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Eliot's essay Tradition and the Individual Talent is an interesting read that brings into light a number of critical points. As it heads up the title of the essay, the idea of tradition in it's relation to literature exists as the heart of the essay, keeping the blood pumping to all the other points. Eliot stresses that if the artist cannot evolve or create within the proper realms of tradition, which Eliot spends the course of the essay defining, then the artist will not produce a praiseworthy result.

Eliot rejects the common focus that when an artist's work is unique, unlike anything before it, it is then remarkable. He states that "we dwell with satisfaction upon the poet's difference from his predecessors, especially his immediate predecessors; we endeavor to find something that can be isolated in order to be enjoyed. Whereas if we approach a poet without this prejudice we shall often find that not only the best, but the most individual parts of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously"(p.405). And thus, the importance of tradition, of the past, begins to play its part. Furthermore, Eliot also argues that "you cannot value the work of a writer alone; you must set him, for contrast and comparison, among the dead" (p.406). Past and present, old as opposed to new, is presented here to serve as the basis of Eliot's argument that whenever a new work of art is created, the "ideal order" formed by works of the past, is then altered. Basically, the present is influencing the past, a concept not commonly rendered upon. Eliot stresses that the "new" writer must have a consciousness for not just the present, but also for the past. The "new" writer needs to keep tradition in mind always, making the writer "acutely conscious of his place in time" (p.406). While embracing this knowledge, the writer must understand that just as the past may be altered by the present, the present is also altered by the past, and this sets the writer up for many difficulties.

After laying the groundwork for his support of tradition, Eliot begins to delve into another significant idea of his, which is really the other half of the picture that Eliot is painting on tradition. If the concept of depersonalization were not considered or put into the picture, then Eliot's previous assertations on the importance and role of tradition for the "new" writer, would be meaningless. When following the path of tradition, the writer has discovered the roles of their past and present, but what really gets them to this point is what Eliot refers to as the "continual self-sacrifice, a continual extinction of personality"(p.407). The personal emotions of a poet do not matter; they are not going to leave a mark. Eliot believes that "poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality" (p.410). Following along with Eliot's want of focus on the poem, not the poet, he is saying that emphasis should not be placed upon the emotions or personality of the poet, but upon the emotions coming through in the poetry. At the very end of his essay, Eliot stitches it all together with the statement that "the emotion of art is impersonal. And the poet cannot reach this impersonality without surrendering himself wholly to the work to be done" (p.410).

As a part of the "new criticism" movement, Eliot has definitely helped to emphasize and make clear the notions of the poem as a whole, the depersonalization of the writer, and the notion of the text or poem being something complete, something that stands on its own, not depending upon a relation to the author's life or intent, or to their history. He has made a concrete and significant argument that tradition and the adherence to tradition is the key element of which a writer should embrace in order to succeed and accomplish the above ideas and create a work of remarkable art.

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