Thunder says...

The fifth section was the most difficult to understand. The notes indicate that there are three themes employed that consist of a journey, an approach to a deserted chapel, and the decay of eastern Europe. The first section shows the waste land of cities. Eliot mentions great civilizations such as "Jerusalem Athens Alexandria/Vienna London"(375-376) and how they were destroyed then reformed then destroyed again. It seems that no urban life can ever exist in harmony with the rest of the world. It must either flourish at the expense of nature or "crack" or "burst" (373). The journey aspect of the first section consists of a thirsty speaker. He speaks confusingly of rocks, mountains, and water--the repetition of the words blurring their meaning. The journey culminates in the "hooded hordes swarming/Over endless plains" (369-370) after some loud noise is heard. The noise is not admired or stopped and recognized respectfully, it is simply sounded unceremoniously. The second section depicts a chapel that has been abandoned. Chapels are a symbol of sanctity but the decay indicates that society no longer acknowledges such sanctity. The third section speaks of the degeneration of Europe through 3 speakers. The first mentions that modern civilization never gives, it only takes. The only thing we give is the "awful daring of a moment's surrender", a hint at sex. The second speaker also touches on selfishness when he says that each person thinks only of the key that will let him out of his prison. No one pays attention to the lives of others and the "aethereal rumours" (416). The final speaker offers a sense of hope. There may be a way for society to redeem itself if it surrenders to "controlling hands". Eliot uses the theme of regeneration throughout The Waste Land so it is only fitting that he end the poem in this manner. The final scene of the poem comes back to the fisher king. He is unsure of how to manage his lands and the London Bridge lyrics signal a sense of resignation. The non-western words concluding the poem indicate that perhaps regeneration should be sought from new sources. We should not be recreating the same twisted civilizations after they fall.    

The Gates of Hell

    What intrigues me most about the Gates of Hell is the name. The bronze sculpture in Philadelphia could not be opened or shut. There was no way to pass through it. Aside from the entryway form of the bronze, the Gates of Hell did not resemble gates at all. The bottom section of the gates seems a solid barrier. It has an even surface and seems most like a door. But above the gateway is divided into two halves that might open up like doors but for the mysterious appearance of the ocean-like surface. It is interesting that Rodin did not make it clear whether the gates were a barrier or just a frame through which one could see the darkness of Hell. I've always envisioned Hell as having gates but that Rodin did not make the gates functional makes sense in its own way. Rodin's gates serve more as a glimpse into Hell than as gates that would keep people out of Hell. My reasoning for this is that Hell is not a place one can enter and exit when the gatekeeper is on duty. Hell is a place sinners are sucked into and never allowed to leave. It does not require gates. Thus the gates are a symbolic piece of art that reveals Rodin's idea of what Hell is like. Hell is represented as an endlessly confusing abyss where darkness overwhelms the sinners like an ocean. There  are tiny people and enormous people, people in contorted positions, babies isolated on the outer rims of the gates, and no one seems aware of anyone else. Only those forced to be intertwined are aware of each other's presence. The suffering and pain is so vast that it cannot be taken in looking at the gates from either extremely close up or from only far away. The use of non-functional gates as a means of expression conveys the hopelessness of escaping Hell.

Athena

One of the obstacles facing Satan's exit of Hell is a female guardian that he seems to have known in better days. When Satan comes to blows with an amorphous dark creature the gate keeper intervenes saying, "O father, what intends thy hand... Against thy only Son?" (727-728). As she continues speaking it becomes clear that the key holder is Satan's daughter, as well as a former lover. She expresses her distress at Satan's failure to recognize her, "do I seem/Now in thine eye so foul, once deem'd so fair" (747-748). A change in appearance during the fall from Heaven is a theme Milton employs with several of the angels. It is considered an allusion to Virgil's Aeneid in which Hector's ghost is not at all indicative of his face and body as it was in life. The classical references are continued in Paradise Lost as the gate keeper recalls her birth. She explains how she "sprung" (758) out of the left side of Satan's head "a Goddess arm'd" (757). Although she reveals she is called "Sin", she is clearly a representation of the Pagan goddess Athena who likewise sprung out of Zeus' head in full battle gear as the goddess of war and wisdom. Why did Milton choose to place Athena in Hell? Milton chose to call her Sin. Milton elected for her to be the daughter of Satan and give birth to a son of incest. Why would Milton give such positions of honor (Satan's daughter and lover, and the key holder of Hell) to Athena? Surely she is of Pagan nature which would deem her unworthy of Heaven, but any Pagan god would do. Athena being the goddess of war and wisdom, perhaps showing her in Hell stripped of her primary traits is meant to depict the nature of Hell: one has no identity. Satan did not recognize her or his own son. Her son is a dark mass without recognizable features or even limbs. To have her strength and wisdom taken away is the worst punishment for the independent minded goddess.
    The Athena-like character is said to have been raped repeatedly by her own son. She suffers with no doubt but perhaps it is the recollection of past happiness that magnifies and ensures her suffering. Satan speaks of the "dalliance had with thee in Heav'n" (819) and how it was "Then sweet, now sad to mention" (820). As we talked about in class, the sorrow of Hell is capitalized on with memories of happiness. Satan himself acknowledges this.