The Waste land of T.S.Eliot is considered as a full of imagery poet composed after world war. The poet is divided into five sections but through section 1: the burial of the dead, readers could realize fully about imagery and the role of speakers. In the first section, Eliot conveyed pictures from views of different speakers which are riddled from gothic imagery. This part of The Waste Land can be seen as a modified dramatic monologue. The four speakers in this part are frantic in their need to speak, to find an audience, but they find themselves surrounded by dead people and thwarted by outside circumstances, like wars. Because the parts are so short and the situations so confusing, the effect is not one of an overwhelming impression of a single character; instead, the reader is left with the feeling of being trapped in a crowd, unable to find a familiar face. It is made up of four vignettes, each seemingly from the perspective of different speakers. The first is an autobiographical snippet from the childhood of an aristocratic woman, in which she recalls sledding and claims that she is German, not Russian. The woman mixes a meditation on the seasons with remarks on the barren state of her current existence ("I read, much of the night, and go south in the winter"). The second is a prophetic, apocalyptic invitation to journey into a desert waste where the speaker will show the reader "something different from either / Your shadow at morning striding behind you / Or your shadow at evening rising to meet you; / [He] will show you fear in a handful of dust". The almost threatening prophetic tone is mixed with childhood reminiscences about a "hyacinth girl" and a nihilistic epiphany the speaker has after an encounter with her. The third episode in this part describes an imaginative tarot reading, in which some of the cards Eliot includes in the reading are not part of an actual tarot deck. The final episode of the section is the most surreal. The speaker walks through a London populated by ghosts of the dead. He confronts a figure with whom he once fought in a battle that seems to conflate the clashes of World War I with the Punic Wars between Rome and Carthage (both futile and excessively destructive wars). The speaker asks the ghostly figure, Stetson, about the fate of a corpse planted in his garden. For Eliot’s speaker, this rebirth is cruel, because any birth reminds him of death. The soil out of which the spring plants grow is composed of the decayed leaves of earlier plants. The poem ultimately does promise a new beginning, but Eliot’s speaker appears, perversely, to prefer winter to spring, and thus to deny the joy and beauty associated with rebirth. He emphasizes the role of death and decay in the process of growth, most memorably in the conversation between two veterans who meet near London bridge after the war: “‘Stetson! / ‘You who were with me in the ships at Mylae! / ‘That corpse you planted last year in your garden, / ‘Has it begun to sprout? Will it bloom this year? / ‘Or has the sudden frost disturbed its bed?’. In the first section of the poem, “The Burial of the Dead,” Eliot adapts some of the crucial imagery of the poem—the rocky, deserted land, the absence of life-giving water, the dead or dying vegetation. Elliot uses vivid dark imagery to establish the depressing tone of his poem. The poem begins by saying that “April is the cruelest month” (line 1) because it “breeds lilacs out of dead land” (line 2) and “stirs dull roots with spring rain” (line 3). Here, Elliot has taken images that are usually associated with beauty and life, such as the blossoming of flowers or spring rain, and instead associated them with darkness and death. Considering that this poem was written after World War I, the tone reflects the speaker’s disillusionment with the world as well as hope for a rebirth. Though disillusionment and hope are contrasting ideas, they come together in this poem as images of death are juxtaposed with images of rebirth. Right off the bat, readers are faced with images of death from the title of the section alone. However, as we hit the first few lines, we see images of growth and spring. This is evidenced where the speaker states that “lilacs” are growing “out of the dead land” (lines 1-2). These spring-like images continue throughout this first section of the main poem while being accompanied with images of death. These lines continue on with the speaker's memories of childhood. And they're not so bad. You find out that the speaker is the cousin of an archduke, which means that he or she probably came from a pretty ritzy background. And they went on swanky vacays to boot. The archduke took the speaker out on a sled and told her not to be frightened. You find out at this point that the speaker's name is Marie. It turns out Eliot's actually alluding to a real, historical figure named Marie Louise Elizabeth Mendel, a Bavarian woman who was born into a family with royal roots, and became Countess Larisch when she was nineteen. These lines close with Marie talking about how awesome and free you feel in the mountains, to which we say obvi. She ends on a weird note, though, telling you that she likes to read during the night and travels south in the winter, which makes her sound like a bookwormy goose. In the next stanza, Elliot goes on to describe a dystopian environment where roots and branches cannot grow, the trees are dead and there is no water flowing in the streams. These images portray death. There is no life in this environment and the reader can sense the dark tone of the speaker. When looking at the second stanza, death is shown in nature as the speaker describes a “dead tree” that “gives no shelter” (line 23). It's not Marie who's talking anymore, but someone else. These lines throw you three verses from the Bible, and they basically talk about how your soul is like soil without water, which is, as awful as it sounds. You're dying from spiritual thirst, and there is "no sound of water" (24). All you're going to get is a half-hearted comfort, like shadow under a "red rock" (25). These are the lines when that whole waste land concept really gets some juice. Eliot's speaker describes a desert, and it's just about as awful as deserts can get — no water, dead trees, red rock. Wherever we are, we're surrounded by stony rubbish, whether real or figurative, and our speaker is Not Happy. At the line of 31-34, the poem takes on a tone of mourning for a love that was once great, but is now kaput. Throughout this poem, Eliot's always taking bits and pieces from the "high culture" that people in the Western world don't fully appreciate anymore and mixing them up with surprising images and other snippets. Again, this image is followed by another reference to flowers as a “hyacinth girl” and a “hyacinth garden” is mentioned (lines 35-37). It seems like a woman is speaking again in these lines, and she remembers a time when she was young and someone gave her nice hyacinth flowers, all romantic-like. At the line of 36-42, Eliot uses the poetic technique of apostrophe here, meaning that the woman is addressing another person who doesn't seem to be present in the poem at this point. More creepily, she might actually be talking to herself, which would suggest a deep sense of longing or mourning for something that's gone. And a little break with sanity, too. Somewhere in the woman's distant memory, something went really really wrong. She remembers how suddenly, without warning, her love went south, so to speak. She felt she "was neither / Living nor dead, and [she] knew nothing" (39). It's like her soul just up and died. The third stanza is just plain morose with its many images of death. Keeping with the rest of the poem’s tone, the tarot cards the speaker draws, such as the “drowned Phoenician Sailor” or the “one-eyed merchant” in the tarot reading while the speaker receives a warning to “fear death by water” (lines 37-55), are all negative cards, predicting trouble ahead. However, as we move to the final stanza — which also has descriptions of winter and death—the images of life and spring follow suit once again. Here the image of rebirth is very clear as the speaker talks about a “garden” that seems to grow up from a “corpse…planted last year” (line 71). The speaker shifts again, this time to someone who's peering out over an "Unreal" or fake modern city whose "brown fog" suggests that it isn't the cleanest of places. The speaker mentions a landmark street in London, and notes how a church bell let out a "dead sound on the final stroke of nine" (68). There we go again, associating religion and death. The speaker then gives the Stetson man advice about keeping the dog and the frost away from where the corpse is planted. The speaker more or less admits that he's no better by calling you "mon frère" or "my brother" in French. So after reading all this stuff about how awful the world's gotten, you get to find out that the speaker of the poem personally blames you, himself, and pretty much everybody for what's happened. The first section of The waste land introduces the diverse themes of disillusionment and despair. With perspectives from different people, the reader is left with the feeling of being trapped in a crowd, unable to find a familiar face. Moreover, through the darkness picture with lots of imagery, Eliot delivered depressing tone of his poem.