“Tradition and the Individual Talent” by T. S. Eliot: Summary and Critique

Introduction: “Tradition and the Individual Talent” by T. S. Eliot

“Tradition and the Individual Talent” by T. S. Eliot was first published in 1919 as the introductory essay to the anthology Selected Essays by Eliot himself. The essay was later reprinted in the The Sacred Wood: Essays on Poetry collection, published in 1920. This seminal piece of literary criticism explores the complex relationship between tradition and the individual poet. Eliot argues that a poet must be aware of the literary tradition they are working within while also striving for originality. The essay’s emphasis on the importance of literary history and the concept of the “impersonal” poet has had a profound influence on literary theory and criticism, shaping debates about the nature of artistic creation and the role of tradition in shaping individual expression.

Summary of “Tradition and the Individual Talent” by T. S. Eliot

1. The Misunderstood Concept of Tradition:

• Eliot begins by noting how the word “tradition” is seldom used positively in English writing, often associated with a censure of being too “traditional” or outdated.
• He argues that tradition should not be limited to the repetition of the immediate past but rather involves the “historical sense,” a recognition of both the “pastness of the past” and its presence in the contemporary moment.
• Quotation: “Tradition cannot be inherited, and if you want it you must obtain it by great labor.”

2. The Role of the Poet in Tradition:

• Eliot emphasizes that no poet or artist exists in isolation; their work must be understood in relation to the works of the past. The true value of a poet is found in their place within a continuous historical literary tradition.
• The creation of new works affects the entire body of past literature, as each new work slightly alters the “ideal order” of past works.
• Quotation: “No poet, no artist of any art, has his complete meaning alone.”

3. The Relationship Between the Old and the New:

• Eliot argues that the relationship between a new work of art and the tradition it fits into is dynamic. The past informs the present, but the present can also influence our perception of the past.
• Quotation: “Whoever has approved this idea of order… will not find it preposterous that the past should be altered by the present as much as the present is directed by the past.”

4. The Impersonal Nature of Poetry:

• Eliot rejects the Romantic notion that poetry is the expression of the poet’s personal emotions. Instead, he advocates for a depersonalization of the poet in their work, where the art becomes independent of the poet’s personality.
• Using an analogy of a chemical reaction, Eliot explains that the poet’s mind should act as a catalyst, facilitating the combination of emotions and experiences into art, without leaving a personal trace.
• Quotation: “The progress of an artist is a continual self-sacrifice, a continual extinction of personality.”

5. The Artistic Process:

• Eliot distinguishes between emotions and feelings, noting that great poetry is often the product of a complex fusion of these elements. The intensity of the artistic process, rather than the intensity of emotions themselves, is what counts.
• Quotation: “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.”

6. Poetry as an Escape from Personality:

• Eliot posits that true art is an “escape from personality,” not an expression of it. He criticizes poets who focus too much on their own experiences, arguing that the best poetry transcends the poet’s personal emotions.
• Quotation: “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.”

7. The Importance of Impersonal Criticism:

• Eliot concludes by stressing that criticism should focus on the poetry itself, not on the poet. Understanding poetry requires appreciating its technical execution and how it relates to the whole tradition of poetry.
• Quotation: “To divert interest from the poet to the poetry is a laudable aim.”

Literary Terms/Concepts in “Tradition and the Individual Talent” by T. S. Eliot

Literary Term/Concept	Explanation	Reference/Context
Tradition	The accumulated wisdom and literary history that a poet must consciously engage with and build upon.	Eliot argues that “tradition” involves the “historical sense” and is essential to producing meaningful art. It cannot be inherited but requires conscious effort and labor. (“Tradition cannot be inherited…”)
Historical Sense	A sense of the past, where a poet writes with an awareness of both the past and present as simultaneous realities.	Eliot claims that the historical sense makes a poet both traditional and acutely conscious of their contemporaneity. (“The historical sense compels a man to write…with a feeling that the whole of the literature of Europe…exists.”)
Depersonalization	The process through which a poet’s personality is removed from their poetry, allowing the art to stand independently.	Eliot emphasizes that great poetry is not a reflection of personal emotion but a product of a depersonalized mind. (“The progress of an artist is a continual self-sacrifice, a continual extinction of personality.”)
Objective Correlative	A technique where external objects, situations, or events evoke a particular emotion, making the emotion impersonal.	Although not explicitly discussed in this essay, Eliot later develops this idea, consistent with the notion of depersonalization.
Impersonal Theory of Poetry	The idea that poetry should not be a personal outpouring but a product of craftsmanship where emotions are transformed.	Eliot asserts that poetry is an “escape from emotion” and personality, focusing on the artistic process rather than individual feelings. (“Poetry is not a turning loose of emotion…”)
Aesthetic Judgment	The evaluation of art not based on individual sentiment, but in relation to its place within a larger tradition.	Eliot insists that poets must be judged not in isolation but in relation to past writers and the literary tradition. (“You cannot value him alone…”)
Fusion of Elements	The blending of various emotions, feelings, and experiences into a unified whole within a poem.	Eliot describes how poets combine disparate elements into a coherent artistic work, highlighting the complexity of the artistic process. (“The intensity of the artistic process…under which the fusion takes place…”)
The Catalyst Analogy	A comparison between the poet’s mind and a catalytic substance, which facilitates the transformation of emotions into art.	Eliot compares the poet’s mind to platinum in a chemical reaction, remaining unchanged as it facilitates the creation of something new. (“The mind of the poet is the shred of platinum…”)
Living Tradition	The idea that the present moment of literature coexists with and modifies the past.	Eliot argues that tradition is not static but living, as each new work slightly alters the entire history of past literature. (“The past should be altered by the present as much as the present is directed by the past.”)

Contribution of “Tradition and the Individual Talent” by T. S. Eliot to Literary Theory/Theories

Literary Theory	Contribution by T.S. Eliot	Reference/Explanation
New Criticism	Eliot’s emphasis on the text itself as an autonomous entity aligns with the core principles of New Criticism, which advocates for close reading without concern for the author’s biography or historical context.	Eliot diverts attention from the poet’s personal life and emotions, arguing that criticism should focus on the poetry itself, not the poet. (“To divert interest from the poet to the poetry is a laudable aim…”)
Impersonal Theory of Art	Eliot proposes that poetry is impersonal and requires the poet to separate personal emotion from artistic creation. This approach is foundational to his Impersonal Theory of Art, contributing significantly to modernist literary theory.	Eliot rejects the idea of poetry as the expression of personal emotion, advocating instead for a depersonalization process where the poet becomes a “medium” for artistic fusion. (“The progress of an artist is a continual self-sacrifice… extinction of personality.”)
Historical Criticism (Revisionist)	Eliot redefines historical criticism, arguing that the past and present are not distinct but intertwined. New works influence our perception of past literature, altering its meaning. This dynamic view reshapes the traditional notion of historical influence.	Eliot states that the past is not static; new works modify the entire literary tradition, suggesting a reciprocal relationship between past and present. (“The past should be altered by the present as much as the present is directed by the past.”)
Tradition and Influence Theory	Eliot’s concept of tradition goes beyond mere imitation of past works. He introduces the idea that true tradition involves an awareness of European and national literary history, compelling poets to recognize their place within the larger continuum.	Eliot asserts that tradition involves a “historical sense,” where the poet writes with the whole literary tradition in mind, from Homer to present. (“The whole of the literature of Europe from Homer…has a simultaneous existence and composes a simultaneous order.”)
Theories of Artistic Autonomy	Eliot’s view contributes to theories of artistic autonomy by emphasizing that art must stand apart from the artist’s personal identity or emotions. Art should be valued on its own merits, judged in relation to other works of art rather than personal sentiment.	Eliot advocates for an objective approach to art, focusing on its aesthetic value and its place within the literary tradition, independent of personal context. (“The emotion of art is impersonal… the poet cannot reach this impersonality without surrendering himself…”)
Theories of Intertextuality	Eliot contributes to the early ideas of intertextuality, suggesting that no work of art exists in isolation. All texts are in dialogue with prior works, and each new text changes the reader’s understanding of past literature.	Eliot posits that the meaning of a new work is shaped by its relationship to previous texts, and that all works form a dynamic literary tradition. (“No poet, no artist of any art, has his complete meaning alone…”)
Objective Correlative	Although not fully explored in this essay, Eliot’s idea of the Objective Correlative—a method of expressing emotions through a set of objects, situations, or events that evoke an emotion—contributes to Modernist literary techniques.	Eliot hints at the separation of personal emotion and poetry, focusing on how the artistic process transforms raw emotions into a structured, aesthetic form, paving the way for his development of the Objective Correlative concept later.
Aestheticism	Eliot’s theory emphasizes form and craftsmanship over personal expression, aligning with aesthetic principles that value the work of art itself over its moral, political, or emotional content.	Eliot states that poetry is not a release of emotion but a fusion of feelings transformed into art through deliberate craft, suggesting that aesthetic value derives from the structure and intensity of the artistic process. (“Poetry is not a turning loose of emotion…”)
Poetics of Innovation and Continuity	Eliot advocates for a balance between innovation and continuity in art. A new work must bring something novel but still fit within the existing literary tradition, thus contributing to theories of literary evolution and development.	Eliot explains that a new work of art must slightly alter the entire past literary tradition, ensuring continuity while also introducing innovation. (“The existing order is complete before the new work arrives… but the whole order must be altered…”)

Summary of Eliot‘s Contributions to Literary Theory:

T.S. Eliot’s “Tradition and the Individual Talent” reshaped critical thought by proposing that the value of art lies in its relationship to tradition and that poetry should be seen as an impersonal craft rather than a personal expression of emotion. He also contributed to the evolving intertextuality of modern literature, where new works engage in an ongoing dialogue with past literature, altering and being altered by it. Eliot’s ideas remain foundational in modern literary criticism, particularly in New Criticism, where the emphasis is placed on the text rather than the poet’s biography.

Examples of Critiques Through “Tradition and the Individual Talent” by T. S. Eliot

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1. William Shakespeare’s Hamlet (1609)

Critique Through Eliot’s Lens:

• Impersonal Theory of Art: Eliot would critique Hamlet for Shakespeare’s perceived failure to fully achieve the impersonality Eliot advocates. He famously critiqued Hamlet as an artistic failure because it lacks an appropriate “objective correlative” to express the overwhelming emotions Hamlet experiences. Eliot argues that the feelings Shakespeare is trying to convey are inadequately represented through the dramatic action.

Quotation from Eliot: “The only way of expressing emotion in the form of art is by finding an ‘objective correlative’… a set of objects, a situation, a chain of events which shall be the formula of that particular emotion.”

Eliot’s Critique: The disconnection between Hamlet’s emotions and the events of the play reveals a lack of coherence, leading to what Eliot described as a “problem” in terms of the relation between the emotion and its expression.

• Tradition and Innovation: However, Eliot might praise Hamlet for its participation in the broader Shakespearean tradition, as the play reshapes elements from its sources (like Thomas Kyd’s The Spanish Tragedy) while adding complexity and innovation in terms of character and psychology. This fusion of tradition with originality is key in Eliot’s theory.

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2. James Joyce’s Ulysses (1922)

Critique Through Eliot’s Lens:

• Tradition and Historical Sense: Eliot would likely appreciate Joyce’s Ulysses for its deep engagement with the European literary tradition. Joyce consciously rewrites Homer’s Odyssey, giving it a modern twist. According to Eliot’s theory, Joyce’s achievement lies in his ability to situate himself within the grand tradition of European literature while simultaneously altering how the past is viewed.

Quotation from Eliot: “The historical sense involves a perception, not only of the pastness of the past, but of its presence.”

Eliot’s Critique: Joyce’s work succeeds because it illustrates how a modern writer can be “traditional” by being acutely aware of the entire literary history that precedes him. By connecting ancient myth with contemporary life, Joyce exemplifies Eliot’s idea that new works transform the past while being influenced by it.

• Impersonal Art: Ulysses is also notable for its depersonalization, where Joyce, through various narrative techniques like stream of consciousness, allows his characters and the form itself to become the focus, rather than Joyce’s personal emotions. This detachment from personal expression aligns with Eliot’s Impersonal Theory of Art.

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3. John Keats’s Ode to a Nightingale (1819)

Critique Through Eliot’s Lens:

• Fusion of Emotions and Tradition: Eliot might commend Ode to a Nightingale for its complex fusion of feelings (joy, melancholy, transcendence) and its subtle engagement with the Romantic tradition. Keats’s ode draws on a broader literary tradition (the nightingale as a symbol in classical and English poetry) while introducing his own personal reflection on beauty and transience, illustrating how a poet works within and modifies tradition.

Quotation from Eliot: “The poet must develop or procure the consciousness of the past… He must be very conscious of the main current, which does not at all flow invariably through the most distinguished reputations.”

Eliot’s Critique: Keats, despite being heavily influenced by earlier poets like Shakespeare and Milton, does not merely imitate them. Instead, he brings new depth to the symbolic use of the nightingale. This transformation and modification of traditional themes and symbols aligns with Eliot’s view of how a poet should engage with tradition.

• Impersonal Theory: However, Eliot might critique the personal lyricism of Keats, suggesting that it remains too tied to Keats’s individual experience. In Eliot’s view, a stronger depersonalization would have elevated the poem from personal reflection to something more universally significant.

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4. Dante Alighieri’s The Divine Comedy (1320)

Critique Through Eliot’s Lens:

• Tradition and the Historical Sense: Eliot would likely hold up Dante as an example of a poet who embodies the ideal historical sense. Dante’s Divine Comedy reflects a deep awareness of classical literature (Homer, Virgil) and the Christian theological tradition while transforming these influences into an original and personal vision of the afterlife. Dante works within a historical framework, yet his innovation lies in how he reshapes that tradition to reflect his contemporary concerns.

Quotation from Eliot: “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’s Critique: Dante’s Divine Comedy fits perfectly with Eliot’s notion that a great work of art must be appreciated in relation to what came before it. Dante’s use of Virgil as a guide in Inferno demonstrates this clear dialogue with the past, while his unique poetic structure and vision alter the reader’s perception of both classical and medieval traditions.

• Impersonality in Art: Eliot might also admire how Dante’s personal spiritual journey in The Divine Comedy is not merely a personal narrative but a representation of universal human struggles. While Dante’s personal experiences inform the poem, the work transcends his individual life, aligning with Eliot’s concept of impersonal art.

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Summary of Critique Examples:

• William Shakespeare’s Hamlet: Critiqued for lacking a proper objective correlative, making it an “artistic failure” according to Eliot, though it innovates within the Shakespearean tradition.
• James Joyce’s Ulysses: Praised for its engagement with the European tradition and depersonalization, fitting Eliot’s model of a modern work that reshapes the past.
• John Keats’s Ode to a Nightingale: Recognized for its fusion of emotions and modification of traditional symbols, though critiqued for being overly personal.
• Dante’s The Divine Comedy: Celebrated as a perfect example of the historical sense and impersonality, where personal narrative becomes universal.

Criticism Against “Tradition and the Individual Talent” by T. S. Eliot

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• Overemphasis on Tradition and Erasure of Individual Creativity:
  • Critics argue that Eliot’s focus on tradition places too much importance on the past, potentially stifling the poet’s individual creativity and innovation. It risks turning poetry into a mechanical exercise of aligning with tradition rather than fostering personal expression.
• Elitism and Exclusionary View of Literary Canon:
  • Eliot’s view of tradition, which he bases largely on the European literary canon, has been criticized for being elitist and exclusionary. His focus on a specific, Eurocentric tradition neglects non-Western literatures and marginal voices, which can diminish the recognition of diverse cultural contributions to art.
• Rejection of Personal Emotion is Unrealistic:
  • Eliot’s call for the depersonalization of poetry has been seen as impractical or even impossible. Critics argue that personal experiences and emotions are inherent to artistic creation, and trying to separate the poet from their work contradicts the natural, emotional basis of art.
• Subjectivity in Defining Tradition:
  • Eliot’s definition of tradition is vague and subjective, making it difficult to determine what exactly constitutes tradition. His emphasis on an undefined “historical sense” can be interpreted differently by different readers, leading to inconsistencies in application.
• Neglect of the Reader’s Role:
  • Eliot focuses heavily on the relationship between the poet and the past but largely neglects the role of the reader in interpreting the text. Reader-response critics argue that meaning is not fixed within the relationship of the poet to tradition but is created in the interaction between text and reader.
• Potential for Conservatism in Artistic Innovation:
  • By suggesting that a poet’s value comes from how they conform to tradition, Eliot may implicitly discourage radical innovation in art. This could lead to a conservative approach to poetry, where artistic experimentation is undervalued in favor of maintaining continuity with the past.
• Inconsistency in Eliot’s Own Work:
  • Some critics point out the inconsistency between Eliot’s theory and his own poetry. Eliot’s personal experiences and emotions, especially in works like The Waste Land, seem to contradict his insistence on depersonalization.
• Undermining Subjective Interpretation:
  • Eliot’s dismissal of the poet’s emotions risks undermining subjective interpretation. Critics argue that readers naturally relate to literature through personal experiences and emotions, and Eliot’s insistence on impersonal criticism may alienate those seeking a deeper, emotional connection with the text.

Representative Quotations from “Tradition and the Individual Talent” by T. S. Eliot with Explanation

Quotation	Explanation
1. “Tradition cannot be inherited, and if you want it you must obtain it by great labor.”	Eliot emphasizes that tradition is not something that a poet passively inherits. Instead, the poet must actively engage with and understand the literary past through effort and learning.
2. “The historical sense involves a perception, not only of the pastness of the past, but of its presence.”	This quotation highlights Eliot’s concept of the historical sense, where the poet not only understands the past but also recognizes its active role in shaping contemporary literature.
3. “No poet, no artist of any art, has his complete meaning alone. His significance… is the appreciation of his relation to the dead poets and artists.”	Eliot argues that the value of a poet’s work cannot be judged in isolation but must be understood within the broader tradition of past writers, contributing to the intertextual nature of art.
4. “The progress of an artist is a continual self-sacrifice, a continual extinction of personality.”	This introduces Eliot’s impersonal theory of art, suggesting that a poet must remove their personal emotions and ego from their work, focusing instead on the art itself.
5. “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.”	Eliot critiques the Romantic emphasis on personal expression, proposing instead that great poetry requires a detachment from personal feelings in order to achieve artistic objectivity.
6. “What happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it.”	Eliot explains how new art modifies the entire tradition, asserting that a new work changes how we understand all previous works, creating a dynamic relationship between the old and the new.
7. “The past should be altered by the present as much as the present is directed by the past.”	Eliot further develops the idea that tradition and innovation are mutually influential, with the present reshaping our understanding of the past, just as the past informs the present.
8. “The emotion of art is impersonal. And the poet cannot reach this impersonality without surrendering himself wholly to the work to be done.”	Eliot emphasizes that the emotion in poetry should not be the poet’s own, but rather something crafted and impersonal, achieved through the act of creation rather than personal experience.
9. “Honest criticism and sensitive appreciation is directed not upon the poet but upon the poetry.”	Here, Eliot promotes an impersonal approach to criticism, suggesting that evaluation should focus solely on the poem itself, independent of the poet’s life, emotions, or intentions.
10. “The existing monuments form an ideal order among themselves, which is modified by the introduction of the new… the relations, proportions, values of each work of art… are readjusted.”	Eliot articulates his idea that art exists in a continuous tradition, where new works alter the relationships between older works, readjusting how they are perceived and valued.

Suggested Readings: “Tradition and the Individual Talent” by T. S. Eliot

1. White, Peter. “‘Tradition and the Individual Talent’ Revisited.” The Review of English Studies, vol. 58, no. 235, 2007, pp. 364–92. JSTOR, http://www.jstor.org/stable/4501601. Accessed 3 Oct. 2024.
2. Eliot, T. S. “Tradition and the Individual Talent.” Perspecta, vol. 19, 1982, pp. 36–42. JSTOR, https://doi.org/10.2307/1567048. Accessed 3 Oct. 2024.
3. HUGHES-FREELAND, FELICIA. “‘TRADITION AND THE INDIVIDUAL TALENT’: T.S. ELIOT FOR ANTHROPOLOGISTS.” Cambridge Anthropology, vol. 25, no. 2, 2005, pp. 20–35. JSTOR, http://www.jstor.org/stable/23820746. Accessed 3 Oct. 2024.
4. Williamson, George. “The Talent of T. S. Eliot.” The Sewanee Review, vol. 35, no. 3, 1927, pp. 284–95. JSTOR, http://www.jstor.org/stable/27534171. Accessed 3 Oct. 2024.
5. Bergonzi, Bernard. “Hopkins, Tradition and the Individual Talent.” The Hopkins Quarterly, vol. 31, no. 1/4, 2004, pp. 1–10. JSTOR, http://www.jstor.org/stable/45241415. Accessed 3 Oct. 2024.
6. Sultan, Stanley. “Tradition and the Individual Talent in ‘Prufrock.'” Journal of Modern Literature, vol. 12, no. 1, 1985, pp. 77–90. JSTOR, http://www.jstor.org/stable/3831143. Accessed 3 Oct. 2024.