问题详情

The most notable surface fact about " The Waste Land" is of course its extreme disconnection. I do not know just how many parts the poem is supposed to have, but to me there are something like fifty parts which offer no bridges the one to the other and which are quite distinct in time, place, action, persons, tone and nearly all the unities to which art is accustomed. This discreteness reaches also to the inside of the parts, where it is indicated by a frequent want of grammatical joints and marks of punctuation; as if it were the function of art to break down the usual singleness of the artistic image, and then to attack the integrity of the individual fragments. I presume that poetry has rarely gone further in this direction. It is a species of the same error which modern writers of fiction practice when they laboriously disconnect the stream of consciousness and present items which do not enter into wholes. Evidently they think with Hume that reality is facts and pluralism, not compounds and systems. But Mr. Eliot is more enterprising than they, because almost in so many words he assails the philosophical or cosmical principles under which we form. the usual images of reality, naming the whole phantasmagoria Waste Land almost as plainly as if he were naming cosmos Chaos. His intention is evidently to present a wilderness in which both he and the reader may be bewildered, in which one is never to see the wood for the trees.

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