Tradition
Selected Essays, 1917-1932 ushers in its pages with a theme that beats at the heart of its collection: tradition. Eliot, with his intricate and personal understanding, refers not merely to literature penned in English but to the grand tapestry of "Western classical" literature. From the ancient musings of the Greeks, through the reflective insights of Seneca, Dante's divine realms, Chaucer's vivid portraits, to the Renaissance's exuberant creativity, and on to the articulate voices of Dryden and Pope, the romantic dreamers, and the Victorian analysts—this is the illustrious lineage Eliot reveres. He sees this tradition as a cornerstone for modern English writers and critics, a treasure trove of works that are of the highest significance.
Eliot stands among an illustrious cadre of critics who have defined such a concept of tradition. In curating and refining this list of monumental works, he draws heavily from literary titans like Matthew Arnold, renowned for delineating the classical canon during Victorian times. The irony lies in modernism, the very movement led by Eliot, which ostensibly seeks to sever ties with the past. Yet, Eliot clarifies that the rupture should occur only with the immediate past—the era just preceding his, which he believes lost its way in artistic vision. For Eliot, art is devoid of meaning unless nestled within the vast continuum of literary history. Literature derives its essence through a dialogue with its ancestors. Eliot poignantly states:
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.
Complex Interplay of Tradition
Though this notion appears straightforward, its implications are intricate and profound, explaining Eliot's penchant for weaving complex allusions and drawing parallels across a vast spectrum of works, authors, and literary epochs. Eliot's notion of tradition compels him to perceive each literary piece as a mere fragment of the ever-evolving mosaic of literature's grand narrative. Truly appreciating Eliot's critique of a single work requires a grasp of his expansive view on the mission of Western literature. While it commences with the idea of a poet's "continual extinction of personality" to align with tradition, this philosophy evolves and unfolds across the pages of Selected Essays, 1917-1932.
Dramatic Poetry
Eliot's essays are a fascinating exploration into the fusion of poetic expression and theatrical performance. He persistently highlights the aesthetic vision of intertwining exquisite verse with refined language, all while crafting lifelike characters embroiled in gripping narratives. Particularly in the second section of his essays, Eliot emphasizes that a shared artistic vision among peers is crucial for the flourishing of great dramatic poetry. He frequently evaluates writers based primarily on their success in achieving this integration; for Eliot, the alignment of poetry and drama is essential in all masterpieces of literature. Though he writes less frequently about novelists like Dickens or poets like Marvell, when he does, he often ranks them lower compared to a dramatic poet of Shakespeare's caliber.
Eliot's argument for the preeminence of dramatic poetry significantly shaped the public's taste during his time, influencing how his own works were received. His plays, most notably the compelling Murder in the Cathedral, are intended to establish the dramatic poetry convention he so ardently advocated for in his writings.
Christianity
The Role of Christianity in Eliot's Critical Thought
Christianity assumes an ever-expanding significance in Eliot's realm of critical reflection. While the first section provides a literary perspective that stands independent of religious conviction, it becomes clear that the philosophical underpinnings of various writers and movements gradually emerge as pivotal factors...
(This entire section contains 212 words.)
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in judgment, particularly noticeable in sections four, six, and seven. For Eliot, religion becomes an indispensable component in any discourse on philosophy or ethics: “If you remove the word 'human' and all that the belief in the supernatural has given to man, you can view him finally as no more than an extremely clever, adaptable, and mischievous little animal.”
The Intersection of Theology and Literary Greatness
This observation underscores the centrality of Christianity in Eliot's literary theories; he perceives great writers as transcending mere animalistic existence, necessitating a belief in the supernatural to forge profound literature. Initially, Eliot grapples with the notion of whether a writer must "think" and embrace a specific theological stance, starting from a point of denial. However, he later acknowledges—illustrated in his essay on William Blake—that theology frequently represents a deliberate endeavor exerting a significant influence on the majesty of art. Ultimately, Christian ideology becomes intricately woven into the fabric of Eliot's aesthetic and philosophical perspectives.