Themes: Main Ideas Themes The Damaged Psyche of Humanity

Themes
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MAIN IDEAS THEMES
The Damaged Psyche of Humanity
Like many modernist writers, Eliot wanted his poetry to express the fragile psychological
state of humanity in the twentieth century. The passing of Victorian ideals and the trauma of
World War I challenged cultural notions of masculine identity, causing artists to question the
romantic literary ideal of a visionary-poet capable of changing the world through verse.
Modernist writers wanted to capture their transformed world, which they perceived as
fractured, alienated, and denigrated. Europe lost an entire generation of young men to the
horrors of the so-called Great War, causing a general crisis of masculinity as survivors
struggled to find their place in a radically altered society. As for England, the aftershocks of
World War I directly contributed to the dissolution of the British Empire. Eliot saw society as
paralyzed and wounded, and he imagined that culture was crumbling and dissolving. “The
Love Song of J. Alfred Prufrock” (1917) demonstrates this sense of indecisive paralysis as the
titular Speaker wonders whether he should eat a piece of fruit, make a radical change, or if he
has the fortitude to keep living. Humanity’s collectively damaged psyche prevented people
from communicating with one another, an idea that Eliot explored in many works, including
“A Game of Chess” (the second part of The Waste Land) and “The Hollow Men.”
The Power of Literary History
Eliot maintained great reverence for myth and the Western literary Canon, and he packed his
work full of Allusions, quotations, footnotes, and scholarly Exegeses. In “The Tradition and
the Individual Talent,” an essay first published in 1919, Eliot praises the literary tradition and
states that the best writers are those who write with a sense of continuity with those writers
who came before, as if all of literature constituted a stream in which each new writer must
enter and swim. Only the very best new work will subtly shift the stream’s current and thus
improve the literary tradition. Eliot also argued that the literary past must be integrated into
contemporary poetry. But the poet must guard against excessive academic knowledge and
distill only the most essential bits of the past into a poem, thereby enlightening readers. The
Waste Land juxtaposes fragments of various elements of literary and mythic traditions with
scenes and sounds from modern life. The effect of this poetic collage is both a reinterpretation
of canonical texts and a historical context for his examination of society and humanity.
The Changing Nature of Gender Roles
Over the course of Eliot’s life, gender roles and sexuality became increasingly flexible, and
Eliot reflected those changes in his work. In the repressive Victorian Era of the nineteenth
century, women were confined to the domestic sphere, sexuality was not discussed or publicly
explored, and a puritanical atmosphere dictated most social interactions. Queen Victoria’s
death in 1901 helped usher in a new era of excess and forthrightness, now called the
Edwardian Age, which lasted until 1910. World War I, from 1914 to 1918, further
transformed society, as people felt both increasingly alienated from one another and
empowered to break social mores. English women began agitating in earnest for the right to
vote in 1918, and the flappers of the Jazz Age began smoking and drinking alcohol in public.
Women were allowed to attend school, and women who could afford it continued their
education at those universities that began accepting women in the early twentieth century.
Modernist writers created gay and lesbian characters and re-imagined masculinity and
femininity as characteristics people could assume or shrug off rather than as absolute
identities dictated by society.
Eliot simultaneously lauded the end of the Victorian era and expressed concern about the
freedoms inherent in the modern age. “The Love Song of J. Alfred Prufrock” reflects the
feelings of emasculation experienced by many men as they returned home from World War I
to find women empowered by their new role as wage earners. Prufrock, unable to make a
decision, watches women wander in and out of a room, “talking of Michelangelo” (14), and
elsewhere admires their downy, bare arms. A disdain for unchecked sexuality appears in both
“Sweeney Among the Nightingales” (1918) and The Waste Land. The latter portrays rape,
prostitution, a conversation about abortion, and other incidences of nonreproductive sexuality.
Nevertheless, the poem’s central character, Tiresias, is a hermaphrodite—and his powers of
prophesy and transformation are, in some sense, due to his male and female genitalia. With
Tiresias, Eliot creates a character that embodies wholeness, represented by the two genders
coming together in one body.

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