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Marcia,
     Sorry for the dramatic pause. I had to go looking
for my paper & notes so I didn't state anything
spurious. I will not presume that anyone on the list
cares about an exhaustive catalog, so I'll list some
categories, with a couple specifics in each. If you'd
like more info on any of them, please ask and I'll be
happy to provide it (to the best of my ability).

Similarities between Pope's THE RAPE OF THE LOCK and
Eliot's THE WASTE LAND:
1. Surface similarities (5 sections, notes became
famous commentary linked to its poem, mock-epic
moments, games of cards, motif of hair, nymphs,
initial warning that goes unheeded, interruption by a
dog, description of a lady's toilet - deleted in TWL,
a half rape, actions of mealtime, knights, the
one-eyed man, narratorial words to the reader, music
along the waters, epigraph as reversal, references to
time, parody of earlier works, each poem has 2 extant
"versions")
2. Similarities in theme (violated women, lust without
love, abandoned tradition, irreversible change, lack
of communication, the "Vision at the Beginning" and
"the Transformation at the End," the quest)
3. Similarities in composition (previous well-known
sources form the basis for understanding, Pope's
zeugma vs. Eliot's juxtaposition, works from an actual
incident - Fermor family for Pope and Eliot's marriage
- and speaks to larger issues, Pope's idea of "mutual
commerce" is a famous predecessor of Eliot's idea of
"tradition")

Of course, Eliot had a lot to say about Pope, even
though he had much more to say about Dryden. Here are
some highlights:
1. C. Ricks finds debts to Pope is several poems from
INVENTIONS OF THE MARCH HARE
2. "Reflections on Vers Libre": he compliments Pope's
facility with heroic couplets
3. "Andrew Marvell": he labels Pope "the great master
of hatred"
4. Letter to JM Murray (22 April 1921): in the list of
"all the critical prose I shall ever want to do" is "A
seventeenth Century volume to Pope with a Nachblick at
Colins and Johnson." I believe, and briefly attempt to
prove that Eliot saw Pope as an exception to the 17th
century's "dissociation of sensibility," which is why
he would end this volume here. 
5. Letter to R Aldington (16 Sept 1921) Part of the
above argument included a phrase from this letter: "if
English verse had not gone to pieces in the Eighteenth
Century after Pope (with reservations) and never
recovered the Seventeenth Century poets might be taken
quite naturally and without quaintness." Of course,
comparing these letters, and thoughts from "The
Metaphysical Poets," we can tell that the 18th
century's "reservations" could be Collins and Johnson.
6. Intro to SELECTED POEMS BY EZRA POUND: "The man who
cannot enjoy Pope as poetry probably understands no
poetry" (18).

A couple of the more interesting critical links I
found:
1. Kristiaan Versluys suggests that both poems are
mock-epics (Dutch Quarterly Review of Anglo-American
Letters, 1990: 3-18).
2. Biographer TS Matthews directly compares Eliot to
Pope twice: once claiming that "Nothing quite like
Eliot's tone of voice had been known (in English, at
any rate) since Alexander Pope: a tone of smooth and
balanced paradox, dryness and intensity, gravity and
wit, compact of phrases lucid and memorable as a
slogan, dark as an unfamiliar proverb, enigmatic,
intricate, unaccountably stirring (GREAT TOM 189).
Elsewhere in his biography Matthews claims that Eliot
is "the finest poet of his kind since Alexander Pope'
(193).
3. Geoffrey Tillotson, in his introduction to THE RAPE
OF THE LOCK in EIGHTEENTH CENTURY ENGLISH LITERATURE:
"Pope...made his poem more than a course of mockery.
He enriched it with at least as many kinds of poetry
as Eliot used in THE WASTE LAND, which resembles
Pope's poem in length, comprehensiveness,
concentration, learning, brilliance, and, especially,
sensuous beauty" (567).

As overwhelming as all of this is, these are merely
the surface connections that I found in a couple
hundred hours between the two. There's certainly
enough for a book here, in my opinion, or for several
more papers. Mine was only meant to be an
introduction, and much of the above content I was only
able to allude to.

Best wishes,
Will

--- Marcia Karp <[log in to unmask]> wrote:

> Will Gray wrote:
> 
> >For
> >instance, I think he may have gotten the idea for
> >"notes" from Pope's five-part mock-epic "The Rape
> of
> >the Lock," which is similar to TWL in more than 1
> way.
> >
> Will,
>     Would you say more about the similarities
> between "The Rape of the 
> the Lock" and "The Waste Land"? 
> 
> Best,
> Marcia
> 



		
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