the poem, suggesting major cuts and compressions. Thanks to
            Pound’s heavy editing, as well as suggestions (specifically about scenes relevant to their stormy,
            hostile marriage) from Haigh-Wood, “The Waste Land” defined Modernist poetry and became
            possibly the most influential poem of the century. Devoid of a single speaker’s voice, the poem
            ceaselessly shifts its tone and form, instead grafting together numerous allusive voices from Eliot’s
            substantial poetic repertoire; Dante shares the stage with nonsense sounds (a technique that also
            showcases Eliot’s dry wit). Believing this style best represented the fragmentation of the modern
            world, Eliot focused on the sterility of modern culture and its lack of tradition and ritual.




                    Despite this pessimistic viewpoint, many find its mythical, religious ending hopeful
                    about humanity’s chance for renewal.

            Pound’s influence on the final version of “The Waste Land” is significant. At the time of the poem’s
            composition, Eliot was ill, struggling to recover from his nervous breakdown and languishing




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