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Nov 10, 2016 · A reading of the fifth section of The Waste Land – analysed by Dr Oliver Tearle. ‘What the Thunder Said’ concludes The Waste Land, T. S. Eliot’s landmark 1922 work of modernist poetry. In many ways, this is the most difficult section of The Waste Land to analyse.
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- Summary
- Form
- Commentary
The final section of The Waste Landis dramatic in both its imagery and its events. The first half of the section builds to an apocalyptic climax, as suffering people become “hooded hordes swarming” and the “unreal” cities of Jerusalem, Athens, Alexandria, Vienna, and London are destroyed, rebuilt, and destroyed again. A decaying chapel is described...
Just as the third section of the poem explores popular forms, such as music, the final section of The Waste Land moves away from more typical poetic forms to experiment with structures normally associated with religion and philosophy. The proposition and meditation structure of the last part of this section looks forward to the more philosophically...
The initial imagery associated with the apocalypse at this section’s opening is taken from the crucifixion of Christ. Significantly, though, Christ is not resurrected here: we are told, “He who was living is now dead.” The rest of the first part, while making reference to contemporary events in Eastern Europe and other more traditional apocalypse n...
When Eliot gets to the fifth stanza, the poem changes. In its original form, the two sections were separated by five dots, denoting a change in the current topic but not the larger themes. He immediately refers to “Grishkin.”
- Female
- October 9, 1995
- Poetry Analyst And Editor
The fifth stanza only contains four lines and transitions from the second person to the first person. Now, the speaker describes how he is, […] moved by fancies that are curled. Around these images, and cling: His involvement in this narrative allows one to take a more hopeful approach to what is being described.
- Female
- October 9, 1995
- Poetry Analyst And Editor
Feb 25, 2017 · The fifth and final section of ‘Little Gidding’ ends by contemplating and analysing the role of endings themselves – and beginnings.
In the closing section of “Little Gidding,” Eliot rejects despair and resists the easy dodge of irony to affirm the possibility of humanity burning away the corrosive urgencies of the flesh and tapping at last into the sweeping stillness of the transcendent beyond the manic chaos of time itself.
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The fifth stanza is the shortest by far. It contains only three lines, but it continues the pattern. It is an hour later, at “Half-past three.” The lines from the second stanza regarding the lamps sputtering and muttering are repeated. All this goes on in the dark still.
