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Example text

On 16 September he “finished an article, unsatisfactory to myself, on the metaphysical poets” (LOTSE, 469–470), his review of Herbert J. C. 25 By the end of September, Eliot’s condition was so poor that Vivien arranged for him to see a “nerve specialist,” who promptly advised Eliot to “go straight away for three months complete rest and change and . . live according to a strict regimen which he has prescribed” (LOTSE, 471). But because plans for the Criterion had now crystallized and called for Eliot to produce a first number in January 1922, he took a further ten days to postpone the journal’s planned appearance and wrap up a¤airs in London.

It was the last passage that he composed for The Waste Land, wedged into the middle of the poem, and preserved in a documentary stratum that antedated its composition by two months. The challenge posed by the passage beginning “The rivers tent is broken” throws into relief a potential problem which until now has remained only latent, a tension between the poem’s documentary stratification and its compositional stratification. That tension surfaces only twice in Waste Land manuscripts, both times within the sixth documentary stratum which we have just discussed.

In his correspondence from this period, Eliot made three references to his work on the poem. Writing to Sydney Schi¤ on 3 April, he commented (LOTSE, 444): “My poem has still so much revision to undergo that I do not want to let any one see it yet, and also I want to get more of it done—it should be much the longest I have ever written. I hope that by June it will be in something like final form. ” Nearly three weeks later, on 22 April, apparently replying to a query from John Middleton Murry, Eliot observed: “It is true that I have started a poem” (LOTSE, 444).

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