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Ts Eliot Tradition And Individual Talent Critical Analysis Essay

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Tradition and The Individual Talent - CRITICAL SUMMARY


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 essay may be regarded as an unofficial manifesto of Eliot’s 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 Eliot’s 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 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


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, 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. If they examine the matter critically with an unprejudiced mind, they will realise that the best and the most individual part of a poet’s 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. Eliot’s 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 Poet’s 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 poet’s 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 poet’s 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 poet’s 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 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.” 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 Wordsworth’s 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.

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In English writing we seldom speak of tradition, though we occasionally apply its name in deploring its absence. We cannot refer to “the tradition” or to “a tradition”; at most, we employ the adjective in saying that the poetry of So-and-so is “traditional” or even “too traditional.” Seldom, perhaps, does the word appear except in a phrase of censure. If otherwise, it is vaguely approbative, with the implication, as to the work approved, of some pleasing archaeological reconstruction. You can hardly make the word agreeable to English ears without this comfortable reference to the reassuring science of archaeology.

Certainly the word is not likely to appear in our appreciations of living or dead writers. Every nation, every race, has not only its own creative, but its own critical turn of mind; and is even more oblivious of the shortcomings and limitations of its critical habits than of those of its creative genius. We know, or think we know, from the enormous mass of critical writing that has appeared in the French language the critical method or habit of the French; we only conclude (we are such unconscious people) that the French are “more critical” than we, and sometimes even plume ourselves a little with the fact, as if the French were the less spontaneous. Perhaps they are; but we might remind ourselves that criticism is as inevitable as breathing, and that we should be none the worse for articulating what passes in our minds when we read a book and feel an emotion about it, for criticizing our own minds in their work of criticism. One of the facts that might come to light in this process is our tendency to insist, when we praise a poet, upon those aspects of his work in which he least resembles any one else. In these aspects or parts of his work we pretend to find what is individual, what is the peculiar essence of the man. We dwell with satisfaction upon the poet’s difference from his predecessors, especially his immediate predecessors; we endeavour to find something that can be isolated in order to be enjoyed. Whereas if we approach a poet without this prejudice we shall often find that not only the best, but the most individual parts of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously. And I do not mean the impressionable period of adolescence, but the period of full maturity.

Yet if the only form of tradition, of handing down, consisted in following the ways of the immediate generation before us in a blind or timid adherence to its successes, “tradition” should positively be discouraged. We have seen many such simple currents soon lost in the sand; and novelty is better than repetition. Tradition is a matter of much wider significance. It cannot be inherited, and if you want it you must obtain it by great labour. It involves, in the first place, the historical sense, which we may call nearly indispensable to any one who would continue to be a poet beyond his twenty-fifth year; and the historical sense involves a perception, not only of the pastness of the past, but of its presence; the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order. 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. And it is at the same time what makes a writer most acutely conscious of his place in time, of his own contemporaneity.

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. I mean this as a principle of aesthetic, not merely historical, criticism. The necessity that he shall conform, that he shall cohere, is not onesided; what happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it. The existing monuments form an ideal order among themselves, which is modified by the introduction of the new (the 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; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new. Whoever has approved this idea of order, of the form of European, of English literature will not find it preposterous that the past should be altered by the present as much as the present is directed by the past. And the poet who is aware of this will be aware of great difficulties and responsibilities.

In a peculiar sense he will be aware also that he must inevitably be judged by the standards of the past. I say judged, not amputated, by them; not judged to be as good as, or worse or better than, the dead; and certainly not judged by the canons of dead critics. It is a judgment, a comparison, in which two things are measured by each other. To conform merely would be for the new work not really to conform at all; it would not be new, and would therefore not be a work of art. And we do not quite say that the new is more valuable because it fits in; but its fitting in is a test of its value—a test, it is true, which can only be slowly and cautiously applied, for we are none of us infallible judges of conformity. We say: it appears to conform, and is perhaps individual, or it appears individual, and many conform; but we are hardly likely to find that it is one and not the other.

To proceed to a more intelligible exposition of the relation of the poet to the past: he can neither take the past as a lump, an indiscriminate bolus, nor can he form himself wholly on one or two private admirations, nor can he form himself wholly upon one preferred period. The first course is inadmissible, the second is an important experience of youth, and the third is a pleasant and highly desirable supplement. The poet must be very conscious of the main current, which does not at all flow invariably through the most distinguished reputations. He must be quite aware of the obvious fact that art never improves, but that the material of art is never quite the same. He must be aware that the mind of Europe—the mind of his own country—a mind which he learns in time to be much more important than his own private mind—is a mind which changes, and that this change is a development which abandons nothing en route, which does not superannuate either Shakespeare, or Homer, or the rock drawing of the Magdalenian draughtsmen. That this development, refinement perhaps, complication certainly, is not, from the point of view of the artist, any improvement. Perhaps not even an improvement from the point of view of the psychologist or not to the extent which we imagine; perhaps only in the end based upon a complication in economics and machinery. But the difference between the present and the past is that the conscious present is an awareness of the past in a way and to an extent which the past’s awareness of itself cannot show.

I am alive to a usual objection to what is clearly part of my programme for the métier of poetry. The objection is that the doctrine requires a ridiculous amount of erudition (pedantry), a claim which can be rejected by appeal to the lives of poets in any pantheon. It will even be affirmed that much learning deadens or perverts poetic sensibility. While, however, we persist in believing that a poet ought to know as much as will not encroach upon his necessary receptivity and necessary laziness, it is not desirable to confine knowledge to whatever can be put into a useful shape for examinations, drawing-rooms, or the still more pretentious modes of publicity. Some can absorb knowledge, the more tardy must sweat for it. Shakespeare acquired more essential history from Plutarch than most men could from the whole British Museum. What is to be insisted upon is that the poet must develop or procure the consciousness of the past and that he should continue to develop this consciousness throughout his career.

What happens is a continual surrender of himself as he is at the moment to something which is more valuable. 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. I, therefore, invite you to consider, as a suggestive analogy, the action which takes place when a bit of finely filiated platinum is introduced into a chamber containing oxygen and sulphur dioxide.

II

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 not Blue-book knowledge but the enjoyment of poetry, and ask for a 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 the 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 analogy was that of the catalyst. When the two gases previously mentioned are mixed in the presence of a filament of platinum, they form sulphurous acid. This combination takes place only if the platinum is present; nevertheless the newly formed acid contains no trace of platinum, and the platinum itself is apparently unaffected; has remained inert, neutral, and unchanged. The mind of the poet is the shred of platinum. It may partly or exclusively operate upon the experience of the man himself; but, the more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates; the more perfectly will the mind digest and transmute the passions which are its material.

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. Canto XV of the Inferno (Brunetto Latini) is a working up of the emotion evident in the situation; but the effect, though single as that of any work of art, is obtained by considerable complexity of detail. The last quatrain gives an image, a feeling attaching to an image, which “came,” which did not develop simply out of what precedes, but which was probably in suspension in the poet’s mind until the proper combination arrived for it to add itself to. The poet’s mind is in fact 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.

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 Canto XXVI, the voyage of Ulysses, which has not the direct dependence upon an emotion. Great variety is possible in the process of transmutation of emotion: 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.

I will quote a passage which is unfamiliar enough to be regarded with fresh attention in the light—or darkness—of these observations:

And now methinks I could e’en chide myself
For doating on her beauty, though her death
Shall be revenged after no common action.
Does the silkworm expend her yellow labours
For thee? For thee does she undo herself?
Are lordships sold to maintain ladyships
For the poor benefit of a bewildering minute?
Why does yon fellow falsify highways,
And put his life between the judge’s lips,
To refine such a thing—keeps horse and men
To beat their valours for her? . . .

In this passage (as is evident if it is taken in its context) there is a combination of positive and negative emotions: an intensely strong attraction toward beauty and an equally intense fascination by the ugliness which is contrasted with it and which destroys it. This balance of contrasted emotion is in the dramatic situation to which the speech is pertinent, but that situation alone is inadequate to it. This is, so to speak, the structural emotion, provided by the drama. But the whole effect, the dominant tone, is due to the fact that a number of floating feelings, having an affinity to this emotion by no means superficially evident, have combined with it to give us a new art emotion.

It is not in his personal emotions, the emotions provoked by particular events in his life, that the poet is in any way remarkable or interesting. His particular emotions may be simple, or 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. One error, in fact, of eccentricity in poetry is to seek for new human emotions to express; and in this search for novelty in the wrong place it discovers the perverse. 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 tranquillity” is an inexact formula. For it is neither emotion, nor recollection, nor, without distortion of meaning, tranquillity. It is a concentration, and a new thing resulting from the concentration, of a very great number of experiences which to the practical and active person would not seem to be experiences at all; it is a concentration which does not happen consciously or of deliberation. These experiences are not “recollected,” and they finally unite in an atmosphere which is “tranquil” only in that it is a passive attending upon the event. Of course this is not quite the whole story. There is a great deal, in the writing of poetry, which must be conscious and deliberate. In fact, the bad poet is usually unconscious where he ought to be conscious, and conscious where he ought to be unconscious. Both errors tend to make him “personal.” 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. But, of course, only those who have personality and emotions know what it means to want to escape from these things.

III

δ δε νους ισως Θειοτερον τι και απαθες εστιν

This essay proposes to halt at the frontier of metaphysics or mysticism, and confine itself to such practical conclusions as can be applied by the responsible person interested in poetry. To divert interest from the poet to the poetry is a laudable aim: for it would conduce to a juster estimation of actual poetry, good and bad. There are many people who appreciate the expression of sincere emotion in verse, and there is a smaller number of people who can appreciate technical excellence. But very few know when there is an expression of significant emotion, emotion which has its life in the poem and not in the history of the poet. The emotion of art is impersonal. And the poet cannot reach this impersonality without surrendering himself wholly to the work to be done. And he is not likely to know what is to be done unless he lives in what is not merely the present, but the present moment of the past, unless he is conscious, not of what is dead, but of what is already living.

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