In 1952, John Peter published “A New Interpretation of The Waste Land,” reading the poem as a homoerotic elegy for “a young man” loved by the main speaker. As explained in a postcript from 1969, the essay was withdrawn at Eliot’s displeased request and effectually censored for seventeen years. Interestingly, Peter claimed that the disturbance caused by his interpretation informed The Elder Statesman, and even saw himself as the inspiration for one of its characters, Federico Gomez.
In The Elder Statesman, Lord Claverton (generally considered a trasnposition of Eliot himself) is unexpectedly reunited, after many years, with Federico Gomez and Mrs. Carghill. Both confront the ageing protagonist with past guilt, prompting something of a life review. Gomez, an old Oxford friend, reminds Lord Claverton that, after a night out on the town, he ran down a man and failed to provide assistance. On the other hand, Mrs. Carghill, whom Lord Claverton met as a chorus girl, has not forgotten his breach of promise, despite her subsequent successful and respectful marriage(s).
Lord Claverton wrote “very loving” letters to Mrs. Carghill, Maisie, and they “would have figured at the trial . . . If there had been a trial”. These letters, about which Lord Claverton is still uneasy, are in her “lawyer’s safe”. It was Maisie’s friend Effie who made her realise how valuable they could be: “They’ll be worth a fortune to you, Maisie”; “If he becomes a famous man / And you should be in want, you could have these letters auctioned.”
The Elder Statesman was first performed in 1958. In 1957, Eliot had married Valerie Fletcher, to whom the play is dedicated and who has been compared to Monica – Lord Claverton’s loving daughter. In 1956, Emily Hale, the actress and drama teacher who lived a frustrated and painful love story with Eliot and was his correspondent for three decades, donated his letters to Princeton Library, on condition that they be made public only in 2020. Even this caveat did not prevent Eliot – the man who banned a personal reading of his best known poem – from disapproving of Hale’s decision.
Peter’s identifying himself with Federico Gomez may seem self-conscious. The connection between Mrs. Carghill and Hale, however, seems more convincing. Not only are there potentially compromising letters, but also the music number said to have made Maisie famous – “It’s Not Too Late for You to Love Me”. While Lord Claverton feels guilt for the pain he caused Maisie, this song title might be interpreted as an unsympathetic allusion by Eliot to Hale’s sentimental dependence upon him.