T.S. Eliot's theory of impersonality in poetry argues that a poet should not express their personal emotions and experiences in a poem. Instead, the poet must surrender their personality and see themselves as a vessel for tradition. According to Eliot, a poet achieves impersonality by becoming deeply immersed in the works of past poets and expressing the sense of literary tradition, rather than their individual self. Eliot also believed that the poet and the poetry should be considered separate entities, with criticism focusing on the work itself rather than the poet. Eliot's own poems like "The Waste Land" exemplify this theory through their detached, observational style.
An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
Cleanth Brooks - The Language of ParadoxDilip Barad
This presentation is based on Cleanth Brooks's essay "The Language of Paradox,", wherein Cleanth Brooks emphasizes how the language of poetry is different from that of the sciences, claiming that he is interested in our seeing that the paradoxes spring from the very nature of the poet's language: “it is a language in which the connotations play as great a part as the denotations. And I do not mean that the connotations are important as supplying some sort of frill or trimming, something external to the real matter in hand. I mean that the poet does not use a notation at all--as a scientist may properly be said to do so. The poet, within limits, has to make up his language as he goes.”
An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
Cleanth Brooks - The Language of ParadoxDilip Barad
This presentation is based on Cleanth Brooks's essay "The Language of Paradox,", wherein Cleanth Brooks emphasizes how the language of poetry is different from that of the sciences, claiming that he is interested in our seeing that the paradoxes spring from the very nature of the poet's language: “it is a language in which the connotations play as great a part as the denotations. And I do not mean that the connotations are important as supplying some sort of frill or trimming, something external to the real matter in hand. I mean that the poet does not use a notation at all--as a scientist may properly be said to do so. The poet, within limits, has to make up his language as he goes.”
The concept of imagination in biographia literariaDayamani Surya
Samuel Taylor Coleridge in his Biographia Literature considered that the mind can be divided into two faculties called as imagination and fancy.
Imagination is further divided into two types namely Primary Imagination and Secondary Imagination.
Introduction of Writer, his works, essay tradition and individual talent, theory of poetry( impersonality of poetry, historical sense, poetic emotion, comparison of Wordsworth and T.S eliot theory of poetry, objective correlative, dissociation of Sensibility, unification of sensibility, meta-physical poetry, conceit , use of Conceit in John Donne’s poetry.
Matthew Arnold (24 December 1822 – 15 April 1888) was an English poet and cultural critic who worked as an inspector of schools. He was the son of Thomas Arnold, the famed headmaster of Rugby School, and brother to both Tom Arnold, literary professor, and William Delafield Arnold, novelist and colonial administrator.
During this time Arnold wrote the bulk of his most famous critical works, Essays in Criticism (1865) and Culture and Anarchy (1869), in which he sets forth ideas that greatly reflect the predominant values of the Victorian era.
More Information :- https://www.topfreejobalert.com
The Waste land it’s a epic poem. A poem made of collage of images. In ‘The Waste land’ Image and symbol take in city life.
biography of s.t coleridge
introduction to biographia literaria
synopsis of chap 14
critical analysis
literary devices
objections and defence
fancy and imagination
primary and secondary imagination
Function of Criticism by T.S Eliot, Why Criticism in Literature?, Four Parts of the essay “Function of Criticism”, Tradition and the Individual Talent, I Part: Eliot’s views on critic and critical work of art, II Part: John Middleton Murry’s Essay and Eliot’s Contradiction, III Part: Eliot’s criticism of Murry and function of criticism, IV Part: Relation of Criticism with creative work of art
Depersonalization is the action of detaching the personal self from something. In the context of “Tradition and the Individual Talent,” depersonalization is the process the traditional poet goes through to make their poetry less personal and more in keeping with Eliot’s Impersonal Theory instead. The poet depersonalizes their poetry by working up complex arrangements of common emotions instead of their personal emotions. The poet further depersonalizes their work by not using it to express their own feelings and by remaining neutral in the entire writing process. In depersonalizing their poetry, they become more traditional, because they are conscious not of themselves but of the whole history of poetry.
The concept of imagination in biographia literariaDayamani Surya
Samuel Taylor Coleridge in his Biographia Literature considered that the mind can be divided into two faculties called as imagination and fancy.
Imagination is further divided into two types namely Primary Imagination and Secondary Imagination.
Introduction of Writer, his works, essay tradition and individual talent, theory of poetry( impersonality of poetry, historical sense, poetic emotion, comparison of Wordsworth and T.S eliot theory of poetry, objective correlative, dissociation of Sensibility, unification of sensibility, meta-physical poetry, conceit , use of Conceit in John Donne’s poetry.
Matthew Arnold (24 December 1822 – 15 April 1888) was an English poet and cultural critic who worked as an inspector of schools. He was the son of Thomas Arnold, the famed headmaster of Rugby School, and brother to both Tom Arnold, literary professor, and William Delafield Arnold, novelist and colonial administrator.
During this time Arnold wrote the bulk of his most famous critical works, Essays in Criticism (1865) and Culture and Anarchy (1869), in which he sets forth ideas that greatly reflect the predominant values of the Victorian era.
More Information :- https://www.topfreejobalert.com
The Waste land it’s a epic poem. A poem made of collage of images. In ‘The Waste land’ Image and symbol take in city life.
biography of s.t coleridge
introduction to biographia literaria
synopsis of chap 14
critical analysis
literary devices
objections and defence
fancy and imagination
primary and secondary imagination
Function of Criticism by T.S Eliot, Why Criticism in Literature?, Four Parts of the essay “Function of Criticism”, Tradition and the Individual Talent, I Part: Eliot’s views on critic and critical work of art, II Part: John Middleton Murry’s Essay and Eliot’s Contradiction, III Part: Eliot’s criticism of Murry and function of criticism, IV Part: Relation of Criticism with creative work of art
Depersonalization is the action of detaching the personal self from something. In the context of “Tradition and the Individual Talent,” depersonalization is the process the traditional poet goes through to make their poetry less personal and more in keeping with Eliot’s Impersonal Theory instead. The poet depersonalizes their poetry by working up complex arrangements of common emotions instead of their personal emotions. The poet further depersonalizes their work by not using it to express their own feelings and by remaining neutral in the entire writing process. In depersonalizing their poetry, they become more traditional, because they are conscious not of themselves but of the whole history of poetry.
0x01 - Newton's Third Law: Static vs. Dynamic AbusersOWASP Beja
f you offer a service on the web, odds are that someone will abuse it. Be it an API, a SaaS, a PaaS, or even a static website, someone somewhere will try to figure out a way to use it to their own needs. In this talk we'll compare measures that are effective against static attackers and how to battle a dynamic attacker who adapts to your counter-measures.
About the Speaker
===============
Diogo Sousa, Engineering Manager @ Canonical
An opinionated individual with an interest in cryptography and its intersection with secure software development.
Have you ever wondered how search works while visiting an e-commerce site, internal website, or searching through other types of online resources? Look no further than this informative session on the ways that taxonomies help end-users navigate the internet! Hear from taxonomists and other information professionals who have first-hand experience creating and working with taxonomies that aid in navigation, search, and discovery across a range of disciplines.
Sharpen existing tools or get a new toolbox? Contemporary cluster initiatives...Orkestra
UIIN Conference, Madrid, 27-29 May 2024
James Wilson, Orkestra and Deusto Business School
Emily Wise, Lund University
Madeline Smith, The Glasgow School of Art
This presentation by Morris Kleiner (University of Minnesota), was made during the discussion “Competition and Regulation in Professions and Occupations” held at the Working Party No. 2 on Competition and Regulation on 10 June 2024. More papers and presentations on the topic can be found out at oe.cd/crps.
This presentation was uploaded with the author’s consent.
Acorn Recovery: Restore IT infra within minutesIP ServerOne
Introducing Acorn Recovery as a Service, a simple, fast, and secure managed disaster recovery (DRaaS) by IP ServerOne. A DR solution that helps restore your IT infra within minutes.
1. Literary Criticism II
ENG- 332
Lecture No: 14
“T.S Eliot’s Theory of Impersonality in Poetry”
Course: Literary Criticism II- ENG- 332 – Instructor: Siraj Khan, Lecturer in English, Department of English KUST- Email: siraj.khan@kust.edu.pk
By: Siraj Khan
Lecturer in English
KUST
2. Outlines
Poet’s Biography
Impersonal Theory
Two Folded Theory
Addressing
Emotions and Feelings
Tradition & Individual
Examples
Conclusion
Topic:
Course: Literary Criticism II ENG- 332 – Instructor: Siraj Khan, Lecturer in English, Department of English KUST- Email: siraj.khan@kust.edu.pk
T.S Eliot’s Theory of Impersonality in Poetry
3. T. S Eliot
(September 26, 1888– January 04, 1965 )
Born in St. Louis in 1888
Moved to London just before WWI: eventually became a
British Subject
New Criticism
Scholar (Languages, Philosophy)
America- born British Poet, Essayist, Literary Critic,
Dramatist, Publisher and editor
Nobel Prize Winner
Objective Criticism
The Waste Land (1922)
The Love Song of J. Alfred Prufrock
Tradition and Individual Observation
Topic:
Course: Literary Criticism II ENG- 332 – Instructor: Siraj Khan, Lecturer in English, Department of English KUST- Email: siraj.khan@kust.edu.pk
T.S Eliot’s Theory of Impersonality in Poetry
4. Impersonal Theory
• Continual Surrender of himself
• 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 the poetry.”
Topic: T.S Eliot’s Theory of Impersonality in Poetry
Course: Literary Criticism II ENG- 332 – Instructor: Siraj Khan, Lecturer in English, Department of English KUST- Email: siraj.khan@kust.edu.pk
5. Two Folded Theory
• The Relation of the Poet to the Past
• The Relation of the Poem to its Author
• The past is never dead, it lives in the present. “
no poet or no artist has his complete meaning
alone”. His significance, his appreciation is the
appreciation of his relation to the dead poets
and artists.”
Topic: T.S Eliot’s Theory of Impersonality in Poetry
Course: Literary Criticism II ENG- 332 – Instructor: Siraj Khan, Lecturer in English, Department of English KUST- Email: siraj.khan@kust.edu.pk
6. Uses of Impersonality of T.S Eliot’s Poetry
• “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.
Topic: T.S Eliot’s Theory of Impersonality in Poetry
Course: Literary Criticism II ENG- 332 – Instructor: Siraj Khan, Lecturer in English, Department of English KUST- Email: siraj.khan@kust.edu.pk
7. “ we can only say the a poem in some case, has
its own life; that it parts from something quite
different from a body of neatly covered
biographical data. That the feeling or emotion
or vision in the mind of the poet” ( The
Sacred Wood)
The Poet and Poetry are two separate things.
Focuses attention not upon the poet but upon
the poetry.
The work of art is to be regarded as an
organism, alive with a life of its own.
Course: Literary Criticism II ENG- 332 – Instructor: Siraj Khan, Lecturer in English, Department of English KUST- Email: siraj.khan@kust.edu.pk
Topic: T.S Eliot’s Theory of Impersonality in Poetry
Poet and Poetry are Different Entities
8. Addressing
Eliot uses the first person singular pronoun in most of his poems. For instance, Eliot’s “ The
Waste Land” encompasses the first-person singular pronouns ( I, my, me) enormously, except
the fourth section of the poem “Death by Water” which does not involve any of the first-person
pronoun.
In “Ash Wednesday” the first-person pronoun singular pronouns are present from the opening
lines. But the speaker in Eliot’s “Ash Wednesday” refers to the poet himself indirectly as the
poem reflects his religious vision of life and God, but Eliot utilizes the persona as mask to avoid
self expression.
In Eliot’s “The Hollow Men”, the first-persons are used three times. Similarly, in Eliot’s early
poetry collections Prufrock and Other Observations and Ariel Poems, the first-person singular
pronouns are found in many poems. Exploring impersonality in Eliot’s poetry through tracking
the use of the first-person singular pronouns is not highly reliable because the poet may use a
technique of a “ persona” as the speaker in the poem.
In Eliot’s “ The Love Song of J. Alfred Prufrock. Eliot (1957) says” The first voice is the voice
of the poet talking to himself or to nobody. The second is the voice of the poet addressing an
audience, whether large or small. The third is the voice of of the poet when he attempts to create
a dramatic character speaking in verse; when he is saying, not what he would say in his own
person, but only what he can say within the limits of one imaginary character addressing another
imaginary character.
Topic: T.S Eliot’s Theory of Impersonality in Poetry
Course: Literary Criticism II ENG- 332 – Instructor: Siraj Khan, Lecturer in English, Department of English KUST- Email: siraj.khan@kust.edu.pk
9. • T. S Eliot’s “The Waste Land” begins, with a description of a
cruel spring, cruel to disturb, dull, dry land content to sleep, to
die. Life and, surely, personality are the moisture missing in this
waste land. But why, then, am I haunted from the first line with
personality? There are several reasons, but one of them is that
the base of personal pronouns awakens a sense of personal
engagement. First the reader seems to be involved in “you” and
“us” and “we”. The reader needs not involve himself – the
personal pronouns clearly refer to others instead. It doesn’t
matter. The sense of participation persists. Besides, a personal
aside:
• “Corne in under the shadow of this red rock”
This line justifies the reader in his presumption.
Topic: T.S Eliot’s Theory of Impersonality in Poetry
Course: Literary Criticism II ENG- 332 – Instructor: Siraj Khan, Lecturer in English, Department of English KUST- Email: siraj.khan@kust.edu.pk
Examples
10. More Examples
“If you came this way.
Taking the route you would be likely to take
From the place you would be likely to come from….”
“Across the open field, leaving the deep lane
Shuttered with branches, dark in the afternoon,
Where you lean against a bank while a van passes,…”
Topic: T.S Eliot’s Theory of Impersonality in Poetry
Course: Literary Criticism II ENG- 332 – Instructor: Siraj Khan, Lecturer in English, Department of English KUST- Email: siraj.khan@kust.edu.pk
11. GOOD LUCK
Course: Literary Criticism II ENG- 332 – Instructor: Siraj Khan, Lecturer in English, Department of English KUST- Email: siraj.khan@kust.edu.pk
Topic: T.S Eliot’s Theory of Impersonality in Poetry
