Part 2 of 2
The Hollow MenThe Hollow Men appeared in 1925. For the critic Edmund Wilson, it marked "The nadir of the phase of despair and desolation given such effective expression in The Waste Land."[64] It is Eliot's major poem of the late 1920s. Similar to Eliot's other works, its themes are overlapping and fragmentary.
Post-war Europe under the Treaty of Versailles (which Eliot despised), the difficulty of hope and religious conversion, Eliot's failed marriage.[65]
Allen Tate perceived a shift in Eliot's method, writing, "The mythologies disappear altogether in The Hollow Men." This is a striking claim for a poem as indebted to Dante as anything else in Eliot's early work, to say little of the modern English mythology—the "Old Guy Fawkes" of the Gunpowder Plot—or the colonial and agrarian mythos of
Joseph Conrad and James George Frazer, which, at least for reasons of textual history, echo in The Waste Land.[66] The "continuous parallel between contemporaneity and antiquity" that is so characteristic of his mythical method remained in fine form.[67] The Hollow Men contains some of Eliot's most famous lines, notably its conclusion:
This is the way the world ends
Not with a bang but a whimper.
Ash-WednesdayAsh-Wednesday is the first long poem written by Eliot after his 1927 conversion to Anglicanism. Published in 1930, it deals with the struggle that ensues when one who has lacked faith acquires it. Sometimes referred to as Eliot's "conversion poem", it is richly but ambiguously allusive, and deals with the aspiration to move from spiritual barrenness to hope for human salvation. Eliot's style of writing in Ash-Wednesday showed a marked shift from the poetry he had written prior to his 1927 conversion, and his post-conversion style continued in a similar vein. His style became less ironic, and the poems were no longer populated by multiple characters in dialogue. Eliot's subject matter also became more focused on his spiritual concerns and his Christian faith.[68]
Many critics were particularly enthusiastic about Ash-Wednesday. Edwin Muir maintained that it is one of the most moving poems Eliot wrote, and perhaps the "most perfect", though it was not well received by everyone. The poem's groundwork of orthodox Christianity discomfited many of the more secular literati.[4][69]
Old Possum's Book of Practical CatsIn 1939, Eliot published a book of light verse, Old Possum's Book of Practical Cats ("Old Possum" was Ezra Pound's nickname for him). This first edition had an illustration of the author on the cover. In 1954, the composer Alan Rawsthorne set six of the poems for speaker and orchestra in a work titled Practical Cats. After Eliot's death, the book was adapted as the basis of the musical Cats by Andrew Lloyd Webber, first produced in London's West End in 1981 and opening on Broadway the following year.[70]
Four QuartetsEliot regarded Four Quartets as his masterpiece, and it is the work that led to his being awarded the Nobel Prize in Literature.[4] It consists of four long poems, each first published separately: Burnt Norton (1936), East Coker (1940), The Dry Salvages (1941) and Little Gidding (1942). Each has five sections. Although they resist easy characterisation,
each poem includes meditations on the nature of time in some important respect—theological, historical, physical—and its relation to the human condition. Each poem is associated with one of the four classical elements, respectively: air, earth, water, and fire.Burnt Norton is a meditative poem that begins with the narrator trying to focus on the present moment while walking through a garden, focusing on images and sounds like the bird, the roses, clouds, and an empty pool. The narrator's meditation leads him/her to reach "the still point" in which he doesn't try to get anywhere or to experience place and/or time, instead experiencing "a grace of sense". In the final section, the narrator contemplates the arts ("Words" and "music") as they relate to time. The narrator focuses particularly on the poet's art of manipulating "Words [which] strain, / Crack and sometimes break, under the burden [of time], under the tension, slip, slide, perish, decay with imprecision, [and] will not stay in place, / Will not stay still." By comparison, the narrator concludes that "Love is itself unmoving, / Only the cause and end of movement, / Timeless, and undesiring."
East Coker continues the examination of time and meaning, focusing in a famous passage on the nature of language and poetry. Out of darkness, Eliot offers a solution:
"I said to my soul, be still, and wait without hope."The Dry Salvages treats the element of water, via images of river and sea. It strives to contain opposites: "The past and future / Are conquered, and reconciled."
Little Gidding (the element of fire) is the most anthologised of the Quartets. Eliot's experiences as an air raid warden in the Blitz power the poem, and he imagines meeting Dante during the German bombing. The beginning of the Quartets ("Houses / Are removed, destroyed") had become a violent everyday experience; this creates an animation, where for the first time he talks of Love as the driving force behind all experience. From this background, the Quartets end with an affirmation of Julian of Norwich: "All shall be well and / All manner of thing shall be well."
The Four Quartets cannot be understood without reference to Christian thought, traditions, and history. Eliot draws upon the theology, art, symbolism and language of such figures as Dante, and mystics St. John of the Cross and Julian of Norwich. The "deeper communion" sought in East Coker, the "hints and whispers of children, the sickness that must grow worse in order to find healing", and the exploration which inevitably leads us home all point to the pilgrim's path along the road of sanctification.Since these proficients are still at a very low stage of progress, and follow their own nature closely in the intercourse and dealings which they have with God, because the gold of their spirit is not yet purified and refined, they still think of God as little children, and speak of God as little children, and feel and experience God as little children, even as Saint Paul says, because they have not reached perfection, which is the union of the soul with God. In the state of union, however, they will work great things in the spirit, even as grown men, and their works and faculties will then be Divine rather than human, as will afterwards be said. To this end God is pleased to strip them of this old man and clothe them with the new man, who is created according to God, as the Apostle says, in the newness of sense. He strips their faculties, affections and feelings, both spiritual and sensual, both outward and inward, leaving the understanding dark, the will dry, the memory empty and the affections in the deepest affliction, bitterness and constraint, taking from the soul the pleasure and experience of spiritual blessings which it had aforetime, in order to make of this privation one of the principles which are requisite in the spirit so that there may be introduced into it and united with it the spiritual form of the spirit, which is the union of love. All this the Lord works in the soul by means of a pure and dark contemplation, as the soul explains in the first stanza.
As a result of this, the soul feels itself to be perishing and melting away, in the presence and sight of its miseries, in a cruel spiritual death, even as if it had been swallowed by a beast and felt itself being devoured in the darkness of its belly, suffering such anguish as was endured by Jonas in the belly of that beast of the sea. For in this sepulchre of dark death it must needs abide until the spiritual resurrection which it hopes for.
This was also described by Job, who had had experience and, in these words: 'I, who was wont to be wealthy and rich, am suddenly undone and broken to pieces; He hath taken me by my neck; He hath broken me and set me up for His mark to wound me; He hath compassed me round about with His lances; He hath wounded all my loins; He hath not spared; He hath poured out my bowels on the earth; He hath broken me with wound upon wound; He hath assailed me as a strong giant; I have sewed sackcloth upon my skin and have covered my flesh with ashes; my face is become swollen with weeping and mine eyes are blinded.'
But there is another thing here that afflicts and distresses the soul greatly, which is that, as this dark night has hindered its faculties and affections in this way, it is unable to raise its affection or its mind to God, neither can it pray to Him, thinking, as Jeremias thought concerning himself, that God has set a cloud before it through which its prayer cannot pass. For it is this that is meant by that which is said in the passage referred to, namely: 'He hath shut and enclosed my paths with square stones.' And if it sometimes prays it does so with such lack of strength and of sweetness that it thinks that God neither hears it nor pays heed to it, as this Prophet likewise declares in the same passage, saying: 'When I cry and entreat, He hath shut out my prayer.' In truth this is no time for the soul to speak with God; it should rather put its mouth in the dust, as Jeremias says, so that perchance there may come to it some present hope, and it may endure its purgation with patience. It is God who is passively working here in the soul; wherefore the soul can do nothing.
Until the Lord shall have completely purged it after the manner that He wills, no means or remedy is of any service or profit for the relief of its affliction; the more so because the soul is as powerless in this case as one who has been imprisoned in a dark dungeon, and is bound hand and foot, and can neither move nor see, nor feel any favour whether from above or from below, until the spirit is humbled, softened and purified, and grows so keen and delicate and pure that it can become one with the Spirit of God, according to the degree of union of love which His mercy is pleased to grant it; in proportion to this the purgation is of greater or less severity and of greater or less duration.
Inasmuch as not only is the understanding here purged of its light, and the will of its affections, but the memory is also purged of meditation and knowledge, it is well that it be likewise annihilated with respect to all these things, so that that which David says of himself in this purgation may by fulfilled, namely: 'I was annihilated and I knew not.' For, in order that the soul may be divinely prepared and tempered with its faculties for the Divine union of love, it would be well for it to be first of all absorbed, with all its faculties, in this Divine and dark spiritual light of contemplation, and thus to be withdrawn from all the affections and apprehensions of the creatures, which condition ordinarily continues in proportion to its intensity. And thus, the simpler and the purer is this Divine light in its assault upon the soul, the more does it darken it, void it and annihilate it according to its particular apprehensions and affections, with regard both to things above and to things below.
And this is the characteristic of the spirit that is purged and annihilated with respect to all particular affections and objects of the understanding, that in this state wherein it has pleasure in nothing and understands nothing in particular, but dwells in its emptiness, darkness and obscurity, it is fully prepared to embrace everything to the end that those words of Saint Paul may be fulfilled in it: Nihil habentes, et omnia possidentes. [Google translate: Having nothing, and yet possessing all things.] For such poverty of spirit as this would deserve such happiness.
-- Dark Night of the Soul, by St. John of the Cross
PlaysWith the important exception of Four Quartets, Eliot directed much of his creative energies after Ash Wednesday to writing plays in verse, mostly comedies or plays with redemptive endings. He was long a critic and admirer of Elizabethan and Jacobean verse drama; witness his allusions to Webster, Thomas Middleton, William Shakespeare and Thomas Kyd in The Waste Land. In a 1933 lecture he said "Every poet would like, I fancy, to be able to think that he had some direct social utility . . . . He would like to be something of a popular entertainer, and be able to think his own thoughts behind a tragic or a comic mask. He would like to convey the pleasures of poetry, not only to a larger audience, but to larger groups of people collectively; and the theatre is the best place in which to do it."[71]
After The Waste Land (1922), he wrote that he was "now feeling toward a new form and style". One project he had in mind was writing a play in verse, using some of the rhythms of early jazz. The play featured "Sweeney", a character who had appeared in a number of his poems. Although Eliot did not finish the play, he did publish two scenes from the piece. These scenes, titled Fragment of a Prologue (1926) and Fragment of an Agon (1927), were published together in 1932 as Sweeney Agonistes. Although Eliot noted that this was not intended to be a one-act play, it is sometimes performed as one.[13]
A pageant play by Eliot called The Rock was performed in 1934 for the benefit of churches in the Diocese of London. Much of it was a collaborative effort; Eliot accepted credit only for the authorship of one scene and the choruses.[13] George Bell, the Bishop of Chichester, had been instrumental in connecting Eliot with producer E. Martin Browne for the production of The Rock, and later commissioned Eliot to write another play for the Canterbury Festival in 1935. This one, Murder in the Cathedral, concerning the death of the martyr, Thomas Becket, was more under Eliot's control. Eliot biographer Peter Ackroyd comments that "for [Eliot], Murder in the Cathedral and succeeding verse plays offered a double advantage; it allowed him to practice poetry but it also offered a convenient home for his religious sensibility."[33] After this, he worked on more "commercial" plays for more general audiences: The Family Reunion (1939), The Cocktail Party (1949), The Confidential Clerk, (1953) and The Elder Statesman (1958) (the latter three were produced by Henry Sherek and directed by E. Martin Browne[72]). The Broadway production in New York of The Cocktail Party received the 1950 Tony Award for Best Play. Eliot wrote The Cocktail Party while he was a visiting scholar at the Institute for Advanced Study.[73][74]
Regarding his method of playwriting, Eliot explained, "If I set out to write a play, I start by an act of choice. I settle upon a particular emotional situation, out of which characters and a plot will emerge. And then lines of poetry may come into being: not from the original impulse but from a secondary stimulation of the unconscious mind."[33]
Literary criticismEliot also made significant contributions to the field of literary criticism, strongly influencing the school of New Criticism. He was somewhat self-deprecating and minimising of his work and once said his criticism was merely a "by-product" of his "private poetry-workshop" But the critic William Empson once said, "I do not know for certain how much of my own mind [Eliot] invented, let alone how much of it is a reaction against him or indeed a consequence of misreading him. He is a very penetrating influence, perhaps not unlike the east wind."[75]
In his critical essay "Tradition and the Individual Talent", Eliot argues that art must be understood not in a vacuum, but in the context of previous pieces of art. "In a peculiar sense [an artist or poet] ... must inevitably be judged by the standards of the past."[76] This essay was an important influence over the New Criticism by introducing the idea that the value of a work of art must be viewed in the context of the artist's previous works, a "simultaneous order" of works (i.e., "tradition"). Eliot himself employed this concept on many of his works, especially on his long-poem The Waste Land.[77]
Also important to New Criticism was the idea—as articulated in Eliot's essay "Hamlet and His Problems"—of an "objective correlative", which posits a connection among the words of the text and events, states of mind, and experiences.[78] This notion concedes that a poem means what it says, but suggests that there can be a non-subjective judgment based on different readers' different—but perhaps corollary—interpretations of a work.
More generally, New Critics took a cue from Eliot in regard to his "'classical' ideals and his religious thought; his attention to the poetry and drama of the early seventeenth century; his deprecation of the Romantics, especially Shelley; his proposition that good poems constitute 'not a turning loose of emotion but an escape from emotion'; and his insistence that 'poets... at present must be difficult'."[79]
Eliot's essays were a major factor in the revival of interest in the metaphysical poets. Eliot particularly praised the metaphysical poets' ability to show experience as both psychological and sensual, while at the same time infusing this portrayal with—in Eliot's view—wit and uniqueness. Eliot's essay "The Metaphysical Poets", along with giving new significance and attention to metaphysical poetry, introduced his now well-known definition of "unified sensibility", which is considered by some to mean the same thing as the term "metaphysical".[80][81]His 1922 poem The Waste Land[82] also can be better understood in light of his work as a critic. He had argued that a poet must write "programmatic criticism", that is, a poet should write to advance his own interests rather than to advance "historical scholarship". Viewed from Eliot's critical lens, The Waste Land likely shows his personal despair about World War I rather than an objective historical understanding of it.[83]
Late in his career, Eliot focused much of his creative energy on writing for the theatre; some of his earlier critical writing, in essays such as "Poetry and Drama,"[84] "Hamlet and his Problems,"[78] and "The Possibility of a Poetic Drama,"[85] focused on the aesthetics of writing drama in verse.
Critical reception
Responses to his poetryThe writer Ronald Bush notes that Eliot's early poems like "The Love Song of J. Alfred Prufrock", "Portrait of a Lady", "La Figlia Che Piange", "Preludes", and "Rhapsody on a Windy Night" had "[an] effect [that] was both unique and compelling, and their assurance staggered [Eliot's] contemporaries who were privileged to read them in manuscript. [Conrad] Aiken, for example, marveled at 'how sharp and complete and sui generis the whole thing was, from the outset. The wholeness is there, from the very beginning.'"[2]
The initial critical response to Eliot's "The Waste Land" was mixed. Bush notes that the piece was at first correctly perceived as a work of jazz-like syncopation—and, like 1920s jazz, essentially iconoclastic."[2] Some critics, like Edmund Wilson, Conrad Aiken, and Gilbert Seldes thought it was the best poetry being written in the English language while others thought it was esoteric and wilfully difficult. Edmund Wilson, being one of the critics who praised Eliot, called him "one of our only authentic poets".[86] Wilson also pointed out some of Eliot's weaknesses as a poet. In regard to "The Waste Land", Wilson admits its flaws ("its lack of structural unity"), but concluded, "I doubt whether there is a single other poem of equal length by a contemporary American which displays so high and so varied a mastery of English verse."[86]
Charles Powell was negative in his criticism of Eliot, calling his poems incomprehensible.[87] And the writers of Time magazine were similarly baffled by a challenging poem like "The Waste Land".[88] John Crowe Ransom wrote negative criticisms of Eliot's work but also had positive things to say. For instance, though Ransom negatively criticised "The Waste Land" for its "extreme disconnection", Ransom was not completely condemnatory of Eliot's work and admitted that Eliot was a talented poet.[89]
Addressing some of the common criticisms directed against "The Waste Land" at the time, Gilbert Seldes stated, "It seems at first sight remarkably disconnected and confused... [however] a closer view of the poem does more than illuminate the difficulties; it reveals the hidden form of the work, [and] indicates how each thing falls into place."[90]
Eliot's reputation as a poet, as well as his influence in the academy, peaked following the publication of The Four Quartets. In an essay on Eliot published in 1989, the writer Cynthia Ozick refers to this peak of influence (from the 1940s through the early 1960s) as "the Age of Eliot" when Eliot "seemed pure zenith, a colossus, nothing less than a permanent luminary, fixed in the firmament like the sun and the moon".[91] But during this post-war period, others, like Ronald Bush, observed that this time also marked the beginning of the decline in Eliot's literary influence:
As Eliot's conservative religious and political convictions began to seem less congenial in the postwar world, other readers reacted with suspicion to his assertions of authority, obvious in Four Quartets and implicit in the earlier poetry. The result, fueled by intermittent rediscovery of Eliot's occasional anti-Semitic rhetoric, has been a progressive downward revision of his once towering reputation.[2]
Bush also notes that Eliot's reputation "slipped" significantly further after his death. He writes, "Sometimes regarded as too academic (William Carlos Williams's view), Eliot was also frequently criticized for a deadening neoclassicism (as he himself—perhaps just as unfairly—had criticized Milton). However, the multifarious tributes from practicing poets of many schools published during his centenary in 1988 was a strong indication of the intimidating continued presence of his poetic voice."[2]
Although Eliot's poetry is not as influential as it once was, notable literary scholars, like Harold Bloom[92] and Stephen Greenblatt,[93] still acknowledge that Eliot's poetry is central to the literary English canon. For instance, the editors of The Norton Anthology of English Literature write, "There is no disagreement on [Eliot's] importance as one of the great renovators of the English poetry dialect, whose influence on a whole generation of poets, critics, and intellectuals generally was enormous. [However] his range as a poet [was] limited, and his interest in the great middle ground of human experience (as distinct from the extremes of saint and sinner) [was] deficient." Despite this criticism, these scholars also acknowledge "[Eliot's] poetic cunning, his fine craftsmanship, his original accent, his historical and representative importance as the poet of the modern symbolist-Metaphysical tradition".[93]
Anti-SemitismThe depiction of Jews in some of Eliot's poems has led several critics to accuse him of anti-Semitism. This case has been presented most forcefully in a study by Anthony Julius: T. S. Eliot, Anti-Semitism, and Literary Form (1996).[94][95] In "Gerontion", Eliot writes, in the voice of the poem's elderly narrator, "And the jew squats on the window sill, the owner [of my building] / Spawned in some estaminet of Antwerp."[96] Another well-known example appears in the poem, "Burbank with a Baedeker: Bleistein with a Cigar". In this poem, Eliot wrote, "The rats are underneath the piles. / The jew is underneath the lot. / Money in furs."[97] Interpreting the line as an indirect comparison of Jews to rats, Julius writes: "The anti-Semitism is unmistakable. It reaches out like a clear signal to the reader." Julius's viewpoint has been supported by literary critics such as Harold Bloom,[98] Christopher Ricks,[99] George Steiner,[99] Tom Paulin[100] and James Fenton.[99]
In a series of lectures delivered at the University of Virginia in 1933, published under the title
After Strange Gods: A Primer of Modern Heresy (1934), Eliot wrote of societal tradition and coherence,
"What is still more important [than cultural homogeneity] is unity of religious background, and reasons of race and religion combine to make any large number of free-thinking Jews undesirable."[101] Eliot never re-published this book/lecture.[99] In his 1934 pageant play The Rock, Eliot distances himself from Fascist movements of the Thirties by caricaturing
Oswald Mosley's Blackshirts, who "firmly refuse/ To descend to palaver with anthropoid Jews".[102] The "new evangels"[102] of totalitarianism are presented as antithetic to the spirit of Christianity.
Craig Raine, in his books In Defence of T. S. Eliot (2001) and T. S. Eliot (2006), sought to defend Eliot from the charge of anti-Semitism. Reviewing the 2006 book, Paul Dean stated that he was not convinced by Raine's argument. Nevertheless, he concluded, "Ultimately, as both Raine and, to do him justice, Julius insist, however much Eliot may have been compromised as a person, as we all are in our several ways, his greatness as a poet remains."[99] In another review of Raine's 2006 book, the literary critic Terry Eagleton also questioned the validity of Raine's defence of Eliot's character flaws as well as the entire basis for Raine's book, writing, "Why do critics feel a need to defend the authors they write on, like doting parents deaf to all criticism of their obnoxious children? Eliot's well-earned reputation [as a poet] is established beyond all doubt, and making him out to be as unflawed as the Archangel Gabriel does him no favours."[103]
InfluenceEliot's influence extends beyond the English language. His work, in particular The Waste Land, The Hollow Men, and Ash Wednesday strongly influenced the poetry of two of the most significant post-War Irish language poets, Seán Ó Ríordáin and Máirtín Ó Díreáin, as well as The Weekend of Dermot and Grace (1964) by Eoghan O Tuairisc. Eliot additionally influenced, among many others, Virginia Woolf, Ezra Pound, Hart Crane, William Gaddis, Allen Tate, Ted Hughes, Geoffrey Hill, Seamus Heaney, Kamau Brathwaite,[104] Russell Kirk,[105] George Seferis (who in 1936 published a modern Greek translation of The Waste Land) and James Joyce.[106] Eliot's poetry also inspired the creation of musical works such as "The Burial" (2015).[107] This Progressive-Rock transposition by Banaau is made of five tracks: after a three-minute instrumental prologue, the remaining tracks—titled “Summer Surprised Us,” “What Are the Roots,” “Madame Sosostris,” and “Unreal City”—are all settings of the first part of The Waste Land.[108]
Honours and awardsBelow are a partial list of honours and awards received by Eliot or bestowed or created in his honour.
National or State HonoursThese honours are displayed in order of precedence based on Eliot's nationality and rules of protocol, not awarding date.
National or State Honours
Order of Merit (Commonwealth realms) ribbon.png Order of Merit United Kingdom 1948[109][110]
Presidential Medal of Freedom (ribbon).png Presidential Medal of Freedom United States 1964
Legion Honneur Officier ribbon.svg Officier de la Legion d'Honneur France 1951
Ordre des Arts et des Lettres Commandeur ribbon.svg Commandeur de l'Ordre des Arts et des Lettres France 1960
Literary awards• Nobel Prize in Literature "for his outstanding, pioneer contribution to present-day poetry" (1948)[6]
• Hanseatic Goethe Prize (of Hamburg) (1955)
• Dante Medal (of Florence) (1959)
Drama awards• Tony Award for Best Play: The Broadway production of The Cocktail Party (1950)
• 2 Tony Awards for his poems used in the musical Cats (1983)
Academic awards• Inducted into Phi Beta Kappa (1935)[111]
• Thirteen Honorary Doctorates (Including ones from Oxford, Cambridge, the Sorbonne, and Harvard)
Other honours• Eliot College of the University of Kent, England, named in his honour
• Celebrated on U.S. commemorative postage stamps
• Star on the St. Louis Walk of Fame
WorksSource: "T. S. Eliot Bibliography". Nobel Prize. Retrieved 25 February 2012.
Earliest works• Prose
o "The Birds of Prey" (a short story; 1905)[112]
o "A Tale of a Whale" (a short story; 1905)
o "The Man Who Was King" (a short story; 1905)[113]
o "The Wine and the Puritans" (review, 1909)
o "The Point of View" (1909)
o "Gentlemen and Seamen" (1909)
o "Egoist" (review, 1909)
• Poems
o "A Fable for Feasters" (1905)
o "[A Lyric:]'If Time and Space as Sages say'" (1905)
o "[At Graduation 1905]" (1905)
o "Song: 'If space and time, as sages say'" (1907)
o "Before Morning" (1908)
o "Circe's Palace" (1908)
o "Song: 'When we came home across the hill'" (1909)
o "On a Portrait" (1909)
o "Nocturne" (1909)
o "Humoresque" (1910)
o "Spleen" (1910)
o "[Class] Ode" (1910)
Poetry• Prufrock and Other Observations (1917)
o The Love Song of J. Alfred Prufrock
o Portrait of a Lady
o Preludes
o Rhapsody on a Windy Night
o Morning at the Window
o The Boston Evening Transcript (about the Boston Evening Transcript)
o Aunt Helen
o Cousin Nancy
o Mr. Apollinax
o Hysteria
o Conversation Galante
o La Figlia Che Piange
• Poems (1920)
o Gerontion
o Burbank with a Baedeker: Bleistein with a Cigar
o Sweeney Erect
o A Cooking Egg
o Le Directeur
o Mélange Adultère de Tout
o Lune de Miel
o The Hippopotamus
o Dans le Restaurant
o Whispers of Immortality
o Mr. Eliot's Sunday Morning Service
o Sweeney Among the Nightingales
• The Waste Land (1922)
• The Hollow Men (1925)
• Ariel Poems (1927–1954)
o Journey of the Magi (1927)
o A Song for Simeon (1928)
o Animula (1929)
o Marina (1930)
o Triumphal March (1931)
o The Cultivation of Christmas Trees (1954)
• Ash Wednesday (1930)
• Coriolan (1931)
• Old Possum's Book of Practical Cats (1939)
• The Marching Song of the Pollicle Dogs and Billy M'Caw: The Remarkable Parrot(1939) in The Queen's Book of the Red Cross
• Four Quartets (1945)
• Macavity:The Mystery Cat
Plays• Sweeney Agonistes (published in 1926, first performed in 1934)
• The Rock (1934)
• Murder in the Cathedral (1935)
• The Family Reunion (1939)
• The Cocktail Party (1949)
• The Confidential Clerk (1953)
• The Elder Statesman (first performed in 1958, published in 1959)
Non-fiction• Christianity & Culture (1939, 1948)
• The Second-Order Mind (1920)
• Tradition and the Individual Talent (1920)
• The Sacred Wood: Essays on Poetry and Criticism (1920)
o "Hamlet and His Problems"
• Homage to John Dryden (1924)
• Shakespeare and the Stoicism of Seneca (1928)
• For Lancelot Andrewes (1928)
• Dante (1929)
• Selected Essays, 1917-1932 (1932)
• The Use of Poetry and the Use of Criticism (1933)
• After Strange Gods (1934)
• Elizabethan Essays (1934)
• Essays Ancient and Modern (1936)
• The Idea of a Christian Society (1939)
• A Choice of Kipling's Verse (1941) made by Eliot, with an essay on Rudyard Kipling
• Notes Towards the Definition of Culture (1948)
• Poetry and Drama (1951)
• The Three Voices of Poetry (1954)
• The Frontiers of Criticism (1956)
• On Poetry and Poets (1943)
Posthumous publications[edit]
• To Criticize the Critic (1965)
• The Waste Land: Facsimile Edition (1974)
• Inventions of the March Hare: Poems 1909–1917 (1996)
Critical editions• Collected Poems, 1909–1962 (1963), excerpt and text search
• Old Possum's Book of Practical Cats, Illustrated Edition (1982), excerpt and text search
• Selected Prose of T.S. Eliot, edited by Frank Kermode (1975), excerpt and text search
• The Waste Land (Norton Critical Editions), edited by Michael North (2000) excerpt and text search
• Selected Essays (1932); enlarged (1960)
• The Letters of T. S. Eliot, edited by Valerie Eliot and Hugh Haughton, Volume 1: 1898–1922 (1988, revised 2009)
• The Letters of T. S. Eliot, edited by Valerie Eliot and Hugh Haughton, Volume 2: 1923–1925 (2009)
• The Letters of T. S. Eliot, edited by Valerie Eliot and John Haffenden, Volume 3: 1926–1927 (2012)
• The Letters of T. S. Eliot, edited by Valerie Eliot and John Haffenden, Volume 4: 1928–1929 (2013)
• The Letters of T. S. Eliot, edited by Valerie Eliot and John Haffenden, Volume 5: 1930–1931 (2014)
• The Letters of T. S. Eliot, edited by Valerie Eliot and John Haffenden, Volume 6: 1932–1933 (2016)
• The Letters of T. S. Eliot, edited by Valerie Eliot and John Haffenden, Volume 7: 1934–1935 (2017)
• The Letters of T. S. Eliot, edited by Valerie Eliot and John Haffenden, Volume 8: 1936–1938 (2019)
Notes1. Jewel Spears Brooker, Mastery and Escape: T.S. Eliot and the Dialectic of Modernism, University of Massachusetts Press, 1996, p. 172.
2. Bush, Ronald. "T. S. Eliot's Life and Career", in John A Garraty and Mark C. Carnes (eds), American National Biography. New York: Oxford University Press, 1999, via Modern American Poetry.
3. Sanna, Ellyn (2003). "Biography of T. S. Eliot". In Bloom, Harold. T.S. Eliot. Bloom's Biocritiques. Broomall: Chelsea House Publishing. pp. (3–44) 30.
4. "Thomas Stearns Eliot", Encyclopædia Britannica, accessed 7 November 2009.
5. "The Nobel Prize in Literature 1948". Nobelprize.org. Nobel Media. Retrieved 26 April 2013.
6. "The Nobel Prize in Literature 1948 – T.S. Eliot", Nobelprize.org, taken from Frenz, Horst (ed). Nobel Lectures, Literature 1901–1967. Amsterdam: Elsevier Publishing Company, 1969, accessed 6 March 2012.
7. Bush, Ronald, T. S. Eliot: The Modernist in History (New York, 1991), p. 72.
8. Literary St. Louis. Associates of St. Louis University Libraries, Inc. and Landmarks Association of St. Louis, Inc. 1969.
9. Worthen, John (2009). T.S. Eliot: A Short Biography. London: Haus Publishing. p. 9.
10. Sencourt, Robert (1971). T.S. Eliot, A Memoir. London: Garnstone Limited. p. 18.
11. Letter to Marquis Childs quoted in St. Louis Post Dispatch (15 October 1930) and in the address "American Literature and the American Language" delivered at Washington University in St. Louis (9 June 1953), published in Washington University Studies, New Series: Literature and Language, no. 23 (St. Louis: Washington University Press, 1953), p. 6.
12. Hall, Donald. The Art of Poetry No. 1, The Paris Review, Issue 21, Spring–Summer 1959, accessed 29 November 2011.
13. Gallup, Donald. T. S. Eliot: A Bibliography (A Revised and Extended Edition), Harcourt, Brace & World, New York, 1969.
14. Eliot, T.S. Poems Written in Early Youth, John Davy Hayward, ed. Farrar, Straus and Giroux, New York, 1967
15. Narita, Tatsushi, "The Young T. S. Eliot and Alien Cultures: His Philippine Interactions", The Review of English Studies, New Series, vol. 45, no. 180, 1994, pp. 523–525.
16. Narita, Tatsush, T. S. Eliot, The World Fair of St. Louis and "Autonomy", Nagoya: Kougaku Shuppan (2013), pp. 9–104.
17. Bush, Ronald, "The Presence of the Past: Ethnographic Thinking/ Literary Politics", in Elzar Barkan and Ronald Bush (eds), Prehistories of the Future, Stanford University Press,(1995), pp. 3–5; 25–31.
18. Marsh, Alex, and Elizabeth Daumer, "Pound and T. S. Eliot", American Literary Scholarship, 2005, p. 182.
19. Kermode, Frank. "Introduction" to The Waste Land and Other Poems, Penguin Classics, 2003.
20. Perl, Jeffry M., and Andrew P. Tuck. "The Hidden Advantage of Tradition: On the Significance of T. S. Eliot's Indic Studies", Philosophy East & West V. 35, No. 2, April 1985, pp. 116–131.
21. Seymour-Jones, Carole. Painted Shadow: The Life of Vivienne Eliot, First Wife of T. S. Eliot, Knopf Publishing Group, p. 1.
22. Worthen, John (2009). T.S. Eliot: A Short Biography. London: Haus Publishing. pp. 34–36.
23. For a reading of the dissertation, see Brazeal, Gregory (Fall 2007). "The Alleged Pragmatism of T.S. Eliot". Philosophy & Literature. 31 (1): 248–264. SSRN 1738642.
24. Eliot, T. S. The Letters of T. S. Eliot, Volume 1, 1898–1922. p. 75.
25. Richardson, John, Sacred Monsters, Sacred Masters. Random House, 2001, p. 20.
26. Seymour-Jones, Carole. Painted Shadow: A Life of Vivienne Eliot. Knopf Publishing Group, 2001, p. 17.
27. The Letters of T.S. Eliot: Volume 1, 1898–1922. London: Faber and Faber. 1988. p. 533.
28. Eliot, T. S. The Letters of T. S. Eliot, Volume 1, 1898–1922. London: Faber and Faber. 1988. p. xvii.
29. Ellmann, Richard. James Joyce. pp. 492–495.
30. Kojecky, Roger (1972). T. S. Eliot's Social Criticism. Faber & Faber. p. 55. ISBN 978-0571096923.
31. Jason Harding (31 March 2011). T. S. Eliot in Context. Cambridge University Press. p. 73. ISBN 978-1-139-50015-9. Retrieved 26 October 2017.
32. F B Pinion (27 August 1986). A T.S. Eliot Companion: Life and Works. Palgrave Macmillan UK. p. 32. ISBN 978-1-349-07449-5. Retrieved 26 October2017.
33. T.S. Eliot. Voices and Visions Series. New York Center of Visual History: PBS, 1988.[1]
34. plaque on interior wall of Saint Stephen's
35. obituary notice in Church and King, Vol. XVII, No. 4, 28 February 1965,−− p. 3.
36. Specific quote is "The general point of view [of the essays] may be described as classicist in literature, royalist in politics, and anglo-catholic [sic] in religion", in preface by T. S. Eliot to For Lancelot Andrewes: Essays on style and order(1929).
37. Books: Royalist, Classicist, Anglo-Catholic, 25 May 1936, Time.
38. Eliot, T. S. (1986). On Poetry and Poets. London: Faber & Faber. p. 209. ISBN 978-0571089833.
39. Radio interview on 26 September 1959, Nordwestdeutscher Rundfunk, as cited in Wilson, Colin (1988). Beyond the Occult. London: Bantam Press. pp. 335–336.
40. Seymour-Jones, Carole. Painted Shadow: A Life of Vivienne Eliot. Constable 2001, p. 561.
41. Bush, Ronald, T. S. Eliot: The Modernist in History 1991, p. 11: "Mary Trevelyan, then aged forty, was less important for Eliot's writing. Where Emily Hale and Vivienne were part of Eliot's private phantasmagoria, Mary Trevelyan played her part in what was essentially a public friendship. She was Eliot's escort for nearly twenty years until his second marriage in 1957. A brainy woman, with the bracing organizational energy of a Florence Nightingale, she propped the outer structure of Eliot's life, but for him she, too, represented .."
42. Surette, Leon, The Modern Dilemma: Wallace Stevens, T.S. Eliot, and Humanism, 2008, p. 343: "Later, sensible, efficient Mary Trevelyan served her long stint as support during the years of penitence. For her their friendship was a commitment; for Eliot quite peripheral. His passion for immortality was so commanding that it allowed him to ..."
43. Haldar, Santwana, T. S. Eliot – A Twenty-first Century View 2005, p. xv: "Details of Eliot's friendship with Emily Hale, who was very close to him in his Boston days and with Mary Trevelyan, who wanted to marry him and left a riveting memoir of Eliot's most inscrutable years of fame, shed new light on this period in...."
44. "Valerie Eliot", The Telegraph, 11 November 2012. Retrieved 1 July 2017.
45. Gordon, Lyndall. T. S. Eliot: An Imperfect Life. Norton 1998, p. 455.
46. Gordon, Jane. "The University of Verse", The New York Times, 16 October 2005; Wesleyan University Press timeline Archived 1 December 2010 at the Wayback Machine, 1957.
47. Lawless, Jill (11 November 2012). "T.S. Eliot's widow Valerie Eliot dies at 86". Associated Press via Yahoo News. Retrieved 12 November 2012.
48. Grantq, Michael (1997). Books on Google Play T.S. Eliot: The Critical Heritage, Volume 1. Psychology Press. p. 55. ISBN 9780415159470.
49. McSmith, Andy (16 March 2010). "Famous names whose final stop was Golders Green crematorium". The Independent. Retrieved 3 January 2018.
50. Premier (2014). "National Poetry Day on Premier 2013 - Premier". Premier. Retrieved 27 February 2018.
51. Jenkins, Simon (6 April 2007). "East Coker does not deserve the taint of TS Eliot's narcissistic gloom". The Guardian. Retrieved 3 January 2018.
52. "Thomas Stearns Eliot". westminster-abbey.org. Retrieved 1 December2016.
53. "T. S. Eliot Blue Plaque". openplaques.org. Retrieved 23 November 2013.
54. Eliot, T. S. "Letter to J. H. Woods, April 21, 1919." The Letters of T. S. Eliot, vol. I. Valerie Eliot (ed.), New York: Harcourt Brace, 1988, p. 285.
55. "T. S. Eliot: The Harvard Advocate Poems". Theworld.com. Retrieved 3 August 2009.
56. Hall, Donald (Spring–Summer 1959). "The Art of Poetry No. 1" (PDF). The Paris Review. Archived from the original (PDF) on 3 October 2009. Retrieved 7 November 2009.
57. "T. S. Eliot and Indic Traditions: A Study in Poetry and Belief".
http://www.academia.edu. Retrieved 8 March 2016.
58. Mertens, Richard. "Letter By Letter" in The University of Chicago Magazine(August 2001). Retrieved 23 April 2007.
59. See, for example, Eliot, T. S. (21 December 2010). The Waste Land and Other Poems. Broadview Press. p. 133. ISBN 978-1-77048-267-8. Retrieved 27 February 2019. (citing an unsigned review in Literary World. 5 July 1917, vol. lxxxiii, 107.)
60. Waugh, Arthur. "The New Poetry", Quarterly Review, October 1916, p. 226, citing the Times Literary Supplement 21 June 1917, no. 805, 299; Wagner, Erica (2001), "An eruption of fury", The Guardian, letters to the editor, 4 September 2001. Wagner omits the word "very" from the quote.
61. Miller, James H., Jr. (2005). T. S. Eliot: the making of an American poet, 1888–1922. University Park, PA: Pennsylvania State University Press. pp. 387–388. ISBN 978-0-271-02681-7.
62. The Letters of T. S. Eliot, Vol. 1, p. 596.
63. MacCabe, Colin. T. S. Eliot. Tavistock: Northcote House, 2006.
64. Wilson, Edmund. "Review of Ash Wednesday", New Republic, 20 August 1930.
65. See, for instance, the biographically oriented work of one of Eliot's editors and major critics, Ronald Schuchard.
66. Grant, Michael (ed.). T. S. Eliot: the Critical Heritage. Routledge & Kegan Paul, 1982.
67. " 'Ulysses', Order, and Myth", Selected Essays T. S. Eliot (orig 1923).
68. Raine, Craig. T. S. Eliot (New York: Oxford University Press, 2006)
69. Untermeyer, Louis. Modern American Poetry. Hartcourt Brace, 1950, pp. 395–396.
70. "An introduction to Old Possum's Book of Practical Cats". The British Library. Retrieved 27 February 2018.
71. Eliot, T. S. The Use of Poetry and the Use of Criticism, Harvard University Press, 1933 (penultimate paragraph).
72. Darlington, W. A. (2004). "Henry Sherek". Oxford Dictionary of National Biography. Oxford University Press. Retrieved 27 July 2014.
73. T. S. Eliot at the Institute for Advanced Study, The Institute Letter, Spring 2007, p. 6.
74. Eliot, Thomas Stearns Archived 19 January 2015 at the Wayback Machine IAS profile.
75. quoted in Roger Kimball, "A Craving for Reality", The New Criterion Vol. 18, 1999.
76. Eliot, T. S. (1930). "Tradition and the Individual Talent". The Sacred Wood. Bartleby.com. Retrieved 3 August 2009.
77. Dirk Weidmann: And I Tiresias have foresuffered all.... In: LITERATURA 51 (3), 2009, pp. 98–108.
78. Eliot, T. S. (1921). "Hamlet and His Problems". The Sacred Wood. Bartleby.com. Retrieved 3 August 2009.
79. Burt, Steven and Lewin, Jennifer. "Poetry and the New Criticism". A Companion to Twentieth-Century Poetry, Neil Roberts, ed. Malden, Massachusetts: Blackwell Publishers, 2001. p. 154
80. "Project MUSE". Muse.jhu.edu. Retrieved 3 August 2009.
81. A. E. Malloch, "The Unified Sensibility and Metaphysical Poetry", College English, Vol. 15, No. 2 (Nov. 1953), pp. 95–101
82. Eliot, T. S. (1922). "The Waste Land". Bartleby.com. Retrieved 3 August2009.
83. "T. S. Eliot :: The Waste Land And Criticism". Encyclopædia Britannica. 4 January 1965. Retrieved 3 August 2009.
84. Eliot, T. S. (1 January 2000). Poetry And Drama. Faber And Faber Limited. Retrieved 26 January 2017 – via Internet Archive.
85. Eliot, T. S. (1921). "The Possibility of a Poetic Drama". The Sacred Wood: Essays on Poetry and Criticism. bartleby.com. Retrieved 26 January 2017.
86. Wilson, Edmund, "The Poetry of Drouth". The Dial 73. December 1922. 611-16.
87. Powell, Charles, "So Much Waste Paper". Manchester Guardian, 31 October 1923.
88. Time, 3 March 1923, 12.
89. Ransom, John Crowe. "Waste Lands". New York Evening Post Literary Review, 14 July 1923, pp. 825–26.
90. Seldes, Gilbert. "T. S. Eliot". Nation, 6 December 1922. 614–616.
91. Ozick, Cynthia (20 November 1989). "T.S. ELIOT AT 101". newyorker.com. Retrieved 1 December 2016.
92. Bloom, Harold. The Western Canon: Books and Schools of the Ages. NY: Riverhead, 1995.
93. Stephen Greenblatt, et al. (eds), The Norton Anthology of English Literature, Volume 2. "T.S. Eliot". New York,NY: W.W. Norton & Co.: NY, NY, 2000.
94. Gross, John. Was T.S. Eliot a Scoundrel?, Commentary magazine, November 1996
95. Anthony, Julius. T.S. Eliot, Anti-Semitism, and Literary Form. Cambridge University Press, 1996 ISBN 0-521-58673-9
96. Eliot, T. S. "Gerontion". Collected Poems. Harcourt, 1963.
97. Eliot, T. S. "Burbank with a Baedeker: Bleistein with a Cigar". Collected Poems. Harcourt, 1963.
98. Bloom, Harold (7 May 2010). "The Jewish Question: British Anti-Semitism". The New York Times. Retrieved 9 April 2012.
99. Dean, Paul (April 2007). "Academimic: on Craig Raine's T.S. Eliot". The New Criterion. Retrieved 7 June 2011.
100. Paulin, Tom, "Undesirable", London Review of Books, 9 May 1996.
101. Kirk, Russell. "T. S. Eliot on Literary Morals: On T. S. Eliot's After Strange Gods", Touchstone Magazine, volume 10, issue 4, Fall 1997.
102. T.S. Eliot, The Rock (London: Faber and Faber, 1934), 44.
103. Eagleton, Terry. "Raine's Sterile Thunder", Prospect Magazine, 22 March 2007.
104. Brathwaite, Kamau, "Roots", History of the Voice, Ann Arbor: University of Michigan Press, 1993, p. 286.
105. "www.beingpoet.com". Retrieved 1 December 2016.
106. Sorel, Nancy Caldwell (18 November 1995). "FIRST ENCOUNTERS : When James Joyce met TS Eliot". independent.co.uk. Retrieved 1 December 2016.
107. rdtprog. "The Burial". Prog Archives.
108. Chinitz, David (Summer 2016). "Public sightings - The music crept by me"(PDF). Time Present - The Newsletter of the T.S. Eliot Society. Number 89: 7.
109. "Poet T.S. Eliot Dies in London". This Day in History. Retrieved 16 February2012.
110. McCreery, Christopher (2005). The Order of Canada: Its Origins, History, and Development. University of Toronto Press. ISBN 9780802039408.
111. "Instagram photo by The Phi Beta Kappa Society • Jul 15, 2015 at 7:44pm UTC". instagram.com. Retrieved 1 December 2016.
112. The three short stories published in the Smith Academy Record (1905) have never been recollected in any form and have virtually been neglected.
113. As for a comparative study of this short story and Rudyard Kipling's "The Man Who Would Be King", see Tatsushi Narita, T. S. Eliot and his Youth as "A Literary Columbus" (Nagoya: Kougaku Shuppan, 2011), 21–30.
Further reading• Ackroyd, Peter. T. S. Eliot: A Life (1984).
• Ali, Ahmed. Mr. Eliot's Penny World of Dreams: An Essay in the Interpretation of T.S. Eliot's Poetry, Published for the Lucknow University by New Book Co., Bombay, P.S. King & Staples Ltd, Westminster, London, 1942, 138 pp.
• Asher, Kenneth T. S. Eliot and Ideology (1995).
• Bottum, Joseph, "What T. S. Eliot Almost Believed", First Things 55 (August/September 1995): 25–30.
• Brand, Clinton A. "The Voice of This Calling: The Enduring Legacy of T. S. Eliot", Modern Age Volume 45, Number 4; Fall 2003 online edition, conservative perspective.
• Brown, Alec. The Lyrical Impulse in Eliot's Poetry, Scrutinies, vol. 2.
• Bush, Ronald. T. S. Eliot: A Study in Character and Style (1984).
• Bush, Ronald, 'The Presence of the Past: Ethnographic Thinking/ Literary Politics'. In Prehistories of the Future, ed. Elzar Barkan and Ronald Bush, Stanford University Press (1995).
• Crawford, Robert. The Savage and the City in the Work of T. S. Eliot (1987).
• ---. Young Eliot: From St Louis to "The Waste Land" (2015).
• Christensen, Karen. "Dear Mrs. Eliot", The Guardian Review (29 January 2005).
• Dawson, J. L., P. D. Holland & D. J. McKitterick, A Concordance to "The Complete Poems and Plays of T.S. Eliot" Ithaca & London: Cornell University Press, 1995.
• Forster, E. M. Essay on T. S. Eliot, in Life and Letters, June 1929.
• Gardner, Helen. The Art of T. S. Eliot (1949).
• Gordon, Lyndall. T. S. Eliot: An Imperfect Life (1998).
• Guha, Chinmoy. Where the Dreams Cross: T. S. Eliot and French Poetry (2000, 2011).
• Harding, W. D. T. S. Eliot, 1925–1935, Scrutiny, September 1936: A Review.
• Hargrove, Nancy Duvall. Landscape as Symbol in the Poetry of T. S. Eliot. University Press of Mississippi (1978).
• ---. T. S. Eliot's Parisian Year. University Press of Florida (2009).
• Julius, Anthony. T. S. Eliot, Anti-Semitism, and Literary Form. Cambridge University Press (1995).
• Kenner, Hugh. The Invisible Poet: T. S. Eliot (1969).
• ---, editor, T. S. Eliot: A Collection of Critical Essays, Prentice-Hall (1962).
• Kirk, Russell Eliot and His Age: T. S, Eliot's Moral Imagination in the Twentieth Century (Introduction by Benjamin G. Lockerd Jr.). Wilmington: Intercollegiate Studies Institute, Republication of the revised second edition, 2008.
• Kojecky, Roger. T.S. Eliot's Social Criticism, Faber & Faber, Farrar, Straus, Giroux, 1972, revised Kindle edn. 2014.
• Lal, P. (editor), T. S. Eliot: Homage from India: A Commemoration Volume of 55 Essays & Elegies, Writer's Workshop Calcutta, 1965.
• The Letters of T. S. Eliot. Ed. Valerie Eliot. Vol. I, 1898–1922. San Diego [etc.], 1988. Vol. 2, 1923–1925. Edited by Valerie Eliot and Hugh Haughton, London: Faber, 2009. ISBN 978-0-571-14081-7
• Levy, William Turner and Victor Scherle. Affectionately, T. S. Eliot: The Story of a Friendship: 1947–1965 (1968).
• Matthews, T. S. Great Tom: Notes Towards the Definition of T. S. Eliot (1973)
• Maxwell, D. E. S. The Poetry of T. S. Eliot, Routledge and Kegan Paul (1960).
• Miller, James E., Jr. T. S. Eliot. The Making of an American Poet, 1888–1922. The Pennsylvania State University Press. 2005.
• North, Michael (ed.) The Waste Land (Norton Critical Editions). New York: W.W. Norton, 2000.
• Raine, Craig. T. S. Eliot. Oxford University Press (2006).
• Ricks, Christopher.T. S. Eliot and Prejudice (1988).
• Robinson, Ian "The English Prophets", The Brynmill Press Ltd (2001)
• Schuchard, Ronald. Eliot's Dark Angel: Intersections of Life and Art (1999).
• Scofield, Dr. Martin, "T.S. Eliot: The Poems", Cambridge University Press (1988).
• Seferis, George. "Introduction to T. S. Eliot" in Modernism/modernity 16:1 ([2]January 2009), 146–60.
• Sencourt, Robert. T. S. Eliot: A Memoir (1971)
• Seymour-Jones, Carole. Painted Shadow: A Life of Vivienne Eliot (2001).
• Sinha, Arun Kumar and Vikram, Kumar. T. S. Eliot: An Intensive Study of Selected Poems, New Delhi: Spectrum Books Pvt. Ltd (2005).
• Spender, Stephen. T. S. Eliot (1975)
• Spurr, Barry, Anglo-Catholic in Religion: T. S. Eliot and Christianity, The Lutterworth Press (2009)
• Tate, Allen, editor. T. S. Eliot: The Man and His Work (1966; republished by Penguin, 1971).
External links• Media from Wikimedia Commons
• Quotations from Wikiquote
• Texts from Wikisource
Biography• T. S. Eliot at the Poetry Foundation
• Biography From T. S. Eliot Lives' and Legacies
• Eliot family genealogy, including T. S. Eliot
• Eliot's grave
• T. S. Eliot at Find a Grave
• Lyndall Gordon, Eliot's Early Years, Oxford and New York: Oxford University Press, 1977, ISBN 978-0-19-812078-0.
• T. S. Eliot Profile, Poems, Essays at Poets.org
Works• official listing of T. S. Eliot's works with some available in full
• doollee.com listing of T S Eliot's works written for the stage
• Works by T. S. Eliot at Project Gutenberg
• Works by T. S. (Thomas Stearns) Eliot at Faded Page (Canada)
• Works by or about T. S. Eliot at Internet Archive
• Works by T. S. Eliot at LibriVox (public domain audiobooks)
• Poems by T.S. Eliot and biography at PoetryFoundation.org
• Text of early poems (1907–1910) printed in The Harvard Advocate
• T. S. Eliot Collection at Bartleby.com
• T.S. Eliot's Cats
Web sites• T. S. Eliot Society (UK) Resource Hub
• T. S. Eliot Hypertext Project
• Official (T. S. Eliot Estate) site
• T. S. Eliot Society (US) Home Page
Archives• "Archival material relating to T. S. Eliot". UK National Archives.
• Search for T.S. Eliot at Harvard University
• T. S. Eliot Collection at the Harry Ransom Center at the University of Texas at Austin
• T. S. Eliot Collection at Merton College, Oxford University
• T. S. Eliot collection at University of Victoria, Special Collections
Miscellaneous• Links to audio recordings of Eliot reading his work
• An interview with Eliot: Donald Hall (Spring–Summer 1959). "T. S. Eliot, The Art of Poetry No. 1". Paris Review.
• Yale College Lecture on T.S. Eliot audio, video and full transcripts from Open Yale Courses
• T S Eliot at the British Library
• Newspaper clippings about T. S. Eliot in the 20th Century Press Archives of the German National Library of Economics (ZBW)