T.s eliot traditional and individual talent

Literary Criticism II
ENG- 332
Lecture No: 13
“T.S Eliot’s Tradition and Individual Talent”
Course: Literary Criticism II- ENG- 332 – Instructor: Siraj Khan, Lecturer in English, Department of English KUST- Email: siraj.khan@kust.edu.pk
By: Siraj Khan
Lecturer in English
KUST

Outlines
Tradition & Individual Talent
Traditional Elements, Their Significance
The Literary Tradition
Dynamic Conception of Tradition
The Function & Sense of Tradition
Emotions & Feelings
Poetry as an Organization
Topic: T.S Eliot Tradition and Individual Talent
Course: Literary Criticism II ENG- 332 – Instructor: Siraj Khan, Lecturer in English, Department of English KUST- Email: siraj.khan@kust.edu.pk

Tradition and the individual talent
• A Manifesto of Eliot’s Critical Creed
• The essay Tradition and Individual Talent was first
published in 1919, in the Times Literary Supplement, as
a critical article.
• The seeds which have been sown here come to fruition
in his subsequent essays. It is a declaration of Eliot’s
critical creed, and these principles are the basis of all his
subsequent criticism.

Tradition and the Individual Talent
Its Three Parts
The essay is divided into three parts:
• The first part gives us Eliot’s concept of tradition, and
• In the second part is developed his theory of the
impersonality of poetry.
• The short, third part is in the nature of a conclusion, or
summing up of the whole discussion.

Traditional Elements: Their Significance
• ‘Tradition’ is generally regarded as a word of censure.
• It is a word disagreeable to the English ears.
• When the English praise a poet, they praise him for those-aspects
of his work which are ‘individual’ and original.
• It is supposed that his chief merit lies in such parts.
• This undue stress on individuality shows that the English have an
uncritical turn of mind. They praise the poet for the wrong thing.
• “Whereas if we approach a poet without this prejudice, we shall
often find that not only the best, but the most individual part of his
work may be those in which the dead poets, his ancestors, assert
their immortality most vigorously.’

The Literary Tradition: Ways in Which It Can Be Acquired
• Tradition does not mean a blind adherence to the ways of the
previous generation or generations.
• This would be mere slavish imitation, a mere repetition of what has
already been achieved, and “novelty is better than repetition.”
• Tradition in the sense of passive repetition is to be discouraged. For
Eliot, Tradition is a matter of much wider significance. Tradition in
the true sense of the term cannot be inherited, it can only be
obtained by hard labour. This labour is the labour of knowing the
past writers.
• The historical sense involves a perception, “not only of the pastness
of the past, but also of its presence.

• To judge the work of a poet or an artist, we must compare and
contrast his work with the works of poets and artist in the past.
• Eliot’s conception of tradition is a dynamic one.
• The relationship between the past and the present is not one-sided;
it is a reciprocal relationship.
• “The existing monuments form and ideal order among themselves,
which is modified by the introduction of the new (really new) work
of art among them. The existing order is complete before the new
work arrives; for order to persist after the supervention of novelty,
the whole existing order must be, if ever so slightly, altered.”
• Every great poet like Virgil, Dante, or Shakespeare, adds
something to the literary tradition out of which the future poetry
will be written.
Dynamic Conception of Tradition: Its Value

The Function of Tradition
• The work of a poet in the present is to be compared and
contrasted with works of the past, and judged by the standards
of the past. But this judgment does not mean determining good
or bad. It does not mean deciding whether the present work is
better or worse than works of the past..
• Moreover, this comparison is reciprocal. The past helps us to
understand the present, and the present throws light on the
past. It is in this way alone that we can form an idea of what is
really individual and new. It is by comparison alone that we
can sift the traditional from the individual elements in a given
work of art.

• The past must be examined critically and only the significant in it should be
acquired.
• The sense of tradition does not also mean that the poet should know only a few
poets whom he admires.
• A sense of tradition in the real sense means a consciousness, “of the main
current, which does not at all flow invariably through the most distinguished
reputations”.
• In other words, to know the tradition, the poet must judge critically what are the
main trends and what are not.
• He must confine himself to the main trends to the exclusion of all that is
incidental or topical.
• The poet must possess the critical gift in ample measure. He must also realise
that the main literary trends are not determined by the great poets alone. Smaller
poets also are significant. They are not to be ignored.
Sense of Tradition: Its Real Meaning

Works of Art: Their Permanence
• The poet must also realise that art never improves, though
its material is never the same. The mind of Europe may
change, but this change does not mean that great writers
like Shakespeare and Homer have grown outdated and lost
their significance. The great works of art never lose their
significance, for there is no qualitative improvement in art.
• There may be refinement, there may be development, but
from the point of view of the artist there is no
improvement. (For example, it will not be correct to say
that the art of Shakespeare is better and higher than that of
Eliot. Their works are of different kinds, for the material on
which they worked was different.)

T.S. Eliot is conscious of the criticism that will be made of his
theory of tradition. His view of tradition requires, it will be
said, a ridiculous amount of erudition. It will be pointed out
that there have been great poets who were not learned, and
further that too much learning kills sensibility. However,
knowledge does not merely mean bookish knowledge, and the
capacity for acquiring knowledge differs from person to
person. Some can absorb knowledge easily, while others must
sweat for it. Shakespeare, for example, could know more of
Roman history from Plutarch than most men can from the
British Museum. It is the duty of every poet to acquire, to the
best of his ability, this knowledge of the past, and he must
continue to acquire this consciousness throughout his career.
Such awareness of tradition, sharpens poetic creation.
Awareness of the Past: The Poet’s Duty to Acquire It

Impersonality of Poetry: Extinction of Personality
• The artist must continually surrender himself to something which is more valuable
than himself, i.e. the literary tradition.
• He must allow his poetic sensibility to be shaped and modified by the past. He
must continue to acquire the sense of tradition throughout his career.
• In the beginning, his self, his individuality, may assert itself, but as his powers
mature there must be greater and greater extinction of personality.
• He must acquire greater and greater objectivity. His emotions and passions must be
depersonalised; he must be as impersonal and objective as a scientist.
• The personality of the artist is not important; the important thing is his sense of
tradition.
• A good poem is a living whole of all the poetry that has ever been written.
• Thus, the poet’s personality is merely a medium, having the same significance as a
catalytic agent, or a receptacle in which chemical reactions take place.
•“Honest criticism and sensitive appreciation is directed not upon the poet but upon
the poetry.”

The Poetic Process: The Analogy of the Catalyst
• He compares the mind of the poet to a catalyst and the process of poetic creation
to the process of a chemical reaction. Just as chemical reactions take place in the
presence of a catalyst alone, so also the poet’s mind is the catalytic agent for
combining different emotions into something new.
• The mind of the poet is like the catalytic agent. It is necessary for new
combinations of emotions and experiences to take place, but it itself does not
undergo any change during the process of poetic combination. The mind of the
poet is constantly forming emotions and experiences into new wholes, but the new
combination does not contain even a trace of the poet’s mind, just as the newly
formed sulphurous acid does not contain any trace of platinum.
•“the more perfect the artist, the more completely separate in him “will be the man
who suffers and the mind which creates.” The test of the maturity of an artist is the
completeness with which his men digests and transmutes the passions which form
the substance of his poetry. The man suffers, i.e. has experiences, but it is his mind
which transforms his experiences into something new and different.
• The personality of the poet does not find expression in his poetry; it acts like a
catalytic agent in the process of poetic composition.

Emotions and Feelings
The experiences which enter the poetic process, says
Eliot, may be of two kinds. They are emotions and
feelings. Poetry may be composed out of emotions only
or out of feelings only, or out of both. T.S. Eliot here
distinguishes between emotions and feelings, but he does
not state what this difference is, “Nowhere else in his
writings”, says A.G. George, “is this distinction
maintained’, neither does he adequately distinguish
between the meaning of the two words”. The distinction
should, therefore, be ignored, more so as it has no bearing
on his impersonal theory of poetry.

Poetry as Organisation: Intensity of the Poetic Process
Eliot next compares the poet’s mind to a jar or receptacle in which are stored
numberless feelings, emotions, etc., which remain there in an unorganised and
chaotic form till, “all the particles which can unite to form a new compound are
present together.”
Thus poetry is organisation rather than inspiration. And the greatness of a poem
does not depend upon the greatness or even the intensity of the emotions, which
are the components of the poem, but upon the intensity of the process of poetic
composition. Just as a chemical reaction takes place under pressure, so also
intensity is needed for the fusion of emotions.
The more intense the poetic process, the greater the poem. There is always a
difference between the artistic emotion and the personal emotions of the poet. For
example, the famous Ode to Nightingale of Keats contains a number of emotions
which have nothing to do with the Nightingale. “The difference between art and
the event is always absolute.”
Eliot thus rejects romantic subjectivism.

Artistic Emotion: The Value of Concentration
The emotion of poetry is different from the personal emotions of
the poet. His personal emotions may be simple or crude, but the
emotion of his poetry may be complex and refined. It is the
mistaken notion that the poet must express new emotions that
results in much eccentricity in poetry. It is not the business of the
poet to find new emotions. He may express only ordinary emotions,
but he must impart to them a new significance and a new meaning.
And it is not necessary that they should be his personal emotions.
Even emotions which he has never personally experienced can
serve the purpose of poetry. (For example, emotions which result
from the reading of books can serve his turn.)

“Poetry is not a turning loose of emotion, but an escape from
emotion; it is not the expression of personality, but an escape from
personality.” Thus Eliot does not deny personality or emotion to the
poet. Only, he must depersonalise his emotions.
There should be an extinction of his personality. This impersonality
can be achieved only when poet surrenders himself completely to
the work that is to be done. And the poet can know what is to be
done, only if he acquires a sense of tradition, the historic sense,
which makes him conscious, not only of the present, but also of the
present moment of the past, not only of what is dead, but of what is
already living.
Poetry, an Escape from Personality and Personal Emotions

T.s eliot traditional and individual talent

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T.s eliot traditional and individual talent