The Duchess of Malfi received generally scathing reviews. William Archer, England's chief proponent of Ibsen's new drama, took advantage of the occasion to lambast what he saw as the overestimation of Elizabethan theatre in general. In 1919, the Phoenix Society revived the play in London for the first time in two decades. The production featured Cathleen Nesbitt as the Duchess; Robert Farquharson played Ferdinand. The production was widely disparaged. For many of the newspaper critics, the failure indicated that Webster had become a "curio"; T. S. Eliot, conversely, argued that the production had failed to uncover the elements that made Webster a great dramatist—specifically
T. S. Eliot in London can be gauged from an unsigned review in "The Times Literary Supplement" on 21 June 1917. "The fact that these things occurred to the mind of Mr. Eliot is surely of the very smallest importance to anyone, even to himself. They certainly have no relation to "poetry"." In October 1922, Eliot published "The Waste Land" in "The Criterion". Eliot's dedication to "il miglior fabbro" ("the better craftsman") refers to Ezra Pound's significant hand in editing and reshaping the poem from a longer Eliot manuscript to the shortened version that appears in publication. It was composed during a period