Comparing Waste Land with Other Myths :: Comparison Compare Contrast Essays

The Waste Land  Parallels with Other Myths        The Waste Land summarizes the Grail legend, not precisely in the usual order, but retaining the principal incidents and adapting them to a modern setting. Eliots indebtedness both to Sir James Frazer and to Jessie L. Westons From Ritual to Romance (in which set aside he failed to subjugate pages 138-39 and 142-43 of his copy) is acknowledged in his notes. Jessie L. Westons thesis is that the Grail legend was the surviving record of an initiation ritual. Later writers have reaffirmed the psychological validity of the link between such(prenominal) ritual, phallic religion, and the spiritual content of the Greek Mysteries. Identification of the Grail story with the common myth of the hero assailing a devil-dragon underground or in the depths of the sea completes the unifying idea behind The Waste Land. The Grail legend corresponds to the great hero epics, it dramatizes initiation into maturity, and it bespeaks a quest for sexual, cultural, and spiritual healing. Through all these attributed functions, it influenced Eliots symbolism. Parallels with to date other myths and with literary treatments of the quest theme reinforce Eliots pattern of death and rebirth. Though The Tempest, star of Eliots minor sources, scarcely depicts an initiation mystery, Colin Still, in a book of which Eliot has since written favorably (Shakespeares Mystery Play), had already advanced the theory in 1921 that it implies such a subject. And Tiresias is not simply the Grail knight and the Fisher exponent but Ferdinand and Prospero, as well as Tristan and Mark, Siegfried and Wotan. In his feminine role he is not simply the Grail-maiden and the wise Kundry but the sibyl, Dido, Miranda, Brnnhilde. Each of these represents one of the three main characters in the Grail legend and in the mystery cults--the wounded god, the sage woman (transformed in some versions of the Grail legend into a beautiful maiden) , and the resurrected god, successful quester, or initiate. Counterparts to them figure elsewhere Eliot must have been conscious that the Ancient Mariner and Childe Roland had analogues to his own symbolism. In adopting fertility symbolism, Eliot was probably influenced by Stravinskys ballet Le Sacre du printemps. The summer before writing The Waste Land he saw the London production, and on reviewing it in September he criticized the dissimilarity between Massines choreography and the music. He might almost have been sketching his own plans for a work applying a primitive idea to contemporary life