Critic to the relevant"; poet and critic T.S. Eliot wrote "a critic must have a very highly developed sense of fact". In 1971, Harold C. Schonberg, chief music critic of "The New York Times" from 1960 to 1980, said that he wrote for himself, <nowiki>"</nowiki>not necessarily for readers, not for musicians. ...It's not a critic's job to be right or wrong; it's his job to express an opinion in readable English.<nowiki>"</nowiki> Schonberg was the first music critic to receive the Pulitzer Prize for criticism. Daniel Mendelsohn described the equation of criticism for critics as knowledge + taste = meaningful judgement. Restaurant
T. S. Eliot same time infusing this portrayal with—in Eliot's view—wit and uniqueness. Eliot's essay "The Metaphysical Poets", along with giving new significance and attention to metaphysical poetry, introduced his now well-known definition of "unified sensibility", which is considered by some to mean the same thing as the term "metaphysical". His 1922 poem "The Waste Land" also can be better understood in light of his work as a critic. He had argued that a poet must write "programmatic criticism", that is, a poet should write to advance his own interests rather than to advance "historical scholarship". Viewed from Eliot's critical lens, "The Waste