The Twentieth Century Literature: 1900 to World War II

Assignment 106 Myth in'The waste land’. This blog is part of an assignment for paper 106-The Twentieth Century Literature: 1900 to World War II

Personal Information:

Name: Nirali Vaghela

Batch: M.A. sem 2 (2024-2026)

Enrollment number:5108240036

Email address : niralivaghela9270@gmail.com

Roll number:18

Assignment Details :

Topic: Myth in ‘The waste land’

Paper & subject Name: 106-The Twentieth Century Literature: 1900 to World War II

Submitted to: Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar

Date of submission:17/4/2025

Abstract:

This assignment examines the role of myth in T. S. Eliot’s The Waste Land, highlighting how Eliot uses the Grail legend, fertility myths, Eastern philosophy, Christian symbolism, and classical references to portray the spiritual emptiness of modern life and the longing for renewal. Through these myths, Eliot critiques the disillusionment of the post-war world while suggesting hope through spiritual insight.

Key words

Eliot, Myth, Modernism, Renewal, Spirituality

Introduction:

T. S. Eliot’s The Waste Land is structured around myths and archetypes that provide a deeper understanding of the poem’s themes of sterility, loss, and the hope for renewal. The poem functions as a modern quest for meaning, mirroring ancient rituals and legends that deal with death, rebirth, and redemption. Below is a detailed examination of the major myths that Eliot weaves into his poem.

Introduction of the author

Thomas Stearns Eliot OM (26 September 1888 – 4 January 1965) was a poet, essayist and playwright.[1] He was a leading figure in English-language Modernist poetry where he reinvigorated the art through his use of language, writing style, and verse structure. He is also noted for his critical essays, which often re-evaluated long-held cultural beliefs

1. The Grail Legend and the Fisher King

The most important myth in The Waste Land is the story of the Fisher King, a central figure in Arthurian legend. The Fisher King is a wounded ruler whose injury causes his land to become barren. His kingdom suffers from drought, infertility, and death because his vitality is tied to the land’s well-being. Only a heroic figure—often a knight seeking the Holy Grail—can ask the right questions and perform the necessary rituals to heal the king, restoring both him and his kingdom.

Connection to the Poem

Eliot uses the waste land as a metaphor for the spiritual and cultural barrenness of modern civilization. The Fisher King’s suffering parallels the spiritual emptiness of people who have lost faith and connection to the sacred.

In The Waste Land, the sterility of the land is reflected in the relationships between men and women, where love and sex are devoid of meaning or passion.

The poem repeatedly refers to drought and lifelessness, such as the famous lines in the opening section:

April is the cruellest month, breeding

Lilacs out of the dead land, mixing

Memory and desire, stirring

Dull roots with spring rain.

This imagery mirrors the infertile kingdom of the Fisher King, where nothing grows. The only cure, as in the myth, is a spiritual renewal that reconnects humanity with a greater meaning.

Eliot was heavily influenced by Jessie Weston’s From Ritual to Romance, which linked the Grail legend to ancient fertility rites (explored below). The poem suggests that just as the Fisher King’s wound needs healing, modern humanity must undergo a transformation to escape spiritual desolation.

2. Ancient Fertility Rituals and the Dying God

Alongside the Grail legend, Eliot incorporates myths of fertility gods who die and are resurrected, symbolizing the cycles of nature and spiritual renewal. These myths appear in many cultures:

Osiris (Egyptian Mythology) – The god of life and fertility, killed and dismembered by Set, later resurrected by Isis.

Tammuz (Babylonian Mythology) – A fertility god who dies in the dry season and returns with the rains.

Adonis (Greek Mythology) – A dying god loved by Aphrodite, whose death and return mark the changing seasons.

Connection to the Poem

Eliot uses water as a symbol of both death and rebirth, drawing from these ancient myths.

The "Hanged Man" (a tarot card figure mentioned in the poem) is linked to these dying gods. The Hanged Man in tarot represents self-sacrifice and transformation, much like the gods who die and are reborn.

The image of water appears throughout the poem, representing both the lack of life (drought) and the potential for renewal.

The final section, What the Thunder Said, describes a dry land desperately waiting for rain, symbolizing the possibility of spiritual rebirth.

By drawing on these myths, Eliot presents modern society as stuck in a cycle of death, longing for renewal but unsure how to achieve it.

3. Eastern Philosophy and the Upanishads

Eliot, who was deeply interested in Hindu and Buddhist philosophy, incorporates elements of Eastern spiritual traditions, particularly from the Brihadaranyaka Upanishad, one of the oldest Upanishads in Hindu scripture.

Connection to the Poem

In the final section, Eliot references a story from the Upanishads where the god Prajapati speaks the syllable "DA" to three groups:

1. Devas (gods) – They hear "DA" as Damyata (self-control).

2. Asuras (demons) – They hear "DA" as Dayadhvam (compassion).

3. Humans – They hear "DA" as Datta (give).

This wisdom is meant to guide individuals toward spiritual enlightenment. The poem ends with the Sanskrit phrase "Shantih, Shantih, Shantih," which means "the peace that surpasses understanding."

This suggests that the cure for the waste land is a return to spiritual values: self-control, compassion, and generosity.

Eliot contrasts Eastern wisdom with the emptiness of Western civilization, which he sees as having lost its connection to true meaning.

4. Biblical and Christian Imagery

Eliot’s use of Christian themes focuses on redemption through suffering and sacrifice. The poem references:

The Crucifixion of Christ – The "Hanged Man" is also linked to Christ’s suffering, suggesting that salvation comes through pain.

The Burial of the Dead – This recalls both Christian and pagan burial rites, linking to the theme of resurrection.

Water as Purification – In Christianity, water symbolizes both baptism and divine judgment. The repeated references to rain and rivers in the poem reflect this dual symbolism.

Connection to the Poem

Eliot presents Christianity as one possible solution to the moral and spiritual decay of the modern world.

The waste land's dryness symbolizes spiritual emptiness, while the coming storm in What the Thunder Said suggests the possibility of renewal, much like a biblical prophecy of salvation.

However, the poem ends ambiguously—offering a hope for renewal, but leaving it unresolved.

5. Classical Myths (Philomela, Tiresias, and The Tempest)

Philomela (Greek Mythology)

The tragic story of Philomela is referenced in A Game of Chess.

She was raped by her sister’s husband, Tereus, who cut out her tongue to silence her. She was later transformed into a nightingale, whose song symbolizes both beauty and suffering.

Tiresias (Greek Mythology)

Tiresias, the blind prophet of Greek mythology, appears in the poem as a figure who witnesses the meaningless relationships of modern life.

His presence connects past and present, symbolizing both wisdom and impotence—he sees everything but is powerless to change it.

The Tempest (Shakespeare)

Eliot alludes to Ariel’s song from The Tempest:

Those are pearls that were his eyes.

This line refers to transformation through suffering, fitting the poem’s themes of death and renewal.

critical analysis of T. S. Eliot’s The Waste Land

The document, The Waste Land Revisited by R. L. Houghton, is a critical analysis of T. S. Eliot’s The Waste Land. It explores various aspects of the poem’s reception, criticism, and significance in literary history.

1. Modern Status of The Waste Land – Houghton argues that the poem has remained modern despite changes in literary sensibility. However, he suggests that intellectual inertia has kept it in high regard rather than continuous critical engagement.

2. Early Criticism by Edgell Rickword – Rickword’s 1923 review of the poem in The Times Literary Supplement is praised for its psychological acuteness and insightful critique of Eliot’s technique. He identifies Eliot’s evasiveness and the poem’s structural weaknesses but appreciates Part V (What the Thunder Said).

3. F. R. Leavis’ Influence – Leavis’ 1932 critique in New Bearings in English Poetry shaped the “received” view of the poem. Houghton notes that while Leavis played a major role in securing Eliot’s reputation, his critical approach became somewhat rigid over time.

4. Dame Helen Gardner’s Subjective Reading – Gardner’s interpretation of The Waste Land focuses on its musicality and subjective experience. Houghton critiques this, arguing that her approach leads to an overly personal and incoherent reading that undermines the poem’s critical analysis.

5. Eliot’s Own Disavowal of the Poem – Eliot himself expressed dissatisfaction with The Waste Land, calling it a personal grudge against life with only “about thirty good lines.” Houghton suggests that Eliot’s Notes on The Waste Land were partly a deliberate misdirection to obscure the poem’s personal nature.

6. Critique of the Poem’s Technique – Houghton highlights various weaknesses in Eliot’s technique, including forced allusions, awkward syntax, and misleading notes. He argues that some of Eliot’s most celebrated lines lose coherence under scrutiny.

7. Psychological Themes – Drawing from D. W. Harding’s psychological perspective, Houghton discusses how Eliot’s personal struggles, particularly with relationships and emotional detachment, permeate the poem. He connects Eliot’s use of symbolism to his psychological state.

8. Religious and Mystical Elements – The essay examines the spiritual aspects of The Waste Land, particularly its references to Eastern and Christian religious traditions. Houghton questions whether these elements are fully integrated or remain fragmented.

9. The Importance of Part V (What the Thunder Said) – Houghton sees this section as the most cohesive and powerful part of the poem, where Eliot’s introspection leads to a more profound poetic expression.

Conclusion:

T. S. Eliot’s The Waste Land is deeply rooted in myth, using ancient narratives to critique modern society.The Fisher King and Grail legend highlight spiritual barrenness and the need for renewal.Fertility myths emphasize the cycle of death and rebirth.Eastern philosophy offers wisdom through self-control, compassion, and generosity.Christian themes suggest redemption through suffering.Classical myths reinforce the poem’s themes of tragedy, transformation, and the struggle for meaning.

By weaving together these myths, Eliot presents a world caught between despair and hope, leaving the reader to question whether renewal is still possible in the modern age.

Reference :

Houghton, R. L. “‘The Waste Land’ Revisited.” The Cambridge Quarterly, vol. 18, no. 1, 1989, pp. 34–62. JSTOR, http://www.jstor.org/stable/42966709. Accessed 5 Mar. 2025.

OWENS, R. J. “T. S. Eliot’s ‘The Waste Land.’” Caribbean Quarterly, vol. 9, no. 1/2, 1963, pp. 3–10. JSTOhttp://www.jstor.org/stable/40652841R, .

Accessed 5 Mar. 2025

Words: 1,778

mage:6

Search This Blog

Nirali vaghela