Introduction: ‘Through the First Gate,’ into the Rose Garden and Beyond

Didac Llorens-Cubedo and Viorica Patea,

Part I The Poet, the Rose Garden, and the Playhouse (1930s)

Poetics of the Incarnation: T. S. Eliot’s Four Quartets

Barry Spurr

Experiencing Murder in the Cathedral: How Can ‘Indicative Criticism’ Position Audiences to Appreciate the Play

Charles Altieri

‘That moment of mystery’: Eliot’s Practical Cats as a Turning Point

Ester Diaz Morillo

To Speak Poetry: Eliot’s Project to Revive Verse Drama

Natalia Carbajosa Palmero



Sara Fitzgerald

Part II Full-Time Dramatist with a Vision (late 1930s-late 1950s)

T. S. Eliot and Classical Drama

Peter Liebregts

Eliot, Aeschylus, and Aristotle: Theme and Plot in The Family Reunion

Jewel Spears Brooker

Protean Self and Anagnorisis through Art in T. S. Eliot’s The Confidential Clerk

Leonor Maria Martinez Serrano

‘Proper Sowing’ and ‘right action’ in Eliot’s Plays and Four Quartets

Viorica Patea

After Four Quartets: T. S. Eliot’s Comedies as Footnotes or Exempla

Didac Llorens-Cubedo

Part III Critic with a Wider Scope (1940s-1960s)

To Criticize the Dramatist: Eliot on His Plays

Teresa Gibert

The Responsibility of a Christian Thinker: T. S. Eliot, World War 2, and Post War Reconstruction

Joana Rzepa

Patristic Christianity in T. S. Eliot’s Philosophy of Education

John Rhett Forman

Christopher Dawson and Eliot on Culture and Politics

Benjamin Lockerd