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T h e W a s t e L a n d

G E O R G E S . L E N S I N G

T t h e c o n c l u s i o n o f H a r t C r a n e ' s The Bridge th e poe te c s t a t i c a l l y a f f i r m s t h e m o m e n t o f t r a n s f i x i n g r e -

x v e l a t i o n w h i ch h i s p ro t agon i s t ha s r e l en t le s s l ysoug h t t h r ou g h o u t t he poem : " t h e o rph i e s t r i ngs , /S ide -r e a l pha lanxes , l eap and c o n v e rg e : / O n e S o n g , on e B r i d g eo f F i r e I t is C a t h a y . "1 I n t h i s s e c ti on , " A t l a n t i s , " t h eb r i dg e i t s e l f m e t a m orphose s i n to an a s ton i sh ing a r r a y o fv i s u a l a n d m u s i c a l h a r m o n y. T h e s e c ti on w h i c h p recedes" A t l a n t i s " i n The Br idge , h o w e v e r , " T h e Tu n n e l , " is re

la ted to the p o e m ' s con c lus ion as necessa ry p re lud e : theabs o r p t i on by t h e p ro t agon i s t i n to t he da rk n igh t , t h es t a r k c o n f r o n t a t i o n w i t h " D e a t h , a l o f t " (The Br idge , p.68 ) . O n ly t h r o u g h t he de scen t i n to t he m or a l an d p sych o l o g i ca l i n f e r n o c an t he su nk en c i t y benea th t he s easy m bo l ica l ly r i se in i t s r e splendence . I t i s h a rd ly s u r p r i si n g t h a t the la s t t w o s ec t ions w h ich ma ke u p The Bridger e c a l l s im i l a r poe ti c dec l a r a t i ons by Cran e ' s con t em pora ry,

T . S . E l i o t . " A t l a n t i s " a n t i c i pa t e s t h e " c o m p l e t e c o n s o r td a n c i n g t o g e t h e r " - i n th e m y s t i c a l i n t u i t i o n o f Four Quartets, a p o em C r a n e w a s n e v e r t o se e. " T h e Tu n n e l , " h o we v e r , l ooks b ack t o an ea r l i e r w ork , The Waste Land, ap o e m w h i c h p recedes The Bridge (1930) by e igh t yea r sa n d w h i c h C r a n e k n e w w e l l t h r o u g h " i n n u m e r a b l e r e a di n g s . "3

D u r i n g t h e s u mm er o f 1926 wh i l e r e s i d ing a t t he I s le of

P i n e s i n C u b a , C r a n e v i g o r o u s l y r e s u m e d t h e w r i t i n g o fh is " e p i c o f t h e m o de rn consc iousn es s " (Letters, p. 308)o n w h i c h h e h a d b ee n l a b o r i n g i n t e r m i t te n t l y a n d w i t hi n c r e a s i n g d i s t r a c t i o n a n d f r u s t r a t i o n s in c e h e h a d b e g u n

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22 G E O R G E S . L E N S I N G

decade p reced ing th e p u b l i c a t i o n o f T h e Bridge disc losea n am b iva l ence t ha t i nc ludes bo th gene rous p r a i s e a n dm o u n t i n g d i s d a i n . A s e a r l y a s N o v e m b e r , 1 9 1 9 , C r a n ew r o t e t o G o r h a m M u n s o n t h a t E l i o t w a s a m o n g t h e fe wpoets w h o w e r e h i s " s te a d y c o m p a n i o n s " (Letters, p . 2 4 ) ." M o r e a n d m o re a m I t u r n i n g t o w a r d P o u n d a n d E l io t a n dt h e m i n o r E l i z a b e t h a n s f o r v a l u e s " {Letters, p . 2 8 ) , h er e i t e r a t e d a m o n t h l a te r. E c h o e s f r o m " T h e L o v e S o n gof J . A l f r e d P r u f r o c k " a r e d i s ce rn ib l e a s e a r l y a s C r a n e ' s1 9 1 7 l y r i c , " F e a r , " a n d as la te a s t h e c o n c l u d i n g l i n e s o f" T h e Wi n e M e n a g e r i e " i n 1 92 6 . E a r l y i n 1 9 2 0 , h e desc r i b e d t o M u n s o n t h e e x c i t e m e n t o f w i t n e s s i n g a p r i z ef i g h t i n C l e v e la n d a n d h i s des i re t o r e c a p t u r e t h e experience i n ve r se , " a n ex t r em e f re shnes s t h a t h a s n o t h i n g t od o w i t h th e t r a d i t i o n a l 'd e w - o n -t h e -g r a ss ' v a r i e t y. " H epo in t ed t o E l i o t a s o n e w h o " d o e s i t o f t e n " {Letters, p .3 4 ), h i n t i n g t h a t h e h a d o n e o f t h e Sweeney -poems i nm i n d . T h e f i r s t ev idence bo th o f C rane ' s s ense o f E l i o t ' sb u rg e o n i n g r e p u t a t i o n a n d h i s o w n u n e a s in e s s w i t h i t o cc u r r e d n e a r t h e e n d o f 1 9 2 0 i n a n o t h e r l e t te r t o M u n s o nw h e r e h e c o m m e n t s o n t h e " L e d a " po em s o f A l d o u s H u xl e y. C r a n e s a w t h e poems i n " t h e l i n e o f E l i o t a n d S i t -w e l l , " a n d a d d ed , " E l i o t ' s in f lu e n c e t h r e a te n s t o p r e d o mina t e t h e n e w E n g l i s h " {Letters, p . 4 4 ) . None the l e s s , i ns c a t t e r e d c o m m e n t s o v e r t h e n e x t t w o y e a r s , C r a n e c o nt i n u e d t o h eap h i s a p p r o b a t i o n : E l i o t r e m a i n s o n e o f h i s" f a v o r i t e s "

{Letters, p . 6 6 ) , o n e o f " T h e people I a mcloses t t o i n E n g l i s h " {Letters, p . 8 6 ) , a n d t o A l l e n Ta t eh e a c k n o w l e d g e s t h a t h e h a s been l e d t o t h e poe t ry o fL a f o r gu e t h r o u g h E l i o t {Letters, p . 8 8 ) . T w o poemspub l i s h ed i n 1921 g i v e m a r k e d e v i d e n c e o f E l i o t ' s i n f l u e n c e ." P o r p h y r o i n A k r o n " ju x ta po se s a s o r d i d a n d c o m m e r c ia l -m i n d e d u r b a n l i fe a g a in s t t h e de fea t ed K e a t s i a n p r o t agon i s t , h imse l f a r e m n a n t o f t h e p e r i s h i n g i d e a l . T h e debt

o f " C h a p l i n e s q u e " to " P r e l u d e s " i s o n e C r a n e h i m s e l fd e c l a r e d : " I h ave m ade t ha t ' i n f i n i t e ly gen t le , i n f i n i t e lys u f f e r i n g t h i n g ' o f E l i o t ' s i n t o t h e s y m b o l o f t h e k i t t e n "{Letters, p . 6 6 ) .

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H A R T C R A N E ' S T U N N E L 23

C r a n e ' s m o s t e la b o r a t e c o m m e n t a r y o n E l i o t is o u t l i n e di n a lo n g a n d , u n f o r t u n a t e l y, in c o m p le t e l e t t e r 6 t o A l l e n

Ta t e on J u ne 12 , 1922 , a f ew m on th s b e f o r e t he f i r s t publ i c a t i o n of The Waste Land. A g a i n , t h e r e i s b o t h p r a is e("I ha ven ' t d i s cove red a w eak spo t ye t i n h i s a r m ou r. " )a n d r e c o m m e n d a t io n ( " Yo u w i l l p r o f i t b y r e a d i n g h i ma g a i n a n d a g a i n . I m u s t h a v e r e a d " P r u f r o c k " t w e n t y -f i v e ti m e s a n d t h i n g s l i k e t h e " P r e l u d e s " m o r e o f te n .H i s w o r k w i l l l e a d y o u b a c k to so m e o f t h e E l i z a b e t h a n sa n d p o i n t o u t t h e b e st i n t h e m . A n d t h e r e i s H e n r y J a m e s ,

L a f o rg u e , B l a k e a n d a d o ze n o t h e rs i n h i s w o r k . " ) . B u tfo r t he f i r s t t im e , C ran e r evea l s a n awarenes s o f d i spa r i t i e s be tween h i s own d i r ec t i on a s a poe t and t ha t o fE l i o t . In pa r t , he seem s to resen t , pe rha ps w i t h som ej e a l o u s l y,7 Ta t e ' s p r a i s e o f E l i o t : " . . . yo u w i l l r e cove rf r o m t h e s h o c k . N o o ne e v e r s a ys t h e l a s t w o r d . " C r a n ea l l ows t ha t he ha s r e s i s t ed " a f ea r fu l t emp ta t i on t o im i t a t e[ E l i o t ] " a n d c a n h i m s e l f g o " through h i m t o w a r d a dif-

ferent goal. E l i o t ' s n e g a t i v i s m i s a t od d s w i t h t h e d i rec t i on sough t by Cra ne i n h i s ow n w ork . " I , f o r in s t ance ,w o u l d l i k e t o l e a v e a f ew o f h i s ' n ega t i ons ' b eh ind m e ,r i s k t he r ea lm o f t he obv ious m ore , i n ques t o f new sensa t ions , humeurs" (Let ters , p. 90).

F i v e m o n t h s a f t e r C r a n e ' s l e t te r t o Ta t e , The WasteLand w a s p u b l is h e d i n E l i o t ' s Th e Criterion i n O c t o b e r a n di n A m e r i c a i n The Dial i n N o v e m b e r. C r a n e s a w i t a t

once an d t he su sp i c ions he had en t e r t a ined i n t he ea r l i e rl e t t e r w e r e n o w r e in f o r c e d . To M u n s o n o n N o v e m b e r 2 0,C r a n e a s k ed , " W h a t d o y o u t h i n k o f E l i o t ' s The Wasteland I wa s ra th er d i sa ppoin ted . I t w as good , o f course ,b u t s o d a m n e d d e a d . N e i t h e r does it , i n m y op in ion , adda n y t h i n g i m p o r t a n t t o E l i o t ' s a c h i e v e m e n t " (Let ters , p.1 0 5 ) .8 A f e w w e e k s la t e r C r a n e d e c l a r e d h i s o w n d i ssoc i a t i on f r o m E l i o t ' s t h e m a t i c p e s s im i s m ("I t a k e E l i o t

a s a po in t o f depa r tu r e t ow ar d an a lm os t complet e r eve r seo f d i r e c t i o n . " ) , e v e n t h o u g h h e a d m i t t e d t h a t t e c h n i c a l l yh e c o u ld d e riv e m u c h f r o m t h e e x p a tr ia t e A m e r i c a n : " B u tI w o u l d a p pl y as m u c h o f h i s e r u d i t i o n a n d te c h n i q u e a s

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I c a n a b so rb and a s se mb le t ow ard a m ore pos i t i ve o r (i f[ I] m us t pu t i t s o i n a s c ep t i c a l age ) e c s t a t i c go a l " (Let-

ters, pp. 11 4 - 1 5 ) . Th e d i s t i nc t i on he r e i s c r u c i a l . H e r e a f t e rC r a n e r e m o n s t r a t e d a t e v e r y oppo r tun i t y abou t t he b l eakness o f E l i o t ' s poe t ry : " . . . s i nce E l i o t an d o the r s havea n n o u n c e d t h a t h a p p in e s s a n d b e a u t y d w e l l o n l y i n m e mory . . . I c r y fo r a p o s i t i ve a t t i t u d e" (Letters, p . 117) .E l i o t ' s e x p e r i m e n t a t i o n ( "e r u d i t i o n a n d t e c h n i q u e " ) r em a i n e d fo r h i m , h o w e v e r , a v a l u a b l e s to r e o n w h i c h h ec o u l d d r a w a n d w h i c h h e c l e a r l y d i s ti n g u i s h e d f r o m E l i o t ' s

d i s t a s t e fu l l y s o m b e r m o r a l p e r s pe c t iv e .9

T h o u g h h e y e a r n e d t o c a pt u r e i t i n h i s v e r se , C r a n ed i s c o v e r e d t h e d i f f i c u l t y i n m a i n t a i n i n g t h e n o te o f b u o ya n t o p t i m i s m h e h a d o r i g i n a l l y p l a n n e d f o r The Bridge.H e sense d t ha t i n t h e exp e r ience o f h i s ow n pe r son a l l i fe ,a s w e l l a s t ha t o f A m e r i c a n soc i e ty a t la rge i n t he 1920 's ,such o p t im i s m c o u l d n o t r e m a i n u n q u a l if ie d . O n e o f t h ec on s eq u en c es o f t h i s r e a l i z a t i o n w a s C r a n e ' s i n a b i l i t y to

go o n w r i t i n g t h e poe m. In t he o f ten - c i ted l e t t e r t o W a ld oF r a n k i n J u n e , 192 6 , s h o r t l y a f te r h i s a r r i v a l a t t he I s leo f P i n e s w h e r e h e w a s t o w r i t e " T h e T u n n e l " a n d o t h e rpa r t s o f t he poem , he com pla ined o f t h i s im pas se : " I amo n l y e v a d i n g a r e c o g n i ti o n a n d p l a y i n g D o n Q u i x o te i n a ni m m o r a l l y c on s cio u s w a y . . . . T h e b r id g e a s a s y m b o lt o d a y h a s n o s i g n i f ic a n c e b e y o n d a n e c o n o m i c a l a p p r o a c ht o s h o r t e r h o u r s , q u i c k e r l u n c h e s , b e h a v i o r i s m a n d t o o t h

p i c k s " (Letters, p . 2 6 1 ) . I t is t h e s a m e " a b s o l u t e i mp a s s e " w h i c h h e h a d fo u n d i n E l i o t a n d d e s c rib e d t o Ta t ef o u r y e a r s e a r l i e r. 1 0 P e r h a p s w i t h p a r t i a l r e c o g n i t io n o ft h e s i m i l a r i t y C r a n e w e n t o n i n t h e sa m e l e t te r t o F r a n k :" E l i o t a n d o t h e r s o f t h a t k i d n e y h a v e w h i m p e r e d f a s t id i o u s l y " (Letters, p . 261) .

W i t h i n d a y s a f t e r t h e le t t e r t o F r a n k , C r a n e r e s u m e dt h e w r i t i n g o f h i s p o e m , a n d o n e o f th e m e a n s w h i c h m a d e

th a t pos s ib l e w a s t h e d i s c o ve ry t ha t t he a f f irm a t i on s o ft h e po e m c o u l d o n l y b e m a d e b y t h e d i r e c t c o n f r o n t a t i o nw i t h t h e w a s t e l a n d o f A m e r i c a n s o c ie t y w h i c h s u r r o u n d e dh i m . " T h e T u n n e l " is g e rm a n e t o t h e s t r u c t u r e a n d o u t -

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2t G E O R G E S . L E N S I N G

w i t h t h a t d i s a p po i n t m e n t . I nev i t ab ly, t he poem Cra neh a d s t ud i ed s inc e 1922 l ing e red i n t he ba ck g ro un d o f h i s

ow n c r ea t i v e e x e r c i s e .W h i l e on t he su r f ac e va r i ou s c lu s t e r s o f im ages m ayappe a r t o c o ns t i t u t e the p r i n c ipa l l i nk in gs b e t w e e n t het w o w o r k s , a m o r e f un d amen ta l l i kenes s i s d i s ce rn ib l e .T h e u se o f a n e two rk o f a l l u s ions and symbo l s mak es upt h e f u n d a m e n t a l s t r u c t u r e s o f b o t h " T h e T u n n e l " a n d TheWaste Land. C h a r a c t e r s i n b o t h p o e m s appea r and r eappe a r i n m o d i f i ed gu i s es , m ak in g up a l a rg e r sha r ed

i d e n t i ty w i t h i n w h i c h i r o n i c c o m p a r is o n s a n d c o n t r a s tse m e r g e . A s C l e a n t h B r o o k s ha s s a id o f t he 1922 poem," T h e poe t w o r k s i n t e r m s o f s u r fa c e p a r a l le l is m s w h i c h i nr ea l i t y m ak e i r o n i ca l con t r a s t s , an d i n t e rm s o f su r f acec o n t ra s t s w h i c h i n r e a l i t y c o n s t it u te p a r a l l e l i s m s . "1 2 T h ef ig u r e o f t h e " d r o w n e d P h o e n i c i a n s a i l o r , " f o r e x a m p l e ,f rom the t a ro t dec k m e r g e s l a t e r in th e po e m w i t h " P h l e -b a s t h e P h o e n i c ia n , a f o r tn i g h t d e a d " a n d w i t h M r. E u g e -n id e s, " t h e S m y r n a m e r c h a n t . " T h e d r ow n e d m e r c h a n t i nh is s eve r a l ch a r a c t e r i z a t i on s pa r t i c i pa t e s i n t he i den t i t y o ft he d rowned g o d o f t he anc i en t f e r t i l i t y and vege t a t i onr i t e s , a s w e l l a s t h e c r uc i f i ed C h r i s t w h o a pp ea r s " h o o d e d "o n t h e e v e n i n g o f H i s r e s u r r e c t i o n i n " W h a t t h e T h u n d e rS a i d . " T h e " p a r a l l e l i s m s " a r e c l e a r l y i n fo r m e d b y " i r o n ic a l c o n t r a s t s " : a l th o u g h th e d r o w n e d gods of The GoldenBough a r e l i k e t h e d r o w n e d m e r c h a n t o f " D e a t h b yWa t e r , " t h e cu i t i c f igures o f an c ien t r e l ig iou s ce rem oniesa r e s h a r p l y d i s t i n c t f r o m P h l e b a s w h o s e l i f e was f i xed upon" th e p ro f i t an d l o s s . " Th e ope ra t ion o f the se va r i ous a llus ions i n the poem com pels the rea der to be e v e r o n g u a r d .A n y a s s e r t io n i s a l w a y s s u b je c t t o a n ir o n i c q u a l i f ic a t i o no r r eve r s a l w i th the a ppea rance o f ad d i t i on a l images w i thi n t h e g iv en pa t t e rn .

W h i l e t h i s m e thod o f a l l u s ive c ro s s- re fe r ences i s no t a s

d en se i n " T h e T u n n e l , " C r a n e ' s p oe m n o n e th e le s s d e m o ns t ra t e s a f u n d a m e n t a l l y s i m i l a r s y s t e m . A t th e t i m e o fh is w r i t i n g " T h e Tu n n e l , " th e poe t c a l l ed a t t en t i on t o t h i sa s pe c t o f h i s w o r k . To Wa l d o F r a n k , C r a n e e x p la i n e d

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t h a t " t h e n o te s a n d s t i t c h e s " w h i c h m a k e u p t h e p oe mor ig ina t e i n h i s pe r sona l expe ri ence " sw in g in g on t he s t r apa t l a te m i d n i g h t s g o i n g h o m e . " H e t h e n a d d e d : " A r e y o un o t i c i n g h o w t h r o u g h o u t th e p oe m m o t iv e s a n d s i tu a t i o n sr e c u r u n d e r m o d i f ic a t i o n s o f e n v i r o n m e n t , e t c ? " (Let-ters , p . 2 75 ) .

" T h e T u n n e l " o pe ns w i t h t h e l i n e s : " P e r f o r m a n c e s ,a s so r tmen t s , rsums / U p Ti m e s S q u a r e to C o l u m b u sC i r c l e . . . (The Bridge, p. 65 ) . Th e r e fe r ence t o C o lu mbu s C i r c l e n o t o n l y s i tu a t e s th e r e a d e r i n M a n h a t t a n , b u ti t r e ca l ls t o h i m the f igu re o f Co lum bu s w h o speaks i n" Av e M a r i a , " an ea r l i e r s ec t i on o f The Bridge. I n t ha tpoem, the v o y a g e r speaks of the g r e a t p romise h i s r ecen td i s co v e r ie s p o r t e n d : " I b r i n g y o u b a c k C a t h a y " (TheBridge, p. 5 ) . C o lum bu s C i r c l e i n t he 1920's , h o w e v e r , isa n i r o n i c c o n t r a s t t o C o l u m b u s ' C a t h a y o f 1 493. L a t e r ,one o f the passengers enco un te red o n the sub w ay i s the" Wo p w a s h e r w o m a n " w h o is r e t u r n i n g h o m e fr o m h e rc h o r es a s a c l e a n i n g w o m a n i n t h e c i t y. T h e p o e t a d dres se s he r l on g in g ly : " O Genoese, do yo u b r in g m o the re y e s a n d h a n d s / B a c k h o m e to c h i ld r e n a n d to g o ld e n h a i r ? "(The Bridge, pp. 68 -69) . Th e re fe rence to G eno a aga inc o n ju r e s u p t h e e a r l i e r d e s c r i p t io n o f C o l u m b u s i n " A v eM a r i a " : " I tho u gh t o f G eno a . . . " (The Bridge, p. 5 ) .T h e " W o p w a s h e r w o m a n , " i n st ea d o f c o n t r a s t i n g w i t h t h ee a r l i e r v o y a g e r , h o w e v e r , he re becom es a re in forcem entof the Co lum bu s-as - rege nera to r m ot i f . Sh e i s p ro jec ted ast h e s o l i c i t o u s m o t h e r w h o o ff e r s a n o u t p o u r i n g o f l o v ec l ea r ly d i f fe r en t f ro m the l ove e a r l i e r d e s c ri b e d i n " T h eT u n n e l " a s " a b u r n t m a t c h s k a t i n g i n a u r i n a l " (TheBridge, p. 6 7 ) . L i k e The Waste Land, the sys tem d i sc losesa p a t t e r n o f c o m p a r is o n s a n d c o n t r a s ts . C o l u m b u s C i r c l eis t he wor ld o f "he l l ' s de sp i t e " (The Bridge, p . 6 5) , ani r o n i c c o n t r a d i c t io n o f C o l u m b u s ' d r e a m f o r A m e r i c a ; t h eG e n o e s e w a s h e r w o m a n , h o w e v e r , r e i n fo rce s t h a t d r eamt h r o u g h the poe t 's v i s io n o f he r ow n se l f - sac r i f ice an dm o t h e r l y c o m p a s s io n . C o n s e q u e n t l y, C r a n e ' s m e t h o d isa ls o o ne o f " s u r f a c e p a r a l le l is m s w h i c h i n r e a l i t y m a k e

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i r o n i c a l c o n t r a s t s " a n d " s u r fa c e c o n t ra s t s w h i c h i n r e a l i tyc o n s t i t u t e p a r a l l e l i s m s . "

" T h e T u n n e l " i n i ts o w n r i g h t is a po e m t h a t i n c o r p o ra t e s a l l u s ion s f r e q u en t l y f rom the ep ig r aph m ade up oflin e s f r o m B l a k e ' s " M o r n i n g " t o a n o t h e r e ch o o f B l a k e ' s" M i l t o n " t o t h e ch a r a c t e r o f Po e an d r e fe r ences t o "T h eC i t y i n th e S e a " a n d " T h e R a v e n . "

I s o la t e d p h r a s es a n d l in e s i n " T h e T u n n e l " e c h o s i m i l a rpassages in The Waste Land. Th e de sc r i p t i on o f t he pa ssenge rs a s ce n d i n g f r o m t he bowe l s o f t he un de rg roun d

t r a n s i t :T h e i n t e n t e s c a l a t o r l i f t s a s e r e n a d eS t i l l yO f s h o e s , u m b r e l l a s , e a c h e y e a t t e n d i n g i t s sh o e . . . .

(The Bridge, p . 68 )

r e ca l l s t he m o v e m e n t o f t he c rowd o v e r L on d o n B r i d g e1 3i n " T h e B u r i a l o f t h e D e a d " :

S i g h s , s h o r t a n d i n f r e q u e n t , w e r e e x h a l e d ,A n d e a c h m a n f i x e d h i s e y e s b e f o r e h i s f e e t .

{Col lected Poems, p . 55 )

T h e L o n d o n B r i d g e s e c tio n w i t h i t s D a n t e a l lu s i o n s isechoed i n a n o t h e r pa s sa ge . E l i o t ' s l ine s r e ad :

A c r o w d f l o w e d o v e r L o n d o n B r i d g e , so m a n y ,I h a d n o t t h o u g h t d e a t h h a d u n d o n e s o m a n y ,

(Collected Poems, p . 55)

C ran e ' s ow n evo ca t i o n o f t he spec te r o f dea th i n t he p r esence of masses of people , whi le i t a lso a l ludes to P o e ' s" T h e C i t y i n t h e S e a , " i s n o t d i s s i m i l a r. T h e m a s s e s - i n -m o t i o n a r e h e r e r e m o v e d f r o m t h e b r i d g e t o t h e s u b w a y :

A n d D e a t h , a l o ft , g i g a n t i c a l l y d o w nP r o b i n g t h r o u g h y o u t o w a r d m e , O e v e r m o r e

(The Bridge, p . 68)

T h e d r o w n i n g o f P h l e b a s th e P h o e n i c i a n i n P a r t I V o fThe Waste Land o c c u r s a s " A c u r r e n t u n d e r s e a / P i c k e dh is b on es i n w h i s p e r s " {Collected Poem s, p . 65) , whi leC ra n e ' s pa s senge r s spea k l i ke "su r cea se o f t he bon e" (TheBridge, p. 6 7 ) . T h e " o i l y t y m p a n u m o f w a t e r s " (TheBridge, p . 6 9) w h i c h c oa ts the E a s t R iv e r a t t he end of

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C r a n e ' s s u b w a y O d y s s e y r e ca ll s E l i o t ' s i m a g e r y i n " T h eF i r e S e r m o n " : " T h e r i v e r s w e a t s / O i l a n d t a r " (Col-

lected Poems, p . 63) ." T h e T u n n e l " c o n c lu d e s w i t h a b r o k e n , p r a y e r - l i k e a p os trophe w h ich r epe a ts a n ea r l i e r li ne i n t he poem :

K i s s o f o u r a g o n y T h o u g a t h e r e s t ,O H a n d o f F i r e

g a t h e r e s t (The Bridge, p. 70)

E l i o t ' s c o n c lu s io n to " T h e F i r e S e r m o n " is s i m i l a r :

B u r n i n g b u r n i n g b u r n i n g b u r n i n g

O L o r d T h o u p l u c k e s t m e o u tO L o r d T h o u p lu c k e s t

B o t h passages he re dep loy fo rm a l ly e leva ted re l ig iou s voca t i ve s ( " T h o u p lu c k e s t " c o r re s p o n d in g t o " T h o u g a t h e re s t "; " O L o r d " c o rr e sp on d i n g to " O H a n d o f F i r e " ) ; as u s p e n d e d v e r b a l c o n c l u s i o n ( " b u r n i n g " a n d " g a t h e r e s t " ) ;a s w e l l a s t h e r e la t e d f i r e ima ge ry.

F r a g m e n t s o f c o n v e r s a t i o n , d i s j u n c t i v e a n d d i v o r c e d

f ro m co n t e x t , a r e r ep o r t ed i n bo th poems , and t o s im i l a rends : t o p r o v i d e g l im ps es i n to t he m or a l ch a r a c t e r o f t hespeake r s who a r e r e p r e sen t a t i ve o f t he l a rge r soc i e ty.C r a n e ' s u s e o f t h i s t e c h n iq u e w a s a l m o s t c e r t a i n l y d r a w nf r o m h i s r e a d i n g o f The Waste Land, a s we l l a s e a r l i e rE l i o t poe ms , t houg h , aga in , consc ious im i t a t i on i s no tn e c e s s a r i l y a t w o r k :

" W h a t

" w h a t d o y o u w a n t ? g e t t i n g w e a k o n t h e l i n k s ?f a n d a d d l e d a d d y d o n ' t a s k f o r c h a n g e

(The Bridge, p. 67 )

Th e f r en e t i c t o n e o f t h e b rok en ques ti ons and d i s t r a c t edrespons es c o r r e s p o nds t o t he anx ious i n t e r roga t i ve s u t t e r edb e tw e e n th e m a n a n d w o m a n i n " A G a m e o f C h e s s " :

' W h a t a r e y o u t h i n k i n g o f ? W h a t t h i n k i n g ? W h a t ?' I n e v e r k n o w w h a t y o u a r e t h i n k i n g . T h i n k . 'I t h i n k w e a r e i n r a t ' s a l l e y

W h e r e t h e d e a d m e n lo s t t h e i r b o n e s .(Collected Poems, p . 57 )

Th e de v i ce o f a s p e ak e r qu o t i ng h im se l f i n e a r l i e r conve r s a t i o n w i t h o t h e r p a r t ie s is com m on to bo th poem s ; one

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a l so no te s the s im i l a r i t y i n t he ne rvous r epe t i t i on o f wo rdsc o m b i n e d w i t h a t o n e o f r i gh t eous s e l f - ju s t i f i c a t i on . C ran e

reco rds a speake r :" B u t I w a n t s e r v i c e i n t h i s o f f i c e S E R V I C EI s a i d a f t e rt h e s h o w s h e c r i e d a l i t t l e a f t e r w a r d s b u t "

(The Br idge , p . 67)

a n d E l i o t w i t h t h e c o c k n e y a c ce n ts of " A G a m e o f C h e s s " :

W h e n L i l ' s h u s b a n d g o t d e m o b b e d , I s a i d I d i d n ' t m i n c e m y w o r d s , I s a i d t o h e r m y s e l f ,H U R R Y U P P L E A S E I T 'S T I M E


B o t h " T h e T u n n e l " a n d The Waste Land adhere to a bas icf ive - st r es s l i ne , t hou gh w i th f requen t va r i a t i o ns o f h examete rs , t e t ramete rs , o r e v e n an occas iona l abandonm en t o fq u a n t i t a t i v e m e t e r i n f a v o r o f a n i r r e g u l a r a c c e n tu a l m e as u r e . A s n a r r a t i v e s i n c o r p o r a t i n g a v a r i e t y o f s pe a k i n gvoices , bo th p o e m s r e s i s t the use o f m an y l ines i n success i o n w h i c h c a r r y f ix e d m e t r i c a l r e p e t it io n s .

A s H a r v e y G r o s s h a s p o in t e d o u t, The Waste Landosc i l l a tes b e t w e e n t he ho r t a to ry and fo rm a l l ine s o f b l ankv e r s e a n d t h e m o r e con ve r sa t i ona l i d iom o f a l i ne o f f ou rs t rong s t r e s se s . 1 4 R he to r i ca l ques t ions f rom bo th poems ,fo r example , e v o k e b o t h p i t y a n d r e g r e t in passages w h ic ha re d i s t i ngu i shed m u s i ca l l y by dece le r a ted and l ong -vowe l -ed b l an k ve r se :

A n d w h e n t h e y d r a g g e d y o u r r e t c h i n g f l e s h ,Yo u r t r e m b l i n g h a n d s t h a t n i g h t t h r o u g h B a l t i m o r e T h a t l a s t n i g h t o n t h e b a l l o t r o u n d s , d i d y o uS h a k i n g , d i d y o u d e n y t h e t i c k e t , P o e ?

(The Br idge , p . 68)

W h a t a r e t h e r o o t s t h a t c l u t c h , w h a t b r a n c h e s g r o wO u t o f t h i s s t o n y r u b b i s h ? S o n o f m a n ,Y o u c a n n o t s a y, o r g u e s s , f o r y o u k n o w o n l yA h e a p o f b r o k e n i m a g e s , w h e r e t h e s u n b e a t s .

(Collected Poems, p. 53)

A n ac cen tua l pa t t e rn o f ba s ica l ly fou r s tresses pe r l inecha rac t e r i ze s t he m o r e co l loqu ia l passages o f bo th poems

of ten w i t h the use o f cae sur as :" w h a t d o y o u w a n t ? g e t t i n g w e a k o n t h e l i n k s ?fndaddle dddy d o n ' t sk f o r c h a n g e I S T H I SF O U R T E E N T H ? i t ' s h a l f p a s t s i x s h e s a i d

(The Br idge, p . 67)

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M r . E u g n i d e s , t h e S m y r n a m e r c h a n tU n s h a v e n , w i t h a p o ck e t f u l l o f c u r r a n t sC . i. f. L o n d o n : d o c u m e n t s a t s i g h t ,A s k e d m e i n d e m o t i c F r e n c h . . . .


T h e ju x t a p o s i t i o n o f r h y t h m i c pa ss ag es m a r k e d l y d i v e rg e n t f ro m preced ing and succeed ing passages i s ano therp rac t i c e com m on to bo th poems . Th e de sc r ip ti on o f t heen t ry o f the passengers a t the sub wa y and th e i r m o v em e n t t h r o u g h t h e t u r n t a b l e i n " T h e T u n n e l " o c c u r s t o t h er h y t h m o f the f ive -s t ress l ine . Th e pa t t e rn i s b r ok en , how

e v e r, i n t he v e r s e p a r ag raph w h ich fo l lows i t by t he t h in ,e longa ted s tanza o f c l ipped d im ete rs an d t r im et e r s :

A n d s oo f c i t i e s y o u b e s p e a ks u b w a y s , r i v e r e d u n d e r s t re e t sa n d r i v e r s . . . . I n t h e c a rth e o v e r t o n e o f m o t i o nu n d e r g r o u n d , t h e m o n o t o n eo f m o t i o n is t h e s o u n do f o t h e r f a c es , a l s o u n d e r g r o u n d

(The Br idge, p . 66)S h e r m a n P a u l c i t e s these l ines as "cadences vague ly E l i o -t i c . "1 5 I t i s no t on ly the cadences , h o w e v e r , bu t t he i rl o c a t i o n b e t w e e n su r ro u nd ing passages o f sha rp p rosod iecon t ras t tha t po in t s to the mode l o f The Waste Land. T h ed e s c r i p ti o n i n p en t a m e t e r o f M a g n u s M a r t y r i n " T h e F i r eS e r m o n " b e sid e w h i c h " f is h m e n l o u n ge a t n o o n " i s s t a r k l yb r o k e n b y t h e v e r s e p a r a g ra ph w h ich fo ll ows i t i n a pa t t e rn

n o t u n l i k e C r a n e ' s :

T h e r i v e r s w e a t sO i l a n d t a rT h e b a r g e s d r i f tW i t h t h e t u r n i n g t i d eR e d s a i l sW i d eTo l e e w a r d , s w i n g o n t h e h e a v y s p a r .

(Collected Poems, p. 63)

A c o m p a ri s o n o f " T h e T u n n e l " a n d The W aste Land i nd ica tes no t iceab le l ikenesses i n images , a l lus ion s an d m ete r.In s o m e c ases the s im i l a r i t i e s do no t s eem to r e su l t f r omthe de l ibe r a t e im i t a t i o n o f E l i o t ' s m ode l . A t t he s ame

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t i m e , C r a n e ' s c l o s e f a m i l i a r i t y w i t h The Waste Land doesno t p e r m i t one to d i sm i s s t he i n fl uence o f t ha t poem on

the p roce s s o f C r an e ' s compos i t i on h o w e v e r i n d i r e c t o rs u b c o n s cio u s th e l i n k i n g s m a y b e .Th e r e a r e m a jo r d i ff e rences be tween t h e tw o poem s .

The Waste Land, b e s i de s be ing t h r ee t imes t he l eng th o f" T h e Tu n n e l , " f u n c tio n s a c c o r d i n g t o a p l a n t h a t m a k e s i tn o t a b l y m o r e c o m p le x i n t h e m e a n d s y m b o l , i n t r e a t m e n to f s e t t i ng , an d i n t em pora l d i s j unc t i venes s . I t s adhe rencet o a s u b s t r u c t u r e o f v a r i o u s m y t h i c le v e ls i s f u n d a m e n t a l ly

d i ff er e n t f r o m " T h e T u n n e l " w h i c h f ol lo w s a s i m p le r p l a no f c l e a r e r n a r r a t i ve se quence. I t is t r u e t h a t i n a g ene ra ls en se b o t h po e m s i n c o r p o r a t e a j o u r n e y p a t t e r n : C r a n e ' spoem f o l low s t he geo g raph i ca l p rog re s s ion o f t he sub wa ypa ss ag e f r o m M a n h a t t a n u n d e r th e E a s t R i v e r t o B r o o k l y n h e n ce p a r a l l e l i n g t h e a r c o f th e b r i d g e o v e r h e a d . E l i o t ' spoem loose l y im i t a t e s t he ques t o f t he G r a i l K n i g h t w h ot r ave r s e s a was t e l a n d , e n c o u n t e r s a f i s h e r - k i n g , v i s i t s t h e

C h a p e l P e r i l o u s a n d e n c o u n t e rs t h e G r a i l objec ts of thet a r o t d e c k . E l i o t ' s j o u r n e y, h o w e v e r , i s f a r l e s s cohe s ivea n d c o n s i s t e n t t h a n C r a n e ' s ; t h e G r a i l K n i g h t is m u c h le ssc l e a r l y d e fi n e d a s p r o t a g o n i s t t h a n t h e n a r r a t o r o f " T h eT u n n e l . " 1 6

T h e m o r a l p e rs p e c tiv e o f The Waste Land i s m o r e f u nd a m e n t a l l y d i d a c t i c t h a n C r a n e ' s . T h e e a r l i e r p o e m n e v e rpe rmi t s t h e r e a d e r t o f o r g e t t h e m o r a l a l te r n a t i v e s w h i c h

a re ava i l ab l e a s a m ea ns ou t o f the c i r cum s t an ces o f t o rpo ra n d s t e r i l i t y. A t th e s a m e ti m e , E l i o t ' s a d m o n i s h m e n t sa r e h e ed e d l i t t l e if a t a l l w i t h i n t h e n a r r a t i o n o f t h e p oe mi t s e l f , a n d h i s v i s i on does n o t le a d t o th e t r a n s f i x i n ga po th e os is w h i c h i s e x h i b i te d b y C r a n e i n " A t l a n t i s " a n do the r p a r t s o f The Bridge. T h e f in a l H i n d u b l e s s i n g w i t hw h i c h The Waste Land c o n c lu d e s i s w a r r a n t e d i n t h e p o e mo n l y o n t h e te r m s o f th e p r o ta g o n i s t w h o a s k s " S h a l l I a t

l e a s t s et m y l a n d s i n o r d e r ? " a s h e fi sh e s " w i t h t h e a r i dp l a i n b e h i n d m e " (Collected Poem s, p . 6 9 ) . A l l e n Ta t eh a s s u g g es te d t h a t t h e p e s s i m i s m of E l i o t a n d C r a n e isfun da m en ta l l y d i f fe r en t . E l i o t ' s , h e sugges ts , i s f ounded i n

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t h e "dec a y o f t he i n d i v id u a l consc iousnes s an d i t s f i xe dr e l a t io n s to th e w o r l d , " w h i l e C r a n e ' s a c k n o w l e d g e s a s t u b

b o r n r e c a l c i t r a n c e o n th e p a r t of i n d i v i d u a l m e n t o w a r de m b r a c i n g " a n e w k i n d o f f r e edom tha t he [ C r a n e ] i d e n t if ie d e m o t io n a l l y w i t h th e a ge o f t h e m a c h i n e . "1 7 T h o u g hThe Br idge i s no t i gn o r a n t o f t he b r e ak do w n be tween t hei n d i v i d u a l a n d t h e c u l t u r e , Ta t e i s s u r e l y c o r r e c t i n s u gges t i ng t h a t C ran e ' s f a i t h i n t he power o f poe t i c v i s i on isg r e a t e r t h a n E l i o t ' s . C r a n e ' s t r a n s c e n d e n t a l o p t i m i s m isroo t ed i n t he id e a l s o f the Am e r i c a n pa s t ; i n t he gene ra t ivev is i on s of W a l t W h i t m a n , W i l l i a m B l a k e , P. D . O u s pe n -s k y, a n d , m o r e r e c en t ly, Wa l d o F r a n k ; i n t h e m y t h i c c a pac io u s n es s o f f i g u r e s l i k e C o l u m b u s a n d P o c a h o n t a s ; a n d i nC r a n e ' s o w n i n v e t e r a t e d e t e r m i n a t i o n t o a c h i e v e " a m o r epos i t ive o r ( if [ I] m us t pu t i t so in a sce p t i ca l age) ecs ta t i cg o a l " (Letters, p. 11 5 ) . E l i o t ha d found l i t t l e so lace i n r esources such as t h es e i n h i s m o v e m e n t t o w a r d a C h r i s t i a no r t h o d o x y.

" T h e T u n n e l " a s o ne p a r t o f The Br idge does no t sha r et h e v i s i o n a r y o p t i m i s m o ne fi n d s e ls e w h e r e i n t h e p o em .W h i l e C r a n e h a d p o in t e d to th e c o m m e r c i a l is m o f A m e r ic a n so c ie ty i n " T h e R i v e r " a n d " Q u a k e r H i l l , to i t s pote n t i a l fo r m a s s i v e d e s t r u c t i o n i n " C a p e H a t t e r a s , " t o it st a w d r y a b u se o f s e x u a l l o v e i n " N a t i o n a l Wi n t e r G a r d e n , "a n d eve n t o t h e de sp a i r r evea l ed by t he bed l ami t e , " s h r i l ls h i r t b a l l oon ing , " a s h e p lunges t o h i s s u i c i d a l d e a t h i n

" P r o e m , " i t is o n l y i n " T h e T u n n e l " t h a t h e t o t a l ly u n -d i sg u i se s t h e s u s t a in e d h o r r o r s o f m o d e r n A m e r i c a n s oci e ty. T h e p o e m has l a rg e r ove rtones o f U lys s e s ' de scen ti n to t he u n de rw o r l d , D a n t e ' s pa ssage t h rou gh t he i n f e rno ,o r e v e n t h e r e l i g i o u s m y s t i c ' s d a r k n i g h t o f t h e sou l . M o r et h a n t o any o f t h e se my th i c p r eceden t s , h o w e v e r , C r a n eseems t o hav e t u rne d t o The Waste Land. T h a t p o e m w a sa source , h o w e v e r i n d i r e c t , t h a t p r o v e d v a l u a b l e i n t h e

compos i t i on o f t h e po em tha t he s en t o f f upon comple t i onto The Criterion. T h e f o r c e a n d p o w e r o f " T h e T u n n e l " i so w i n g t o C r a n e ' s o w n p o e t i c o r i g i n a l i t y ; a t n o p o i n t doest h e r e ade r d i s ce r n s e r v i t ud e on h i s pa r t t o t he m ode l o f

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s a w h i m s e l f i n t h e t r a d i t i o n o f W a l t W h i t m a n : " T h e n o u to f t h e b l u e The Dial b r o u g h t o u t The Waste Land a n d a l lo u r h i l a r i t y e n d e d . I t w i p e d o u t o u r w o r l d a s i f a n a t o mb o m b h a d b e e n d r o p p e d u p o n i t a n d o u r b r a v e s a l l ie s i n t ot h e u n k n o w n w e r e t u r n e d to d u s t . " {The Autobiography ofWilliam Carlos Williams, N e w Y o r k : N e w D i r e c t i o n s , 1 94 8,p . 174) .

To L o u i s U n t e r m e y e r C r a n e s e n t a m a n u s c r i p t c o p y of h i s " F o rt h e M a r r i a g e o f F a u s t u s a n d H e l e n " e a r l y i n 1 92 3. I n t h ea c c o m p a n y i n g le t t e r C r a n e s p o k e o f h i s " g e n u i n e a n d d e e pa d m i r a t i o n " f o r E l i o t , b u t w e n t o n to d e c l a r e t h a t h i s o w np o e m c o n t a i n e d " a n a l m o s t a n t i t h e t i c a l s p i r i t u a l a t t i t u d e t ot h e p e s s i m i s m o f " T h e W a s t e L a n d , " a l t h o u g h t h e p o e m w a sw e l l f i n i s h e d b e f o r e " T h e W a s t e L a n d " a p pe a r e d . " ( R i c h a r dA l l a n D a v i s o n , " H a r t C r a n e , L o u i s U n t e r m e y e r , a n d T . S.

E l i o t : A N e w C r a n e L e t t e r " American Literature, 4 4 ( M a r c h ,1972) , 145. )l l ) A n d , a s T a t e h i m s e l f h a s n o t e d i n a n e s s a y o n C r a n e , " F a r

f r o m ' r e f u t i n g ' E l i o t , h i s w h o l e c a r e e r i s a v i n d i c a t i o n o fE l i o t ' s m a j o r p r e m i s e t h a t t h e i n t e g r i t y o f t h e i n d i v i d u a lc o n s c io u s n e s s h a s b r o k e n d o w n . " ( " H a r t C r a n e , " Essays onFour Decades , C h i c a g o : T h e S w a l l o w P r e s s I n c ., 1 96 8, p .32 1.) W r i t i n g o f C r a n e ' s e x p e r i e n c e s i n 1 92 6 , J o h n U n t e r -e c k e r r e a c h e s a s i m i l a r c o n c l u s i o n : " P a r t o f h i s t r o u b l e ,C r a n e f e l t , w a s a l o s s o f f a i t h i n m a n ; t h i s h e a t t r i b u t e d t ot h e ' d i s l o y a l t y ' o f l i t e r a r y f r i e n d s b u t h e r e c o g n i z e d a l s o t h a tt h e d e s p a i r h e h a d e a r l i e r a s s i g n e d t o E l i o t c o u l d n o w b e

f o u n d i n h i m s e l f a s w e l l . " {Voyager, A Life of Hart Crane,N e w Y o r k : F a r r a r , S t r a u s a n d G i r o u x , 1 96 9, p . 4 4 6 .)l l T o S l a t e r B r o w n , w h o m C r a n e w r o t e w h i l e i n C a l i f o r n i a i n

1 92 7, h e r e p o r t e d t h a t h e h a d r e a d J e s s i e We s t o n ' s FromRitual to Romance, t h o u g h Y v o r W i n t e r s h a d d e s c r ib e d " h e rd a t a a n d d e d u c t i on s a s i m a g i n a t i v e b u n k " (Letters, p . 314 ) .

1 2 C l e a n t h B r o o k s , Modern Poetry and the Tradition ( N e w Yo r k :O x f o r d U n i v e r s i t y P r e s s , 1 96 5 ), p. 1 67 .

1 3 E l i o t ' s L o n d o n B r i d g e i t s e l f b e lo n g s a m o n g t h e m a n y o t h e ra c k n o w l e d g e d s o u r c e s f o r C r a n e ' s t i t l e a n d p r i n c i p a l s y m b o lo f t h e p o e m .

1 4 H a r v e y G r o s s , Sound and Form in M o d e m Poetry ( A n n A r b o u r :T h e U n i v e r s i t y o f M i c h i g a n P r e s s , 1 96 4 ), p . 1 87 .

1 5 S h e r m a n P a u l , Hart's Bridg e ( P r i n c e t o n : P r i n c e t o n U n i v e r s i t yP r e s s , 1 9 7 2 ) , p . 2 6 6 .

] 8 I t s h o u l d a l s o b e n o t e d t h a t t h e m e t h o d o f e s t a b l i s h i n g p a t t e r n sa n d s y m b o l s w h i c h c o n s t i t u t e i r o n i c c o m p a r i s o n s a n d co nt r a s t s i n The Waste Land i s i n t e g r a l , n o t o n l y t o " T h e T u nn e l , " b u t t o t h e w h o l e o f The Br idge. T h e e s s e n t i a l u n i t y o fb o t h l a r g e r p o e m s d e p en d s u p o n t h e r e a d e r ' s f a m i l i a r i t y w i t ht h e a l l u s i o n s a n d s y m b o l s a n d h i s a b i l i t y t o l i n k t h e m u p i no r d e r t o e s t a b l i s h t h e m a t i c c l u s t e r s w i t h i n w h i c h l ie t h ec o m p a r i s o n s a n d c o n t r a s t s . E l i o t ' s i n f l u e n c e o n C r a n e h e r em a y b e c o n s i d e r a b l e , b u t i t i s a n i n f l u e n c e t h a t is m o r ep e r v a s i v e i n The Bridge t h a n " T h e T u n n e l " a lo n e .

" T a t e , p . 314.

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