While evolving technolo- gies also have other purposes than this transformation of matter to profit, the twenty-first century ecological humanities respond to the way that in- dustrialisation has mobilised environmentally damaging practices over re- cent centuries. Yet such critiques must also remain aware of the deep pat- terns that gird philosophies and practices of profit over sustainability. Cur- rent events reveal familiar structural tendencies that link them with ancient human predispositions.
The whisper of the amorous gales; The tranquil night At the approaches of the dawn, The silent music, The murmuring solitude, The supper which revives, and enkindles love. The lotus is a common image in the Upanishads for purity unsullied by the pollution of the mud out of which it grows.
Eliot was a twenty-three year old student at Harvard when he first came across eastern philosophy and religion. What sparked his interest in Vedic thought is not recorded, but soon he was occupied with Sanskrit, Pali and the metaphysics of Patanjali, reading the Bhagavad Gita to which he refers in this poemthe Upanishads, and other writings.
Tennyson's poem is about opium use, which brings one to a kind of 'eternal present' " A land where all things always seem'd the same! Later in this poem, Eliot writes of the voices of the dead Little Gidding, I.: All round the coast the languid air did swoon, Breathing like one that hath a weary dream.
Full-faced above the valley stood the moon; And like a downward smoke, the slender stream Along the cliff to fall and pause and fall did seem. A land of streams! They saw the gleaming river seaward flow From the inner land: The charmed sunset linger'd low adown In the red West: And round about the keel with faces pale, Dark faces pale against that rosy flame, The mild-eyed melancholy Lotos-eaters came.
Branches they bore of that enchanted stem, Laden with flower and fruit, whereof they gave To each, but whoso did receive of them, And taste, to him the gushing of the wave Far far away did seem to mourn and rave On alien shores; and if his fellow spake, His voice was thin, as voices from the grave; And deep-asleep he seem'd, yet all awake, And music in his ears his beating heart did make.
They sat them down upon the yellow sand, Between the sun and moon upon the shore; And sweet it was to dream of Fatherland, Of child, and wife, and slave; but evermore Most weary seem'd the sea, weary the oar, Weary the wandering fields of barren foam.
Then some one said, "We will return no more"; And all at once they sang, "Our island home Is far beyond the wave; we will no longer roam. InEliot attended Bergson's lectures at the College de France in Paris, and was temporarily converted to the latter's philosophical interest in the progressive evolution of consciousness.
Matthiessen writes inThe Achievement of T. Other lines on the recapture of time through consciousness suggest the aspect of Bergson that most stimulated Proust.
But the chief contrast around which Eliot constructs this poem is that between the view of time as a mere continuum, and the difficult paradoxical Christian view of how man lives both 'in and out of time', how he is immersed in the flux and yet can penetrate to the eternal by apprehending timeless existence within time and above it.
University of Michigan Press, So "there is the argument by Bergsonian, Christian and Indian mystics alike that the moment of illumination reveals as in Plato's metaphor of the cave the distinction between reality and its mere shadow.
The sunlight fills the empty pool; presence is overcome by absence; meaning seems to be revealed. Then there is Eliot's reservation about the Platonic language of light and shadow, for, given the values of light and shadow defined in the early essay, one finds a significant ambiguity in this mystical moment of illumination in 'Burnt Norton'.
It is not clear what has been revealed, what truth it is that humankind cannot bear. Is the light presumably the light of the Gospel of John that becomes the Word by the end of this poem real, marking all else as merely shadow?
Or is shadow real the darkness that comes with the cloudmarking the momentary light as merely an illusion? It is not clear which of these phenomena the bird is calling 'reality'.
The ambiguity is no accident; it comes from Eliot's disenchantment with the 'meretricious captivation' of this sort of 'promise of immortality' that he had encountered in Bergsonism. His fear was that the inner light was no more trustworthy than the inner voice, I which breathes the eternal message of vanity, fear, and lust.
One therefore also finds in 'Burnt Norton' the twenty-year fear of pragmatism's replacement of the spiritual part of our diet by fiction.T.
S. Eliot’s The Waste Land uses his poem to comment on the world around him. Throughout his poem, Eliot uses imagery to depict the world as a place devoid of any real life. Each section of his poem creates a different image of the world, each one just as barren as the last.
Such images in. THE WASTELAND By webkandii.com WinnerofTheDial's Award. Thisprizeoftwothousand dollarsisgivenannuallyto ayoungAmericanwriterin recognitionofhisservice toletters. Modernism, Climate Change and Dystopia: An ecocritical reading of light symbology in Conrad's Heart of Darkness and Eliot's “The Waste Land” Geoff Berry Introduction The drive to modernise cannot be divorced from the evolution of technolo- gies that are designed to profit from nature (specifically, the nonhuman, physical world) without.
T. S. Eliot. The Waste Land. The river’s tent is broken: the last fingers of leaf: Clutch and sink into the wet bank. The waste land is one of the most popular poems of the 20 th century.
It is written by T.S. Eliot. It has been saluted as Eliot’s masterpiece . The most prominent theme in T.S. Eliot’s The Waste Land is the pessimistic view of modern culture and the future. Eliot’s main focus is his opinion of contemporary society, which he believes is decaying.