<p>Although there have been innumerable studies of T. S. Eliot, this is the first to examine closely the changes in his dramatic practice and to relate them to his artistic and intellectual development. Professor Smith finds Eliot's dramatic theory rooted in his conception of the need for order in religion and art; she traces this concept as it evolved from the overtly religious <i>The Rock</i> an...

Although there have been innumerable studies of T. S. Eliot, this is the first to examine closely the changes in his dramatic practice and to relate them to his artistic and intellectual development. Professor Smith finds Eliots dramatic theory rooted in his conception of the need for order in religion and art; she traces this concept as it evolved from the overtly religious The Rock and Murder in...

Although there have been innumerable studies of T. S. Eliot, this is the first to examine closely the changes in his dramatic practice and to relate them to his artistic and intellectual development. Professor Smith finds Eliots dramatic theory rooted in his conception of the need for order in religion and art; she traces this concept as it evolved from the overtly religious The Rock and Murder in...

Although there have been innumerable studies of T. S. Eliot, this is the first to examine closely the changes in his dramatic practice and to relate them to his artistic and intellectual development. Professor Smith finds Eliots dramatic theory rooted in his conception of the need for order in religion and art; she traces this concept as it evolved from the overtly religious The Rock and Murder in...

Although there have been innumerable studies of T. S. Eliot, this is the first to examine closely the changes in his dramatic practice and to relate them to his artistic and intellectual development. Professor Smith finds Eliots dramatic theory rooted in his conception of the need for order in religion and art; she traces this concept as it evolved from the overtly religious The Rock and Murder in...

Although there have been innumerable studies of T. S. Eliot, this is the first to examine closely the changes in his dramatic practice and to relate them to his artistic and intellectual development. Professor Smith finds Eliots dramatic theory rooted in his conception of the need for order in religion and art; she traces this concept as it evolved from the overtly religious The Rock and Murder in...

Although there have been innumerable studies of T. S. Eliot, this is the first to examine closely the changes in his dramatic practice and to relate them to his artistic and intellectual development. Professor Smith finds Eliots dramatic theory rooted in his conception of the need for order in religion and art; she traces this concept as it evolved from the overtly religious The Rock and Murder in...

Although there have been innumerable studies of T. S. Eliot, this is the first to examine closely the changes in his dramatic practice and to relate them to his artistic and intellectual development. Professor Smith finds Eliots dramatic theory rooted in his conception of the need for order in religion and art; she traces this concept as it evolved from the overtly religious The Rock and Murder in...

Although there have been innumerable studies of T. S. Eliot, this is the first to examine closely the changes in his dramatic practice and to relate them to his artistic and intellectual development. Professor Smith finds Eliots dramatic theory rooted in his conception of the need for order in religion and art; she traces this concept as it evolved from the overtly religious The Rock and Murder in...

Although there have been innumerable studies of T. S. Eliot, this is the first to examine closely the changes in his dramatic practice and to relate them to his artistic and intellectual development. Professor Smith finds Eliots dramatic theory rooted in his conception of the need for order in religion and art; she traces this concept as it evolved from the overtly religious The Rock and Murder in...

Although there have been innumerable studies of T. S. Eliot, this is the first to examine closely the changes in his dramatic practice and to relate them to his artistic and intellectual development. Professor Smith finds Eliots dramatic theory rooted in his conception of the need for order in religion and art; she traces this concept as it evolved from the overtly religious The Rock and Murder in...

Although there have been innumerable studies of T. S. Eliot, this is the first to examine closely the changes in his dramatic practice and to relate them to his artistic and intellectual development. Professor Smith finds Eliots dramatic theory rooted in his conception of the need for order in religion and art; she traces this concept as it evolved from the overtly religious The Rock and Murder in...

Although there have been innumerable studies of T. S. Eliot, this is the first to examine closely the changes in his dramatic practice and to relate them to his artistic and intellectual development. Professor Smith finds Eliots dramatic theory rooted in his conception of the need for order in religion and art; she traces this concept as it evolved from the overtly religious The Rock and Murder in...