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Through response to T. S. Eliot who was his model at one time, Auden made the lyrical and personal voice available to poets writing about new impressions, insights, contemporary ideas, social, political issues, and topical events which he met with an ever-increasing curiosity in the turmoil of the 1930s. Auden's early poetry is much concerned with diagnosis and portrayal of the ills of his country such as economic depression, poverty, spiritual desiccation and all the disordered conditions of his time. He ended the era of The Waste Land, and opened the new way for a highly varied poetic styles, forms and new many different kinds of poetry. So much of Auden's verse at any time is in a sense detached, impersonal, briskly purposive. During the 1930s Auden's demotic interests best served his poetry in the practice of the epigrammatic line and of various conversational meters. His poetry in the 1930s records a series of exploratory voyages from England to Iceland, Spain, China, across Europe, finally to America. Morality is always a public affair, but for Auden it had to be the result of a directly personal, private, even arbitrary decision. Most of his poetry is spiritually muscular, a sort of moral gymnastics. As a solution to the constriction of the present age, Auden proposes, not a political ideology, but the idea of the community tied by love. The history of Auden's mental journeys is that of the gradual discovery of the potentialities of the meaning of love for him. He is always not searching for a Marxist paradise, but for “new styles of architecture, a change of heart,” a recovery of psychic health and universal love through perfect communion in themselves and in society.