And it is at the same time what makes a writer most acutely conscious of his place in time, of his contemporaneity. Inhis last year, Eliot published in a reprint of The Use of Poetry and the Use of Criticism, a series of lectures he gave at Harvard University in anda new preface in which he called "Tradition and the Individual Talent" the most juvenile of his essays although he also indicated that he did not repudiate it.
The poet is a depersonalised vessel, a mere medium. The first course is inadmissible, the second is an important experience of youth, and the third is a pleasant and highly desirable supplement. Eliotwho had been living in London for the last few years, and who had published his first volume of poems, Prufrock and Other Observations, in Or great poetry may be made without the direct use of any emotion whatever: Faber and Faber, However, it should be recognized that Eliot supported many Eastern and thus non-European works of literature such as the Mahabharata.
What happens is a continual surrender of himself as he is at the moment to something which is more valuable.
As Eliot explains, " Shakespeare acquired more essential history from Plutarch than most men could from the whole British Museum.
On Poetry and Poets. And the poet cannot reach this impersonality without surrendering himself wholly to the work to be done. The effect of a work of art upon the person who enjoys it is an experience different in kind from any experience not of art.
He must be quite aware of the obvious fact that art never improves, but that the material of art is never quite the same. 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.
Whereas the conventional definition of talent, especially in the arts, is a genius that one is born with. This is somewhat ironic, since he later criticised their intensely detailed analysis of texts as unnecessarily tedious. It has shaped generations of poets, critics and theorists and is a key text in modern literary criticism.
Eliot presents his conception of tradition and the definition of the poet and poetry in relation to it. He does not account for a non-white and non-masculine tradition. This ideal implies that knowledge gleaned by a poet is not knowledge of facts, but knowledge which leads to a greater understanding of the mind of Europe.
This is, so to speak, the structural emotion, provided by the drama. This is what Eliot intends when he discusses poetry as an "escape from emotion.
And, it is the sign, and not the poet, which creates emotion. In the Agamemnon, the artistic emotion approximates to the emotion of an actual spectator; in Othello to the emotion of the protagonist himself.
Eliot is rather vague about how a poet is to do this — leaving others to ponder it at length. 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.
While, however, we persist in believing that a poet ought to know as much as will not encroach upon his necessary receptivity and necessary laziness, it is not desirable to confine knowledge to whatever can be put into a useful shape for examinations, drawing-rooms, or the still more pretentious modes of publicity.“Tradition and the Individual Talent,” one of Eliot’s early essays, typifies his critical stance and concerns; it has been called his most influential single essay.
Divided into three parts. ‘Tradition and the Individual Talent’, written by T. S.
Eliot and published inand explores in two parts his views on poetry in relation to literary tradition, and also the intrinsic relationship between the poet and his work. A reading of Eliot’s classic essay ‘Tradition and the Individual Talent’ was first published in in the literary magazine The killarney10mile.com was published in two parts, in the September and December issues.
Perhaps his best-known essay, “Tradition and the Individual Talent” was first published in and soon after included in The Sacred Wood: Essays on Poetry and Criticism ().
Eliot attempts to do two things in this essay: he first redefines “tradition” by emphasizing the importance of history to writing and understanding poetry, and. 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 Tradition and the Individual Talent: I. This essay proposes to halt at the frontier of metaphysics or mysticism, and confine itself to such practical conclusions as can be applied by the responsible person interested in poetry.