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"Tradition and the Individual Talent" (1919) is an essay written by poet and literary critic T. S. Eliot. The essay was first published in ''The Egoist'' (1919) and later in Eliot's first book of criticism, "The Sacred Wood" (1920).〔Gallup, Donald. ''T. S. Eliot: A Bibliography (A Revised and Extended Edition)'' Harcourt, Brace & World, New York, 1969. pp. 27–8, 204–5 (listings A5, C90, C7)〕 The essay is also available in Eliot's "Selected Prose" and "Selected Essays".'' While Eliot is most often known for his poetry, he also contributed to the field of literary criticism. In this dual role, he acted as poet-critic, comparable to Sir Philip Sidney and Samuel Taylor Coleridge. "Tradition and the Individual Talent" is one of the more well known works that Eliot produced in his critic capacity. It formulates Eliot's influential conception of the relationship between the poet and the literary tradition which precedes them. ==Content of the essay== 1 This essay is divided into three parts that are: part one: The Concept of "Tradition". part two: The Theory of Impersonal Poetry. part three: The Conclusion or Summing up. Eliot presents his conception of tradition and the definition of the poet and poetry in relation to it. He wishes to correct the fact that, as he perceives it, "in English writing we seldom speak of tradition, though we occasionally apply its name in deploring its absence." Eliot posits that, though the English tradition generally upholds the belief that art progresses through change – a separation from tradition, literary advancements are instead recognised only when they conform to the tradition. Eliot, a classicist, felt that the true incorporation of tradition into literature was unrecognised, that tradition, a word that "seldom... appear() except in a phrase of censure," was actually a thus-far unrealised element of literary criticism. For Eliot, the term "tradition" is imbued with a special and complex character. It represents a "simultaneous order," by which Eliot means a historical timelessness – a fusion of past and present – and, at the same time, a sense of present temporality. A poet must embody "the whole of the literature of Europe from Homer," while, simultaneously, expressing his contemporary environment. Eliot challenges the common perception that a poet's greatness and individuality lie in his departure from his predecessors; he argues that "the most individual parts of his (the poet) work may be those in which the dead poets, his ancestors, assert their immortality most vigorously." Eliot claims that this "historical sense" is not only a resemblance to traditional works but an awareness and understanding of their relation to his poetry. This fidelity to tradition, however, does not require the great poet to forfeit novelty in an act of surrender to repetition. Rather, Eliot has a much more dynamic and progressive conception of the poetic process: Novelty is possible only through tapping into tradition. When a poet engages in the creation of new work, he realises an aesthetic "ideal order," as it has been established by the literary tradition that has come before him. As such, the act of artistic creation does not take place in a vacuum. The introduction of a new work alters the cohesion of this existing order, and causes a readjustment of the old to accommodate the new. The inclusion of the new work alters the way in which the past is seen, elements of the past that are noted and realised. In Eliot’s own words: "What happens when a new work of art is created is something that happens simultaneously to all the works of art that preceded it." Eliot refers to this organic tradition, this developing canon, as the "mind of Europe." The private mind is subsumed by this more massive one. This leads to Eliot’s so-called "Impersonal Theory" of poetry. Since the poet engages in a "continual surrender of himself" to the vast order of tradition, artistic creation is a process of depersonalisation. The mature poet is viewed as a medium, through which tradition is channelled and elaborated. He compares the poet to a catalyst in a chemical reaction, in which the reactants are feelings and emotions that are synthesised to create an artistic image that captures and relays these same feelings and emotions. While the mind of the poet is necessary for the production, it emerges unaffected by the process. The artist stores feelings and emotions and properly unites them into a specific combination, which is the artistic product. What lends greatness to a work of art are not the feelings and emotions themselves, but the nature of the artistic process by which they are synthesised. The artist is responsible for creating "the pressure, so to speak, under which the fusion takes place." And, it is the intensity of fusion that renders art great. In this view, Eliot rejects the theory that art expresses metaphysical unity in the soul of the poet. The poet is a depersonalised vessel, a mere medium. Great works do not express the personal emotion of the poet. The poet does not reveal his own unique and novel emotions, but rather, by drawing on ordinary ones and channelling them through the intensity of poetry, he expresses feelings that surpass, altogether, experienced emotion. This is what Eliot intends when he discusses poetry as an "escape from emotion." Since successful poetry is impersonal and, therefore, exists independent of its poet, it outlives the poet and can incorporate into the timeless "ideal order" of the "living" literary tradition. Another essay found in ''Selected Essays'' relates to this notion of the impersonal poet. In "Hamlet and His Problems" Eliot presents the phrase "objective correlative." The theory is that the expression of emotion in art can be achieved by a specific, and almost formulaic, prescription of a set of objects, including events and situations. A particular emotion is created by presenting its correlated objective sign. The author is depersonalised in this conception, since he is the mere effecter of the sign. And, it is the sign, and not the poet, which creates emotion. The implications here separate Eliot's idea of talent from the conventional definition (just as his idea of Tradition is separate from the conventional definition), one so far from it, perhaps, that he chooses never to directly label it as talent. Whereas the conventional definition of talent, especially in the arts, is a genius that one is born with. Not so for Eliot. Instead, talent is acquired through a careful study of poetry, claiming that Tradition, "cannot be inherited, and if you want it, you must obtain it by great labour." Eliot asserts that it is absolutely necessary for the poet to study, to have an understanding of the poets before him, and to be well versed enough that he can understand and incorporate the "mind of Europe" into his poetry. But the poet's study is unique – it is knowledge which "does not encroach," and which does not "deaden or pervert poetic sensibility." It is, to put it most simply, a poetic knowledge – knowledge observed through a poetic lens. This ideal implies that knowledge gleaned by a poet is not knowledge of facts, but knowledge which leads to a greater understanding of the mind of Europe. As Eliot explains, "Shakespeare acquired more essential history from Plutarch than most men could from the whole British Museum." 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Tradition and the Individual Talent」の詳細全文を読む スポンサード リンク
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