This article delves into the micro poetics of T.S. Eliot's "The Four Quartets," highlighting the unique use of imagery and etymology, the application of cognate phenomena, and how carefully selected phonemes, morphemes, vocabulary, phrases, rhythms, and syntactic contours create wonderful speech, visual, and vocal structures. At the same time, the author introduces Marcel Duchamp's concept of "thinness" and emphasizes the importance of subtle differences through Duchamp's examples and discussions on time, space, and language. The author also criticized the generalized language and abstract metaphors in contemporary language, advocating that poets and readers should pay attention to the specificity and differences of language in order to create and experience the "thin" state in poetry. By analyzing Eliot's poetry, the author demonstrates how to enhance the effectiveness and meaning of poetry through the selection of context and language.

1、 The problem of formalism

We have delved into the issue of formalism with the aim of eliminating two common misconceptions about the concept of "thinness". Firstly, the author distinguishes Duchamp's "differential close reading" from the "close reading" method of New Criticism, pointing out that New Criticism overly emphasizes the semantic structure of poetry and neglects elements such as sound, visual form, and etymology. By analyzing Collins Brooks' "The Exquisite Urn" and "Modern Poetry and Tradition," the author reveals how New Criticism limits the meaning of poetry to a special level that can only be expressed through poetry, while ignoring other aspects of poetry.

2、 The fanaticism for pursuing change

In depth exploration of Duchamp's understanding and practice of the concept of "virtual thinness", as well as its influence in modernist literature and art. Duchamp's passion for change stems from his sensitivity to historical changes, and he attempted to break away from Cubism in search of a new artistic expression. He criticized the "retina" tradition since the 19th century, believing that painting should go beyond visual function and have deeper religious, philosophical, and moral significance. Duchamp's turning point occurred in 1912, when he met artists such as Kandinsky in Munich and became interested in the Renaissance painting style. His detached stance kept him at a distance from Dadaism, and his concept of "thinness" was reflected in works such as "The New Widow".

3、 It's language, not lyric poetry

In depth exploration of the difference between poetic language and lyrical poetry, it is pointed out that modern poetry works such as "The Waste Land" and Pound's "Poems" have surpassed the scope of traditional lyrical poetry. The origin of lyric poetry is closely related to musicality, but over time, its definition and form have changed. The diversity of lyrical poetry during the Renaissance was closely linked to the expression of personal emotions, while Eliot believed that poetry was an escape from emotions rather than an expression. Jonathan Culler proposed in "The Theory of Lyrical Poetry" that lyric poetry should have universal rationality, rather than just the expression of personal emotions. In contemporary times, poetry focuses more on specific and unique things such as ethnicity and national identity, rather than universal emotions. Eliot's "J. Alfred Prufrock's Love Songs" portrays the intention of poetry through sound and visual aspects, emphasizing the importance of rhythm and musicality in poetry. Every letter, syllable, and word in poetry is crucial and together constitute the artistic effect of poetry. In Prufrock's world, the depiction of details and the use of language reveal the deep meaning and richness of poetry.