Archival Evidence
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A close side by side reading of "The Waste Land" as it appears in the 1922 October issue of the Criterion and 1922 November issue of The Dial beg inquiries as to the organicism of the texts--is either edition more inherently Eliot? Do the slightly different versions of the poem reveal editorial constructs or bias in keeping with "American" or "British" literary doctrines? It is difficult to conceive, and perhaps impossible to finger any specific text as more canonical than the other. In fact, the Norton Critical Edition's editor, Michael North, posits that the Boni and Liveright edition (which was released in December of the same year) "should have priority" (Norton XII). | A close side by side reading of "The Waste Land" as it appears in the 1922 October issue of the Criterion and 1922 November issue of The Dial beg inquiries as to the organicism of the texts--is either edition more inherently Eliot? Do the slightly different versions of the poem reveal editorial constructs or bias in keeping with "American" or "British" literary doctrines? It is difficult to conceive, and perhaps impossible to finger any specific text as more canonical than the other. In fact, the Norton Critical Edition's editor, Michael North, posits that the Boni and Liveright edition (which was released in December of the same year) "should have priority" (Norton XII). | ||
| − | 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 | + | 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, "The Waste Land" was published. Interestingly, it was in The Dial that "The Waste Land" was | + | 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 these intentional pauses incorporated 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 the poetry of Walt Whitman, who utilized long lines and large stanzas. Perhaps the American editor simply produced "The Waste Land" in a way he best knew how--as a dramatic, "American" 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 these intentional pauses incorporated 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 the poetry of Walt Whitman, who utilized long lines and large stanzas. Perhaps the American editor simply produced "The Waste Land" in a way he best knew how--as a dramatic, "American" narrative poem. | ||
