T.S. Eliot’s The Waste Land †Can We Learn From the Past...

T.S. Eliot’s The Waste Land – Can We Learn From the Past ? And he is not likely to know what is To be done unless he lives in what is not merely the present, but the present moment of the past, unless he is conscious, not of what is dead, but what is already living. --T.S. Eliot, Tradition and the Individual Talent When read for the first time, The Waste Land appears to be a concoction of sorts, a disjointed poem. Lines are written in different languages, narrators change, and the scenes seem disconnected, except for the repeated references to the desert and death. When read over again, however, the pieces become coherent. The Waste Land is categorized as a poem, but exhibited visually, it appears to be a literary†¦show more content†¦The Waste Land is broken up into five parts, each with its own subtitle. In each of these parts, Eliot tells the stories of many different lives while also incorporating poetry lines and song lyrics from other cultures. These lines often translate into something depressing, tying into Eliots themes of death and emptiness. An example is the epigraph of this poem, taken from Virgils Aeneid, about a conversation between some boys and Sybil at Cumae. The boys ask her what she wants, and she replies, I want to die. Sybil is suspended in a jar, and Eliot uses t his image to represent the human race. The epigraph sets for the tone for the rest of the poem of hopelessness and the condition of human moral desolation. The human race is also hanging suspended in a jar, undergoing a similar fate. Yet humanity is blind to its imprisonment, reliving the same experiences, unable to leave the jar, unable to die. Eliot composed this poem, focusing on females and their passive reaction to violence, to bring the human race into full awareness of its jar-like imprisonment. These women, taken from different cultures and times, are all victims of sexual abuse. But rather than fighting and demanding justice, they ignore the abuse and accept their situation. It is easier to forget the pain than to confront it, because when facing pain, one must relive the experience that causes the pain. But to ignore pain is to deny life, for one is suppressing feeling, theShow MoreRelatedT.S. Eliot s The Fire Sermon - a Poem Analysis Focusing on the Elements of Nature5145 Words   |  21 PagesT.S. Eliot The Fire Sermon An analysis of the poem focusing on the elements of nature Joachim TRAUN 0004165 301/341 It is just a piece of rhythmical grumbling (T.S. Eliot on The Waste Land) Table of contents page 1. Introduction 4 2. T.S. Eliot- a brief biography 4 3. The fire sermon 5 3.1 Structure 6 3.2 Intertextuality 6 3.3 Interpretation 8 3.3.1 Water 8 3.3.2 City 11 3.3.3 Fusion 13 4. Conclusion 14 Bibliography 1. Introduction There are not many poemsRead MoreModernist Elements in the Hollow Men7051 Words   |  29 PagesA WHIMPER T.S.Eliot, The Hollow Men (95-98). The end of The Hollow Men can only be the beginning of a deep and long reflection for thoughtful readers. T.S. Eliot, who always believed that in his end is his beginning, died and left his verse full of hidden messages to be understood, and codes to be deciphered. It is this complexity, which is at the heart of modernism as a literary movement, that makes of Eliot’s poetry very typically modernist. As Ezra Pound once famously stated, Eliot trulyRead MoreRhetorical Analysis Of Harold Pinter s The Room 9709 Words   |  39 Pagesgeneration dramatists, Harold Pinter’s fame rests on not only his popular dramas but also on his political activism which is rooted in his concern for people and their condition in realms which can be termed as social, professional or political. In fact it can be said that many of his works starting from the early comedies of menace to the later overtly political plays run parallel to his political activism in the delineation of abuse of p ower in familial, social and political sphere and its somatic

3 Star Hotel Business Plan - 4457 Words

Marketing Plan for a Three Star Hotel Kuakata 09-Aug-10 Seashore Inn (Pvt) Limited Letter of transmittal August 9th, 2010 Suntu Kumar Ghosh Course Instructor MKT-301 Sub: Submission of term paper (Marketing Plan). This is to inform you that we have completed the â€Å"Marketing Plan for a Three Star Hotel in Kuakata†. Is has been prepared for the completion of the course MKT 301. While preparing this plan, we have followed your instructions for report writing so as to present our views and understanding in the easy way. However, we will be glad to clarify any discrepancy that may arise. Thank you. Sincerely yours, ID 08304085 Name Mohammed Shahidul Islam Signature 08304071 Md. Rusafie Alam 08304093†¦show more content†¦It is 70 km from Patuakhali district headquarters and 320 km from Dhaka. Running a hotel is more than just cleaning and booking room. We need to establish a clear and thorough marketing plan to distinguish our hotel from the others in this area. Chapter 3.0:Company Profile: 3.1 Seashore Inn (PVT) Ltd. Seashore Inn (PVT) Ltd is a new company which targets is to establish hotel in various less promoted tourism region in Bangladesh like Srimongol, Moheshkhali, Rangamati, Bandarban, Khagrachori etc. Establishing a 3-star hotel in Kuakata is one of our missions as Kuakata is one of the popular places for tourist but there are no international standard hotels in Kuakata for tourist, which make us more interested to establish a 3-star hotel. 3.2 Product and Service Analysis: Seashore Inn (PVT) Ltd offers a wide variety of customer services to the tourist of Kuakata. Its operations are categorized into three categoriesRoom and suits Lobby and restaurant Guest services Under these three operations Shopno Bilash provides various categories of services. The service mix of Shopno Bilash Ltd is as following- Room and suits ï‚ · ï‚ · ï‚ · ï‚ · ï‚ · Economy Single Corporate single Corporate Double Corporate double deluxe Corporate suite Lobby and restaurant ï‚ · ï‚ · ï‚ · Lobby with 40 seats Beverage service Truly gracious lunch, dinner and different kind of dishes Guest services ï‚ · Complimentary services ï‚ · ï‚ · Conferees hall Business centre Besides these we Seashore Inn alsoShow MoreRelatedIntroduction to Hotel Industry1266 Words   |  6 PagesINTRODUCTION TO THE HOTEL INDUSTRY According to the British laws a hotel is a place where a â€Å"bonafied† traveler can receive food and shelter provided he is in a position to for it and is in a fit condition to receive. Hotels have a very long history, but not as we know today, way back in the 6th century BC when the first inn in and around the city of London began to develop. The first catered to travelers and provided them with a mere roof to stay under. 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The Da Vinci Code EPILOGUE Free Essays

Robert Langdon awoke with a start. He had been dreaming. The bathrobe beside his bed bore the monogram HOTEL RITZ PARIS. We will write a custom essay sample on The Da Vinci Code EPILOGUE or any similar topic only for you Order Now He saw a dim light filtering through the blinds. Is it dusk ordawn? he wondered. Langdon’s body felt warm and deeply contented. He had slept the better part of the last two days. Sitting up slowly in bed, he now realized what had awoken him†¦ the strangest thought. For day she had been trying to sort through a barrage of information, but now Langdon found himself fixed on something he’d not considered before. Could it be? He remained motionless a long moment. Getting out of bed, he walked to the marble shower. Stepping inside, he let the powerful jets message his shoulders. Still, the thought enthralled him. Impossible. Twenty minutes later, Langdon stepped out of the Hotel Ritz into Place Vendà ´me. Night was falling. The days of sleep had left him disoriented†¦ and yet his mind felt oddly lucid. He had promised himself he would stop in the hotel lobby for a cafe au lait to clear his thoughts, but instead his legs carried him directly out the front door into the gathering Paris night. Walking east on Rue des Petits Champs, Langdon felt a growing excitement. He turned south onto Rue Richelieu, where the air grew sweet with the scent of blossoming jasmine from the stately gardens of the Palais Royal. He continued south until he saw what he was looking for – the famous royal arcade – a glistening expanse of polished black marble. Moving onto it, Langdon scanned the surface beneath his feet. Within seconds, he found what he knew was there – several bronze medallions embedded in the ground in a perfectly straight line. Each disk was five inches in diameter and embossed with the letters N and S. Nord. Sud. He turned due south, letting his eye trace the extended line formed by the medallions. He began moving again, following the trail, watching the pavement as he walked. As he cut across the corner of the Comedie-Franà §aise, another bronze medallion passed beneath his feet. Yes! The streets of Paris, Langdon had learned years ago, were adorned with 135 of these bronze markers, embedded in sidewalks, courtyards, and streets, on a north-south axis across the city. He had once followed the line from Sacre-Coeur, north across the Seine, and finally to the ancient Paris Observatory. There he discovered the significance of the sacred path it traced. The earth’s original prime meridian.The first zero longitude of the world.Paris’s ancient Rose Line. Now, as Langdon hurried across Rue de Rivoli, he could feel his destination within reach. Less than a block away. The Holy Grail ‘neath ancient Roslin waits. The revelations were coming now in waves. Sauniere’s ancient spelling of Roslin†¦ the blade and chalice†¦ the tomb adorned with masters’ art. Is that why Sauniere needed to talk with me? Had I unknowingly guessed the truth? He broke into a jog, feeling the Rose Line beneath his feet, guiding him, pulling him toward his destination. As he entered the long tunnel of Passage Richelieu, the hairs on his neck began to bristle with anticipation. He knew that at the end of this tunnel stood the most mysterious of Parisian monuments – conceived and commissioned in the 1980s by the Sphinx himself, Fran;ois Mitterrand, a man rumored to move in secret circles, a man whose final legacy to Paris was a place Langdon had visited only days before. Another lifetime. With a final surge of energy, Langdon burst from the passageway into the familiar courtyard and came to a stop. Breathless, he raised his eyes, slowly, disbelieving, to the glistening structure in front of him. The Louvre Pyramid. Gleaming in the darkness. He admired it only a moment. He was more interested in what lay to his right. Turning, he felt his feet again tracing the invisible path of the ancient Rose Line, carrying him across the courtyard to the Carrousel du Louvre – the enormous circle of grass surrounded by a perimeter of neatly trimmed hedges – once the site of Paris’s primeval nature-worshipping festivals†¦ joyous rites to celebrate fertility and the Goddess. Langdon felt as if he were crossing into another world as he stepped over the bushes to the grassy area within. This hallowed ground was now marked by one of the city’s most unusual monuments. There in the center, plunging into the earth like a crystal chasm, gaped the giant inverted pyramid of glass that he had seen a few nights ago when he entered the Louvre’s subterranean entresol. La Pyramide Inversee. Tremulous, Langdon walked to the edge and peered down into the Louvre’s sprawling underground complex, aglow with amber light. His eye was trained not just on the massive inverted pyramid, but on what lay directly beneath it. There, on the floor of the chamber below, stood the tiniest of structures†¦ a structure Langdon had mentioned in his manuscript. Langdon felt himself awaken fully now to the thrill of unthinkable possibility. Raising his eyes again to the Louvre, he sensed the huge wings of the museum enveloping him†¦ hallways that burgeoned with the world’s finest art. Da Vinci†¦ Botticelli†¦ Adorned in masters’ loving art, She lies. Alive with wonder, he stared once again downward through the glass at the tiny structure below. I must go down there! Stepping out of the circle, he hurried across the courtyard back toward the towering pyramid entrance of the Louvre. The day’s last visitors were trickling out of the museum. Pushing through the revolving door, Langdon descended the curved staircase into the pyramid. He could feel the air grow cooler. When he reached the bottom, he entered the long tunnel that stretched beneath the Louvre’s courtyard, back toward La Pyramide Inversee. At the end of the tunnel, he emerged into a large chamber. Directly before him, hanging down from above, gleamed the inverted pyramid – a breathtaking V-shaped contour of glass. The Chalice. Langdon’s eyes traced its narrowing form downward to its tip, suspended only six feet above the floor. There, directly beneath it, stood the tiny structure. A miniature pyramid. Only three feet tall. The only structure in this colossal complex that had been built on a small scale. Langdon’s manuscript, while discussing the Louvre’s elaborate collection of goddess art, had made passing note of this modest pyramid. â€Å"The miniature structure itself protrudes up through the flooras though it were the tip of an iceberg – the apex, of an enormous, pyramidical vault, submerged below like a hidden chamber.† Illuminated in the soft lights of the deserted entresol, the two pyramids pointed at one another, their bodies perfectly aligned, their tips almost touching. The Chalice above. The Blade below. The blade and chalice guarding o’er Her gates. Langdon heard Marie Chauvel’s words. One day it will dawn on you. He was standing beneath the ancient Rose Line, surrounded by the work of masters. What better place for Sauniere to keep watch? Now at last, he sensed he understood the true meaning of the Grand Master’s verse. Raising his eyes to heaven, he gazed upward through the glass to a glorious, star-filled night. She rests at last beneath the starry skies. Like the murmurs of spirits in the darkness, forgotten words echoed. The quest for the Holy Grail is the quest to kneel before the bones of Mary Magdalene. A journey to pray at the feet of the outcast one. With a sudden upwelling of reverence, Robert Langdon fell to his knees. For a moment, he thought he heard a woman’s voice†¦ the wisdom of the ages†¦ whispering up from the chasms of the earth. How to cite The Da Vinci Code EPILOGUE, Essay examples

Ancient Greek Theater the Forerunner to Modern Theatre free essay sample

Unique Greek performances, which were performed hundreds of years ago, were put on to please the Greek god Dionysos. In these performances, artificial light was impossible and there were no footlights to illuminate the faces of the actors. Spectators had to have a great imagination to create a mood themselves. The actors had to loudly project their voices even more so, and they used numerous masks, to reveal different characters. Plays were done in an amphitheater, which was a circular type theater, thus, the projection was very loud, and the actors could be heard all around. In Ancient Greek Theater, it was not unusual to only have one individual acting as all characters. Even when the use of more than one actor occurred seldom were there more than two or three actors used to convey the story. Another difference is that women were not allowed to act, so all characters in the play were portrayed by men. We will write a custom essay sample on Ancient Greek Theater: the Forerunner to Modern Theatre or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Today, we are accustomed to a sharp division between the dark world of the auditorium and the over bright world of the characters. On the contrary, the Greeks were familiar with audience, chorus, and characters, all united under a dazzling sun (Webster 2). For the most part, the Greek dramatist had to rely far more on words and less on the limited technical means at his disposal. For example, in Sophocles’ Antigone (526) the chorus describes the tears running down Ismene’s face and her cheeks as ugly red with weeping. The mask worn by the actor obviously could not reveal this effect. There were three obvious limitations that the Greek â€Å"producer† had to deal with. First, lighting effects were impossible, so the play could not expose sunlight, dawn, dusk, or evening. Except if the play was shown early in the morning, or late in the evening. Secondly, changes in scenery were extremely limited. They usually had no more than four scenes, but even then it was scarce. Thirdly, the size of the Greek theater introduced a limitation of another kind. The distance from the front of the stage, across the orchestra to the front row of spectators, was 60ft. The back rows, were about 300 feet from the stage. So an actor of 6 feet looked about 3 and a half tall inches to spectators in the back rows. In order to make up for this, the exaggerated acting and voice production kept spectators coming back to watch more plays. Plays were performed to portray many daily events that happened in the Greek life. Such as political rises and downfalls, stories of hero’s, stories that portrayed fears of the gods, or even success with the gods were just some events that were portrayed in the theater. Many plays were just stories that a â€Å"producer† created himself. Plays were basically started in the time when aristocrats were taking over different city-states, and running dictatorships, or very unfair governments. There was a small majority of the aristocrats who were highly amused and into the theatre. It was these certain aristocrats who made it a point to have certain theatres built and shows put on. There were two basic forms of production, comedy and tragedy. Comedies were mostly sung, with strong instruments to back up the chorus. Tragedies usually followed the same pattern, opening with a prologue and followed by a parodos, (in which the chorus enters singing). The last â€Å"stasimon† provides the closing scene as the chorus and actors depart. Antigone is a great example of an early Greek tragedy. The theatres built had three major areas, the viewing place for spectators, the orchestra which is where the chorus and actors performed, and then a scene building which basically provided a scenic backing. The earliest scene buildings were very simple wooden structures. The most common method for seating was to bring in native stones to serves as seats for spectators. How did they prepare for their roles and what did they do in their spare time? As stated earlier the Greeks believed in staying fit for the show by fasting and dieting and so on. But, what about their social function? The role of the lyric chorus was to be a channel for a certain deity to interact with humans. Calame states that, â€Å"the lyric chorus is thus the line of communication between the deity and its followers, and therefore the status of the chorus members, either adolescents, marriageable women, or young wives, and so on, corresponds in most cases to the sphere of influence of the divinity and thus to the characteristics of the divinity itself† (206). Over the past centuries, theater has come a long way. It went from silly or rather gruesome masks, rocks for seats, a lack of scenery, no lighting, and characters that look 3 and half inches tall, to something so much more amazing. However, perhaps the ancient theater involved more acting and more imagination. The benefits of both ancient and present day theaters are endless. But it’s all in the eye of the beholder, as many plays have to be, in order to be appreciated to the highest degree. Understanding your past is the key to understanding your future. As old as some things are there is nothing new under the sun. It is safe to say that the Ancient Greeks truly lived a riotous life enjoying every thing that life had to offer. The Greeks enjoyed and understood their theatre and paved the way for the art form to flourish.