1617:. Eliot was arguing the importance of a complete sensibility: he didn't particularly care what it was at the time of tradition and the individual talent. His own work is heavily influenced by non-Western traditions. In his broadcast talk "The Unity of European Culture," he said, "Long ago I studied the ancient Indian languages and while I was chiefly interested at that time in Philosophy, I read a little poetry too; and I know that my own poetry shows the influence of Indian thought and sensibility." His self-evaluation was confirmed by B. P. N. Sinha, who writes that Eliot went beyond Indian ideas to Indian form: "The West has preoccupied itself almost exclusively with the philosophy and thoughts of India. One consequence of this has been a total neglect of Indian forms of expression, i.e. of its literature. T. S. Eliot is the one major poet whose work bears evidence of intercourse with this aspect of Indian culture" (qtd. in
1540:
He compares the poet to a catalyst in a chemical reaction, in which the reactants are feelings and emotions that are synthesised to create an artistic image that captures and relays these same feelings and emotions. While the mind of the poet is necessary for the production, it emerges unaffected by the process. The artist stores feelings and emotions and properly unites them into a specific combination, which is the artistic product. What lends greatness to a work of art are not the feelings and emotions themselves, but the nature of the artistic process by which they are synthesised. The artist is responsible for creating "the pressure, so to speak, under which the fusion takes place." And, it is the intensity of fusion that renders art great. In this view, Eliot rejects the theory that art expresses metaphysical unity in the soul of the poet. The poet is a depersonalised vessel, a mere medium.
1563:
the arts, is a genius that one is born with. Not so for Eliot. Instead, talent is acquired through a careful study of poetry, claiming that
Tradition, "cannot be inherited, and if you want it, you must obtain it by great labour." Eliot asserts that it is absolutely necessary for the poet to study, to have an understanding of the poets before them, and to be well versed enough that they can understand and incorporate the "mind of Europe" into their poetry. But the poet's study is unique – it is knowledge that "does not encroach," and that does not "deaden or pervert poetic sensibility." It is, to put it most simply, a poetic knowledge – knowledge observed through a poetic lens. This ideal implies that knowledge gleaned by a poet is not knowledge of facts, but knowledge which leads to a greater understanding of the mind of Europe. As Eliot explains, "
1536:
creation of new work, they realise an aesthetic "ideal order," as it has been established by the literary tradition that has come before them. As such, the act of artistic creation does not take place in a vacuum. The introduction of a new work alters the cohesion of this existing order, and causes a readjustment of the old to accommodate the new. The inclusion of the new work alters the way in which the past is seen; elements of the past that are noted and realised. In Eliot's own words, "What happens when a new work of art is created is something that happens simultaneously to all the works of art that preceded it." Eliot refers to this organic tradition, this developing canon, as the "mind of Europe." The private mind is subsumed by this more massive one.
86:
1532:," while, simultaneously, expressing their contemporary environment. Eliot challenges the common perception that a poet's greatness and individuality lie in their departure from their predecessors; he argues that "the most individual parts of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously." Eliot claims that this "historical sense" is not only a resemblance to traditional works but an awareness and understanding of their relation to his poetry.
1473:
1894:
1461:
1559:." The theory is that the expression of emotion in art can be achieved by a specific, and almost formulaic, prescription of a set of objects, including events and situations. A particular emotion is created by presenting its correlated objective sign. The author is depersonalised in this conception, since he is the mere effecter of the sign. And, it is the sign, and not the poet, which creates emotion.
1539:
This leads to Eliot's so-called "Impersonal Theory" of poetry. Since the poet engages in a "continual surrender of himself" to the vast order of tradition, artistic creation is a process of depersonalisation. The mature poet is viewed as a medium, through which tradition is channelled and elaborated.
1519:
Eliot presents his conception of tradition and the definition of the poet and poetry in relation to it. He wishes to correct the fact that, as he perceives it, "in
English writing we seldom speak of tradition, though we occasionally apply its name in deploring its absence." Eliot posits that, though
1562:
The implications here separate Eliot's idea of talent from the conventional definition (just as his idea of
Tradition is separate from the conventional definition), one so far from it, perhaps, that he chooses never to directly label it as talent. The conventional definition of talent, especially in
1527:
For Eliot, the term "tradition" is imbued with a special and complex character. It represents a "simultaneous order," by which Eliot means a historical timelessness – a fusion of past and present – and, at the same time, a sense of present temporality. A poet must embody "the whole of the literature
1543:
Great works do not express the personal emotion of the poet. The poet does not reveal their own unique and novel emotions, but rather, by drawing on ordinary ones and channelling them through the intensity of poetry, they express feelings that surpass, altogether, experienced emotion. This is what
1535:
This fidelity to tradition, however, does not require the great poet to forfeit novelty in an act of surrender to repetition. Rather, Eliot has a much more dynamic and progressive conception of the poetic process: novelty is possible only through tapping into tradition. When a poet engages in the
1598:
Eliot's theory of literary tradition has been criticised for its limited definition of what constitutes the canon of that tradition. He assumes the authority to choose what represents great poetry, and his choices have been criticised on several fronts. For example,
1544:
Eliot intends when he discusses poetry as an "escape from emotion." Since successful poetry is impersonal and, therefore, exists independent of its poet, it outlives the poet and can incorporate into the timeless "ideal order" of the "living" literary tradition.
53:. "Tradition and the Individual Talent" is one of the better-known works that Eliot produced in his critic capacity. It formulates Eliot's influential conception of the relationship between the poet and preceding literary traditions.
1590:. Yet, he does share with them the same focus on the aesthetic and stylistic qualities of poetry, rather than on its ideological content. The New Critics resemble Eliot in their close analysis of particular passages and poems.
1524:, felt that the true incorporation of tradition into literature was unrecognised, that tradition, a word that "seldom... appear except in a phrase of censure," was actually a thus-far unrealised element of literary criticism.
1627:
presents a conception of tradition that differs from that of Eliot. Whereas Eliot believes that the great poet is faithful to his predecessors and evolves in a concordant manner, Bloom (according to his theory of
1520:
the
English tradition generally upholds the belief that art progresses through change – a separation from tradition, literary advancements are instead recognised only when they conform to the tradition. Eliot, a
2330:
1621:
The Four
Quartets). He does not account for a non-white and non-masculine tradition. As such, his notion of tradition stands at odds with feminist, post-colonial and minority theories.
996:
1436:
1643:
in 1932 and 1933, a new preface in which he called "Tradition and the
Individual Talent" the most juvenile of his essays (although he also indicated that he did not repudiate it.)
886:
45:
While Eliot is most often known for his poetry, he also contributed to the field of literary criticism. In this dual role, he acted as a cultural critic, comparable to Sir
1046:
1916:
1056:
699:
649:
1607:(1921) he criticises for its "dissociation of sensibility." Moreover, some criticise Eliot's discussion of the literary tradition as the "mind of Europe" as
2184:
1081:
65:
797:
1503:
866:
757:
1909:
2320:
1779:
1516:
This essay is divided into three parts: first the concept of "Tradition," then the Theory of
Impersonal Poetry, and finally the conclusion.
2128:
110:
2119:
2103:
1812:
627:
73:
1227:
986:
85:
1423:
1222:
1181:
1143:
856:
326:
1428:
644:
2050:
2325:
1418:
273:
209:
2078:
1148:
792:
1611:. However, it should be recognized that Eliot supported many Eastern and thus non-European works of literature such as the
2071:
1496:
1408:
33:
1587:. This is somewhat ironic, since he later criticised their intensely detailed analysis of texts as unnecessarily tedious
1868:
1413:
1283:
2112:
1360:
2086:
2032:
1930:
1743:
1171:
1166:
1116:
1091:
127:
39:
2234:
1819:
1772:
1751:
1747:
1247:
1176:
1101:
1026:
399:
2258:
1797:
1632:") envisions the "strong poet" to engage in a much more aggressive and tumultuous rebellion against tradition.
1489:
1340:
1036:
966:
684:
164:
2266:
2201:
2057:
2004:
1833:
1739:
1552:
1257:
1199:
1194:
1096:
777:
742:
534:
454:
404:
154:
149:
50:
28:
2229:
2025:
1403:
1016:
976:
747:
1965:
1556:
1477:
1209:
1126:
1121:
767:
283:
2335:
2299:
1923:
1861:
1765:
1629:
1350:
1330:
1138:
1086:
1006:
956:
832:
214:
137:
105:
2294:
2207:
1875:
1465:
1398:
1310:
1106:
916:
474:
115:
100:
2018:
2011:
1937:
1689:
1640:
1325:
876:
827:
549:
424:
419:
321:
132:
122:
2284:
2179:
1990:
1951:
1882:
1388:
1345:
1305:
1242:
1204:
1189:
936:
896:
704:
617:
612:
504:
499:
2274:
2250:
2149:
2144:
1958:
1893:
1355:
1315:
1278:
1252:
926:
787:
772:
669:
587:
394:
278:
258:
2174:
1997:
1826:
1237:
812:
807:
752:
694:
572:
479:
459:
414:
409:
341:
263:
235:
2139:
1854:
1847:
1572:
817:
762:
709:
602:
582:
577:
529:
489:
469:
444:
434:
389:
379:
374:
248:
184:
2314:
2242:
2168:
1972:
1584:
1335:
1293:
1288:
906:
802:
782:
732:
654:
639:
597:
524:
509:
449:
439:
346:
268:
243:
46:
1944:
1712:
Harcourt, Brace & World, New York, 1969. pp. 27–8, 204–5 (listings A5, C90, C7)
1624:
1608:
1600:
1232:
689:
664:
659:
634:
622:
607:
592:
544:
519:
384:
293:
189:
2213:
554:
1788:
1613:
1564:
1445:
1393:
1214:
727:
679:
674:
539:
514:
494:
429:
288:
229:
224:
142:
23:
2289:
2279:
1300:
837:
822:
737:
464:
331:
1840:
1365:
1111:
484:
351:
336:
298:
174:
159:
1568:
1521:
316:
253:
179:
1653:
Homage to John Dryden: Three Essays on Poetry of the
Seventeenth Century
1603:
disagrees with Eliot's condescension towards
Romantic poetry, which, in
1320:
219:
1370:
356:
38:(1920). The essay is also available in Eliot's "Selected Prose" and "
1529:
169:
1761:
1757:
1725:, 1964 edition, Harvard University Press, Cambridge, Preface
1710:
T. S. Eliot: A Bibliography (A Revised and
Extended Edition)
1583:
Unwittingly, Eliot inspired and informed the movement of
1635:
In 1964, his last year, Eliot published in a reprint of
22:(1919) is an essay written by poet and literary critic
1679:. Ed. Ronald Schuchard. London: Faber and Faber, 1993.
2331:
Works originally published in The Egoist (periodical)
32:(1919) and later in Eliot's first book of criticism,
2222:
2193:
2160:
2096:
2042:
1982:
1901:
1804:
1551:
relates to this notion of the impersonal poet. In "
1647:Primary works of literary criticism by T. S. Eliot
1917:The Awefull Battle of the Pekes and the Pollicles
1665:The Sacred Wood: Essays on Poetry and Criticism
1773:
1497:
8:
2185:T. S. Eliot Prize (Truman State University)
1780:
1766:
1758:
1723:The Use of Poetry and the Use of Criticism
1637:The Use of Poetry and the Use of Criticism
1504:
1490:
60:
1738:"Tradition and the Individual Talent" in
1082:Alliance EPP: European People's Party UK
1701:
867:Reflections on the Revolution in France
72:
1655:. London: L. and Virginia Woolf, 1927.
1567:acquired more essential history from
20:"Tradition and the Individual Talent"
7:
2129:Canticle IV: The Journey of the Magi
1677:The Varieties of Metaphysical Poetry
2065:Tradition and the Individual Talent
1910:Old Possum's Book of Practical Cats
1813:The Love Song of J. Alfred Prufrock
1571:than most men could from the whole
947:Tradition and the Individual Talent
26:. The essay was first published in
1673:. New York: Harcourt, Brace, 1950.
1639:, a series of lectures he gave at
14:
1892:
1661:. London: Faber and Faber, 1957.
1471:
1459:
1182:Conservative Democratic Alliance
857:A Vindication of Natural Society
84:
1097:Conservative and Unionist Party
1419:Politics of the United Kingdom
987:Our Culture, What's Left of It
1:
1555:" Eliot presents the phrase "
1409:List of British conservatives
2321:Essays in literary criticism
1414:Philosophy of Thomas Carlyle
2113:Assassinio nella cattedrale
2079:A Choice of Kipling's Verse
1149:Veterans and People's Party
2352:
2235:Vivienne Haigh-Wood Eliot
2087:The Frontiers of Criticism
2051:Selected Essays, 1917–1932
1748:vol. 6, no. 4 (Sept. 1919)
1744:Modernist Journals Project
1172:Blue Collar Conservativism
1117:Traditional Unionist Voice
1092:Christian Peoples Alliance
2259:Charlotte Champe Stearns
1890:
1795:
1752:vol. 6, no. 5 (Dec. 1919)
1478:United Kingdom portal
1248:Traditional Britain Group
1177:Centre for Policy Studies
1102:Democratic Unionist Party
16:1919 essay by T. S. Eliot
2267:William Greenleaf Eliot
1667:. London Menthuen, 1950.
1228:One Nation Conservatives
1037:How to Be a Conservative
967:The Left Was Never Right
64:This article is part of
2202:Portrait of T. S. Eliot
2121:Murder in the Cathedral
2105:Murder in the Cathedral
2058:Hamlet and His Problems
2005:Murder in the Cathedral
1931:Growltiger's Last Stand
1834:Whispers of Immortality
1579:Eliot and New Criticism
1553:Hamlet and His Problems
1547:Another essay found in
1466:Conservatism portal
1258:Western Goals Institute
1200:The Freedom Association
1195:European Research Group
51:Samuel Taylor Coleridge
2026:The Confidential Clerk
1605:The Metaphysical Poets
1404:English Defence League
1017:The Great Degeneration
2326:Essays by T. S. Eliot
1557:objective correlative
1210:Henry Jackson Society
1127:Ulster Unionist Party
1122:UK Independence Party
1057:The Madness of Crowds
284:Social market economy
77:in the United Kingdom
2300:William Butler Yeats
1924:Gus: The Theatre Cat
1630:anxiety of influence
1351:The Sunday Telegraph
1331:The Salisbury Review
1139:For Britain Movement
1007:The Rage Against God
957:The Abolition of Man
215:Classical liberalism
57:Content of the essay
2295:Jean Jules Verdenal
2033:The Elder Statesman
1876:Journey of the Magi
1659:On Poetry and Poets
1399:Cambridge Analytica
1311:The Daily Telegraph
917:Culture and Anarchy
505:Oakeshott (Michael)
116:Muscular liberalism
101:British nationalism
2019:The Cocktail Party
2012:The Family Reunion
1938:The Naming of Cats
1820:Portrait of a Lady
1750:, Parts II-III in
1690:Great Conversation
1641:Harvard University
1619:The Composition of
1594:Criticism of Eliot
1326:The Mail on Sunday
1027:The Son Also Rises
877:Tamworth Manifesto
788:Oakeshott (Isabel)
322:Stuart Restoration
2308:
2307:
2285:John Davy Hayward
2270:
2262:
2254:
2251:Henry Ware Eliot
2246:
2238:
2180:T. S. Eliot Prize
1991:Sweeney Agonistes
1883:A Song for Simeon
1589:
1514:
1513:
1437:National Populism
1389:Anglo-Catholicism
1346:The Sun on Sunday
1306:The Daily Sceptic
1243:Tory Reform Group
1205:Free Speech Union
1190:Cornerstone Group
937:The Servile State
2343:
2275:E. Martin Browne
2268:
2260:
2252:
2244:
2236:
1959:The Dry Salvages
1896:
1782:
1775:
1768:
1759:
1726:
1719:
1713:
1708:Gallup, Donald.
1706:
1588:
1506:
1499:
1492:
1476:
1475:
1474:
1464:
1463:
1462:
1442:
1356:The Sunday Times
1316:Evening Standard
1279:ConservativeHome
1262:
1253:Turning Point UK
1219:
1186:
1062:
1052:
1042:
1032:
1022:
1012:
1002:
992:
982:
972:
962:
952:
942:
932:
922:
912:
902:
892:
882:
872:
862:
470:Johnson (Samuel)
279:Social hierarchy
259:Moral absolutism
210:British unionism
88:
78:
61:
2351:
2350:
2346:
2345:
2344:
2342:
2341:
2340:
2311:
2310:
2309:
2304:
2218:
2189:
2175:Faber and Faber
2156:
2092:
2072:The Sacred Wood
2038:
1978:
1897:
1888:
1800:
1791:
1786:
1735:
1730:
1729:
1720:
1716:
1707:
1703:
1698:
1686:
1671:Selected Essays
1649:
1596:
1581:
1549:Selected Essays
1528:of Europe from
1510:
1472:
1470:
1460:
1458:
1451:
1450:
1440:
1384:
1376:
1375:
1274:
1266:
1265:
1260:
1238:Policy Exchange
1217:
1184:
1162:
1154:
1153:
1087:Christian Party
1074:
1066:
1065:
1060:
1050:
1040:
1030:
1020:
1010:
1000:
990:
980:
977:Rivers of Blood
970:
960:
950:
940:
930:
920:
910:
900:
890:
880:
870:
860:
851:
843:
842:
723:
715:
714:
568:
560:
559:
370:
362:
361:
342:Oxford Movement
312:
304:
303:
264:Ordered liberty
236:Noblesse oblige
205:
197:
196:
96:
76:
74:
59:
40:Selected Essays
35:The Sacred Wood
17:
12:
11:
5:
2349:
2347:
2339:
2338:
2333:
2328:
2323:
2313:
2312:
2306:
2305:
2303:
2302:
2297:
2292:
2287:
2282:
2277:
2272:
2264:
2256:
2248:
2243:Valerie Eliot
2240:
2232:
2226:
2224:
2220:
2219:
2217:
2216:
2205:
2197:
2195:
2191:
2190:
2188:
2187:
2182:
2177:
2172:
2164:
2162:
2158:
2157:
2155:
2154:
2153:
2152:
2147:
2142:
2132:
2125:
2117:
2109:
2100:
2098:
2094:
2093:
2091:
2090:
2083:
2075:
2068:
2061:
2054:
2046:
2044:
2040:
2039:
2037:
2036:
2029:
2022:
2015:
2008:
2001:
1994:
1986:
1984:
1980:
1979:
1977:
1976:
1969:
1966:Little Gidding
1962:
1955:
1948:
1941:
1934:
1927:
1920:
1913:
1905:
1903:
1899:
1898:
1891:
1889:
1887:
1886:
1879:
1872:
1865:
1858:
1855:The Hollow Men
1851:
1848:The Waste Land
1844:
1837:
1830:
1823:
1816:
1808:
1806:
1802:
1801:
1796:
1793:
1792:
1787:
1785:
1784:
1777:
1770:
1762:
1756:
1755:
1734:
1733:External links
1731:
1728:
1727:
1714:
1700:
1699:
1697:
1694:
1693:
1692:
1685:
1682:
1681:
1680:
1674:
1668:
1662:
1656:
1648:
1645:
1595:
1592:
1580:
1577:
1573:British Museum
1512:
1511:
1509:
1508:
1501:
1494:
1486:
1483:
1482:
1481:
1480:
1468:
1453:
1452:
1449:
1448:
1443:
1433:
1432:
1431:
1426:
1416:
1411:
1406:
1401:
1396:
1391:
1385:
1382:
1381:
1378:
1377:
1374:
1373:
1368:
1363:
1358:
1353:
1348:
1343:
1338:
1333:
1328:
1323:
1318:
1313:
1308:
1303:
1298:
1297:
1296:
1294:Sunday Express
1286:
1281:
1275:
1272:
1271:
1268:
1267:
1264:
1263:
1255:
1250:
1245:
1240:
1235:
1230:
1225:
1220:
1212:
1207:
1202:
1197:
1192:
1187:
1179:
1174:
1169:
1163:
1160:
1159:
1156:
1155:
1152:
1151:
1146:
1141:
1130:
1129:
1124:
1119:
1114:
1109:
1107:Heritage Party
1104:
1099:
1094:
1089:
1084:
1075:
1072:
1071:
1068:
1067:
1064:
1063:
1053:
1043:
1033:
1023:
1013:
1003:
993:
983:
973:
963:
953:
943:
933:
923:
913:
903:
893:
883:
873:
863:
852:
849:
848:
845:
844:
841:
840:
835:
830:
825:
820:
815:
810:
805:
800:
795:
790:
785:
780:
775:
770:
768:Johnson (Paul)
765:
760:
755:
750:
745:
740:
735:
730:
724:
721:
720:
717:
716:
713:
712:
707:
702:
697:
692:
687:
682:
677:
672:
667:
662:
657:
652:
647:
642:
637:
632:
631:
630:
620:
615:
610:
605:
600:
595:
590:
585:
580:
575:
569:
566:
565:
562:
561:
558:
557:
552:
547:
542:
537:
532:
527:
522:
517:
512:
507:
502:
497:
492:
487:
482:
477:
472:
467:
462:
457:
452:
447:
442:
437:
432:
427:
422:
417:
412:
407:
402:
397:
392:
387:
382:
377:
371:
368:
367:
364:
363:
360:
359:
354:
349:
344:
339:
334:
329:
324:
319:
313:
310:
309:
306:
305:
302:
301:
296:
291:
286:
281:
276:
271:
266:
261:
256:
251:
246:
241:
240:
239:
232:
227:
217:
212:
206:
203:
202:
199:
198:
195:
194:
193:
192:
187:
182:
177:
167:
162:
157:
152:
147:
146:
145:
135:
130:
125:
120:
119:
118:
108:
103:
97:
94:
93:
90:
89:
81:
80:
70:
69:
58:
55:
15:
13:
10:
9:
6:
4:
3:
2:
2348:
2337:
2334:
2332:
2329:
2327:
2324:
2322:
2319:
2318:
2316:
2301:
2298:
2296:
2293:
2291:
2288:
2286:
2283:
2281:
2278:
2276:
2273:
2271:
2269:(grandfather)
2265:
2263:
2257:
2255:
2249:
2247:
2245:(second wife)
2241:
2239:
2233:
2231:
2228:
2227:
2225:
2221:
2215:
2212:
2210:
2209:Tom & Viv
2206:
2204:
2203:
2199:
2198:
2196:
2192:
2186:
2183:
2181:
2178:
2176:
2173:
2171:
2170:
2169:The Criterion
2166:
2165:
2163:
2159:
2151:
2148:
2146:
2143:
2141:
2138:
2137:
2136:
2133:
2131:
2130:
2126:
2124:
2122:
2118:
2115:
2114:
2110:
2108:
2106:
2102:
2101:
2099:
2095:
2088:
2084:
2081:
2080:
2076:
2074:
2073:
2069:
2066:
2062:
2059:
2055:
2053:
2052:
2048:
2047:
2045:
2041:
2035:
2034:
2030:
2028:
2027:
2023:
2021:
2020:
2016:
2014:
2013:
2009:
2007:
2006:
2002:
2000:
1999:
1995:
1993:
1992:
1988:
1987:
1985:
1981:
1975:
1974:
1973:Four Quartets
1970:
1968:
1967:
1963:
1961:
1960:
1956:
1954:
1953:
1949:
1947:
1946:
1942:
1939:
1935:
1932:
1928:
1925:
1921:
1918:
1914:
1912:
1911:
1907:
1906:
1904:
1900:
1895:
1884:
1880:
1877:
1873:
1871:
1870:
1866:
1864:
1863:
1862:Ash Wednesday
1859:
1857:
1856:
1852:
1850:
1849:
1845:
1842:
1838:
1835:
1831:
1828:
1824:
1821:
1817:
1814:
1810:
1809:
1807:
1803:
1799:
1794:
1790:
1783:
1778:
1776:
1771:
1769:
1764:
1763:
1760:
1753:
1749:
1745:
1741:
1737:
1736:
1732:
1724:
1721:Eliot, T.S.,
1718:
1715:
1711:
1705:
1702:
1695:
1691:
1688:
1687:
1683:
1678:
1675:
1672:
1669:
1666:
1663:
1660:
1657:
1654:
1651:
1650:
1646:
1644:
1642:
1638:
1633:
1631:
1626:
1622:
1620:
1616:
1615:
1610:
1606:
1602:
1593:
1591:
1586:
1585:New Criticism
1578:
1576:
1574:
1570:
1566:
1560:
1558:
1554:
1550:
1545:
1541:
1537:
1533:
1531:
1525:
1523:
1517:
1507:
1502:
1500:
1495:
1493:
1488:
1487:
1485:
1484:
1479:
1469:
1467:
1457:
1456:
1455:
1454:
1447:
1444:
1439:
1438:
1434:
1430:
1427:
1425:
1422:
1421:
1420:
1417:
1415:
1412:
1410:
1407:
1405:
1402:
1400:
1397:
1395:
1392:
1390:
1387:
1386:
1380:
1379:
1372:
1369:
1367:
1364:
1362:
1359:
1357:
1354:
1352:
1349:
1347:
1344:
1342:
1339:
1337:
1336:The Spectator
1334:
1332:
1329:
1327:
1324:
1322:
1319:
1317:
1314:
1312:
1309:
1307:
1304:
1302:
1299:
1295:
1292:
1291:
1290:
1289:Daily Express
1287:
1285:
1282:
1280:
1277:
1276:
1270:
1269:
1259:
1256:
1254:
1251:
1249:
1246:
1244:
1241:
1239:
1236:
1234:
1231:
1229:
1226:
1224:
1221:
1216:
1213:
1211:
1208:
1206:
1203:
1201:
1198:
1196:
1193:
1191:
1188:
1183:
1180:
1178:
1175:
1173:
1170:
1168:
1165:
1164:
1161:Organisations
1158:
1157:
1150:
1147:
1145:
1142:
1140:
1137:
1136:
1135:
1134:
1128:
1125:
1123:
1120:
1118:
1115:
1113:
1110:
1108:
1105:
1103:
1100:
1098:
1095:
1093:
1090:
1088:
1085:
1083:
1080:
1079:
1078:
1070:
1069:
1059:
1058:
1054:
1049:
1048:
1044:
1039:
1038:
1034:
1029:
1028:
1024:
1019:
1018:
1014:
1009:
1008:
1004:
999:
998:
994:
989:
988:
984:
978:
974:
969:
968:
964:
959:
958:
954:
948:
944:
939:
938:
934:
929:
928:
924:
919:
918:
914:
909:
908:
904:
899:
898:
894:
889:
888:
884:
878:
874:
869:
868:
864:
859:
858:
854:
853:
847:
846:
839:
836:
834:
831:
829:
826:
824:
821:
819:
816:
814:
811:
809:
806:
804:
801:
799:
796:
794:
791:
789:
786:
784:
781:
779:
776:
774:
771:
769:
766:
764:
761:
759:
758:Hanbury-Tracy
756:
754:
751:
749:
746:
744:
741:
739:
736:
734:
731:
729:
726:
725:
719:
718:
711:
708:
706:
703:
701:
698:
696:
693:
691:
688:
686:
683:
681:
678:
676:
673:
671:
668:
666:
663:
661:
658:
656:
653:
651:
648:
646:
643:
641:
638:
636:
633:
629:
626:
625:
624:
621:
619:
616:
614:
611:
609:
606:
604:
601:
599:
596:
594:
591:
589:
586:
584:
581:
579:
576:
574:
571:
570:
564:
563:
556:
553:
551:
548:
546:
543:
541:
538:
536:
533:
531:
528:
526:
523:
521:
518:
516:
513:
511:
508:
506:
503:
501:
498:
496:
493:
491:
488:
486:
483:
481:
478:
476:
473:
471:
468:
466:
463:
461:
458:
456:
453:
451:
448:
446:
443:
441:
438:
436:
433:
431:
428:
426:
423:
421:
418:
416:
413:
411:
408:
406:
403:
401:
398:
396:
393:
391:
388:
386:
383:
381:
378:
376:
373:
372:
369:Intellectuals
366:
365:
358:
355:
353:
350:
348:
347:Young England
345:
343:
340:
338:
335:
333:
330:
328:
325:
323:
320:
318:
315:
314:
308:
307:
300:
297:
295:
292:
290:
287:
285:
282:
280:
277:
275:
272:
270:
269:Protectionism
267:
265:
262:
260:
257:
255:
252:
250:
247:
245:
244:Family values
242:
238:
237:
233:
231:
228:
226:
223:
222:
221:
218:
216:
213:
211:
208:
207:
201:
200:
191:
188:
186:
183:
181:
178:
176:
173:
172:
171:
168:
166:
163:
161:
158:
156:
153:
151:
148:
144:
141:
140:
139:
136:
134:
131:
129:
128:Compassionate
126:
124:
121:
117:
114:
113:
112:
109:
107:
104:
102:
99:
98:
92:
91:
87:
83:
82:
79:
71:
67:
63:
62:
56:
54:
52:
48:
47:Philip Sidney
43:
41:
37:
36:
31:
30:
25:
21:
2237:(first wife)
2230:Eliot family
2208:
2200:
2167:
2140:1981 musical
2134:
2127:
2120:
2111:
2104:
2077:
2070:
2064:
2049:
2031:
2024:
2017:
2010:
2003:
1996:
1989:
1971:
1964:
1957:
1950:
1945:Burnt Norton
1943:
1908:
1867:
1860:
1853:
1846:
1798:Bibliography
1746:: Part I in
1722:
1717:
1709:
1704:
1676:
1670:
1664:
1658:
1652:
1636:
1634:
1625:Harold Bloom
1623:
1618:
1612:
1609:Euro-centric
1604:
1601:Harold Bloom
1597:
1582:
1561:
1548:
1546:
1542:
1538:
1534:
1526:
1518:
1515:
1435:
1233:Orange Order
1132:
1131:
1076:
1055:
1047:Conservatism
1045:
1035:
1025:
1015:
1005:
995:
985:
965:
955:
946:
935:
925:
915:
905:
895:
885:
865:
855:
722:Commentators
294:State church
234:
75:Conservatism
44:
34:
27:
19:
18:
2336:1919 essays
2211:(1984 play,
2097:Adaptations
1902:Later poems
1869:Ariel Poems
1805:Early poems
1789:T. S. Eliot
1614:Mahabharata
1565:Shakespeare
1446:Remigration
1394:Blue Labour
1215:Monday Club
1167:Bright Blue
567:Politicians
289:Sovereignty
249:Imperialism
230:Meritocracy
225:Aristocracy
165:Progressive
143:Thatcherism
24:T. S. Eliot
2315:Categories
2290:Ezra Pound
2280:Emily Hale
2214:1994 film)
2161:Publishing
1952:East Coker
1740:The Egoist
1696:References
1522:classicist
1424:Liberalism
1301:Daily Mail
1284:The Critic
997:Black Mass
850:Literature
833:Worsthorne
793:O'Sullivan
550:Wordsworth
395:Chesterton
332:Jacobitism
204:Principles
155:One-nation
111:Cameronism
95:Ideologies
29:The Egoist
2150:2019 film
2145:1998 film
2123:(TV play)
1841:Gerontion
1429:Socialism
1366:The Times
1261:(Defunct)
1218:(Defunct)
1185:(Defunct)
1112:Reform UK
927:Orthodoxy
921:(1867–68)
897:Coningsby
887:On Heroes
700:Salisbury
695:Rees-Mogg
670:Macmillan
628:Positions
613:Churchill
588:Braverman
420:Dalrymple
405:Coleridge
352:New Right
337:Old Whigs
299:Tradition
160:Powellism
2261:(mother)
2253:(father)
1998:The Rock
1827:Preludes
1684:See also
1569:Plutarch
808:Sullivan
763:Hitchens
733:Benjamin
710:Willetts
705:Thatcher
618:Disraeli
490:Lawrence
435:Ferguson
410:Conquest
317:Cavalier
274:Royalism
254:Loyalism
66:a series
2194:Related
2116:(opera)
1742:at the
1383:Related
1341:The Sun
1321:GB News
1133:Defunct
1073:Parties
813:Tominey
803:Starkey
798:Roberts
753:Goodwin
655:Johnson
603:Canning
598:Cameron
578:Balfour
573:Baldwin
535:Stephen
530:Southey
525:Scruton
510:Parvini
480:Kipling
415:Cowling
390:Carlyle
375:Bagehot
311:History
220:Elitism
170:Toryism
138:Liberal
106:Burkean
2223:People
2107:(film)
2082:(1941)
1441:(2018)
1371:UnHerd
1361:TalkTV
1223:NATCON
1144:Tories
1077:Active
1061:(2019)
1051:(2017)
1041:(2014)
1031:(2014)
1021:(2013)
1011:(2010)
1001:(2007)
991:(2005)
981:(1968)
971:(1945)
961:(1943)
951:(1919)
941:(1912)
931:(1908)
911:(1845)
901:(1844)
891:(1841)
881:(1834)
871:(1790)
861:(1756)
828:Watson
823:Verity
818:Veitch
783:Nelson
778:Murray
690:Powell
660:Joseph
640:Hannan
623:Farage
583:Belloc
515:Ruskin
500:Newman
450:Gibbon
445:Galton
440:Filmer
425:Dawson
380:Belloc
357:Brexit
327:Tories
185:Social
2043:Prose
1983:Plays
1530:Homer
1273:Media
907:Sybil
838:Young
773:Kisin
748:Evans
738:Cohen
665:Leigh
645:Hayes
608:Cates
593:Burke
555:Ye'or
545:Waugh
540:Unwin
520:Scott
460:Hayek
430:Eliot
400:Clark
385:Burke
190:Ultra
133:Green
123:Civic
2135:Cats
743:Cole
728:Amis
685:Pitt
680:Peel
650:Hogg
635:Gove
495:More
485:Land
475:Kemp
465:Hume
455:Gray
175:High
49:and
1575:."
675:May
180:Red
150:Neo
42:".
2317::
979:"
949:"
879:"
68:on
2089:"
2085:"
2067:"
2063:"
2060:"
2056:"
1940:"
1936:"
1933:"
1929:"
1926:"
1922:"
1919:"
1915:"
1885:"
1881:"
1878:"
1874:"
1843:"
1839:"
1836:"
1832:"
1829:"
1825:"
1822:"
1818:"
1815:"
1811:"
1781:e
1774:t
1767:v
1754:.
1628:"
1505:e
1498:t
1491:v
975:"
945:"
875:"
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
