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The resonant intervals are indeed pins which hold the effects of The Waste Land and the waste land
from below, Those resonances are personal, as well as social in so far as they include social
experiences which have some commonality. The poem seems to have affected many readers
in many different ways, but the effects continue and continue to vary.
 
Peter
----- Original Message -----
From: [log in to unmask] href="mailto:[log in to unmask]">Chokh Raj
To: [log in to unmask] href="mailto:[log in to unmask]">[log in to unmask]
Sent: Wednesday, November 09, 2011 8:39 PM
Subject: What underpins 'The Waste Land'

An excerpt from Lyndall Gordon's 'T.S. Eliot: An Imperfect Life'
 
"The cacophony of horns and motors, ragtime and gramophone, the Jazz Age
and the post-war clamour seem to drown out the silence between the lines,
which invites the reader to reciprocal effort. This silence circles repeated hints
of what is not waste. We hear it in the space that follows the 'DA' of thunder;
and in the space which in the early printings of the poem preceded the sublime
peace of 'Shantih shantih shantih'; and in the weight of prophetic voices and
lyric moments: above all in a memory of 'looking into the heart of light, the
silence' in the presence of the 'hyacinth girl' with her arms full of flowers in a
garden of fertile love. The fishermen exposed to the sea are also beyond the
waste; so too the 'inexplicable splendour' of St Magnus the Martyr, the children
chanting in the chapel ('Et O ces voix d'enfants, chantant dans la coupole!'),
and the tolling bells of the finale. Their presence suggests that this is a poem
not solely about collapse, but also about a possibility of regeneration."
 
 
Please read pp.188-191 beginning "In October and November 1922 Eliot published
The Waste Land ..."
 
Some corroboration of my reading, if you like.
 
CR