Archival Evidence
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It is interesting to note that ''The Criterion'' contains no advertising. This foil to ''The Dial'' casts the British publication in a more dignified position. Even with the American publication's high-class features, it still contained advertising. Additionally, ''The Dial'' bestowed prizes; Eliot won their annual award in 1922, the year ''The Waste Land'' was published. These differences implicate that, while both magazines in which ''The Waste Land'' debuted were high class, ''The Criterion'' was the higher art publication of the two. | It is interesting to note that ''The Criterion'' contains no advertising. This foil to ''The Dial'' casts the British publication in a more dignified position. Even with the American publication's high-class features, it still contained advertising. Additionally, ''The Dial'' bestowed prizes; Eliot won their annual award in 1922, the year ''The Waste Land'' was published. These differences implicate that, while both magazines in which ''The Waste Land'' debuted were high class, ''The Criterion'' was the higher art publication of the two. | ||
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| + | ===''St. Severin'' Painting and Orphism=== | ||
| + | Debuting as the first substantive literary text in the November 1922 issue of ''The Dial,'' ''The Waste Land'' is presented beginning on the right-hand page, directly across from a disorienting and somewhat abstract painting of St. Severin's Cathedral in Paris, France (Delaunay 472). Painted by Robert Delaunay, a French, avant-garde, Orphist artist, the selection by editors to include his art within ''The Dial'' is in keeping with the culture of curiosity demonstrated by the New York readership. Delaunay's modern-gothic painting represents a sense of disjointedness present in post-WWI Europe through his fragmented and sharply disjointed painting of the ambulatory of St. Severin. This fragmentation is echoed in the page opposite Delaunay's painting, wherein lies Eliot's ''The Waste Land.'' The call to national identity in addition to a sense of brokenness within society draws parallels from the painting to the poem. | ||
==Thematic Coherence== | ==Thematic Coherence== | ||
