No poet, no artist of any art, has his complete meaning alone. It represents a "simultaneous order," by which Eliot means a historical timelessness — a fusion of past and present — and, at the same time, a sense of present temporality.
In his broadcast talk "The Unity of European Culture," he said, "Long ago I studied the ancient Indian languages and while I was chiefly interested at that time in Philosophy, I read a little poetry too; and I know that my own poetry shows the influence of Indian thought and sensibility.
Some can absorb knowledge, the more tardy must sweat for it. Certainly the word is not likely to appear in our appreciations of living or dead writers. Sinha, who writes that Eliot went beyond Indian ideas to Indian form: I mean this as a principle of aesthetic, not merely historical, criticism.
Eliot presents his conception of tradition and the definition of the poet and poetry in relation to it. Great works do not express the personal emotion of the poet. Another essay found in Selected Essays relates to this notion of the impersonal poet.
Rather, Eliot has a much more dynamic and progressive conception of the poetic process: We have seen many such simple currents soon lost in the sand; and novelty is better than repetition.
For Eliot, the term "tradition" is imbued with a special and complex character. This combination takes place only if the platinum is present; nevertheless the newly formed acid contains no trace of platinum, and the platinum itself is apparently unaffected; has remained inert, neutral, and unchanged.
The emotion in his poetry will be a very complex thing, but not with the complexity of the emotions of people who have very complex or unusual emotions in life.
Shakespeare acquired more essential history from Plutarch than most men could from the whole British Museum. The mind of the poet is the shred of platinum. That this development, refinement perhaps, complication certainly, is not, from the point of view of the artist, any improvement.
What lends greatness to a work of art are not the feelings and emotions themselves, but the nature of the artistic process by which they are synthesised. In fact, the bad poet is usually unconscious where he ought to be conscious, and conscious where he ought to be unconscious.
But, of course, only those who have personality and emotions know what it means to want to escape from these things. In either case there has been a fusion of elements. He assumes the authority to choose what represents great poetry, and his choices have been criticised on several fronts.
But the whole effect, the dominant tone, is due to the fact that a number of floating feelings, having an affinity to this emotion by no means superficially evident, have combined with it to give us a new art emotion.
The mature poet is viewed as a medium, through which tradition is channelled and elaborated. A poet must embody "the whole of the literature of Europe from Homer ," while, simultaneously, expressing their contemporary environment. As such, his notion of tradition stands at odds with feminist, post-colonial and minority theories.
In this view, Eliot rejects the theory that art expresses metaphysical unity in the soul of the poet.“Tradition and the Individual Talent” that a new literary work affects earlier works.
In this essay Eliot states that the critic’s task is “to divert interest from the Eliot asserts that tradition becomes a more important characteristic of a literary work than individualism when it.
Tradition and the Individual Talent by T. S.
Eliot 1 In English writing we seldom speak of tradition, though we occasionally apply its name in deploring its absence. We cannot refer to “the tradition” or to “a tradition”; at most, we employ the. T.S Eliot Tradition and Individual Talent and The Love Song of J. Alfred Prufrock Tradition and individual talent.
Eliot's essays actually map a highly personal set of preoccupations, responses and ideas about specific authors and works of art, as well as formulate more general theories on the connections between poetry, culture and society. Tradition and the Individual Talent. T.S. Eliot. The Sacred Wood; Essays on Poetry and Criticism.
The Sacred Wood: The Sacred Wood, book of critical essays by T.S. Eliot, published in In it, Eliot discusses several of the issues of Modernist writings of the period.
The best-known essay of the collection, “Tradition and the Individual Talent,” puts forth Eliot’s theory of a literary tradition that.
T. S. Eliot, Selected Essays (3rd edn., London, ) We dwell with satisfaction upon the poet’s difference from his predecessors, especially his immediate predecessors; we endeavour to find something that can be isolated in order to be enjoyed.Download