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with a spiritual quest. For these the waste land is a symbol of the lack of religious
values in the modem world. Second, there are those that hold that there is no such
‘centre’ to Eliot’s poem; that it is, as Eliot later wrote of it, a series of disjointed
rhythmic grumblings which cannot and ought not to be organised into a unified
whole.39 Essential to both groups of interpreters lies the precarious position of From
Ritual to Romance as the dominant ‘source’ of the poem. Famously, Eliot wrote in the
notes which accompany The Waste Land:
Not only the title, but the plan and a good deal of the incidental symbolism of
the poem were suggested by Miss Jessie L. Weston’s book on the Grail legend
[...] Indeed, so deeply am I indebted, Miss Weston’s book will elucidate the
difficulties of the poem much better than my notes can do; and I recommend it
(apart from the great interest of the book itself) to any who think such
elucidation of the poem worth the trouble.40
But almost equally famous was Eliot’s later comment that he regretted sending ‘so
many enquirers off on a wild goose chase after Tarot cards and the Holy Grail’.41 It
seems that which Eliot one believes leads to a reading of The Waste Land as either
fully explicable or utterly incoherent. The decision to perceive the text one way or the
other is often predicated on ideological grounds, or due to academic disciplinary
politics.
There is little doubt that Weston’s work did influence Eliot in his use of the
Fisher King and waste land symbols. But its impact on the text has been overstated by
many interpreters of the poem.* It is certain that the notes to the poem (Which Eliot
* Some recent scholars have suggested that Eliot may have only partly read Weston’s study; another
has claimed that the pages of Eliot’s copy of From Ritual to Romance were never cut and that his
reference to Weston’s book may have been nothing more than a literary hoax (Morton, ‘Eight Decades
on and I think I Spy T.S. Eliot’s Waste L and, The Scotsman). Eliot certainly refused to write an
introduction to a planned reprint of Weston’s study, claiming it would be ‘inappropriate’ for him to do
so (Grayson, ‘In Quest of Jessie Weston’, 50, n. 67). It is also possible that, though From Ritual to
Romance still remains the most likely source for Eliot’s use of the Fisher King, Eliot’s acquaintance
with Weston’s theories may have been gathered from other sources, such as reviews o f Weston’s work
or her entry on the Holy Grail for the 1911 edition of the Encyclopedia Britannica, which includes
summaries of several medieval romances, brief discussion of the Fisher King’s role, as well as a
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provided in order to bring The Waste Land to a publishable length) are more
Arthurian than is the text itself.42 Ezra Pound, who edited The Waste Land and whose
contribution to the final draft was substantial, never commented on the Grail theme of
Eliot’s poem, nor did he ever refer to Weston’s book as the source of the text he did
much to create. Likewise, the original, much longer draft of the poem reveals little
about the relationship between The Waste Land and From Ritual to Romance*
Indeed, regarding the evidence of the manuscript, Eliot appears to have seen The
Waste Land as a series of fragments, the interrelatedness of which was not apparent -
and certainly not within any discemable Grail-quest scheme 43
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♦
For many critics the pursuit to elucidate the poem was the chief attraction of The
Waste Land. The explications of the poem have proven as influential on subsequent
literature as the text itself and, so, are worthy of examination in their own right.
The majority of the initial reviews were unconcerned with the possibility of
the poem’s Grail context. Whether they were hostile or appreciative, reviewers most
often commented on the sense of incoherence and disparity created in the poem and
did not search for a unifying meaning. Several critics found The Waste Land
synopsis of Weston’s own Ritualist theory of the Grail’s origins and their relationship to Frazer’s The
Golden Bough. In addition, she writes that the earliest Grail romance ‘exhibits a marked affinity with
the characteristic features of the Adonis or Tammuz worship; we have a castle on the sea-shore, a dead
body on a bier, the identity of which is never revealed, mourned over with solemn rites; a wasted
country, whose desolation is mysteriously connected with the dead man; and which is restored to
fruitfulness when the quester asks the meaning of the marvels he beholds (the two features o f the
weeping women and the wasted land being retained in versions where they have no significance);
finally the mysterious food-providing, self-acting talisman of a common feast—one and all of these
features may be explained as survivals of the Adonis ritual.’
The original draft of The Waste Land (that is, the fragments of verses seen by Pound and Vivien Eliot,
the poet’s first wife) was published in 1971 and edited by Valerie, Eliot’s second wife. The MSS do
little to shed light on Eliot’s plan for the poem with regard to either Weston or the Grail/The many
substantial cuts which Pound made (the largest cuts are the 53 lines on a night on the town in Boston;
70 lines describing the morning activities of a society lady; 84 lines concerning an ill-fated sea-voyage)
omit nothing that could be seen as derived from Weston. In the draft version of the poem’s first section,
‘The Burial of the Dead’, there is a line referring to the ‘king fishing’, which is crossed out and
replaced with the ‘fisher King’. Both are omitted in the final version where the lines concerning the
Fisher King are less obvious in their allusions to the narrator’s fishing ‘in the dull canal’ or ‘sat upon
the shore’ (11.189, 421).