A reading of Eliot’s classic essay
‘Tradition and the Individual Talent’ was first published in 1919 in the literary magazine The Egoist. It was published in two parts, in the September and December issues. The essay was written by a young American poet named T. S. Eliot (1888-1965), who had been living in London for the last few years, and who had published his first volume of poems, Prufrock and Other Observations, in 1917. You can read ‘Tradition and the Individual Talent’ here.
‘Tradition and the Individual Talent’ (1919) sees Eliot defending the role of tradition in helping new writers to be modern. This is one of the central paradoxes of Eliot’s writing – indeed, of much modernism – that in order to move forward it often looks to the past, even more directly and more pointedly than previous poets had. This theory of tradition also highlights Eliot’s anti-Romanticism. Unlike the Romantics’ idea of original creation and inspiration, Eliot’s concept of tradition foregrounds how important older writers are to contemporary writers: Homer and Dante are Eliot’s contemporaries because they inform his work as much as those alive in the twentieth century do. Read the rest of this entry
A reading of a Shakespeare sonnet
‘Lord of my love, to whom in vassalage …’: so begins Shakespeare’s Sonnet 26, which is the focus of our analysis here. It’s seen as something of a triumph among the early sonnets in the sequence, and is worth unpicking and summarising carefully for that reason.
Lord of my love, to whom in vassalage
Thy merit hath my duty strongly knit,
To thee I send this written embassage,
To witness duty, not to show my wit:
Duty so great, which wit so poor as mine
May make seem bare, in wanting words to show it,
But that I hope some good conceit of thine
In thy soul’s thought, all naked, will bestow it:
Till whatsoever star that guides my moving,
Points on me graciously with fair aspect,
And puts apparel on my tottered loving,
To show me worthy of thy sweet respect:
Then may I dare to boast how I do love thee;
Till then, not show my head where thou mayst prove me. Read the rest of this entry
A reading of Poe’s classic short story
‘The Oval Portrait’ (1842) is one of the shortest tales Edgar Allan Poe ever wrote. In just a few pages, he offers a powerful story about the relationship between art and life, through the narrator’s encounter with the oval portrait of a young woman in a chateau in the Appenines. The story repays close analysis because of the way Poe offers his story as a subtle commentary on link between life and art.
First, a brief summary of this briefest of stories. The narrator, wounded and delirious, has sought shelter in an old mansion with his valet or manservant, Pedro. He holes up in one of the rooms, and contemplates the strange paintings adorning the walls of the room, and reads a small book he had found on the pillow of the bed, which contains information about the paintings. At around midnight, he adjusts the candelabrum in the room and his eye catches a portrait he hadn’t previously noticed, in an oval-shaped frame, depicting a young girl on the threshold of womanhood. Read the rest of this entry