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He remembers a fortune-teller named Madame Sosostris who said he was the drowned Phoenician Sailor and that he should fear death by water Next he finds himself on London Bridge surrounded by a crowd of people He spots a friend of his from wartime and calls out to himThe next section A Game of Chess transports the reader abruptly from the streets of London to a gilded drawing room in which sits a rich jewel-bedecked lady who complains about her nerves and wonders what to do The poem drifts again this time to a pub at closing time in which two Cockney women gossip Within a few stanzas we have moved from the upper crust of society to London’s low-lifeThe Fire Sermon opens with an image of a river The narrator sits on the banks and muses on the deplorable state of the world As Tiresias he sees a young carbuncular man hop into bed with a lonely female typist only to aggressively make love to her and then leave without hesitation The poem returns to the river where maidens sing a song of lament one of them crying over her loss of innocence to a similarly lustful manDeath by Water the fourth section of the poem describes a dead Phoenician lying in the water — perhaps the same drowned sailor of whom Madame Sosostris spoke What the Thunder Said shifts locales from the sea to rocks and mountains The narrator cries for rain and it finally comes The thunder that accompanies it ushers in the three-pronged dictum sprung from the Brihadaranyaka Upanishad: Datta dayadhvam damyata: to give to sympathize to control With these commandments benediction is possible despite the collapse of civilization that is under way — London bridge is falling down falling down falling downAbout The Waste LandThe Waste Land caused a sensation when it was published in 1922 It is today the most widely translated and studied English-language poem of the twentieth century This is perhaps surprising given the poem’s length and its difficulty but Eliot’s vision of modern life as plagued by sordid impulses widespread apathy and pervasive soullessness packed a punch when readers first encountered itOf course The Waste Land is not quite the poem Eliot originally drafted Eliot’s close friend and colleague Ezra Pound significantly revised the poem suggesting major cuts and compressions Thanks to Pound’s heavy editing as well as suggestions specifically about scenes relevant to their stormy hostile marriage from Haigh-Wood The Waste Land defined Modernist poetry and became possibly the most influential poem of the century Devoid of a single speaker’s voice the poem ceaselessly shifts its tone and form instead grafting together numerous allusive voices from Eliot’s substantial poetic repertoire Dante shares the stage with nonsense sounds a technique that also showcases Eliot’s dry wit Believing this style best represented the fragmentation of the modern world Eliot focused on the sterility of modern culture and its lack of tradition and ritual Despite this pessimistic viewpoint many find its mythical religious ending hopeful about humanity’s chance for renewalPound’s influence on the final version of The Waste Land is significant At the time of the poem’s composition Eliot was ill struggling to recover from his nervous breakdown and languishing through an unhappy marriage Pound offered him support and friendship his belief in and admiration for Eliot2were enormous In turn however he radically trimmed Eliot’s long first draft nineteen pages by some accounts bringing the poem closer to its current version This is not to say Eliot would not have revised the poem on his own in similar ways rather the two men seemed to have genuinely collaborated on molding what was already a loose and at times free-flowing work Pound like Eliot a crucible of modernism called for compression ellipsis reduction The poem grew yet more cryptic references that were previously clear now became more obscure Explanations were out the window The result was a more difficult work — but arguably a richer oneEliot did not take all of Pound’s notes but he did follow his friend’s advice enough to turn his sprawling work into a tight elliptical and fragmented piece Once the poem was completed Pound lobbied on its behalf convincing others of its importance He believed in Eliot’s genius and in the impact The Waste Land would have on the literature of its day That impact ultimately stretched beyond poetry to novels painting music and all the other arts John Dos Passos’s Manhattan Transfer owes a significant debt to The Waste Land for example Eliot’s take on the modern world profoundly shaped future schools of thought and literature and his 1922 poem remains a touchstone of the English-language canonCharacter ListThe NarratorThe most difficult to describe of the poem’s characters he assumes many different shapes and guises At times the Narrator seems to be Eliot himself at other times he stands in for all humanity In The Fire Sermon he is at one point the Fisher King of the Grail legend at another the blind prophet Tiresias When he seems to reflect Eliot the extent to which his ruminations are autobiographical is ambiguousMadame SosostrisA famous clairvoyant referred to in Aldous Huxley’s novel Crome Yellow and borrowed by Eliot for the Tarot card episode She suffers from a bad cold but is nonetheless known to be the wisest woman in Europe / With a wicked pack of cardsStetsonA friend of the Narrator’s who fought in the war with him Which war It is unclear Perhaps the Punic War or World War I or both or neitherThe Rich LadyNever referred to by name she sits in the resplendent drawing room of A Game of Chess She seems to be surrounded by luxury but unable to appreciate or enjoy it She might allude to Eliot’s wife ViviennePhilomelaA character from Ovid’s Metamorphoses She was raped by Tereus then after taking her vengeance with her sister morphed into a nightingaleA TypistLonely a creature of the modern world She is visited by a young man carbuncular who sleeps with her She is left alone again accompanied by just her mirror and a gramophoneMr Eugenides3A merchant from Smyrna now Izmir in Turkey Probably the one-eyed merchant to whom Madame Sosostris refersPhlebasA Phoenician merchant who is described lying dead in the water in Death by Water Perhaps the same drowned Phoenician sailor to whom Madame Sosostris refersMajor ThemesDeathTwo of the poem‟s sections — “The Burial of the Dead” and “Death by Water” –refer specifically to this theme What complicates matters is that death can mean life in other words by dying a being can pave the way for new lives Eliot asks his friend Stetson: “That corpse you planted last year in your garden / Has it begun to sprout Will it bloom this year” Similarly Christ by “dying” redeemed humanity and thereby gave new life The ambiguous passage between life and death finds an echo in the frequent allusions to Dante particularly in the Limbo-like vision of the men flowing across London Bridge and through the modern cityRebirthThe Christ images in the poem along with the many other religious metaphors posit rebirth and resurrection as central themes The Waste Land lies fallow and the Fisher King is impotent what is needed is a new beginning Water for one can bring about that rebirth but it can also destroy What the poet must finally turn to is Heaven in the climactic exchange with the skies: “Datta Dayadhvam Damyata” Eliot‟s vision is essentially of a world that is neither dying nor living to break the spell a profound change perhaps an ineffable one is required Hence the prevalence of Grail imagery in the poem that holy chalice can restore life and wipe the slate clean likewise Eliot refers frequently to baptisms and to rivers – both “life-givers” in either spiritual or physical waysThe SeasonsThe Waste Land opens with an invocation of April “the cruellest month” That spring be depicted as cruel is a curious choice on Eliot‟s part but as a paradox it informs the rest of the poem to a great degree What brings life brings also death the seasons fluctuate spinning from one state to another but like history they maintain some sort of stasis not everything changes In the end Eliot‟s “waste land” is almost seasonless: devoid of rain of propagation of real change The world hangs in a perpetual limbo awaiting the dawn of a new seasonLustPerhaps the most famous episode in The Waste Land involves a female typist‟s liaison with a “carbuncular” man Eliot depicts the scene as something akin to a rape This chance sexual encounter carries with it mythological baggage – the violated Philomela the blind Tiresias who lived for a time as a woman Sexuality runs through The Waste Land taking center stage as a cause of calamity in “The Fire Sermon” Nonetheless Eliot defends “a moment‟s surrender” as a part of existence in “What the Thunder Said” Lust may be a sin and sex may be too easy and too rampant in Eliot‟s London but action is still preferable to inaction What is needed is sex that produces life that rejuvenates that restores – sex in other words that is not “sterile”LoveThe references to Tristan und Isolde in “The Burial of the Dead” to Cleopatra in “A Game of Chess” and to the story of Tereus and Philomela suggest that love in The Waste Land is often destructive4Tristan and Cleopatra die while Tereus rapes Philomela and even the love for the hyacinth girl leads the poet to see and know “nothingWaterThe Waste Land lacks water water promises rebirth At the same time however water can bring about death Eliot sees the card of the drowned Phoenician sailor and later titles the fourth section of his poem after Madame Sosostris‟ mandate that he fear “death by water” When the rain finally arrives at the close of the poem it does suggest the cleansing of sins the washing away of misdeeds and the start of a new future however with it comes thunder and therefore perhaps lightning The latter may portend fire thus “The Fire Sermon” and “What the Thunder Said” are not so far removed in imagery linked by the potentially harmful forces of natureHistoryHistory Eliot suggests is a repeating cycle When he calls to Stetson the Punic War stands in for World War I this substitution is crucial because it is shocking At the time Eliot wrote The Waste Land the First World War was definitively a first – the Great War for those who had witnessed it There had been none to compare with it in history The predominant sensibility was one of profound change the world had been turned upside down and now with the rapid progress of technology the movements of societies and the radical upheavals in the arts sciences and philosophy the history of mankind had reached a turning pointEliot revises this thesis arguing that the more things change the more they stay the same He links a sordid affair between a typist and a young man to Sophocles via the figure of Tiresias he replaces a line from Marvell‟s “To His Coy Mistress” with “the sound of horns and motors” he invokes Dante upon the modern-day London Bridge bustling with commuter traffic he notices the Ionian columns of a bar on Lower Thames Street teeming with fishermen The ancient nestles against the medieval rubs shoulders with the Renaissance and crosses paths with the centuries to follow History becomes a blur Eliot‟s poem is like a street in Rome or Athens one layer of history upon another upon anotherSummary and Analysis of Section I: The Burial of the DeadThe Waste Land begins with an excerpt from Petronius Arbiter‟s Satyricon in Latin and Greek which translates as: “For once I saw with my own eyes the Cumean Sibyl hanging in a jar and when the boys asked her „Sibyl what do you want‟ she answered „I want to die‟” The quotation is followed by a dedication to Ezra Pound Eliot‟s colleague and friend who played a major role in shaping the final version of the poemThe poem proper begins with a description of the seasons April emerges as the “cruellest” month passing over a desolate land to which winter is far kinder Eliot shifts from this vague invocation of time and nature to what seem to be more specific memories: a rain shower by the Starnbergersee a lake outside Munich coffee in that city‟s Hofgarten sledding with a cousin in the days of childhoodThe second stanza returns to the tone of the opening lines describing a land of “stony rubbish” – arid sterile devoid of life quite simply the “waste land” of the poem‟s title Eliot quotes Ezekiel 21 and Ecclesiastes 125 using biblical language to construct a sort of dialogue between the narrator –- the “son of man” -– and a higher power The former is desperately searching for some sign of life -– “roots that clutch” branches that grow — but all he can find are dry stones dead trees and “a heap of broken images” We have here a forsaken plane that offers no relief from the beating sun and no trace of waterSuddenly Eliot switches to German quoting directly from Wagner‟s Tristan und Isolde The passage translates as: “Fresh blows the wind / To the homeland / My Irish child / Where do you wait” In Wagner‟s opera Isolde on her way to Ireland overhears a sailor singing this song which brings with it ruminations of love promised and of a future of possibilities After this digression Eliot offers the reader a snatch of speech this time from the mouth of the “hyacinth girl” This girl perhaps one of the5narrator’s or Eliot’s early loves alludes to a time a year ago when the narrator presented her with hyacinths The narrator for his part describes in another personal account –- distinct in tone that is from the more grandiloquent descriptions of the waste land the seasons and intimations of spirituality that have preceded it –- coming back late from a hyacinth garden and feeling struck by a sense of emptiness Looking upon the beloved girl he “knew nothing” that is to say faced with love beauty and “the heart of light” he saw only “silence” At this point Eliot returns to Wagner with the line “Oed‟ und leer das Meer”: “Desolate and empty is the sea” Also plucked from Tristan und Isolde the line belongs to a watchman who tells the dying Tristan that Isolde‟s ship is nowhere to be seen on the horizonFrom here Eliot switches abruptly to a more prosaic mode introducing Madame Sosostris a “famous clairvoyante” alluded to in Aldous Huxley‟s Crome Yellow This fortune-teller is known across Europe for her skills with Tarot cards The narrator remembers meeting her when she had “a bad cold” At that meeting she displayed to him the card of the drowned Phoenician Sailor: “Here said she is your card” Next comes “Belladonna the Lady of the Rocks” and then “the man with three staves” “the Wheel” and “the one-eyed merchant” It should be noted that only the man with three staves and the wheel are actual Tarot cards Belladonna is often associated with da Vinci‟s Madonna of the Rocks and the one-eyed merchant is as far as we can tell an invention of Eliot‟sFinally Sosostris encounters a blank card representing something the one-eyed merchant is carrying on his back – something she is apparently “forbidden to see” She is likewise unable to find the Hanged Man among the cards she displays from this she concludes that the narrator should “fear death by water” Sosostris also sees a vision of a mass of people “walking round in a ring” Her meeting with the narrator concludes with a hasty bit of business: she asks him to tell Mrs Equitone if he sees her that Sosostris will bring the horoscope herselfThe final stanza of this first section of The Waste Land begins with the image of an “Unreal City” echoing Baudelaire‟s “fourmillante cite” in which a crowd of people –- perhaps the same crowd Sosostris witnessed –- flows over London Bridge while a “brown fog” hangs like a wintry cloud over the proceedings Eliot twice quotes Dante in describing this phantasmagoric scene: “I had not thought death had undone so many” from Canto 3 of the Inferno “Sighs short and infrequent were exhaled” from Canto 4 The first quote refers to the area just inside the Gates of Hell the second refers to Limbo the first circle of HellIt seems that the denizens of modern London remind Eliot of those without any blame or praise who are relegated to the Gates of Hell and those who where never baptized and who now dwell in Limbo in Dante‟s famous vision Each member of the crowd keeps his eyes on his feet the mass of men flow up a hill and down King William Street in the financial district of London winding up beside the Church of Saint Mary Woolnoth The narrator sees a man he recognizes named Stetson He cries out to him and it appears that the two men fought together in a war Logic would suggest World War I but the narrator refers to Mylae a battle that took place during the First Punic War He then asks Stetson whether the corpse he planted last year in his garden has begun to sprout Finally Eliot quotes Webster and Baudelaire back to back ending the address to Stetson in French: “hypocrite lecteur! – mon semblable – mon frère!”AnalysisEliot‟s opening quotation sets the tone for the poem as a whole Sibyl is a mythological figure who asked Apollo “for as many years of life as there are grains in a handful of sand” North 3 Unfortunately she did not think to ask for everlasting youth As a result she is doomed to decay for years and years and preserves herself within a jar Having asked for something akin to eternal life she finds that what she most wants is death Death alone offers escape death alone promises the end and therefore a new beginningThus does Eliot begin his magisterial poem labeling his first section “The Burial of the Dead” a title pulled from the Anglican Book of Common Prayer He has been careful to lay out his central theme6before the first stanza has even begun: death and life are easily blurred from death can spring life and life in turn necessitates death Cleanth Brooks Jr in “The Waste Land: An Analysis” sees the poem‟s engine as a paradox: “Life devoid of meaning is death sacrifice even the sacrificial death may be life-giving an awaking to life” Eliot‟s vision is of a decrepit land inhabited by persons who languish in an in-between state perhaps akin to that of Dante‟s Limbo: they live but insofar as they seem to feel nothing and aspire to nothing they are dead Eliot once articulated his philosophy concerning these matters in a piece of criticism on Baudelaire one of his chief poetic influences: in it Eliot intimated that it may be better to do evil than to do nothing at all — that at least some form of action means that one existsThis criterion for existence perhaps an antecedent to Existentialism holds action as inherently meaningful Inaction is equated with waste The key image in The Waste Land may then be Sosostris‟s vision of “crowds of people walking round in a ring” They walk and walk but go nowhere Likewise the inhabitants of modern London keep their eyes fixed to their feet their destination matters little to them and they flow as an unthinking mass bedecking the metropolis in apathyFrom this thicket of malaise the narrator clings to memories that would seem to suggest life in all its vibrancy and wonder: summer rain in Munich coffee in a German park a girl wearing flowers What is crucial to the poem‟s sensibility however is the recognition that even these trips to the past even these attempts to regain happiness must end in failure or confusion Identities are in flux The Hofgarten memory precipitates a flurry of German: “Bin gar keine Russin stamm‟ aus Litauen echt deutsch” Translated this line reads roughly as: “I‟m not Russian at all I come from Lithuania a true German” It is not clear who the speaker is but whatever the case the line is nonsensical three distinct regions of Europe are mentioned though Lithuania arguably has far more to do with Russia than with Germany The sentence itself depends on a non sequitur anticipating by almost a century Europe‟s current crisis of identity with individual nations slowly losing ground to a collective union In Eliot‟s time that continent was just emerging from the wreckage of World War I a splintered entity teetering on chaos Germany in particular suffered from a severe identity dilemma with various factions competing for authority classes that were distrustful of one another and the old breed of military strong-men itching to renew itself for the blood-drenched decades to comeThe historical considerations will only go so far Biographical interpretation is a slippery slope but it should nonetheless be noted that Eliot was at the time of the poem‟s composition suffering from acute nervous ailments chief among them severe anxiety It was during his time of recuperation that he was able to write much of The Waste Land but his conflicted feelings about his wife Vivienne did not much help his state of mind The ambiguity of love the potential of that emotion to cause both great joy and great sorrow informs the passage involving the hyacinth girl – another failed memory as it were In this case Eliot describes a vision of youthful beauty in a piece of writing that seems at first to stem more from English Romanticism than from the arid modern world of the rest of the poem: “Your arms full and your hair wet” Water so cherished an element and so lacking in this desolate wasteland here brings forth flowers and hyacinth girls and the possibility of happiness however fleeting That very vision however causes Eliot‟s eyes to fail his speech to forsake him love renders him impotent and he is left “neither living nor dead” – much like the aforementioned residents of Limbo The paradox is that such joy and human warmth might elicit such pain and coldness Eliot sums it up with the line: “Looking into the heart of light the silence” Using Wagner‟s Tristan und Isolde as a book-end device –- the first such quotation alluding to the beginnings of love the second describing the tragedy of a love lost –- Eliot traces a swift passage from light to darkness sound to silence movement to stasis Tristan begins on a boat with the wind freshly blowing and ends on the shoreline awaiting a boat that never comesThe same paradox is there at the very beginning of the poem: April is the cruelest month Shouldn‟t it be the kindest The lovely image of lilacs in the spring is here associated with “the dead land” Winter was better then at least the suffering was obvious and the “forgetful snow” covered over any memories In spring “memory and desire” mix the poet becomes acutely aware of what he is missing of what he has lost of what has passed him by Ignorance is bliss the knowledge that better things are possible is7perhaps the most painful thing of all Eliot‟s vision of modern life is therefore rooted in a conception of the lost idealIt is appropriate then that the narrator should turn next to a clairvoyant after gazing upon the past he now seeks to into the future Water giver of life becomes a token of death: the narrator is none other than the drowned Phoenician Sailor and he must “fear death by water” This realization paves the way for the famous London Bridge image Eliot does not even describe the water of the Thames he saves his verse for the fog that floats overhead for the quality of the dawn-lit sky and for the faceless mass of men swarming through the dead city Borrowing heavily from Baudelaire‟s visions of Paris Eliot paints a portrait of London as a haunted or haunting specter where the only sound is “dead” and no man dares even look beyond the confines of his feet When the narrator sees Stetson we return to the prospect of history World War I is replaced by the Punic War with this odd choice Eliot seems to be arguing that all wars are the same just as he suggests that all men are the same in the stanza‟s final line: “You! hypocrite lecteur! – mon semblable – mon frère!”: “Hypocrite reader! – my likeness – my brother!” We are all Stetson Eliot is speaking directly to us Individual faces blur into the ill-defined mass of humanity as the burial procession inexorably proceedsSummary and Analysis of Section II: A Game of ChessThe second section of The Waste Land begins with a description of a woman sitting on a beautiful chair that looks “like a burnished throne” -– a nod to Cleopatra in Antony and Cleopatra She occupies a splendid drawing room replete with coffered ceilings and lavish decorations The setting is a decidedly grandiose one We are not sure who the woman is: perhaps Eliot‟s wife Vivienne perhaps a stand-in for all members of the upper crust perhaps simply an unnamed personage whiling away the hours in a candlelit kingdom Eliot writes of “satin cases poured forth in profusion” “vials of ivory and coloured glass” an “antique mantel” and “the glitter of … jewels” Both the woman and the room are magnificently attired perhaps to the point of excessOne of the paintings in the room depicts the rape of Philomela a scene pulled from Ovid‟s Metamorphoses In the original story King Tereus‟s wife bids him to bring her sister Philomela to her Upon meeting Philomela Tereus falls instantly and hopelessly in love nothing must get in the way of his conquest Racked with lust he steals away with her and rapes her in the woods –- the sylvan scene” Eliot mentions He then ties her up and cuts off her tongue so that she may not tell others of what has happened He returns to his wife but Philomela is able to weave on a loom what has befallen her she gives the loom to her sister who upon discovering the truth retrieves Philomela slays Tereus‟s son and feeds his carcass to the king When he finds out that he has been served his son for dinner Tereus flies into a rage chasing both Philomela and his wife out of the palace and all three of them transform into birds The speechless Philomela becomes a nightingaleSnatches of dialogue follow It seems plausible that the woman in the room is addressing the narrator She complains that her nerves are bad and requests that he stay with her When she asks him what he is thinking the narrator retorts “I think we are in rats‟ alley / Where the dead men lost their bones” Still more harried questions follow the woman demands to find out whether the narrator knows “nothing” then asks what she should do now what they should do tomorrow The narrator answers with a rote itinerary: “The hot water at ten / And if it rains a closed car at four / And we shall play a game of chess / Pressing lidless eyes and waiting for a knock upon the door”The last stanza of the section depicts two Cockney women talking in a pub at closing time – hence the repeated dictum: “HURRY UP PLEASE IT‟S TIME” The subject of conversation is a certain Lil whose husband Albert was recently released from the army after the war He gave Lil money to get a new set of teeth but she has hesitated: “You ought to be ashamed I said to look so antique I can‟t help it she said pulling a long face Lil is apparently on pills unhappy in her marriage and mother to none The dialogue grows more fractured and the closing time announcements become more frequent and finally the stanza devolves into a quotation from Hamlet: Ophelia‟s final words to Claudius and Gertrude “Good night ladies good night sweet ladies good night good night”8AnalysisThis section once again ushers in the issue of biographical interpretation It is tempting to read the woman on the “burnished throne” as Eliot‟s wife Vivienne the passage then becomes a dissection of an estranged relationship Some of the details point to failed romance or failed marriage: the “golden Cupidon” who must hide “his eyes behind his wing” the depiction of Philomela‟s rape –- an example of love cascading into brutality and violence -– and even the woman‟s “strange synthetic perfumes” drowning “the sense in odours”Again the word “drowned” appears and with it comes the specter of death by water In this case the thick perfumes seem to blot out authentic sensations just as the splendid decorations of the room appear at times more menacing than beautiful The trappings of a wealthy modern life come at a price The carving of a dolphin is cast in a “sad light” The grandiose portraits and paintings on the wall are but “withered stumps of time” By the end of this first stanza the room seems almost haunted: “staring forms / Leaned out leaning hushing the room enclosed” The woman for her part is a glittering apparition seated upon her Chair Eliot capitalizes the word as if it were a kingdom like a queen recalling Cleopatra -– and thus yet another failed love affairFirst Tristan and Isolde now Cleopatra: twice now Eliot has alluded to tragic romances filtered from antiquity through more modern sensibilities -– first that of Wagner the great modernizer of opera and then that of Shakespeare perhaps the first “modern” dramatist Quotation and allusion is of course a quintessential component of Eliot‟s style particularly in The Waste Land the poem is sometimes criticized for being too heavily bedecked in references and too dependent on previous works and canons The poet‟s trick is to plumb the old in order to find the new It may seem at first ironic that he relies so much on Ovid the Bible Dante and other older works of literature to describe the modern age but Eliot‟s method is an essentially universalist one Just as the Punic War is interchangeable with World War I -– the truly “modern” war of Eliot‟s time -– so can past generations of writers and thinkers shed light on contemporary life Eliot‟s greatest model in this vein was probably Ulysses in which James Joyce used Homer‟s epic as a launching pad for a dissection of modern Dublin In contrast to modernist poets such as Cendrars and Appollinaire who used the choot-choot of trains the spinning of wheels and the billowing of fumes to evoke their era or philosophers such as Kracauer and Benjamin who dove into the sports shows and the arcade halls in search of a lexicon of the modern that is itself modern Eliot is content to tease modernity out of the oldThis is not to say that The Waste Land is free of the specifics of 1920s life but rather that every such specific comes weighted with an antiquarian reference When Eliot evokes dance-hall numbers and popular ditties he does so through the “Shakespeherian Rag” When he imitates the Cockney talk of women in a pub he finishes the dialogue with a quotation from Hamlet so that the rhythms of lower-class London speech give way to the words of the mad OpheliaThat said “A Game of Chess” is considerably less riddled with allusion and quotes than “The Burial of the Dead” The name itself comes from Thomas Middleton‟s seventeenth-century play A Game of Chess which posited the said game as an allegory to describe historical machinations –- specifically the brewing conflict between England and Spain What might the game allegorize for Eliot He offers it up as one of several activities when the woman demands: “What shall we ever do” Simply a slot in a strict numerical ordering of the day chess recalls “lidless eyes” as its players bide the time and wait “for a knock upon the door” We are not far removed from the masses crowding London Bridge their eyes fixed on their feet Modern city-dwellers who float along in a fog are neither dead nor living their world is an echo of Dante‟s Limbo 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 boardSummary and Analysis of Section III: The Fire SermonEliot opens this section with the image of a river wind crossing silently overhead We are on the banks of the Thames and Eliot cites Spenser‟s “Prothalamion” with the line: “Sweet Thames run softly till I9end my song” The river is empty “the nymphs of Spenser‟s poem have departed as have “their friends the loitering heirs of city directors” Eliot unspools imagery that evokes modern life – “empty bottles sandwich papers / Silk handkerchiefs cardboard boxes cigarette ends” – by describing what is not in the river In other words the Thames has become a kind of stagnant slate devoid of detritus but also of life The narrator remembers sitting by “the waters of Leman” –- French for Lake Geneva where the poet recuperated while writing The Waste Land -– and weeping His tears are a reference to Psalm 137 in which the people of Israel exiled to Babylon cry by the river as they remember JerusalemSuddenly the death-life of the modern world rears its head “A cold blast” is sounded bones rattle and a rat creeps “through the vegetation / Dragging its slimy belly on the bank” Rats appear several times in The Waste Land and always they carry with them the specter of urban decay and death –- a death which unlike that of Christ or Osiris or other men-deities brings about no life At this point the narrator “fishing in the dull canal” assumes the role of the Fisher King alluding to Jessie L Weston‟s From Ritual to Romance and its description of the Grail legend According to this study of critical importance to the entirety of The Waste Land the Fisher King -– so named probably because of the importance of fish as Christian fertility symbols -– grows ill or impotent As a result his land begins to wither away something akin to a drought hits and what was once a fruitful kingdom is reduced to a wasteland Only the Holy Grail can reverse the spell and save the king and his land A typical addendum to this legend involves a prior crime or violation that serves as cause for the Fisher King‟s malady By association the rape of a maiden might sometimes lie at the root hence Eliot‟s allusion to the tale of Philomela in “A Game of Chess”The allusion to the Grail is doubled by a possible reference to Wolfram von Eschenbach‟s Parzival a version of the Percival stories in this account the brother of the Fisher King Anfortas tells Parzival: “His name all men know as Anfortas and I weep for him evermore” Eliot‟s lines “Musing upon the king my brother‟s wreck / And on the king my father‟s death before him” seem to combine the Percival legend with The Tempest in which Ferdinand utters the verse: “Sitting on a bank / Weeping again the King my father‟s wreck” North 11 Eliot has already twice quoted The Tempest – “Those are pearls that were his eyes” in “The Burial of the Dead” and “A Game of Chess” –- and here he links Shakespeare‟s fantastical drama and the accompanying image of water racked by turbulent weather with Grail mythologyAs the impotent Fisher King Eliot describes the wasteland that stretches out before him “White bodies lie naked on the low damp ground” and bones are scattered “in a little dry garret / Rattled by the rat‟s foot only year to year” This last line echoes verses 115-116 in “A Game of Chess”: “I think we are in the rats‟ alley / Where the dead men have lost their bones” In both cases the setting is one of death decay a kind of modern hell Eliot proceeds to allude to John Day‟s The Parliament of Bees a seventeenth-century work that describes the tale of Actaeon and Diana: the former approaches the latter while she is bathing and surprising her is transformed into a stag and killed by his own dogs Here Actaeon is “Sweeney” – a character familiar from some of Eliot‟s other poems and Diana is Mrs Porter It is springtime suggesting love and fertility –- but also cruelty in Eliot‟s version -– and Sweeney visits the object of his affection via “horns and motors” Again ancient mythology is updated recast and remolded The stanza concludes with a quotation from Verlaine‟s “Parsifal” a sonnet describing the hero‟s successful quest for the Holy GrailNext come four bizarre lines: “Twit twit twit / Jug jug jug jug jug jug / So rudely forc‟d / Tereu” We recall “Jug jug jug” from “A Game of Chess” in which the onomatopoeia described the sound of Philomela as nightingale “Twit twit twit” likewise seems to represent a bird‟s call So we have returned to the tale of the woman who was violated and took her revenge and “So rudely forc‟d” refers to that violation “Tereu” then is Tereus“Unreal City” reprises the line from “The Burial of the Dead” evoking Baudelaire once more and bringing the reader back to modern London Mr Eugenides a merchant from Turkey and probably the one-eyed merchant Madame Sosostris described earlier invites the narrator to luncheon at a hotel and to join him on a weekend excursion to Brighton In the stanza that follows the narrator no longer himself and no longer the Fisher King takes on the role of Tiresias the blind prophet who has lived both as a10man and a woman and is therefore “throbbing between two lives” Tiresias sees a “young man carbuncular” — that is a young man who has or resembles a boil –- pay a visit to a female typist She is “bored and tired” and the young man like Tereus is full of lust He sleeps with her and then makes off leaving her alone to think to herself: “Well now that‟s done: and I‟m glad it‟s over” She plays music on the gramophoneThe music seems to transport the narrator back to the city below “This music crept by me upon the waters” is another quote from The Tempest and Eliot proceeds to describe a bustling bar in Lower Thames Street filled with “fishmen” This account paves the way for another vision of the river itself: sweating “oil and tar” a murky polluted body replete with barges and “drifting logs” Eliot quotes Wagner‟s Die Gotterdammerung in which maidens upon the Rhine having lost their gold sing a song of lament: “Weialala leia / Wallala leialala” A quick allusion to Queen Elizabeth‟s boat-ride with her suitor the Earl of Leicester described in James Anthony Froude‟s History of England contains references to the rich woman of “A Game of Chess” “A gilded shell” and another description of the sounds of the city -– “The peal of bells / White towers”Finally one of the “maidens” raises her own voice recounting her proper tragedy “Highbury bore me Richmond and Kew / Undid me”: in other words she was born in Highbury and lost her innocence in Richmond and Kew Bitterly she recalls how the man responsible promised “a new start” afterwards as it now stands the maiden “can connect / Nothing with nothing” The stanza ends with references to St Augustine‟s Confessions and Buddha‟s Fire Sermon –- in each case to a passage describing the dangers of youthful lustAnalysisThe central theme of this section is to put it simply sex If death permeates “The Burial of the Dead” and the tragically wronged woman -– be it Philomela or Ophelia -– casts a pall over “A Game of Chess” “The Fire Sermon” is in essence a sermon about the dangers of lust It is important to recognize that Eliot culminates this passage with an invocation of both Eastern and Western philosophy he even says so himself in his notes “To Carthage then I came” refers to Augustine “Burning burning burning burning” recalls Buddha‟s Fire Sermon in which “All things O priests are on fire” Both Augustine and Buddha warn against purely physical urges as they must inevitably serve as obstacles or barriers to true faith and spiritual peace The image of fire familiar from countless representations of Hell in Christian art is here specifically linked to the animal drives that push men and women to commit sinful actsOf course to interpret Eliot‟s poetry this moralistically is to miss much of its nuance and wit While recalling the strictest of religious codes Eliot is at his most literately playful here spinning Tempest quotations into odes to Wagner littering Spenser‟s Thames with “cardboard boxes” and “cigarette ends” replacing Actaeon and Diana with a certain Sweeney and a certain Mrs Porter There is a satirical edge that cuts through this writing -– and perhaps real indignation as well Much has already been made of the episode involving the typist and the carbuncular man What is particularly fascinating about it is the way in which Eliot mixes and matches the violent with the nearly tender: the young man‟s first advances are “caresses” and he is later described as a “lover” At the same time however “he assaults at once” his vanity requiring “no response” It is close to a scene of rape and the ambiguity makes it all the more troublingEliot offers a voyeuristic glimpse of a young woman‟s home her sexual liaison with a man and her moments alone afterwards Ironically he presents this Peeping Tom‟s account from the narrative perspective of the blind Tiresias: the “Old man with wrinkled female breasts” The decrepit prophet who once lived as a woman recalls his encounters with Antigone and Oedipus Rex “I who have sat by Thebes below the wall” and Odysseus in Hades “And walked among the lowest of the dead” while witnessing a quintessentially modern bit of business That Eliot resurrects ancient tropes and characters within such a vulgar scene is an act of audacity that was shocking in 1922 and still packs a punch Readers today are perhaps less surprised by the episode but it is hard not to be moved quoting from Oliver Goldsmith‟s eighteenth-century novel The Vicar of Wakefield Eliot describes the post-coital11woman pacing about her room: “When lovely woman stoops to folly” An image of potential perfection has been spoiled all that is left now is a mirror and a gramophoneIt was surely this kind of scene that so stirred John Dos Passos and it does indeed find numerous echoes in Manhattan Transfer Eliot‟s poem was a crucial inspiration for Dos Passos‟ epic portrait of New York An American transplanted to Europe Eliot’s narrator floats through London in “The Fire Sermon” beginning by the Thames and returning there to listen to the cry of the Rhine-maidens as they bemoan their fate: “Weialala leia / Wallala leialala” Whether quoting older sources or capturing the rhyme and texture of modern life Eliot is dealing in sadness a sense of loss imbues the writing bubbling to the surface in the maiden‟s account of her lost innocence Just as the narrator “knew nothing” when looking upon the hyacinth girl so is the maiden faced with “nothing”: “I can connect / Nothing with nothing / The broken fingernails of dirty hands / My people humble people who expect / Nothing”From the typist to this last suffering woman lust seems to portend sorrow and that sorrow seems in turn to be an integral feature of the modern world The typist is never named because she is ultimately a type a representation of something larger and more widespread Eliot is diagnosing his London and his world with a disease of the senses through which sex has replaced love and meaningless physical contact has subsumed real emotional connection Ironically the Fisher King‟s impotence then results from an excess of carnality The image of the river sweating oil recalls a Biblical plague and the “burning” at the end of the section brings Hell to mind Through it all the river courses carrying history along with it All the poet can do it seems is weepSummary and Analysis of Section IV: “Death by Water” and “What the Thunder Said”“Death by Water” is by far the shortest of the poem‟s five sections describing in eight lines “Phlebas the Phoenician” lying dead in the sea An echo of the “drowned Phoenician” Madame Sosostris displayed in “The Burial of the Dead” Phlebas is apparently a merchant judging by the reference to “the profit and loss” Now “a current under sea” picks his bones“What the Thunder Said” the final section of The Waste Land picks up the same thread referring in the first stanza to the passion of Christ another famous deceased The “torchlight red on sweaty faces” perhaps indicates the guards who come to take Christ away the “garden” is Gethsemane “the agony in stony places” refers to the torture and the execution itself and “of thunder of spring over distant mountains” describes the earthquake following the crucifixion From Christ‟s death springs life similarly the Phoenician is killed by water that life-giving force that symbol of fertility and rebirth As in “The Burial of the Dead” life and death are inextricably linked their borders blurred at times: “He who was living is now dead / We who were living are now dying / With a little patience”The second stanza describes a land without any water: only rocks sand “Dead mountain mouth of carious teeth” The thunder brings no rain and is therefore “sterile” “Red sullen faces sneer and snarl” at the poet as he makes his way through this desolate land – another wasteland The poet laments the absence of water thirst imbuing his verse with longing he imagines the “drip drop” of water on rocks but concludes by acknowledging that alas “there is no water”What follows is an allusion to Luke 24 as well as to a passage in Sir Ernest Shackleton‟s South two travelers walk upon a road and seem to be accompanied by a third unnamed wanderer Does this “third” exist or is he merely an illusion Shackleton‟s passage involves three men imagining a fourth by their side in the Biblical scene two travelers are joined by the resurrected Christ but do not at first recognize that it is HimEliot then moves from the individual to the collective casting his gaze over all Europe and Asia seeing “endless plains” and “hooded hordes” It is a nearly apocalyptic vision the great ancient cities of the Mediterranean “Jerusalem Athens Alexandria” and Europe “Vienna London” all seem “unreal” as if12they were already phantoms Eliot refers to the “violet air” echoing the “violet hour” of “The Fire Sermon” but also suggesting the twilight not just of a day but of all Western civilization “Violet” is one of the liturgical colors associated with baptism Eliot might be alluding to the Perilous Chapel in Jessie L Weston‟s From Ritual to Romance through which the knight must pass in order to obtain the Grail and which represents a sort of liminal passage or baptism Certainly the next stanza with “voices singing out of empty cisterns and exhausted wells” and “bats with baby faces suggests the Perilous Chapel –- a nightmarish place that tests the knight‟s gall and instills dread Eliot describes towers that are upside down and a woman who plays music with her hair recalling the rich woman in “A Game of Chess” whose “hair / Spread out in fiery points / Glowed into words” and “tumbled graves” In some versions of the Grail legend there is likewise a perilous graveyardFinally a “damp gust” brings rain Immediately Eliot invokes the Ganges India‟s sacred river “Ganga” in the poem and thunder once sterile now speaks: “Datta” “dayadhvam” and “damyata The words the thunder offers belong to the Brihadaranyaka Upanishad and describe the three dictums God delivers to his disciples: “to give” “to control” and “to sympathize” This profoundly spiritual moment of communication between men and God of a dialogue between the earth and the Heavens seems to promise a new beginning Civilization is crumbling -– “London bridge is falling down falling down falling down” –- yet the poem ends with a benediction: “Shantih shantih shantihAnalysisThe final stanzas of The Waste Land once again link Western and Eastern traditions transporting the reader to the Ganges and the Himalayas and then returning to the Thames and London Bridge Eliot‟s tactic throughout his poem has been that of eclecticism of mixing and matching and of diversity and here this strain reaches a culmination The relevant Upanishad passage which Eliot quotes describes God delivering three groups of followers -– men demons and the gods -– the sound “Da” The challenge is to pull some meaning out of this apparently meaningless syllable For men “Da” becomes “Datta” meaning to give this order is meant to curb man‟s greed For demons “dayadhvam” is the dictum: these cruel and sadistic beings must show compassion and empathy for others Finally the gods must learn control – “damyata” – for they are wild and rebellious Together these three orders add up to a consistent moral perspective composure generosity and empathy lying at the coreRecalling his earlier allusion to Buddha‟s Fire Sermon Eliot links “Datta” with a description of lust of the dangers of “a moment‟s surrender / Which an age of prudence can never retract” This it would seem is the primary sin of man Crucially however Eliot notes that “By this and this only we have existed” -– reminding the reader of his work on Baudelaire and his argument that an evil action because it signifies existence is better than inaction which signifies nothing Man‟s lustful deeds are “not to be found in our obituaries” they remain intangible to some degree not to be committed to paper or memory But they linger on nonetheless haunting the doers but also imbuing them with a sense of self for once Eliot almost seems to suggest the value of “a moment‟s surrender” of giving up control for one fleeting instant no matter the consequences Indeed such an act is perhaps preferable to that which the “beneficent spider” -– a reference to Webster‟s The White Devil according to Eliot‟s notes –- allows “empty rooms” and a “lean solicitor” cannot hope to understand the impulses that lead to an act of “folly” Is “an age of prudence” even worth the troubleNext comes sympathy –- “dayadvham” -– as if Eliot were reminding the reader to show compassion for lustful men and women We cannot help but remember the grief-stricken maiden of “The Fire Sermon” or the lonely typist with her gramophone at the root of such tragedy is after all a sincere love for humanity Eliot cares for these characters he has created these refractions of his own modern world The sermonizing of previous stanzas here gives way to a gentler view albeit in the form of spiritual commandments “I have heard the key / Turn in the door once and turn once only” refers to Dante‟s Inferno in which Count Ugolino starves to death after being locked in a tower for treason The subsequent allusion to “Coriolanus” completes the cycle: a Roman who turned his back on Rome Coriolanus is another example of an outcast These distinctly male visions of loneliness and removal echo the female counterpart of the typist alone in her room at night Eliot asks us to sympathize with these figures and to acknowledge their pain13The following stanza lifts the spirits after the wreckage of lust and the torment of isolation “Damyata” invites a happier perspective The boat responds “Gaily to the hand expert with sail and oar” like the boat upon which Isolde hears the sailor‟s song in “The Burial of the Dead” We have returned then to the beginnings of love the promise of a joyful future “Your heart” is perhaps even an address to Eliot‟s wife begging the question of whether their romance might be rekindled It is worth noting the tense Eliot employs: “would have responded” implies a negative It is possible that what we are seeing is merely a token of what might have been and not what isMore direct is the past tense the narrator uses in the next stanza in which he sits upon the shore fishing He is once again the Fisher King impotent and dying and he is flanked by an “arid plain” We are unable to fully escape the wasteland Eliot tempers the hope of the previous lines with this evocation of despair “Shall I at least set my lands in order” the narrator asks The end is drawing near The world is collapsing: London Bridge falls Dante is quoted yet again and an excerpt from Nerval involving “Le Prince d‟Aquitaine” points to a crumbling or destroyed tower –- “la tour abolie” The hellish imagery of earlier parts of the poem returns here complete with another view of modern-day London with its towers and bridges The word “ruins” is of particular importance: “These fragments I have shored against my ruins” The narrator is still attempting to stave off destructionor perhaps he has at last surrendered accepting his fate and that of the world“Why then Ile fit you Hieronymo‟s mad againe” is a reference to Thomas Kyd‟s The Spanish Tragedie a late sixteenth-century text in which Hieronymo lapses into insanity after his son is murdered The brutality and violence of man come to mind What became of control sympathy and generosity As if to answer the question Eliot repeats the Eastern dictum: “Datta Dayadvham Damyata” Against the ills of the modern and pre-modern world those three words still hold out the promise of salvation “Shantih shantih shantih” is an acknowledgment of that salvation it may be interpreted as a blessing of sorts putting to rest the sins faults trials and tribulations that have preceded it Redemption remains a possibility Interpretations of The Waste Land as unrelentingly pessimistic do little justice to the hopefulness however faltering of these last lines Rain has come and with it a call from the heavens The poem ends on a note of grace allying Eastern and Western religious traditions to posit a more universal worldview Eliot calls what he has assembled “fragments” and indeed they are but together they add up to a vision that is not only European but global a vision of the world as wasteland awaiting the arrival of the Grail that will cure it of its ills The end of the poem seems to suggest that that Grail is still within reachThe Waste Land and the Holy GrailAs part of a foreword to his notes on The Waste Land Eliot writes: “Not only the title but the plan and a good deal of the incidental symbolism of the poem were suggested by Miss Jessie L Weston‟s book on the Grail legend: From Ritual to Romance Cambridge” Eliot proceeds to claim that he is deeply indebted to Weston‟s book and that its subject matter informs much of his poemFrom Ritual to Romance is a scholarly work that studies in great detail the various legends of the Holy Grail In it Weston uses such terms as “Fisher King” and “Waste Land” and also delves into the importance of the Tarot pack –- which Eliot uses as a prop in the Madame Sosostris episode Most important to Weston‟s book is the Grail itself: the famed cup from which Jesus drank at the Last Supper and which was used to collect his blood after the crucifixion Many stories involving the Grail exist In one such tale the man with the lance who pierces Jesus‟s side on the cross is cured of blindness by the blood in the cup Endowed with restorative powers by its association with Christ the Grail becomes one of the great relics sought after by kings and knights for centuriesWeston focuses in particular on medieval accounts of the Grail legend but links these tales to earlier traditions For example some of the Mystery cults during the Roman Empire -– hidden sects each dedicated to a single God –- practiced baptismal rites by blood reminiscent of the life-giving powers the blood in the Grail offers Fertility restoration and rebirth are the key themes they constitute the promise of the Grail its capability to save an individual and even an entire land from calamity14In the archetypal version of the story a king falls ill or becomes impotent As a result his kingdom turns desolate The ravaged lands wasting away need a remedy So a brave knight heads off on a quest to obtain the Holy Grail which will bring life and fruitfulness back to the kingdom The knight must face numerous obstacles and near the end of his journey passes through the Perilous Chapel a nightmarish place that represents his biggest challenge yet When he finally finds the Grail it restores the king and his kingdom Rejoicing followsWagner and Verlaine have plucked at this tale and Eliot borrows from their versions For the most part however the poet invokes that original template which Weston seeks in her own work he even casts himself as the Fisher King at several points and describes the rains come to cleanse the wasteland at the poem‟s end Of course how happy an ending Eliot offers is up to debate There is little in the way of specific reference to the Grail itself in the poem Eliot refers to those elements and figures that surround the holy chalice in the various tales –- the impotent king the wasteland the perilous chapel and cemetery the rejoicing of the restored kingdom -– but rarely to the cup as an object The Grail does not magically appear in the final stanzas come to rescue us all instead Eliot suggests it is up to mankind to construct our own salvation |
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Les enseignements du cas Nestlé – Greenpeace |
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NESTLED IN MY NEST |
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Nestle Milk Pak Liquid Milk 1ltr |
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Nestlé Việt Nam hiện thực hóa các cam kết Chống rác thải nhựa bảo vệ môi trường |
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Nestle Cremora 1kg |
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Cérémonie de signature de convention UNA-NESTLE |
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Nestled in the foothills of the Adirondack Preserve |
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Nestlé truyền cảm hứng cho gần 600 tài năng trẻ xây dựng thương hiệu cà phê Việt Nam tại cuộc thi Vietnam Young Lions 2019 |
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Testabox de abril TESTABOXNestle |
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Nestle Bursary Application For Youth Of South African |
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Zestaw 6x NESTLE NAN OPTIPRO 2 800g Mleko następne w proszku dla dzieci od 6 miesiąca Karton |
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Nestle Munch Nuts 35gm |
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Join NRSPP In Talking Mobile Phone Use In Vehicles With Nestlé |
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Emerging Opportunities in Global Bleaching Agents Market with Industry Analysis Size Share Growth with Key Market Competitors: Evonik Solvay Akzonobel Hawkins Inc Siemer Milling Market to Reach Valuation of USD 7842 billion by 2025 at a CAGR of 70 : Analysis by Major players like Chr Hansen Holding A/S Yakult Honsha Co Ltd Société des Produits Nestlé |
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Nestlé Bangladesh |
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Nestlé LACTOGEN 2 Follow up Formula With Iron 6 months BIB |
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Get the Chance of Nestle Bursary Programme |
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Aspec: Productos de Gloria Nestlé y Laive muestran propiedades nutricionales “potencialmente engañosas” |
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We’re Part of Global Nestlé |
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Aspec: Productos de Gloria Nestlé y Laive muestran propiedades nutricionales “potencialmente Aplicando pruebas Genéticas en Bovinos y Ovinos |
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Current US Nestlé Associates |
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Bánh Ngũ Cốc Ăn Sáng Nestlé Cùng “Vua Sư Tử” Đồng Loạt Ra Mắt Ở 4 Thành Phố Lớn |
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Câu chuyện Nestlé |
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Welcome to Hartford Wisconsin… …nestled in the rolling hills of the scenic Kettle Moraine |
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Nestle Türkiye Yönetim Kurulu Üyesi Erdem Çakır ile Güncel Satış Pratikleri ve Perakende Dünyası |
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شیرخشک گیگوز 3 نستله Nestle Gigoz 3 Milk |
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Receive the latest updates from Nestlé Skin Health directly to your inbox |
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We offer simple escapes totiny cabins nestled in nature |
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Nestled at the confluence of three mounrain streams |
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Nestlé đồng hành cùng mGreen triển khai các hoạt động bảo vệ môi trường tại trường học và khu dân cư |
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Tetra Pak® and Nestlé MILO® UHT Join Hands in CAREton Project 2019 |
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Nestled within the Oceanfront area is Virginia Beach’s own cultural arts enclave—the ViBe Creative District |
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Alianza con Nestlé: ¡La combinación perfecta! |
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NESTLÉ® – Céréales Bio |
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Nestle с мякотью какао |
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Nestlé Portugal tem novo programa de trainees |
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GREEN HILLS of big and spacious bungalows nestled within the tree shrubs and flower gardens equipped with all sorts of comfort amenities for a relaxed body and OUR BROCHURE |
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Nestled in the Heart of Old Town |
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GALLETA TANGO NESTLÉ 100gr |
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Nestlé España empieza a proveerse de leche ecológica |
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Critical Success Factors in case of Rolls-Royceamp Nestle |
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Nestlé Việt Nam thêm lựa chọn sức khỏe cho người tiêu dùng với sữa nước ít đường |
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Nestle Müsli – Tropikal Meyveli Tam Tahıllı Gevrek Sağlıklı Mı |
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Whether situated in the heart of a major metropolis like Bangkok or nestled on the shore of Pattaya Bay every Sukosol hotel provides guests with a truly memorable and authentically Thai experience from the heart |
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Gloria Nestlé y Laive engañan al público con etiquetado de que son «leche» y productos «light» |
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A visit to the North Fork of Long Island transports you to a place where over 60 vineyards flourish and local farms orchards and fisherman offer their bounty to visitors Greenport a centuries-old fishing village has become a destination for up-and-coming artists farm-to-table cuisine and idyllic weekend escapes Nestled on the East End of Long Island and steeped in history it’s an ideal backdrop for fostering the future of independent scripted in the know |
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Vagas em Portugal para trabalhar na Nestlé |
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Nestle – Satış Yöneticisi Mülakat Sorusu : |
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Mousse de chocolate con leche Nestlé |
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BAGWANG captured the hearts amp appetite of 650 participants NESTLE’s National Sales Kick Off 2014 Blue Leaf Filipinas Proud to have served you Nestle |
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