Abstract

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In English writing we seldom speak of tradition, though we occasionally apply its name in deploring its absence. We cannot refer to 'the tradition' or to 'a tradition'; at most, we employ the adjective in saying that poetry of So-and-so is 'traditional' or even 'too traditional'. Seldom, perhaps, does the word appears except in a phrase of censure. If otherwise. it, it is vaguely a probative, with the implication , as to the work approved, of some pleasing archeological reconstruction. You can hardly make the word agreeable to English ears without this comfortable reference to the reassuring science of archaeological science of archeology.
However, for my article presentation I chosen the title "Tradition and the Individual Talent-T.S.Eliot-A critical Elucidation" through which I tried to convey the meaning my paper's content which certainly the word is not likely to appear in our appreciations of living or dead writers. Every nation, every race, has not only its own critical turn of mind; and is even more oblivious of the shortcomings and limitations of its critical habits than of those of its creative genius. We know, or think we know, from the enormous mass of critical writing that has appeared in the French language the critical method or habit of the French; we only conclude (we are such unconscious people) that the French are critical, and sometimes even plume ourselves a little with the fact, as if the French were the less spontaneous . Perhaps they are ; but we might remind ourselves that criticism is as inevitable as breathing and that we should be none the worse for articulating what passes in our minds when we read a book and feel an emotion about it, for criticizing our own minds in their work of criticism