Critical Essays By Ts Eliot

Thought process is tradition; although Eliot says, “Yet if the only form of tradition…consisted in following the ways of the immediate generation before us…’tradition’ should be positively discouraged,” still my claim is this: tradition is in one’s own critical and creative turn of mind, within one’s self – the masses have no place in this tradition, no place in its creation, its encouragement, or its defining. “Criticism is an inevitable as breathing, and that we should be non the worse for articulating what passes in our minds when we read a book and feel and emotion about it.” (T. Eliot Tradition and individual talent, 1920, page 48) I really never thought about how much we criticize authors and poets.

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Prufrock, the poem’s speaker, seems to be addressing a potential lover, with whom he would like to “force the moment to its crisis” by somehow consummating their relationship. Southam: A Student’s Guide to the Selected Poems of T.

But Prufrock knows too much of life to “dare” an approach to the woman: In his mind he hears the comments others make about his inadequacies, and he chides himself for “presuming” emotional interaction could be possible at all. Alfred Prufrock,” a man’s characterization explains why he hides his true self behind an impenetrable shell, unintentionally stunting his personality. Alfred Prufrock, a nervous and obsessively introspective man, to show readers that only open vulnerability, not fantasy and dreams, can serve as a bridge to meet emotional needs and provide meaning to life.

This view, in which “the past should be altered by the present as much as the present is directed by the past,” requires that a poet be familiar with almost all literary history – not just the immediate past but the distant past and not just the literature of his or her own country but the whole “mind of Europe.” Eliot’s second point is one of his most famous and contentious.

A poet, Eliot maintains, must “self-sacrifice” to this special awareness of the past; once this awareness is achieved, it will erase any trace of personality from the poetry because the poet has become a mere medium for expression.

This poem, the earliest of Eliot’s major works, was completed in 1910 or 1911 but not published until 1915.

It is an examination of the tortured psyche of the prototypical modern man – overeducated, eloquent, neurotic, and emotionally stilted. S Eliot: The Sacred Wood – Essays on poetry and criticism ( Seventh Edition 1950) George Williamson: T. Eliot (1980) Jay Martin: A collection of critical essays on “The Waste Land” (1968) B. Using the analogy of a chemical reaction, Eliot explains that a “mature” poet’s mind works by being a passive “receptacle” of images, phrases and feelings which are combined, under immense concentration, into a new “art emotion.” For Eliot, true art has nothing to do with the personal life of the artist but is merely the result of a greater ability to synthesize and combine, an ability which comes from deep study and comprehensive knowledge.Though Eliot’s belief 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” sprang from what he viewed as the excesses of Romanticism, many scholars have noted how continuous Eliot’s thought – and the whole of Modernism – is with that of the Romantics’; his “impersonal poet” even has links with John Keats, who proposed a similar figure in “the chameleon poet.” But Eliot’s belief that critical study should be “diverted” from the poet to the poetry shaped the study of poetry for half a century, and while “Tradition and the Individual Talent” has had many detractors, especially those who question Eliot’s insistence on canonical works as standards of greatness, it is difficult to overemphasize the essay’s influence.In almost every single one of Literature classes in my secondary school, we compared one writer to another one. Whenever you read a book or a poem there is some kind of criticism going on inside your head. When we criticize a poet, author, or some other writer we always look at their history, we have to find out every part of their background because that may explain why they wrote this or that. I’m sure there are times where the author/poet/whoever is not writing about their life and general experiences but something they are interested in. It is a tradition in schools, that we have to learn not only the poem or a novel, but also we have to know everything about the writer. I would add to Eliot’s words that every city, every family, every individual has his or her own tradition. [Accessed 7 September 2019]; Available from: https:// Habits, ideas, though process – these are all part of this “turn of mind” that Eliot speaks of in his essay. It has shaped generations of poets, critics and theorists and is a key text in modern literary criticism.According to Eliot, “Every nation, every race, has not only its own creative, but its own critical turn of mind…” (page 47 ).


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