It’s generally acknowledged that Eliot’s international fame began in 1922, with the publication of The Waste Land. Probably one of the strongest engines powering that fame was the set of Notes he appended to the work. Nothing like them had ever been seen in the first publication of a poem or volume of poems, a fact in part explaining the range of responses to the work, from hushed awe to hilarity to outrage. Objections were voiced along these lines:
Jobbing in dozens of classical bits wasn’t enough. He had to rub our noses in his erudition by naming his sources. Mr. Eliot, where did you get the idea that a poem is a post-grad seminar? And why shouldn’t we just call you the plagiarist that you are?
Answer: “Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.” More… “A Guide to the Ruins”