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This paper aims at investigating T. S. Eliot’s criticism on Paul Valéry, the last French Symbolist poet, displayed in his “Dante,” “A Brief Introduction to the Method of Paul Valéry,” “Leçon de Valéry,” “From Poe to Valéry,” “Scylla and Charybdis,” “Introduction” to The Art of Poetry, etc. Eliot first mildly denounces Valéry’s critical attitude against philosophical poetry by highly appreciating such philosophical poets as Dante, Lucretius, etc. Eliot then insists that Valéry, as the successor of Mallarmé, has developed the music and fluidity, as well as a variety of technical expressions, of Symbolism. And Eliot includes Valéry’s impersonality in his impersonal theory of poetry, and argues that from the viewpoints of structure and impersonality Valery’s “Le Cimetière marin” (1920) with its philosophical structure is greater than Thomas Gray’s “Elegy Written in a Country Churchyard” (1751). Furthermore, Eliot points out Valéry’s two characteristics: the extreme self-consciousness and the extreme skepticism. Eliot proceeds to maintain that Valéry’s anti-romantic poetics regarding the sonnet as the true quintessence of poetry is influenced by Poe’s, but it surpasses Poe’s “The Philosophy of Composition” and is more original. Meanwhile, Eliot critically subverts Valéry’s comparison of poetry with “dancing” and prose with “walking” or “running.” Finally, Eliot speaks highly of Valéry as the representative poet in the first half of the 20th century. In short, Eliot’s criticism in general of Valéry covering nearly 40 years has oscillated between negative and positive positions.