Style
The style of the work in part grows out of Eliot's interest in exploring the possibilities of dramatic monologue. This interest dates back at least as far as The Love Song of J. Alfred Prufrock. "The Waste Land" is not a single monologue like "Prufrock." Instead, it is made up of a wide variety of voices (sometimes in monologue, dialogue, or with more than two characters speaking).
The style of the poem overall is marked by the hundreds of allusions and quotations from other texts (classic and obscure; "high-brow" and "low-brow") that Eliot peppered throughout the poem. In addition to the many "high-brow" references and/or quotes from poets like Baudelaire, Shakespeare, Ovid, and Homer, Eliot also included a couple of references to "low-brow" genres. A good example of this is Eliot's quote from the 1912 popular song "The Shakespearian Rag" by lyricists Herman Ruby and Gene Buck. There were also a number of low-brow references in the opening section of Eliot's original manuscript (when the poem was entitled "He Do The Police in Different Voices"), but they were removed from the final draft after Eliot cut this original opening section.
"The Waste Land" is notable for its seemingly disjointed structure, indicative of the Modernist style of James Joyce's Ulysses (which Eliot cited as an influence and which he read the same year that he was writing "The Waste Land"). In the Modernist style, Eliot jumps from one voice or image to another without clearly delineating these shifts for the reader. He also includes phrases from multiple foreign languages (Latin, Greek, Italian, German, French and Sanskrit), indicative of Pound's influence.
Read more about this topic: The Waste Land
Famous quotes containing the word style:
“I shall christen this style the Mandarin, since it is beloved by literary pundits, by those who would make the written word as unlike as possible to the spoken one. It is the style of all those writers whose tendency is to make their language convey more than they mean or more than they feel, it is the style of most artists and all humbugs.”
—Cyril Connolly (1903–1974)
“To translate, one must have a style of his own, for otherwise the translation will have no rhythm or nuance, which come from the process of artistically thinking through and molding the sentences; they cannot be reconstituted by piecemeal imitation. The problem of translation is to retreat to a simpler tenor of one’s own style and creatively adjust this to one’s author.”
—Paul Goodman (1911–1972)
“The habit some writers indulge in of perpetual quotation is one it behoves lovers of good literature to protest against, for it is an insidious habit which in the end must cloud the stream of thought, or at least check spontaneity. If it be true that le style c’est l’homme, what is likely to happen if l’homme is for ever eking out his own personality with that of some other individual?”
—Dame Ethel Smyth (1858–1944)