Archival Evidence

Nevertheless, an analysis of both of the original publications reveals an additional layer of complexity to a scholarly investigation of Eliot's most famous poem.  Despite minor inconsistencies, a more holistic understanding of Eliot's work emerges--the unifying principle enveloping "The Waste Land" is that truth, though affected by and altogether vulnerable to external circumstance or will, is canonized by its textual integrity.

Nevertheless, an analysis of both of the original publications reveals an additional layer of complexity to a scholarly investigation of Eliot's most famous poem.  Despite minor inconsistencies, a more holistic understanding of Eliot's work emerges--the unifying principle enveloping "The Waste Land" is that truth, though affected by and altogether vulnerable to external circumstance or will, is canonized by its textual integrity.

Although the differences in pagination are slight, they are noteworthy, especially considering the fact that Eliot may have been directly connected to the pagination of ''The Criterion''.  In particular, breaks between the stanzas in ''The Criterion'' appear more frequently than in ''The Dial''.  A reading of the poem in ''The Criterion'' is markedly easier than in ''The Dial'', perhaps due to the intentional pauses incorporated multiple spaces throughout.  Another difference in the format of ''The Dial'' is found where various first lines are aligned on the right side of the page.  In ''The Criterion'', these lines are indented much further than normal, but they do not appear to have been structured as chaotically.  Whereas the format of ''The Criterion'' seems to emphasize clarity and order, the format affixed to the poem in The Dial may indicate preconceptions on the part of the American editor concerning Eliot's style.  The co-author of this page makes this hypothesis in part because the American format is reminiscent of earlier American poetry (i.e. Whitman) which utilized long lines and large stanzas.  Perhaps the American editor simply produced "The Waste Land" in the way he best knew how--as a dramatic, narrative poem.

Although the differences in pagination are slight, they are noteworthy, especially considering the fact that Eliot may have been directly connected to the pagination of ''The Criterion''.  In particular, breaks between the stanzas in ''The Criterion'' appear more frequently than in ''The Dial''.  A reading of the poem in ''The Criterion'' is markedly easier than in ''The Dial'', perhaps due to the intentional pauses incorporated multiple spaces throughout.  Another difference in the format of ''The Dial'' is found where various first lines are aligned on the right side of the page.  In ''The Criterion'', these lines are indented much further than normal, but they do not appear to have been structured as chaotically.  Whereas the format of ''The Criterion'' seems to emphasize clarity and order, the format affixed to the poem in The Dial may indicate preconceptions on the part of the American editor concerning Eliot's style.  The co-author of this page makes this hypothesis in part because the American format is reminiscent of earlier American poetry (i.e. Whitman) which utilized long lines and large stanzas.  Perhaps the American editor simply produced "The Waste Land" in the way he best knew how--as a dramatic, narrative poem.