Honest criticism and sensitive appreciation are directed not upon the poet but upon the poetry. 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.
I have tried to point out the importance of the relation of the poem to other poems by other authors, and suggested the conception of poetry as a living whole of all the poetry that has ever been written. The other aspect of this Impersonal theory of poetry is the relation of the poem to its author.
The analogy was that of the catalyst. When the two gases previously mentioned are mixed in the presence of a filament of platinum, they form sulphurous acid. 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. The mind of the poet is the shred of platinum.
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.
The experience, you will notice, the elements which enter the presence of the transforming catalyst, are of two kinds: 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. It may be formed out of one emotion, or may be a combination of several; and various feelings, inhering for the writer in particular words or phrases or images, may be added to compose the final result.
Or great poetry may be made without the direct use of any emotion whatever: Canto XV of the Inferno Brunetto Latini is a working up of the emotion evident in the situation; but the effect, though single as that of any work of art, is obtained by considerable complexity of detail. The episode of Paolo and Francesca employs a definite emotion, but the intensity of the poetry is something quite different from whatever intensity in the supposed experience it may give the impression of.
It is no more intense, furthermore, than Canto XXVI, the voyage of Ulysses, which has not the direct dependence upon an emotion.
Great variety is possible in the process of transmutation of emotion: In the Agamemnon , the artistic emotion approximates to the emotion of an actual spectator; in Othello to the emotion of the protagonist himself. 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.
In either case there has been a fusion of elements. The ode of Keats contains a number of feelings which have nothing particular to do with the nightingale, but which the nightingale, partly, perhaps, because of its attractive name, and partly because of its reputation, served to bring together.
The point of view which I am struggling to attack is perhaps related to the metaphysical theory of the substantial unity of the soul: Impressions and experiences which are important for the man may take no place in the poetry, and those which become important in the poetry may play quite a negligible part in the man, the personality.
I will quote a passage which is unfamiliar enough to be regarded with fresh attention in the light—or darkness—of these observations:. Does the silkworm expend her yellow labours For thee? For thee does she undo herself?
Are lordships sold to maintain ladyships For the poor benefit of a bewildering minute? In this passage as is evident if it is taken in its context there is a combination of positive and negative emotions: This balance of contrasted emotion is in the dramatic situation to which the speech is pertinent, but that situation alone is inadequate to it. This is, so to speak, the structural emotion, provided by the drama.
But the whole effect, the dominant tone, is due to the fact that a number of floating feelings, having an affinity to this emotion by no means superficially evident, have combined with it to give us a new art emotion. 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. His particular emotions may be simple, or crude, or flat. The emotion in his poetry will be a very complex thing, but not with the complexity of the emotions of people who have very complex or unusual emotions in life.
One error, in fact, of eccentricity in poetry is to seek for new human emotions to express; and in this search for novelty in the wrong place it discovers the perverse. The business of the poet is not to find new emotions, but to use the ordinary ones and, in working them up into poetry, to express feelings which are not in actual emotions at all.
And emotions which he has never experienced will serve his turn as well as those familiar to him. For it is neither emotion, nor recollection, nor, without distortion of meaning, tranquillity. It is a concentration, and a new thing resulting from the concentration, of a very great number of experiences which to the practical and active person would not seem to be experiences at all; it is a concentration which does not happen consciously or of deliberation.
Of course this is not quite the whole story. There is a great deal, in the writing of poetry, which must be conscious and deliberate. In fact, the bad poet is usually unconscious where he ought to be conscious, and conscious where he ought to be unconscious. But, of course, only those who have personality and emotions know what it means to want to escape from these things.
This essay proposes to halt at the frontier of metaphysics or mysticism, and confine itself to such practical conclusions as can be applied by the responsible person interested in poetry. To divert interest from the poet to the poetry is a laudable aim: 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.
But very few know when there is an expression of significant emotion, emotion which has its life in the poem and not in the history of the poet. The emotion of art is impersonal. And the poet cannot reach this impersonality without surrendering himself wholly to the work to be done. And he is not likely to know what is to be done unless he lives in what is not merely the present, but the present moment of the past, unless he is conscious, not of what is dead, but of what is already living.
Eliot died, wrote Robert Giroux, "the world became a lesser place. Prose Home Harriet Blog. Visit Home Events Exhibitions Library. Essay on Poetic Theory. These traditions and cultures have been passed to our parents from our grandparents. The two most vivid cultural patterns that are present in our family have been inherited by our parents from the blending of the culture from my maternal grandparents and my fraternal grandparents.
Every Sunday, our father always prepares supper for the family and he makes sure that we eat together as one family. This tradition has been there in our family for a long period and helps us to bond together as a family unit. Every night on the eve of my birthday or that of my siblings, our parents usually sneaks into our bed room and fills it with balloons which are stuffed with money and toys.
My father usually writes several bunches of poems and leaves the written poems on our table. When we wake up in the morning, our mother usually prepares for us a birthday morning cake which we enjoy together as a family as we read the bunch of poems. They discourage talking when the mouth is full as well as placing of the elbows on the table. Also during this time, my parents taught us the developmental skills like literacy skills when story telling during family conversations.
During these conversations, my parents would learn more on our attitudes and interests. From these meals, my parents gauge our moods and needs thus helping us solve our problems in the end. My parents oversee the family to ensure that everybody attends to maintain the unity and stability in the family.
The dinner table or birthday party is a significant place for socialization especially for the children. These act as prime setting for socialization regarding the norms and rules on values of the family and the acceptable behaviour.
From the nutritional perspective, the children master what is considered acceptable; basically the foods and non-food materials. From the family dinners and birthdays, my siblings and I have discovered manners and behaviour restraints that the wider world requires.
We always help our father to prepare for the family dinner on Sundays. As the eldest, I helped my father prepare the foods and especially the desert and vegetables while my other younger siblings have inevitably prepared the table.
As part of our tradition, the family meal is a symbol of a shared family life. This greatly leads to our social well-being at the same time providing predictable structure to our Sundays which is often reassuring especially psychologically.
In our family, everybody is involved in this activity and this applies to the buying of food, preparations of food done by my father, making and laying the table, and finally serving of food.
From the initial stages of shopping to clearing the table, each member of the family participates in this exercise responsibly and this promotes family solidarity. Though we have a happy family, we also experience our setbacks. At the end of the day, the members of the family who are already exhausted after a busy day at school or work and probably maybe irascible meet for a family meal or party.
Therefore, family dinners and birthday parties have many positive virtues that are sometimes fought with strain and negative consequences which greatly depend on the styles of parenting. As a socially combining role, when we share a meal during birthdays or Sunday dinner, it brings people together in a network of reciprocal commitments and shared social relationships.
Family Traditions essay As a rule, family traditions are important in the life of each family and each family member. The maintenance of family traditions and conveying family history from one member to another is exactly what makes the family the solid unit, whose members feel close relations and unity.
Free family tradition papers, essays, and research papers.
Introduction. In this essay I will be discussing family traditions and the reasons behind them. I have noticed that family traditions have evolved and adapted in order to suit the modern day. 'Theirs not to make reply, theirs not to reason why, theirs but to do and die, ' said Lord Tennyson about the noble tradition of discipline in the patriotic fighting forces across the world. The Argumentative Essay on Tradition – An Obstacle to Progress.
This tradition has been there in our family for a long period and helps us to bond together as a family unit. We will write a custom essay sample on Family Culture And Traditions specifically for you. The term 'tradition' and 'modernity' are expressions of values which helps us in observing the process of social and cultural transformation in societies as they pass from the 'primitive' to 'pre-industrial' to 'industrial' and 'post-industrial' phases of social development.