摘要:The meaning of the poetic image language is of multi-layer, polysemy, and fuzziness. The understanding of the deep meaning of the poetic image language is conditioned by the cultural context. In poetry, the head image words or phrases seem to be pretty crucial.
thinking. Think.” (李俊清,2007: 110) But his husband immersed in his thinking, just answers her impatiently. They cannot communicate too.
In fact, all the people in the waste land are in the “withering” state, but they can’t find a way to solve it, so that the witch Madame Sosostris becomes the wisest woman in Europe. “Madame Sosostris, famous clairvoyante, / Had a bad cold, nevertheless / Is known to be the wisest woman in Europe, / With a wicked pack of cards.” (李俊清,2007: 107-108) People have lost their orientation and found themselves in danger. It is an irony that they live their lives with the help of horoscope. “Thank you. If you see dear Mrs. Equitone, / Tell her I bring the horoscope myself: / One must be so careful these days.” (李俊清,2007: 108)
2.2 "Death" System
All images in The Waste Land are close to death.
2.2.1 Death Images of the Concrete Things
In the epigraph of The Waste Land, when the caged Sibyl is asked her desire, she replies "I want to die," which evokes the theme of death of The Waste Land.
Nam Sibyllam quidem Cumis ego ipse oculis meis vidi in
ampulla pendere, et cum illi pueri dicerent: Sibylla ti theleis;
respondebat illa: apothanein thelo. (李俊清,2007: 106)
The image of the ‘Sibyl” is from the ancient Greece myth, Sibyl, a prophetess, who had been granted immortality by Apollo that she could live as many years as grains of the sand in her hand, but because she forgot to ask for perpetual youth, she shrank into withered old age and only wanted to die. The Sibyl’s wish to escape her living death of immortality through a real death is put into immediate contrast with the condition of the waste land.
The title of sectionⅠ“The Burial of the Dead” is another image of “death” which is a phrase from the Anglican burial service. In this section, the images of “death” appear everywhere: “Tristan und Isolde”, “the drowned Phoenician Sailor”, “the Hanged Man”, “the crowd flowed over London Bridge that undone by death”, “Saint Mary Woolnoth Church with the dead sound” and the “corpse in the garden”.
In the rest sections, there are also many images of “death”. In section Ⅱ “A Game of Chess”, the images of “death” are: “the rats’ alley” and “the dead men’s bones”. In section Ⅲ “The fire sermon”, the images of “death” are: “the last fingers of leaf”, “the rattle of the bones”, “the king my brother’s wreck”, “the king my father’s death”, “the bones of in the low dry garret”, “Magnus Martyr, Carthage”. In section Ⅳ “Death by Water”, the images of “death” are “the dead Phoenician sailor Philebas”. In the section Ⅴ “What the Sunder Said”, the images of “death” are: “Dead Mountain” and “Unreal city of London”. Eliot’s
notes refer to us, that these images from the Baudelaire's "Les Sept Viellards," and Dante’s “Inferno”. These images as “objective correlatives” remind us of the scenery that the sinners walking in the Hell of Dant's Inferno:
So I beheld, and lo! an ensign borne
Whirling, that span and ran, as in disdain
Of any rest; and there the folk forlorn
Rushed after it, in such an endless train,
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