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nbsp; Earth in forgetful snow, feeding
   A little with dried tubers. (李俊清，2007: 106)
 
 Life is refused. As a result, April should only be described as cruel instead of being given a joyous welcome.
 Next, the narrator describes “the hyacinth girl” with wet hair back from the hyacinth garden. Such a scene is often considered to be the only one of hope and life throughout the whole poem. The memory of the hyacinth girl is evoked by the scrap of song quoted from Wagner, with her arm full of hyacinth and her hair wet in the process of picking flowers. Water here strengthens the once brilliant beauty and intense passion.
 The image of water as a symbol for rebirth is then quite apparent in the fourth and shortest section “Death by Water”. After “The Burial of the Dead” as a general statement of the conditions in the wasteland, and “A Game of Chess” together with “ The Fire Sermon” as two most revealing descriptions of the illness of the wasteland, “Death by Water” provides a contrast and relief from the preceding material with the symbolism of water. The drowned Phoenician sailor recalls the drowned god of the fertility cults. Miss Weston tells that each year at Alexandria an effigy of the head of the god was thrown into the water as a symbol of the death of the powers of nature, and that this head was carried by the current to Bibles where it was taken out of the water and exhibited as a symbol of the fertility god. Thus, the “sea change” and the transmutation of wyes to pearls indicate a possible rebirth. There is quite a difference between the fearless and serene death of the sailor (who, as stated in Eliot’s notes, is not wholly distinct from Ferdinand Prince of Naples and merchant)－ “A current under sea/Picked his bones in whispers” and the death described previously－“bones cast in a little low dry garret, / Rattled by the rat’s foot only, year to year” (李俊清，2007: 110).
 Therefore, with water symbolizing rebirth, “Death by Water”, as it appears in the published poem, points both backwards and forwards. It closes off the previous series of poems, which are mostly about death, failed desire, and begins to touch upon a possible rebirth from a transforming death by water. Thus it allows for a new movement in “What the thunder said”.
 
 "This time, however, the scene of waste and horror gives way to a wish for a restored nature, not the nature of "breeding", "mixing", and "stirring", but a pool and a spring, with water dripping over rock and birds singing" (Gish, 1988: 93)
 
   If there were water
         And no rock
   If there were rock
     And also water
         And water
         A spring
         A pool among the rock
         If there were the sound of water only
         Not the cicada
   And dry grass singing
         But sound of water over a rock
         Where the hermit-thrush sings in the pine trees
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