Waste Land Essay: Eluding Understanding :: T.S. Eliot Waste Land Essays

The Waste discharge  Eluding Understanding     The Waste Land  is, to begin with, a verse that includes an interpretation as part of the poem, and it is because a poem that makes a problem of its meaning precisely by virtue of its app arent (and apparently inadequate) effort to explain itself. We cannot understand the poem without knowing what it meant to its source, but we must also assume that what the poem meant to its author will not be its meaning. The notes to The Waste Land are, by the logical system of Eliots philosophical critique of interpretation, simply another riddle--and not a illuminate one to be solved. They are, we might say, the poems way of treating itself as a reflex, a something not intended as a sign, a gesture whose expert significance it is impossible, by virtue of the nature of gestures, for the gesturer to explain. And the structure of the poem--a text followed by an explanation--is a reproduction of a pattern that, as the not es themselves emphasize, is repeated in miniature many successions inside the poem itself, where cultural expressions are transformed, by the mechanics of allusion, into cultural gestures. For each time a literary phrase or a cultural motif is transposed into a refreshful-made context--and the borrowed motifs in The Waste Land are shown to have themselves been borrowed by a succession of cultures--it is reinterpreted, its previous meaning becoming incorporated by distortion into a new meaning suitable to a new use. So that the convey of Frazer and Weston is relevant both because it presents the history of religion as a series of appropriations and reinscriptions of cultural motifs, and because it is itself an unreliable reinterpretation of the phenomena it attempts to describe. The poem (as A. Walton Litz argued some time ago) is, in other words, not about spiritual xerotes so much as it is about the ways in which spiritual dryness has been perceived. And the relation of the no tes to the poem proper seems further emblematic of the relation of the work as a whole to the cultural tradition it is a description on. The Waste Land is presented as a contemporary reading of the occidental tradition, which (unlike the ideal order of Tradition and the Individual Talent) is treated as a sequence of gestures whose original meaning is unknown, but which every new text that is added to it makes a bad guess at.