Ts eliot essay tradition
VI Published:. We say: it appears to conform, and is perhaps individual, or it appears individual, and many conform; but we are hardly likely to find that it is one and not the other.
So here is not objective correlative.
Ts eliot tradition and the individual talent main points
As Eliot explains, " Shakespeare acquired more essential history from Plutarch than most men could from the whole British Museum. Perhaps not even an improvement from the point of view of the psychologist or not to the extent which we imagine; perhaps only in the end based upon a complication in economics and machinery. What is to be insisted upon is that the poet must develop or procure the consciousness of the past and that he should continue to develop this consciousness throughout his career. And it is at the same time what makes a writer most acutely conscious of his place in time, of his own contemporaneity. To conform merely would be for the new work not really to conform at all; it would not be new, and would therefore not be a work of art. The business of the poet is not to find new emotions, but to use the ordinary ones and, in working them up into poetry, to express feelings which are not in actual emotions at all. But, of course, only those who have personality and emotions know what it means to want to escape from these things. What matters is the emotion transmuted into poetry, the feelings expressed in the poetry. To divert interest from the poet to the poetry is a laudable aim: for it would conduce to a juster estimation of actual poetry, good and bad. The analogy was that of the catalyst. He observes the world like any common men. In this view, Eliot rejects the theory that art expresses metaphysical unity in the soul of the poet. 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, passive and unchanged. That this development, refinement perhaps, complication certainly, is not, from the point of view of the artist, any improvement. He is critic of life.
This balance of contrasted emotion is in the dramatic situation to which the speech is pertinent, but that situation alone is inadequate to it. On Poetry and Poets.
In fact, the bad poet is usually unconscious where he ought to be conscious, and conscious where he ought to be unconscious. But very few know when there is an expression of significant emotion, emotion which has its life in the poem and not in the history of the poet. They compare the poet to a catalyst in a chemical reaction, in which the reactants are feelings and emotions that are synthesised to create an artistic image that captures and relays these same feelings and emotions.
He does not account for a non-white and non-masculine tradition. He must be quite aware of the obvious fact that art never improves, but that the material of art is never quite the same.
The ode of Keats contains a number of feelings which have nothing particular to do with the nightingale, but which the nightingale, partly, perhaps, because of its attractive name, and partly because of its reputation, served to bring together.
Tradition and individual talent analysis pdf
No poet, no artist of any art, has his complete meaning alone. His own work is heavily influenced by non-Western traditions. Therefore, we as a critic should not look for personality of poet in his poem because the text is objective. We say: it appears to conform, and is perhaps individual, or it appears individual, and many conform; but we are hardly likely to find that it is one and not the other. This is somewhat ironic, since he later criticised their intensely detailed analysis of texts as unnecessarily tedious. His particular emotions may be simple, or crude, or flat. The introduction of a new work alters the cohesion of this existing order, and causes a readjustment of the old to accommodate the new. The implications here separate Eliot's idea of talent from the conventional definition just as his idea of Tradition is separate from the conventional definition , one so far from it, perhaps, that he chooses never to directly label it as talent. It may partly or exclusively operate upon the experience of the man himself; but, the more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates; the more perfectly will the mind digest and transmute the passions which are its material. The poet is a depersonalised vessel, a mere medium. But the difference between art and the event is always absolute; the combination which is the murder of Agamemnon is probably as complex as that which is the voyage of Ulysses. Matching of events with expressed emotion is what Eliot calls objective correlative.
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