艾略特接着指出诗人的个人情感和诗歌本身的情感之间的区别。虽然个人情绪可能很简单，但这些情绪的表达可能是复杂的。虽然诗人不应该表达新的情感，但诗人应该以新的方式表达普通的情感。艾略特接着又拒绝了华兹华斯的诗歌理论，即“它的起源是平静的回忆”。他认为诗歌的构成不需要情感、回忆或平静，但最初的诗歌源于对经验的专注。他还认为，这种专注不应该是故意的，而是被动的。诗歌应该是诗人的逃避，而不是他们的反映。艾略特并没有否认诗人的个性，但他宣称，只有当诗人自首的诗歌创作时，才能创造出好的诗歌。在这篇文章的第三部分，艾略特总结说，诗人只有在获得了良好的传统意识后才能够放弃自己的作品。他不太可能知道要做什么，除非他活在当下，而不是现在，除非他是有意识的，不是已经死亡的，而是已经存在的。”,他不仅意味着诗人应该有意识的在过去的文学大炮的位置还在那里属于当下的文学和诗歌是如何相关的声明创建它的世界。
新西兰数学代写essay:个人情感和诗歌
Eliot goes on to note the difference between personal emotions of the poet and the emotion of poetry itself. While personal emotions may be simple, the expression of these emotions may be complex. While it is not the role of the poet to express new emotions, the poet should express ordinary emotions in new ways. Eliot then goes on to reject Wordsworth's theory of poetry that is has "its origin in emotions recollected in tranquillity". He believes that the composition of poetry does not require emotion, recollection or tranquillity, but that original poetry results from concentration on experiences. He also argues that this concentration should not be deliberate but passive. Poetry should be an escape from the poet, not a reflection of them. Eliot is not denying the poet personality but is declaring that the impersonality required to create good poetry can only be achieved when the poet surrenders themselves to the poetry they create. In part three of the essay, Eliot concludes that the poet is only capable of surrendering themselves to their work if they have acquired a good sense of tradition. "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." By this he means that the poet should be conscious not only of their position within the literary cannon of the past but also where they belong in the literature of the present and how their poetry is relevant as a statement of the world in which it is created.
