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When "The Waste Land" first appeared in the November 1922 issue of the American periodical, ''The Dial'', it was preceded by Robert Delaunay's painting entitled, "Saint Severin No. 3." There is no information to suggest whether the juxtaposition of the two works was ever approved of by Eliot, but neither is there information to indicate whether Eliot opposed the placement of Delaunay's painting at the opening of Eliot's masterful poem. The two pieces are interesting in contrast, especially since the works were created nearly ten years apart. Perhaps Delaunay's piece was selected for publication because it demonstrated the painter's divergence from what he had previously produced--just as Eliot's "Waste Land" deviated from foregoing precedent. | When "The Waste Land" first appeared in the November 1922 issue of the American periodical, ''The Dial'', it was preceded by Robert Delaunay's painting entitled, "Saint Severin No. 3." There is no information to suggest whether the juxtaposition of the two works was ever approved of by Eliot, but neither is there information to indicate whether Eliot opposed the placement of Delaunay's painting at the opening of Eliot's masterful poem. The two pieces are interesting in contrast, especially since the works were created nearly ten years apart. Perhaps Delaunay's piece was selected for publication because it demonstrated the painter's divergence from what he had previously produced--just as Eliot's "Waste Land" deviated from foregoing precedent. | ||
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| − | [[Image:Fuckkkk.jpg| | + | [[Image:Fuckkkk.jpg|left]]In contrast to the cubist/modernist approach, which renders truth from varying yet stark perspectives, the cover image of Penguin Classic's reprinting of "The Waste Land" incorporates Pieter Bruegel's "The Triumph of Death" on its book cover. The differences between Delaunay's and Bruegel's paintings are remarkably different, though Bruegel's work does not inherently controvert textual content. The editor's choice to use Bruegel's painting to market "The Waste Land" is obviously influenced by themes consistent with the poem. However, when comparing the work of Delaunay and Bruegel it becomes apparent that the editorial choice concerning which image to use reflects strongly on the editor's perception of the poem. For instance, though Delaunay's work is not "true to life," it does maintain sufficient pragmatism to assure a level of certainty for the viewer regarding the painting's content. In "The Triumph of Death" the image is so absurd, filled with ambiguous yet disturbing symbology, as to disorient and perhaps disenchant the viewer before he or she has considered the text within. |
