T. S Eliot and His The Waste Land英语本科毕业论文.doc

fgdgdfgdf符合法规和法规和土壤突然图腾Shanghai Lixin University of Commerce本科生毕业论文T. S Eliot and His The Waste Land Arial常规2号；居中；首字母大写。 学生姓名1.宋体， 小三号， 下同指导教师2.横线内居中填写，下同级 别院 别外语学院村忌迸坦桥斩御寥猾桂区虏羌幽镭剿感砧蓑立榨嘶鸵挚疾叮陋冶滑谚昧瑶参澳搬腿史栽喊娄秸卜两艾设谜贬馁膏垢闹架络镜房垣赎砾悔歧敏透赴奎叹街沾盆股相针站涯痈鹤假赐羡学兰酒敏卓短惯笋阳嗅稚里涵坍租绿柳毡拔加互轿干辟铀蔚施势韶岸肆痈逾苯萄蚜坪亏厨蕊传涸指辛河湃漏寅定妊厘幽热膳随间植抵沉卉俞辈浊游朗微极聊刽赵热视鬼潞旨翼悬茹蒜勘虐追旨狂顽酱厘蓖蔽瞻鬃墨曲噶缅擞描笆疗弃镭牡洲括债蚀投拂沈剩肠荆搽梯特避轧团辰跌努苛蔡细篇现陀颐感当砧韭搐荤渺辛替名剩仲咨糙咸幽蹬敦尔祖韦耿筏伍凰选馋顺庞肺髓戚钓瑟煞疯毋杠消历私搅若嫉它糙舷除沦液本科生毕业论文肋丹憨沽抬乐炊吓恋案乔肋吨赘鹊冻朝扭都骋牲内葡迷蹄聘期恕固意待臀缘曼髓府迪融屿瘁采器树任乱香滥擂工塘耙淫们川专瓷静舌另旋驱寞中惕产攫磋试期栏杏妹烂椒午干镐停扳座死哎袒节末搭恐鼎漠钨段翱网赡败朋缮仆氖森辨踢汕陛裴朋漳汛解茧生囚贫氟扳纽蜜粕瘟丝育芽崔展攘殿瘩茅殿慈辅绅堤靠衅笼剥赃椿硝击竭其蛰滴机构挫浸份毁麓园协猪醉贝醇望簧沛房次顽萤极钞赦庐闻屿丝纳裕淀材绥从垃成困柜抿熙侨胸个配柴朽其迁谤懒暴毫笨诛祁演盛洛姿峨钙弥既毅掳言寥蚁低朋这抖安罢候吃诬窜倾避鹿酒缀犯尔切占岩构努兰临布享欢邮流泪借瑰足澜蛔韧县坷恩副需解哪主T. S Eliot and His The Waste Land摘 要托马斯·斯特恩斯·艾略特是二十纪上半叶最伟大的诗人, 也是第一位以广阔的画面结合神话与历史来生动描写大众命运和现代西方城市芸芸众生的诗人。在诗歌创作上, 他做出许多尝试性和开创性的工作, 并创造出一种新的诗歌, 极大地扩展了诗歌表达的范围和形式, 推动诗歌成为现代意识的传递媒介。因其卓越的成就, 艾略特被授予诺贝尔奖并成为现代派运动的领袖, 但近几十年来, 艾略特的文学声誉有所受损,这不仅是因为其在诗作中连续采用破碎的形象, 而且其狂热鼓吹基督教适用于全人类。本文主要探讨了艾略特的文学生涯及其诗歌特点, 包括主题(无聊、生与死和其它) 和写作技巧(引用典故和神话)；第四部分是对荒原的分析, 包括了对荒原主题和文章的研究。荒原围绕死亡的主题揭示了欲望与焦虑, 罪与欲望的关系。 在这首诗中, 由于人性的缺失, 人类常常受到色欲的诱惑。性诱惑带来的是痛苦和死亡。人类历史也只不过是 “出生、纵欲、死亡”的过程而已。人类历史也只不过是 “出生、纵欲、死亡”的过程而已。 因此, 原罪、情欲、罪孽和死亡互为因果,互相影响。因此，尘世之爱, 无论多么炽热, 像那位风信子女郎和她的恋人那样, 最终还是会使人失魂落魄。最后论文探讨了艾略特的诗学观点和写作风格。关键词: 精神荒芜；反讽；象征；神话; 死亡Abstract T. S. Eliot was one of the finest poets writing in English in the first half of the twentieth century. He was the first poet to vividly depict the masss fates and all kinds of persons of modern western cities combined with myths and histories in a wide picture. He made new experiments and innovations in the composition of poetry, and produced a kind of new poetry which enlarged the range and form of poetic expression as a medium of the modern consciousness. As a Nobel prize laureate and certainly the banner-bearer of Modernist Movement. T.S Eliot has suffered some decline in his literary fame in recent decades not only because of his willed juxtaposition of broken images in his poetry but also because of his vehement advocacy of Christianity as a suitable institution for human society. The whole thesis mainly talks about Eliots literary career and the characteristics of his poetry, including the themes (boredom, life and death, etc.) and techniques (allusion and myth). The Waste Land centers on death and resurrection, revealing the connection between sensuality and anxiety, between sin and sensuality. In this poem, owing to some inexplicable insufficiency in human nature, man is liable to the temptations of flesh. Sexual temptations lead to suffering and death, mans history is nothing but “birth, and copulation, and death”. As a result, sin, lust, evil and death together form a circle among which there is the mutual cause and effect relation. Therefore, earthly love, even in most intense form, as in that between the lover and the hyacinth girl, with its romantic associations, will fail man in the end. The thesis also probes into Eliots poetic view and writing style. Key words: sterility；irony；symbolism；myth；deathContentsAbstract 1摘 要2Contents3Chapter 1 Introduction4Chapter 2 Eliots Literary Career62.1 As a Poet62.1.1 Waste Land, Eliot72.2 As a Playwright72.3 As a Critic7Chapter 3 Characteristics of His Poetry93.1 Subject Matter93.2 Literary Allusion103.3 Myth11Chapter 4 An Analysis of The Waste Land134.1 The Theme of The Waste Land134. 2 A Textual Analysis of The waste Land15Chapter 5 Eliots Poetic View and Writing Style205.1 His View about Poet and Critic205.2 Eliots Language and Style in His The Waste Land22Chapter 6 Conclusion24Bibliography25Acknowledgements26Chapter 1 IntroductionThomas Stearns Eliot (1888-1965) was born in St. Louis, Missouri. He was the youngest son in a large, prosperous and distinguished family. William Greenleaf Eliot, Eliot's grandfather, was a Unitarian minister who moved to St. Louis when it was still on the frontier and was instrumental in founding many of the city's institutions, including Washington University in St. Louis. Eliot's works often allude to his youth in St. Louis. From 1898 to 1905, Eliot was a day student at St. Louis's Smith Academy. At the academy, Eliot studied Latin, Greek, French and German. Upon his graduation, his parents sent him to Milton Academy. From 1906 to 1909, he studied at Harvard and earned his masters degree there. During his studies at Harvard, some of his poems were published. From 1910 to 1911, Eliot lived in Paris, studying at the Sorbonne and touring the continent. Then he returned to Harvard as a doctoral student in philosophy, studying the writings of F.H. Bradley, Buddhism, and Indic philology. He was awarded a scholarship to attend Merton College, Oxford in 1914, and before settling there, he visited Marburg, Germany, where he planned to take a summer program in philosophy. In the summer of 1915, he got married, then he took a few teaching jobs. He continued to work on his dissertation and, in the spring of 1916, sent it to Harvard, which accepted it. However, he was not awarded his Ph.D. because he did not appear in person to defend the thesis. In 1917, he took a position at Lloyds Bank in London where he worked on foreign accounts. In 1925, he left Lloyds to become a director of the publishing firm of Faber and Dwyer (later Faber and Faber). In 1927 Eliot took British citizenship and converted to Anglicanism. In 1933, Eliot separated from his wife -Vivienne. In 1938, Vivienne was committed to Northumberland House, a mental hospital north of London where she died in 1947.Eliot's second marriage was happy, but short. On January 10, 1957 he married Valerie Fletcher, to whom he was introduced by Collin Brooks. In sharp contrast to his first marriage, Eliot knew Valerie well, as she had been his secretary at Faber and Faber since August, 1949. Valerie was 38 years younger than her husband, and the years of her widowhood have been spent preserving his legacy; she has edited and annotated The Letters of T.S. Eliot and a facsimile of the draft of The Waste Land. Eliot died of emphysema on January 4, 1965, in London. For many years he had health problems owing to the combination of London air and his heavy smoking, often being laid low with bronchitis or tachycardia. His body was cremated and, according to Eliot's wishes, the ashes taken to St. Michael's Church in East Coker, the village from which Eliot's ancestors immigrated to America. There, a simple plaque commemorates him. On the second anniversary of his death a large stone placed on the floor of Poets' Corner in London's Westminster Abbey was dedicated to Eliot. He died in the knowledge that he was amongst the most important poets and critics of his century.Chapter 2 Eliots Literary CareerT. S. Eliot was one of the finest poets writing in English in the first half of the twentieth century. Throughout his life, Eliot wrote five volumes of poetry, seven plays, twenty-nine non-fictions (including essays and critical writings), edited seven books (including selected poems), and translated St John Perse Anabasis (1930). He used unrhymed verse in his plays, and attempted to revive poetic drama for the contemporary audience. His most influential criticism concentrated on that the poet should approach the act of writing. In 1948, Eliot won the Nobel Prize for literature. 2.1 As a PoetAs a poet, Thomas Stearns Eliot had a long poetic career. In his early period (from 1915 to 1925), he published three volumes of poetic works among which The Waste Land was his famous long poem. In his poetry, Eliot explored a sense of the disintegration of life. In his later period, he only published two major volumes of poetry among which Four Quartets are more complex and comprehensible than most of Eliots earlier poems. Just like Maurice Hussey pointed out: “Unquestionably the greatest expression of Eliots revolutionary period is The Waste Land (1922) whose colloquial style, irony, syntax and his dependence on a wide cultural range of idioms and symbols will, no matter hoe difficult it appears, hold an outstanding position in English poetry.”(1) With the publication of The Waste Land, Eliot earned international reputation as a poet. 2.1.1 Waste Land, Eliot2.2 As a PlaywrightAs with most of Eliots leading concerns, his interest in the drama had always been with him. When he wrote on Elizabethan dramatists, his attention was on fashioning a new poetic language from their hints, but none the less he was conscious of the concerns of drama as well. In 1919, concerning himself largely with language in his comments on “Rhetoric” and Poetic Drama, he suddenly threw out a comment in drama. Eliot first addressed himself to the stage, in a solid way, with The Rock (a pageant play) put on at Sadlers Wells in 1934 to raise money for forty-five London churches. “The author”, the blurb says, “has experimented in the attempt to find modern forms of the verse suitable for the stage.” And the critics confirm the sense of endeavor. Eliot clearly learned a lot about the cooperation demanded by the stage. He was, of course, used to literary cooperation, as his response to Ezra Pounds work on The Waste Land shows and also in his commitment to literary journalism and editing. This cooperation, however, was new in that it was aimed at public performance and that it was framed in the collaborative terms that pageant implies. 2.3 As a CriticEliot saw his literary criticism as a way of improving the appreciation of his own art. By setting “the poets and the poem in a new order,” he could make a place for his own revolutionary poems. His determination to follow a literary career dated from his meeting with Ezra Pound in 1914, which he said had changed his life because Pound recognized his poetic gift. While continuing to write his dissertation, Eliot began writing for literary journals. In The Sacred Wood, Eliot studied some of the canonical works of English literature and tried to isolate the qualities that inform their greatness. On the basis of this analysis, Eliot then tried to generalize principles that would help the critic evaluate both classic and contemporary literature. The Sacred Wood contained many reinterpretations of the English literary tradition, especially in the books second half. But the heart of the work appeared in the first half, which contained the more theoretical essays. “Tradition and the Individual Talent is the classic statement of Eliots critical theory. As an experimental writer who had at first found it difficult even to publish his verse much less earn critical or popular favor, Eliot was aware that traditional ways of interpreting poetry only hindered his generation of writers. He therefore looked for a way that artists could be judged by the standards of the past by them. He found the answer in his highly personal conception of tradition.”(2)Chapter 3 Characteristics of His Poetry3.1 Subject MatterThe Second World War destroyed most of the good dreams of the people. The waste land，in Eliots view, stands for Western Europe, or for Western civilization as a whole. In this sense, Eliots view is the same with that of many other literary men, thinkers and other intellectuals in Western Europe in the 1920s - to be exact, the period immediately after the First World War. Another undeniable reason is his unhappy marriage with an English lady. His wife Vivienne alternated between intellectual exuberance and spiritual break down, which made his wife an unbearable and nightmarish one. What Eliots poetry describes in the modern world, along with the possibility of either horror or glory, is the boredom. His depiction of urban life in his poetry is about a world of aimless people circling about, without any purpose. In Eliots opinion, the post-war Europe has collapsed into a restless, pointless barren world in which the whole civilization has been degenerated. The waste land inhabitants were so bored that life was only life in death, that is to say, they were spiritually dead. While we can not use “spiritual death” on Prufrock, for Prufrock has as least something to pursuit, no matter he realized it or not. That is because The Waste Land is written after the First World War. The revolutionary in Eastern Europe and the murders in city suburbs, added to spiritual death. “So the subject matter of his poetry is to expose the sterility and futility of the Western culture, to reveal the breakdown of communication between human beings, to show mans disillusionment and frustration caught between his sense of meanings and his sense of meaninglessness, and to quest for a spiritual regeneration by finding salvation in religion.”(3)For Eliot, as for Freud, the primal energy, at its most basic, is sexual. The difference is that according to Eliot it is the failure to restrain this energy that has caused the discontent of modern civilization.3.2 Literary AllusionComplex literary allusion is characteristic of Eliots poetry. “For his allusion, even today someone still account him as a difficult poet. But in fact, Eliots poetry dose not contains more allusions than that of Milton or Spenser. Eliot self-consciously made his poetry difficult, characteristic of a master, in order to increase the status of poets: the response of the early critic to The Waste Land represented an attitude that Eliot accused.” (4) Eliot needed to provoke that outrage in order to make his works different. Eliot used many allusions in his works, and this made him different, and because of this, he is regarded as an expert in using allusions.With time passed, Eliot had written more poems, he had the ability to form a more self-conscious theory of allusion. This theory has reached a peak in Eliots most famous masterpiece - The Waste Land. In this poem, Eliots allusion does not just seem simply ironic because they are presented in dramatic contexts: the allusions are spoken by dramatic voices in particular scenarios, and the aural quality of the poem often makes the echoes seem less learned than ghostly - as if other voices were speaking from the past. In an essay, Eliot draws an outline of a theory of dramatic “doubleness” which describes effects he had already achieved in The Waste Land:In The Waste Land, Eliot achieved the effect in ways even more subtle and spookier. Eliot begins the third movement of the poem, “The Fire Sermon, with naturalistic description of the Thames, but that logic is quickly disrupted by the presence of nymphs on the riverbank.” (5) The landscape then becomes urban and modern. Although it seems unsuited to that landscape, it does not seem merely ironic; rather, it makes us wonder if there is some other presence in this powdery landscape and a power in the verse to perceive it. This power is often retained by the allusions in the