Tradition and Individual Talent

 

The Elusive Nature of Tradition in English Literature

In English writing, we rarely discuss the concept of tradition, and when we do, it's often to lament its lack. We don’t typically use the phrases "the tradition" or "a tradition"; instead, we might describe someone's poetry as "traditional" or even "too traditional." The term is infrequently used outside of critical remarks. If it is used positively, it usually carries a suggestion of nostalgic or archaeological appreciation. It’s difficult to make the idea of tradition palatable to English speakers without linking it to the comforting field of archaeology.

The Overlooked Influence of Tradition in Literary Criticism"

The term "tradition" is seldom used when evaluating either contemporary or historical writers. Each culture has its own unique creative and critical mindset, often unaware of the limitations within its own critical practices compared to its artistic expressions. While we recognize the extensive critical writing in French literature, we may mistakenly believe that the French are inherently more critical than we are, sometimes feeling superior as if they are less spontaneous. However, we must remember that criticism is as natural as breathing, and it’s valuable to articulate our thoughts and feelings when engaging with a text. In doing so, we may realize that we often focus on the traits that make a poet stand out from others, seeking the essence of their individuality. This leads us to appreciate their differences from their immediate predecessors. Yet, if we examine a poet without these biases, we might discover that some of their most unique and significant contributions are those that resonate deeply with the work of earlier poets, particularly during their mature phase, rather than just in their formative years.

The Depth of Tradition in Literary Creation"

If tradition merely meant blindly adhering to the practices of the previous generation, it should be actively discouraged. Such simplistic approaches often fade away quickly, and innovation is preferable to mere repetition. True tradition holds much greater significance; it cannot simply be inherited and requires considerable effort to grasp. Central to this understanding is a historical sense, which is essential for anyone wishing to be a poet beyond their mid-twenties. This historical sense entails recognizing not only the past but also its ongoing relevance; it drives a writer to engage with the entirety of European literature, from Homer onward, as if it all exists simultaneously. This awareness of both the timeless and the temporal is what grounds a writer in tradition and heightens their understanding of their own place within their time and generation.

The Interconnectedness of Artistic Meaning"

No poet or artist can fully grasp their significance in isolation. Their value is understood in relation to the works of past poets and artists. To appreciate any artist, one must place them alongside their predecessors for comparison. This approach is rooted in aesthetic rather than just historical criticism. When a new piece of art is created, it impacts all prior works simultaneously. The existing body of art forms a cohesive order that is altered by the introduction of something genuinely new. For this order to endure after new creations emerge, the entire framework must adjust, reshaping the relationships and values of each work within the whole. Those who recognize this concept of order in European and English literature will understand that the present influences the past just as much as the past informs the present. A poet who grasps this dynamic will also recognize the significant challenges and responsibilities that come with it.

The Paradox of Artistic Judgment: Conformity and Individuality

In this exploration of artistic value, the author argues that new works of art must inevitably be assessed against the standards of the past, not to diminish their originality but to gauge their significance. This judgment is not a simple comparison of quality with historical works or adherence to the views of past critics; instead, it is a nuanced measurement where the new is evaluated by how it fits within a broader artistic context. The author emphasizes that true originality does not conform in a conventional sense, yet its ability to resonate with past standards is a crucial indicator of its worth. This process of evaluation is complex and fraught with uncertainty, as the relationship between individuality and conformity in art is often ambiguous, leaving room for diverse interpretations.

The Poet's Relationship with the Past: Navigating Tradition and Change

To better understand the poet's connection to history, it’s essential to recognize that he cannot simply accept the past as a whole, nor can he base his work entirely on a few personal favorites or a single historical period. While the first approach is unacceptable, the second can be a valuable part of youthful experience, and the third is a useful addition. The poet needs to be acutely aware of the broader trends in art, which may not always align with the most celebrated figures. He must understand that while art itself does not improve over time, the materials and contexts of art continually evolve. This evolution is marked by changes in collective thought—particularly the shifting mindset of his own country—which becomes more significant than his individual perspective. Importantly, this progression does not discard the contributions of past greats like Shakespeare or Homer. The evolution of art represents a refinement and complexity rather than an improvement, often rooted in economic and technological developments. Ultimately, the present moment carries a conscious awareness of the past that the past itself cannot fully recognise.

The Poet's Relationship with Knowledge

I address a common criticism of my approach to poetry: that it demands an excessive level of scholarly knowledge. This argument can be countered by examining the lives of poets throughout history. In fact, some might argue that too much learning can dull or distort a poet's sensitivity. While we maintain that a poet should acquire knowledge that enhances their natural receptiveness and creative ease, it's not beneficial to restrict learning to what can be neatly packaged for tests, social gatherings, or more ostentatious forms of public display. Some individuals can easily absorb knowledge, while others must work harder for it. For instance, Shakespeare gained more vital historical insight from Plutarch than many could from the entirety of the British Museum. The key point is that a poet must cultivate an awareness of the past and continue to expand this understanding throughout their career.

The Artist's Self-Sacrifice and Depersonalization

What occurs is a constant surrender of the artist's current self to something of greater significance. An artist's journey is marked by ongoing self-sacrifice and a gradual diminishment of individuality. We must explore this process of depersonalization and its connection to the sense of tradition. In this depersonalization, art can be likened to the realm of science. To illustrate this, consider the analogy of finely woven platinum introduced into a chamber filled with oxygen and sulfur dioxide.

PART- II

Focusing on Poetry Over the Poet

Genuine criticism and appreciation should concentrate on the poetry itself rather than the poet. When we listen to the often chaotic voices of newspaper critics and the accompanying buzz of popular opinion, we may encounter many poet names; however, if we seek true enjoyment of poetry and ask for a specific poem, it is rarely found. I've emphasized the importance of viewing a poem in relation to others by different authors, proposing that poetry exists as a cohesive whole encompassing all that has been written. Another aspect of this impersonal view of poetry is the connection between a poem and its creator. I suggested, through analogy, that the mature poet's mind differs from that of the immature poet not in terms of 'personality' or interest but as a more refined medium that allows various emotions to blend in new ways.

The Poet's Mind as a Catalyst

The analogy compares the poet's mind to a catalyst. Just as two gases combine to form sulphurous acid only in the presence of platinum, the poet's mind facilitates the transformation of personal experience into art. Although the platinum remains unchanged, the acid is produced without any trace of it. Similarly, the more skilled the artist, the clearer the distinction between the individual who suffers and the creative mind, allowing for a deeper digestion and transformation of emotional material.

The experiences that interact with this transformative catalyst are twofold: emotions and feelings. The impact of a work of art on its audience is distinct from non-artistic experiences. It may stem from a single emotion or a blend of several, with particular words, phrases, or images contributing to the final piece. Notably, great poetry can emerge without directly expressing any specific emotion, relying solely on feelings. For instance, Canto XV of Inferno (Brunetto Latini) captures an emotional situation, yet achieves its effect through intricate details. The concluding quatrain presents an image and a corresponding feeling that likely existed in the poet's mind until the right combination allowed it to emerge. The poet’s mind acts as a reservoir for countless feelings, phrases, and images, holding them until the right elements come together to form a new artistic creation.

The Art of Emotional Fusion in Poetry

When comparing various passages from the greatest poetry, one notices the vast diversity in how emotions are combined and how traditional notions of "sublimity" often fall short. It is not the intensity of the emotions themselves that matters, but rather the intensity of the artistic process—the pressure under which these emotions are fused. For example, the episode of Paolo and Francesca conveys a specific emotion, yet the intensity of the poetry is distinct from the intensity of the underlying experience. This intensity is comparable to that of Canto XXVI, which depicts Ulysses’s voyage without relying directly on an emotion.

The transmutation of emotions in art can take many forms; for instance, the murder of Agamemnon or the anguish of Othello produces artistic effects that seem closer to the original emotions than some scenes from Dante. In the case of Agamemnon, the artistic emotion feels akin to that of an actual observer, while in Othello, it mirrors the protagonist's feelings. However, the distinction between art and reality is always absolute. The emotional combination represented by Agamemnon's murder is likely as intricate as that of Ulysses’s journey. Similarly, Keats’s ode encompasses various feelings that may not directly relate to the nightingale itself, yet the bird—due in part to its appealing name and reputation—serves as a catalyst for these emotions to coalesce.

The Poet's Medium vs. Personal Identity

The viewpoint I am challenging is likely connected to the metaphysical idea of the soul's substantial unity. My argument is that the poet does not possess a "personality" to convey; instead, they have a specific medium that serves solely as a conduit for combining impressions and experiences in unique and surprising ways. Impressions and experiences that are significant for the individual may not feature in the poetry, while those that become vital to the poetic work might be of little importance to the individual’s personality.

The Complexity of Emotions in Drama: An Example

This passage illustrates a blend of positive and negative emotions, revealing a deep attraction to beauty alongside a compelling fascination with its contrast: ugliness, which ultimately undermines it. While this interplay of contrasting emotions relates to the dramatic situation at hand, it does not fully capture its essence. The core emotional structure stems from the drama itself, but the overall impact and prevailing tone arise from a variety of subtle emotions that resonate with this primary feeling, culminating in a new artistic experience.

The Poet's Emotional Craft

The poet's significance does not lie in his personal emotions or reactions to specific life events, which may be simplistic or unremarkable. Instead, the emotions conveyed in his poetry are intricate, but not necessarily more complex than those of individuals with unusual emotional experiences. A common mistake in poetry is the pursuit of new human emotions, leading to the expression of the perverse rather than genuine feelings. The poet's role is to take ordinary emotions and transform them into poetry, capturing sentiments that may not correspond to any actual experience.

The idea of "emotion recollected in tranquility" is misleading; it does not truly involve emotion, recollection, or tranquility as commonly understood. Instead, it refers to a concentration of a multitude of experiences that may not appear significant to an active person. This concentration occurs unconsciously, forming a serene atmosphere that is only passively engaged with the events at hand.

While there is a deliberate aspect to writing poetry, the poor poet often fails to distinguish when to be conscious and when to be unconscious, resulting in overly personal work. True poetry represents an escape from emotion and personality, a notion only those with deep emotions and personalities can appreciate.

PART-III

Focusing on Poetry Over the Poet

This essay aims to stay within the boundaries of practical insights relevant to those genuinely interested in poetry, avoiding metaphysical or mystical discussions. Shifting focus from the poet to the poetry itself is a commendable goal, as it leads to a more accurate assessment of both good and bad poetry. While many appreciate the sincere expression of emotion in verse and a smaller group recognizes technical skill, very few can identify when significant emotion arises—an emotion that exists within the poem rather than in the poet’s life. The emotion conveyed in art is impersonal, and the poet must fully immerse themselves in their work to achieve this quality. To understand what needs to be expressed, the poet should engage with not just the present but the living essence of the past, remaining aware of what is alive rather than what has faded.