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Impersonal Theory of Poetry
Impersonal Theory of Poetry
Introduction:- Eliot is one of the long line of poet-critics which stretches right from Ben Jonson to our day,
and includes such names as Dryden, Dr. Johnson, Coleridge and Arnold. Though he did not formulate
any comprehensive theory of poetry, he was a conscious poet who had thought long and deep about the
mysteries of his own art. His critical essays, reviews and editorial contributions and commentaries throw a
flood of light on his view of poetry. An understanding of his poetic creed is interesting and desirable, for
he is the only critic after Wordsworth who has much to say about poetry and the poetic process. His
criticism comes from his “poetic workshop”, and hence it has a special significance.
Need for Complexity:
The Georgian and Edwardian poetry of England of the first quarter of the 20th century was in the thinned
out romantic-pre-Raphaelite tradition. It was simple, it was easy, and so it was popular, but it was not
great or good. It was Eliot’s reaction to romanticism, “that led to his formulating the literary theories from
which all his poetry since has derived”—(Maxwell). For example, the decadent poetry of his age
dispensed with all subtlety, metrical, linguistic, intellectual, or emotional. Eliot’s own
esotericism—complexity and difficulty—is in part a reaction or revolt to the exotericism (lack of subtlety)
of this poetry. Reacting against the popular appeal of the poetry of the day, he voluntarily cultivated
subtlety and complexity in the hope of finding or creating an audience which, though small, would at least
appreciate and understand. In his essay on The Metaphysical Poets, he writes: “Poets in our civilisation
must be difficult. Our civilisation comprehends great variety and complexity, and this variety and
complexity, playing upon a refined sensibility, must produce various and complex results. The poet must
become more and more comprehensive, more allusive, more indirect, in order to force, to dislocate, if
necessary, language into his meaning.” The poet must create new devices, cultivate all the possibilities of
words, in order to express entirely new conditions. His own poetry is a new kind of poetry, his technique
is new, and this very novelty creates difficulties.
Rejection of Subjectivism: Stress on Objectivity
Eliot’s theory of poetry marks a complete break from the 19th century tradition. He rejected the romantic
theory that all art is basically an expression of the artist’s personality, and that the artist should create
according to the dictates of his own “inner voice”, without owing allegiance to any outside authority. In
his essay on The Function of Criticism he tells us that writing, according to the “inner voice”, means
writing as one wishes. Thus Eliot rejects romantic subjectivism and emotionalism, and emphasises the
value of objective standards. Reacting against subjectivism of the romantics, Eliot advocated his famous
theory of the impersonality of poetry. He recognised the dangers of unrestricted liberty, and felt that
granted such licence, there would be only, “fitful and transient bursts of literary brilliance. Inspiration
alone is not a safe guide. It often results in eccentricity and chaos.” Moreover, the doctrine of human
perfectibility and the faith in “inner voice” received a rude shock as a result of the world war. It was
realised that man is not perfect, and hence perfect art cannot result from merely the artist’s following his
inner voice. Some sort of guidance, some discipline, some outside authority was necessary to save art
from incoherence and emptiness. Thus Eliot condemned the Inner Light as, “the most untrustworthy and
deceitful guide that ever offered itself to wandering humanity,” and pointed out that the function of the
critic is to find out some common principles, objective standards, by which art may be judged and guided.
Eliot rejected the romantic fallacy, says Maxwell, for it, “has resulted in destruction of belief in central
authority to which all men might owe allegiance, in objective standards by which men might agree to
judge art, and in any inspiration other than the shifting of personality through which adult, orderly art
might be created.”
Eliot holds that the poet and the poem are two separate things and 'that the feeling, or emotion, or vision,
resulting from the poem is something different, from the feeling or emotion or vision in the mind of the
poet.' This he elucidates by examining, first, the relation of the poet to the past and, next, the relation of
the poem to its author. The artist has to take something from the past, but at the same time he asserts his
individuality, and while asserting his individuality he must be careful: he should remain objective. The
progress of an artist is a continual self-sacrifice, a continual extinction of personality. In a work of art the
past and the present fuse into a new compound.
Passion for Form: Unification of Sensibility
Thus Eliot demands an objective authority for art, and in this way his theory of poetry approximates to
that of the classics. Rejecting the romantic theory and the romantic tradition, he emphasises that the
classics achieved, an elegance and dignity absent from the popular and pretentious verse of the romantic
poets. In The Function of Criticism he writes that the difference between the two schools is that, “between
the complete and the fragmentary, lie adult and the immature, the orderly and the chaotic.” This shows
Eliot’s appreciation of the order and completeness of classical poetry, qualities which he tried to achieve
in his own practice as a poet. The classics could achieve this form and balance, this order and
completeness, only because they owed allegiance to an objective authority which was provided to them by
past tradition—”stores of tradition”. Another sign of maturity, according to Eliot, is the unification of
sensibility—of thought and feeling, of the critical and the creative faculties. Such unification Eliot found
in the Metaphysicals, and hence his admiration for them.