He must forget his personal joys and sorrows, and he absorbed in acquiring a sense of tradition and expressing it in his poetry. And the poet who is aware of this will be aware of great difficulties and responsibilities. He mentions that the combination can only take place if platinum is present. That might be the best approach for anyone seeing for the first time: to set aside the labyrinthine plot, and simply admire what is on the screen. But, of course, only those who have personality and emotions know what it means to want to escape from these things. I like the concept that poet should create in heat but correct at leisure and lick his poems into shape.
There are two main parts. It was a level of despair without precedent, and to address it Eliot had to write a poem unlike any other that came before it. If anything, this essay solidifies his standing and his reputation among the greatest writers of the modernist era. Poetry is literature that links the reader to the true personality of the author. James Joyce looked back to ancient Greek myth the story of Odysseus for his novel set in modern Dublin, Ulysses 1922.
This he comes down to saying is why you have to be impersonal with your poetry that the best will be if you are able to separate yourself from it and be able to write something great. If otherwise, it is vaguely approbative, with the implication, as to the work approved, of some pleasing archaeological reconstruction. If his poems are the result of tradition's influence on an individual, it appears that this definition of true creativity puts it beyond the reach of all but the most devoted and learned individuals. 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 the poet who is aware of this will be aware of great difficulties and responsibilities. In a sense it will be that there is no emotional attachment to his actual work, this is what Eliot calls mature.
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. 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. This change seems to him to consist in a loss of the union of thought and feeling. By 1921, stuck in a boring bank job and an unhappy marriage, Eliot had a bit of a mental breakdown. Eliot also talks about how poems relate to history. In these essays he effects a new historical perspective on the hierarchy of English poetry, putting at the top Donne and other of the 17th century and lowering poets of the 18th and 19th centuries.
The personality of the artist is not important; the important thing is his sense of tradition. It was also influential to structuralism in that Eliot insisted that emotions are caused by structural elements of the text, and to this end, he spends some time criticizing Romanticist views on emotions and the Sublime. The Odyssey itself is what matters, not the man or men — or woman! In 1922, Eliot founded a literary journal called Criterion, and in its first issue he published the result of his efforts—. He says that past and present has a strong connection with each other. Some can absorb knowledge easily, while others must sweat for it. In the Agamemnon, the artistic emotion approximates to the emotion of an actual spectator; in Othello to the emotion of the protagonist himself. The emotions occasioned by events in the personal life of the poet are not important.
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. It has shaped generations of poets, critics and theorists and is a key text in modern literary criticism. If otherwise, it is vaguely approbative, with the implication, as to the work approved, of some pleasing archaeological reconstruction. Such comparison and contrast is essential for forming an idea of the real worth and significance of a new writer and his work. It is the critical labour of sifting the good from the bad, and of knowing what is good and useful. In its 434 lines, the poem wandered into different languages, obscure references, and a cascading riot of images.
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 what is already living. But until we join them in Heaven, we still realize that we are a part not only of this generation, but of all the collective generations gone before. It should give its total contribution in creating poetry, then also it should remain unaffected and separate when poetry has come out. From this Elliot is explaining the presence of emotion and feeling in poetry. Christmas, and holidays of the such are around children from the time they are born. In spite of their obvious theatrical defects and a failure to engage the sympathies of the audience for the characters, these plays succeed in handling moral and religious issues of some complexity while entertaining the audience with farcical plots and some shrewd social satire. But, of course, only those who have personality and emotions know what it means to want to escape from these things.
But this judgment does not mean determining good or bad. S Eliot is trying to basically get two points across with his writing. 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. They are emotions and feelings. Seldom, perhaps, does the word appear except in a phrase of censure.
Eliot says that a great poet can separate himself from from his works. He points out that every nation and race has its creative and critical turn of mind, and emphasises the need for critical thinking. There are many of her points I do not agree with. But the hardest thing is to find the significant emotions from the poem, which separates the poet from the poem. And I do not mean the impressionable period of adolescence, but the period of full maturity. 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. By analogy, if you mix tradition with the thoughts and impressions stored in a poet's mind also a catalyst it will produce an altered tradition.