critically analyse the essay of t s eliot tradition and individual talent

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T.S. Eliot's Tradition and Individual Talent: A Critical Analysis

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It is well known that T.S. Eliot had a complex personality and gave literary criticism additional depth and weight. Despite the fact that his fame is without a doubt based mostly on his poetry, his impact in the field of criticism cannot be understated. His seminal article is broken into three sections, the first of which postulates that poetry is frequently excellent because of how much it engages with earlier poetry. Eliot elaborates on the notion that writing poetry is a depersonalizing act in the second section of the essay. He believed that great art was an act of aesthetic distillation, based mostly on his view of the poet as an impersonal channel, rather than an expression of a poet's innermost feelings. This essay clarifies Eliot's adherence to the school of thought that holds that the personality of pure poetry serves as proof of the objective correlative paradigm. This implies, as well, that sincere critique and sympathetic appreciation of important poetry are focused on the poem itself rather than the author. The last thing Eliot says is that poetry's impersonality and the poet's sense of tradition go hand in hand.

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The present research work deals with " Discussion on T.S Eliot poetic theory " Eliot's poetic theory are included in " traditional and individual talent " , " Impersonality theory of poetry " , Objective Correlative " , Dissociation of sensibility " , This poetic theory discusses briefly Eliot's statement that A poet is not an individual separate from the rest of literary history. No poet, no artist of any art has his complete meaning alone. The essay clearly described, how Eliot's theory of impersonality says, " Poetry is not a turning loose of emotion, but an escape from emotion, it is not an expression of personality but an escape from personality. "

Anglisticum, 7(1), 9-19, 2018

At the present paper, we aim at explaining T.S. Eliot’s own poetry considering his own essays on the art of writing poetry. Thomas Stern Eliot (1888-1965) was a British essayist, publisher, playwright, literary and social critic, being regarded “one of the twentieth century’s major poets” (Bush, 1999) in the English language. Eliot’s poetry was seen as representative of the Modernist movement, beginning with The Love Song of J. Alfred Prufock (1915) and followed by some of the best-known poems, including The Waste Land (1922), The Hollow Men (1925), Ash Wednesday (1930) and Four Quartets (1943), among others. He was also known for his work as a playwright, although he was awarded the Nobel Prize in Literature in 1948 due to his pioneer contribution to nowadays poetry. T.S. Eliot also made significant contributions to the field of literary criticism, strongly influencing the school of New Criticism. It is, in fact, this arena of the literary criticism the main topic which will be dealt throughout the whole paper. In the current essay, we will explain Eliot’s critical ideas, in other words, what he conceives of poetry and the art on writing poetry, and how his own critical ideas influence on his own poetry. The poet introduces the idea that the value of a work of art must be viewed in the context of the artist’s previous works. He also covers the idea of an objective correlative which shall be dealt with in this paper. We should also consider that Eliot revived, when writing his own poetry, the interest in the Metaphysical Poets as well as in Shakespeare and, specifically, in Hamlet. After having explained the existing relationship between his own criticism and his own poetry, we will conclude the current paper by explaining what Eliot conceives of the concept of communicating.

Thomas Stearns Eliot OM was a poet, essayist, publisher, playwright, literary critic and editor. Eliot's impersonal theory of poetry is supposedly central to his creative and critical ideology. This concept originates from his organic view of literature and that is a living whole

International Journal of Psychosocial Rehabilitation, ISSN: 1475-7192, https://www.psychosocial.com/article/PR260567/17977/, 2020

The subject of this paper is to investigate the creative and critical process in the poetry of T. S. Eliot systematically. There are some sardonic undercurrents that can be seen running through Eliot’s poetry which have an analytical as well as a creative process. A detailed reference comparative study has been underpinned to the poems of Wordsworth’s “Composed upon Westminster Bridge”, John Keats’s “Ode to a Nightingale”, Arthur Mizener’s “To Meet Mr. Eliot”, W. B. Yeats’s “The Lake Isle of Innisfree” and “The Second Coming”, F. R. Leavis’s “The Significance of the Modern Waste Land”, and Allen Tate’s “On Ash Wednesday”, have also been referred in which the creative and critical process has been critically analyzed with the selected poems of T. S. Eliot for their scientific discourse analysis. Keywords--Expunging, Pastiche, Irrevocable, Disjointedness, Impersonalized, Defeatism. Weblinks: https://www.psychosocial.com/article-category/issue-6/ https://www.psychosocial.com/article/PR260567/17977/

Author and Modernism, 2017

At the outset of my paper I will put forth how the nature of the modern world can be best interpreted if one's reading admits the conditional mode of such approximation. Such an exercise will enable me to explore Eliot's early poems which refuse to get pigeonhole in any watertight critical compartment. In this paper I use the phrase "death of the author" in a more general sense than the one assumed in Roland Barthes celebrated essay The Death of the Author (1967). Probably inspired by the postmodernists' extensive practice of authors rewriting previous texts, Roland Barthes declared the Author dead to all times and cultures. However, I am set out to bring arguments against Barthes' contention, that "a writer no longer contains within himself passions, humors, sentiments, impressions, but that enormous dictionary, from which he derives a writing which can know no end or halt[...]" (1967) by reading the select poems of T.S. Eliot in tandem with his life to present how such an activity can generate newer ways of engaging with them, as the 'text' of the poet's life can also be a constituent of what we term as 'context.' While scrutinising these poems, I will highlight how the poet's detachment from his subject and his deep involvement simultaneously go together. The proof in my argument is provided by T.S. Eliot's statement, "But of course, only those who have personality and emotions know what it means to escape from these things" from his celebrated essay Tradition and Individual Talent (1919). Furthermore, I use the term "impersonality" in a general vein, though I am well aware that the modernists' professed poetics of "impersonality" (in a line descending from Baudelaire through Mallarme to T.S. Eliot) is, however, somehow at loggerheads with their prioritizing of the self over the other, or what Virginia Woolf understood by "moths" and "middlebrows" getting in the way of the elect.

This essay will discuss modern literature and the role of Eliot in the modern period. It will also point out those who influenced the poet, such as the influence of the French writers. It is very crucial for the argument of this study to examine the role of T.

INTERNATIONAL JOURNAL OF ENGLISH LANGUAGE, LITERATURE AND TRANSLATION STUDIES (IJELR) http://www.ijelr.in ISSN: 2395-2628(p) 2349-9451 , 2018

This paper throws light on the emergence of poetry and its consisting body with different ideological definitions and opinions with the introduction of leading critics and their poetic theories; but mainly it aims to focus on the poetic literary discussions between T S Eliot and I A Richards in reference of Ara Vos Prec and some poems where Eliot presents impersonal concepts and classical attitude towards arts; but I A Richards advocates for the new criticism of psychology that makes a poem complete to the ordinary readers. To Richards, literary criticism was impressionistic, too abstract to be readily grasped and understood and he proposed that literary criticism could be precise in communicating meanings, by way of denotation and connotation.

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