T. S. Eliot Quotes About Art

Quotes about: Art

• 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. But, of course, only those who have personality and emotions know what it means to want to escape from these things.

  T. S. Eliot

  Art, Mean, Expression

  The Sacred Wood "Tradition and the Individual Talent" (1920)

• The progress of an artist is a continual self-sacrifice, a continual extinction of personality.

  T. S. Eliot

  Art, Sacrifice, Self

  The Sacred Wood "Tradition and the Individual Talent" (1920)

• One of the surest tests of the superiority or inferiority of a poet is the way in which a poet borrows. Immature poets imitate mature poets steal bad poets deface what they take and good poets make it into something better or at least something different. The good poet welds his theft into a whole of feeling which is unique utterly different than that from which it is torn the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time or alien in language or diverse in interest.

  T. S. Eliot

  Art, Unique, Stealing Things

• A play should give you something to think about. When I see a play and understand it the first time, then I know it can't be much good.

  T. S. Eliot

  Art, Thinking, Play

• Immature poets imitate; mature poets steal.

  T. S. Eliot

  Art, Writing, Reading Poetry

  The Sacred Wood "Philip Massinger" (1920)

• No poet, no artist of any art, has his complete meaning alone.

  T. S. Eliot

  Art, Artist, Individual Talent

  T.S. Eliot (2010). “The Waste Land and Other Poems”, p.85, Broadview Press

• No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead.

  T. S. Eliot

  Appreciation, Art, Poet

  T. S. Eliot (2014). “Selected Essays”, p.13, Houghton Mifflin Harcourt

• Art is the escape from personality.

  T. S. Eliot

  Art, Personality, Art Is

• I take as metaphysical poetry that in which what is ordinarily apprehensible only by thought is brought within the grasp of feeling, or that in which what is ordinarily only felt is transformed into thought without ceasing to be feeling.

  T. S. Eliot

  Art, Poetry, Feelings

  T. S. Eliot (2014). “The Varieties of Metaphysical Poetry”, p.220, Houghton Mifflin Harcourt

• Art serves us best precisely at that point where it can shift our sense of what is possible, when we know more than we knew before, when we feel we have - by some manner of a leap - encountered the truth. That, by the logic of art, is always worth the pain.

  T. S. Eliot

  Art, Pain, Logic

• The only way of expressing emotion in the form of art is by finding an "objective correlative"; in other words, a set of objects, a situation, a chain of events which shall be the formula for that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.

  T. S. Eliot

  Art, Facts, Events

  The Sacred Wood "Hamlet and His Problems" (1920).

• The wounded surgeon plies the steel
  That questions the distempered part;
  Beneath the bleeding hands we feel
  The sharp compassion of the healer's art
  Resolving the enigma of the fever chart.

  T. S. Eliot

  Art, Compassion, Hands

  'Four Quartets' 'East Coker' (1940) pt. 4

• When comparing works of art, it is important that the art itself, and not the artists, be considered.

  T. S. Eliot

  Art, Important, Compare

• Art never improves, but... the material of art is never quite the same.

  T. S. Eliot

  Art, Art Is, Materials

  T. S. Eliot (1998). “The Sacred Wood and Major Early Essays”, p.29, Courier Corporation

• No artist produces great art by a deliberate attempt to express his own personality.

  T. S. Eliot

  Art, Personality, Produce

  T.S. Eliot (2015). “The Poems of T. S. Eliot Volume I: Collected and Uncollected Poems”, p.595, Faber & Faber

• If one has to earn a living, therefore, the safest occupation is that most remote from the arts.

  T. S. Eliot

  Art, Occupation, Ifs

  Eliot, Thomas Stearns Eliot, Professor T S Eliot (2011). “Letters of T. S. Eliot: 1898-1922”, p.490, Yale University Press

• No generation is interested in art in quite the same way as any other; each generation, like each individual, brings to the contemplation of art its own categories of appreciation, makes its own demands upon art, and has its own uses for art.

  T. S. Eliot

  Appreciation, Art, Generations

  T. S. Eliot (1986). “The Use of Poetry and the Use of Criticism: Studies in the Relation of Criticism to Poetry in England”, p.101, Harvard University Press

• Past art is subject to change.

  T. S. Eliot

  Art, Past, Art Is

  Source: www.guernicamag.com

• The role of art is not to express the personality but to overcome it.

  T. S. Eliot

  Art, Personality, Roles

• the ordinary man's experience is chaotic, irregular, fragmentary. [He] falls in love or reads Spinoza, and these two experiences have nothing to do with each other, or with the noise of the typewriter, or the smell of cooking; in the mind of the poet these experiences are always forming new wholes

  T. S. Eliot

  Art, Falling In Love, Men

  T. S. Eliot (1998). “The Sacred Wood and Major Early Essays”, p.127, Courier Corporation

• All art emulates the condition of ritual. That is what it comes from and to that it must always return for nourishment.

  T. S. Eliot

  Art, Poetry, Return

• When oxygen and sulphur dioxide are mixed in the presence of a filiament of platinum, they form sulphurous acid. This combination takes place only if the platinum is present; nevertheless the newly formed acid contains no trace of platinum, and the platinum itself is apparently unaffected: has remained inert, neutral, and unchanged. The mind of the poet is the shred of platinum.

  T. S. Eliot

  Art, Oxygen, Poetry

  T. S. Eliot (2014). “Selected Essays”, p.16, HMH

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