from

A BIBLIOGRAPHY OF LITERARY THEORY, CRITICISM AND PHILOLOGY

http://www.unizar.es/departamentos/filologia_inglesa/garciala/bibliography.html

by Jos ngel GARCA LANDA (University of Zaragoza, Spain)

T. S. ELIOT

(1888-1965)

(US/British poet, critic and dramatist; b. St Louis, l. London; conservative social critic, modernist poet and critic, poetic dramatist; "classicist, angloCatholic and monarchic"; w. as poetry ed. for Faber and Faber; personal disgust with sex; m. socialite Vivienne Haigh-Wood who suffered from mental breakdown; remarried; Order of Merit 1948; Nobel Prize for Literature 1949; d. London)

Works Eliot, T. S. [Thomas Stearns] "Leibniz's Monads and Bradley's Finite Centres." In Eliot, Knowledge and Experience in the Philosophy of F. H. Bradley. London: Faber and Faber, 1964. 205-6. First published in The Monist (c. 1916). _____. "The Development of Leibniz's Monadism." In Eliot, Knowledge and Experience in the Philosophy of F. H. Bradley. London: Faber and Faber, 1964. 205-6. First published in The Monist (c. 1916). _____. "The Love Song of J. Alfred Prufrock." Poem. In Eliot, Prufrock and Other Observations. 1917. _____. "The Love Song of J. Alfred Prufrock." In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 11-16.* _____. "The Love Song of J. Alfred Prufrock." In The Arnold Anthology of British and Irish Literature in English. Ed. Robert Clark and Thomas Healy. London: Arnold, 1997. 1345-48.* _____. "The Love Song of J. Alfred Prufrock." In Perrine's Literature: Structure, Sound, and Sense. By Thomas R. Arp and Greg Johnson. 8th ed. Boston (MA): Thomson LearningHeinle & Heinle, 2002. 1010-14.* _____. "The Portrait of a Lady." Poem. In Eliot, Prufrock and Other Observations. 1917.

_____. "The Portrait of a Lady." In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 17-21.* _____. "Preludes." Poem. In Eliot, Prufrock and Other Observations. 1917. _____. "Preludes." Poem. In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 22-24.* _____. "Rhapsody on a Windy Night." Poem. In Eliot, Prufrock and Other Observations. 1917. _____. "Rhapsody on a Windy Night." In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 25-27.* _____. Prufrock and Other Observations. Poems. 1917. (Dedicated to "Jean Verdenal, 1889-1915, mort aux Dardanelles"). _____. "Tradition and the Individual Talent." 1919. In Eliot, The Sacred Wood. 1921. London: Methuen, 1986. _____. "Tradition and the Individual Talent." In Eliot, Selected Essays. 1932. 3rd ed. London: Faber and Faber, 1951. 13-22.* _____. "Tradition and the Individual Talent." In Eliot, Selected Essays. New York: Harcourt, Brace, 1950. _____. "Tradition and the Individual Talent." In Selected Essays. New ed. New York: Harcourt, Brace & World, 1960. _____. "Tradition and the Individual Talent." In Selected Essays. London: Faber and Faber, 1971. _____. "Tradition and the Individual Talent." In The Modern Critical Spectrum. Ed. Gerald Jay Goldberg and Nancy Marmer Goldberg. Englewood Cliffs (NJ): Prentice-Hall, 1962. 16268.* _____. "Tradition and the Individual Talent." In Selected Essays. London: Faber and Faber, 1963. _____. "Tradition and the Individual Talent." In 20th Century Literary Criticism: A Reader. Ed. David Lodge. London: Longman, 1972. 71-77.* _____. "Tradition and the Individual Talent." In Debating Texts. Ed. Rick Rylance. 6-11. _____. "Tradition and the Individual Talent." In Twentieth Century Literary Theory. Ed. Vassilis Lambropoulos and David Neal Miller. Albany: State U of New York P, 1987. 145-51.* _____. "Tradition and the Individual Talent." In Literary Criticism and Theory. Ed. R. C. Davis and L. Finke. London: Longman, 1989. 587-92.* _____. "Tradition and the Individual Talent." In Contemporary Literary Criticism: Literary and Cultural Studies. Ed. Robert

Con Davis and Ronald Schleifer. 3rd ed. White Plains (NY): Longman, 1994. 27-33.* _____. "Tradition and the Individual Talent." In Strong Words: Modern Poets on Modern Poetry. Ed. W. N. Herbert and Matthew Hollis. Tarset (Northumberland): Bloodaxe Books, 2000. 31-38.* _____. "Tradition and the Individual Talent / La tradicin y el talento individual." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 217-40.* _____. "Studies in Contemporary Criticism." The Egoist 5 (1918). _____. "Ben Jonson." 1919. In Eliot, Selected Essays. 3rd. ed. London: Faber, 1951. 147-60. _____. "Ben Jonson." 1919. In The Sacred Wood. 1920. 104-22. _____. "Ben Jonson." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 325-60.* _____. "Ben Jonson." In The Critical Perspective: Volume 3: Elizabethan-Caroline. Ed. Harold Bloom. (The Chelsea House Library of Literary Criticism). New York: Chelsea House, 1986. 1495-98.* _____. Christopher Marlowe. 1919. In Eliot, Selected Essays. 3rd. ed. London: Faber, 1951.* _____. "Notes on the Blank Verse of Christopher Marlowe / Notas sobre el verso blanco de Christopher Marlowe." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 291-308.* _____. "Hamlet." 1919. _____. "Hamlet." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 115-22.* _____. "Hamlet." In Eliot, Selected Essays. London: Faber and Faber, 1932. _____. "Hamlet and His Problems." From Selected Essays. New York: Harcourt, 1950. In Hamlet. Ed. Cyrus Hoy. 2nd ed. (Norton Critical Edition). New York: Norton, 1992. 180-84.* _____. "Hamlet." In Eliot, Selected Essays. 3rd ed. London: Faber and Faber, 1951. 141-6.* _____. "Hamlet." In Los poetas metafsicos y otros ensayos sobre teatro y religin. Trans. Sara Rubinstein. Buenos Aires: Emec, 1944. _____. "Hamlet and His Problems / Hamlet y sus problemas." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 309-24.*

_____. "'Rhetoric' and Poetic Drama / La 'retrica' y el teatro potico." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 277-90.* _____. "'Rhetoric' and Poetic Drama." 1919. Rpt. in Eliot, Selected Essays. 3rd ed. 37-42. _____. "A Brief Treatise on the Criticism of Poetry". Chapbook 2 (1920): 1-10. _____. "Gerontion." Poem. In Eliot, Poems. 1920. _____. "Gerontion." In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 31-33.* _____. "Burbank with a Baedeker: Bleistein with a Cigar." Poem. In Eliot, Poems. 1920. _____. "Burbank with a Baedeker: Bleistein with a Cigar." In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 34-35.* _____. "Sweeney Erect." Poem. In Eliot, Poems. 1920. _____. "Sweeney Erect." In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 36-37.* _____. "A Coooking Egg." Poem. In Eliot, Poems. 1920. _____. "A Cooking Egg." In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 38-39.* _____. "The Hippopotamus." Poem. In Eliot, Poems. 1920. _____. "The Hipoppotamus." In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 40-41.* _____. "Whispers of Immortality." Poem. In Eliot, Poems. 1920. _____. "Whispers of Immortality." In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 42-43.* _____. "Mr. Eliot's Sunday Morning Service." In Eliot, Poems. 1920. _____. "Mr. Eliot's Sunday Morning Service." In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 44-45.* _____. "Sweeney Among the Nightingales." Poem. In Eliot, Poems. 1920. _____. "Sweeney Among the Nightingales." In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 46-47.* _____. Poems. 1920. _____. "Prlogo del autor." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 115-22.* _____. "Introduction / Introduccin." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 123-34.*

_____. "Euripides and Professor Murray / Eurpides y el profesor Murray." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 263-76.* _____. "Euripides and Professor Murray." 1920. In Eliot, Selected Essays. 3rd ed. 59-64. _____. "Philip Massinger." In Eliot, The Sacred Wood. London: Methuen, 1986. _____. "Philip Massinger." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 361-400.* _____. "Philip Massinger." 1920. In Eliot, Selected Essays. 3rd ed. 205-20. _____. "Swinburne as Poet." 1920. In Eliot, The Sacred Wood. 1921. _____. "Swinburne as Poet / Swinburne como poeta." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 401-12.* _____. "Swinburne as Poet." In Eliot, Selected Essays. 3rd ed. 323-27. _____ . "The Perfect Critic." In Eliot, The Sacred Wood. London, 1920. Rpt. London: Methuen, 1986. _____. "The Perfect Critic / El crtico perfecto." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 135-62.* _____. "Imperfect Critics / Crticos imperfectos" In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 163-216.* _____. "Swinburne as Critic / Swinburne como crtico." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 163-76.* _____. "A Romantic Aristocrat / Un aristcrata romntico." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 177-90.* (George Wyndham). _____. "The Local Flavour / El sabor local." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 191-200.* _____. "A Note on the American Critic / Una nota sobre el crtico norteamericano." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 201-10.* _____. "The French Intelligence / La inteligencia francesa." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 211-16.*

_____. "The Possibility of a Poetic Drama / La posibilidad de un teatro potico." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 241-62.* _____. "Dante." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 427-49.* _____. "Blake." In Eliot, The Sacred Wood. London: Methuen, 1986. _____. "Blake." In Eliot, El bosque sagrado: Edicin bilinge. San Lorenzo de El Escorial (Madrid): Langre, 2004. 413-26.* _____. "William Blake." 1920. In Eliot, Selected Essays. 3rd ed. 31722. _____. The Sacred Wood: Essays on Poetry and Criticism. London, 1920. _____. The Sacred Wood. New York: Barnes. _____. The Sacred Wood: Essays on Poetry and Criticism. London: Methuen, 1928. 1986. _____. The Sacred Wood. London: Faber and Faber, 1950. _____. The Sacred Wood. London: Faber and Faber, 1997.* _____. The Sacred Wood. In Bartleby.com http://www.columbia.edu/acis/bartleby/eliot/index3.htm _____. The Sacred Wood. In T. S. Eliot: Resources http://myhome.naver.com/for_eliot/sacredwood/index.html 2008 _____. El bosque sagrado: Edicin bilinge. Ed. Jos Luis Palomares. Trans. Ignacio Rey Agudo. (Bilinges de base). San Lorenzo de El Escorial (Madrid): Langre, 2004.* _____. "Andrew Marvell." TLS (1921). In Eliot, Selected Essays. 1932. 3rd ed. London: Faber and Faber, 1951. 292-304.* _____. "The Modest and Impersonal Virtue." In Andrew Marvell: Poems. Ed. Arthur Pollard. (Casebooks series). Houndmills: Macmillan, 1980. 52-55.* _____. "John Dryden." 1921. In Eliot, Selected Essays. 3rd ed. 305-16. _____. "The Metaphysical Poets." Rev. of Metaphysical Lyrics and Poems of the Seventeenth Century: Donne to Butler, selected and edited, with an essay, by Herbert J. C. Grierson (Oxford: Clarendon Press). Times Literary Supplement, 20 October 1921. _____. "The Metaphysical Poets." 1921. In Eliot, Selected Essays 1917-1932. 1932. _____. "The Metaphysical Poets." In Eliot, Selected Essays. 3rd ed. London: Faber, 1951. 281-91. _____. "The Metaphysical Poets." In Selected Prose of T. S. Eliot. Ed. Frank Kermode. New York: Harcourt Brace Jovanovich, 1975.

_____. "The Metaphysical Poets." In T. S. Eliot: Resources http://myhome.naver.com/for_eliot/prose/metaphysical.htm 2008 _____. "Los poetas metafsicos." In Los poetas metafsicos y otros ensayos sobre teatro y religin. Trans. Sara Rubinstein. Buenos Aires: Emec, 1944. _____. "Religion and Literature." 1921. Rpt. in Eliot, Selected Essays. 3rd ed. 388-401. _____. The Waste Land. Poem. 1922. _____. The Waste Land. In Eliot, Poems 1909-25. London: Faber and Gwyn. _____. The Waste Land. London: Faber, 1969. _____. The Waste Land. In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 49-74.* _____. The Waste Land: A Facsimile and Transcript of the Original Drafts Including the Annotations of Ezra Pound. Ed. Valerie Eliot. London: Faber and Faber, 1971.* _____. La tierra balda. Bilingual ed. Trans. Jos Luis Palomares. Ed., introd. and notes Viorica Patea. (Letras Universales, 381). Madrid: Ctedra, 2005. _____. "The Function of Criticism." 1923. In Eliot, Points of View. 1941. _____. "The Function of Criticism." In Eliot, Selected Essays. 1932. 3rd ed. London: Faber and Faber, 1951. 23-34.* _____. "The Function of Criticism." In 20th Century Literary Criticism: A Reader. Ed. David Lodge. London: Longman, 1972. 77-84.* _____. "Lettre d'Angleterre" 3. Nouvelle revue franaise 11.1 (November 1923). _____. "Ulysses, Order and Myth." 1923. In Criticism: The Foundations of Modern Literary Judgment. In Ed. Mark Schorer J. Miles, and G. MacKenzie. 1948. New York: Harcourt, 1958. _____. "Ulysses, Order and Myth." In Eliot, Selected Prose. Ed. F. Kermode. London: Faber, 1975. _____. "Four Elizabethan Dramatists." 1924. In Eliot, Selected Essays. 3rd ed. 109-17. _____. Homage to John Dryden: Three Essays. 1924. _____. "Gerontion." Poem. In Eliot, Poems 1909-1925. _____. "Burbank with a Baedecker, Blestein with a Cigar."Poem. In Eliot, Poems 1909-1925.

_____. "Sweeney among the Nightingale." Poem. In Eliot, Poems 1909-25. _____. "The Hollow Men." Poem. 1925. In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 75-80.* _____. Poems 1909-25. London: Faber and Gwyn. _____. "Lancelot Andrewes." 1926. In Eliot, Selected Essays. 1932. 3rd ed. London: Faber and Faber, 1951. 341-54.* _____. "Sir John Davies." 1926. In Eliot, On Poetry and Poets. London: Faber, 1956. 132-7.* _____. "Francis Herbert Bradley." 1927. In Eliot, For Lancelot Andrewes. London: Faber & Gwyer, 1928. _____. "Francis Herbert Bradley." In Eliot, Selected Essays. 3rd ed. 444-55. _____. "John Bramhall." 1927. In Eliot, Selected Essays. 3rd ed. London: Faber, 1951. 354-62.* _____. "Seneca in Elizabethan Translation." 1927. In Eliot, Selected Essays. 3rd ed. 65-107. _____. "Shakespeare and the Stoicism of Seneca." 1927. In Eliot, Selected Essays. 1st ed. 1932. 3rd ed. London: Faber and Faber, 1951. 126-40.* _____. "Shakespeare and the Stoicism of Seneca." In Eliot, Elizabethan Essays. New York, 1964. _____. "Thomas Middleton." 1927. In Eliot, Selected Essays. 3rd ed. 161-71. _____. From "Thomas Middleton." 1927, from Selected Essays. 1950. 140-48. Rpt. in The Critical Perspective: Volume 3: Elizabethan-Caroline. Ed. Harold Bloom. (The Chelsea House Library of Literary Criticism). New York: Chelsea House, 1986. 1329-30.* _____. "Wilkie Collins and Dickens." 1927. Rpt. in Eliot, Selected Essays. 1932. London: Faber, 1951. 460-70.* _____. "A Dialogue on Dramatic Poetry." 1928. In Eliot, Selected Essays. 3rd. ed. London: Faber, 1951. 43-58.* _____. "The Humanism of Irving Babbitt." 1928. In Eliot, Selected Essays. 3rd ed. 471-80. _____. For Lancelot Andrewes: Essays on Style and Order. London: Faber and Gwyer, 1928. Rpt. London: Faber and Faber, 1979. _____. Preface to Selected Poems. By Ezra Pound. London: Faber & Gwyer, 1928. _____. Dante. London: London: Faber and Faber, 1929.

_____. Dante. 1929. In Eliot, Selected Essays. 3rd. ed. London: Faber, 1951. 237-79.* _____. "Second Thoughts About Humanism." 1929. In Eliot, Selected Essays. 3rd ed. 481-91. _____. "Journey of the Magi." Poem. ("Ariel Poems"). In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 97-98.* _____. "Journey of the Magi." In The Arnold Anthology of British and Irish Literature in English. Ed. Robert Clark and Thomas Healy. London: Arnold, 1997. 1349.* _____. "A Song for Simeon." ("Ariel Poems"). In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 99-100.* _____. "Animula." Poem. ("Ariel Poems"). In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 101-2.* _____. "Marina." Poem. ("Ariel Poems"). In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 103-104.* _____. "Arnold and Pater." 1930. Rpt. in Selected Essays. 3rd ed. 43243. _____. Ash Wednesday. Poem. 1930. In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 81-93.* _____. "Baudelaire." 1930. In Eliot, Selected Essays. 3rd ed. 419-30. _____. "Cyril Tourneur." 1930. In Eliot, Selected Essays. 1932. 3rd ed. London: Faber and Faber, 1951. 182-92.* _____. Introduction to G. Wilson Knight, TheWheel of Fire. 1930. _____. Introd. to London and The Vanity of Human Wishes. By Samuel Johnson. 1930. _____. "Johnson's 'London' and 'The Vanity of Human Wishes'." 1930. Rpt. in English Critical Essays: Twentieth Century. 1st. series. Ed. Phyllis M. Jones. London: Oxford UP, 1933. 284-90. 30110.* _____. Marina. Poems. 1930. London: Faber. _____. "Marina." Poem. In The Arnold Anthology of British and Irish Literature in English. Ed. Robert Clark and Thomas Healy. London: Arnold, 1997. 1350.* _____, ed. and trans. Anabasis. By Saint-John Perse. London: Faber and Faber, 1930. _____. "Charles Whibley." 1931. In Eliot, Selected Essays. 3rd ed. 492-506. _____. "Dryden the Critic, Defender of Sanity." Listener 5 (1931). _____. "The Penses of Pascal." 1931. In Eliot, Selected Essays. 3rd ed. 402-17.

_____. "Thomas Heywood." 1931. In Eliot, Selected Essays. 3rd ed. 171-82. _____. From "Thomas Heywood." 1931. From Eliot, Selected Essays. 1950. 149-58. Rpt. in The Critical Perspective: Volume 3: Elizabethan-Caroline. Ed. Harold Bloom. (The Chelsea House Library of Literary Criticism). New York: Chelsea House, 1986. 1560-61.* _____ .John Dryden: The Poet, the Dramatist, the Critic. 1932. _____. "John Ford." 1932. In Eliot, Selected Essays, 1917-1932. London: Faber and Faber, 1932. 193-204. _____. "John Ford." In Eliot, Selected Essays. 3rd. ed. London: Faber, 1951. 193-204.* _____. From "John Ford." From Eliot, Essays on Elizabethan Drama. 1960. 126-40. Rpt. in The Critical Perspective: Volume 3: Elizabethan-Caroline. Ed. Harold Bloom. (The Chelsea House Library of Literary Criticism). New York: Chelsea House, 1986. 1548-50.* _____. "Modern Education and the Classics." 1932. In Eliot, Selected Essays. 3rd ed. 507-16. _____. Selected Essays 1917-1932. London: Faber and Faber; New York: Harcourt, Brace, 1932. _____. Sweeney Agonistes. Drama. 1932. London: Faber and Faber. _____. The Use of Poetry and the Use of Criticism: Studies in the Relation of Criticism to Poetry in England. London: Faber and Faber, 1933. 1964.* _____. The Use of Poetry and the Use of Criticism. New Haven: Harvard UP, 1933. _____. "John Marston." 1934. In Eliot, Selected Essays. 3rd ed.. 3rd. ed. London: Faber and Faber, 1951. 221-35.* _____. After Strange Gods: A Primer of Modern Heresy. New York: Harcourt, 1933. _____. The Dock. Drama. 1934. London: Faber and Faber. _____. Elizabethan Essays. London: Faber and Faber, 1934. _____. Elizabethan Essays. New York, 1964. _____. "A Note on the Verse of John Milton." 1935. In Eliot, On Poetry and Poets. _____. Preface to Marianne Moore, Selected Poems by Marianne Moore. New York: Macmillan, 1935. _____. "Religion and Literature." 1935. In Eliot, Selected Essays. 3rd ed. 388-401.

_____ . "In Memoriam." 1936. In Eliot, Selected Essays. 3rd ed. 32839. _____. "Catholicism and International Order." In Eliot, Essays Ancient and Modern. New York: Harcourt, 1936. _____. Essays Ancient and Modern. New York: Harcourt, 1936. _____. Essays on Elizabethan Drama. New York, 1936. _____. Essays on Elizabethan Drama. 1960. (? = Elizabethan Dramatists. London: Faber) _____. "A Note on the Verse of John Milton." Essays and Studies of the English Association. Oxford, 1936. 32-40. Rpt. as "Milton (I)." In Eliot, On Poetry and Poets. London: Faber, 1956. 13845.* _____. "Milton (I)." In The Critical Spectrum. Ed. Goldberg and Goldberg 169-74.* _____. "A Note on the Verse of John Milton." Rpt. in The Critical Perspective: Volume 3: Elizabethan-Caroline. Ed. Harold Bloom. (The Chelsea House Library of Literary Criticism). New York: Chelsea House, 1986. 1699-1701.* _____. "Byron." 1937. In Eliot, On Poetry and Poets 193-206.* _____. "Byron." In English Romantic Poets: Modern Essays in Criticism. 2nd ed. Ed. M. H. Abrams. New York: Oxford UP, 1975. 261-74.* _____. Murder in the Cathedral. Drama. Harcourt, 1936. _____. Introd. to In Parenthesis. By David Jones. London: Faber, 1937. _____. "Thoughts After Lambeth." (Church of England). In Eliot, Selected Essays. 3rd ed.. _____. The Family Reunion. Drama. 1939. _____. Old Possum's Book of Practical Cats. Children's book. London: Faber; New York: Harcourt, 1939. _____. "Yeats." 1940. In Eliot, On Poetry and Poets 252-62.* _____. Introd. to Nightwood. By Djuna Barnes. _____. Points of View. London: Faber, 1941. _____, ed. A Choice of Kipling's Verse. 1941. _____. "Rudyard Kipling." 1941. In Eliot, On Poetry and Poets. London: Faber, 1956. 228-51.* _____. "The Music of Poetry." 1942. In Eliot, On Poetry and Poets 26-39.* _____. Four Quartets. Poems. London: Faber, 1943.

_____. "Little Gidding." From Four Quartets. In The Arnold Anthology of British and Irish Literature in English. Ed. Robert Clark and Thomas Healy. London: Arnold, 1997. 1351-57.* _____. Cuatro cuartetos. Ediciones de Bolsillo. _____. Cuatro cuartetos. Bilingual ed. Esteban Pujals Gesal. Madrid: Ctedra. _____. The Rock. Drama. _____. "Choruses from The Rock." In Eliot, Selected Poems. London: Faber and Faber, 1954. 1961. 107-27.* _____. "Johnson as Critic and Poet." 1944. In Eliot, On Poetry and Poets. London: Faber, 1957. 162-92.* _____. Los poetas metafsicos y otros ensayos sobre teatro y religin. Trans. Sara Rubinstein. Buenos Aires: Emec, 1944. _____. "What is a Classic?" 1944. In Eliot, On Poetry and Poets 5371.* _____. "What Is Minor Poetry?" Sewanee Review 54 (1946): 1-18. _____. "What is Minor Poetry?" In Eliot, On Poetry and Poets 39-52. _____. "The Social Function of Poetry". 1945. In Critiques and Essays in Criticism. Ed. R. W. Stallmann. 1949. 97-107. _____ . "The Social Function of Poetry." In Eliot, On Poetry and Poets 15-25. _____. "Milton" (Annual Lecture on a Master Mind, British Academy, 26 March 1947. Rpt. as "Milton (II)" in Eliot, On Poetry and Poets 146-61.* _____. Milton. British Academy Lecture, 1948. _____. "Milton (II)." In The Critical Spectrum. Ed. Gerald Jay Goldberg and Nancy Marmer Goldberg. Englewood Cliffs (NJ): Prentice-Hall, 1962. 175-86.* _____. Notes towards the Definition of Culture. London: Faber and Faber, 1948. 1979. _____. The Cocktail Party. Drama. London: Faber, 1949. _____. "Marie Lloyd." In Eliot, Selected Essays. 3rd. ed. London: Faber, 1951. 456-9.* _____. Selected Essays. New York: Harcourt, Brace, 1950. _____. Selected Essays. 3rd. ed. London: Faber, 1951.* _____. Selected Essays. London: Faber and Faber, 1961. _____. "Poetry and Drama." 1951. In Eliot, On Poetry and Poets 7288. _____. "Poetry and Propaganda". In Literary Opinion in America. Ed. Morton Dauwen Zabel. 1951. 97-107.

_____. "Virgil and the Christian World." 1951. In Eliot, On Poetry and Poets. London: Faber, 1956. 121-31.* _____. Selected Poems. Harmondsworth: Penguin, 1952. _____. Selected Poems. London: Faber and Faber, 1954. 1961.* (From Prufrock and Other Observations, Poems 1920, The Waste Land, The Hollow Men, Ash-Wednesday, Ariel Poems, Choruses from The Rock). _____. Selected Prose. Ed. John Hayward. Harmondsworth: Penguin, 1953. _____ . The Confidential Clerk. Drama. London: Faber, 1954. _____, ed. Literary Essays of Ezra Pound. London: Faber, 1954. _____, ed. Literary Essays of Ezra Pound. New York: New Directions, 1968. _____. "Goethe as the Sage." 1955. In Eliot, On Poetry and Poets 20727. _____. "The Frontiers of Criticism." 1956. In Eliot, On Poetry and Poets 103-18. _____. Collected Poems 1909-1935. London: Faber, 1957. _____. On Poetry and Poets. London: Faber, 1957. _____. Sobre poesa y poetas. Trans. Marcelo Cohen. Barcelona: Icaria, 1992. _____. Introduction to Paul Valry, Art of Poetry. 1958. _____. The Elder Statesman. Drama. London: Faber, 1959. _____. Introducing James Joyce. London: Faber. _____. Selected Essays. New ed. New York: Harcourt, Brace & World, 1960. _____. The Idea of a Christian Society. London: Faber. _____. George Herbert. 1962. Introd. Peter Porter. (Writers and Their Work). Plymouth: Northcote House/British Council, 1994.* _____. Knowledge and Experience in the Philosophy of F. H. Bradley. London: Faber and Faber, 1963. _____. Selected Essays. London: Faber and Faber, 1963. _____. Collected Poems 1909-1962. London: Faber, 1963. 1974.* _____. Poesas reunidas 1909-1962. Trans. Jos Mara Valverde. Madrid: Alianza, 1978. _____. "What Dante Means to Me." In Eliot, To Criticize the Critic. New York: Harcourt, 1965.* _____. To Criticize the Critic. New York: Farrar, 1965. _____. To Criticize the Critic and Other Writings. London: Faber, 1978.

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Biography Ackroyd, Peter. T. S. Eliot. 1984. (Whitbread Prize for Biography). _____. T. S. Eliot. London: Macdonald-Sphere Books, 1988.* _____. T. S. Eliot. Mxico, 1992. Gordon, Lyndall. Eliot's Early Years. 1977. McSmith, Andy. "Unlocking the Archives: The Secret Passions of T. S. Eliot." The Independent 28 May 2007. http://arts.independent.co.uk/books/features/article2588917.ece 2007-06-13

Criticism Abad Garca, Pilar. "Why the Thunder Hadn't Spoken Yet: T. S. Eliot's Buried Life of Emotions in His Early Poetry." ES 17 (1993): 6774.* _____. "Anlisis del elemento rtmico en Ash Wednesday." In XVIII Congreso de AEDEAN (Alcal de Henares, 15-17 diciembre 1994). Ed. Ricardo J. Sola, Luis A. Lzaro and Jos A. Gurpegui. Alcal: Servicio de Publicaciones de la Universidad de Alcal, 1997. 609-14.* Alderman, Nigel. "'Where are the Eagles and the Trumpets?': The Strange Case of Eliot's Missing Quatrains." Twentieth Century Literature 39.2 (1993).* Aldington, Richard. "The Poetry of T.S. Eliot." In Aldington, Literary Studies and Reviews. London: Allen, 1924. 181-91. Allan, Mowbray. T. S. Eliot's Impersonal Theory of Poetry. Cranbury (NJ): Bucknell UP, 1974. Altamiranda, Daniel. "Dante entre Eliot y Borges." Cuadernos de Literatura Inglesa y Norteamericana 1.1 (1996): 37-42.* Alvarez Faedo, M Jos. "T. S. Eliot's Crudest Emotions Reflected in The Waste Land." Proceedings of the XIXth International Conference of AEDEAN. Ed. Javier Prez Guerra et al. Vigo: Departamento de Filoloxa Inglesa e Alemana da Universidade de Vigo, 1996. 127-32.*

Asher, Kenneth. T. S. Eliot and Ideology. (Cambridge Studies in American Literature and Culture 86). Cambridge: Cambridge UP, 1998. Austin, Allen. T. S. Eliot: The Literary and Social Criticism. 1974. Baden, H. Jrgen. "Ejercicios del absurdo: T. S. Eliot." In Jrgen, Literatura y conversin. Madrid: Guadarrama, 1969. 101-50. Barbeito, Manuel. "El concepto de tradicin en P. Ricoeur y T. S. Eliot. Una lectura de La tierra balda." In Congreso Fenomenologa y Ciencias Humanas: Santiago de Compostela, 24-28 de Septiembre de 1996. Ed. M Luz Pintos Pearanda and Jos Luis Gonzlez Lpez. Santiago de Compostela: U de Santiago de Compostela, 1998. 305-14.* Bateson, F. W. "Dissociation of Sensibility." In Bateson, Essays in Critical Dissent. London: Longman, 1972. 143-52.* _____. "The Poetry of Pseudo-Learning." (Eliot). In Bateson, Essays in Critical Dissent. London: Longman, 1972. 129-42.* Beer, Thomas. Thomas Stearns Eliot und der Antiliberalismus des XX. Jahrhunderts. Vienna, 1953. Bell, Alan S. "Pedro Salinas' Challenge to T. S. Eliot's Concept of Tradition". Revista de Estudios Hispnicos 11 (1977): 3-25. Bergonzi, Bernard, ed. T. S. Eliot: Four Quartets. (Casebooks series). Basingstoke: Macmillan, 1969. Bezel, Nail. "Pursuit and Pattern in T. S. Eliot's Criticism." English Studies. A Journal of English Language and Literature 5.1-6 (1994).* Blackmur, R. P. (On T. S. Eliot). Hound & Horn (1927). _____. Rev. of After Strange Gods. By T. S. Eliot. In Blackmur, The Double Agent. 1935. _____. "T. S. Eliot: From 'Ash Wednesday' to 'Murder in the Cathedral'." 1935. In Blackmur, Language as Gesture. 1952. Westport (CT): Greenwood Press, 1977. 163-91.* _____. "It Is Later Than He Thinks." Rev. of The Idea of a Christian Society. By T. S. Eliot. Kenyon Review 2 : 235-38. Rpt. in Blackmur, The Expense of Greatness. 1940. _____. "Unappeasable and Peregrine: Behavior and the 'Four Quartets'." 1951. In Blackmur, Language as Gesture. 1952. Westport (CT): Greenwood Press, 1977. 192-220.* _____. "In the Hope of Straightening Things Out." (On T. S. Eliot). 1951. In Blackmur, The Lion and the Honeycomb. 1955.

Borges, Jorge Luis. "T. S. Eliot." 1937. In Borges, Textos cautivos: Ensayos y reseas en El Hogar. Ed. Enrique Sacerio Gar and Emir Rodrguez Monegal. Barcelona: Tusquets, 1986.* Bradbrook, Muriel C. "Eliot's Critical Method". In T. S. Eliot: A Study of His Writings by Several Hands. Ed. B. Bayam. _____. T. S. Eliot. London: Longmans, 1965. Bronzwaer, W. "Igor Stravinsky y T. S. Eliot: A Comparison of Their Modernist Poetics". Comparative Criticism 4 (1982): 169-91. Brombert, Victor H. The Criticism of T. S. Eliot: Problems of an "Impersonal Theory" of Poetry. New Haven, 1949. Brooker, Jewel Spears. Mastery and Escape: T. S. Eliot and the Dialectic of Modernism. Amherst: U of Massachusetts P, 1994. * _____, ed. T. S. Eliot and Our Turning World. Houndmills: Palgrave, 2001. Brooks, Cleanth. Rev. of The Use of Poetry and the Use of Criticism. By T. S. Eliot. Southwest Review 19 (1934): 1-2. _____. "Eliot and Pound: An Impersonal Art." In Wimsatt and Brooks, Literary Criticism: A Short History. New York: Knopf, 1957. 657-80.* _____. The Hidden God: Studies in Hemingway, Faulkner, Eliot, and Warren. 1963. Brown, D. Intertextual Dynamics within the Literary Group Joyce, Lewis, Pound and Eliot: The Men of 1914. Baskingstoke: Macmillan, 1990. Buckley, Vincent. Poetry and Morality: Studies on the Criticism of Matthew Arnold, T. S. Eliot and F. R. Leavis. Introd. Basil Willey. London, 1959. Bush, Ronald. T.S. Eliot: A Study in Character and Style. Oxford: Oxford UP, 1984. _____, ed. T. S. Eliot: The Modernist in History. (Cambridge Studies in American Literature and Culture, 51). Cambridge: Cambridge UP, 1991. Calder, Angus. T. S. Eliot. (Harvester New Readings). Hemel Hempstead: Harvester Wheatsheaf. Chandran, K. Narayana. "Phantoms of the Mind: T. S. Eliot's To Walter de la Mare." Papers on Language and Literature 33.2 (Spring 1997): 213-220.* _____, ed. DA: Datta: Essays on Teaching THE WASTE LAND. Hyderabad (India): CIEFL, 2001.

Childs, Donald J. "Fantastic Views: T.S. Eliot and the Occultation of Knowledge and Experience." T.S.L.L. 39.4 (1997): 357-375.* Collado, F. "Modernismo: Problemas en la frontera (On a Violet Hour in a Certain Waste Land)." Actas de las I Jornadas de Lengua y Literatura Inglesa y Norteamericana. Logroo: Colegio Universitario de La Rioja, 1990. 11-16.* _____. "Un anlisis narratolgico de TheWaste Land: La ficcionalidad del constructo."XIV Congreso de AEDEAN. Bilbao: Servicio Editorial de la Universidad del Pas Vasco, 1992. 275-84.* _____. "Blurring Frontiers: Myth and Narratology in the Analysis of The Waste Land." Atlantis 16 (1994): 39-70.* Cooper, John Xiros. T. S. Eliot and the Ideology of FOUR QUARTETS. Cambridge: Cambridge UP, 1996. Cormican, L. A. "Mr Eliot and Social Biology." Scrutiny 17 (1950). Rpt. in A Selection from Scrutiny. Comp. F. R. Leavis. Cambridge: Cambridge UP, 1968. 75-88. Cowan, Laura, ed. T. S. Eliot: Man and Poet. Orono: National Poetry Foundation, U of Maine, 1990. Cox, C. B., and Arnold P. Hinchcliffe, eds. T. S. Eliot: The Waste Land. (Casebooks series). Basingstoke: Macmillan, 1968. Coyle, Michael. "The European Radio Broadcasts of T. S. Eliot." Miscelnea 20 (1999): 341-53.* Crawford, Robert.The Savage and the City in the Work of T. S. Eliot. Oxford: Clarendon Press, 1990. Crews, Brian. "Tradition, Heteroglossia and T. S. Eliot's The Waste Land." Atlantis 20.2 (1998 [issued Dec. 1999]): 17-25.* Cuddy, Lois A., and David H. Hirsch, eds. Critical Essays on T. S. Eliot's THE WASTE LAND. Boston: G. K. Hall, 1991. Curtius, E. R. "T. S. Eliot (I and II)." 1927, 1949. In Curtius, Ensayos crticos sobre literatura europea. Trans. Eduardo Valent. Madrid: Visor, 1989. 275-312.* Daiches, David. "From appreciation to analysis." (Eliot). In Daiches, Critical Approaches to Literature. 1956. 2nd ed. Burnt Mill (Essex): Harlow, 1981. 281-308.* Dalley, Edward, and Enrique de la Pea. "Reflections on T. S. Eliot's Early Poetry." In Stvdia Patriciae Shaw oblata. Oviedo: Servicio de Publicaciones de la Universidad de Oviedo, 1991. 3.131-41.* Davie, Donald. "Syntax as RhymeT. S. Eliot." 1955. Select. in The Language of Literature. Ed. Norman Page. London: Macmillan, 1984. 165-67.*

Davis, Roco G. "T. S. Eliot and the Idea of a Dramatic Language." XIV Congreso de AEDEAN. Bilbao: Servicio Editorial de la Universidad del Pas Vasco, 1992. 389-93.* Derrick, Paul S. "The Emergence of Historical Consciousness in The Waste Land." Atlantis 6.1-2 (1983). _____. Rev. of La Tierra Balda. By T. S. Eliot. Bilingual ed., introd and notes Viorica Patea. Trans. Jos Luis Palomares. (Letras Universales). Madrid: Ctedra, 2005. Atlantis 28.2 (December 2006): 141-45.* Dobre, Bonamy. "T. S. Eliot." In Dobre, The Lamp and the Lute. Oxford: Clarendon, 1929. 107-33.* Dollimore, Jonathan. "3. Structure: From Resolution to Dislocation." In Dollimore, Radical Tragedy. 3rd ed. Houndmills: Palgrave, 2004. 53-69.* (Bradley, Archer, Eliot, Brecht). _____. "16. Beyond Essentialist Humanism." In Dollimore, Radical Tragedy. 3rd ed. Houndmills: Palgrave, 2004. 249-71.* (Pope, Eliot, Lawrence, Leavis, Enlightenment, humanism, subject). _____. "Beyond Essentialist Humanism." 1984. In Issues in Contemporary Literary Theory. Ed. Peter Barry. Houndmills: Macmillan, 1987. 38-52.* Douglas, Paul. "De-Encrypting Eliot's Aesthetics of Empire."Twentieth Century Literature 43.1 (Spring 1997): 126.* Dyson, A. E. Yeats, Eliot and R. S. Thomas. 1981. Eagleton, Terry. "T. S. Eliot." In Debating Texts. Ed. Rick Rylance. 229-33. From Criticism and Ideology. * Edo, Miquel. "T. S. Eliot, crtico y poeta." Quimera 122 (1994): 5259.* Eliot: MURDER IN THE CATHEDRAL. (Brodie's Notes). Houndmills: Macmillan. Eliot: SELECTED POEMS. (Brodie's Notes). Houndmills: Macmillan. Eliot: SELECTED POEMS. (Macmillan Master Guides). Houndmills: Macmillan. Ellis, Steve. "T. S. Eliot, England, Europe: The Early Phase." In De Baudelaire a Lorca. Ed. Manuel Losada et al. Kassel: Reichenberger, 1996. 625-36.* Ellmann, Maud. The Poetics of Impersonality: The Question of the Subject in T.S. Eliot and Ezra Pound. Hemel Hempstead: Harvester Wheatsheaf, 1987. _____. "The Spider and the Weevil: Self and Writing in Eliot's Early Poetry." In Post-structuralist Readings of English Poetry. Ed. R.

Machin and C. Norris. Cambridge: Cambridge UP, 1987. 369394. Everett, Barbara. Poets in Their Time: Essays on English Poetry from Donne to Larkin. Oxford: Clarendon Press, 1992. Fei-Pei, Lu. T. S. Eliot: The Dialectical Structure of His Theory of Poetry. Chicago: U of Chicago P, 1966. Fekete, John. "Foundations of Modern Critical Theory." In Fekete, The Critical Twilight: Explorations in the Ideology of AngloAmerican Literary Theory from Eliot to McLuhan. London: Routledge, 1978. 17-42.* Forster, E. M. "T. S. Eliot." 1928. In Forster, Abinger Harvest. London: Arnold, 1940. 87-93.* Frank, Armin Paul. Die Sehnsucht nach dem unteilbaren Sein: Motiv und Motivation in der Literaturkritik T. S. Eliots. 1973. Franklin, George. "Instances of Meeting: Shelley and Eliot. A Study in Affinity." ELH (1994).* Freed, Lewis. T. S. Eliot: Aesthetics and History. La Salle (IL): Open Court, 1962. _____. T. S. Eliot: The Critic as Philosopher. West Lafayette (IN): Purdue UP, 1979. Frye, Northrop. T. S. Eliot. Edinburgh: Oliver and Boyd, 1963.* Garca Landa, Jos Angel. "Understanding Misreading: Hermenutica de la relectura retrospectiva." Paper presented at the IX Susanne Hbner Seminar, "Pragmatics of Understanding and Misunderstanding" (Universidad de Zaragoza, Departamento de Filologa Inglesa y Alemana, Nov. 1996. Electronic edition URL: http://www.unizar.es/departamentos/filologia_inglesa/garciala/p ublicaciones/understanding.html _____. "Awful Daring." In Garca Landa, Vanity Fea 29 Nov. 2005. (T. S. Eliot, risk). http://garciala.blogia.com/2005/113003-lectura-amplificada.php 2005-12-02 Gardner, Helen. The Art of T. S. Eliot. 1949. London: Faber, 1972. _____. The Composition of FOUR QUARTETS. London: Faber, 1978. Gates, Rosemary L. "T.S. Eliot's Prosody and the Free Verse Tradition: Restricting Whitman's 'Free Growth of Metrical Laws'." Poetics Today 11.3 (1990): 547-578.* Gibert Maceda, Mara Teresa. "T. S. Eliot poeta ingls o americano?" Arbor (CSIC) 437 (May 1982): 77-85.

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Hinchcliffe, Arnold P., ed. T. S. Eliot: Plays. (Casebooks series). Basingstoke: Macmillan, 1985. Howarth, Herbert. Notes on Some Figures behind T. S. Eliot. 1964. Hughes, Ted. A Dancer to God. 1992. (T. S. Eliot). Hhn, Peter. "T. S. Eliot: 'Portrait of a Lady'." In The Narratological Analysis of Lyric Poetry: Studies in English Poetry from the 16th to the 20th Century. By Peter Hhn and Jens Kiefer. Berlin and New York: Walter de Gruyter, 2005. 157-75.* Hyman, Stanley E. "T. S. Eliot and Tradition in Criticism." In Hyman, The Armed Vision: A Study in the Methods of Modern Literary Criticism. 1948. Jain, Manju, ed. T. S. Eliot and American Philosophy: The Harvard Years. 1993. Jay, Gregory S. T. S. Eliot and the Politics of Literary History. 1983. Jones, D. E. The Plays of T. S. Eliot. London: Routledge, 1969. Julius, Anthony. T. S. Eliot, Anti-semitism, and Literary Form. Cambridge: Cambridge UP, 1995. Kappel, Andrew J. "Presenting Miss Moore, Modernist: T. S. Eliot's Edition of Marianne Moore's Selected Poems." Journal of Modern Literature 19.1: 129-50.* Kazin, Alfred. "La crtica en los extremos." In Kazin, En tierra nativa: Interpretacin de medio siglo de literatura norteamericana. Mexico: FCE, 1993. 379-426.* (Eliot, Granville Hicks, Marxism, Ransom, Wilson, etc.). Kelleter, F. Die Moderne und der Tod: Das Todesmotiv in moderner Literatur, untersucht am Beispiel Edgar Allan Poes, T. S. Eliots und Samuel Becketts. 1997. Kenner, Hugh. The Pound Era. Berkeley (CA), 1971. _____. The Pound Era: The Age of Ezra Pound, T. S. Eliot, James Joyce and Wyndham Lewis. London: Faber and Faber, 1972. 1975. _____. The Mechanic Muse. New York: Oxford UP, 1987.* Kermode, Frank. "Dissociation of Sensibility." In Kermode, Romantic Image. 1957. London: Fontana, 1971. 153-77.* Kershner, R. Brandon. "Modernism and Popular Culture: Joycean and Eliotic Examples." Papers on Joyce 3 (1997): 9-20.* Kineke, Sheila. "T. S. Eliot, Marianne Moore, and the Gendered Operations of Literary Sponsorship." Journal of Modern Literature 21.1 (Summer 1997): 121-137.* Kinney, Clare Regan. Strategies of Poetic Narrative: Chaucer, Spenser, Milton, Eliot. Cambridge: Cambridge UP, 1992.

Leavis, F. R. "T. S. Eliot." In Leavis, New Bearings in English Poetry. 1932. Harmondsworth: Penguin / Chatto, 1963. 66-110. _____. "Poet as Executant." Scrutiny 15 (1947). Rpt. in A Selection from Scrutiny. Comp. F. R. Leavis. Cambridge: Cambridge UP, 1968. 88-89. _____. "Approaches to T. S. Eliot." In Leavis, The Common Pursuit. Harmondsworth: Penguin, 1962. 278-92. _____. "Mr Eliot and Milton." In Leavis, The Common Pursuit. Harmondsworth: Penguin, 1962. 9-32. _____. "Mr Eliot, Mr Wyndham Lewis and Lawrence." In Leavis, The Common Pursuit. 240-7. _____. "T. S. Eliot as Critic". In Leavis, Anna Karenina and Other Essays. 1967. 177-96. Lee, Brian. Theory and Personality: The Significance of T. S. Eliot's Criticism. London: Garland, 1962. Lentricchia, Frank. Modernist Quartet. Cambridge: Cambridge UP, 1994. (Eliot, Stevens, Pound, Frost). Levin, Harry. Ezra Pound, T. S. Eliot and the European Horizon: A Lecture. 1975. Lewis, C. S. "Shelley, Dryden, and Mr. Eliot." In Lewis, Rehabilitations and Other Essays. London: Oxford UP, 1939. 134.* _____. "Shelley, Dryden, and Mr. Eliot." In English Romantic Poets: Modern Essays in Criticism. 2nd ed. Ed. M. H. Abrams. New York: Oxford UP, 1975. 324-44.* Llorens Cubedo, Ddac. "T. S. Eliot and Salvador Espriu: Timeless Literature." In AEDEAN XXX: Proceedings of the 30th International AEDEAN Conference. [Huelva, 2006]. Ed. Mara Losada Friend et al. Huelva: U de Huelva, 2007.* (Espriu, 1913-1985). Lobb, Edward. T. S. Eliot and the Romantic Critical Tradition. 1981. Lucy, San. T. S. Eliot and the Idea of Tradition. London, 1960. Luna Borge, Jos. Review of Sobre poesa y poetas. By T. S. Eliot. Quimera 119 (1993): 68.* MacCullum, Patricia. Literature and Method: Towards a Critique of I. A. Richards, T. S. Eliot and F. R. Leavis. Dublin: Gill & Macmillan, 1983. Manganaro, Marc. Myth, Rhetoric, and the Voice of Authority: A Critique of Frazer, Eliot, Frye, and Campbell. New Haven: Yale UP, 1992.

Margolis, John D. T. S. Eliot's Intellectual Development. Chicago: U of Chicago P, 1972. Marks, Emerson R. Taming the Chaos: English Poetic Diction Theory since the Renaissance. Detroit: Wayne State UP, dist. Eurospan, c. 1998. Martn Arista, J. "Finding the Way Through to T. S. Eliot's Tower of Babel: The Function of Multilingual Lines in The Waste Land." Actas de las II Jornadas de Lengua y Literatura Inglesa y Norteamericana. Ed. Pedro Santana. Logroo: Colegio Universitario de La Rioja, 1993. 109-18.* Martnez Victorio, Luis. "La posmodernidad de T. S. Eliot." Estudios Ingleses de la Universidad Complutense 9 (2001). Marx, William. Naissance de la critique moderne: La littrature selon Eliot et Valry (1889-1945). Artois Presses Universit, 2002. Mathiessen, F. O. The Achievement of T. S. Eliot: An Essay on the Nature of Poetry. Boston: Houghton Mifflin, 1935. _____. The Achievement of T. S. Eliot: An Essay on the Nature of Poetry. 2nd ed., enlarged, 1947. _____. The Achievement of T. S. Eliot: An Essay on the Nature of Poetry. With a Chapter on Eliot's Later Work by C. L. Barber. 3rd. ed. New York: Oxford UP, 1958. Menand, Louis. Discovering Modernism: T. S. Eliot and his Context. Oxford: Oxford UP, 1987.* _____. "T. S. Eliot." In Modernism and the New Criticism. Ed. A. Walton Litz, Louis Menand, and Lawrence Rainey. Vol. 7 of The Cambridge History of Literary Criticism. Cambridge: Cambridge UP, 2000. 17-56.* Milder, Terry Nan. "T. S. Eliot's 'Portrait of a Lady': An Analysis of the Characterisation of the Lady and the Young Man through Imagery and Irony." In AEDEAN Select Papers in Language, Literature and Culture: Proceedings of the 17th International Conference. [U of Crdoba, 1993]. [U of Crdoba, 1993]. Ed. Javier Prez Guerra. Vigo: AEDEAN, 2000. 447-51.* Molitor-Nehl, Inge. "Levels of Isotopy in T. S. Eliot's 'The Waste Land'." In Literature and Linguistics: Approaches, Models and Applications: Studies in Honour of Jon Erickson. Ed. Marion Gymnich, Ansgar Nnning and Vera Nnning. Trier: Wissenschaftlicher Verlag Trier, 2002. 265-76.* Monteiro, George. "Christians and Jews in 'Mr. Eliot's Sunday Morning Service'." T. S. Eliot Review (1976).

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in Honor of Enrique Garca Dez. Ed. Antonia Snchez Macarro. Valencia: Universitat de Valncia, Facultat de Filologia, 1991. 177-200.* _____. "A Study of Questions and Silences in the Poetry of T. S. Eliot." In Semantics of Silences in Linguistics and Literature. Gudrun Grabher and Ulrike Jessner. Heidelberg: Universittsverlag C. Winter, 1996. 239-257. _____. "T. S. Eliot's Poetics of History and Tradition." In 'Nor Shall Diamond Die': American Studies in Honour of Javier Coy. Ed. C. Manuel and P. Derrick. Valencia: Publicacions de la Universitat de Valencia, 2003. 411- 426. _____. "T. S. Eliot's The Waste Land and the Poetics of the Mythical Method." In Modernism Revisited: Transgresssing Boundaries and Strategies of Renewal in American Poetry. Ed. Viorica Patea and Paul Derrick. New York and Amsterdam: Rodopi, 2007. 91-110. _____. "Pound and Eliot's Sense of History and Tradition as Re-Lived Experience." In American Poetry: Whitman to the Present. Ed. Robert Rehder and Patrick Vincent. Tbingen, Gunter Narr Verlag, 2006. 53-70. Pearce, T. T. S. Eliot. London: Evans Bros, 1967. 1975. Prez Romero, Carmen. tica y esttica de las obras dramticas de Pedro Salinas y T. S. Eliot. Cceres: Universidad de Extremadura, 1995. Perkins, Judith. "Literary History: H.-G. Gadamer, T. S. Eliot, and Virgil". Arethusa 14 (1981): 241-49. Peter, John. "The Family Reunion." Scrutiny 16 (1949). Rpt. in A Selection from SCRUTINY. Comp. F. R. Leavis. Cambridge: Cambridge UP, 1968. 57-69.* _____. "Sin and Soda." Review of The Cocktail Party. Scrutiny 17 (1950). Rpt. in A Selection from SCRUTINY. Comp. F. R. Leavis. Cambridge: Cambridge UP, 1968. 69-75.* Pinkney, Tony. "To Criticise the Critic". Literature and History 8 (1982): 248-53. Piqu Angordans, Jordi. "T. S. Eliot: Una nota sobre poesa dramtica." In Miscel-lnia homenatge Enrique Garca Dez. Valencia: Universitat de Valencia / Consellera de Cultura, Educaci i Cincia de la Generalitat Valenciana, 1991. 207-12.* Plasa, C. "Reading Tennyson in Four Quartets: The Example of 'East Coker'." English: The Journal of the English Association 30 (1991): 239-58.

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Rodrguez Guerrero-Strachan, Santiago. "Ambitos extremos para una experiencia radical: simbologa toponmica en la poesa de T. S. Eliot y J. A. Valente." In XVIII Congreso de AEDEAN (Alcal de Henares, 15-17 diciembre 1994). Ed. Ricardo J. Sola, Luis A. Lzaro and Jos A. Gurpegui. Alcal: Servicio de Publicaciones de la Universidad de Alcal, 1997. 623-28.* Rosaye, Jean-Paul. "L'Incarnation selon Eliot." 'Etudes Anglaises 1 (January-March 1997): 27-40.* Salingar, L. G. "T. S. Eliot: Poet and Critic." InThe Modern Age. Vol. 7 of The Pelican Guide to English Literature. Ed. Boris Ford. Harmondsworth: Penguin, 1961. 2nd ed. 1963. 330-49.* Santos Vila, Sonia. "Huellas msticas en la lrica de T. S. Eliot y Dmaso Alonso." In Actas XXVIII Congreso Internacional / International Conference AEDEAN. CD-ROM. Valencia: U de Valncia, 2005.* Sauerberg, Lars Ole. Versions of the Past:Visions of the Future: The Canonical in the Criticism of T. S. Eliot, F. R. Leavis, Northrop Frye and Harold Bloom. Basingstoke: Macmillan, 1996. Schuchard, Ronald. (Emory U). "Eliot and Hulme in in 1916: Towards a Revaluation of Eliot's Criical and Spiritual Development". PMLA 88 (1978): 1083-94. _____. Eliot's Dark Angel: Intersections of Life and Art. New York: Oxford UP, 2001. (1999 Robert Penn Warren Cleanth Brooks Award for Literary Criticism, 2000 South Atlantic Modern Language Association Critical Studies Award). Schwartz, Delmore. "T. S. Eliot as the International Hero." In Literary Modernism. Ed. Irving Howe. Greenwich (CT): Fawcett, 1967. Sell, Roger D. "The Difficult Style of The Waste Land: A LiteraryPragmatic Perspective on Modernist Poetry." In TwentiethCentury Poetry: From Text to Context. Ed. Peter Verdonk. London: Routledge, 1993. 134-58. Shires, Linda M. "T. S. Eliot's Early Criticism and the Making of The Sacred Wood." Prose Studies 5 (1982): 229-58. Shusterman, Richard. "Objectivity and Subjectivity in Eliot's Critical Theory". Orbis Litterarum 37 (1982): 217-26. _____. T. S. Eliot and the Philosophy of Criticism. London: Duckworth, 1988. _____. "Reaction Meets Radical Critique: Eliot and Contemporary Culture Criticism." In T. S. Eliot: Man and Poet. Ed. Laura Cowan. Orono: National Poetry Foundation, U of Maine, 1990. 367-93.

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Srivastava, Narsingh. "T. S. Eliot's Theory of Poetic Personality and Belief: A Study in Reconciliation." Language Forum 14 (1988): 94-104.* Stead, Christian Karlson. The New Poetic: Yeats to Eliot. 1964. Harmondsworth: Penguin, 1967.* _____. The New Poetic. 1964. New York: AMS, 1979. _____. The New Poetic: Yeats to Eliot. 1964. London: Athlone, 1998. Still, Judith. "From Eliot's 'raw bone' to Gyges' Ring: Two Studies in Intertextuality." Paragraph 1 (1983): 44-59. Stockton, Sharon. "T. S. Eliot and the Rape of God." T.S.L.L. 39.4 (1997): 375-399.* Sultan, Stanley. ULYSSES, THE WASTE LAND and Modernism: A Jubilee Study. Port Washington (NY): Kennikat, 1977. _____. Eliot, Joyce and Companty. New York: Oxford UP, 1990. Surette, Leon. The Birth of Modernism: Ezra Pound, T. S. Eliot, W. B. Yeats, and the Occult. Montreal: McGill-Queen's UP, 1993. Svarny, Erik. "The Men of 1914": T. S. Eliot and Early Modernism. Milton Keynes and Philadelphia: Open UP, 1988, 1989. T.S. Eliot. Dtours d'criture 15 (1991). Tambling, Jeremy. "Dante in America: Eliot and the Politics of Modernism." Miscelnea 20 (1999): 155-72.* Tate, Allen, ed. T. S. Eliot: The Man and His Work. 1966. Harmondsworth: Penguin, 1971. Thormhlen, Marianne, ed. T. S. Eliot at the Turn of the Century.. Lund: Lund University Press, 1994. Tobin, Dav Ned. The Presence of the Past: T. S. Eliot's Victorian Inheritance. Ann Arbor: UMI Research Press, 1985. Tratner, M. Modernism and Mass Politics: Joyce, Woolf, Eliot, Yeats. 1996. Trayiannoudi, Litsa. "Modernism and the Politics of Native Exile: The Eliot-Stevens Case." Gramma 3 (1995): 185-202.* Trombold, Chris Buttram. "Alimentary Eliot: Digestive References and Metaphors in T. S. Eliot's Writings." English Language Notes 34.2 (1996): 45-58.* _____. "Earlier Versions of Eliot's Early Verse: The Newly-Published Drafts in the Berg Collection." Journal of Modern Literature 21.1 (Summer 1997) 109-121.* Unger, Leonard, ed. T. S. Eliot: A Selected Critique. Vivas, Eliseo. "The Objective Correlative in T. S. Eliot". In Eliseo Vivas, Creation and Discovery: Essays in Criticism and Aesthetics. 1955. New York: Arno, 1972. 175-190.

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Zubizarreta, John. "T. S. Eliot and D. H. Lawrence: The Relationship and Influence." English Language Notes 21.1 (1993).* Zschirnt, Christiane. "10. Modernos: Virginia Woolf: La seora Dalloway. T. S. Eliot: Tierra balda. Thomas Mann: La montaa mgica. Franz Kafka: El proceso. Alfred Dblin: Berlin Alexanderplatz. Robert Musil: El hombre sin atributos. Samuel Beckett: Esperando a Godot." In Zschirnt, Libros: Todo lo que hay que leer. Madrid: Santillana-Taurus, 2004. 215-36.*

Bibliography Frank, Metchild and Armin Paul and K. P. S. Jochum, comp. T. S. Eliot Criticism in English, 1916-65: A Supplementary Bibliography. 1978. Gallup, Donald C. T. S. Eliot: A Bibliography. New York, 1953. Martin, Mildred. A Half Century of Eliot Criticism: An Annotated Bibliography of Books and Articles in English, 1916-1965. 1972.

Films Tom and Viv. Dir. Brian Gilbert. Screenbplay coscripted by Michael Hasting,s based on his play. Cast: Willem Dafoe, Miranda Richardson, Rosemary Harris, Tim Dutton, Nickolas Grace, Philip Locke. Britain/USA, 1994.

Internet resources

T. S. Eliot: Resources http://myhome.naver.com/for_eliot/ 2008 T. S. Eliot pages http://www.geocities.com/Athens/Acropolis/5616/eliot.html http://www.bartleby.com/201 TSEbase. Online concordance to T.S. Eliot's Collected Poems. http://ww.missouri.edu/enggf/tsebase.html

Journals

T. S. Eliot Review (1976).

Literature Purcell, Victor. (Ps. "Myra Buttle"). The Sweeniad. Satire vs. T. S. Eliot.

Music Gubaidulina, Sofia. Offertorium. CD. Contains: Offertorium, concerto for violin and orchestra (1980), Hommage T. S. Eliot (for Octet and soprano) (1987). Gidon Kremer, Boston Symphony Orchestra, Charles Dutoit. Hamburg: Deutsche Grammophon, 1989.* Stravinsky, Igor. Introitus (Requiem Aeternam T. S. Eliot in memoriam). In Stravinsky, .Five Bridal Songs from Voronezh. Les Noces. Four Russian Peasant Songs (1914-17 and 1954 versions). Blessed Virgin (Ave Maria) 1934 Slavonic Version. Our Father (Pater Noster) 1926 Slavonic Version. Symbol of Faith (Credo) 1964 Slavonic Version. Tres Sacrae Cantiones. The Dove Descending Breaks the Air. Introitus (Requiem

Aeternam T. S. Eliot in memoriam). Voronezh State Institute of the Arts Chamber Choir (Oleg Shepel). New London Chamber Choir / James Wood.. CD. Hyperion. Webber, Andrew Lloyd. Cats. Musical comedy. Written by Andrew Lloyd Webber, with Trevor Nunn and Richard Stilgoe, based on T. S. Eliot's Old Possum's Book of Practical Cats. Music by Andrew Lloyd Webber. _____. Cats: Original London Cast Recording. With Roland Alexander, Stephen Tate, Geraldine Gardner, Brian Blessed, David Baxter, Seeta Indrani, Donald Waugh, Sharon Lee-Hill, John Chester, Elaine Paige, Susan Jane Tanner, Myra Sands, Sarah Brightman, John Thornton, Jeff Shankley, Wayne Sleep, Bonnie Langford, Paul Nicholas, Kenn Wells, Femi Taylor, Finola Hughes, Peter Barry, Julie Edmett, Anita Pashley, Steven Wayne, Jeni Evans, Nick Hamilton, Stephen Hill, Nicola Kimber. Prod. Andrew Lloyd Webber / The Really Useful Group. 2 CDs. Los Angeles: Geffen, 1981.* _____. Cats. Elaine Page, Sir John Mills, et al. VHS. The Really Useful Group, 1998.*