User:Toby Decker
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This excerpt from Part I of ''The Waste Land'', entitled, "The Living of the Dead" introduces the the reader to an unromantic landscape that is hostile to other forms of life. The speaker reports that his environment offers very little in the way of relief; the only place in which the speaker may find any semblance of "shelter" is under the "shadow of this red rock." The speaker also considers the role of abstraction, claiming that he has something to reveal which can not be viewed by the differing shadows of the morning or evening. Delaunay's untraditional rendering of a traditional scene similarly explores an ominous locale that many would consider to be connotative of a "sanctuary" or "shelter." Delaunay positions himself to view his scene from varying standpoints, thus exploring principles of abstraction; as David Tomlinson observes in his article entitled ''T.S. Eliot and the Cubists'', the "cubists depict a cognitive map of the object such as accumulates in the memory from a variety of experiences of it." | This excerpt from Part I of ''The Waste Land'', entitled, "The Living of the Dead" introduces the the reader to an unromantic landscape that is hostile to other forms of life. The speaker reports that his environment offers very little in the way of relief; the only place in which the speaker may find any semblance of "shelter" is under the "shadow of this red rock." The speaker also considers the role of abstraction, claiming that he has something to reveal which can not be viewed by the differing shadows of the morning or evening. Delaunay's untraditional rendering of a traditional scene similarly explores an ominous locale that many would consider to be connotative of a "sanctuary" or "shelter." Delaunay positions himself to view his scene from varying standpoints, thus exploring principles of abstraction; as David Tomlinson observes in his article entitled ''T.S. Eliot and the Cubists'', the "cubists depict a cognitive map of the object such as accumulates in the memory from a variety of experiences of it." | ||
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| − | + | Delaunay's work, which is juxtaposed with Part I of Eliot's Waste Land works in conjunction with the language to give the reader the feeling that he or she is entering into a "waste land." The shadows cast by the church's ambulatory offer a foreboding and disorienting introduction to Eliot's poetry, but like Eliot, Delaunay references this disorientation within an image that is not too abstract as to discourage the reader from crossing the threshold from reality into a modernist's perception of reality. | |
