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This is the case with Gabriel in "The Dead" as well. Throughout much of the action of the story, Gabriel appears at a loss as to who he is, which is directly related to how he is perceived. The first time in the story this is noticed is to the beginning, when he gives a coin to Lily out of an unspecified yet apparently selfless motive. Gabriel wants to share himself with others, but is unable to do s in a manner he feels befits him because he is unsure of himself, and unsure of how others react to him. This becomes painfully clear at the end of the story, when Gabriel realizes that the nature of love is related to the desire for death in love's absence: "His soul had approached that region where dwell the vast hosts of the dead. He was conscious of, but could not apprehend, their wayward and flickering existence. His own identity was fading out into...
At the end of the story, Gabriel experiences a bittersweet salvation of sorts in his sudden understanding of humanity, but is still left alone, caught between life and death.
This in-between state seems all-pervasive in "The Wasteland," and its appearance in Joyce's work is not necessarily a conscious or planned homage, but rather is typical of the time that produced these two works of literature. Religion, communication, and personal relationships all fail for Gabriel and in the world of "The Wasteland," where human beings are little better than animals for their consciousness, or perhaps are actually worse because of it. This consciousness leaves no room for excuses when human potential and connection fails; the world is truly a watse when people are unable to see themselves and others clearly and honestly.
T.S. Eliot and Amy Lowell The poetic styles of T.S. Eliot and Amy Lowell are so dissimilar, that it comes as something of a shock to realize how much the two poets had in common. Each came from a prominent Boston family, and was related to a President of Harvard University -- Eliot was a distant relation to Harvard's President Eliot, and attended Harvard as an undergraduate: Amy Lowell's brother would
TS Eliot REVISED "The Love Song of J. Alfred Prufrock" by T.S. Eliot is indefeasibly a Modernist masterpiece. Yet how do we know it is modernist? Let me count the ways. Modernist poetry is often marked by complicated or difficult disjunctions in tone -- "J. Alfred Prufrock" which is capable of moodily swinging from the depressive lows of "I should have been a pair of ragged claws / scuttling across the
T.S. Eliot and Paul Verlaine The late nineteenth century Symbolist movement in literature was first identified as the primary origin of twentieth century Modernism by Edmund Wilson, in his 1931 work Axel's Castle: A Study in the Imaginative Literature of 1870-1930. Wilson's study ranges widely enough to cover the Modernist prose of Proust and Joyce in addition to the experimental prose-poetry of Gertrude Stein, but he makes a particularly strong case
Sketch of T.S Eliot The Life of T.S Eliot Eliot was born in Missouri in 1888. He studied philosophy and logic at various universities including Harvard. After graduating he spent a year at Sorbonne in Paris reading French literature. He then returned to Harvard where he studied epistemological theory, Indian languages and metaphysics. He later transferred to Oxford where he studied Greek philosophy (Kamm 143). During these years of study he also
"On receiving news of the war" by Isaac Rosenberg Rosenberg's poem conjures up a physical, metaphorical image of the specter of war. A spirit of a person torn by the red fangs of either death, war, or some diabolical, physically imagined agent hangs over the poem. This dead spirit, representing all of the fallen soldiers, is in neither heaven nor hell (suggesting a crisis of faith in this modernist poem) but
Ernest Hemingway & T.S. Eliot Modernism in Literature: Comparative Analysis of the works of Ernest Hemingway and T.S. Eliot As the world entered the 20th century, world literature have become influenced with the emerging ideology of modernism, a new thinking that promotes the potential of humanity to achieve more than they imagined possible. That is, modernism has promoted the idea that humanity has the potential achieve more than the present state they