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A Study on the Imagery in The Waste Land

论文作者:www.51lunwen.org论文属性:课程作业 Coursework登出时间:2014-05-25编辑:lzm点击率:15478

论文字数:6831论文编号:org201405241954012914语种:英语 English地区:中国价格:免费论文

关键词:Imagery in The Waste Land《荒原》意象系统Image SystemsEnglish poetry

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.

Ⅰ. The Waste Land and Imagery
 The Waste Land, T. S. Eliot’s most influential poem, has been widely recognized as a landmark of modernism and the model of the twentieth century English poetry. As a 433-line-long poem, the poem with bold technical innovations in versification and style, seems to be without thematic clarity. Readers often find difficulties in understanding it. The difficulties mainly are of four kinds: disjunctive and discontinuous form, quotations in foreign languages (Latin, German, French, Italian, and Sanskrit), mythic structure and multiple allusions from the central texts of Western literature (the Bible, Virgil, Ovid, St. Augustine, Dante, Shakespeare and Spenser) and poems of Baudelaire, Verlanine, and Nerval, plays of Thomas Middleton, Ben Webster, Thomas ky’d and John Lyle, operas of Wagner, a book of Hermann Hesse, and Buddha’s Fire Sermon. All the difficulties probably can be classified as one: the poem is not a traditional poem.
As a master of the Imagism, Eliot is not only a great poem and drama writer but also an excellent critic; he makes critics and practices his theories in his writing. His most recognized theory is the formulation of the “objective correlative”. He described, in his essay on Hamlet, that no emotion can be expressed accurately in art without an “objective correlative”. He defined “objective correlative” as “a set of objects, a situation, or a chain of events which shall be formula of the particular emotion; such that, when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.” The Waste Land embodies this approach, by using imagery as one of the main artistic devices in the poem.
 
 An image may be initially thought of a visible object, a verbal picture, or the concrete representation of the outward form of a person, it can also be what is heard or what is felt: a sound, a touch, an odor, a taste, and any other bodily sensation. Broadly defined, an image is a word or a sequence of words which refers to any sensory experience. A poem may have various images; the pattern of related images in a poem is called “imagery”. (金莉,张剑, 2005: 183)
 
 In The Waste Land, the images of imagery have various forms and origins: they are apparently unrelated to each other, but inherently closely coherent with each other like a network surrounding and strengthening the theme of the poem as a reflection of the poet’s concepts as well as the chaos and dangling state of mental situations of European society after World War.
 
 Ⅱ. The Four Image Systems in The Waste Land
 Image in The Waste Land, with varied forms, not only covers the title of the poem, but also penetrates to the five sections of the poem: The Burial of the Dead, A Game of Chess, The Fire Sermon, Death by Water, and What the Thunder Said. And the thesis divides these images into four complete systems: "Withering" system, "Death" system, "Sexual Passion" system and "Revival" system.
 2.1 "Withering" System
 The “withering” system is the concretization of “waste”. “Withering” is not only in the nature, but also exists in the humans.
 2.1.1 Withering Images of the Nature
 The sectionⅠ“The Burial of the Dead” begins with these horrible lines:
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