The literary achievements T. S. Eliot, as a poet, critic and publisher, had made with The Criterion (1922-1939), mostly a quarterly journal, at Faber & Faber, are supposed to be a good example by which we can examine the process of human studies in terms of production, consumption, and distribution of poetry. Lady Rothermere was a patron of the arts, including Eliot’s publishing activities for the commentary journal of The Criterion, yet she was not happy working with him for a long time. The response of Lady Rothermere to the first publication of The Criterion, by Eliot as publisher in October 1922, was critically and cynically ‘dull’; Ezra Pound considered such a comment by Lady Rothermere on Eliot’s works “intentionally offensive” in a letter to Eliot in 1922. Lady Rothermere pursued entertainment in cheap and vulgar literature for the public, different from Eliot, who wanted to publish an elite journal, intellectual and sincere in literary commentary, on his own. Nonetheless, the contribution of Lady Rothermere on Eliot’s works in The Criterion casts a great shadow, by supporting human studies and by the promoting popularity of humanities, into the early literary history of the 20th century. As a matter of fact, Lady Rothermere turned out to be an essential patron for Eliot’s literary activities in the 1920s, yet her active passion and involvement in Eliot’s publication of The Criterion appeared to be a considerable threat to his literary life in poetry and criticism.

The poem “Marina” of T. S. Eliot technically takes the play Pericles of Shakespeare in terms of two voices: the surface pattern based on a dramatic story of Pericles, prince of Tyre, and the deep pattern based on a ultra-dramatic feature of solemn music. Shakespeare is regarded as a dramatist and poet in his later works, such as Pericles, in which he uses a system of related allusions in dramatic situations to reflect implicitly on drama and its program in a unity of poetry and music. Eliot technically steals it in a different way, called his own program, where he secures a solemnity by virtue of a gaiety of content, and a gaiety by virtue of a solemnity of content. His poem thus is poetry which uses the order in which Pericles is written and his technical relations to the play in conversational language and dramatic situations on the surface and in ultra-dramatic aspects in depth. In the ultra-dramatic presentation, musical pattern, and liturgical treatment of characters’ emotions proceed to comment on the recognition scene (V, i) of the play. In the poem, the ultra-dramatic aspects refer to “Eliot’s perspective on life that is as if from beyond life.” The hidden music from the recognition scene (V, i) of the play seems supernatural, as if we are taking part in a ritual. Finally in terms of synchronicity, Hercules, a stoical character in Seneca, is taken for Pericles in Shakespeare; and Senecan Shakespeare is almost certain to be produced in Eliot’s poem “Marina.” We can see this synchronicities value in Eliot’s view of stoical life, taken from Seneca and Shakespeare as well.

T. S. Eliot has been known as a poet and critic for being so serious and moralistic that he might teach his readers. Yet, he published Old Possum’s Book of Practical Cats in 1939 for children, especially for his friends. In this sense, this poetry is aimedat amusing children with an allegory of a variety of cats. Usually, the style that children like lies in amusement in form and satirical language in use. Eliot knew it; so it is an interesting task to examine the significance of the old possum, his nickname, from the poetry for children, and the poet hidden behind the nickname. The Old Possum poetry appears to take into account what children like: a poetry collection of amusement and seriousness put together for children using lively rhythms and regular rhymes according to the characteristics of practical cats. The poetry shows a variety of each cat’s characters and habits, which, the poet believes, practically reflect various forms of human life. Above all, Eliot tried to associate practical cats in profound meditation with himself as a thoughtful, yet invisible poet and critic just like the wild, yet shy animal: a metaphor of the old possum in poetry.

T. S. Eliot’s grumbling voice of desire is echoed in his poem, The WaSle Land, in terms of hypertext structure and its 10gica1 form. He might call it 피npersona1ity" or “objective corre1ative’‘ in a sense of poetics. 11 is noted that the poem goes beyond an aesthetic structure as seen in print 1iterature: succeeding ideas, deve10ping metaphors and metonymy and words functioning to deve10p a coherent and strong structure in terms of cyber 1iterature. This can be called hypertext poetry (hyper poetry) or hypertext poetics and we can see from the hyper structure and form of the poem hierarchica1 text(s) in a 10gic of metaphor signifying desire. Putting together the cyber nodes, which appear by clicking and a1so alluding to human desire, we can find the source in the internet web, app1ying the re1evant theme from lhe source to newer 1iterary works. The virtua1 rea1ily in the hypertextua1 poem is perceived to be fl비1 of Greek satyr images signifying improper behavior, degradation and mutation, not 10ve or beauty. In so doing, E1iot persistent1y and carefully arranges many symbo1ic personas in tradition, mytho10gy, and art by grave ironies and absurdities of 1ife. In a sense of hyper poetη， E1iot uses such personas with desire, or in anima, to constru띠 hypertextua1ity as a way of characterizing textua1 behavior to 1et us 삐nk about the re1ationship between the poem and hypertext c비ture. E1iot focuses on the technica1 structure of arrangement within the texl, Ihe 1inkages and points of connection between and within its different 1ines, sty1es, and entire fragments This paper examines the intemet sites of the poem to consider E1iot an arranger, comp비er programmer, and inlemel sile organizer in lerms of bypertextuality. He becomes a precursor for cyber lileralure, especialJy hyper poelry in conlrasl 10 James Joyce‘5 hyperlexl narralive, Ulysses. Consequenlly, the cyber links look veη knowledgeable, Ihus taking hold of bOlh alJusions as a lilerary device, and hypertext as a study device. 80th work in such a way tbat each reaches its f1비I potenlial, making Eliot's text more widely readable with alJ of ils connotations, and glvlng us a belter opportunity to study and undersland its form and meaning.