As y'all know, in the 1900s, authors and artists rejected previous schools of thought and formed their own movement: modernism. Some hallmarks of modernism include the theme of alienation of the individual in the modern world and the fragmentation of society as a result of toxic nationalism and the First World War. T. S. Eliot explores the theme of fragmentation in his poem The Waste Land in both his poem's content and its form.
In lines 20-21, Eliot tells the reader, "You know only a heap of broken images." Here, he addresses the ravages of World War I that have left Europe in ruins. The war has physically destroyed cities, but it has also broken the spirit of so many soldiers and their families. His entire poem even refers to the post-war world as the "Waste Land."
In addition, Eliot's form also reflects the theme of fragmentation. He uses multiple speakers, different settings, seemingly random imagery, and a plethora of allusions to vastly different time periods (for example, he alludes to Greek mythology, Dante, and Baudelaire, to name a few). The fragmented form addresses fragmentation in and of itself, but it also supplements how he explores the theme in the content of the work. In my opinion, Eliot matches his form very closely with his content, which many modernists aimed to do.
2 comments:
One of my favorite things about The Wasteland is it's composition and the use of fragmentation. Like you said, T.S. Eliot is able to portray themes and ideas through structure, with the broken way the poem flows reflective of the way in which the modern world was falling apart. He demonstrates the craftsmanship and creativity required to compose a work where every space and turn is significant to the broader theme.
Just a fun factoid about Da Vinci's Virgin of the Rocks that you brought up, is that there are actually two version of this painting. The one you have pictured is the one most commonly attributed to mostly Leonardo himself, while the second version is considered to be the product of an apprentice of his that he only partially helped with. It was common for the time for multiple artists to collaborate on paintings, and for the master to take the credit while his apprentices was there to do other details on the work. It was considered a more collaborative process at the time, and it was rare for an artists to ever sign their name to their work, as it was seen excessive pride. If you compare both versions side by side, the non-Da Vinci version is easy to spot. It is tinted blue, lacks the natural realism he is known for, and more importantly in Leonardo's version, the angle is gazing and pointing towards John the Baptist (another one of Leonardo's motifs he commonly used), while the other version lacks this detail.
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