Wasteland game chess summary

Chess belongs therefore to this lifeless life; it is the quintessential game of the wasteland, dependent on numbers and cold strategies, devoid of feeling or human contact. Interaction is reduced to a set of movements on a checkered board.

The Question and Answer section for The Waste Land is a great resource to ask questions, find answers, and discuss the novel. What topics are constructed in this poem and what features make this piece a modernist poetry?

The Waste Land. It does not include a character by the name of Freddy. Wasteland by Alan paston. The Waste Land study guide contains a biography of T.

Eliot, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis. The Waste Land literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of The Waste Land. Remember me. Forgot your password?

Buy Study Guide. This isn't by TS Eliot? The second part of this section shifts to a London barroom, where two women discuss a third woman. The first part of the section is largely in unrhymed iambic pentameter lines, or blank verse. As the section proceeds, the lines become increasingly irregular in length and meter, giving the feeling of disintegration, of things falling apart.

As the woman of the first half begins to give voice to her paranoid thoughts, things do fall apart, at least formally: We read lines of dialogue, then a snippet from a nonsense song. The last four lines of the first half rhyme, although they are irregular in meter, suggesting at least a partial return to stability.

Eliot is writing in a lower-class vernacular here that resists poetic treatment. This section refutes the prevalent claim that iambic pentameter mirrors normal English speech patterns: Line length and stresses are consistently irregular. The two women of this section of the poem represent the two sides of modern sexuality: while one side of this sexuality is a dry, barren interchange inseparable from neurosis and self-destruction, the other side of this sexuality is a rampant fecundity associated with a lack of culture and rapid aging.

Her association with Dido and Cleopatra, two women who committed suicide out of frustrated love, suggests her fundamental irrationality. Unlike the two queens of myth, however, this woman will never become a cultural touchstone. Her despair is pathetic, rather than moving, as she demands that her lover stay with her and tell her his thoughts.

The sisters are then changed into birds, Philomela into a nightingale. This comparison suggests something essentially disappointing about the woman, that she is unable to communicate her interior self to the world. The woman and her surroundings, although aesthetically pleasing, are ultimately sterile and meaningless, as suggested by the nonsense song that she sings which manages to debase even Shakespeare.

The second scene in this section further diminishes the possibility that sex can bring regeneration—either cultural or personal.

This section is remarkably free of the cultural allusions that dominate the rest of the poem; instead, it relies on vernacular speech to make its point.