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This volume contains some of Eliot's earliest work that did not make the'final cut'when he put together his Collected Poems many years later. The title Ara Vus Prec contains a spelling mistake. It is meant to be Ara Vos Prec, referring to a line by Arnaut Daniel, the great renaissance troubadour poet, who features in Dante's Inferno. The provencal words mean literally'to you I pray'or more loosely'I beg you'and Eliot apologised that he didn't know enough Provencal and that's why he got it wrong. After copies went to print, the'u'was fixed to an'o'including labels being reattached to the spine. Very early and rare Eliot work. (Goodreads)

The Sacred Wood: Essays on Poetry and Criticism is a collection of literary essays written by T. S. Eliot. Originally published in 1920, these essays explore various aspects of poetry, literary criticism, and the nature of artistic expression. The collection is a significant work that sheds light on Eliot's views on poetry and provides insights into the modernist literary movement.'The Sacred Wood'is significant not only for its exploration of specific poets and literary traditions but also for its broader contributions to the theory of poetry and criticism. Eliot's essays are characterized by their erudition, intellectual rigor, and a desire to reevaluate and rejuvenate literary traditions in the face of a changing cultural landscape. The collection remains a cornerstone in the study of modernist literature and literary criticism.

The Waste Land is a modernist poem written by T. S. Eliot, first published in 1922. It is considered one of the most important and influential poems of the 20th century. The poem is known for its complex structure, rich allusions, and exploration of various themes, including disillusionment, cultural decay, and the search for spiritual renewal in a post-World War I world.

Prufrock and Other Observations is a collection of poems by T. S. Eliot, first published in 1917. The title poem,'The Love Song of J. Alfred Prufrock,'is perhaps the most well-known and influential piece in the collection. The poems in this collection are considered to be early examples of Eliot's work and showcase his distinctive modernist style.'Prufrock and Other Observations'is significant for its departure from traditional poetic forms and themes. Eliot's use of modernist techniques, such as fragmentation and allusion, marks a shift in poetic expression during the early 20th century. The collection is a precursor to Eliot's later and more famous works, such as'The Waste Land,'and it provides insights into his evolving poetic style and thematic concerns.

T. S. Eliot wrote numerous poems throughout his career, and the title'Poems'is quite broad, encompassing a range of his works. Eliot's poetry is known for its modernist style, intricate use of language, and exploration of complex themes.

Excerpt:'The three essays composing this small book were written several years ago for publication in the'Times Literary Supplement,'to the editor of which I owe the encouragement to write them, and now the permission to reprint them. Inadequate as periodical criticism, they need still more justification in a book. Some apology, therefore, is required. My intention had been to write a series of papers on the poetry of the seventeenth and eighteenth centuries: beginning with Chapman and Donne, and ending with Johnson. This forbidden fruit of impossible leisure might have filled two volumes. At best, it would not have pretended to completeness; the subjects would have been restricted by my own ignorance and caprice, but the series would have included Aurelian Townshend and Bishop King, and the authors of'Cooper's Hill'and'The Vanity of Human Wishes,'as well as Swift and Pope. That which dissipation interrupts, the infirmities of age come to terminate. One learns to conduct one's life with greater economy: I have abandoned this design in the pursuit of other policies. I have long felt that the poetry of the seventeenth and eighteenth centuries, even much of that of inferior inspiration, possesses an elegance and a dignity absent from the popular and pretentious verse of the Romantic Poets and their successors. To have urged this claim persuasively would have led me indirectly into considerations of politics, education, and theology which I no longer care to approach in this way. I hope that these three papers may in spite of and partly because of their defects preserve in cryptogram certain notions which, if expressed directly, would be destined to immediate obloquy, followed by perpetual oblivion.'