Incidentally, the Fresca passage was removed not because it was revolting (for what is hell if it's not revolting) but for reasons of style. Here's a study:
Recognizing Venus (II): Dido, Aeneas, and Mr. Eliot
Arion: A Journal of Humanities and the Classics
Third Series, Vol. 3, No. 2/3 (Fall, 1995 - Winter, 1996), pp. 43-80
Published by: Trustees of Boston University
The wasteland that was T.S Eliot's first marriage
London Evening Standard
05 November 2009
"To her the marriage brought no happiness to me it brought the state of mind out of which came The Waste Land." - TS Eliot
"Between the motion and the action falls the shadow," he wrote in The Hollow Men
The man for whom Dante was a perpetual inspiration
was now trapped in his own
Fresca (subsequently removed at Pound's behest) was part of that hell, a disguised version of V, maybe.
All this does connect with Eliot's later description of the poem as “the relief of a personal and wholly insignificant grouse against life … just a piece of rhythmical grumbling."
WW1, no doubt, was there. But The Waste Land, as Eliot wrote to Forster, "might have been just the same without the war."
We must also keep in
mind Eliot's later description of the poem as “the relief of a personal and wholly insignificant grouse against life … just a piece of rhythmical grumbling." It only confirms that the poem was essentially a lament on the loss of love.
PS - fructify life and redeem it in terms of divine love
Forgive my rushing in but I just wished to say that I'd concur with Tom.
Just a word, vis-a-vis Tom's observations, about Dante's Inferno that keeps coming to my mind vis-a-vis TWL. Hell to Dante was, in effect, the absence of 'love' with all its attributes including those Eliot lists in What the Thunder Said: Datta (Surrender in love), Dayadhvam (the opposite of pride/ego), and Damyata (Control). Eliot's wasteland is a waste essentially because it is devoid of love, and it is this alone (i.e. love) by which we //fructify life//.