Free Waste Land Essays: A New Understanding :: T.S. Eliot Waste Land Essays

The Waste Land: A New Understanding The Waste Land, Eliot's first long philosophical poem, can now be read simply as it was written, as a poem of radical doubt and negation, urging that every human desire be stilled except the desire for self-surrender, for restraint, and for peace. Compared with the longing expressed in later poems for the "eyes" and the "birth," the "coming" and "the Lady" (in "The Hollow Men," the Ariel poems, and "Ash-Wednesday"), the hope held out in The Waste Land is a negative one. Following Hugh Kenner's recommendation, we should lay to rest the persistent error of reading The Waste Land as a poem in which five motifs predominate: the nightmare journey, the Chapel, the Quester, the Grail Legend, and the Fisher King. The motifs are indeed introduced, as Eliot's preliminary note to his text informs us, but if (as this note says) "the plan and a good deal of the incidental symbolism of the poem were suggested by Miss Jessie L. Weston's book on the Grail legend," the plan can only have been to ques tion, and even to propose a life without hope for, a quest, or Chapel, or Grail in the modern waste land. The themes of interior prison and nightmare city--or the "urban apocalypse" elucidated by Kenner and Eleanor Cook--make much better sense when seen as furnishing the centripetal "plan" and "symbolism," especially when one follows Cook's discussion of the disintegration of all European cities after the First World War and the poem's culminating vision of a new Carthaginian collapse, imagined from the vantage point of India's holy men. A passage canceled in the manuscript momentarily suggested that the ideal city, forever unrealizable on earth, might be found (as Plato thought) "in another world," but the reference was purely sardonic. Nowhere in the poem can one find convincing allusions to any existence in another world, much less to St. Augustine's vision of interpenetration between the City of God and the City of Man in this world. How, then, can one take seriously attempts to find in the poem any such quest for eternal life as the Grail legend would have to provide if it were a continuous motif--even a sardonic one? It seems that only since Eliot's death is it possible to read his life forward--understanding The Waste Land as it was written, without being deflected by our knowledge of the writer's later years.