Exploring Ezra Pound and T.S. Eliot’s revisions of “the waste land”
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published 24/07/2008
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SummaryHow might T.S. Eliot’s poem, which has come to define the modernist movement, be different if instead of bearing the title, “The Waste Land”, it is called “He Do the Police in Different Voices?” This paper will not seek out any definitive answers as to the meaning of the elusive, chaotic poem that is “The Waste Land,” but rather it will seek slant rays of illumination on the poem by examining the editing changes effected by Ezra Pound, Vivien Eliot (Eliot’s wife) or T.S. Eliot himself. The change in title most certainly improves the reception and final production of the poem, and it serves as an important example of the significance of revision in T.S. Eliot’s writing process. Many such significant editing changes can be found in the comparison between the first drafts of the poem and the final production, and one can hope to clarify Eliot’s intentions and directions for the poem, as well as Pound’s influence on those drives.
Table of Contents
- The title.
- The epigraph.
- Burial of the dead.
- A game of chess.
- The fire sermon.
- Death by water.
- What the thunder said.
- The degree of pound's influence.
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