For what it might be worth:
 
> >Incidentally, while I am sending this to the list, I have my own worry.
> >I am attempting to write an essay on Hugh Selwyn Mauberley's influence on
> >other poets--primarily modern poets.
> >I see an affinity between HSM and The Waste Land, but I have not come across
> >any writing pertaining to that affinity.
> >Is there some essay I am missing?
>
> I'd certainly be interested in hearing more about this, to wit in exactly
> what respect you see a parallel between Mauberly and the Waste Land.  As
> I say, I'm no litterateur, but this statement seems rather odd to me.
 
the structure of each poem in the beginning is similar, hero's descent, as
I see it, and then some kind of resurrection, but while Eliot writes a
stepping into purgatory and ending a drought, pound writes only of a
medallion.  The Waste Land is a religious poem, of course, and HSM is, as
I see it, a poem on the religion of literature.  A different he do
different police in different voices.
 
> >And more generally are there any other poets who reflect in their poetry HSM?
>
> The ironic device of having the metrical scheme in sharp contrast to the
> meaning is comparable to something one sees a whole lot now in popular
> music --- i.e. the melody an ironic contrast to the lyrics.  I became
> particularly aware of this in the case of Tom Waits when I started
> preparing a lot of his songs to recite as poetry.  For instance it seems
> clear to me that "Who Are You (This Time)?" was written as a Dylan
> pastiche, but the way Tom Waits sings it eradicates all the Dylanesque
> traits.
>
> Is this an influence of Mauberly?  Probably not.  But I do think if one
> wants to talk about poetry intelligently today, one also needs to
> consider popular music.
 
yes.  John Wesley Harding could once have been Hugh Selwyn Mauberley.
 
Lucas