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The Burial of the Dead Or your shadow at evening rising to

meet you;

April is the cruellest month, I will show you fear in a handful of

breeding Frisch weht der Wind
Lilacs out of the dead land, mixing Der Heimat zu
Memory and desire, stirring Mein Irisch Kind,
Dull roots with spring rain. Wo weilest du?
Winter kept us warm, covering
Earth in forgetful snow, feeding You gave me hyacinths first a year
A little life with dried tubers. ago;
Summer surprised us, coming over the They called me the hyacinth girl.
Starnbergersee Yet when we came back, late, from
With a shower of rain; we stopped in the Hyacinth garden,
the colonnade, Your arms full, and your hair wet, I
And went on in sunlight, into the could not
Hofgarten, Speak, and my eyes failed, I was
And drank coffee, and talked for an neither
hour. Living nor dead, and I knew nothing,
Bin gar keine Russin, stamm aus Looking into the heart of light, the
Litauen, echt deutsch. silence.
And when we were children, staying at Oed und leer das Meer.
the arch-dukes,
My cousins, he took me out on a Madame Sosostris, famous
sled, clairvoyante,
And I was frightened. He said, Marie, Had a bad cold, nevertheless
Marie, hold on tight. And down we Is known to be the wisest woman in
went. Europe,
In the mountains, there you feel free. With a wicked pack of cards. Here,
I read, much of the night, and go said she,
south in the winter. Is your card, the drowned Phoenician
What are the roots that clutch, what (Those are pearls that were his eyes.
branches grow Look!)
Out of this stony rubbish? Son of man, Here is Belladonna, the Lady of the
You cannot say, or guess, for you know Rocks,
only The lady of situations.
A heap of broken images, where the Here is the man with three staves, and
sun beats, here the Wheel,
And the dead tree gives no shelter, And here is the one-eyed merchant,
the cricket no relief, and this card,
And the dry stone no sound of water. Which is blank, is something he
Only carries on his back,
There is shadow under this red rock, Which I am forbidden to see. I do not
(Come in under the shadow of this red find
rock), The Hanged Man. Fear death by
And I will show you something water.
different from either I see crowds of people, walking round
Your shadow at morning striding in a ring.
behind you
Thank you. If you see dear Mrs.
Tell her I bring the horoscope myself:
One must be so careful these days.

Unreal City,
Under the brown fog of a winter
A crowd flowed over London Bridge, so
I had not thought death had undone
so many.
Sighs, short and infrequent, were
And each man fixed his eyes before
his feet.
Flowed up the hill and down King
William Street, [Eliots poetry is] a music of ideas. The
To where Saint Mary Woolnoth kept ideas are of all kind, abstract and
the hours concrete, general and particular, and,
With a dead sound on the final stroke like the musicians phrases, they are
arranged, not that they may tell us
of nine.
something, but that their effects in us
There I saw one I knew, and stopped may combine into a coherent whole of
him, crying: Stetson! feeling and attitude and produce a
You who were with me in the ships at peculiar liberation of the will. They are
Mylae! there to be responded to, not to be
That corpse you planted last year in pondered or worked out.
your garden,
Has it begun to sprout? Will it bloom - I. A. Richards, The Poetry of T. S.
this year? Eliot
Or has the sudden frost disturbed its Thomas Stearns Eliot was one
of the most influential figures in the
Oh keep the Dog far hence, thats
friend to men, English culture of the twentieth
Or with his nails hell dig it up again! century. He was born in St. Louis
You! hypocrite lecteur!mon (Missouri) in 1888, the last child of
semblable,mon frre! an American bourgeois family
rooted to New England
traditionalism. He studied
T. S. Eliot Philosophy and English Literature at
Harvard, the Sorbonne, and Oxford
from 1906 to 1916. In 1915, he
published The Love Song of J.
Alfred Prufrock, with the support of
Ezra Pound, who became one of the
most important promoters of Eliots
work during his early years as a
poet. Pound was a decisive
influence in the creation of The It is considered as one of the
Waste Land (1922), Eliots most most important poems of the 20th
important and influential work. He century and a central work of
converted to Anglicanism and modernist poetry. Eliot's poem
renounced to his American follows the legend of the Holy Grail
citizenship in 1927 to adopt the and the Fisher King combined with
English one. Later, he declared vignettes of contemporary British
himself: classicist in literature, society. Eliot employs many literary
royalist in politics, and Anglo- and cultural allusions from the
Catholic in religion.Subsequent Western canon, Buddhism and the
works like The Hollow Men, Ash Hindu Upanishads. The poem shifts
Wednesday, and Four Quartets between voices of satire and
consolidate his career as poet. Eliot prophecy featuring abrupt and
also became one of the leading unannounced changes of speaker,
critics of the New Criticism creed. location, and time and conjuring of a
He won the Nobel Prize of Literature vast and dissonant range of cultures
in 1948. Eliot died in January, 1965. and literatures.

Important Works Sources

North, Michael. The Waste Land: A
- Prufrock and Other Observations
Norton Critical Edition. New
York: W. W. Norton &
- The Sacred Wood (1920)
Company, 2001
- The Waste Land (1922)
Richards, I. A. The Poetry of T. S.
- The Hollow Man (1925)
Eliot. Principles of Literary
- Ash Wednesday (1930)
Criticism. New York: Harcourt,
- Murder in the Cathedral (1935)
Brace, 1926
- Four Quartets (1945)
Lawrence, Rainier. With Automatic
Hand: The Waste Land. The
The Waste Land (1922) New Cambridge Companion to
T.S. Eliot. New York: CUP, 2016.