Archival Evidence
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''The Waste Land'' first appeared in the October 1922 edition of British literary magazine, ''The Criterion.'' One month later, ''The Waste Land'' was published in ''The Dial,'' and American literary magazine. In both of these magazines, the poem appears nearly in full. Missing in''The Criterion'' is the epigraph and dedication to Pound. In ''The Dial'', the epigraph is present, but there is no dedication. | ''The Waste Land'' first appeared in the October 1922 edition of British literary magazine, ''The Criterion.'' One month later, ''The Waste Land'' was published in ''The Dial,'' and American literary magazine. In both of these magazines, the poem appears nearly in full. Missing in''The Criterion'' is the epigraph and dedication to Pound. In ''The Dial'', the epigraph is present, but there is no dedication. | ||
===Epigraph=== | ===Epigraph=== | ||
| − | Interestingly, Eliot did not originally intend to use a quote from the ''Satyricon'' to begin ''The Waste Land''. Instead, he wanted to quote Joseph Conrad's ''Heart of Darkness''. He planned to begin ''The Waste Land'' with "The horror! the horror!" but during the editing process, Ezra Pound advised against this. In Pound's opinion, opening this great epic poem with a cry of fear would portray Eliot as weak. Pound, obsessed with masculinity, was determined that nothing should emasculate Eliot's epic (Koestenbaum). | + | Interestingly, Eliot did not originally intend to use a quote from the ''Satyricon'' to begin ''The Waste Land''. Instead, he wanted to quote Joseph Conrad's ''Heart of Darkness''. He planned to begin ''The Waste Land'' with "The horror! the horror!" but during the editing process, Ezra Pound advised against this. In Pound's opinion, opening this great epic poem with a cry of fear would portray Eliot as weak. Pound, obsessed with masculinity, was determined that nothing should emasculate Eliot's epic (Koestenbaum). |
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| + | As a side note, Eliot did use a quote from ''Heart of Darkness'' in a later poem, "The Hollow Men." The epigraph to this poem reads, "Mistah Kurtz--he dead. A penny for the Old Guy." | ||
===Dedication=== | ===Dedication=== | ||
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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. | ||
| − | It is important to note that Eliot was actually serving as an editor for ''The Criterion'' during the time when his poem, | + | It is important to note that Eliot was actually serving as an editor for ''The Criterion'' during the time when his poem, ''The Waste Land'' was published. Interestingly, it was in ''The Dial'' that "The Waste Land" was headlined before other literary contributions. Although the location of the poem's debut may have been more ideal in the American publication, it is worth questioning whether Eliot had more direct authority over the format of the poem as it appears in ''The Criterion''. |
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. | ||
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==Internationality== | ==Internationality== | ||
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===''St. Severin'' Painting and Orphism=== | ===''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 | + | 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 Cubist and pioneer of the "Orphism" style, 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. |
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| + | Delaunay's painting was over ten years old at the publication of ''The Dial'', having been first completed in 1909. Delaunay was drawn to light and open spaces in his artwork; he uses lighting within the cathedral's ambulatory to create a sense of disjointedness; emphasis on sensory experiences in order to create a sensation of space and warped perspective. Delaunay described this painting as marking “a period of transition from Cézanne to Cubism”; his main influence moving from that of Cézanne’s style to that of cubists such as Georges Braques. | ||
| + | Delaunay’s paintings very heavily tied in with French identity | ||
Within the painting, which was already [http://www.guggenheim.org/new-york/collections/collection-online/artwork/1017 more than ten years old] at the publishing of ''The Waste Land'' in ''The Dial,'' the church's walls and floor twist and turn in a cubist-based depiction. This fractured portrayal of a sacred space calls to mind lines 20-21 of ''The Waste Land'' - "you know only a heap of broken images" - which itself was an allusion to the biblical book Ezekiel (specifically [http://usccb.org/bible/ezekiel/6/6 chapter 6]). | Within the painting, which was already [http://www.guggenheim.org/new-york/collections/collection-online/artwork/1017 more than ten years old] at the publishing of ''The Waste Land'' in ''The Dial,'' the church's walls and floor twist and turn in a cubist-based depiction. This fractured portrayal of a sacred space calls to mind lines 20-21 of ''The Waste Land'' - "you know only a heap of broken images" - which itself was an allusion to the biblical book Ezekiel (specifically [http://usccb.org/bible/ezekiel/6/6 chapter 6]). | ||
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==Thematic Coherence== | ==Thematic Coherence== | ||
| + | A few of the major themes of ''The Waste Land'' include World War I, fertility and sterility, a lack of trust in authority, and the crumbling of Western culture. However, it is clear from the thematic overlap in the rest of the magazines’ content that Eliot was not the only writer interested in these topics. These themes, linked by their importance in modernist circles, all make appearances in ''The Dial'' and ''The Criterion''. | ||
| − | + | ===World War I=== | |
| + | Unsurprisingly, WWI is a major theme in both ''The Dial'' and ''The Criterion''. Though the War had been over for four years by 1922, the world, especially Europe, was still in shock from the atrocities it had witnessed between 1914 and 1918. | ||
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| + | ''The Criterion'' touches on WWI in a variety of its pieces. For example, Herman Hesse discusses the War in "Recent German Poetry," citing it as one of the main reasons that the youth of Germany are behaving and writing in such a juvenile manner. Because of the War, he believes that "Europe is seen by the youth of to-day as a very sick neurotic, who can be helped only by shattering the self-created complexes in which he is suffering" (90-91). | ||
===Sexuality and Fertility=== | ===Sexuality and Fertility=== | ||
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T. Sturge Moore, who wrote an essay about “The Story of Tristram and Isolt in Modern Poetry” for the same edition of ''The Criterion'', brings some middle ground to this question. He acknowledges that Tristram’s and Isolt’s situation “forced illegal passion on” both of them (Moore 35). That is to say, both sexes suffer when they are deprived of an outlet for their passions. Still he asks, “Is adultery ever to be condoned?” (Moore 35). The tension Moore recognizes between people’s need to be fertile and the question of its inherent “rightness” is relevant to what Eliot is exploring in “The Waste Land.” Humanity’s distrust in or even “divorce” from nature and natural law that Eliot depicts as a result of the war must include a questioning of the previously accepted paradigm of right and wrong. One image from “The Waste Land”—“a heap of broken images” (Eliot 22)—can be applied as a description to what the poem itself is, what society looks like after the war, and what people’s current perception of the former order is. | T. Sturge Moore, who wrote an essay about “The Story of Tristram and Isolt in Modern Poetry” for the same edition of ''The Criterion'', brings some middle ground to this question. He acknowledges that Tristram’s and Isolt’s situation “forced illegal passion on” both of them (Moore 35). That is to say, both sexes suffer when they are deprived of an outlet for their passions. Still he asks, “Is adultery ever to be condoned?” (Moore 35). The tension Moore recognizes between people’s need to be fertile and the question of its inherent “rightness” is relevant to what Eliot is exploring in “The Waste Land.” Humanity’s distrust in or even “divorce” from nature and natural law that Eliot depicts as a result of the war must include a questioning of the previously accepted paradigm of right and wrong. One image from “The Waste Land”—“a heap of broken images” (Eliot 22)—can be applied as a description to what the poem itself is, what society looks like after the war, and what people’s current perception of the former order is. | ||
| − | + | ===Overlapping Themes=== | |
| − | + | Though is is possible to view each of these themes separately, it is very easy to see how they all tie together. Turning again to "Recent German Poetry," Hesse eloquently sums up the connection of these themes in the post-war environment. He explains that the experience of the Great War entailed “the collapse of all the old forms and the breakdown of moral codes and cultures hitherto valid” (Hesse 90). Because of this, the new generation must create its own “codes” that will work differently since something as awful as a World War is a conceivable reality. He goes on to enumerate “the two central interests of youth”: “rebellion against authority and against the culture of that authority in process of downfall; and eroticism” (Hesse 90). Hesse, too, sees a relationship between fertility issues, distrust in society/authority, and the War. From all the thematic overlap in these two magazines with the content of “The Waste Land,” it only makes sense to admit that Eliot’s poem is not a thing to be read in isolation from its context. Since the other literary pieces treat some of the same subjects, it is fair to assume that those subjects were primary concerns of the scholarly class in both America and Europe. Familiarizing oneself with these contextual similarities allows a reader of “The Waste Land” to focus in on what would have been most important to Eliot’s contemporary audience, and perhaps to understand more successfully what meaning Eliot wants to transmit through the poem. | |
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==Additional Areas of Interest for Further Investigation== | ==Additional Areas of Interest for Further Investigation== | ||
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==Works Cited== | ==Works Cited== | ||
| − | Dehn, | + | Dehn, Adolph. "Drinkers." ''The Dial'' Nov. 1922: 548-549. Print. |
''The Dial''. Advertisements. Nov 1922: I-XXXIII. Print. | ''The Dial''. Advertisements. Nov 1922: I-XXXIII. Print. | ||
