But the difference between art and the event is always absolute; the combination which is the murder of Agamemnon is probably as complex as that which is the voyage of Ulysses. 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; the more perfectly will the mind digest and transmute the passions which are its material. Its creativity and productiveness consist precisely in the fact that such a word awakens new and independent words, that it organizes masses of our words from within, and that it does not remain in an isolated and static condition. It is not in his personal emotions, the emotions provoked by particular events in his life, that the poet is in any way remarkable or interesting. The three poems Remember written by Christina Rossetti, A Mother In A Refugee Camp by Chinua Achebe and Poem at Thirty-Nine by Alice Walker share the same negative theme of loss and separation.
There are many people who appreciate the expression of sincere emotion in verse, and there is a smaller number of people who can appreciate technical excellence. Some can absorb knowledge, the more tardy must sweat for it. That this development, refinement perhaps, complication certainly, is not, from the point of view of the artist, any improvement. Article by: Lyndall Gordon Themes: Capturing and creating the modern, Literature 1900—1950 Lyndall Gordon explores how modernist art, dance and music, as well as the experience of early 20th-century urban living, shaped T S Eliot's The Waste Land, which both describes the modern condition and searches for something outside of it. The traditional meter and rhyme in such passages sets them off from the free verse of the rest of the poem, but often Eliot seems to be using the meter to call attention to a disjuncture between his low subject matter and the formal style with which he describes it.
This combination takes place only if the platinum is present; nevertheless the newly formed acid contains no trace of platinum, and the platinum itself is apparently unaffected; has remained inert, neutral, and unchanged. When the two gases previously mentioned are mixed in the presence of a filament of platinum, they form sulphurous acid. The effect of a work of art upon the person who enjoys it is an experience different in kind from any experience not of art. He must be quite aware of the obvious fact that art never improves, but that the material of art is never quite the same. You cannot value him alone; you must set him, for contrast and comparison, among the dead. Its peculiar strength lies precisely in its objectivity. But surely not all poetry is like that.
The theory or approach that is chosen by a counselor must be one that they are knowledgeable in and feel comfortable with. It was at the same age that Christ was crucified. Great variety is possible in the process of transmution of emotion: the murder of Agamemnon, or the agony of Othello, gives an artistic effect apparently closer to a possible original than the scenes from Dante. I mean this as a principle of aesthetic, not merely historical, criticism. Remember explores the pain felt by losing loved ones. What happens is a continual surrender of himself as he is at the moment to something which is more valuable. In a peculiar sense he will be aware also that he must inevitably be judged by the standards of the past.
The artist, moreover, not only perceives the Ideas of the world like individuals of genius but is further able to fashion these Ideas in art in a manner that makes them accessible to the art receiver. In the next part of the theory he examines the relation of the poet to the poem. There may be a time in our lifetime where we are faced with two or more choices. Such interpretations need not be put to it. We have seen many such simple currents soon lost in the sand; and novelty is better than repetition.
It involves, in the first place, the historical sense, which we may call nearly indispensable to anyone who would continue to be a poet beyond his twenty-fifth year; and the historical sense involves a perception, not only of the pastness of the past, but of its presence; the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order. Does the silkworm expend her yellow labours For thee? This balance of contrasted emotion is in the dramatic situation to which the speech is pertinent, but that situation alone is inadequate to it. Some can absorb knowledge, the more tardy must sweat for it. He claimed that a great poem makes it necessary to understand all earlier poetry of the same tradition in a new light. It is a judgment, a comparison, in which two things are measured by each other. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new.
And similarly, the good writer will not impress his own opinion on a poem, at least not in a way that is obvious or the detriment of the poem. I n his 1926 lectures on metaphysical poetry, T. Eliot compares the poet with the catalyst. The poet must be very conscious of the main current, which does not at all flow invariably through the most distinguished reputations. There remains to define this process of depersonalization and its relation to the sense of tradition.
If we attend to the confused cries of the newspaper critics and the susurrus of popular repetition that follows, we shall hear the names of poets in great numbers; if we seek not Blue-book knowledge but the enjoyment of poetry, and ask for a poem, we shall seldom find it. Its presence may be necessary for partly or exclusively to operate for the combination of the experience in order to give birth to a piece of poetry. Tradition is a matter of much wider significance. Between 1914 and its closure in 1919, The Egoist became a key site for innovation in the cultural movement which would become known as modernism. There is a great deal, in the writing of poetry, which must be conscious and deliberate. Artistic creation, of course, is not a raving, though it is also a deflection, a changing and a transformation of reality, in accordance with the peculiar laws of art.
For anyone disenchanted with the extravagant claims - and leaden prose - of literary theorists, this will be an exhilarating book. Distinguished itself from overly romantic or sentimental fiction. There is a great deal, in the writing of poetry, which must be conscious and deliberate. Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality. Newman's personality doesn't get in the way. Now, I think that even if these stories are true, they oughtn't to be told so casually to young people and people who lack discrimination; it's better to keep silent, and if one absolutely has to speak, to make them esoteric secrets told to as few people as possible.
The necessity that he shall conform, that he shall cohere, is not one-sided; what happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it. The text conveys what St. Our ideological development is just such an intense struggle within us for hegemony among various available verbal and ideological points of view, approaches, directions, and values. He exemplifies this process as when oxygen and sulphur dioxide are mixed in the presence of a filament of platinum, they form sulphuric acid. Utility may either express the means of producing the former or the latter.