poetry texts, poem archive at plagiarist.com

One can see, through the steady rhythm and hair-raising cadences, the moral disintegration of post World War I Europe, specifically England. In this work, Eliot has given us a frozen, expressionist (cubist, if you will) reflection of our own fragmented psyches, daring not to enter the room lest we be set upon by the wild boars that guard the tomb of our dearly departed culture.

I expound-

"Bustopher Jones", a pseudonym for the master Eliot himself (or, as Ezra Pound called him, the Reverend Eliot), is compared immediately within the first line to a ghost of sorts. This grim specter drifts about the broken streets of London, rife with literary allusions.

The particulars are not afforded room within this publication, however I would like to draw the reader's attention to an interesting device, stumbled upon by myself: the beginning and last stanza end with the image, "white spats". This is obviously, therefore, meaningful. Is is because "spats" rhymes with "cats"? Possibly. However I have a different reasoning. "White spats" represent the pale, phantom-like complextion of the tragical Bustopher, and thus reflect his being a shade of what he once was. Furthermore, the middle stanzas do not end with the same words, as do the first and last. Therefore, following suit, we can be assured that "Schools" and "mutton", are to Eliot synonymous.

Look upon this work and despair to see our own shattered personae cuttingly and cunningly presented within the perameters of a broken society!

Do not thank me.

Wrong. It's just about a cat.

Well, symbols aside, it does fit a cat nicely; maybe all the best clubs have cats.
From the discription, our gentlemanly cat sounds like a Tuxedo Cat, one with a distinct black-white pattern, sort of like a penguin or orca, but it does look its best on a cat.
My mother has not one but two Bustopher-type cats, one's actually named "Burbity Jones".
So make of things what you will.