Eliot, T.S. In (1922). The essay in which Eliot writes, "The progress of an artist is a continual self-sacrifice, a continual extinction of personality. There remains to define this process of depersonalization and its relation to the sense of tradition. It is in this depersonalization that art may be said to approach the condition of science."
Ts Eliot Essay Tradition And The Individual Talent Summary The Waste Land is a long poem by T. Liot. Is widely regarded as one of the most important poems of the 20th century and a central work of modernist poetry.
If we see in Eliot’s hyperboles an enthusiasm for the imaginative order of a tradition that cannot possibly be orderly, he likewise expresses a healthy bit of subversive will, both in his rhetorical defiance and his affinity with the revolutionary inwardness and evocative techniques of French Symbolism. The example of “The Love Song of J. Alfred Prufock” embodies this spirit in its reliance on the deeply conflicted poetic image, the image saturated in unconscious energy at the same time that it critiques the alienated solipsism of imaginative excess:
None of this is to say that any kind of Catholic establishment is necessary for culture, or that Eliot is wrong in his assertion that variety is necessary in religious culture. Even the Catholic (“Universal”) Church contains within itself a variety of liturgical traditions. Rather it is to emphasize Eliot’s own point, that diversity and unity must be held in constant tension, and to point up the problem of religious establishment in maintaining that tension. As to Anglicanism, Eliot did not argue explicitly that its official status was a positive good. Instead, he noted:
TS Eliot and Tradition Essay - 1998 Words - StudyMode
In this sense, literature is much like the alphabet on which it depends—a set of elements whose arbitrary, historical order can be segmented, rearranged, and repeated to produce words and a text from these words. The new work is expressed through them and they through it; they are each other's medium. "Tradition" and "Individual Talent" are synonyms for Eliot, the moments of a reciprocal constitution, two aspects of the same substance. The keyword "medium" is itself an example of this fungibility, deployed several times in the essay in both its senses: it indicates the artist, whose "historical sense" allows her to function as a conduit for the past, and the past itself, the medium or ground in which both the poet and her text are set. The medium is indistinguishable from the artist's mind but is in no way identical to the artist's personality. Eliot figures that mind as a poetic archive, a "receptacle" for storing "feelings, phrases, images" which "remain there" until combined to form a new compound. The experience of language yields more language.
Tradition and the individual talent ts eliot analysis essay
Cleo McNelly Kearns notes in her biography that Eliot was deeply influenced by Indic traditions, notably the . From the Sanskrit ending of to the "What Krishna meant" section of shows how much Indic religions and more specifically Hinduism made up his philosophical basic for his thought process. It must also be acknowledged, as showed in his book (Macmillan, 2011), that he was deeply influenced by French poets from Baudelaire to Paul Valéry. He himself wrote in his 1940 essay on W.B. Yeats: "The kind of poetry that I needed to teach me the use of my own voice did not exist in English at all; it was only to be found in French." ("Yeats," , 1948)
Preludes ts eliot essay tradition
Eliot's essay and the example of place his early thought in proximity with recent poetics and their practitioners, from to the loosely associated poetries comprehended under the rubric of Language Poetry. Eliot's emphasis on the difference between feelings and "art emotion" and on the past of literature as its present material are both essentially constructivist tenets. Ashbery's inventory of the present and recent past of language use a Waste Land of slang and pop culture, and his rapid shifts between subjective centers conspire to defeat the possibility of locating a unitary personality; his ability, or rather the poem's, to forget its subject from line to line is, paradoxically, its method of remembering so many features of American idiom, of producing new interactions among them, of deploying a historical sense that easily takes in both and Raymond Roussel. Similarly, ’s New Sentence, especially when used to reinvigorate autobiography as in ’s or ’s , proceeds by citing and circulating many sources, public and private, whose syllogistic relationship to each other has been deemphasized; the sentences are related by virtue of appearing together on and as the same ground, a signifying ground that can be figured as a life () or a place (). They are archives of sentences. In both cases, the poem stands not as an escape from personality and psychology, but as the inevitable record of an experience of language and power, of the ongoing textualization of the subject and its dispersion in time and categories. When Hejinian discusses she sounds remarkably like Eliot: "The discovery that language is an order of reality itself and not a mediating medium—that it is possible and even likely that one can have a confrontation with a phrase that is as significant as a confrontation with a tree, chair, cone, dog, bishop, piano, vineyard, door, or penny."2 Of course our confrontation here is with "tree," "chair," "cone"; Hejinian's order of reality is one because the archive is not a mediating medium but the material construction of experience. As an earlier incarnation of Eliot (George) put it in : "Our deeds still travel with us from afar / And what we have been makes us what we are." The rhyme between tradition and talent is not always this audible. More often, as T. S. Eliot puts it himself in "The Dry Salvages": "it is not heard at all, but you are the music / While the music lasts."