5 Tradition and the individual talent5 Tradition and the individual talent7 Tradition and the individual talent7 Tradition and the individual talentTradition and the individual talent"Tradition and the individual talent" by T. S. Eliot7 Tradition and the individual talent5 Tradition and the individual talent
Some one said: “The dead writers are remote from us because we know so much more than they did.” Precisely, and they are that which we know.
I am alive to a usual objection to what is clearly part of my programme for the métier of poetry. The objection is that the doctrine requires a ridiculous amount of erudition (pedantry), a claim which can be rejected by appeal to the lives of poets in any pantheon. It will even be affirmed that much learning deadens or perverts poetic sensibility. While, however, we persist in believing that a poet ought to know as much as will not encroach upon his necessary receptivity and necessary laziness, it is not desirable to confine knowledge to whatever can be put into a useful shape for examinations, drawing-rooms, or the still more pretentious modes of publicity. Some can absorb knowledge, the more tardy must sweat for it. Shakespeare acquired more essential history from Plutarch than most men could from the whole British Museum. What is to be insisted upon is that the poet must develop or procure the consciousness of the past and that he should continue to develop this consciousness throughout his career.