Argues that antisemitism in England has always been either disregarded, underestimated, or misunderstood. England has seen four forms of antisemitism during its history: a radical antisemitism, which ended with the expulsion of the Jews in 1290; a literary antisemitism; a quotidian antisemitism of insult and partial exclusion that has existed since the mid-17th century; and an emergent, antisemitic anti-Zionism. Various forms and motifs of antisemitism were invented in England (e.g. expulsion) and others were adapted and extended - e.g. it was in England that the blood libel arose in its canonic medieval form, and where its first literary representation appeared, written by Thomas of Monmouth. Dwells on antisemitic motifs in English literature, from the 13th century ballad "Sir Hugh, or the Jew's Daughter" to Tom Paulin's poem "Killed in Crossfire" (2001). Since the 17th century, the antisemitism has been weak and mainly verbal; antisemitic zealots have been few in number and marginal in their influence. Nonetheless, it existed and was widespread amongst the populace. Modern political antisemitism emerged in the 1860s and continued into the 20th century, when the Jews came to be perceived as a challenge to British security. Dwells on the English antisemitic mentality, as well as on antisemitic anti-Zionism. Discerns two forms of the latter: secular anti-Zionism, supported by the left and post-left; and confessional anti-Zionism, either Muslim, Jewish, or Christian conservative.

Of the many different kinds of anti-Semite, Eliot was the rarest: one who was able to place his anti-Semitism at the service of his art. This study looks both at the detail of Eliot's deployment of anti-Semite discourse and at the role it played in his greater literary works.