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Evaluation of Archibald Lampman's The City of the End of Matters Iron Towers. Terrible flames. Inhuman music, rising and falling. Grim depths and abysses, where just night holds influence and gruesome creatures creep ahead of their amazing Master. Through these disturbing pictures, and a masterful adaptation of the sonnet arrangement, Archibald Lampman summons forth The City of the End of Things. The nameless Town that he generates is a place of mechanical slavery and despair, where Nature can't exist, and human life is sacrifice. The location is a veritable Hell; worse than a hell - it is Tartarus. By evoking the title of this, the most feared of lands in ancient Mythology, Lampman origins his poem, and consequently his City and message, in Greek and Roman legend. В This can be very important as, by wrap the poem within a mythological story, it automatically begins to undermine any effort to enforce Christian (and other) readings upon it. It will become important to understand just what is intended by the usage of 'Tartarus', and precisely how deeply it permeates the structure of the poem. Tartarus wasn't just another realm over the classical world - it was a property beyond Hades, beyond the Underworld, lying as far below hell as the Earth put below Heaven; is was said that an anvil would collapse for nine days before reaching it. It was a land of exile, a prison for people who displeased the current ruling hierarchy of celestial beings. Uranus imprisoned his first kids there; the Titans, having overthrown their father, threw the Cyclops into Tartarus - only to take their place once Zeus' rebellion disposed of the despotic giants. It soon turned into a place of these anxiety that the mere threa...