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The Waste Land
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The Waste Land
Title page
Author
T. S. Eliot
Country
United States
Language
English
Publisher
Horace Liveright
Publication date
1922
Media type
Print
Pages
64 pp[1]
Text
The Waste Land at Wikisource
The Waste Land is a long poem by T. S. Eliot. It is widely regarded as one of the most important poems of the 20th century and a central work of modernist poetry.[2][3] Published in 1922, the 434-line[B] poem first appeared in the United Kingdom in the October issue of The Criterion and in the United States in the November issue of The Dial. It was published in book form in December 1922. Among its famous phrases are "April is the cruellest month", "I will show you fear in a handful of dust", and the mantra in the Sanskrit language "Shantih shantih shantih".[C]
Eliot's poem loosely follows the legend of the Holy Grail and the Fisher King combined with vignettes of contemporary British society. Eliot employs many literary and cultural allusions from the Western canon, Buddhism and the Hindu Upanishads. Because of this, critics and scholars regard the poem as obscure.[4] The poem shifts between voices of satire and prophecy featuring abrupt and unannounced changes of speaker, location, and time and conjuring of a vast and dissonant range of cultures and literatures.
The poem's structure is divided into five sections. The first section, The Burial of the Dead, introduces the diverse themes of disillusionment and despair. The second, A Game of Chess, employs vignettes of several characters—alternating narrations—that address those themes experientially. The Fire Sermon, the third section, offers a philosophical meditation in relation to the imagery of death and views of self-denial in juxtaposition influenced by Augustine of Hippo and eastern religions. After a fourth section that includes a brief lyrical petition, the culminating fifth section, What the Thunder Said, concludes with an image of judgment.
Contents
[hide]
1 Composition history
1.1 Writing
1.2 Manuscript drafts
1.3 Editing
2 Publishing history
3 Title
4 Structure
5 Style
6 Sources
7 See also
8 References
8.1 Notes
8.2 Citations
8.3 Cited works
8.4 Primary sources
8.5 Secondary sources
9 External links
Composition history[edit]
Writing[edit]
Eliot probably worked on the text that became The Waste Land for several years preceding its first publication in 1922. In a May 1921 letter to New York lawyer and patron of modernism John Quinn, Eliot wrote that he had "a long poem in mind and partly on paper which I am wishful to finish".[5]
Richard Aldington, in his memoirs, relates that "a year or so" before Eliot read him the manuscript draft of The Waste Land in London, Eliot visited him in the country.[6] While walking through a graveyard, they discussed Thomas Gray's Elegy Written in a Country Churchyard. Aldington writes: "I was surprised to find that Eliot admired something so popular, and then went on to say that if a contemporary poet, conscious of his limitations as Gray evidently was, would concentrate all his gifts on one such poem he might achieve a similar success."[6]
Eliot, having been diagnosed with some form of nervous disorder, had been recommended rest, and applied for three months' leave from the bank where he was employed; the reason stated on his staff card was "nervous breakdown". He and his first wife, Vivienne Haigh-Wood Eliot, travelled to the coastal resort of Margate, Kent for a period of convalescence. While there, Eliot worked on the poem, and possibly showed an early version to Ezra Pound when, after a brief return to London, the Eliots travelled to Paris in November 1921 and stayed with him. Eliot was en route to Lausanne, Switzerland, for treatment by Doctor Roger Vittoz, who had been recommended to him by Ottoline Morrell; Vivienne was to stay at a sanatorium just outside Paris. In Hotel Ste. Luce (where Hotel Elite stands since 1938) in Lausanne, Eliot produced a 19-page version of the poem.[7] He returned from Lausanne in early January 1922. Pound then made detailed editorial comments and significant cuts to the manuscript. Eliot later dedicated the poem to Pound.
Manuscript drafts[edit]
Eliot sent the manuscript drafts of the poem to John Quinn in October 1922; they reached Quinn in New York in January 1923.[D] Upon Quinn's death they were inherited by his sister, Julia Anderson. Years later, in the early 1950s, Mrs Anderson's daughter, Mary Conroy, found the documents in storage. In 1958 she sold them privately to the New York Public Library.
It was not until April 1968 that the existence and whereabouts of the manuscript drafts were made known to Valerie Eliot, the poet's second wife and widow.[8] In 1971, Faber and Faber published a "facsimile and transcript" of the original drafts, edited and annotated by Valerie Eliot. The full poem prior to the Pound editorial changes is contained in the facsimile.
Editing[edit]
The drafts of the poem reveal that it originally contained almost twice as much material as the final published version. The significant cuts are in part due to Ezra Pound's suggested changes, although Eliot himself is also responsible for removing large sections.
The now famous opening lines of the poem—"April is the cruellest month, breeding / Lilacs out of the dead land"—did not appear until the top of the second page of the typescript. The first page of the typescript contained 54 lines in the sort of street voice that we hear again at the end of the second section, A Game of Chess. This page appears to have been lightly crossed out in pencil by Eliot himself.
Although there are several signs of similar adjustments made by Eliot, and a number of significant comments by Vivienne, the most significant editorial input is clearly that of Pound, who recommended many cuts to the poem.
'The typist home at teatime' section was originally in entirely regular stanzas of iambic pentameter, with a rhyme scheme of abab—the same form as Gray's Elegy, which was in Eliot's thoughts around this time. Pound's note against this section of the draft is "verse not interesting enough as verse to warrant so much of it". In the end, the regularity of the four-line stanzas was abandoned.
At the beginning of 'The Fire Sermon' in one version, there was a lengthy section in heroic couplets, in imitation of Alexander Pope's The Rape of the Lock. It described one lady Fresca (who appeared in the earlier poem "Gerontion"). As Richard Ellmann describes it, "Instead of making her toilet like Pope's Belinda, Fresca is going to it, like Joyce's Bloom."[9] The lines read:
Leaving the bubbling beverage to cool,
Fresca slips softly to the needful stool,
Where the pathetic tale of Richardson
Eases her labour till the deed is done ...
Ellmann notes: "Pound warned Eliot that since Pope had done the couplets better, and Joyce the defecation, there was no point in another round."
Pound also excised some shorter poems that Eliot wanted to insert between the five sections. One of these, that Eliot had entitled 'Dirge', begins
Full fathom five your Bleistein lies[I]
Under the flatfish and the squids.

Graves' disease in a dead Jew's eyes!
Where the crabs have eat the lids
...
At the request of Eliot's wife, Vivienne, a line in the A Game of Chess section was removed from the poem: "And we shall play a game of chess/The ivory men make company between us / Pressing lidless eyes and waiting for a knock upon the door". This section is apparently based on their marital life, and she may have felt these lines too revealing. However, the "ivory men" line may have meant something to Eliot: in 1960, thirteen years after Vivienne's death, he inserted the line in a copy made for sale to aid the London Library, of which he was President at the time; it fetched £2,800.[10] Rupert Hart-Davis had requested the original manuscript for the auction, but Eliot had lost it long ago (though it was found in America years later).[11]
In a late December 1921 letter to Eliot to celebrate the "birth" of the poem, Pound wrote a bawdy poem of 48 lines entitled "Sage Homme" in which he identified Eliot as the mother of the poem but compared himself to the midwife.[12] The first lines are:
These are the poems of Eliot
By the Uranian Muse begot;
A Man their Mother was,
A Muse their Sire.
How did the printed Infancies result
From Nuptials thus doubly difficult?
If you must needs enquire
Know diligent Reader
That on each Occasion
Ezra performed the Caesarean Operation.
Publishing history[edit]
Before the editing had even begun Eliot found a publisher.[E] Horace Liveright of the New York publishing firm of Boni and Liveright was in Paris for a number of meetings with Ezra Pound. At a dinner on 3 January 1922 (see 1922 in poetry), he made offers for works by Pound, James Joyce (Ulysses) and Eliot. Eliot was to get a royalty of 15% for a book version of the poem planned for autumn publication.[13]
To maximise his income and reach a broader audience, Eliot also sought a deal with magazines. Being the London correspondent for The Dial magazine[14] and a college friend of its co-owner and co-editor, Scofield Thayer, The Dial was an ideal choice. Even though The Dial offered $150 (£34)[15] for the poem (25% more than its standard rate) Eliot was offended that a year's work would be valued so low, especially since another contributor was found to have been given exceptional compensation for a short story.[16] The deal with The Dial almost fell through (other magazines considered were the Little Review and Vanity Fair), but with Pound's efforts eventually a deal was worked out where, in addition to the $150, Eliot would be awarded The Dial's second annual prize for outstanding service to letters. The prize carried an award of $2,000 (£450).[17]
In New York in the late summer (with John Quinn, a lawyer and literary patron, representing Eliot's interests) Boni and Liveright made an agreement with The Dial allowing the magazine to be the first to publish the poem in the US if they agreed to purchase 350 copies of the book at discount from Boni and Liveright.[18] Boni and Liveright would use the publicity of the award of The Dial's prize to Eliot to increase their initial sales.
The poem was first published in the UK, without the author's notes, in the first issue (October 1922) of The Criterion, a literary magazine started and edited by Eliot. The first appearance of the poem in the US was in the November 1922 issue of The Dial magazine (actually published in late October). In December 1922, the poem was published in the US in book form by Boni and Liveright, the first publication to print the notes. In September 1923, the Hogarth Press, a private press run by Eliot's friends Leonard and Virginia Woolf, published the first UK book edition of The Waste Land in an edition of about 450 copies, the type handset by Virginia Woolf.
The publication history of The Waste Land (as well as other pieces of Eliot's poetry and prose) has been documented by Donald Gallup.[1]
Eliot, whose 1922 annual salary at Lloyds Bank was £500 ($2,215)[19] made approximately £630 ($2,800) with The Dial, Boni and Liveright and Hogarth Press publications.[20][F]
Title[edit]
Eliot originally considered entitling the poem He do the Police in Different Voices.[21] In the version of the poem Eliot brought back from Switzerland, the first two sections of the poem—'The Burial of the Dead' and 'A Game of Chess'—appeared under this title. This strange phrase is taken from Charles Dickens' novel Our Mutual Friend, in which the widow Betty Higden says of her adopted foundling son Sloppy, "You mightn't think it, but Sloppy is a beautiful reader of a newspaper. He do the Police in different voices." Some critics use this working title to support the theory that, while there are many different voices (speakers) in the poem, there is only one central consciousness. What was lost by the rejection of this title Eliot might have felt compelled to restore by commenting on the commonalities of his characters in his note about Tiresias, stating that 'What Tiresias sees, in fact, is the substance of the poem.'
In the end, the title Eliot chose was The Waste Land. In his first note to the poem he attributes the title to Jessie L. Weston's book on the Grail legend, From Ritual to Romance. The allusion is to the wounding of the Fisher King and the subsequent sterility of his lands; to restore the King and make his lands fertile again, the Grail questor must ask, "What ails you?" A poem strikingly similar in theme and language called "Waste Land," written by Madison Cawein, was published in 1913 in Poetry.[22]
The poem's title is often mistakenly given as "Waste Land" (as used by Weston) or "Wasteland", omitting the definite article. However, in a letter to Ezra Pound, Eliot politely insisted that the title was three words beginning with "The".[23]
Structure[edit]
The epigraph and dedication to The Waste Land showing some of the languages that Eliot used in the poem: Latin, Greek, English and Italian.
The poem is preceded by a Latin and Greek epigraph from The Satyricon of Petronius. In English, it reads: "I saw with my own eyes the Sibyl of Cumae hanging in a jar, and when the boys said, Sibyl, what do you want? she replied I want to die."
Following the epigraph is a dedication (added in a 1925 republication) that reads "For Ezra Pound: il miglior fabbro". Here Eliot is both quoting line 117 of Canto XXVI of Dante's Purgatorio, the second cantica of the Divine Comedy, where Dante defines the troubadour Arnaut Daniel as "the best smith of the mother tongue", and also Pound's title of chapter 2 of his The Spirit of Romance (1910) where he translated the phrase as "the better craftsman".[24] This dedication was originally written in ink by Eliot in the 1922 Boni & Liveright edition of the poem presented to Pound; it was subsequently included in future editions.[25]
The five parts of The Waste Land are entitled:
The Burial of the Dead
A Game of Chess
The Fire Sermon
Death by Water
What the Thunder Said
The Waste Land
Problems playing this file? See media help.
The text of the poem is followed by several pages of notes, purporting to explain his metaphors, references, and allusions. Some of these notes are helpful in interpreting the poem, but some are arguably even more puzzling, and many of the most opaque passages are left unannotated. The notes were added after Eliot's publisher requested something longer to justify printing The Waste Land in a separate book.[G] Thirty years after publishing the poem with these notes, Eliot expressed his regret at "having sent so many enquirers off on a wild goose chase after Tarot cards and the Holy Grail".[26]
There is some question as to whether Eliot originally intended The Waste Land to be a collection of individual poems (additional poems were supplied to Pound for his comments on including them) or to be considered one poem with five sections.
The structure of the poem is also meant to loosely follow the vegetation myth and Holy Grail folklore surrounding the Fisher King story as outlined by Jessie Weston in her book From Ritual to Romance (1920). Weston's book was so central to the structure of the poem that it was the first text that Eliot cited in his "Notes on the Waste Land".
Style[edit]
The style of the poem is marked by the hundreds of allusions and quotations from other texts (classic and obscure; "highbrow" and "lowbrow") that Eliot peppered throughout the poem. In addition to the many "highbrow" references and/or quotes from poets like Baudelaire, Shakespeare, Ovid, and Homer, Eliot also included a couple of references to "lowbrow" genres. A good example of this is Eliot's quote from the 1912 popular song "The Shakespearian Rag" by lyricists Herman Ruby and Gene Buck.[27] There were also a number of lowbrow references in the opening section of Eliot's original manuscript (when the poem was entitled "He Do The Police in Different Voices"), but they were removed from the final draft after Eliot cut this original opening section.[28]
The style of the work in part grows out of Eliot's interest in exploring the possibilities of dramatic monologue. This interest dates back at least as far as "The Love Song of J. Alfred Prufrock". The Waste Land is not a single monologue like "Prufrock". Instead, it is made up of a wide variety of voices (sometimes in monologue, dialogue, or with more than two characters speaking).
The Waste Land is notable for its seemingly disjointed structure, indicative of the Modernist style of James Joyce's Ulysses (which Eliot cited as an influence and which he read the same year that he was writing The Waste Land).[29] In the Modernist style, Eliot jumps from one voice or image to another without clearly delineating these shifts for the reader. He also includes phrases from multiple foreign languages (Latin, Greek, Italian, German, French and Sanskrit), indicative of Pound's influence.
Sources[edit]
Sources from which Eliot quotes, or to which he alludes, include the works of Homer, Sophocles, Petronius, Virgil, Ovid,[30] Saint Augustine of Hippo, Dante Alighieri, William Shakespeare, Edmund Spenser, Gérard de Nerval, Thomas Kyd, Geoffrey Chaucer, Thomas Middleton, John Webster, Joseph Conrad, John Milton, Andrew Marvell, Charles Baudelaire, Richard Wagner, Oliver Goldsmith, Hermann Hesse, Aldous Huxley, Paul Verlaine, Walt Whitman and Bram Stoker.
Eliot also makes extensive use of Scriptural writings including the Bible, the Book of Common Prayer, the Hindu Brihadaranyaka Upanishad, and the Buddha's Fire Sermon, and of cultural and anthropological studies such as Sir James Frazer's The Golden Bough and Jessie Weston's From Ritual to Romance (particularly its study of the Wasteland motif in Celtic mythology). Eliot wrote in the original head note that "Not only the title, but the plan and a good deal of the incidental symbolism of the poem were suggested by Miss Jessie L Weston"[H] The symbols Eliot employs, in addition to the Waste Land, include the Fisher King, the Tarot Deck, the Chapel perilous, and the Grail Quest.
See also[edit]
1922 in poetry, year of first publication
References[edit]
Notes[edit]
^ The title is sometimes mistakenly written as The Wasteland.
^ Due to a line counting error Eliot footnoted some of the last lines incorrectly (with the last line being given as 433). The error was never corrected and a line count of 433 is often cited.
^ Eliot's note for this line reads: "Shantih. Repeated as here, a formal ending to an Upanishad. 'The Peace which passeth understanding' is our equivalent to this word."
^ For a short account of the Eliot/Quinn correspondence about The Waste Land and the history of the drafts see Eliot 1971 pp. xxii–xxix.
^ For an account of the poem's publication and the politics involved see Lawrenre Rainey's "The Price of Modernism: Publishing The Waste Land". The latest (and cited) version can be found in: Rainey 2005 pp. 71–101. Other versions can be found in: Bush 1991 pp. 91–111 and Eliot 2001 pp. 89–111
^ Unskilled labour worth $2,800 in 1922 would cost about $125,300 in 2006.[31]
^ Eliot discussing his notes: "[W]hen it came time to print The Waste Land as a little book—for the poem on its first appearance in The Dial and in The Criterion had no notes whatever—it was discovered that the poem was inconveniently short, so I set to work to expand the notes, in order to provide a few more pages of printed matter, with the result that they became the remarkable exposition of bogus scholarship that is still on view to-day."[32]
^ This headnote can be found in most critical editions that include Eliot's own notes.
^ Compare Eliot's 1920 poem Burbank with a Baedeker: Bleistein with a Cigar.
Citations[edit]
^ Jump up to: a b Gallup 1969 pp. 29–31, 208
Jump up ^ Low, Valentine (9 October 2009). "Out of the waste land: TS Eliot becomes nation's favourite poet". Timesonline. Retrieved 6 June 2011.
Jump up ^ Bennett, Alan (12 July 2009). "Margate's shrine to Eliot's muse". The Guardian. Retrieved 1 September 2009.
Jump up ^ Forster, pp. 89–96
Jump up ^ Eliot 1988, p. 451
^ Jump up to: a b Aldington p. 261
Jump up ^ Eliot 1971 p. xxii
Jump up ^ Eliot 1971 p. xxix
Jump up ^ Ellmann, Richard (1990). A Long the Riverrun: Selected Essays. New York: Vintage. p. 69. ISBN 0679728287. Retrieved 20 September 2017.
Jump up ^ https://www.sfu.ca/~scheel/english338/eliot.htm
Jump up ^ Hart-Davis, Rupert (1998) [First ed. published]. Halfway to Heaven: Concluding memoirs of a literary life. Stroud Gloucestershire: Sutton. pp. 54–55. ISBN 0-7509-1837-3.
Jump up ^ Eliot 1988, p. 498
Jump up ^ Book royalty deal: Rainey, p. 77
Jump up ^ T. S. Eliot's "London Letters" to The Dial, viewed 28 February 2008.
Jump up ^ 1922 US dollars per British pound exchange rate: Officer
Jump up ^ The Dial's initial offer: Rainey, p. 78.
Jump up ^ The Dial magazine's announcement of award to Eliot, viewed 28 February 2008
Jump up ^ Dial purchasing books: Rainey, p. 86. Rainey adds that this increased the cost to The Dial by $315.
Jump up ^ Eliot's 1922 salary: Gordon 2000 p. 165
Jump up ^ Total income from poem: Rainey, p. 100
Jump up ^ Eliot 1971 p. 4
Jump up ^ January 1913. "January 1913 : Poetry Magazine". Poetryfoundation.org. Retrieved 21 November 2012.
Jump up ^ Eliot 1988 p. 567.
Jump up ^ Pound 2005 p. 33
Jump up ^ Wilhelm 1990 p. 309
Jump up ^ Wild goose chase: Eliot 1961
Jump up ^ North, Michael. The Waste Land: Authoritative Text, Contexts, Criticism. New York: W. W. Norton & Co., 2001, p. 51.
Jump up ^ Eliot, T. S. (1971) The Waste Land: A Facsimile and Transcript of the Original Drafts Including the Annotations of Ezra Pound Edited and with an Introduction by Valerie Eliot, Harcourt Brace & Company, ISBN 0-15-694870-2
Jump up ^ MacCabe, Colin. T. S. Eliot. Tavistock: Northcote House, 2006.
Jump up ^ Dirk Weidmann: And I Tiresias have foresuffered all.... In: LITERATURA 51 (3), 2009, S. 98–108.
Jump up ^ Williamson 2007
Jump up ^ Eliot 1986 pp. 109–10
Cited works[edit]
Aldington, Richard (1941). Life for Life's Sake. The Viking Press.
Bush, Ronald (1991). T. S. Eliot. Cambridge: Cambridge University Press. ISBN 0-521-39074-5.
Eliot, T.S. (1961) "The Frontiers of Criticism" in On Poetry and Poets. New York: Noonday Press.
Eliot, T. S. (1971) The Waste Land: A Facsimile and Transcript of the Original Drafts Including the Annotations of Ezra Pound Edited and with an Introduction by Valerie Eliot, Harcourt Brace & Company, ISBN 0-15-694870-2
Eliot, T. S. (1988) The Letters of T. S. Eliot, vol. 1. Harcourt, Brace Jovanovich
Eliot, T. S. (1986) "The Frontiers of Criticism" in On Poetry and Poets London: Faber and Faber Ltd., London ISBN 0-571-08983-6
Eliot, T.S. (2001). The Waste Land. New York: W. W. Norton. ISBN 0-393-97499-5.
Forster, E.M. (1964). Abinger Harvest (PDF). New York: Harcourt, Brace & World, Inc.
Gallup, Donald (1969). T. S. Eliot: A Bibliography (A Revised and Extended Edition). New York: Harcourt, Brace & World.
Gordon, Lyndall (2000). T. S. Eliot: An Imperfect Life. New York: W. W. Norton & Company. ISBN 0-393-32093-6.
Officer, Lawrence H. (2008) "Dollar-Pound Exchange Rate From 1791", MeasuringWorth.com
Pound, Ezra (2005). The Spirit of Romance. New Directions. ISBN 0-8112-1646-2.
Rainey, Lawrence (2005). Revisiting The Waste Land. New Haven: Yale University Press. ISBN 0-300-10707-2.
Wilhelm, James J. (1990). Ezra Pound in London and Paris, 1908–1925. Pennsylvania State University Press. ISBN 0-271-00682-X.
Weidmann, Dirk. And I Tiresias have foresuffered all: More Than Allusions to Ovid in T.S.Eliot's The Waste Land?. In: LITERATURA 51 (3), 2009, pp. 98–108.
Williamson, Samuel H. (2007) "Five Ways to Compute the Relative Value of a U.S. Dollar Amount, 1790 – 2006", MeasuringWorth.Com
Primary sources[edit]
Eliot, T. S. (1963). Collected Poems, 1909–1962. New York: Harcourt, Brace & World. ISBN 0-15-118978-1.
The Waste Land: A Facsimile and Transcript of the Original Drafts Including the Annotations of Ezra Pound by T. S. Eliot, annotated and edited by Valerie Eliot. (Faber and Faber, 1971) ISBN 0-571-09635-2 (Paperback ISBN 0-571-11503-9)
Secondary sources[edit]
Ackroyd, Peter (1984). T. S. Eliot. London: Hamish Hamilton. ISBN 0-241-11349-0.
Bedient, Calvin (1986). He Do the Police in Different Voices. Chicago: University of Chicago Press. ISBN 0-226-04141-7.
Bloom, Harold (2003). Genius: a Mosaic of One Hundred Exemplary Creative Minds. New York: Warner Books. ISBN 0-446-69129-1.
Brooker, Jewel; Joseph Bentley (1990). Reading the Waste Land: Modernism and the Limits of Interpretation. Amherst: University of Massachusetts Press. ISBN 0-87023-803-5.
Claes, Paul, A Commentary on T.S. Eliot's Poem The Waste Land: The Infertility Theme and the Poet's Unhappy Marriage, Lewiston N.Y.: Edwin Mellen Press, 2012.
Drew, Elizabeth (1949). T. S. Eliot: The Design of His Poetry. New York: Charles Scribner's Sons.
Gish, Nancy (1988). The Waste Land: A Student's Companion to the Poem. Boston: Twayne. ISBN 0-8057-8023-8.
Miller, James (1977). T. S. Eliot's Personal Waste Land. University Park: Pennsylvania State University Press. ISBN 0-271-01237-4.
Moody, A. David (1994). The Cambridge Companion to T. S. Eliot. Cambridge: Cambridge University Press. ISBN 0-521-42127-6.
North, Michael (2000). The Waste Land (Norton Critical Editions). W. W. Norton. ISBN 0-393-97499-5.
Reeves, Gareth (1994). T. S. Eliot's The Waste Land. New York: Harvester Wheatsheaf. ISBN 0-7450-0738-4.
Southam, B. C. (1996). A Guide to the Selected Poems of T. S. Eliot. San Diego: Harcourt Brace. ISBN 0-15-600261-2.
External links[edit]
Wikisource has original text related to this article:
The Waste Land
Poem itself
The Waste Land at Project Gutenberg
Complete annotated poem
The Waste Land at the British Library
Annotated versions
Critical essay on The Waste Land @ the Yale Modernism Lab
Exploring The Waste Land
Hypertext version of The Waste Land with sources
He Do the Police in Different Voices, a Website for Exploring Voices in The Waste Land
Recordings
Audio of T.S. Eliot reading the poem
The Waste Land public domain audiobook at LibriVox
BBC audio file. Discussion of The Waste Land and Eliot on BBC Radio 4's programme In our time.
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Bibliography
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"The Love Song of J. Alfred Prufrock"
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"Whispers of Immortality"
"Gerontion"
The Waste Land
"The Hollow Men"
Ash Wednesday
Ariel Poems
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A Song for Simeon
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"Growltiger's Last Stand"
Burnt Norton
East Coker
The Dry Salvages
Little Gidding
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Plays
Sweeney Agonistes
The Rock
Murder in the Cathedral
The Family Reunion
The Cocktail Party
The Confidential Clerk
The Elder Statesman
Prose
Selected Essays, 1917-1932
"Hamlet and His Problems"
"Tradition and the Individual Talent"
The Sacred Wood
A Choice of Kipling's Verse (1941)
"The Frontiers of Criticism"
Adaptations
CATS (1981 musical, 1998 film)
Publishing
The Criterion
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Related
Tom & Viv (1994 film)
People
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No Man's Land (1977)
Miss Margarida's Way (1978)
An Evening With Quentin Crisp (1979)
Request Concert (1981)
Whistler (1982)
La Tragedie de Carmen (1983)
The Garden of Earthly Delights (1985)
The Search for Signs of Intelligent Life in the Universe (1986)
Largely New York (1989)
Nouvelle Expérience (1991)
Tubes (1992)
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Stomp (1994)
The Waste Land (1997)
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George O'Malley
From Wikipedia, the free encyclopedia
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George O'Malley
Grey's Anatomy character
The Season 4 promotional photo of T. R. Knight as Dr. George O'Malley
First appearance
"A Hard Day's Night" (1.01)
March 27, 2005
Last appearance
"Now or Never" (5.24)
May 14, 2009
(as a series regular)
"Good Mourning" (6.01)
September 24, 2009
(stand-in)
Created by
Shonda Rhimes
Portrayed by
T. R. Knight
Information
Full name
George O'Malley
Occupation
Surgical resident at Seattle Grace Hospital
Title
M.D
Family
Louise O'Malley (mother)
Harold O'Malley (father, deceased)
Jerry and Ronnie O'Malley (brothers)
Spouse(s)
Callie Torres (divorced)
Significant other(s)
Olivia Harper

Izzie Stevens

Meredith Grey
Religion
Catholicism
George O'Malley, M.D. is a fictional character from the medical drama television series Grey's Anatomy, which airs on the American Broadcasting Company (ABC) in the United States. The character was created by series producer Shonda Rhimes, and was portrayed by actor T. R. Knight from 2005 to 2009. Introduced as a surgical intern at the fictional Seattle Grace Hospital, O'Malley worked his way up to resident level, while his relationships with his colleagues Meredith Grey (Ellen Pompeo), Cristina Yang (Sandra Oh), Izzie Stevens (Katherine Heigl) and Alex Karev (Justin Chambers) formed a focal point of the series. O'Malley married Callie Torres (Sara Ramirez) whom he later separated with to pursue a relationship with Izzie Stevens. O'Malley also had entertained a romantic interest with Meredith Grey and Olivia Harper (Sarah Utterback).
Knight auditioned for the show, expecting a one-season run. In 2007, Knight's co-star Isaiah Washington (Preston Burke) insulted him with a homophobic slur, which resulted in the termination of Washington's Grey's Anatomy contract. In 2009, after the conclusion of the fifth season, it was confirmed that Knight would not be returning for the show's sixth season. The actor stated the reason for his departure was due to a "breakdown in communication" with Rhimes, his character's lack of screen time, as well as his decision to come out as openly gay. Knight received generally positive reviews for his performance as O'Malley, and garnered a nomination for Outstanding Supporting Actor in a Drama Series at the 59th Primetime Emmy Awards. Despite this, his death received mixed feedback.
Contents
1 Storylines
2 Development
2.1 Casting and creation
2.2 Characterization
3 Reception
4 References
5 External links
Storylines[edit]
George O'Malley is introduced as a fellow surgical intern to Meredith Grey (Ellen Pompeo), Cristina Yang (Sandra Oh), Izzie Stevens (Katherine Heigl) and Alex Karev (Justin Chambers); the five of them working under Miranda Bailey (Chandra Wilson). O'Malley and Stevens move in with Meredith, for whom he has romantic feelings but did not express them due to his fear of rejection and the fact that she and one of the attendings Derek Shepherd (Patrick Dempsey) had a mutual interest in one another. On the first day of internship, O'Malley is selected by chief of cardiothoracic surgery Preston Burke (Isaiah Washington) as the first intern to perform surgery. He freezes in the operating room, and is mocked by his peers, and earns the nickname "007" because of almost killing a patient in such a simple operation (referring to James Bond's "licence to kill"). O'Malley dates nurse Olivia Harper (Sarah Utterback), breaking up with her when he contracts syphilis from her, which she in turn contracted from Karev. His friendship with Karev is further strained when the two become trapped in an elevator with a patient who begins to bleed out. Karev freezes, and O'Malley is able to save the patient single-handedly. He goes on to admit his feelings to Meredith, and the two have a one-night stand. When Meredith tells him that sleeping together was a mistake, O'Malley begins avoiding her and starts dating orthopedic surgeon Callie Torres (Sara Ramirez).
During a camping trip, O'Malley learns that Torres has slept with chief of plastic surgery Mark Sloan (Eric Dane), and also discovers that Burke is experiencing tremors in his hand. When O'Malley's father is diagnosed with esophageal cancer and a leaking aortic valve, he refuses to allow Burke to operate on him, instead contacting Erica Hahn (Brooke Smith), Burke's medical school rival. His relationship with Torres is strained when he confronts her about sleeping with Sloan, but he allows her to support him through his father's deteriorating health. Complications from his father's surgery leave him in multi-system organ failure, and his life support is turned off. In an attempt to overcome his grief, O'Malley elopes with Callie to Las Vegas. He later begins to feel that he was mistaken to marry her, and sleeps with Stevens while intoxicated. Stevens confesses that she is in love with him, so O'Malley considers transferring to a different hospital so he can be faithful to his wife. However, he is ineligible to transfer after failing the intern exams. O'Malley decides to repeat his intern year, and confesses to Torres that he slept with Stevens, leading the two to separate. O'Malley and Stevens embark on a short-lived relationship, only to discover there is no real chemistry between them.
O'Malley moves in with new intern Lexie Grey (Chyler Leigh), Meredith's half-sister. Lexie and O'Malley discover that he only failed his exam by a single point, leading him to confront Richard Webber (James Pickens, Jr.), the chief of surgery, to ask for a chance to retake the exam. He passes the second attempt, and begins to distance himself from Lexie, who has fallen in love with him. O'Malley supports Stevens when she discovers she has melanoma, and walks her down the aisle as she marries Karev. O'Malley begins to display a talent for trauma surgery, and is told by the chief of trauma surgery Owen Hunt (Kevin McKidd) that it is definitely his specialty. He then abruptly and inexplicably decides to join the U.S. Army. While his friends at the hospital prepare an intervention to convince O'Malley to stay, they all work on a severely disfigured John Doe, brought in after a horrible bus accident, in which he pushed a woman out of the way and saved her life. O’Malley writes on Meredith’s hand "007" and she realizes it is her friend George. She runs to tell the other surgeons and they rush him to surgery. However, he flatlines and is ultimately declared braindead. There is confusion on if John Doe is really George and Callie confirms by a freckle on his hand. His organs are donated after Stevens confirms that is what O'Malley would have wanted, and he is buried a week later.
Development[edit]
Casting and creation[edit]
T. R. Knight expected a short career with Grey's Anatomy.
T. R. Knight signed on for the pilot as O'Malley, expecting that the role might be short-lived, because he liked that the character was multi-faceted.[1] In October 2006, news reports surfaced that Washington had insulted Knight with a homophobic slur,[2] during an argument with Patrick Dempsey (Derek Shepherd). Shortly after, the details of the argument became public, and Knight later disclosed that the slur made him come out as gay.[3] "I was under no delusions," Knight said at the time. "My friends on the set knew. We talked about it. Publicly it's not my thing to call up People magazine and be like, 'Hey, you want to know something about me?'...I could've just let it slide and not said anything, but it became important. It became important to make the statement."[3] The situation seemed somewhat resolved when Washington issued a statement, apologizing for his "unfortunate use of words during the recent incident on-set".[4]
Isaiah Washington insulted T. R. Knight with a homophobic slur.
At the 64th Golden Globe Awards, while being interviewed on the red carpet, Washington joked, "I love gay. I wanted to be gay. Please let me be gay."[5] Later, Washington claimed he never used the slur, labeling it "vile".[6][7] In June 2007, it was reported that the American Broadcasting Company (ABC) and Shonda Rhimes had chosen not to renew Washington's contract with the show,[8] not immediately specifying a reason.[9] In a subsequent interview, Washington claimed that "they fired the wrong guy" (referring to Knight), and said he was considering filing a lawsuit as a result. He accused Knight of using the controversy to bolster his own career and increase his salary on Grey's Anatomy.[10]
On July 2, 2007, Washington appeared on Larry King Live, to present his side of the controversy. According to Washington, he never used the "F Word" in reference to Knight, but rather blurted it out in an unrelated context in the course of an argument "provoked" by Dempsey, who he felt was treating him like a "B-word", a "P-word", and the "F-word", which Washington said conveyed "somebody who is being weak and afraid to fight back".[11] In 2009, Rhimes told Entertainment Weekly that she may not have handled the incident correctly, stating: "I wasn't interested in what anybody thought publicly. I was interested in what was going on right here on the ground...with the people I work with every day. Did I do it perfectly? Of course not. This is my first television show. It was a learning experience."[12] Knight said that Rhimes was among those for discouraging him to come out, however Rhimes said: "I remember saying [to fellow executive producer], 'This is our proudest day here. T.R. got to come out and I got to say to him that it wouldn't affect his character' because he was concerned he was going to come out and George would suddenly be gay. [...] The idea that a gay actor can't play a straight man is insulting."[12]
In December 2008, reports speculated that Knight requested to be released from his contract and that "they were working out the details" at that time. In June 2009, after the conclusion of the fifth season of Grey's Anatomy, it was confirmed that Knight would not be returning for the show's sixth season.[13] The actor stated the reason for his departure was due to a "breakdown in communication" with Rhimes,[14] O'Malley's lack of screen time, as well as his decision to be openly gay.[15] Prior to the official announcement of his departure, there was speculation that the role of O'Malley would be recast,[16] but Rhimes labeled it as a "hilarious, ridiculous rumor".[16] After the confirmation of his exit, Knight told TV Guide: "Leaving Grey's Anatomy was not an easy decision for me to make. I am extremely grateful to have had the opportunity to play this character and will miss my fellow cast and crew very much. I continue to wish them the very best, and wholeheartedly thank all of the fans who have supported me and the show with such passion and enthusiasm."[17] In a statement confirming Knight's departure, Rhimes said: "I think I speak for the entire Grey's Anatomy family when I say we wish T.R. Knight the best in his future endeavors. He is an incredibly talented actor and a person whose strength of character is admired by all of us."[17]
"There are ebbs and flows. And every season is shaped differently. With George, I really wanted you to not notice that he wasn't there for most of this episode. I don't think anybody noticed because of the way we laid it out this season. And, actually, he was really lovely and elegant about lying there in all that very painful makeup and prosthetics for much of the episode with no words. That moment where he grabs Meredith's hand is one of the most affecting moments of the episode, and it was without words."
—Rhimes on Knight's lack of screen time in season five[18]
In an interview with Entertainment Weekly, Rhimes said she tried to talk him out of quitting, explaining: "I looked in his face and he was really sure. It felt like the right thing for him."[12] However, in another interview, Knight said of his exit: "My five-year experience proved to me that I could not trust any answer that was given [about O'Malley]."[19] Knight was "at peace" with his departure, saying: "There just comes a time when it's so clear that moving on is the best decision." However, Heigl tried to talk Knight out of leaving, saying: "I didn't think it was the right decision. I felt like some of the problems could be worked through. But by the time it came to fruition, I was [glad] for him because he was ready to go."[19] On the topic of losing a US$14 million contract, Knight commented: "From an outsider's perspective, I get the [impression that] 'He's just a spoiled actor, he doesn’t know how good he has it.' There are a lot of people who would like to be in my position. But in the end, I need to be fulfilled in my work."[19]
Characterization[edit]
O'Malley was characterized a "hapless naif".[20] On the topic of O'Malley's longtime crush on Meredith in the second season, Knight said: "What's going to be very interesting to see is what he's going to do with Meredith. It's getting close to time. Whatever he chooses to do will inform who he is the rest of his life."[21] After their sexual encounter occurred onscreen, Knight said in an interview with Maureen Ryan of the Chicago Tribune: "George wasn't really paying full attention. He was letting his own feelings override his respect for Meredith. A person really clued in would get that there wasn't anything coming back, but he was so in his head about it and caught up in his own feelings that he wasn't listening. It's not just that he loves her...it's a kind of selfish love he had for her." He also added that, "I think George has a lot of growing up to do. Part of that is making horrible, stupid mistakes. He's been pretty sheltered."[22]
Katherine Heigl's (left) and Ellen Pompeo's (right) characters both have short-lived relationships with O'Malley.
Series writer Stacy McKee said of the sexual encounter: "There's no turning back. There's nothing George and Meredith can do. The damage is done – things will never be the same. They've just changed something important in their lives forever."[23] When asked if O'Malley was becoming more assertive, Knight said:
“ I think that's very true, especially since the elevator scene. The first time we saw George, he failed at an appendectomy, he failed very publicly. In the elevator scene, if he hadn't been in that elevator, if they had been in any other place, he would have let someone else step in and deal with it. The fact that it was only George and Alex forced him to act, it was either that or let this man die. He stepped up because he had to.[22] ”
Knight also commented that the character does not appreciate himself and his positive traits.[22] On the topic of O'Malley performing open heart surgery in an elevator, Knight said: "It's a slow change but he's starting to realize, 'The way I have been doing things is not working.' The big thing about the open-heart surgery in the elevator was he was forced into it. He needs to be kind of kicked in the (butt) to do these things."[21]
Knight felt a parallel to George in that his "confidence isn't always at its absolute highest", but overall he sees more differences than similarities. However, when the actor starts to think he is so different from O'Malley, an awkward move can suggest otherwise. "I was walking, doing a scene with Katherine Heigl. I finished my line with her, and then I walked straight into the light stand."[21] Critical of her affair with O'Malley, Knight's co-star Heigl explained: "They really hurt somebody, and they didn't seem to be taking a lot of responsibility for it. I have a really hard time with that kind of thing. I'm maybe a little too black and white about it."[24] Speaking of O'Malley's relationship with Lexie, Rhimes offered her insight: "I love them as friends. They make good friends. We all have that friend we met in school or the gym or somewhere – we just hit it off right away. And right away there was no pretense or airs. Just pure honesty. That's Lexie and George. They're really good friends and I can see the friendship evolving into something even greater."[25] When asked what his "favorite George moment" was, Knight said his relationships with Stevens and Bailey.[26]
Reception[edit]
Callie Torres' relationship with O'Malley was initially criticized.
Fans were "widely against" O'Malley's affair with Meredith in the second season,[22] however certain fans who supported their relationship were critical when Torres was introduced as a love interest for him.[27][28] Fans and critics were also against O'Malley's relationship with Stevens in the fourth season;[29] Maclean's said: "George must die. He's slept with virtually everyone except the male cast and has been in love with virtually everyone except the male cast. And he's not that great of a doctor. Evolve or die."[30] Christopher Monfette of IGN said O'Malley and Stevens were a "mismatch", adding: "Unfortunately, while it's refreshing to see a plotline driven by activity versus apathy, the idea of these two ever-affable, best-friend characters suddenly discovering their potential, out-of-nowhere love for each other quickly feels both force-fed and emotionally-incorrect."[31] Similarly, DVD Verdict stated that George and Izzie were "one of the strongest 'best friend' vibes on television" for the first three seasons, explaining "they were perfect as friends [while] George and Callie made a good couple."[32] UGO.com put the two on their list of "Character Couples Who Should Have Never Happened".[33]
Jennifer Armstrong of Entertainment Weekly said that when O'Malley told Torres about his affair with Stevens, the scene was too "melodramatic".[34] Laura Burrows, also of IGN, said that the fourth-season premiere "introduced a new side of George".[35] Armstrong said of O'Malley and Stevens' reconciliation: "George and Izzie are finally on the old Grey's Anatomy road to ruin. And I admit this is a good lesson in Grey's viewing as well as life: Sit tight if you hate something, as nothing is permanent."[36] Armstrong also commented that the "sparkling" friendship development between Lexie and O'Malley "won her over".[37] The following year, Monfette observed of O'Malley's lack of screen time: "His growing interest in trauma surgery at the side of Owen leads to an interesting development in the finale, but the character is virtually side-lined this season."[38] Carina MacKenzie of the Los Angeles Times said of the character's death: "The time-lapse episode was an interesting choice, and though we sped through six weeks of mourning in two hours, it didn't feel rushed to me. I'm not sure the show could have held my attention for another season of crippling sadness."[39]
The Huffington Post's Michael Pascua commented that O'Malley's funeral did not live up to his expectations, writing that it "wasn't as sad as [he] thought it would be".[40] In 2006, Knight and the other cast of Grey's Anatomy were nominated for Outstanding Performance by an Ensemble in a Drama Series, at the 12th Screen Actors Guild Awards.[41] Also in 2006, the cast won the award for Best Cast – Television Series at the 11th Satellite Awards.[42] The cast won the award for Outstanding Performance by an Ensemble in a Drama Series at the 13th Screen Actors Guild Awards,[43] and were nominated again the following year.[44] Knight's performance in season three earned him a nomination for Outstanding Supporting Actor in a Drama Series at the 59th Primetime Emmy Awards.[45]
References[edit]
Specific
Jump up ^ T.R. Knight (2007). Grey's Anatomy – T.R. Knight On Auditioning. Paley Center. Event occurs at 0:30–1:20. Retrieved May 26, 2012.
Jump up ^ Edward, Wyatt (January 22, 2007). "Anatomy of an Insult: ABC Is Stung by an Actor's Anti-Gay Slurs". The New York Times. Retrieved August 26, 2012.
^ Jump up to: a b Nudd, Tim (January 17, 2007). "T.R. Knight: Isaiah Washington's Slur Made Me Come Out". People. Retrieved August 30, 2012.
Jump up ^ "Exclusive: Isaiah Washington Apologizes". People. October 25, 2006. Retrieved August 26, 2012.
Jump up ^ The Associated Press (January 17, 2007). "Isaiah Washington: "I Love Gay"". Access Hollywood. Archived from the original on January 20, 2007. Retrieved January 17, 2007.
Jump up ^ "T.R. Knight: 'Isaiah Washington Did Use the 'F Word'". Hollywood.com. January 17, 2007. Retrieved August 26, 2012.
Jump up ^ "Grey's Anatomy Show Creator Speaks Out About Anti-Gay Controversy". Yahoo! Voices. January 24, 2007. Archived from the original on July 28, 2014. Retrieved August 26, 2012. [unreliable source?]
Jump up ^ Jensen, Michael (June 8, 2007). "Isaiah Washington Fired from Grey's Anatomy". AfterElton.com. Archived from the original on November 5, 2012. Retrieved August 26, 2012.
Jump up ^ "ABC drops Washington from Grey's Anatomy". Canadian Broadcasting Corporation. June 8, 2007. Retrieved June 8, 2007.
Jump up ^ "Grey's star says they fired the wrong guy", Houston Chronicle. June 21, 2007. Retrieved September 2, 2012.
Jump up ^ "Interview transcript" July 2, 2007. Cable News Network.
^ Jump up to: a b c Hernandez, Greg (July 27, 2009). "T.R. Knight: More of Entertainment Weekly interview". Retrieved August 30, 2012.
Jump up ^ Ausiello, Michael (June 17, 2009). "It's official: T.R. Knight exits 'Grey's Anatomy' – Inside TV". Entertainment Weekly. Retrieved August 25, 2012.
Jump up ^ Ausiello, Michael (July 23, 2009). "T.R. Knight reveals why he left 'Grey's Anatomy'". Cable News Network. Archived from the original on November 15, 2012. Retrieved August 25, 2012.
Jump up ^ "T.R. Knight: Leaving Grey's Anatomy Was the "Best Decision"". Us Weekly. July 23, 2009. Retrieved August 25, 2012.
^ Jump up to: a b Mitovich, Matt (May 28, 2009). "Grey's Anatomy T.R. Knight Rumors Ripped as "Ridiculous" "False"". TV Guide. Retrieved August 29, 2012.
^ Jump up to: a b Mitovich, Matt (19 June 2009). "T.R. Knight Speaks Out: "Leaving Grey's Anatomy Was Not Easy"". TV Guide. Retrieved 29 August 2012.
Jump up ^ Ausiello, Michael (May 15, 2009). "Exclusive='Grey's' boss on finale's Izzie-George shocker, Mer-Der 'wedding,' and more!". Entertainment Weekly. Retrieved August 29, 2012.
^ Jump up to: a b c Ausiello, Michael (July 23, 2009). "This week's cover: 'Grey's Anatomy' star T.R. Knight reveals why he left the hit show". Entertainment Weekly. Retrieved 27 August 2012.
Jump up ^ Fonseca, Nicholas (September 16, 2005). "Playing Doctors". Entertainment Weekly. Retrieved June 13, 2013.
^ Jump up to: a b c Keveney, Bill (February 16, 2006). "TV's top everymen". USA Today. Retrieved August 27, 2012.
^ Jump up to: a b c d Ryan, Maureen (March 10, 2006). "George speaks: A chat with T.R. Knight of 'Grey's Anatomy'". Chicago Tribune. Retrieved August 26, 2012.
Jump up ^ McKee, Stacy (February 26, 2006). "From Stacy McKee, writer of "What Have I Done To Deserve This?"". American Broadcasting Company. Grey Matter. Archived from the original on December 19, 2012. Retrieved June 19, 2012.
Jump up ^ Bennetts, Leslie (January 2008). "Heigl's Anatomy". Vanity Fair. Condé Nast Publications. Retrieved May 9, 2009.
Jump up ^ Rhimes, Shonda (June 2, 2008). "The End of the Beginning... Part II..." Grey Matter. American Broadcasting Company. Archived from the original on March 31, 2012. Retrieved June 19, 2012.
Jump up ^ "T.R. Knight talks 'Grey's Anatomy'". The Associated Press. February 15, 2006. Retrieved August 27, 2012.
Jump up ^ Yuan, Jada (September 18, 2006). "Belle Curves: Sara Ramirez". New York Magazine. New York Media, LLC. Retrieved June 18, 2012.
Jump up ^ Gans, Andrew (November 16, 2005). "Spamalot's Ramirez Lands Role on TV's "Grey's Anatomy"". Playbill. Philip S Birsh. Archived from the original on September 4, 2012. Retrieved June 18, 2012.
Jump up ^ "T.R. Knight pictures, Blog, Interviews, News, Trivia, Biography". BuddyTV. Retrieved August 26, 2012.
Jump up ^ Treble, Patricia (April 25, 2008). "Grey's Anatomy is on life support". Maclean's. Archived from the original on March 14, 2012. Retrieved July 7, 2012.
Jump up ^ Monfette, Christopher (June 18, 2007). "Grey's Anatomy: Season 3 Review". IGN. Retrieved August 26, 2012.
Jump up ^ Thomas, Jim (September 18, 2008). "Grey's Anatomy: Season Four". DVD Verdict. Archived from the original on December 16, 2012. Retrieved September 3, 2012.
Jump up ^ Fitzpatrick, Kevin (August 11, 2011). "Character Couples Who Should Have Never Happened – George O'Malley and Izzie Stevens -". UGO Networks. Archived from the original on August 6, 2012. Retrieved July 7, 2012.
Jump up ^ Armstrong, Jennifer (October 7, 2007). "Grey's Anatomy recap: Keeping Up With the Jonesing". Entertainment Weekly. Retrieved September 1, 2012.
Jump up ^ Burrows, Laura (May 27, 2008). "Grey's Anatomy: Season 4 Review". IGN. Retrieved August 26, 2012.
Jump up ^ Armstrong, Jennifer (November 9, 2007). "Grey's Anatomy recap: Bed Her Late, Then Never". Entertainment Weekly. Retrieved September 1, 2012.
Jump up ^ Armstrong, Jennifer (September 30, 2007). "When Girls Collide". Entertainment Weekly. p. 2. Retrieved June 20, 2012.
Jump up ^ Monfette, Chris (May 29, 2009). "Grey's Anatomy: Season 5 Review". IGN. Retrieved August 26, 2012.
Jump up ^ MacKenzie, Carina (September 25, 2009). "'Grey's Anatomy' premiere: Saying goodbye to George O'Malley". Los Angeles Times. Retrieved August 26, 2012.
Jump up ^ Pascua, Michael (September 25, 2009). "Grey's Anatomy: Good Mourning / Goodbye (season premiere)". The Huffington Post. Retrieved July 2, 2012.
Jump up ^ "12th Screen Actors Guild Awards". Screen Actors Guild. Retrieved September 1, 2012.
Jump up ^ "2006 Satellite Awards". Alt Film Guide. Retrieved September 1, 2012.
Jump up ^ "13th Screen Actors Guild Awards". Screen Actors Guild. Retrieved September 1, 2012.
Jump up ^ "14th Screen Actors Guild Awards". Screen Actors Guild. Retrieved September 1, 2012.
Jump up ^ "T.R. Knight". Primetime Emmy Awards. Retrieved September 1, 2012.
General
"Grey's Anatomy: Episode Recap Guide". ABC. Retrieved June 19, 2012.
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