Saturday Essay A masterpiece of modern poetry was published a hundred years ago, but it would be quite different without a unique collaboration

The Waste Land is one hundred years old, and it is also available in three complementary translations.

April is the most cruel of months.

This year, the matter is often proclaimed, for those words begin TS Eliotin The Waste Land (Deserted land, in the latest translation Wasteland) is one hundred years old.

It is a masterpiece of modern poetry of the 20th century, from which the “lost generation” after the First World War found expression in their feelings of rootlessness and despair.

“This is the first work in which human roots have been removed from the soil,” a contemporary critic FR Leawis estimates.

Therefore, it may also resonate in 2022, when many will have to flee their countries due to wars and misery.

And when, in the midst of abundance, a different kind of rootlessness is experienced in the bit space.

Lauri Viljanen’s translation is the oldest and finds a handsome connection to TS Eliot’s peculiar England. There are other key Eliotes involved.

The Waste Land has received three excellent translations (Lauri Viljanen, Ville Repo, Markus Jääskeläinen), which open up a difficult masterpiece to complement each other, as they did last year From the HS assessment it turns out.

This Saturday essay deals with the miracle of editing. The Waste Landin in the background was Ezra Poundin and TS Eliot’s collaboration, which also ended Bob Dylanin Desolation Row classic (“Ezra Pound and TS Eliot / Fighing in the Captain’s Tower).”

Dylan sings about the “fight,” but Eliot greatly appreciated Pound’s help. There were, in fact, features in the collaboration that were suitable for improving any text.

1. Remove the loose ones

Valerie Eliotin provided by The Waste Land: A Facsimile and Transcript of the Original Drafts Including the Annotations of Ezra Pound to prove that Eliot ‘s original name for the poem was He Do The Police In Different Voices and the work began with the words “First we had a couple of feelers down at Tom’s place”. It would not be taken care of every April.

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The whole first strip of Eliot’s good poetry itself was pulled over. The first words of the second strip about the cruelty of April were allowed to begin the poem.

Pound was in favor of a five – part poem, so parts like The Death of a Saint Narcissus, Song (for the Opheron), Exequy, The Death of the Duchess, It’s a mixture and Dirge. Some of these lines fit into five parts and some were published as separate poems.

Legendary The Fire Sermon The first strip of the section was also discarded and other depreciations were sufficient. “Too loose.” “Too easy”. “Possibly overshoot,” Pound wrote in the margin.

Of these, “too easy” is a bit enviable for the journalist, who often has to edit even complex things in an easy-to-open form.

But “potentially overheating” is a warning that both poets and journalists should listen to.

Pound pruned some references James Joyceen. He wanted to be careful that Eliot didn’t seem to seem to have just released Joyce a little earlier Odysseus from the copier.

On the other hand, Pound, of course, accepted that The Waste Land is the praise of intertextuality. It refers to just about everything Jessie L. Westonin From a work on the legend of the Grail From Ritual to Romance from the 1920s all the way Richard Wagnerin operas, ancient myths and the Buddha To the sermon of fire.

Ezra Pound whispered to Eliot and, for example, Ernest Hemingway after helping Benito Mussolini’s fascism, was imprisoned after the war and returned to Italy as soon as he was released. Picture of Venice from 1963.

Later, Pound wondered if he was too harsh in removing the points in itself. Still, it is from Pound’s pruned version that Eliot fans from one generation to the next find or imagine finding the right entity.

If so, this is Pound’s production of Eliot’s more sprawling material.

2. The editor helps but fades himself

A good editor helps and improves, but does not intrude on his own personality in the text.

Pound helped Eliot on a friend and mentor basis rather than a frontman position, so Eliot had the final say. Eliot, on the other hand, was in a debt of gratitude and might not have survived the mental state of that stage of life without Pound’s help.

Only a couple of times Pound seems to have crossed the boundaries of good editing. Both were in favor of a free measure, but Eliot could still use some rhymes and repetitions in an ironic tone that Pound pruned.

It could have been a mistake, as a few rhyming points would have brought more rhythmic suction to some places. At the beginning of the poem, ing frequency (breeding, mixing, stirring, covering, feeding) is a model example of how the method works.

The vanity was mocked when it came to the motto of the poem. Eliot first chose the motto Joseph Conradin The core of darkness a paragraph ending in words “Horror! Horror!

“I doubt Conrad’s weight is enough for the quote,” Pound wrote to Eliot.

“It’s clearly the most relevant I can find and somehow enlightening,” Eliot defended.

“Do whatever you want about Conrad, who I am to envy his laurel wreath,” Pound replied grimly.

Eliot understood the cough: it was about jealousy of Conrad, who was still alive. He removed Conrad’s motto and replaced him Petronius Satyriconista an equally appalling point where Sibylla’s only wish is “I want to die”.

At the same time, he dedicated his masterpiece to Pound, which was fair.

Later, Eliot’s self-confidence grew. Hollow Men (Hollow Men) contains the motto of Conrad From the heart of darkness, shortly after Horror, “Mistah Kurtz – he is dead. ”

The connection between Eliot and Joseph Conrad only strengthened Francis Ford Coppolan Book of Revelation. Now. in the film Conradin The core of darkness modernization.

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Marlon Brando that is, in his monologues, Colonel Kurtz speaks mainly of TS Eliot Hollow I went I said. At the same time, appear on the colonel’s bookshelf The Waste Landin the most important source works, namely Jessie L. Weston From Ritual to Romance and James George Frazerin The Golden Bough.

3. If it works, don’t edit

In journalism, scale and the layout given to print in particular force the compaction of even intact texts. A good editor does it at its best so that the author doesn’t even notice it.

Pound also maintained discipline as a single poem The Waste Land was exceptionally long. But Pound also knew that the intact should not be repaired.

When Eliot did his best, after all the strikethroughs and proposed changes, long vertical lines with markings also appeared in the margin. ALRIGHT and Echt (hurdle).

And the long culmination culminated in Pound practically as it was with the comment “OK from now on. To see. ”

Eliot was so proud of it that he was praised decades later.

Virginia Woolfille he also mentioned that he had written the end of the poem in a “trance,” regardless of whether he no longer understood what he was writing.

That is secondary. Eliot ran out of a tangle of languages ​​and quotes for example Dantelta, Gérard de Nervalilta, From Thomas Kyd and Hindu Upan rains. Eliot and Pound knew it to be something that functions as poetry, but which cannot be explained even in the explanatory passage that Eliot later attached to his poem.

The vortex of expression is irresistible. And therefore a hundred years old The Waste Land still impresses.

Behind Eliot’s poem is the legend of a damaged fishing king whose land has also become barren. Markus Jääskeläinen’s translation is from 2020 and is called Joutomaa.

Read more: The almost hundred-year-old classic is always dug out when the crisis strikes: Nobel Prize winner tells why April is the cruelest month

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