Incidentally, vis-a-vis the 'Triumphal March' (ref. previous post), it should be interesting to read the following chapter in A Companion to T. S. Eliot edited by David E. Chinitz (2009):
“The inexplicable mystery of sound”: Coriolan, Minor Poems, Occasional Verses
by Gareth Reeves
“Unfinished,” “minor,” “occasional”: the headings in the Collected Poems for the texts to be discussed in this chapter do not augur well. But, first, Eliot was an exceptionally self-critical writer: most poets would be proud to have written the “unfinished” Coriolan and many of the “minor” poems. The other “unfinished” work, Sweeney Agonistes , has begun to receive the critical attention it deserves, and therefore has its own chapter in this Companion. The present chapter maintains that Coriolan 's
time has also come. Secondly, Eliot had a remarkable sense of mission, and everything he wrote can be seen, at any rate with hindsight, to take its place in the larger pattern of his life's work: all parts illuminate the whole, and the whole illuminates the parts. Many of the texts under discussion highlight the intensely auditory nature of Eliot's inspiration. Although the acoustic occasion changes from poem to poem, sound is at the heart of his poetry: in the vocal scenario of Coriolan , in the Symbolist “music” of the “minor” Landscapes sequence, and in the strategically conversational idiom of several of the “Occasional Verses.” The two parts of Coriolan , “Triumphal March” and “Difficulties of a Statesman,” were first published, separately, in 1932, at a crucial juncture in Eliot's career. Both poetically and politically he was bewildered. Much is “hidden” in Coriolan ...