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The Waste Land is a poem by T. S. Eliot, widely regarded as one of the most important English-language poems of the 20th century and a central work of modernist poetry. Published in 1922, the 434-line [ A ] poem first appeared in the United Kingdom in the October issue of Eliot's magazine The Criterion and in the United States in the November ...
The Waste Land is dedicated to Pound as "il miglior fabbro" which is what Dante had called Daniel. The poem also contains a reference to Canto XXVI in its line "Poi s'ascose nel foco che gli affina" ("Then he hid in the fire that purifies them") which appears in Eliot's closing section of The Waste Land as it does to end Dante's canto.
These had the same poems (in a different order) except that "Ode" in the British edition was replaced with "Hysteria" in the American edition. In 1925, he collected The Waste Land and the poems in Prufrock and Poems into one volume and added The Hollow Men to form Poems: 1909–1925. From then on, he updated this work as Collected Poems.
The poem served as a sort of opposite to the popular idea that The Waste Land served as an expression of disillusionment after World War I, though Eliot never accepted this interpretation. [4] The poem focuses on life, death, and continuity between the two. Humans are seen as disorderly and science is viewed as unable to save mankind from its ...
In Richard Wagner's 1882 opera Parsifal, loosely based on Wolfram von Eschenbach's epic poem Parzifal, Amfortas, King of the Grail Knights, is the Fisher King figure who suffers an unhealable wound. The 1922 poem The Waste Land by T. S. Eliot loosely follows the legend of the Fisher King.
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His Spring and All (1923) was written in the wake of T. S. Eliot's The Waste Land (1922). In his five-volume poem Paterson (1946–1958), he took Paterson, New Jersey as "my 'case' to work up. It called for a poetry such as I did not know, it was my duty to discover or make such a context on the 'thought.'"
Warning: Spoilers ahead of the finale of “Land of Women.” Eva Longoria’s “Land of Women” has been filled with tender mother-daughter moments, chaos, confusion and reconciliation.