Eliot's Use of Literary Reference

In seeking out the reference of Philomel in Eliot’s “The Waste Land”, Ovid’s tale of Tereus’s savagery added an unexpected level of insight into the poem. Eliot’s text reveals the circumstances to a large extent, in that it is clear that she was “rudely forced” by a “barbarous king”, but the exact nature of Philomel's injuries remains vague without the reversion to Ovid’s text. This revelation then forced a further consideration into the nature of the other works that are cited in the opening. Not only is the adulterous, cruel, and sordid nature of Tereus’s actions uncovered, but Satan’s betrayal of God and Cleopatra’s betrayal of Antony lends meaning to the circumstances of Lil’s relationship with Albert. From Eliot’s text alone there remains an ambiguity as to the level of separation between the war-torn couple. It is evident from the pills Lil took “to bring it off” that there was an unwanted repercussion to a past sexual exploit. The reader is then left in a state of uncertainty regarding Lil’s fidelity to Albert. Lil claims that the pills are what made her look “antique”, and as this is assumed to be a look that may shock the recently “demobbed” Albert, the potential implication is that she has been unfaithful. However, by analyzing the earlier references in the opening of the section, particularly those of Ovid, Shakespeare, and Milton, there is a pattern of infidelities and betrayals that arises and presents a level of certainty to the reader that Lil has indeed been disloyal. While the extent to which Eliot expected his readers to know or research the references of his poem is unknown, the similarities found between the literary allusion leads to the belief that a more complete understanding can be had by inspecting his references. If we take this similarity to be intentional, the juxtaposition of the earlier textual infidelities in Ovid, Shakespeare, and Milton with Eliot’s own portrayal of betrayal forces the idea that Eliot is attempting to place his own work into the major literary canon. This section of the poem then becomes more than a critique of the degradation of modernity and modern love, but also reveals Eliot’s intentions of asserting himself among the most celebrated poets of earlier eras.