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Tradition and the Individual Talent

1. Who is considered the predecessor to T.S. Eliot among poet-critics?

a) William Wordsworth

b) John Dryden

c) Percy Bysshe Shelley

d) William Butler Yeats

2. What is T.S. Eliot's best-known essay that emphasizes the redefinition of "tradition"?

a) The Sacred Wood: Essays on Poetry and Criticism

b) Tradition and the Individual Talent

c) The Pastness of the Past

d) The Mind of Europe

3. According to Eliot, what is the key element of "the historical sense" in the context of
tradition?

a) Presentness of the past

b) Absence of history

c) Pastness of the present

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d) Presence of the present

4. In which publication was T.S. Eliot's essay "Tradition and the Individual Talent" first
included?

a) The Mind of Europe

b) The Sacred Wood: Essays on Poetry and Criticism

c) The Pastness of the Past

d) Tradition and the Individual Talent

5. What does T.S. Eliot argue should be the nature of poetry, according to the information
provided?

a) Exclusive focus on the personality of the writer

b) Objectivity in art

c) Complete separation from literary history

d) Essential impersonality, distinct from the writer's personality

6. Which term does Eliot use to describe the perception of both the "pastness of the past"
and its "presence"?

a) Historical blindness

b) Literary myopia

c) The historical sense

d) Timeless awareness

7. How does Eliot characterize the relationship between past works of art and tradition?

a) The past remains unaltered by new works

b) The past is irrelevant to the concept of tradition

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c) The past works form an order that is constantly altered by new works

d) New works have no impact on the tradition established by past works

8. According to Eliot, what is required for a poet to engage with tradition?

a) Familiarity only with the immediate past

b) Ignorance of the distant past

c) Familiarity with almost all literary history, including the distant past

d) Exclusively focusing on the literature of one's own country

9. What does Eliot mean by the statement, "the past should be altered by the present as
much as the present is directed by the past"?

a) The past remains unchanged by the present

b) The present has no impact on the past

c) Both the past and the present influence each other

d) The past determines the present, but not vice versa

10. In which collection was T.S. Eliot's essay "Tradition and the Individual Talent" first
published?

a) The Pastness of the Past

b) The Mind of Europe

c) The Sacred Wood: Essays on Poetry and Criticism

d) Tradition and the Individual Talent

11. In T.S. Eliot's view, what must a poet do to achieve a special awareness of the past?

a) Embrace emotional excesses

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b) Engage in self-sacrifice

c) Ignore the past

d) Reject comprehensive knowledge

12. According to Eliot, how does a "mature" poet's mind work in the process of creating
poetry?

a) Active and assertive

b) Passive and receptive

c) Impersonal and detached

d) Emotional and expressive

13. What analogy does Eliot use to explain the mind of a mature poet in the creation of art?

a) Architectural design

b) Chemical reaction

c) Musical composition

d) Artistic rebellion

14. Eliot suggests that true art has little to do with the personal life of the artist but results
from:

a) Emotional overflow

b) Comprehensive knowledge and synthesis

c) Personal expression

d) Romantic ideals

15. What does Eliot mean by the statement, "Poetry is not a turning loose of emotion, but
an escape from emotion"?

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a) Poetry lacks emotion

b) Poetry should control and direct emotion

c) Emotion is irrelevant in poetry

d) Poetry should indulge in excessive emotion

16. How does Eliot's idea of an "impersonal poet" connect with the Romantics, particularly
John Keats?

a) It opposes the Romantics' views entirely

b) It has no connection with the Romantics

c) It aligns with Keats' concept of "the chameleon poet"

d) It rejects the Romantics' emphasis on emotion

17. What influence did Eliot's essay "Tradition and the Individual Talent" have on the study
of poetry?

a) Limited influence on poets and critics

b) Shaped generations of poets, critics, and theorists

c) No impact on literary criticism

d) Faded quickly in literary circles

18. According to Eliot, how does tradition relate to the poet's engagement with the past?

a) The poet should ignore the past entirely

b) Tradition involves blind adherence to the successes of the immediate generation

c) The past should be altered by the present

d) The poet must be conscious of the past and its simultaneous order

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19. What does Eliot mean by the statement, "The progress of an artist is a continual self-
sacrifice"?

a) Artists should sacrifice their artistic abilities

b) Artists must sacrifice their personal lives

c) Artists should embrace emotional excesses

d) Artists constantly give up their current selves for something more valuable

20. How does Eliot relate erudition to the development of a poet's consciousness of the
past?

a) Erudition is unnecessary for a poet

b) Erudition is essential for poetry

c) Erudition may deaden poetic sensibility

d) Erudition is solely for examinations and public events

21. In Eliot's analogy, what does he compare the mind of a poet to?

a) A chameleon

b) A catalyst

c) A chemical equation

d) A historical artifact

22. According to Eliot, what should honest criticism and sensitive appreciation focus on?

a) The poet's biography

b) The emotion behind the poetry

c) The poetry itself

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d) Popular repetition of poets' names

23. How does Eliot describe the relationship between the mature poet and his own
experiences?

a) The poet's experiences dominate his poetry

b) The poet's experiences have no impact on his poetry

c) The poet's experiences are transformed into a more finely perfected medium

d) The poet's experiences are irrelevant to the artistic process

24. What is the role of emotions and feelings in the creation of a work of art, according to
Eliot?

a) They are essential for any artistic effect

b) They are entirely irrelevant to artistic processes

c) They combine to form a new compound in the mind of the poet

d) They only play a role in semi-ethical criteria of "sublimity"

25. What is the significance of the catalyst in Eliot's analogy?

a) It represents the poet's personality

b) It symbolizes the emotional intensity of the poetry

c) It highlights the separateness of the man who suffers and the mind that creates

d) It demonstrates the direct impact of the poet's experiences on the poetry

26. According to Eliot, what is the nature of the poet's consciousness of the past?

a) A mere reference to historical events

b) A sense of the pastness of the past

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c) An emphasis on the present moment

d) A rejection of any connection to literary history

27. How does Eliot suggest poetry should be approached for genuine enjoyment?

a) By seeking Blue-book knowledge

b) By focusing on the names of poets

c) By attending to the poetry itself

d) By analyzing the poet's biography

28. According to Eliot, why is the Impersonal theory of poetry important in appreciating
art?

a) It emphasizes the individuality of the poet

b) It establishes a hierarchy of poets

c) It focuses on the emotional intensity of poetry

d) It considers poetry as a living whole of all that has ever been written

29. What is the artist's role in Eliot's theory of poetry?

a) To express personal emotions

b) To conform to established canons

c) To engage in self-sacrifice and depersonalization

d) To prioritize personal experiences over artistic processes

30. What is the poet's relationship to the dead poets and artists, according to Eliot?

a) The poet is isolated from the influence of the dead

b) The poet is judged solely by the standards of the dead

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c) The poet is not affected by the dead poets and artists

d) The poet's significance is derived from the appreciation of the dead poets and artists

31. How does Eliot describe the development of a poet's consciousness in relation to the
past?

a) It is a gradual surrender of the past to the present

b) It involves complete amputation of the past

c) It requires erudition and pedantry

d) It is a continual self-sacrifice and extinction of personality

32. What does Eliot mean by the term "impersonalization" in the context of art?

a) A rejection of emotions in art

b) A process of developing a unique personality

c) The separation of the man who suffers and the mind that creates

d) A lack of connection to literary history

33. According to Eliot, how does the mind of a mature poet differ from that of an immature
one?

a) It is more emotional and expressive

b) It is a more finely perfected medium

c) It has a more limited range of experiences

d) It lacks the ability to combine feelings and emotions

34. What does Eliot say about the necessity of conforming in poetry?

a) Conforming is crucial for the new work to be valued

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b) Conforming is irrelevant to the artistic process

c) The new work is more valuable if it resists conformity

d) Conforming results in the new work being unoriginal

35. How does Eliot view the development of art and the relationship between the present
and the past?

a) The present should be completely directed by the past

b) The past should be entirely unaffected by the present

c) The past and present influence each other, and the whole existing order is adjusted

d) The present should erase any traces of the past in art

36. What contrast of emotions is evident?

a) Joy and sorrow

b) Beauty and ugliness

c) Love and hate

d) Hope and despair

37. According to, T.S. Eliot, what is the structural emotion provided by the dramatic
situation?

a) Simple and flat emotions

b) Positive and negative emotions

c) Complex and unusual emotions

d) Tranquil and passive emotions

38. What does T.S. Eliot,suggest about the poet's role in expressing emotions in poetry?

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a) The poet should seek new and eccentric emotions.

b) The poet should use ordinary emotions and express feelings beyond them.

c) The poet's emotions should be simple and crude.

d) The poet's emotions must be personal and reflective of his life.

39. What does the phrase "emotion recollected in tranquility" mean ?

a) Tranquil emotions consciously recollected

b) Concentration of experiences consciously chosen

c) A new emotion resulting from concentration

d) Tranquil attendance upon past events

40. How does T.S. Eliot,describe the relationship between poetry and emotion?

a) Poetry is the turning loose of emotion.

b) Poetry is an escape from emotion.

c) Poetry is the expression of personality.

d) Poetry is the discovery of new human emotions.

41. What does suggest about the poet's consciousness and deliberate choices in writing
poetry?

a) The poet is usually unconscious in the wrong places.

b) The poet should be conscious of every emotion.

c) Deliberate choices in poetry make the poet "impersonal."

d) Conscious errors in poetry contribute to its significance.

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42. According to T.S. Eliot, what is the proposed aim of diverting interest from the poet to
the poetry?

a) To encourage the expression of personal emotions in poetry.

b) To discourage technical excellence in poetry.

c) To enhance the estimation of actual poetry, good and bad.

d) To limit the appreciation of poetry to a smaller audience.

43. What does the phrase "emotion of art is impersonal" imply ?

a) Art lacks emotional depth.

b) Art expresses the artist's personal emotions.

c) Art conveys emotions detached from the poet's history.

d) Art is devoid of any emotional content.

44. How does the passage characterize the poet's journey toward impersonality?

a) By expressing eccentric emotions consciously.

b) By surrendering wholly to the work to be done.

c) By living only in the present moment of the future.

d) By focusing on personal experiences exclusively.

45. What practical conclusions does the essay propose to confine itself to?

a) Metaphysical and mystical theories.

b) Practical applications for responsible individuals interested in poetry.

c) Aesthetic judgments on the value of emotions.

d) Theoretical discussions on the essence of poetry.

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ULTRA STUDY CENTRE, VIRUDHUNAGAR.

Contact Number : 9344256014
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Unit I - 133 Pages

Unit II - 120
Unit III - 160
Unit IV - 133
Unit V - 143
Unit VI - 113
Unit VII - 167
Unit VIII - 108
Unit IX - 186
Unit X - 72
Educational psychology - 230 pages

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