Unlike the innuence of Beethoven on Eliot, that of Bartók has been relatively ignored. Like-for-like parallels between particular poems and specific píeces of music by both of these composers can be dubious enlerprises, and il will here be inlended 10 avoid such an approach. This article will inslead look al critical work which has been done on the string quarlets of Barlók as a more general voice behind the composition of FOllr QuortelS. As a necessary adjuncl, I1 will also consider Ihe degree to which Eliol would have been familiar with these pieces, by examining Iheir performance history and reception in Britain, as well as inlelleclUal comment generated about them in sources familiar to Eliot. Through some parallel analysis of the poetry and Ihe music, and wilh reference to readings, including Eliot's own, of FOllr QllorlelS, il will also be 311empted 10 show how the principlc of motivic development provides an important connection hetween Eliot’s and Bartók’s compositional techniqucs.