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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 Wasteland is a Celtic motif that ties the barrenness of a land with a curse that must be lifted by a hero. It occurs in Irish mythology and French Grail romances, and hints of it may be found in the Welsh Mabinogion .
The book's main focus is on the Holy Grail tradition and its influence, particularly the Wasteland motif. The origins of Weston's book are in James George Frazer's seminal work on folklore, magic and religion, The Golden Bough (1890), and in the works of Jane Ellen Harrison. The work is mentioned by T. S. Eliot in the notes to his poem The ...
Eliot used it symbolically in The Waste Land (1922). Dorothy Hewett took The Chapel Perilous as the title for her autobiographical play, in which she uses "the framework of the Arthurian legend, Sir Lancelot, to create a theatrical quest of romantic and epic proportions."
Lines 359 through 365 of T. S. Eliot's 1922 modernist poem The Waste Land were inspired by Shackleton's experience, as stated by the author in the notes included with the work. It is the reference to "the third" in this poem that has given this phenomenon its name (when it could occur to even a single person in danger).
It was cited by T. S. Eliot in his notes to The Waste Land (1922), and mentioned as one of two chief inspirations for the poem along with James Frazer's The Golden Bough. Eliot later said, in his lecture " The Frontiers of Criticism " (1956), that his original intention was merely to add the references he had employed, to counter earlier ...
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Similarities and parallels have been frequently drawn between this poem and T. S. Eliot's The Waste Land, not only in terms of the subject matter but also in the way in which shifts in mood, perspective, time and voice conspire to move the reader to a single overwhelming point.