The Delta
Volume 1 | Issue 1
Article 9
2006
Eliot's Masterpiece and Downfall: New Poetics and
The Waste Land
Lindsay Hawley '06
Illinois Wesleyan University
Recommended Citation
Hawley '06, Lindsay (2006) "Eliot's Masterpiece and Downfall: New Poetics and The Waste Land," The Delta: Vol. 1: Iss.
1, Article 9.
Available at: http://digitalcommons.iwu.edu/delta/vol1/iss1/9
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Hawley '06: Eliot's Masterpiece and Downfall: New Poetics and <em>The Waste L
Works Cited
'. "I Try to Recall...: A Sense of Narrative in the
)vel- afternoon. a story." Reinventions ofthe
stories and Aesthetics ofa Protean Genre. Eds.
lrgrethe Simonsen, Marianne Ping Huang, and Mads
II Thomsen. Amsterdam: Rodopi, 2004. 301-320.
'ida. "The Effect of Hypertext on Processes of
md Writing." In Self and Hilligoss, 238-263.
d. "Reconstructing the Deconstructed: Hypertext
ll)' Education." Language and Literature 13.4
07-333.
~rid. "Reading theories and some implications for
ssing of linear texts and hypertexts." Linguagem &
2 (July-Dec. 2004): 165-184.
ltherine. "Print Is Flat, Code Is Deep: The
ce of Media-Specific Analysis." Poetics Today 25: I
004): 67-90.
lley. Patchwork Girl. Watertown, MA: Eastgate
1995. El~ctronic. <http://www.eastgate.com>.
litch: The Patchwork GirL" MIT Communications
I November 1997). 30 October 2005.
'eb.mit.edu/comm-forum/papers/jackson.html>.
leI. afternoon. a story. Watertown, MA: Eastgate
1987. Electronic. <http://www.eastgate.com>.
lar. "Wittgenstein, Genette, anc! the Reader's
: in Hypertext." Hyper/Text/Theory. Ed. George P.
Baltimore: Johns Hopkins UP, 1994. 87-120.
I L., and Susan Hilligoss, eds. Literacy and
'rs: The Complications of Teaching and Learning with
'gy. New York: MLA, 1994.
:rine F. "Hypertextual Thinking." In Self and
.,264-281:
72
Eliot's Masterpiece and Downfall: New Poetics and The
Waste Land
Lindsay Hawley
In the early 1900s, T.S. Eliot aimed to create a poetry that
relied on the creation of images rather than rhetoric, that denied
complete unity of theme in favor of individual feelings, and that
acted as a medium for the communication of the poet's
subconscious. Additionally, he desired that after its creation
poetry be criticized not in terms of its ideol~gical content or '
meaning, but rather its artistic value and its ability to create
emotion in the reader. Eliot's method both succeeded and failed in
his poetic work, The Waste Land. Although this work aptly
followed each of Eliot's poetic guidelines and became an
admirable embodiment of his "new poetic," criticism of the work
paid less attention to its artistic worth and more to its implied
meaning and function as a reflection of the author. The failure of
the work to be viewed as Eliot wished it to be can be attributed to
both the nat~re ofliterary criticism and, ironically, the success of
the artist in making his art as he wished it to be, a manifestation of
the poet's subconscious.
The poetic method of T.S. Eliot proved a stark contrast to all
that it followed. Eliot and those in accordance with his views
SUCh. as Ezra. Pound, opposed poetry that aimed solely to plea~e the
publIc-poetry that preached a consistent message that ran in
accordance with current public sentiments (Stead 96-7). Instead,
these writers wished to shift the focus of poetry from the
promotion of the poet's ideology or "meaning" to the creation of
images that would evoke a wide range of feelings in the reader.
Eliot's poetry was not to be "the gushing nonsense of popular
poetry"; it was "an observation recorded, not a feeling expressed"
(Lentricchia 242).' Rather than explicitly stating the emotional
state of the poem, directly telling the reader how to feel, the poet
should arouse sentiment through the description of events,
characters, and objects. These depictions are the "images" of the
poem that come together in its structure, or as Eliot labels it, the
"objective correlative" (Stead 130).
In his quest to make poetry dependant on images rather than
rhetoric, to create a work conveying disparate feeling through
seemingly objective depiction, Eliot succeeded with The Waste
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1
'""
The Delta, Vol. 1 [2006], Iss. 1, Art. 9
Land Composed of a variety of voices, depicting a barren, dry
land an adulterous affair and a man's return from war, among
othe~ things, set in Germany, London, France, the ancient world
and beyond, The Waste Land proves a virtual gallery of.disparate
images. These depictions create emotion through descnptlOn,
rather than by the poet's explicit declaration of feeling. In "The
Fire Sermon" section of the piece, Eliot creates an uneasy
atmosphere through disturbing, disgusting im~ges.. He. writes, "A
rat crept softly through the vt;getation / Draggmg Its slimy belly on
the bank... White bodies naked on the low damp ground / And
bones cast in a little low dry garret / Rattled by the rat's foot only,
year to year" (Eliot lines 187-8, 193-5). In this passage, ~liot
utilizes the rat, often viewed as a diseased and unclean allimal,
combined with "slimy," an adjective associated with filth, to
evoke a sense of disgust in the reader. Following soon after the rat
image, the "white bodies naked" provide a stark and disturbing
picture. Eliot's use of the term "bodi~~" rathe~ th~n ':humans"
implies a lack of emotion in these entlt1~S, which md.lcates. t?at "
they are corpses, a judgment further validated by their posItion on
the low damp ground," where the deceased are buried. That these
bodies are naked proves shocking and unsettling, as typically
corpses are not buried unclothed. Into this picture, the rat re­
enters to "rattle" the "bones" of the bodies, wedding the
disgu;ting to the disturbing and creating a general sense of ..
uneasiness in the reader. In this section, Eliot conveys emotIOn
solely through his images. He never explicitly describes th~ scene
as disgusting or jarring, and does not elaborate on the emotIOns of
a person viewing the scene. The images ~peak for themsel.ves.
And this is but one example of the many Images that functIOns the
same throughout The Waste Land. Therefore, Eliot follow.s ~is
poetic guidelines, transmitting emotions through the descnptlon of
images rather than explicit expression on the part <;Jf.the poet.. .
Images contained within the same poem, accordmg to ~li.ot,
do not have to communicate similar emotions. Each descnptlOn
embodies a feeling that will be juxtaposed against other, possibly
disparate, depictions. A piece of writing may have some .
emotional unity, but what makes it "poetic" is not uniformity of
meaning. Rather, the poetry is found in the "~oating feeling~"
created by the different images, and these feelmgs are oft~n, m
Eliot's words, "chaotic, irregular, and fragmentary," defymg any
74
semblance of unity (Perloff 9). Because the poet is
generating disparate emotions rather than promotin;
meaning, the poem does not have to maintain a con
Its images may therefore convey a multiplicity of CI
feelings and still succeed as poetry by Eliot's defini
Believing that poems did not require an overrid
emotional tone, but rather could and should explore
emotions, Eliot created images in The Waste Landt
conflicting feelings. This poem "has no coherent th
which the items of the poem are strung" (qtd. in Ste
defies any attempt to identify a singular, united ther
accomplishes this through juxtaposition of divergen
contradicting implied emotion. Throughout the WOI
images inhabit close quarters. Harriet Davidson spe:
poem's "lack of thematic clarity," of its "careful ref
connections between images, scenes and voices" (D
Indeed there exist many contrasting images in The ~
Such divergence makes it impossible to pin down a
overriding theme for the work. In certain instances.
Land appears to betray the poet's despair. The worl
with bleak pictures of the nothingness and ruin ofth
described as "this stony rubbish" and "A heap of brc
where the sun beats / And the dead tree gives no she
cricket no relief' (Eliot 19-24). Perhaps the most de:
element of these images is their implicit lack of hop
future. Eliot writes, "If there were water we should
. .. If there were only water amongst the rock" (335,
implying that in water hope exists for the future. He
"But there is no water" only "dry sterile tlwnder wit
(358, 342)-images of hopelessness that run througJ
However, one cannot take The Waste Land as ar
despairing work lamenting the loss of society. For t
depictions of decay and drought are interwoven witI­
images of growth and rain. The poem opens with S1:
blending in with the aforementioned pictures of desI
the cruelest month, breeding / Lilacs out of the dead
Memory and desire, stirring / Dull roots with spring
Here the deadness of the "dull roots" is contradicted
of the Lilac coming "out of the dead land," a sign of
ruin. The passage alludes to the coming of the "spri­
75
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Hawley '06: Eliot's Masterpiece and Downfall: New Poetics and <em>The Waste L
)sed of a variety of voices, depicting a barren, dry
erous affair and a man's return from war, among
let in Germany, London, France, the ancient world
rhe Waste Land proves a virtual gallery of disparate
ie depictions create emotion through description,
r the poet's explicit declaration of feeling. In "The
, section of the piece, Eliot creates an uneasy
lrough disturbing, disgusting images. He writes, "A
y through the vt<getation / Dragging its slimy belly on
hite bodies naked on the low damp ground / And
a little low dry garret / Rattled by the rat's foot only,
(Eliot lines 187-8, 193-5). In this passage, ~liot
It often viewed as a diseased and unclean ammal,
"slimy," an adjective associated with filth, to
e of disgust in the reader. Following soon after the rat
white bodies naked" provide a stark and disturbing
It'S use of the term "bodies" rather than "humans".
k of emotion in these entities, which indicates that
Ises, a judgment further validated by their position "on
p ground," where the deceased are buried. That these
lked proves shocking and unsettling, as typically
lot buried unclothed. Into this picture, the rat re­
lttle" the "bones" of the bodies, wedding the
) the disturbing and creating a general sense of .
n the reader. In this section, Eliot conveys emotion
ghhis images. He never explicitly describes th~ scene
gor jarring, and does not elaborate on the emotIOns of
wing the scene. The images speak for themse1~es.
mt one example of the many images that functIOns the
hout The Waste Land. Therefore, Eliot follows his
;Iines, transmitting emotions through the description of
~r than explicit expression on the part <;>fthe poet.
.
contained within the same poem, according to Eliot,
to communicate similar emotions. Each description
feeling that will be juxtaposed against other, possibly
~pictions. A piece of writing may have some
nity, but what makes it "poetic" is not uniforrt.tity of
~ather, the poetry is found in the "floating feelmgs"
he different images, and these feelings are often, in
is, "chaotic, irregular, and fragmentary," defying any
th
74
semblance of unity (Perloff 9). Because the poet is interested in
generating disparate emotions rather than promoting any certain
meaning,.the poem does not have to maintain a consistent theme.
Its images may therefore convey a multiplicity of contradicting
feelings and still succeed as poetry by Eliot's definition.
Believing that poems did not require an overriding, unified
emotional tone, but rather could and should explore variant
emotions, Eliot created images in The Waste Land that evoke often
conflicting feelings. This poem "has no coherent thread upon
which the items of the poem are strung" (qtd. in Stead 162); it
defies any attempt to identify a singular, united theme. The poem
accomplishes this fhrough juxtaposition of divergent images and
contradicting implied emotion. Throughout the work, competing
images inhabit close quarters. Harriet Davidson speaks of the
poem's "lack of thematic clarity," of its "careful refusal of
connections between images, scenes and voices" (Davidson 122).
Indeed there exist many contrasting images in The Waste Land.
Such divergence makes it impossible to pin down a singular,
overriding theme for the work. In certain instances, The Waste
Land appears to betray the poet's despair. The work resonates
with bleak pictures of the nothingness and ruin of the landscape,
described as "this stony rubbish" and "A heap of broken images /
where the sun beats / And the dead tree gives no shelter / the
cricket no relief' (Eliot 19-24). Perhaps the most despairing
element of these images is their implicit lack of hope for the
future. Eliot writes, "If there were water we should stop and drink
'" If there were only water amongst the rock" (335, 338),
implying that in water hope exists for the future. He continues,
"But there is no water" only "dry sterile tlwnder without rain"
(358, 342)-images of hopelessness that run throughout the work.
However, one cannot take The Waste Land as an entirely
despairing work lamenting the loss of society. For these hopeless
depictions of decay and drought are interwoven with optimistic
images of growth and rain. The poem opens with such imagery,
blending in with the aforementioned pictures of despair: "April is
the cruelest month, breeding / Lilacs out of the dead land, mixing /
Memory and desire, stirring / Dull roots with spring rain" (1-4).
Here the deadness of the "dull roots" is contradicted by the image
of the Lilac coming "out of the dead land," a sign of growth in
ruin. The passage alludes to the coming of the "spring rain," the
75
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The Delta, Vol. 1 [2006], Iss. 1, Art. 9
water that is the cure for the hopelessness of the dry rock. The
work also finishes with a sense of hope mixed with the despair,
describing "a flash of lightning. Thcn a damp gust," again
"[b]ringing rain" (393-4). These images of impending rain and
water contradict the dryness and ruin of the despairing passages.
However, because each of these images, of despair and hope,
continues throughout the entire poem, and neither proves more
abundant or predominates, neither can be considered the dominant
theme of the poem. It remains a series of images that evoke
contrasting emotion, negating the establishment of a clear
message. The Waste Land implies themes only to negate them; it
"suggests these meanings but then denies them any stability"
(Davidson 128). As such, it proves to be a piece of poetry that fits
Eliot's guidelines. Instead of pursuing a unified theme and
imposing this meaning on its audience, The Waste Land instead
acts as a medium for multiple and different "floating feelings,"
just as Eliot desired for poetry.
.
Although Eliot succeeds in fulfilling the characteristics of his
new poetics, his poems fail to be criticized in the manner in which
he hoped this innovative poetry would be reviewed. In Eliot's
view, a poem should be judged on its "being" rather than its
"meaning" (Stead 110). A poem may contain fragments of
meaning, but this is not what Eliot desires critics to explore.
Critical focus should be not on poet's intention's, but rather should
analyze the poem in terms of its technique and artistry. Revie\\;ers
should, in Eliot's opinion, evaluate the quality of the images
created in the poem and their ability to trans'late particular
emotions, rather than postulating on the poet's beliefs. The Waste
Land appears conducive to Eliot's desired critical technique. As a
poem which defies unity of theme, one would think that critics
would cease to conjure up a notion of the poem's overriding
meaning and would evaluate it as set of images as Eliot intended.
However, ironically, The Waste Land is often riot reviewed in such
a manner. Critics often analyze it "to construct a formula, a
'statement of beliefs' which is then said to be in the poem itself'
(Stead 165). Rather than accepting the thematic disparity of the
poem, critics often try to regulate Eliot's "idiosyncratically
intricate and subtle mind into principles that could put his blend of
wishes and insights on what seemed a firm foundation" (Altieri
195). Additionally, critics often attempt to evaluate the poem as a
76
manifestation of Eliot's psyche. Critics investigat.
background, the conditions under which he wrote t:
beliefs and ideals, and attempt to evaluate how the~
work. Despite his success in making The Waste Le.
he believed poetry should be, Eliot ironically faced
diametrically opposed to how he thought the new p
be reviewed. .
The reasons for this type of critical reaction to
twofold. First, the response to Eliot's work proves
natural reaction of literary critics to any piece oflit
Critical reaction to The Waste Land identified its th
and death,""life," "life and the church," and no dOt
ot~l~rs (~tead 164). Despite Eliot's specific pleas te
cntlcs did and continue to evaluate his work in this
realized that this would be the case, stating that idel
"meaning" was "a habit of the reader" and that ead
ap.pear~nce of a surface meaning merely to "keep h
mmd diverted and quiet while the poem does its we
(Stead 121). Eliot rightly declares that the search f,
so ingrained in the human mind that reviewers coul
attempt to identify the "theme" of his work. The Vf
critics continued to search for meaning even when t
~ea~ly incomprehensible and entirely fragmented To
mdlcates the strength of critics' desire to regularize
find uniformity of theme in every literary work. Se­
~here prove~ no way that Eliot could avoid having h
mterpreted m this manner, no matter how strictly hf
n~w poetic g!Jidelines.
However, in a way Eliot has himself to blame fi
in which critics responded to his work, due to a COll­
of his new poetic theory. In addition to his notions
and ?isuni~y of t~em~, Eliot also believed in the POf
mamfestatlOn of the poet's subconscious mind. He
poems "should write themselves" and that the conse
the poet was merely the "editor" to the writings oft:
subconscious (Stead 131). In Eliot's view, the poee
not only as a refl~ction of the author, but also of the:
society on the writer. He claimed, in evaluating the
another poet "we cannot isolate him from the envire
which we find him" (Perloff 23). This statement de
77
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Hawley '06: Eliot's Masterpiece and Downfall: New Poetics and <em>The Waste L
he cure for the hopclessness of the dry rock. The
.shes with a sense of hope mixcd with the despair,
flash of lightning. Thcn a damp gust," again
lin" (393-4). Thcsc images of impending rain and
.ict the dryness and ruin of the dcspairing passages.
:ause each of these images, of despair and hope,
Jughout the entire poem, and neither proves mor.e
Iredominates, neither can be considered the dommant
poem. It remains a series of images that evoke
notion, negating the establishment of a clear
.
~ Waste Land implies themes only to negate them; It
se meanings but then denies them any stability"
:8). As such, it proves to be a piece of poetry that fits
lines. Instead of pursuing a unified theme and
•meaning on its audience, The Waste Land instead
ium for multiple and different "floating f~elings,"
lesired for poetry.
..,
I Eliot succeeds in fulfilling the charactenstlcs of hiS
his poems fail to be criticized in .the manner i.n ';hich
: innovative poetry would be revIewed. In Eliot s
I should be judged on its "being" rather than its
;tead 110). A poem may contain fragments of
this is not what Eliot desires critics to explore.
, should be not on poet's intentions, but rather should
loem in terms of its technique and artistry. Revie~ers
iot's opinion, evaluate the quality of the images
~ poem and their ability to translate p~rticular
:her than postulating ort the poet's beliefs. The Waste
, conducive to Eliot's desired critical technique. As a
defies unity of theme, one would think that critics
to conjure up a notion of the poem' s ov~rri~ing
. would evaluate it as set of images as Eliot mtended.
mically, The Waste Land is often riot reviewed in such
ritics often analyze it "to construct a formula, a
fbeliefs' which is then said to be in the poem itself'
Rather than' accepting the thematic disparity of the
: often try to regulate Eliot's "idiosyncratically
subtle mind into principles that could put his blend of
nsights on what seemed a firm foundation" (Altieri
:ionally, critics often attempt to evaluate the poem as a
76
manifestation of Eliot's psyche. Critics investigate his
background, the conditions under which he wrote the work, his
beliefs and ideals, and attempt to evaluate how these influence his
work. Despite his success in making The Waste Land exactly as
he believed poetry should be, Eliot ironically faced criticism
diametrically opposed to how he thought the new poetics should
be reviewed.
The reasons for this type of critical reaction to Eliot's work are
twofold. First, the response to Eliot's work proves simply the
.
natural reaction of literary critics to any piece of literature.
Critical reaction to The Waste Land identified its themes as "lust
and death ""life" "life and the church," and no doubt hundreds of
others (St~ad 164). Despite Eliot's specific pleas to the contrary,
critics did and continue to evaluate his work in this manner. Eliot
realized that this would be the case, stating that identifying the
"meaning" was "a habit of the reader" and that each poem has the
appearance of a surface meaning merely to "keep his [the reader's]
mind diverted and quiet while the poem does its work on him"
(Stead 121). Eliot rightly declares that the search for meaning is
so ingrained in the human mind that reviewers could not help but
attempt to identify the "theme" of his work. The very fact that
critics continued to search for meaning even when faced with the
nearly incomprehensible and entirely fragmented The Waste Land
indicates the strength of critics' desire to regularize meaning and
find uniformity of theme in every literary work. Seen in this light,
there proves no way that Eliot could avoid having his work
interpreted in this manner, no matter how strictly he adhered to his
ntiw poetic g!Jidelines.
However, in a way Eliot has himself to blame for the manner
in which critics responded to his work, due to a contradictory part
of his new poetic theory. In addition to his notions of "images"
and disunity ofthem~, Eliot also believed in the poem as a
manifestation or'the poet's subconscious mind. He believed that
poems "should write themselves" and that the conscious mind of
the poet was merely the "editor" to the writings of his or her
subconscious (Stead 131). In Eliot's view, the poem could be seen
not only as a reflt;ction of the author, but also of the impact of
society on the writer. He claimed, in evaluating the work of
another poet "we cannot isolate him from the environment in
which we find him" (Perloff 23). This statement demonstrates his
77
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The Delta, Vol. 1 [2006], Iss. 1, Art. 9
belief that the author, as a product of his or her society, reveals the
impact of this society on its inhabitants through his or her w.ork.
Taken this way, Eliot promotes a view of poetry as a reflectIOn of
both the author and his or her society. Knowing that Eliot
possessed such beliefs begs critics to examine how Eliot's
.
personal beliefs and society's impact upon him ~I:ow througl~ m
his writing. Therefore, it is difficult to blame cntics for delvmg
into Eliot's personal life and past to understand The Waste Land,
when the poet himself all but directs them to do so. In this way,
Eliot drives the critic away from his writing and into his personal
world, shifting the focus from artistry to artist, from analysis .of
poetic technique to the very search for meaning and explanation of
his work that Eliot did not desire.
Still, in this area of the subconscious, Eliot. appears to have
again aptly followed his new poetic guidelines. Inde~d,. The Waste
Land can logically be viewed as an accurate representatIOn of what
might have been playing in Eliot's mind at theyme of its .
construction. The Eliot writing this work had Just, along With
millions of others, lived through the horrors of the First World
War. The war, he felt, made people "so swallowed up in the one.
great tragedy that one almost ceases to have personal experiences
or emotions" (Perloff35). In The Was!e Land Eliot proved a more
pessimistic and disillusioned poet than in his earlier works. He is
a poet who fears the cultural decay of his societ.y a~d the
"immense panorama of futility and anarchy which IS contem~orary
history" (Lentricchia 268), a poet who worrie~ ab~ut the dem~se of
tradition, how the "European past" was decaymg llltO somethmg
"stifling" which is "existing simply to be used". (Ke.nner 134).
Effectively, he is a poet witnessing a dying socI~ty Just. as affected
by the war as he is, and losing touch with the cultural nchness of
the past.
These sentiments are reflected in the words of The Wast!?
Land. The poem contains numerous images of an ill civilization, a
dying past. The first image the reader encounters blatantly.
conveys this message in Eliot's allusion to the story of Sybil, a
prophetess slowly aging and dying while ~rapped in a bottl~. ~e
writes, "With my own. eyes I saw the Sybil ofCumae hangmg m a
bottle' and when the boys said to her: '[Sybil, what do you want?],
she re~lied, '[I want to die]'" (Eliot Epigraph).. Sybil, a.s a subject
of this classic tale and a representation of the nch mythical Greek
78
culture, subsequently represents the gradual decay
as time passes. This image of a crumbling past nea
continues throughout the work. Eliot writes of the
! Jerusalem Athens Alexandria! Vienna London! {
Here he depicts not only the decay of the ancient p;
by Athens, Alexandria and Jerusalem, but also the.
present, embodied in Vienna and London. Here tht
connections with these classical cities and their cui'
also be impacting contemporary times. This notior:
in The Waste Land, such as when Eliot writes "The
departed. ! And their friends, the loitering heirs of'
Departed, have left no addresses" ( 176-8). With th
equates the loss of the "nymphs," representatives 0:
the past, with "city directors," the inhabitants of cOl
times. Both have gone, ancient culture with the pa~
nymphs and the present decays and dies, or leaves,
opinion of this work.
What comes across, then, in The Waste Land, a
images of the destruction and loss of ties t9 classic
leads to the destructi·on of the present society. So a
unfairly characterize this as a theme in a themeless
be acknowledged that these images contradict the a
depictions of hope, life, and growth. However, the~
decomposing society still do exist in the work. Eli,
preoccupied with the preservation of tradition, as th
of his classic allusions in The Waste Land reveals, c
sentiments expressed in these images can logically­
reflections of Eliot's subconscious mind. Hence, E:
follows an aspect of his requirements for poetry--th
write from his subconscious and create a work whic
reflection of his innermost feelings. However, by '"
in this area he simultaneously validates the work of
look to his personal life for critical material rather tI
solely on the aesthetics of his poem..
By making his poem so refle.ctive of his beliefs,
encourages critics to continue to evaluate poetry in ­
to" continue to delve into the poet rather than solely =
work. Therefore, by writing from his subconscious
sirnultaneously adheres to his poetical beliefs and al
subverts them by encouraging criticism that oppose:
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Hawley '06: Eliot's Masterpiece and Downfall: New Poetics and <em>The Waste L
author, as a product of his or her society, reveals the
society on its inhabitants through his or her w,ork.
V, Eliot promotes a view of poe.try as a re~ectlon of
r and his or her society. KnowIng that ElIot
:1. beliefs begs critics to examine how Eliot's
fs and society's impact upon him show through in
herefore, it is difficult to blame critics for delving
rsonallife and past to understand The Waste Land,
himself all but directs them to do so. In this way,
e critic away from his writing and into his personal
J the focus from artistry to artist, from analysis of
~e to the very search for meaning and explanation of
Eliot did not desire.
is area ofthe subconscious, Eliot. appears to have
llowed his new poetic guidelines. Inde~d, The Waste
cally be viewed as an accurate representation of what
:en playing in Eliot's mind at the time of its
The Eliot writing this work had just, along with
hers lived through the horrors of the First World
r, h~ felt, made people "so swallowed up in th.e one
that one almost ceases to have personal expenences
(Perloff 35). In The Waste Land Eliot proved a m~re
Id disillusioned poet than in his earlier works. He IS
ars the cultural decay of his society and the
:1.orama offutility and anarchy which is contemporary
tricchia 268), a poet who worries about the demIse of
I the "European past" was decaying into something
ich is "existing simply to be used" (Kenner 134).
Ie is a poet witnessing a dying soci~ty just as affected
he is, and losing touch with the cultural richness of
ltiments are reflected in the words of The Wast!?
)em contains numerous images of an ill civilization, a
"he first image the reader encounters blatantly.
message in Eliot's allusion to the story of Sybil, a
owly aging and dying while trapped in a bottl~, ~e
I my own eyes I saw the Sybil of Cumae hangIng In a
hen the boys said to her: '[Sybil, what do you want?],
[I want to die]''' (Eliot Epigraph).. Sybil, a,s a subject
: tale and a representation of the nch mythIcal Greek
78
culture, subsequently represents the gradual decay of said culture.
as time passes. This image of a crumbling past nearing death '
continues throughout the work. Eliot writes of the "Falling towers
I Jerusalem Athens Alexandria I Vienna London I Unreal" (373-6).
Here he depicts not only the decay of the ancient past, symbolized
by Athens, Alexandria and Jerusalem, but also the European
present, embodied in Vienna and London. Here the loss of
connections with these classical cities and their culture proves to
also be impacting contemporary times. This notion repeats itself
in The Waste Land, such as when Eliot writes "The nymphs are
departed. I And their friends, the loitering heirs of city directors; I
Departed, have left no addresses" (176-8). With these lines, Eliot
equates the loss of the "nymphs," representatives of the myths of
the past, with "city directors," the inhabitants of contemporary
times. Both have gone, ancient culture with the passing of the
nymphs and the present decays and dies, or leaves, at least in the
opinion of this work.
What comes across, then, in The Waste Land, are varied
images of the destruction and loss of ties t9 classic cultures, which
leads to the destruction of the present society. So as not to
unfairly characterize this as a theme in a themeless poem, it must
be acknowledged that these images contradict the aforementioned
depictions of hope, life, and growth. However, these images of
decomposing society still do exist in the work. Eliot was
preoccupied with the preservation of tradition, as the sheer number
of his classic allusions in The Waste Land reveals, and the
sentiments expressed in these images can logically be labeled
reflections of Eliot's subconscious mind. Hence, Eliot again
follows an aspect of his requirements for poetry--that the poet
write from his subconscious and create a work which is a
reflection of his innermost feelings. However, by being successful
in this area he simultaneously validates the work of all those who
look to his personal life for critical material rather than focusing
solely on the aesthetics of his poem. .
By making his poem so refle,ctive of his beliefs, Eliot
encourages critics to continue to evaluate poetry in this manner­
to continue to delve into the poet rather than solely his or her
work. Therefore, by writing from his subconscious Eliot
simultaneously adheres to his poetical beliefs and alternately
subverts them by encouraging criticism that opposes his desire for
79
Published by Digital Commons @ IWU, 2006
7
The Delta, Vol. 1 [2006], Iss. 1, Art. 9
evaluation of worth in terms of artistry. Eliot, then, can be seen as
the instrument that both promotes and destroys his new poetics.
By writing in his desired style of disparate, emotive imagery, Eliot
sent his new poetry into the world and exposed it to general
readers and critics alike. However, by adding in the element of the
subconscious, he complicated his new poetics and ironically
subverted its aims, driving critics back to the very evaluation of
poet over poetry that he railed against. Eliot holds much in
common with his The Waste Land: both engage in:self­
contradiction, will continue to be the topic of intense debate, are
brilliant but controversial, and fascinating even if nearly
incomprehensible.
Works Cited
Altieri, Charles. "Eliot's impact on twentieth-cent
American poetry" in The Cambridge Compani
Ed. David Moody. Cambridge, NY: Cambrid~
Press, 1994.
Davidson, Harriett. "Improper desire: reading 'TIt.
in The Cambridge Companion to r.s. Eliot. E.
Moody. Cambridge, NY: Cambridge Universi
Eliot, T.S. The Waste Land on website Exploring
.
Land. " Ed. Rickard A. Parker.
http://world.std.com/~raparker/exploring/thewi
.htm!. Accessed 6 March 2005-13 March 2005
Kenner, Hugh. The Invisible Poet: r.s. Eliot. Lon
& Co. LTD, 1965~
Lentricchia, Frank. Modernist Quartet. Cambridg
Cambridge University Press, 1994.
Perloff, Marjorie. 21st-Modernism: The 'New' Poe
Mass., Blackwell Publishers, 2002.
Stead, c.K. The New Poetic: Yeats to Eliot. Lond.
University Library, 1964.
.
80
81
http://digitalcommons.iwu.edu/delta/vol1/iss1/9
8
Hawley '06: Eliot's Masterpiece and Downfall: New Poetics and <em>The Waste L
worth in tenus of artistry. Eliot, then, can be seen as
t that both promotes and destroys his new poetics ..
his desired style of disparate. emotive imagery, ElIot
loetry into the world and exposed it to general
itics alike. However, by adding in the element of the
.he complicated his new poetics and ironica~ly
lims, driving critics back to the very evaluat.lOn of
try that he railed against. Eliot holds. much In
his The Waste Land: both engage in,self­
will continue to be the topic of intense debate. are
Dntroversial, and fascinating even if nearly
:ible.
Works Cited
Altieri, Charles. "Eliot's impact on twentieth-century Anglo­
American poetry" in The Cambridge Companion to TS. Eliot.
Ed. David Moody. Cambridge, NY: Cambridge University
Press, 1994.
.
Davidson, Harriett. "Improper desire: reading 'The Waste Land'"
in The CQ/nbridge Companio.n to TS. Eliot. Ed. David
Moody. Cambridge, NY: Cambridge University Press, 1994.
Eliot, T.S. The Waste Land on website Exploring "The Waste
.
Land. " Ed. Rickard A. Parker.
http://world.std.com/~raparker/exploring/thewasteland/explore
.htm!. Accessed 6 March 2005-13 March 2005.
Kenner, Hugh. The Invisible Poet: T.S. Eliot. London: Methuen
& Co. LTD, 1965'.
Lentricchia, Frank. Modernist Quartet. Cambridge, NY:
Cambridge University Press, 1994.
Perloff, Marjorie. 21st-Modernism: The 'New' Poetics. Malden
Mass., Blackwell Publishers, 2002.
Stead, c.K. The New Poetic: Yeats to Eliot. London: Hutchinson
University Library, 1964.
'
80
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9