Grant - T.S. Eliot (v.2): the critical heritage. Volume 2

I should like to express my gratitude to my colleague Professor R.A. Foakes, whose advice and encouragement have proved invaluable. I should also like to acknowledge my debt to the Library at the University of Kent and especially to Miss Enid Dixon. My thanks are due also to my secretary, Mrs Freda Vincent.

It has not always proved possible to locate the owners of copyright material. However, all possible care has been taken to trace ownership of the selections printed and to make full acknowledgment for their use. For permission to reprint, and for answering queries, thanks are due to the following: The Trustees of Amherst College for No. 100; Edward Arnold (Publishers) Ltd for No. 156, from E.M. Forster, Two Cheers for Democracy; Atlantic Monthly for No. 40 (Copyright 1923, by The Atlantic Monthly Company, Boston, Mass. Reprinted with permission); Brandt Brandt for Nos 7 and 57, reprinted from Collected Criticism of Conrad Aiken published by Oxford University Press; Cambridge University Press for Nos 138, 139 and 160; Carcanet Press Ltd for No. 50, from Edgell Rickword, Essays and Opinions 192131, ed. Alan Young; Chatto & Windus Ltd for Nos 83, 101 and 137, from D.W. Harding, Experience into Words; The Christian Century Foundation for No. 91 (Copyright 1935 Christian Century Foundation. Reprinted by permission from the 2 October 1935 issue of The Christian Century); Commonweal for No. 73; Contemporary Review Company Ltd for No. 163; J.M. Dent & Sons Ltd for No. 80; Dodd, Mead & Company for No. 25; The University of Durham for No. 171 by Nicholas Brooke, from Durham University Journal, March 1954, xlvi, 6670; Farrar, Straus & Giroux, Inc., for No. 30 (reprinted with the permission of Farrar, Straus & Giroux, Inc. Copyright 1922 by Edmund Wilson); George Firmage and Nancy T. Andrews for No. 22, from E.E. Cummings, A Miscellany (Copyright 1958 by E.E. Cummings); Helen Ransom Forman for No. 38; Dame Helen Gardner for No. 127; Horace Gregory for No. 115; the Guardian for Nos 45 and 151; A.M. Heath & Company Ltd and Mrs Sonia Brownell Orwell for No. 128; David Higham Associates Ltd for No. 142; Hodder & Stoughton Ltd for No. 64; The Hudson Review for No. 162, English Verse Drama (II): The Cocktail Party, by William Arrowsmith, reprinted by permission from The Hudson Review, vol. Ill, no. 3, Autumn, 1950 (Copyright 1950 by The Hudson Review, Inc.); Hutchinson Publishing Group Ltd for Nos 9 and 51; John Johnson for No. 72; James Kirkup for Nos 118 and 135; James Laughlin for No. 87; The Nation (New York) for Nos 23, 31, 89, 98, 145 and 181; New Blackfriars for Nos 81 and 133; New Directions Publishing Corporation for Nos 13 and 155, William Carlos Williams, Prologue, Little Review, vol. 6, May 1919, and Its About Your Life and Mine, Darling, New York Post, 12 March 1950 (All rights reserved. Reprinted by permission of New Directions, New York, Agents); New Directions Publishing Corporation and Faber & Faber Ltd for Nos 2 and 8, Ezra Pound, Drunken Helots and Mr. Eliot, Egoist, vol. 4, June 1917, and A Letter from Remy de Gourmont, Little Review, vol. 4, December 1917 (All rights reserved. Reprinted by permission of New Directions Publishing Corporation, New York, Agents for the Ezra Pound Literary Property Trust, and Faber & Faber Ltd); The New Leader for Nos 146 and 177, reprinted with permission from The New Leader, 14 August 1943 and 11 May 1959 (Copyright The American Labor Conference on International Affairs, Inc.); The New Republic for Nos 10, 20, 26, 34, 54, 56, 62, 97, 109 and 144; New Statesman for Nos 5, 15, 16, 19, 42, 46, 49, 53, 59, 67, 95, 105, 117, 134, 153, 167 and 172, from the Athenaeum, the Nation and Athenaeum and the New Statesman; New Statesman and Carcanet Press Ltd for No. 179, from Donald Davie, The Poet in the Imaginary Museum; New York Post for Nos 33 and 39, reprinted from the New York Post; The New York Times for Nos 28, 60, 143 and 164 ( 1922, 1930, 1943, 1952 by The New York Times Company. Reprinted by permission); Mrs Diana M. Oakeley for No. 93; The Observer for Nos 18 and 106; Ohio University Press and Allen Tate for No. 68, Allen Tate, Irony and Humility, from Collected Essays ( 1959); Partisan Review and William Barrett for No. 158 (Copyright April, 1950, by Partisan Review); Partisan Review and Cleanth Brooks for No. 112 (Copyright July, 1939, by Partisan Review); A.D. Peters & Co. Ltd for Nos 116 and 119 (reprinted by permission of A.D. Peters & Co. Ltd); Poetry for Nos 11, 21, 36, 69, 74 and 103 (Copyright 1918, 1920, 1923, 1931, 1933, 1937 by The Modern Poetry Association); Poetry and the Trustees of Amherst College for No. 126 (Copyright 1942 by The Modern Poetry Association); Poetry and Brandt & Brandt for No. 84, first published in Poetry (Copyright 1934 by The Modern Poetry Association), reprinted from Collected Criticism of Conrad Aiken published by Oxford University Press; Poetry and Mrs John Gould Fletcher for No. 147 (Copyright 1943 by The Modern Poetry Association); Poetry and Helen Ransom Forman for No. 114 (Copyright 1939 by The Modern Poetry Association); Poetry and Hugh Kenner for No. 178 (Copyright 1959 by The Modern Poetry Association); Poetry, New Directions Publishing Corporation, and Faber & Faber Ltd for No. 6, Ezra Pound, T.S. Eliot, from Poetry, vol. 10, August 1917 (Copyright 1917 by The Modern Poetry Association. All rights reserved. Reprinted by permission of the Editor of Poetry, New Directions Publishing Corporation, New York, Agents for the Ezra Pound Literary Property Trust, and Faber & Faber Ltd); Poetry and Mrs Alta Fisch Sutton for Nos 63 and 70 (Copyright 1930 1932 by The Modern Poetry Association); Poetry and James Johnson Sweeney for No. 140 (Copyright 1943 by The Modern Poetry Association); The Poetry Society for Nos 121 and 123; Kathleen Raine for No. 129; Saturday Review for Nos 65, 90, 165, 173 and 180; the Sewanee Review for No. 170, Bonamy Dobre, The Confidential Clerk, from the Sewanee Review, 62 (Winter 1954) (Copyright 1954 by the University of the South, reprinted by permission of the Editor); Janet Adam Smith for No. 108; The Society for Promoting Christian Knowledge for No. 78; The Society for Promoting Christian Knowledge and M.C. Bradbrook for Nos 125 and 136; The Society of Authors as the literary representative of the Estate of John Middleton Murry for No. 52; Southern Review for Nos 99, 120 and 122; Spectator for Nos 86, 94, 159, 166 and 175; Father E.J. Stormon, S.J., for No. 150, from Meanjin; Studies for No. 176; The Tablet for Nos 79, 132 and 154; Times Newspapers Ltd for Nos 82 and 96, reproduced from The Sunday Times, and for Nos 3, 14, 17, 27, 41, 76, 85, 104, 131, 157 and 161, reproduced from The Times Literary Supplement by permission; Louis Untermeyer for Nos 24 and 32; Weidenfeld & Nicolson Ltd and A.P. Watt and Son for No. 169; John Weightman for Nos 168 and 174; The Yale Review for Nos 92 and 111, from The Yale Review (Copyright Yale University Press); The Yale Review and Louis Untermeyer for Nos 102 and 148, from The Yale Review (Copyright Yale University Press).

25 March 1939, no. 1938, 176

Mr. Eliot must be admired for his persistence in making experiments for a modern verse drama. The box-office success of Murder in the Cathedral may have given him an unexpected and fortunate filip. It is possible, indeed, that he, more than other poets on the scene at the moment, may establish an altered theatre. His work is ritualistic, a thing which will be increasingly appropriate, without doubt, in the coming years. Yet, strangely enough, in his new play, The Family Reunion (produced at the Westminster Theatre this week), he clings in the text to naturalism of surface and the naturalistic time. For all the versification, he may be said to have hardly broken with the main tenets of Shaftesbury Avenue.