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sees the total collapse of the Arthurian imperium. On the eve of battle Arthur asks the
wind ‘doth all that haunts the waste and wild / Mourn, knowing it will go along with
me?’77 The battle itself takes place upon ‘the waste sand by the waste sea’, where
Arthur hears the ‘great voice that shakes the world, / And wastes the narrow realm
whereon we move, / And beats upon the faces of the dead’.78 And there is this
description of Arthur’ being taken onto the dusky barge, attended by the Three
Queens, which possesses a very similar tone to Eliot’s ‘What the Thunder Said’:
And from them rose
A cry that shiver’d to the tingling stars,
And, as it were one voice, an agony
Of lamentation, like a wind that shrills
All night in a waste land, where no one comes,
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Or hath come, since the making of the world.
Eliot’s description of the waste land shares a similar lexicon to Tennyson’s
‘The Passing of Arthur’: ‘dust’, ‘bones’, ‘rock’, ‘graves’ and ‘tombs’, ‘agony’,
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‘lamentation’, ‘dead’, ‘death’ and ‘dying’, ‘murmur’s, ‘mutters’ and ‘rumours’.
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There are ruined gardens; devastated cities among hills and mountains; ‘voices’
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continually cry out from the gloom, and dark, hooded figures surround the
landscape. But the closeness of the two poems is not just vocabular and the depth of
their intimacy cannot be perceived from a few brief images. Tennyson’s descriptions
of the waste land go to the heart of Eliot’s poem. Both ‘The Passing of Arthur’ and
‘What the Thunder Said’ are conclusions to what are primarily dialogic poems: but
both final sections revert to imagistic accounts of actual and physical waste lands,
symbolic of the social collapse they feared or perceived in their own, contemporary
societies.
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Tennyson’s ruined kingdom is haunted by the voices of the dead and dying,
just as Eliot’s waste land has been narrated throughout by dead or dead-in-life
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characters. Both poets place a ruined chapel in the midst of their waste lands, which
offer brief but ultimately empty refuge. In ‘The Passing of Arthur’ Bedivere bears the
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mortally wounded king to a chapel on the battle field. Lit by moonlight, Arthur rests
among ‘a broken chancel with a broken cross, / That stood on a dark strait of barren
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land’. In The Waste Land, there is the corresponding description:
In the faint moonlight, the grass is singing
Over the tumbled graves, about the chapel
There is the empty chapel, only the wind’s home.
It has no windows and the door swings,88
The similarity to Tennyson’s ruined chapel is striking. And, without a Grail chapel -
even a ruined one - it is difficult to support the thesis that The Waste Land is some
sort of transfigured Grail quest with a discemable (if disappointed) conclusion at the
Chapel Perilous. Both chapels are situated next to water - Tennyson’s lies between a
lake and the ocean. The first receives Excalibur; the second removes Arthur from the
world.89 These two waters receive both the man and instrument of government
(Excalibur), extinguishing the Arthurian kingdom, but bringing also a distant hope of
Arthur’s return and the promise of societal renewal: ‘The old order changeth, yielding
place to new, / And God fulfils himself in many ways, / Lest one good custom should
corrupt the world’.90 Eliot’s chapel lies near the water of the Ganges, which, as Eliot
often tells the reader, signifies death.91 But with the rain and thunder of the storm,
there is some glimpse of hope for Eliot’s waste land too.92
If the relationship between these two poems is established, it is imperative to
discern the nature of the Tennysonian waste land from which Eliot, consciously or
unconsciously, derived his barren imagery. Tennyson’s references to the waste land
are numerous; their significance is overwhelmingly concerned with social and
national collapse. Never does it appear linked to the spiritual health of the Arthurian
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kingdom.* Instead, the waste land serves as a frequent description o f the country that
has been devastated by war and civil strife (‘The Coming of Arthur’, ‘The Holy
Grail’),93 which Arthur promises to restore to habitation (‘Gareth and Lynette’,
‘Geraint and Enid’).94 The waste land remains a memory of the earlier strife
throughout the Idylls. In ‘The Coming of Arthur’, the kings says that the land is
‘[v]ext with waste dreams’;95 in ‘Merlin and Vivien’, the wily damsel was orphaned
upon the ‘sad-sounding wastes of Lyonesse’: her vengefulness will lead the land to
another waste land.96
But there is a second significance to this motif: the waste land is symbolic of
public and private disharmony, domestic discord and the gradual moral decline at
court. As the Idylls progress to their tragic denouement, both senses become
intertwined. The earliest fusion of the m otifs significations occurs in ‘Geraint and
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Enid’, which is replete with images of the waste land. Driven into self-exile from the
Arthurian court because of Geraint’s mistrust of his wife’s fidelity, the absence of
domestic harmony (precipitated by rumours of Guinevere’s adultery) results in their
adventures through ‘the heart of waste and wilderness’, filled with bitter images and
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encounters. The poem concludes with Arthur sending forth the forces of civilisation:
The blameless King [...] sent a thousand men
To till the wastes, and moving everywhere
Cleared the dark places and let in the law,
And broke the bandit holds and cleansed the land.99
* It is indicative that although the symbol is apparent throughout the Idylls the waste land is absent in
‘Balin and Balan’, the episode in which ‘the dolorous blow’ is traditionally dealt to King Pellam, laying
his kingdom to waste (cf. Le Morte Darthur, ed. Shepherd, 56-7). Tennyson, however, includes no such
significance. And in ‘The Holy Grail’ the two references to the waste land are neither magical nor are
they tied to the quest of Grail in any way.
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