Thomas Sterns Eliot, a 20th century literary man, was a myriad minded
versatile genius who achieved distinction as a playwright, a poet, a critic and
as a journalist. His contribution to English criticism has been immense and
invincible. His critical theories of "objective correlative",
"unification and dissociation of sensibility", his ideas on tradition
and individual talent and many more have provoked much appreciation.
'THE
METAPHYSICAL POETS':
Eliot wrote 'The
Metaphysical Poets' (published in 1921) as a review of Grierson's ‘Anthology of
Metaphysical Poems’. Through this essay, he has revived the interest of the
20th century in metaphysical poetry after a long period of neglect and
contempt. He influenced a large number of creative writers and critics,
especially the so-called new critics of America. This essay gives a brief
account of the prominent features of metaphysical poetry, history of English
poetry with special reference to “dissociation of sensibility” and the
characteristics which the modern poetry should have.
THE TERM
'METAPHYSICAL':
It was John Dryden who
used the term "metaphysics" with reference to John Donne's poetry. He
said, "Donne affects the metaphysics." He used this term to censure
the poetic practices of the 17th century poets. Since then, it has been applied
to a group of 17th century poets like John Donne, Andrew Marvel, Crashaw,
George Herbert and others.
Dr. Johnson too used
the term "metaphysical" to disapprove the poetry of the 17th century.
Dr. Johnson complains that in
metaphysical poetry "the most heterogeneous ideas are yoked by violence
together." This charge, according to Eliot, is valid in respect of the
poetry of Cleveland. But the poets like Donne, Bishop King and others always
join heterogeneous ideas or elements into unity by the operation of their
poetic sensibility.
LANGUAGE OF
THE METAPHYSICALS:
Eliot believed that
true poetry is a fusion of thought and feeling. It is a unified expression of
thought, feeling and experience through “objective correlative”. According to
him, the metaphysical poets use simple and pure language but their syntax is
complex because they want to be true to their thoughts and experiences.
DISSOCIATION
OF SENSIBILITY:
Clive Bell rightly
praised Eliot for his "gift of phrases". Eliot has coined a number of
phrases to explain his critical ideas like "objective correlative",
"dissociation of sensibility", "unification of
sensibility", "sense of tradition" etc.
By the phrase
“unification of sensibility", Eliot means “a fusion of thought and
feeling", " a recreation of thought and feeling". Such
"fusion of thought and feeling" is essential for ideal poetry. Bad
poetry results when there is "dissociation of sensibility", when the
poet is unable to feel his thoughts.
Eliot finds this
"unification of sensibility" among the metaphysical poets. Quite
against Dr. Johnson, Eliot defends Donne and his company for achieving the
fusion for their capacity to feel their thoughts. Eliot regrets that this
dissociation of sensibility set in the 17th century by the metaphysical poets
was largely neglected by the succeeding poets. There was a gap between thought
and emotion and Eliot further goes on to say that English poetry has yet not
recovered from this fallacy. The influence of Dryden and Milton, according to
him, has been particularly harmful in this respect.
In his critical essay
'The Metaphysical Poets', he explains how this fusion of thought and feeling
takes place in the following words:
"Tennyson and Browning are poets and they
think
but they do not feel their thoughts as immediately
as the odour of a rose."
Thus, Eliot does not
regard Browning as a great poet. No doubt, Browning has ideas but he fails to
transmit his ideas into emotions and sensations. Merely dry thoughts or logic
do not make a great poet. A mature poet can experience and feel his thoughts.
In this respect, Eliot is all praise for John Donne. He writes:
"A thought to Donne was an experience;
it modified his sensibility."
He further added:
"When a poet's mind is perfectly equipped for
its work,
it is constantly amalgamating disparate
experiences."
Another aspect of this
unification of sensibility is the harmonious working of the creative and
critical faculties of a poet. The poet creates in fits of inspiration but he
must also employ his critical mind at leisure to revise and polish his
creation. A great poet must also be a great critic, according to Eliot.
MODERN
POETS:
Towards the end of his
essay, Eliot reviews modern poetry and suggests some points for the modern
poets. The discussion of metaphysical poets prompts him to discuss first the
romantic poetry of Keats and Shelly, then the Victorian poetry of Tennyson and
Browning and at last the poetry of his own times. Eliot is of the view that
like metaphysical poets and like many French poets, the modern poets should use
conceits, obscure words and simple phrases. In short, they must be difficult
since the modern world is characterized by a great variety and complexity.
CONCLUSION:
Thus, Eliot's concept
of "dissociation of sensibility" has been of far reaching influence
in modern criticism. Ever since the 17th century, dissociation has occurred in
sensibility. At least two reasons for this dissociation can be speculated. Firstly,
romanticism claimed poetry to be an expression of personality and secondly, the
rise of humanism ushered in the age of reason and social concerns.
To conclude, Eliot's revolutionary concepts of
unification and dissociation of sensibility seek to save him from the wayward
fancies of personal and subjective whimsical outbursts of romanticism. 'The
Metaphysical Poets' contains so much that it makes Eliot the pillar of modern
criticism. I. A. Richards also accepted his dominance and wrote:
"In one degree or another, we are all products
of his work."
George Watson
remarked:
"Eliot made English criticism look different
but not in a simple sense."
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