Link among tradition, historical sense and individual talent

According to the Cambridge Advanced Learners Dictionary, Tradition means a belief, principle or way of acting
which people in a particular society or group have continued to follow for a long time, or all of these beliefs, etc.
in a particular society or group. Merriam-Webster Dictionary describes Tradition an inherited, established, or
customary pattern of thought, action or behavior (as a religious practice or a social custom). Eliot commences
the essay with the general attitude towards Tradition.He points out that every nation and race has its creative
and critical turn of mind, and emphasises the need for critical thinking. We might remind ourselves that
criticism is as inevitable as breathing.In Tradition and Individual Talent, Eliot introduces the idea of Tradition.
Interestingly enough, Eliots contemporaries and commentators either derided the idea as irrelevant,
conservative and backward-looking stance or appreciated the idea and read it in connection with Matthew
Arnolds historical criticism of texts popularly known as touchstone method. In this section we will first make an
attempt to summarize Eliots concept of tradition and then will seek to critique it for a comprehensive
understanding of the texts.
At the very outset, Eliot makes it clear that he is using the term tradition as an adjective to explain the
relationship of a poem or a work to the works of dead poets and artists. He regrets that in our appreciation of
authors we hardly include their connections with those living and dead. Also our critical apparatus is
significantly limited to the language in which the work is produced. A work produced in a different language can
be considered for a better appreciation of the work. In this connection, he notices our tendency to insistthose
aspects of a writers work in which he least resembles anyone else. Thus, our appreciation of the writer is
derived from exhumation of the uniqueness of the work. In the process, the interpretation of the work focuses
on identifying the writers difference from his predecessors. Eliot critiques this tendency in literary appreciation
and favours inclusion of work or parts of work of dead poets and predecessors.
Although Eliot attaches greater importance to the idea of tradition, he rejects the idea of tradition in the name of
Blind or Timid Adherence to successful compositions of the past. By subscribing to the idea of tradition, Eliot
does not mean sacrificing novelty nor does he mean slavish repetitions of stylistic and structural features. By
the term Tradition, he comes up with something of much wider significance. By Tradition, he does not refer
to a legacy of writers which can be handed down from a generation to another generation. It has nothing to do
with the idea of inheritance; rather it regrets a great deal of endeavour. He further argues, It involves... The
historical sense... and the historical sense involves a perception, not only of the pastness of the past but its
presence; This historical sense, which is a sense of the timeless as well as of the temporal and of the
timeless and of the temporal together, is what makes a writer traditional. By this statement, Eliot wants to
emphasize that the writer or the poet must develop a sense of the pastness of the past and always seeks to
examine the poem or the work in its relation to the works of the dead writers or the poets. To substantiate his
point of view, Eliot says, No poet, no artist of any art, has his complete meaning alone. His significance, his
appreciation is the appreciation of his relation to the dead poets and the artists. As he says this, he is perfectly
aware of Matthew Arnolds notion of historical criticism and therefore distances himself from such the Arnoldian
critical stance. He identifies his approach to literary appreciation as a principle of aesthetics and thereby
distinguishes it from Arnolds Historical Criticism. Thus, Eliot offers an organic theory and practice of literary

criticism. In this, he treats tradition not as a legacy but as an invention of anyone who is ready to create his or
her literary pantheon, depending on his literary tastes and positions. This means that the development of the
writer will depend on his or her ability to build such private spaces for continual negotiation and even struggle
with illustrious antecedents, and strong influences. Harold Bloom terms the state of struggle as The anxiety of
influence, and he derides Eliot for suggesting a complex, an elusive relationship between the tradition and the
individual, and goes on to develop his own theory of influence.

4.2.2.The Concept of Impersonality

In the second part of the essay Eliot argues that Honest Criticism and sensitive appreciation are directed not
upon the poet but upon the poetry. This hints at the actual beginning of New Criticism where the focus will
shift from author to the text. Eliot here defines the poets responsibility. The poet is not supposed to compose
poetry which is full of his personal emotions. He must subscribe himself to something more valuable, i.e., what
others have composed in the past. Thus, Eliot emphasizes objectivity in poetry. Eliot believes that some sort of
physical distancing, to use Bulloughs term, is necessary for successful composition. He also mentions that
the poet has to merge his personality with the tradition:"The progress of the artist is a continual self-sacrifice, a
continual extinction of personality." The mind of the poet is a medium in which experiences can enter new
combinations. He exemplifies this process as when oxygen and sulphur dioxide are mixed in the presence of a
filament of platinum, they form sulphuric acid. This combination takes place only in the presence of platinum,
which acts as the catalyst. But the sulphuric acid shows no trace of platinum, and remains unaffected. The
catalyst facilitates the chemical change, but does not participate in the chemical reaction, and remains
unchanged. Eliot compares the mind of the poet to the shred of platinum, which will "digest and transmute the
passions which are its material". He suggests the analogy of a catalysts role in a chemical process in a
scientific laboratory for this process of depersonalization.
Eliot sees the poet's mind as "a receptacle for seizing and storing up numberless feelings, phrases, images,
which remain there until all the particles which can unite to form a new compound are present together." He
says that concepts like "sublimity", "greatness" or "intensity" of emotion are irrelevant. It is not the greatness of
the emotion that matters, but the intensity of the artistic process, the pressure under which the artistic process
takes place, that is important. In this way he dissociates the notion on the artistic process from an added
emphasis on 'genius' and the exceptional mind.
Eliot refutes the idea that poetry is the expression of poets personality. Experiences in the life of the man may
have no place in his poems, and vice-versa. The emotions occasioned by events in the personal life of the poet
are not important. What matters is the emotion transmuted into poetry, the feelings expressed in the poetry.
"Emotions which he has never experienced will serve his turn as well as those familiar to him". Eliot critiques
Wordsworth's definition of poetry in the Preface to the Lyrical Ballads: "Poetry is the spontaneous overflow of
powerful feeling: it takes its origins from emotion recollected in tranquility."For Eliot, poetry is not recollection of
feeling, "it is a new thing resulting from the concentration of a very great number of experiences . . . it is a
concentration which does not happen consciously or of deliberation." Eliot defines that "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." For him, the emotion of art is impersonal, and the artist can achieve this impersonality only by and

being conscious of the tradition, He is talking about the poetic tradition and neglects the fact that even the
poetic tradition is a complex mixture of written and oral poetry and the elements that go into them. It was only in
his later writings that he realized that in poetic composition many elements are involved. In his poetic dramas,
he sought to brodent his scope.
Eliot has also ignored other traditions that go into social formations. In 'Religion and Literature', he has dealt
with the non-poetic elements of tradition at length. He kept on developing his notion of tradition right up to the
time he wrote Notes towards a definition on culture.
Creative writer has artistic sensibility. He observes the world like any common men. But his vision observes the
world quite differently. He can perceive from life-experience what common man cannot see at all. This
experience and observation get imaginative colours with the help of artistic sensibility. He creates a world of
imaginative reality. His world is more beautiful and artistic than the real world. He is naturally gifted to create
the work which has power to move or transport the reader. He gets his raw material from the life. He is critic of
life.

A Manifesto of Eliots Critical Creed

The essay Tradition and Individual Talent was first published in 1919, in the Times
Literary Supplement, as a critical article. The essay may be regarded as an
unofficial manifesto of Eliots critical creed, for it contains all those critical principles
from which his criticism has been derived ever since. The seeds which have been
sown here come to fruition in his subsequent essays. It is a declaration of Eliots
critical creed, and these principles are the basis of all his subsequent criticism.

Its Three Parts

The essay is divided into three parts. The first part gives us Eliots 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

Eliot begins the essay by pointing out that the word tradition is generally regarded
as a word of censure. It is a word disagreeable to the English ears. When the
English praise a poet, theypraise 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. If they examine the matter critically with
an unprejudiced mind, they will realise that the best and the mostindividual part of
a poets work is that which shows the maximum influence of the writers of the past.
To quote his own words: 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

This brings Eliot to a consideration of the value and significance of tradition.

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. It is the critical labour of sifting the good from the bad, and of knowing what
is good and useful. Tradition can be obtained only by those who have the historical
sense. The historical sense involves a perception, not only of the pastness of the
past, but also of its presence: One who has the historic sense feels that the whole
of the literature of Europe from Homer down to his own day, including the
literature of his own country, forms one continuous literary tradition He realises
that the past exists in the present, and that the past and the present form one
simultaneous order. This historical sense is the sense of the timeless and the
temporal, as well as of the timeless and the temporal together. It is this historic
sense which makes a writer traditional. A writer with the sense of tradition is fully
conscious of his own generation, of his place in the present, but he is also acutely
conscious of his relationship with the writers of the past. In brief, the sense of
tradition implies (a) a recognition of the continuity of literature, (b) a critical
judgment as to which of the writers of the past continue to be significant in the
present, and (c) a knowledge of these significant writers obtained through
painstaking effort. Tradition represents the accumulated wisdom and experience of
ages, and so its knowledge is essential for really great and noble achievements.

Dynamic Conception of Tradition: Its Value

Emphasising further the value of tradition, Eliot points out that no writer has his
value and significance in isolation. 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.
Such comparison and contrast is essential for forming an idea of the real worth and
significance of a new writer and his work. Eliots conception of tradition is a dynamic
one. According to his view, tradition is not anything fixed and static; it is constantly
changing, growing, and becoming different from what it is. A writer in the present
must seek guidance from the past, he must conform to the literary tradition. But
just as the past directs and guides the present, so the present alters and modifies
the past. When a new work of art is created, if it is really new and original, the
whole literary tradition is modified, though ever so slightly. The relationship
between the past and the present is not one-sided; it is a reciprocal relationship.
The past directs the present, and is itself modified and altered by the present. To
quote the words of Eliot himself: 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 somebiing to the literary tradition out of which the future poetry
will be written.

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. An author in the present is certainly not to
be judged by the principles and the standards of the past. The comparison is to be
made for knowing the facts, all the facts, about the new work of art.
The comparison is made for the purposes of analysis, and for forming a better
understanding of the new. 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.

Sense of Tradition: Its Real Meaning

Eliot now explains further what he means by a sense of tradition. The sense of
tradition does not mean that the poet should try to know the past as a whole, take it
to be a lump or mass without any discrimination. Such a course is impossible as well
as undesirable. 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. This is a sign of immaturity and
inexperience. Neither should a poet be content merely to know some particular age
or period which he likes. This may be pleasant and delightful, but it will not
constitute a sense of tradition. 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.

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.)

Awareness of the Past: The Poets Duty to Acquire It

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.

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. He must forget his personal joys and sorrows, and he absorbed in acquiring
a sense of tradition and expressing it in his poetry. Thus, the poets personality is
merely a medium, having the same significance as a catalytic agent, or a receptacle
in which chemical reactions take place. That is why Eliot holds that, Honest
criticism and sensitive appreciation is directed not upon the poet but upon
thepoetry.

The Poetic Process: The Analogy of the Catalyst

In the second part of the essay, Eliot develops further his theory of the
impersonality of poetry. 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 poets mind is
the catalytic agent for combining different emotions into something new. Suppose
there is a jar containing oxygen and sulphur dioxide. These two gases combine to
form sulphurous acid when a fine filament of platinum is introduced into the jar. The
combination takes place only in the presence of the piece of platinum, but the metal
itself does not undergo any change. It remains inert, neutral and unaffected. 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 poets mind, just as the newly formed sulphurous
acid does not contain any trace of platinum. In the case of a young and immature
poet, his mind, his personal emotions and experiences, may find some expression in
his composition, but, says Eliot, 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 poets 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. The poet has no personality to express, he is merely a medium in which
impressions and experiences combine in peculiar and unexpected ways.
Impressions and experiences which are important for the man may find no place in
his poetry, and those which become important in the poetry may have no
significance for the man. 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.) Eliot rejects Wordsworths theory of
poetry having, its origin in emotions recollected in tranquillity, and points out that
in the process of poetic composition there is neither emotion, nor recollection, nor
tranquillity. In the poetic process, there is only concentration of a number of
experiences, and a new thing results from this concentration. And this process of
concentration is neither conscious nor deliberate; it is a passive one. There is, no
doubt, that there are elements in the poetic process which are conscious and
deliberate. The difference between a good and a bad poet is that a bad poet is
conscious where he should be unconscious and unconscious where he should be
conscious. It is this consciousness of the wrong kind which makes a poem personal,
whereas mature art must be impersonal. But Eliot does not tell us when a poet
should be conscious, and when not. The point has been left vague and
indeterminate.

Poetry, an Escape from Personality and Personal Emotions

The poet concludes: 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.

T. S. Eliot'sTradition and the Individual Talent

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T. S. Eliot Summary
In T. S. Eliots essay Tradition and the Individual Talent, he proposes what he feels are the proper methods for a

new artist to assimilate themselves into the literary tradition that has come before them. T. S. Eliot is mainly
concerned with what he describes as the tradition of poetry. In Eliots opinion, a poet is not an individual separate
from the rest of literary history. A poet cannot in a sense make original art without being conscious of the entire past
of literature, and how his art relates to that past. For Eliot, the past is still a dynamic entity that shapes the way poetry
should be written and interpreted.
The essay, Tradition and the Individual Talent begins with Eliot alluding to the way tradition is commonly regarded
in English literature as being somewhat absent. Eliot feels that English literature lacks a certain formalized aspect that
is prevalent in French literature. Eliot then discusses common conceptions of talent, as being discussed in terms of
how different one poet is from another. Eliot says that we should not value poets who are different from their
immediate predecessors. In Eliots opinion, many of the best traits found in a poet are things that they have learned
from their poetic ancestors; implicit things that are not easily distinguishable in poetic style.
Eliot emphasizes the importance of a historical view of tradition, and expresses that this can only be obtained through
rigorous work. It appears that Eliot would prefer that poets have a firm understanding every canonical piece of
literature ever written prior to attempting to make poetry their own. A poet should additionally be aware of his place in
the timeline of poetry, because this will give him allow him to understand that literature is both timeless and temporal.
Eliot then begins his theory on the idea of an individual talent as being seemingly impossible.
All poets are interconnected, according to Eliot, and influence the past of poetry just as the past influences them. Eliot
does not limit the influence of the past to poetry, rather he broadens his discussion to all art forms, No poet, no artist
of any art has his complete meaning alone. His significance, his appreciation, is the appreciation of his relation to the
dead poets and artists (Eliot 956). In this way, Eliot is almost denouncing the idea of the individuals importance in
poetry. Just as new art must be compared to the art produced previous to it, art from the past is simultaneously
effected by new art.
Eliot then expands upon his theory of how new art and past works of art relate to each other in this way. Art should
not be judged by comparing it to the art that precedes it, and certainly not judged by the cannons of dead critics
(Eliot 957). Rather the test is if the new work fits into the history of art, and this is its test of value. It seems that a
work of art must conform to certain regulations and conventions in order to be valued as a true work of art. It appears
that Eliot is calling for an abandonment of spontaneous originality; you cant be original without having a full concept
of what has been done before you.
Influence is really just viewed as a form of emulating the authors that have come before you. Since one can only
hope to emulate what has existed before them, Eliot feels that the best poet is one who leaves himself out of the
poem. The poets individual personality is not valued in the creation of a work of art; rather he is valued for, being
more finely perfected in his medium. Eliot then uses an analogy to describe the importance of an artist leaving no
personal trace in his work.
Poetry is likened to a craft in the scientific analogy proposed by Eliot. The science experiment described is the
combination of two inert gasses that created acid when in the presence of platinum, yet the platinum is left unaltered.
The poets mind is the piece of platinum, it is used to trigger a reaction; combine things in a new way with the end
result being an entirely new creation. In just the same way that the platinum is not affected, the poets mind should
not interpret details or information, and the most pure art is one that has no trace of the artist. Similarly, Eliot does not
think emotion is necessary for the creation of great poetry. Emotion would interject into poetry a remnant of the
individual; it is possible to write about emotions without actually having said emotions. Dramatic scenes are quite
possible in poetry, even if the emotion being expresses by the artist, have not been felt by the artist.
Eliot emphasizes the importance of a vast knowledge of the literary cannon, or what he refers to as tradition, while
down playing the importance of the individual. To create works of art that are truly original or new, an artist must have
a full command of all the artists in the field that have preceded them. The artist should also know how their work fits
into the ever changing timeline of literary history. There should be no distinguishable trace of the individual artist in
the work after it is completed, rather it should stand next to the works that have been created before it. In a sense,
Eliot adheres to his literary theory; The Waste Land is a series of literary allusions from previous works. This essay
defends the style that the is exemplified in The Waste Land, an impressive litany of famous literature that is
combined into one larger work; fitting nicely into the timeline of literary history.

In his essay Tradition and individual talent Eliot spreads his concept of tradition,
which reflects his reaction against romantic subjectivism and emotionalism. He
opines that tradition gives the reader something new, something arresting
something intellectual and something vital for literary conception.

Tradition according to Eliot is that part of living culture inherited from the
past and functioning in the formation of the present. Eliot maintains that tradition is
bound up with historical sense, which is a perception that the past is not something
lost and invalid.

According to Eliot, is the part of living culture which is inherited from the
past and also has an important function in forming the present. Historical sense is a
perception that past is not something that is lost or invalid. Rather it has a function
in the present.

It exits with the present. It exerts its influence in our ideas, thoughts
and consciousness. This is historical sense. It is an awareness not only of the
pastness of the past but the presence of the past. On this sense the past is our
contemporary as the present is. Eliots view of tradition is not linear but spatial. Eliot
does not believe that the past is followed by the presence and succession of a line.
On the contrary, the past and the present life side by side in the space .Thus it is
spatial. Then Eliot holds that not only the past influences the present but the
present, too, influences the past. To prove this idea, he conceives of all literature as
a total, indivisible order. All existing literary works belong to an order like the
member of a family. Any new work of literature is like the arrival of a member or a
new relative or a new acquaintance. It arrival and presence bring about a
readjustment of the previous relationship of the old members. A new works takes its
place in the order. Its arrival and inclusion modifies the order and relationship
among all works. The order is then modified. A new work art influences all the
existing-literary work, as a new relative influences the old member of a family. It is
this sense that the present modifies the past as the past modifies the present. The
past is modified by the present also in the sense that we can look at the past
literature always through ever renewing perceptive of the present. A new work of
art cannot be evaluated in isolation without reference to past literature and
tradition. Evaluation is always comparative and relative. It calls for a comparison
with the past that is with tradition. No poet, no artist of any art has his complete
meaning alone. His significance, his appreciation is the appreciation of his relation
to the dead poets and artists. You cannot value him alone. You must set him for
contrast and comparison among the dead.

A work of art has two dimensions-it is at once personal and

universal. It is an individual composition, but at the same time, its inclusion into
tradition determines its worth and universal appeal. A writer must be aware that he

belongs to a larger tradition and there is always an impact of tradition on him.

Individual is an element formed by and forming the culture to which he belongs. He
should surrender his personality to something larger and more significant.

In his conscious cultivation of historical sense, a writer reduces the

magnification of personal self, which leads to depersonalization and impersonal act.
When a writer is aware the historical sense, it doesnt mean that he influenced by
the past or his own self. Rather the writer should minimize the importance of his
personal self, which will lead him to depersonalization and impersonal act. Tradition
is a living stream. It is not a lump or dead mass. But the main current does not
always flow through the most noted authoress. Eliot regrets that tradition in English
world of letters is used in prerogative sense. This is one reason of the undeveloped
critical sense of the English nation. They are too individualistic on intellectual habits.
Eliot criticizes the English intellectuals. According to Eliot to the English intellectual
tradition is something that should be avoided. They give much more importance on
individualism and are critical about the historical sense or tradition.

Like Arnold, Eliot views tradition as something living. For both

the word tradition implies growth. Eliot recalls Edmund Burke what burke did for
political thought, by glorifying the idea of inheritance; Eliot has done for English
literary criticism. Burke, famous English politician, gave emphasis on the experience
of the past in politics. In the same Eliot also gives emphasis on the past regarding
English criticism.

Tradition does not mean uncritical imitation of the past. Nor does it
mean only erudition. A writer draws on only the necessary knowledge of tradition.
He must use his freedom according to his needs. He cannot be completely
detached. Often the most original moments of a work of art echo the mind of earlier
writers. Though it sounds paradoxical it is true. It is paradoxical but true that even
the most original writings sometimes reflect the thinking of the past or earlier
writers. So, there is nothing which is absolutely original.

A partial or complete break with the literary past is a danger. An

awareness of what has gone before is necessary to know what is there to be done in
the present or future. A balance between the control of tradition and the freedom of
an individual is essential to art. Eliot said elsewhere that by losing tradition we lose
our held on the present. Hence, a writer should be aware of the importance of
tradition.

The essay gives voice to the fact that modernist experiments seldom
simply destroyed or rejected traditional methods of representation or traditional
literary forms; rather, the modernists sought to enter into a sort of conversation
with the art of the past, sometimes reverently, sometimes mockingly. No poet, no
artist of any art, has his complete meaning alone. The existing monuments form an
ideal order among themselves, which is modified by the introduction of the new
work of art among them. The existing order is complete before the new work
arrives; for order to persist after the supervening of novelty, the whole existing
order must be, if ever so slightly, altered the past[is] altered by the present as
much as the present is directed by the past.

Eliot emphasis both the way that tradition shapes the modern
artist and the way that a really new work of art makes us see that tradition anew.

Honest criticism and sensitive appreciation are directed not

upon the poet but upon the poetry. If we attend to the confused cries of the
newspaper critics and the SUSURRUS of popular repetition that follows, we shall
hear the names of poets in great numbers; if we seek no Blue-book knowledge but
the enjoyment of poetry, and ask for poem, we shall seldom find it. I have tried to
point out the importance of the relation of the poem to other poems by other
authors, and suggested the conception of poetry as a living whole of all the poetry
that has ever been written. The other aspect of this impersonal theory of poetry is
the relation of the poem to its author. And I hinted, by an analogy, that he mind of
the mature poet differs from that of the immature one not precisely in any valuation
of personality, not being necessarily more interesting, or having more to say,
but rather by being a more finely perfected medium in which special, or very varied,
feelings are at liberty to enter into new combinations.

The experience, you will notice, the elements which enter the
presence of the transforming catalyst, are of two kinds: emotions and feelings. 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. It may be formed out of one emotion, or may
be a combination of several; and various feelings, inhering for the writer in
particular words or phrases or images, may be added to compose the final result. Or
great poetry may be made without the direct use of any emotion whatever:
composed out of feelings solely if you compare several representative passages of
the greatest poetry you see how great is the variety of types of combination, and
also how completely any semi-ethical criterion of sublimity misses the mark. For it

is not the greatness, the intensity, of the emotions, the components, but the
intensity of the artistic process, the pressure, so to speak, under which the fusion
takes place, that counts. The episode of Paolo and Francesca employs a definite
emotion, but the intensity of the poetry is something quite different from whatever
intensity in the supposed experience it may give the impression of. It is no more
intense, furthermore than the murder of Agamemnon, or the agony of Othello, gives
an artistic effect apparently closer to a possible original than the scenes from
Dante. In the Agamemnon, the artistic emotion approximates to the emotion of an
actual spectator; in Othello to the emotion of the protagonist himself. 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. In either case there has been a fusion of elements. 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.

It is not in his personal emotions, the emotions provoke by

Particular events in his life that the poet is in any way
Remarkable or interesting. His particular emotions may
Simple, crude, or flat. 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.

According to this quote he told that the emotions which are described in
the poetry by poets it shows the emotions of the poet which related with the
particular event of his life which is remarkable or interesting for poet. It is possible
that poetry is a complex thing but the complexity of emotions of poet is not
Acceptable in poetry.

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. And emotions which he has never Experienced will serve his turn as
well as those familiar to him. Consequently, we must believe that emotion
recollected in tranquility is an in exact formula.

According to this quote the business of the poet is not to find new
emotion but to use of an ordinary emotions in new way and create a new emotions
from the ordinary one.

T.S.Eliots tradition and individual is one of the critical essay in which

Eliot has described with concept of tradition, individual talent, emotion and poetry
as well as his concept of depersonalized art. In the opening of the essay, Eliots
defines tradition, which is the literary history. He says that each and every nation
has its individual genius who creates literature. So many such individual writers
produce a big bulk of writing which is tradition. In other words, tradition is the
matter of past that is even related to present because it is in the process of
formation. Eliot gives an example of English literature produced from the Anglo
Saxon period up to the present day. It is like a wall where there are so many bricks
working commonly. Eliot also says that when a writer comes to write at present. He
should be aware of the tradition. To learn the tradition he should have a great labor
but he should not imitate it. Learning the tradition is also called historical sense that
is necessary to the present writer, because tradition as the past influences.

Eliot even says that the new writer writing at present becomes the part
of tradition so he has to learn tradition but to imitate it. No writers and writings have
value in isolation, the writer and his writing would not be evaluated with the writers
of the past, he should be compared and contrasted with the tradition, it is possible
to examine his individual talent. If the new writer has imitated the tradition, blindly
such slavish imitation should be discouraged because it has not individual talent.
Individual talent is the novelty or newness. If the present writer has brought
something novelty in his writing, it is called individual talent such novelty should be
encourage because it suggests the genius of the writer.

Eliot has also given his personal idea about the depersonalization of art, which is
also called impersonal poetry. He says that emotions and feelings are related to
poetry but they should be expressed indirectly and objectively. In other words, Eliot
says that emotions of the poet are expressed in poetry but the poet should in
personified them. His concept is against the concept of words being involved in
poetry. Instead, the poet should not be identified as the direct speaker in poetry but
he should indirectly through the characters or other object, which is called objective

correlative. So Eliot says poetry is not the turning loose of emotions but escape
from emotion. It is not the expression of personality but escape from it

In order to support his concept of depersonalized art, Eliot use and analogy
related to a gas chamber. In a gas chamber during the process of forming sulpheric
asid, sulpheris dioxide and Oxygen are needed but they do not react until a plate of
platinum is kept. When the platinum is kept there, it causes reaction between them
so that, sulpheric acid is formed. In the acid platinum does not become present. This
analogy is applied in the process of poetic creation.

The poet and his mind is catalyst like the platinum to change others,
medium but as if the platinum is not present in the acid, the poet also should not be
present in poetry. His role is very crucial because without the poet, poetry is not
possible to create but, in the creation he should be totally dead or absent like the
platinum absent in acid. It is his concept of impersonal art and he criticizes many
English poets including Wordsworth who have not become impersonal. He
appreciates metaphysical such as a John Donne is to be impersonal in poetry.

Conclusion:-

T.S.Eliot spread his concept of Tradition which reflects his reaction

against Romantic subjectivism and emotionalism.He describes the concept of
historical senses very useful for better understanding of poetic sense or literary
sense.