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with the turning away from the Tennysonian paradigm - and with it the cultural
monuments which the Idylls symbolised for many writers. The securities of Victorian
culture had been weakened by the war. Artists were now challenging traditional forms
and notions of what were suitable subjects for art; novelists were subverting the
conventions of the nineteenth-century realist novel; poets were abandoning
established poetic structures for vers libre; while writers such as T.S. Eliot were
attempting to articulate, in Edmund Wilson’s words, a ‘whole world of strained
nerves and shattered institutions’.
The appeal of From Ritual to Romance for poets and novelists of the twenties
and thirties lay in the stock of powerful images Weston’s book made available for a
non-specialist audience. Writers found in Weston’s work - as they did in Frazer’s The
Golden Bough and Jane Harrison’s feminist anthropological studies of cultural
evolution - a new set of potent symbols: the waste land, the Fisher King, the symbols
of the phallic lance and the vaginal cup. Above all Weston provided her readers with a
myth of cultural and social regeneration - a myth that resonated strongly in the post
war years. In many ways From Ritual to Romance is as much a monument of
modernism and twentieth-century culture as is The Waste Land, Ulysses (1922), The
Waves (1931) or The Cantos (1917-70). And its importance as a modernist work can
be seen only through appreciation of its incoherent jumble of symbols and meanings,
assembled roughly together through the promise of re-creation and renewal.
In several ways, Weston’s scholarship was itself a form of cultural
rejuvenation. After Weston, the Grail was emancipated from the Public School ethos
and poets and novelists were no longer compelled to reproduce the Victorian literary
concept of the Grail as a Christian-humanist object, the cultural uses of which were
conservative views o f the Arthurian story and outlined her controversial opinions on the Grail and other
matters, given as accepted scholarly fact.
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essentially imperial, class-conscious and militaristic. Without her scholarship, the
Grail may have gone the way of Galahad - confined to the dustbin o f culture, no
longer of use even to substandard patriotic versifiers. It is worth noting that despite
Galahad’s ubiquity from the mid nineteenth-century to the close of the First World
War, he is barely mentioned in any of the literary texts of the 1920s and 30s. It is one
of the most interesting features of this literary period, that the Grail story is a heroic
narrative without its most famous hero.
With its preoccupation with anthropology, Celticism and ritualism From
Ritual to Romance was in many ways the antithesis of Tennyson’s humanist
paradigm. Indeed, whereas the Idylls were preoccupied with the notion of social and
moral collapse, Weston’s scholarship was explicitly concerned with renewal and
rebirth. For a brief time, it became almost as influential as the Idylls had been in the
second half of the nineteenth century.
T.S. Eliot’s The Waste Land and the influence of From Ritual to Romance
In terms of its Arthurian content, Eliot’s The Waste Land forms something of a bridge
between Tennyson’s Idylls and the radical new symbolism of Weston’s From Ritual
to Romance. The Grail literature of the 1920s and 30s - and The Waste Land most of
all - represent a crisis in the Arthurian tradition: a struggle between a complicated
literary inheritance and a desire to write the Grail story anew. Eliot’s poem
demonstrated how a post-war writer could still make use of the Arthurian legend - or
at least the Grail story - through recourse to fertility rituals, sexual symbols and the
motif of the barren waste land. Yet The Waste Land does not represent a total
overhaul of the legend. The Idylls o f the King did not suddenly cease to influence
post-war writers; Tennyson was still read, or was at least remembered from youth.
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Many of the Idylls' preoccupations and concerns with domesticity, war, internal and
national collapse were still evident in Eliot’s work, though few critics and later writers
would recognise them as Tennysonian in origin.
The Waste L an d s influence over subsequent Arthurian literature is
disproportionate to its actual Arthurian content. Its references to the legend are slight
and buried within a welter of allusions to Chaucer, Ovid, Spenser, the Psalms,
Marvell, Shakespeare, Homer, Goldsmith, Dante, popular songs, Baudelaire, the
Bhagavad Gita and Ulysses. There is a quotation from Paul Verlaine’s 1886 poem
‘Parsifal’, a few allusions to the Tristan and Isolde story in the form of quotations
from Wagner’s opera, two indirect references to the Fisher King, one of which is
made clearer by the notes that Eliot wrote to accompany the poem, and a reference to
an ‘empty chapel, only the wind’s home’, which the notes suggest is the Chapel
Perilous.*37 The main indebtedness to the Arthurian story is Eliot’s use of the symbol
of the waste land. The motif is evident throughout the poem: in its title, in the sense of
sterility that permeates every image and every character, from the shrivelled, ancient
sibyl of the poem’s classical epigraph, to ‘the young man carbuncular’ of the modem
city. The question of which sources influenced Eliot in fashioning his waste land is
worth pursuing.
Interpretations of the poem usually centre on the meaning of the waste land.
They can be roughly divided into two camps. First, there are those that perceive the
text to be a twentieth-century Grail romance, with an internal schema that allows the
reader to understand the poem as a coherent and fully-explicable text. These
explications tend to see From Ritual to Romance as the ‘key’ to the work and they
generally express the idea that the poem’s meaning is almost exclusively concerned
* There are, however, no Arthurian characters, bar the Fisher King, nor is the Grail itself apparent at
any point in the poem.
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