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A NORTON CRITICAL EDJTfON T. S. Eliot THE WASTE LAND ~k AUTHORITATIVE TEXT CONTEXTS CRITICISM Edited by MICHAEL NORTH UNIVERSITY OF CALIFORNIA, LOS ANGELES w • W • NORTON & COMPANY· New York· London Copyright © 2001 by W. W. Norton & Company, Inc. All rights reserved. Printed in the United St8tes of Amcrica. First Edition. The text of this book is composed in Electra with the display set in Bernhard Mod- ern. Composition by PennSet, Inc. Manufachuing by Maple Vail Book Group. Book design by Antonina Krass. Library of Congress Cat8Ioging-in-Publication Data Eliot, T. S. (Thomas Stearns), 1888-1965. The waste land: authoritative text, contexts, criticism / T. S. Eliot; edited by Michael North. p. cm.- (A Norton critical edition) Includes bibliographical references (p. ). ISBN 0-393-97499-5 (pbk.) l. Eliot, T. S. (Thomas Stearns), 1888-1965. Waste land. I. North, Michael, 1951-11. Title. PS3509.L43 W3 2000 821'.912-dc21 00-056643 W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110 www.wwnorton.com W. W. Norton & Company Ltd., Castle House, 75176 Wells Street, London WIT 3QT 234567890 Contents Preface A Note on the Text IX Xl The Text of The Waste Land Eliot's Notes to The Waste Land Contexts SOURCES Sir James G. Frazer 1 21 The King of the Wood 29 The Influence of the Sexes on Vegetation 30 The Killing of the Divine King 31 [Adonis and Christ] 32 Jessie L. Weston [The Grail Legend] 35 [The Grail Quest] 36 [The Tarot Pack] 37 The Fisher King 38 [The Perilous Chapel] 38 [Conclusion] 39 Aldous Huxley· [Madame Sosostris] 40 Charles Baudelaire To the Reader 42 The Seven Old Men 43 John Webster' [Cornelia's Dirge from The White Devil] 45 Ovid [The Blinding of Tiresias] 46 [The Story of Tereus and Philomela] 46 Gene Buck and Herman Ruby • 11,at Shakespearian Rag 51 Gotama Buddha • The Fire-Sermon 54 Edmund Spenser • From Prothalamion 55 Oliver Goldsmith • [Olivia's Song from The Vicar of Wakefield] 57 James Anthony Froude • [Elizabeth and Leicester] 57 St. Augustine • From Confessions 58 From The King James Bible' [The Road to Emmaus] 59 v VI CONTENTS Sir Ernest Shackleton' [The Extra Man] 60 Herman Hesse· [The Downfall of Europe 1 60 From Brihadaranyaka UpclJ1ishad • The Three Great Disciplines 62 From Pervigilium Veneris 63 Thomas Kyd • From The Spanish Tragedie 64 COMPOSITION AND PUBLICATION Lyndall Gordon' [The Composition of The Waste Land] 67 Helcn Gardner • The Waste Land: Paris 19ZZ 7Z Lawrence Rainey· The Price of Modernism: Publishing The Waste Land 89 ELIOT ON THE WASTE LAND [The Disillusionment of a Generation 1 112 IA Piece of Rhythmical Grumbling] 112 [On the Waste Land Notes] 1I2 IAllusions to Dantel 113 ELIOT: ESSAYS AND LONDON LKnERS From Tradition and the Individual Talent 114 From Hamlet 120 From The Metaphysical Poets 121 Ulysses, Order, and Myth 128 The True Church and the Nineteen Churches 131 [The Rite of Spring and The Golden Bough] 131 Criticism REVIEWS AND FIRST REACTIONS Virginia Woolf· [Eliot Chants The Waste Land] 137 Times Literary Supplement· [Mr. Eliot's Poem] 137 Gilbert Seldes • T. S. Eliot 138 Edmund Wilson • The Poetry of Drouth 140 Elinor Wylie • Mr. Eliot's Slug-Horn 145 Conrad Aiken • An Anatomy of Melancholy 148 Time • Shanbh, Shantih, Shanbh 153 Times Literary Supplement· [A Zig-Zag of Allusion] 153 Charles Powell· [So Much Waste Paperl 156 Gorham Munson· The Esotericism of T. S. Eliot 156 Malcolm Cowley· [The Dilemma of The Waste Land] 163 Ralph Ellison' [The Waste Land and Jazz] 166 TIlE NEW CRITICISM John Crowe Ransom· Waste Lands 167 I. A. Richards' The Poetry of T. S. Eliot 170 F. R. Leavis • [The Significance of the Modern Waste Land] 173 Cleanth Brooks, Jf. • The Waste Land: An Analysis 185 CONTENTS Vll Delmore Schwartz • T. S. Eliot as the International Hero 210 RECONSIDERATIONS AND NEW READINGS Dcnis Donoghue· The Word within a Word 216 Robert Langbaul11 • The Walking Dead 230 Marianne Thormahlen • [The City in The Waste Landi 235 A. D. TvIoody • A Cure for a Crisis of Civilisation? 240 Ronald Bush· Unknown Terror and Mystery 246 Maud EHmann· A Sphinx without a Secret 258 Tim Armstrong· Eliot's Waste Paper 275 T. S. Eliot A Chronology 281 Selected Bibliography 285 Preface The Waste Land has surely become one of the most readily identifiable poems in the English language. It was, as Lawrence Rainey's research into the publication of the poem has shown us, famous even before it appeared in 1922, and it has continued to be the most prominent, though not by any means the most popular, poem of the twentieth century. In spite of the tremendous cultural authority that has accrued over the years to this poem, however, and in spite of the fact that it helped to shape a whole new academic discipline devoted to elucidating complex literary works, The Waste Land has remained difficult to read. Some of that difficulty is so intrinsic to the poem that it can never be dispelled, and much contem- porary criticism has turned from the New Critical effort to explain it away and has attempted instead to account for its ineradicable mystery. But some of the difficulty of reading The Waste Land is incidental, and it is the purpose of this edition to provide readers with enough assistance to chip those incidental obscurities away, so as to distinguish the ones that really matter. The first obstacle facing any such edition was put up by Eliot himself in the form of the notorious notes appended to the first book publication, by Boni and Liveright in the United States. Some of these notes, including the one accounting for the dead sound of the bell of Saint Mary Woolnoth, are so blandly pointless as to suggest a hoax, and others, particularly those citing classical quotations in the original languages, seem determined to establish mysteries rather than dispel them. In any case, the notes them- selves need as much annotation as the poem they pretend to explain, and it seems both confusing and textually inappropriate to place them at the foot of the page, where they can become inextricably tangled with the editorial notes. In this edition, therefore, The Waste Land is published as it appeared in its first American edition, with Eliot's notes at the end. Reference to these notes, where appropriate and useful, is made in the editorial footnotes, but duplication of material has been avoided wherever possible. Eliot's own notes have been further annotated only where nec- essary, mainly in the case of material introduced into the notes that is not readily apparent in the text of the poem itself. Sorting out such a division of labor, however, still does not make the task of annotating The Waste Land particularly easy. The sheer breadth of reference within the poem was often overwhelming for its first readers, and it still rather frequently ovelwhelrns attempts to account for it, afflicting even the simplest passages with a kind of annotational elephantiasis. Worse yet, readers are often put at the mercy of interpretive summaries that reduce IX x PREFACE Baudelaire or the Upanishads to nuggets scarcely larger than those already in The Waste Land itself. No edition can entirely avoid these pitfalls, since it would take a small library to flllly represent the materials Eliot drew on for his poem. For this edition, however, I have mobilized as much original material as seemed feasible, so that readers interested in Eliot's debt to Jessie Weston, for example, can at least sample crucial passages as they were originally published. This means that many of the editorial notes direct readers to longer passages contained in the Sources section. In each such case, I have tried to preserve enough context to give some sense of the original and to let the reader imagine how and why Eliot might have committed his literary burglary. Particular difficulties arise in the case of sources outside English, which Eliot tended to read and appropriate in the original languages. In these instances, I have tried to includc translations available to gliot's first rcaders, though this has not been feasible in evelY case. My general objective herc has been to keep the editorial footnotes as brief and unobtrusive as possible and, whenever possible, to present original material for the readcr's judgment rather than providing summarics or in- terpretations of my own. Since The WClSi'e Land has been at the heart of academic literary criti- cism virhtally fTOm the first moment there was such a thing, it has been espccially difficult to seleet from aITlong the available critical works. I have tended to favor the earliest intcrpretations of the poem, gTOuped in this volume as "Reviews and First Reactions," simply because many of these have become well known in their own right, though I have tricd to mix with these classic account~ a few less well known, particularly if they reg- ister in somc striking way the cxcitement or puzzlement felt by the poem's first readers. In arranging the later criticism, I have marked off as '''111e New Criticism" several academic accounts of thc pocm published beforc 1945. Some of these, particularly John Crowe Ransom's early response, are not as favorable as contemporalY readers might have expected, and some, particularly Delmorc Schwartz's "T. S. Eliot as the International I·lero," secm rather strikingly unlike the stereotypical New Critical account as formulatcd by Cleanth Brooks. In general, however, the New Critical accounts concentrate on cracking Eliot's code, while the more recent in- terpretations gathered hcre as "Reconsiderations and Ncw Readings" tcnd to speculate as to why there should have been a code in the first place. Even a cursory look at the bibliography at the end of this volume will show that The Waste Land has inspired a tremendous amount of critical com- mcntary of all kinds, from biographical speculation to post-structuralist demolition. Fairly representing even the major trends in such criticism would take scvcral volumes, but thc selections included here should at least dcmonstrate this broad shift, whereby New Critical certainty has gradually givcn way to a renewed scnse of the disruptive disorientations of this quintessentially modernist poem. I would like to thank my research assistant, Erin Templeton, and the staf£~ of the Clark Library at UCLA and the Bcinecke Rare Book and Manuscript Lihrary at Yale University. I would like to acknowledge as well the helpful advicc of Joseph C. Baillargeon, who bas made an extensive study of the publication history of The Waste Land. A Note on the Text It is llnlil