Abstract

Eliot’s poem, The Waste Land, in the wake of the Great War or the First World War, which was a time particularly in Western Europe when civilization had fallen to pieces, and it was literally, quite literally in ruin as trenches were dug across the fields of France and Belgium and other countries in Western Europe and as the landscape itself is torn apart, finds only death and self-destruction instead of rebirth or any sense of revivification or any sense of life. The poem deals, in its fragmentary way, not only with the aftermath of the war in its physical repercussions but also with the breakdown of social norms, which earlier ensured cultural sureties. In the process the poem, while vindicating the despair of the individual pitted against the unmanageable disillusionment, shows that this urbanscape is devoid of love and seems to be unable to heal itself. What is left is a poetics of despair where the inhabitants of this ruin wait for redemption from their purgatories, and the search for love is laid to rest in pieces. The paper attempts to demonstrate that the fundamental problem of The Waste Land is the broken bonds of love and sordid sex, the primal cause of ruin and waste, all packed inside a montage of myths, left to the readers to sort out the mess till it dawns on them that all the voices, through their different tales, bemoan, chiefly, the lack of love, an idea that sounds essentialist but keeps in tune with its resonance with the poem.