T.S. Eliot's theory of impersonality is a cornerstone of his critical thought, particularly articulated in his seminal essay "Tradition and the Individual Talent," published in 1919. Eliot's ideas on impersonality challenge the Romantic notion of poetry as a direct expression of the poet's personal emotions and experiences. Instead, he posits that true art transcends the personal and achieves a universality that connects with the broader tradition of literature. Let's delve into the key aspects of Eliot's theory with detailed explanations and examples.

The Role of Tradition

Eliot begins by emphasizing the importance of tradition in literary creation. He argues that a poet must possess a historical sense, which involves not only knowing the works of dead poets but also feeling their presence and influence in contemporary writing. This historical sense is not a passive absorption but an active engagement with the past:

"The historical sense involves a perception, not only of the pastness of the past, but of its presence."

For Eliot, tradition is a living entity that evolves as each new work of art is created. A poet contributes to this tradition by both absorbing and altering it. The poet must, therefore, strike a balance between innovation and conformity to the literary tradition.

The Objective Correlative

One of the most famous components of Eliot's theory is the concept of the "objective correlative." This term refers to a set of objects, situations, or events that serve as a formula for a particular emotion. Rather than directly expressing their emotions, poets should present these objective correlatives, which will evoke the intended emotional response in the reader:

"The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion."

For example, in Eliot's own poem "The Love Song of J. Alfred Prufrock," the overwhelming feelings of indecision and existential angst are conveyed not through direct statements but through a series of vivid and disjointed images, such as "a patient etherized upon a table" and "the yellow fog that rubs its back upon the window-panes."

The Impersonal Theory of Poetry

Eliot's central assertion is that the poet's personality should not intrude upon the work of art. He likens the poet to a catalyst in a chemical reaction. Just as a filament of platinum in a chemical reaction facilitates the combination of sulfur dioxide and oxygen without being affected itself, the poet should combine feelings, phrases, and images in a way that creates a new artistic whole, remaining detached from the process:

"The mind of the poet is the shred of platinum. It may partly or exclusively operate upon the experience of the man himself; but, the more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates."

Eliot believes that the poet's personal emotions and experiences should be transformed and subsumed into the greater structure of the poem. The resulting work should not be a direct reflection of the poet but a new and autonomous entity.

Eliot's Critique of Romanticism

Eliot's theory of impersonality is, in many ways, a response to and a critique of Romanticism. Romantic poets like Wordsworth and Coleridge emphasized the poet's personal emotions and the spontaneous overflow of powerful feelings as the essence of poetry. Eliot, on the other hand, argues for a more disciplined and detached approach to poetic creation. He believes that the focus should be on the craft of poetry and its relationship to the literary tradition, rather than on the poet's individual psyche.

Conclusion

T.S. Eliot's theory of impersonality has had a profound impact on modernist literature and literary criticism. By advocating for a poetry that transcends personal emotion and engages deeply with tradition, Eliot has influenced generations of poets and critics to focus on the craft of writing and the broader context of literary history. His ideas encourage a view of poetry as an art form that, while rooted in individual talent, achieves its highest expression through a disciplined and impersonal approach to creation.