There is so much on Eliot and Dante that to be new would take major scholarship. None of this is new to the writer below or first brought up by him. And as Carrol implied, original contributions are not generally what one finds in MA theses, however well done. But any "glory" for these parallels would be difficult to attribute.
Nancy>>> Chokh Raj <[log in to unmask]>01/04/13 5:35 PM >>>
opening para of the introductory chapter
Dantean themes are at work on a deeply significant and formative level in the aesthetics of The Waste Land. Let me introduce a few of the ghostly allusions to Dante. The opening reference to the cruelty of April “mixing / Memory and desire” (lines 2-3), for example, recalls the lament of Francesca, caught with her lover Paolo in Hell’s whirlwind of lust in Inferno, Canto V. The allusion is relevant to Eliot’s aesthetic in the way that it suggests a relationship between the Hell of desire experienced by Dante’s lovers and the poet’s Hell of desire, which imprisons creativity. In Dante’s text, the pilgrim addresses Francesca, asking her to revisit the doloroso passo or “painful/sorrowful passage” (which is also the “fateful moment” of which their current predicament is the result) when the lovers succumbed to their desires, and a connection to the art of poetry is suggested in Francesca’s reference to Virgil. Francesca begins: Nessun maggior dolore che ricordarsi del tempo felice ne la miseria; e ciò sa ‘l tuo dottore (Inferno 5:121-123), or “There is no greater pain than to remember a happy time in misery, and this your teacher knows” (my translation). While the doloroso passo also echoes the dangerous pass from Canto 1 which the poet has just nearly escaped, il suo dottore refers to Virgil, implicating the vocation of poet; and, because he is writer of the destroyed love between Dido and Aeneas, the passage also suggests the poet’s familiarity with the maggior dolor of memory and desire with which Aeneas leaves Carthage and the poet’s familiarity with the doloroso passo of love, in general, as a preliminary passage that encourages the transformation of the poet along the trajectory of the adventure narrative.
Great glory to you, critic, for bringing up this argument. I must ponder it awhile before I proceed.
The Poet in Transformation: Dantean Aesthetics in T.S. Eliot's The Waste Land (2012)
Dante was a seminal influence in T. S. Eliot’s poetry. Many scholars have acknowledged Eliot’s professed debt to Dante and have examined Eliot’s explicit imitations of Dante; however, few have pinpointed Dantean influences in non-explicit references to Dante, and few have credited the influence of a Dantean progress narrative across Eliot’s poem The Waste Land. This thesis broadly analyzes the principles of Dante’s aesthetic in the poem while analyzing the Sibyl, the Hanged Man, and the Prajapati parable for their relevance to Eliot’s aesthetic theory. When Dantean aesthetics and close readings of The Waste Land are compared with Eliot’s contemporary essays on art, a fuller view of the aspects of Dante’s fundamental influence emerges. In particular, the prominence of Dante in the sub-text of Eliot’s The Waste Land reveals the nature of their shared aesthetic—that art is a moral work by virtue of a spiritual transformation endured by the artist, which involves both a sacrifice of self and a substantiation of self. A deeper examination of Dante’s influence on T. S. Eliot yields a vaster understanding of Eliot’s aesthetics while helping to elucidate one of the central mysteries in Eliot’s theory of art, the role of “personality.”