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Bridget Wealand
Dr. Corwin
ENG 367
December 14, 2010
Archetypal Gender, Sexual Paradigm and Carnal Symbolism in T.S. Eliot’s, The
Wasteland
Since being published in 1922, T.S. Eliot’s, The Wasteland has been the focus of
intense scholarly conversation and is revered as one of the greatest poems of all time. Its
greatness stems from the fact that it is rich with various symbols and themes and is also
open to a plethora of interpretations—one being from a sexual perspective. Within The
Wasteland, there is not only a multitude of sexual symbolism, but also, sexual paradigm
and archetypal gender. These notions epitomize Eliot’s anomalous poem and embody his
viewpoint on modern sexuality.
Section I: “The Burial of the Dead”
In part one of the poem, “The Burial of the Dead,” the reader is introduced to
Marie, the first of two types of archetypal women. As Philip Sicker explains in his article,
“The Belladonna: Eliot’s Female Archetype in The Waste Land,” “our view of woman
has also become bifurcated; we have inveterately represented her as the raped and
abandoned virgin, on the one hand, and as the enchanting seductress, on the other”
[Sicker 423]. Marie represents the latter and this can be seen in the following stanza:
‘You gave me hyacinths first a year ago;
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‘They called me the hyacinth girl.’
--Yet when we came back, late, from the Hyacinth garden,
Your arms full, and your hair wet, I could not
Speak, and my eyes failed, I was neither
Living nor dead, and I knew nothing,
Looking into the heart of light, the silence.
Od’ und leer das Meer. [35-42]
It would appear that Marie would fit into the seductress category, but it is much more
complex than that. Sicker says that “The hyacinth was worshiped as a fertility god and
aphrodisiac in several primitive religious cults […]Anthropologically, she recalls a time
in a man’s past when sex was not only reproductive, but of central religious and social
importance” [Sicker 422]. In this way, Marie is neither a victim nor is she a seductress;
she’s a sexual counterpart. When looking at this stanza, the reader can see that she is
enthusiastic to partake in such rituals, but the man to whom she’s addressing is not. Here,
we are also introduced to the first of two archetypal males – the Fisher King model.
Instead of being the sexual male, he is unable to partake because of his impotence, which
transcends to nature. “Od’ und leer das Meer” is German for “Desolate and empty is the
sea.” This is a direct correlation with the Fisher King, whose inability to procreate
directly affects the natural world around him.
It is with this stanza that Eliot assets that sexual intercourse has become
something other than its original religious custom and has become perverted; this is why
the hyacinth garden has become its own wasteland. “Eliot implies that, as sex became
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increasingly secularized, man came to think of fornication in two unnatural ways: either
as a matter of male force or of female seduction” [Sicker 423].
This idea of sex-for-pleasure as a perversion calls for the Ezekiel reference (“Son
of Man”) within the second stanza. The prophet Ezekiel saw incarnation, but our narrator
responds, “You cannot say, or guess, for you know only a heap of broken images.”
Ezekiel saw the original purpose of sexual intercourse, which was the creation of flesh
and blood. Eliot points out that these images are “broken,” which is a direct result of
secularized sex. He goes on to say, “And the dead tree gives no shelter, the cricket no
relief”, which is from Ecclesiastes 12:5 in the Holy Bible. BlueLetterBible.org has
various versions of this passage, but the Darby Translation is one of the older translations
and it reads:
‘they are also afraid of what is high, and terrors are in the way, and the
almond is despised, and the grasshopper is a burden, and the caper-berry is
without effect; (for man goeth to his age-long home, and the mourners go
about the streets;)”
In Biblical times, the caper berry was believed to be an aphrodisiac, which explains why
in more modern translations “caper berry” is replaced by the word “desire.” This lack of
desire will halt procreation and eventually lead to a barren, post-apocalyptic world where
life has been replaced by death. It also reflects the Fisher King model, because when man
is no longer able to engage in sex, death is what follows.
Further on, Madam Sosotris is introduced. Her name is not accidental, as the
sosotris is a poisonous plant. This plant is the hyacinth’s converse, which is why it is the
only plant flourishing in the wasteland. Instead of creating life, sex has become a noxious
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act that is a perversion of its original purpose. Madam Sosotris introduces the archetypal
Belladonna (which is also a poisonous plant) and the Fisher King when looking through
her tarot cards. These images are her prophecy for humankind if sexual intercourse
doesn’t fulfill its original purpose; women will become toxic instead of fertile and men
will become nothing more than an organ which expires. Both of these consequences will
halt the creation of human life and transform the world into a barren wasteland.
Section II: “A Game of Chess”
“A Game of Chess” is also essential is interpreting Eliot’s view on coition. This
section not only focuses on both archetypes of women, but also observes how society’s
contemporary view of sexual intercourse has led to an unnatural view of sex and
relationships. In the beginning of this section, the reader is introduced to the seductress
archetype; she closely resembles Cleopatra who is thought to be one of the most
infamous seductresses of all time. Narcissism coincides closely with this role, which is
why Eliot used images of light, reflection, and cosmetics to portray her character with the
lines:
Reflecting light upon the table as
The glitter of her jewels rose to meet it,
From satin cases poured in rich profusion;
In vials of ivory and coloured glass
Unstopped, lurked her strange synthetic perfumes” [83-87]
The images of mirrors, light and cosmetics like perfumes are narcissistic and imply that
this woman is mostly concerned with her outward appearance in an attempt to seduce.
Sicker says, “In short, just as the Fisher King’s castrating wound seems ultimately to
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have been self-inflicted, so too, the archetypal action of the modern belladonna is sexual
self-abuse or masturbation. The acts are fundamentally similar in that they are both seen
as inimical to heterosexual experience and hence, to reproduction” [Sicker 426]. Eliot is
trying to say that this seductress archetype is detrimental because it further adds to an
unnatural view of sex and hinders the original function of intercourse.
In this section, the reader is also introduced to the second female archetype which
is that of the raped and abandoned virgin through the use of the character Philomel. This
also coincides with the idea that sex is viewed in two unnatural ways, assertion of male
force or female seduction. Obviously, this instance would adhere to the former, so what
Eliot has illustrated is that sex used as force can only lead to the raped-virgin-archetype.
He elaborates on this image in the next section, which brings more clarity to the case in
point.
After the Philomel image, the reader is introduced to a more contemporary
woman and her corresponding views on sex. The woman reveals that her nerves are bad
on this particular night, which would imply that she has been a victim of something—
though it’s unclear of what. She then proceeds in asking the man a series of questions,
which may be answered aloud or more likely, internally, as there are no quotations
around his replies. In Anthony Johnson’s article, ““Broken Images”: Discursive
Fragmentation and Paradigmatic Integrity in the Poetry of T.S. Eliot,” he says, “The
complete fracture between coordinates of thought (or styles of speech) of the two
speakers is confirmed by the lack of inverted commas round the man’s replies, hinting
that they may remain unspoken, and standing anyway as a token of incommunicability or
of total slippage between planes of discourse which cross without gripping” [Johnson
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411]. When sexual intercourse becomes purely physical, the actual soul of the parties
engaging in the act becomes lost in translation. It is superficial, causing the relationship
to be superficial. Because of the man’s lack of interest, the woman asks what she shall do
and exclaims, “I shall rush out as I am, and walk the street with my hair down, so.”
Because she cannot be satisfied as the meek virginal archetype, she feels she must resort
to the seductress or whore archetype. This is a contemporary issue as sex is increasingly
thought of as an “all-or-nothing” performance. This is a highly perverse view of what the
function of sex is, which is why Eliot is presenting the reader with a wasteland—sex
without reproduction becomes a purely superficial act or an act of rape.
The reader is also introduced to Lil and her friend in this stanza. Lil is a
fascinating character, as she embodies many modern-day issues pertaining to sex. Again,
the reader is presented with one of the two models of femininity. First of all, her friend
talks about the return of Lil’s husband, Albert, and the need for Lil to make herself “a bit
smart.” It is her friend’s advice that she try to look attractive to play the seductress role
for her returning husband. In the same stanza, the two girlfriends further discuss Lil’s
appearance by mentioning that she has no teeth, and that she should buy some with the
money Albert gave her. Sicker points out that this is an interesting component because it
is reminiscent of the tongue-less Philomel, but Lil is really Philomel’s antithesis because
Lil controls her own sex life, whereas Philomel was raped. Lil’s friend also takes care to
remind Lil that if she is unwilling to satisfy Albert upon his return, other women will do
it for her. Not only is she implying that women in society as a whole are more willing to
have casual sex, Lil’s friend is also implying that she is willing as well. The ideas of
casual sex and promiscuity are not new, but have grown to become more widely accepted
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in contemporary culture. Eliot suggests that these attitudes are responsible for the
degeneration of a once-flourishing society.
Besides undertones of promiscuity, Eliot also discusses another modern issue
within sex and relationships—abortion. Part of Lil’s aged appearance is due to the fact
that she’s taken abortion pills; Lil’s friend even asks her why she got married if she didn’t
want to have children. Lil has chosen to make herself barren which has started to show in
her outward appearance. She is described as looking “antique,” which implies a cracked,
dusty dryness about her. When the ability to have children is there, why does she choose
to become barren? Some may argue that Lil has decided to take the pills because she
almost died when having her last child, but this issue isn’t solely pertaining to Lil. There
is an ever-increasing acceptance of the decision to abort, which is causing female
genitalia to become Eliot’s proverbial wasteland. The choice to be sterile is a choice to
create the wasteland. This goes back to the idea that Eliot is suggesting that coitus has
become disconnected from its original purpose, which was to reproduce. Because of this
separation, sex is viewed in an unnatural way by both men and women and what’s worse
is that it seems to be what’s desired. Eliot is telling the reader that the ability to procreate
is a gift; if it continues to be shunned, one day that gift may no longer be available to the
masses.
The last portion in “A Game of Chess” is worthy of note because of the decision
for the three characters to share a meal of hot gammon. Though many critics dismiss this
symbol as trivial cuisine, Sukhbir Singh contradicts this. In his article, “Gloss on
“Gammon” in “The Waste Land”, II, Line 166,” he points out several interesting
components in reference to the gammon. He states, “When served hot […] gammon
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provides one hundred and fifty calories in a three-ounce serving. It’s rich content has
earned it a reputation as an aphrodisiac” [Singh 260]. The fact that Lil, Albert, and the
friend are all sharing this meal may suggest that they are willing to partake in ménage et
trios, which corresponds to the ever-increasing casual sex phenomenon. If this is the case,
then sexual intercourse for them has become very detached and impersonal. Singh also
discusses the fact that gammon is something traditionally served on Easter Sunday as part
of a tradition thought to bring luck. These three people are ignorant to this fact, which
robs them of a true and significant experience. Singh also says, “Their obsession with the
biological gratification has totally blinded them to the holier and healthier aspects of life”
[Singh 260]. This point of view makes sense, because sex based solely on pleasure is
simply physical gratification without intimacy or meaning. Singh also points out that
““gammon” as a verb means to deceive someone with the complicity of a third person”
[Singh 260]. As there are three characters feasting on the gammon, one must wonder if
Lil’s friend’s warning her about others satisfying Albert if she won’t was in reference to
herself. Again, this would go hand in hand with the idea the sexual intercourse has not
only become casual, but also impersonal and inconsequential. Oddly enough, Singh is not
the only person to comment on the hot gammon. In Ronald Tamplin’s article, “The
Tempest and The Waste Land,” he also addresses the importance of the symbolism found
within the food. He asserts, “Food in The Waste Land accompanies triviality,
debasement, or sexual temptation” [Tamplin 353]. All three of these ideas work together
with the scene presented to the reader, whether the three are interested in ménage et trios
or Lil’s friend is interested in Albert. Both paths would make sex a tempting and trivial
act that debases the parties involved. Either way, the gammon represents cultural
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putrefaction due to the willingness to shrug the religious impetus for sexual intercourse.
The hot gammon may as well be an apple.
Section III: “The Fire Sermon”
Like the preceding sections of the poem, “The Fire Sermon” is loaded with sexual
symbolism and archetypal gender. In lines 188-189, Eliot writes about a rat “dragging its
slimy belly on the bank”. Johnson suggests that through the reason for rat’s appearance
and the act of it dragging its belly is “the suggestion that that rat is heavy with young”
[Johnson 400]. The irony of this is that instead of looking at fertility as something that is
not only beautiful but also desired, the reader is given an ominous and filthy image. With
the increasing view of sex as only a physical act, this image is a warning of what societal
attitudes may become when considering procreation. More and more women (and men)
are deciding that procreation is not the objective of sex, and the thought of such an
outcome is not only frightening, but unfavorable.
This section also provides yet another example of an archetypal woman. The
reader is introduced to the typist, who fills the role of the abandoned, raped female. The
following lines affirm this model:
“The time is now propitious, as he guesses,
The meal is ended, she is bored and tired,
Endeavours to engage her in caresses
Which still are unreproved, if undesired.
Flushed and decided, he assaults at once;
Exploring hands encounter no defence;
His vanity requires no response,
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And makes a welcome of indifference” [235-42].
At first, it may seem as though the typist isn’t being assaulted, but is engaging in
sex out of boredom. Even if this woukld be the case, it connects with the idea that the
sexual paradigm has become a mechanical, impersonal means of physical redress.
However, upon a closer reading, the reader can pinpoint words such as “undesired,”
“assaults,” “no defence,” and “indifference.” These words suggest that though this act of
coition is mechanical and not an isolated incident, the typist feels that any attempt to curb
this man’s sexual appetite would just be akin to her prolonging the inevitable. This man is
one of the archetypal males. Unfortunately, he is the one that views sex as a exhibition of
male force. Furthermore, line 247 says that this man “Bestows one final patronising kiss.”
If the sex was welcomed, the kiss would not have been condescending in any way.
What’s more is the fact that the woman is glad that the incident is over. The typist is not
only the archetypal raped virgin, but is also the trapped woman within society who has
been told that it is her duty to provide sexual relief to men, so why should she fight it?
She is a modern-day sex slave and this role has jaded her views not only on sex, but on
relationships in general.
[Section IV: “Death by Water” is not discussed, as it pertains to death and not coition or
archetypal gender.]
Section V: “What the Thunder Said”
After section III, there is a definite shift in theme, as the poem seems to shift from
various subjects to mostly death. Having said that, there is still sexual symbolism that can
be dissected in section V. The passage that represents the theme of fertility vs. infertility
is as follows:
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“A woman drew her long black hair out tight
And fiddled whisper music on those strings
And bats with baby faces in the violet light
Whistled, and beat their wings
And crawled head downward down a blackened wall
And upside down in air were towers
Tolling reminiscent bells, that kept the hours
And voices singing out of empty cisterns and exhausted wells” [377-384].
This passage is especially intriguing because of the “bats with baby faces.” Earlier, the rat
in “The Fire Sermon” was discussed as a symbol pertaining to fertility; as bats are flying
rodents, these two symbols correlate with one another quite closely. Johnson says, “A
reading based on paradigmatic linkage between the two passages allows us to detect a
serial dynamic reworking of the paradigm of female fertility—first as an insidious threat
of reproduction, then as its nightmare visual inscription in the bats’ “baby faces””
[Johnson 400-01]. Again, procreation seems to be repugnant, as it is displayed in
perverse, macabre manifestations through the use of the bats with baby faces.
This passage is also clearly linked to the idea of fertility, as the bats are crawling
downward; this resembles the position of a baby as it makes its way down the birth canal.
The “wall” that the bats are crawling down is a symbol for the vaginal wall or birth canal,
but instead of birth representing life, the walls are black and dark. The voices that are
“singing out of empty cisterns” symbolize that female genitalia no longer serves it’s
original purpose, which is birth. A “cistern” in the anatomical sense is a simply a
receptacle of some natural fluid of the body. As women are fornicating without
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reproducing, it is Eliot’s fear that a cistern is all they will become. The well is in danger
of being exhausted, and incapable of sustaining life.
In conclusion, it would be fair to say that T.S. Eliot was concerned about the
future of our species due to the increasingly aloof attitudes towards sexual intercourse
within contemporary societies. Although it may seem fanatical to some, his anxieties are
reasonably grounded. With sex becoming increasingly impersonal, coition is becoming
more about physical satisfaction than about intimacy or reproduction. If humans fail to
use the “tools” they were given, it isn’t outside the realm of possibility that that world
could turn into a barren wasteland in the distant future. Once approached with discretion,
abortion has become an everyday part of popular culture. Sex is becoming less about
relationships and reproducing and more about mechanical, physical gratification.
Hopefully, Eliot was just exceedingly concerned, but there is some truth to what he says.
The Fall is becoming increasingly abysmal and if society doesn’t grab onto something, it
may descend upon the wasteland.
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Sources Cited
Eliot, T.S.. "The Wasteland." The Wasteland Prufrock and Other
Poems. Comp. The Editorium. West Valley City: Waking Lion
Press, 2007. Print.
Sicker, Philip. "The Belladonna: Eliot's Female
Archetype in The Waste Land." Twentieth
Century Literature. 30.4 (1984): Print.
Johnson, Anthony L. ""Broken Images": Discursive
Fragmentation and Paradigmatic Integrity in the
Poetry of T.S. Eliot." Duke University Press.
6.3 (1985): Print.
Singh, Sukhbir. "Gloss on "Gammon" in The Waste
Land, II, Line 166." Journal of Modern
Literature. 20.2 (1996): Print.
Tamplin, Ronald. "The Tempest and The Waste
Land." American Literature. 39.3 1967. Print.
"Ecc 12:5." Blue Letter Bible. Web. 12 Dec 2010.
<http://www.blueletterbible.org/Bible.cfm?
b=Ecc&c=12&v=5&t=DBY#top>.