How does Eliot use form and structure in his presentation of love in "The Wasteland"?My premise is that he presents love negatively in the poem. ...

In T.S. Eliot's "The Waste Land" love is not a benign
force. The poet alludes to its effect in ancient love stories rewritten by
renowned dramatists - to Wagner's Tristan und Isolde, to
Shakespeare's Cleopatra, and to the myth of Tereus and and Philomela - suggesting that
it is often, but not always,destructive. That these allusions respectively in the
first section of the poem, “The Burial of the Dead,” and in the second section, “A Game
of Chess,” suggest that in his landmark 1922 poem Eliot wanted to present this view of
love in a mythopoeic framework. The question is
'why'?

Eliot's poetry, especially "The Waste Land" is
marked by frequent recourse to allusion and quotation. A few critics have seen in this
extreme pedantry. But Eliot himself believed that the increasing complexity of modern
life necessarily demanded difficult poetry. More importantly, like the Matthaean master
of the house, Eliot brings from his treasure "things both old and new." The 'new and
old thing' the poet presents in "The Waste Land" is the sterility and necrotic state of
modern life. In the second stanza of "The Burial of the Dead", quoting the prophet
Ezekiel, the poet searches in vain among the dry stones, the dead trees and the "broken
images" for some sign of life. Then, suddenly, Eliot turns to Wagner's Tristan
und Isolde, where an operatic watchman tells the dying Tristan that the ship
of his love, Isolde, is nowhere to be seen on the horizon. In the second section the
reader encounters a woman sitting on a chair with the appearance of a "burnished
throne," an allusion to Shakespeare's Cleopatra. Nevertheless, even in the royal chamber
the lethalness of love, imaged in the painting that depicts Ovid's mythopoeic tale of
the rape of Philomela by King Tereus intrudes. This is followed immediately by verses
describing the grubby details of modern life - aimless, neurotic, and
childless.

Eliot's poetic calling, here presenting the
destruction and hopelessness endemic to love, was to plumb the depth of our modern
affiction in the works of bygone ages.