These lines convey a proper sense of the classic beauty they're describing. The second part of the poem starts off with a healthy and refreshing dash of blank verse (a classic English meter): "The chair she sat in, like a burnished throne, / / Held up by standards wrought with fruited vines" (77-79). And hey, maybe that picture doesn't exist anymore. What good would perfect rhyme and meter do in a poem about the chaos and decay of the modern world? We get the sense that maybe the speakers trying to put together the pieces of a big, cultural puzzle, but we never quite see the overall picture that the pieces are supposed to create. It's hard to keep track of who's saying what, but there's no doubt that for much of the poem, they're talking to us.Įvery now and then, you'll find a rhyme or a consistent meter but these moments are always fleeting. This gives Eliot's poem a panoramic quality while also making it very fragmented. Alfred Prufrock") is that the speaker is constantly shifting between different personalities, cultures, and historical moments. What makes "The Waste Land" different from a normal dramatic monologue (like Eliot's earlier poem, "The Love Song of J.
We've got a speaker reflecting on memories and current experiences in a personal, often philosophical way, which means that for much of "The Waste Land," we're reading a dramatic monologue. Dramatic Monologue, Refrains, Mixed Meters
0 kommentar(er)
