The Sacred Wood: Essays on Poetry and Criticism — John Shaqi
The Sacred Wood: Essays on Poetry and CriticismEliot, T. S. (Thomas Stearns)
General
The Sacred Wood: Essays on Poetry and Criticism
Eliot, T. S. (Thomas Stearns)
Criticism; Literature
The statement already quoted, that “poetry is the most highly organized
form of intellectual activity,” may be taken as a specimen of the
abstract style in criticism. The confused distinction which exists in
most heads between “abstract” and “concrete” is due not so much to a
manifest fact of the existence of two types of mind, an abstract and a
concrete, as to the existence of another type of mind, the verbal, or
philosophic. I, of course, do not imply any general condemnation of
philosophy; I am, for the moment, using the word “philosophic” to cover
the unscientific ingredients of philosophy; to cover, in fact, the
greater part of the philosophic output of the last hundred years. There
are two ways in which a word may be “abstract.” It may have (the word
“activity,” for example) a meaning which cannot be grasped by appeal to
any of the senses; its apprehension may require a deliberate suppression
of analogies of visual or muscular experience, which is none the less an
effort of imagination. “Activity” will mean for the trained scientist,
if he employ the term, either nothing at all or something still more
exact than anything it suggests to us. If we are allowed to accept
certain remarks of Pascal and Mr. Bertrand Russell about mathematics, we
believe that the mathematician deals with objects—if he will permit us
to call them objects—which directly affect his sensibility. And during a
good part of history the philosopher endeavoured to deal with objects
which he believed to be of the same exactness as the mathematician’s.
Finally Hegel arrived, and if not perhaps the first, he was certainly
the most prodigious exponent of emotional systematization, dealing with
his emotions as if they were definite objects which had aroused those
emotions. His followers have as a rule taken for granted that words have
definite meanings, overlooking the tendency of words to become
indefinite emotions. (No one who had not witnessed the event could
imagine the conviction in the tone of Professor Eucken as he pounded the
table and exclaimed _Was ist Geist? Geist ist ..._) If verbalism were
confined to professional philosophers, no harm would be done. But their
corruption has extended very far. Compare a mediæval theologian or
mystic, compare a seventeenth-century preacher, with any “liberal”
sermon since Schleiermacher, and you will observe that words have
changed their meanings. What they have lost is definite, and what they
have gained is indefinite.
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