Monday 2 April 2018

Assignment on What is Censorship? Explain the significance of Censorship in films.




Name: Budhiditya Shankar Das
Course: M.A (English)
 Topic: What is Censorship? Explain the significance of Censorship in films.
Semester: 04
Roll No.  : 06
Paper No.: 15
Paper Name: Mass Communication and Media Studies
Email Id    : budhiditya900@gmail.com
Submitted to: Dr. Dilip Barad,
Smt. S.B.Gardi
Department of English,
Maharaja Krishnakumarsinhji Bhavnagar University










What do you mean by term Censorship? Explain the significance of in films.







History of Film-

Although the start of the history of film is not clearly defined, the commercial, public screening of ten of Lumiere Brothers short films in Paris on 28 December 1895 can be regarded as the breakthrough of projected Cinematography motion pictures. There had been earlier cinematographic results and screenings but these lacked either the quality or the momentum that propelled the cinematographer Lumiere into a worldwide success. During the 1890s films became several minutes long and started to consist of several shots. The first film studios were built in 1897. The first rotating camera for taking panning shots was built in 1898. Special effects were introduced and film continuity, involving action moving from one sequence into another, began to be used. The first eleven years of motion pictures show the cinema moving from a novelty to an established large-scale entertainment industry. The films represent a movement from films consisting of one shot, completely made by one person with a few assistants, towards films several minutes long consisting of several shots, which were made by large companies in something like industrial conditions.
The year 1900 marks the emergence of the first motion pictures that can be considered as "films" – at this point, film-makers begin to introduce basic editing techniques and film narrative. The use of different camera speeds also appeared around 1900 in the films of Robert W. Paul and Hepworth. Paul shot scenes from On a Runaway Motor Car through Piccadilly Circus (1899) with the camera turning very slowly. (Wikipedia)
What is Film?

A film, also called a movie, motion picture, theatrical film, or photo play, is a series of still images that, when shown on a screen; create the illusion of moving images. A film is created by photographing actual scenes with a motion-picture camera; by photographing drawings or miniature models using traditional animation techniques; by means of CGI and computer animation; or by a combination of some or all of these techniques, and other visual effects. Films are cultural artefacts created by specific cultures. They reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment, and a powerful medium for educating or indoctrinating citizens. Some films have become popular worldwide attractions through the use of dubbing or subtitles to translate the dialog into other languages. Some have criticized the film industry's glorification of violence, and have perceived in it the prevalence of a negative attitude toward women.
Raja Harishchandra is the first silent feature film in India, it was directed by Dadasaheb Phalke in the year 1913. (Wikipedia)

Define Censorship-

Censorship is the suppression of speech, public communication, or other information, on the basis that such material is considered objectionable, harmful, sensitive, politically incorrect or "inconvenient" as determined by government authorities or by community consensus. Censorship could be direct or indirect, in which case it is referred to as soft censorship. It occurs in a variety of different media, including speech, books, music, films, and other arts, the press, radio, television, and the Internet for a variety of claimed reasons including national security, to control obscenity, child pornography, and hate speech, to protect children or other vulnerable groups, to promote or restrict political or religious views, and to prevent slander and libel.
Governments and private organizations may engage in censorship. Other groups or institutions may propose and petition for censorship. When an individual such as an author or other creator engages in censorship of their own works or speech, it is referred to as self censorship. (Wikipedia)

“Censorship reflects a society’s lack of confidence in itself”.
-Potter Stewart

A brief history on Film Censorship-

Film Censorship was set in motion in India when the Cinematograph Act of 1918 was made law from May 1920. It allowed the exhibition of films only after they had been certified as suitable for public exhibition.
 Censor Boards were set up in Bombay, Calcutta, Madras, Rangoon and Lahore. All members of the Borders were appointed by the Government. The consisted of the Commissioner of Police, the Collector of Customs, a member of the Indian Educational Services, and three prominent citizens representing the Hindu, Muslim and other community
There were primarily concerned with obscenity, the wounding of religious sentiments, or inciting disaffection against the Government. Under the Act, the control was made more rigid and effective countrywide. Amendments to the Act of 1918 in later years made film censorship a function of the Provincial Governments.
In October 1927 an Indian Cinematograph Committee was appointed with an Indian, T. Rangachariar, as Chairman. It observed in its Report submitted two years later that censorship is certainly necessary in India, and is the only effective method of preventing the import, production and public exhibition of films which might demoralize morals, hurt religious susceptibilities or excite communal or racial animosities.
The Cinematograph Act of 1952 continued the British tradition of severe censorship of films that made any references to the political situation or to communal groups. In 1969, the Khosla Commission was appointed to report on the whole film industry. It recommended an autonomous Censor Board without any official government control the examination of a film as a whole and to allow kissing, nudity and violence, if they were integral to the theme. The Government reluctantly accepted the Report, and in 1974 a Bill was introduced in the Lok Sabha. The whims of the I and B Ministry decided which films should be given ‘A’ of ‘U’ Certificates. Political satires like Kissa Kursi Ka were banned. (Choudhary)

 The Central Board of Film Certification (CBFC):

The Central Board of Film Censors is set up by the Central Government under the powers granted it by the Cinematograph Act and the Cinematograph Rules 1958. The Board is headed by a chairman, appointed by the Central Government and is assisted to 12- 35 members.

 Advisory Panels:

Advisory Panels are constituted at each regional office by the Central Government which also decides, in consultation with the CBFC, the number of panel members for each office. The members are appointed by the Central Government in consultation with the CBFC.

 How Films are censored:

The examining committee consists of a member from the Advisory Panel and an examining officer in the case of short film, while in the case of a feature film four members from the Advisory Panel and an examining offer. This film to be examined must be complete in every sense, with the background music and all sound effects duly recorded on the film itself.
Under the Amendment Act, 1983, all previews of films for the purpose of certification and the reports and record related to it, will be treated as confidential. The names of members of the Examining Committee will not be disclosed to any other person including the application or his representative. The applicant or his representative will not be allowed to be present inside the preview theatre.
If for any reason, the members of committees felt that any particular portion for film has to be cut, there could not be any ‘confidentiality’ about these opinions especially when the privilege was not claimed on the ground of public interest.
A film is judged in its entirety from the point of view of its overall impact and is examined in the light of the period depicted in the film and the contemporary standards of the country and the people to whom the film relates, provided that the film does not deprave the morality of the audience. (Choudhary)

Detailed guidelines for Certification-

è Anti-social activities such as violence are not glorified or justified.
è Scenes which have the effect of justifying or glorifying drinking are shown.
è Human sensibilities are not offended by vulgarity, obscenity or depravity.
è  Such dual meanings words as obviously cater to baser instincts are not allowed.
è Scenes degrading or denigrating women in any manner are not presented.
è Visual or words contemptuous of racial, religious or other groups are not presented.
è The sovereignty and integrity or India is not called in question.
è The security of the State is not jeopardized or endangered.
è Friendly relations with foreign state are not strained.
è Public order is not engaged.

Conclusion:


Not only the moves but Music, Dramas, Maps, Books, Regional films, Documentaries, which hurt the feeling of the people are banned or censored. A film with distorted history, tradition or culture that is feared to create controversy is harm to the national integrity. Given the reach and power of the film medium, without censorship there might be a flood of grade Z or reactionary films,. Hence, censorship is significant but we should see that Censor board doesn’t become puppets of power. (Choudhary)

Works cited-
Choudhary, Divya. Blog. 17 03 2017. 02 04 2018 <http://divyachoudhary19.blogspot.in/2017/03/what-do-you-mean-by-term-censorship.html>.
Wikipedia. 31 03 2018. 02 04 2018 <https://en.wikipedia.org/wiki/History_of_film>.
Wikipedia. 17 03 2018. 02 04 2018 <https://en.wikipedia.org/wiki/Film>.
Wikipedia. 02 04 2018. 02 04 2018 <https://en.wikipedia.org/wiki/Censorship>.


                            













Assignment on Female characters in The Swamp Dwellers



Name: Budhiditya Shankar Das
Course: M.A (English)
 Topic: Female characters in The Swamp Dwellers
Semester: 04
Roll No.  : 06
Paper No.: 14
Paper Name: The African Literature
Email Id    : budhiditya900@gmail.com
Submitted to: Dr. Dilip Barad,
Smt. S.B.Gardi
Department of English,
Maharaja Krishnakumarsinhji Bhavnagar University


 Female characters in The Swamp Dwellers





Soyinka was born into a Yoruba family in Abeokuta. After studying in Nigeria and the UK, he worked with the Royal Court Theatre in London. He went on to write plays that were produced in both countries. In 1967 during the Nigerian Civil War, he was arrested by the federal government of General Yakubu Gawon and put in solitary confinement for two years. In Nigeria, Soyinka was a Professor of Comparative Literature (1975 to 1999) at the Obafemi Awolowo University, and then called the University of Ife.  With civilian rule restored to Nigeria in 1999, he was made professor emeritus. In Nigeria, Soyinka was a Professor of Comparative Literature  (1975 to 1999) at the Obafemi Awolowo University, and then called the University of Ife.[5] With civilian rule restored to Nigeria in 1999, he was made professor emeritus. Soyinka wrote the first full-length play produced on Nigerian television. Entitled My Father’s Burden and directed by Segun Olusola, the play was featured on the Western Nigeria Television (WNTV) on 6 August 1960. Soyinka published works satirising the “Emergency” in the Western Region of Nigeria, as his Yorùbá homeland was increasingly occupied and controlled by the federal government. The political tensions arising from recent post-colonial independence eventually led to a military coup and Civil War (1967–70).
Even the title of this play is very significant one. And as Derrida use to say that each and every word has free play of the words. Here also we will find the different free play of the words or particularly the word ‘Swamp’. Swamp means where nothing can grow. Here ‘Nothing can grow’ is also connected with the mental states, means new ideas. This shows the disturbed and fragmented mind set of the youth. The second meaning of the word swamp means the ‘City’. Where once someone goes never comes back. Swamp is a kind of muddy place where we cannot create a particular impression of a thing. Here Soyinka tries to give negative connotation to the word ‘City’. (Wikipedia)

Alu
Alu is the wife of Makuri. She is the mother of Igwezu and Awuchike. She is aged about sixty. She believes in the custom of the swamps. She thinks that the river bed is the ideal bridal bed. She has more concern for Awuchike who is in the city. She has anxiety for his safety. Her anxiety makes her shoot questions. Her questions make Makuri think of her as a fussy neurotic wife. She is hospitable like Makuri. Her reaction to the words of Kadiye shows her to be a traditionalist. Though she is outspoken, she is not for change. Alu’s understanding of the world is very limited. Igwezu’s words about his brother Awuchike set her anxiety at rest. All said, Alu is a loving and a loveable mother. She always tries to fulfil every wish of his husband as well as his sons. Sometime she also fights against her husband for his sons. So here we can compare the character of Alu with Mrs Ramsay in ‘To the Lighthouse’. (Heart)
Throughout the play Awuchike never comes on the stage but he remains present through the talk of the family. Alu use to remember him a lot. Because when he went there, in the city he was the different person and now he is the different person.

Desala-
Desala does not appear in the play as a character. But, she is spoken off. Desala is the embodiment of the corrupt nature of the city life. The character also echoes the materialistic attitude of city dwellers. Desala marries Igwezu. Igwezu later becomes poor owing to bad returns from his business. Desala found Awuchike prospering in his business. So, Desala leaves Igwezu and marries Awuchike. It shows how city life has become morally void. But on the other hand we also can’t blame Desala because as a young girl when she married to Igwezu she also must be having some young dreams for her life and when she tried to fulfil all her dreams she is also not wrong. When Kadiye asks Igwezu about his wife Desala he becomes a bit angry upon Kadiye which shows that now he doesn’t care about Desala. From this point we come to know about Desala and Igwezu that may be something went wrong between this husband and wife. (Heart)

Comparison between Alu and Desala-
There is a contrast between the women in the family. Igwezu’s mother Alu is faithful and loyal to his father Makuri. Alu and Makuri lead their conjugal life in subsistence level. Makuri makes basket with rushes and Alu works at her “adire” cloth. Makuri is also an occasional barer. After all, they live from hand to mouth. In youth, Alu was very beautiful. A group of crocodile traders visited the Swamp and offered Alu to leave for city with them but Alu checked the temptation and rejected their offers. Throughout her life, she shares the well and woe of her husband and remains faithful. Makuri never feels tension for her sake. Besides, she loves the swamp region and never expresses any wish to leave for city. But Igwezu’s wife is reversed to Alu. Her condition before wedding was that, she must have to be taken to town after marriage. She does not like rustic life, careless about Igwezu’s parents. Besides, whenever he begins their urban life, Igwezu’s wife leaves him for wealthy Awuchike. The contrasting point between these two women is that, one is faithful and consistent to husband and another is inconsistent and unfaithful, one is materialistic, another is simple and honest. (Articles)

Contrast between Village and City-

Finally there is a contrast between village and city. Life in city is source of pain, disappointment and frustration. It is a greed dominated place and only hard- hearted people prosper. But life in village is blend & sorrow and happiness. In village, the family is integrated, people are simple minded, hospitable, capable of being deceived very easily. Besides, the country people are the puppet at the hand of nature. Nature shatter their hope again offers the victim an optimism. (Gohil)


Works cited-

Articles, Literary. 02 04 2018 <http://www.literary-articles.com/2012/10/wole-soyinkas-art-of-characterization.html>.
Gohil, Devikaba. Blog. 27 03 2016. 02 04 2018 <http://devikagohil2014-16.blogspot.in/2016/03/female-characters-in-swamp-dwellers.html>.
Heart, One. 02 04 2018 <https://sites.google.com/site/theswampdwellers/home>.
Wikipedia. 30 03 2018. 02 04 2018 <https://en.wikipedia.org/wiki/Wole_Soyinka>.



Assignment on Bringing India of “Darkness” into “Light”: a socio-political study of Aravind Adiga’s The White Tiger




Name: Budhiditya Shankar Das
Course: M.A (English)
Topic: Bringing India of "Darkness" into "Light: a socio-political study of Aravind Adiga's The White Tiger
Semester: 04
Roll No.  : 06
Paper No.: 13
Paper Name: The New Literature
Email Id    : budhiditya900@gmail.com
Submitted to: Dr. Dilip Barad,
Smt. S.B.Gardi
Department of English,
Maharaja Krishnakumarsinhji Bhavnagar University






Bringing India of “Darkness” into “Light”: a socio-political study of Aravind Adiga’s The White Tiger





This study has investigated how Aravind Adiga’s Man Booker Prize winner debut novel The White Tiger (2008) has protested against the popular image of a shiny India. The politicians have misled the people of India by creating a wrong logic of progress and improvement. Aravind Adiga’s The White Tiger is a socio-political critic of modern India because it contributing and interpreting the life and culture of the people of rural and urban India by interpreting some metaphors.
In his Book the White Tiger Adiga talks about the discrimination between rich and poor. He also talked about that how rich people are exploiting the poor’s from centuries and how they are neglected by the power position. But in todays time the centre of focus of the new writers, journalists are raising this issue and bring justice to them.
There are many books and films which are coming out with the new idea of “Shining India”, and carried the life of underclass people who are neglected by the power position. In this Aravind Adiga also took a bold step by narrating the stories of the unprivileged people who live in the “Darkness of the society”. The central theme of the novel is to diagnose the Indian Society which has many burning issues like Illiteracy, Poverty, Unemployment, Caste discrimination, Corruption and most important population. The result of India’s freedom has been expended by the insignificant minority and the other of the population has been harshly changed. (Choudhary)
The story of The White Tiger was the life and struggle of Balram Halwai, a little guy, in his quest for economic, social and cultural freedom. It was a difficult struggle as he had been “confined behind bars of class, caste, illiteracy, zamindar system and poverty”. Here Balram referred to his village as ‘darkness’, full of “sadness, Poverty and illiteracy”. Here Balram also tried to uncover the struggle of the working class who are working under overpowering poverty.
Here we can see many burning issues of India for example:
1) Socio-Political Conditions of Rural India
2) Socio-Political Conditions of Urban India
3) The Evils of Caste System
4) Dowry System
5)  Illiteracy
Metaphor ‘dark’ several time to show the rough side of the rich people. In this novel “Darkness” is used as a metaphor particularly for “Corruption”.
Finally Aravind Adiga’s novel The White Tiger was not only talking about the ‘dark’ living conditions of the miserable poor, but also representing that how the rich had been manipulating the country for their own self-centered end. The novel had played a major role in promoting the awareness of the people about the ‘darker' aspects of both the poor and the rich representing their deep defeats. (Choudhary)
Much of the critical and popular controversy surrounding the 2009 film Slumdog Millionaire is derived from misconceptions over the representational possibilities of popular film, as well as the great national background of film criticism. It is thrilled when it meets the Mumbai slum, this essay debates that Slumdog explores the role of informal knowledge in the navigation of changing urban backgrounds. In this way, it is not despite, but through, the film's rejection of realist common conventions that it offers its interpretation of the city. Police Constable in Slumdog Millionaire revolution of excitement, commentary and controversy surrounding the film Slumdog Millionaire (2009) in India and elsewhere calls for a careful analysis of the possibilities and drawbacks of international cultural production. Film critics and prominent individuals like have criticized the film, if not dismissed it outright, for its repeating of old stereotypes of urban Indian squalor and backwardness. Like most representations of urban poverty, films such as this have the potential to create a sense of a troubled place "out there", disconnected from the comforting world of the viewer. Slumdog contains elements to support this kind of critique, but along with them exists another set of images, plot devices, filmic elements and characterizations that are not so easily plotted onto western fantasies of India. This is not to say the film is not an imaginary - but rather, that within imaginary, there can be elements of truth. Slumdog and The White Tiger both offers a theory of urban navigation which traces leading plots about the all- surrounding power of globalization, and which responds to those narratives by asserting the importance of an alternative monarchy of knowledge outside of the formal domains of the state.  Slumdog Millionaire presents of Jamal Malik from boyhood to adolescence, from Mumbai's slums, India, and back to works at a call centre seat as a participant on "Who Wants To Be a Millionaire?", a game show in which he is so successful in answering the questions that he is suspect of cheating, and is ultimately arrested. With the same manner in The White Tiger it shows that how Balram is also cheating his master in quest or thirst of becoming master himself, he wants to become master himself and wants to have lots of money because according to him he will get respect in society if he will have power and money with him. On the one hand, Jamal's journey through Mumbai's underbelly is marked by come across with abusive teachers, anti-Muslim demonstrators, child beggar gangs, construction mafias and brutal police officers, and in The White Tiger is a socio-political critic of modern India because it contributing and interpreting the life and culture of the people of rural and urban India. Here we can say that the two narratives come together through the primary conceit of flash- back: as Jamal is interrogated by the constable who arrested him, he remembers experiences in his past which led him to the correct answers, and in The white tiger we can see that how Balram is also recollecting his memories that how he spent his childhood in village and why he came to city to earn some money. In the scene when Jamal and Salim reunite as adults, for example, a very different vision of urban reconfiguration appears, and in the white tiger we can see that how Balram and his cousin came to city just to earn some money and after this they both want to become a master and don’t want to go back in their village because they don’t want to leave this urban life or we can say that city life. Here, in Slumdog Millionaire the two brothers stand in the essential of a half-built luxury apartment building high above the city but in The White Tiger we can see that the two cousin brothers they both are in the quest or in need of earning money and become masters because they want to live their life as a master itself. (Choudhary)
In the back- ground is not the older city, but the new urban. In the movie Slumdog Millionaire observations of Salim and Jamal  moving quickly from a small slum to a nearby sea of glittering new apartment buildings, then Salim turns to Jamal and says, "That used to be our slum. Can you believe that? By introducing Salim, backed by Javed, as a paradigmatic entrepreneur within Mumbai's rise to global status but more importantly identifies a new kind of subject: the urban navigator, the individual who works their way through the underbelly of the transforming city, seeking out a unique path, while activating the opportunities and the limitations this new environment offers. In The White Tiger also we can see that Balram and his cousin brother they both also chooses wrong path be become successful in his life, Balram murdered his master and looted all the money which Mr. Ashok wants to give as a bribe to the politicians. In his Book the White Tiger Adiga talks about the discrimination between rich and poor. He also talked about that how rich people are exploiting the poor’s from centuries and how they are neglected by the power position, and in Slumdog also we can see that how people who are in power position exploiting the poor and ruled over them. In movie Slumdog we can also see that there is a religious discrimination also between Hindu and Muslim community. The people of Hindu community tried to kill Muslim community people from there also we can say that these are the darker sides of India. (Choudhary)

Works cited-

Choudhary, Divya. Blog. 17 03 2017. 02 04 2018 <http://divyachoudhary19.blogspot.in/2017/03/bringing-india-of-darkness-into-light.html>.

Wednesday 28 March 2018

Assignment on Poetic Process and the process of Depersonalization by T.S.Eliot

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Name: Budhiditya Shankar Das
Course: M.A (English)
 Topic: Poetic Process and the process of Depersonalization by T.S.Eliot
Semester: 02
Roll No.  : 07
Paper No.: 07
Paper Name: Literary Theory & Criticism: The 20th Western & Indian Poetics-2
Email Id    : budhiditya900@gmail.com
Submitted to: Dr. Dilip Barad,
Smt. S.B.Gardi
Department of English,
Maharaja Krishnakumarsinhji Bhavnagar University



Poetic Process and the process of Depersonalization by T.S.Eliot




The vast accumulations of knowledge—or at least of

information—deposited by the nineteenth century have
been responsible for an equally vast ignorance.
                                                                                 —TS Eliot
*    Tradition and Individual Talent:-
                                               Thomas Stearns Eliot was an American-born English poet, playwright, and literary critic, arguably the most important English-language poet of the 20th century. Eliot was awarded the Nobel Prize for literature in 1948. His most famous work is “The Waste Land.” On one level this highly complex poem describes cultural and spiritual crisis.
                                           "The point of view which I am struggling to attack is perhaps related to the metaphysical theory of the substantial unity of the soul: for my meaning is, that the poet has, not a 'personality' to express, but a particular medium, which is only a medium and not a personality, in which impressions and experiences combine in peculiar and unexpected ways." (From 'Tradition and the Individual Talent,' 1920)
 T.S Eliot’s works:-

*    Poetry
*    Plays
*    Nonfiction:-
*    “Tradition and Individual Talent (1920)”
*    The sacred wood: Essays on poetry and criticism
*    A choice of Kipling’s verse ( 1941)
*    The Frontiers of criticism (1956)
                 Eliot is most often known for his poetry, he also contributed to the field of literary theory. In this dual role, he acted as poet- critic, comparable to Sir Philip Sidney and Samuel Taylor Coleridge. “Tradition and Individual Talent” is one of the more well known works that Elion produced in his critic capacity. It formulates Eliot’s influential conception of the relationship between the poet and the literary tradition which precedes him.
                                      T.S. Eliot’s “Tradition and Individual Talent” was published in 1919 in The Egoist- the Times Literary supplement. Later, the essay was published in “The Sacred Wood: Essays on poetry and criticism in 1920. This essay is described by David Lodge as the English of the twentieth century. The essay is divided into three main sections:-
*     The first gives us Eliot’s concept of tradition
*     The Second exemplifies his theory of depersonalization and poetry.
*     The third part he concludes the debate by saying that the poet’s sense of poetry are complementary things.
 Eliot asserts that the word “tradition’’ is not a very favorable term with the English, who generally utilize the same as a term of censure. The English do not possess an orientation towards Criticism as the French do; they praise a poet for those aspects of the work that are individualistic.
*    For Eliot, tradition has a three-fold significance.
*    Firstly, tradition can not be inherited, and involves a great deal of labor and erudition.
*    Secondly, it involves the historical sense which involves apperception not only of the pastness of the past, but also of its present.
*    Thirdly, the Historical sense enables a writer to write not only with his own generation in mind, but with a feeling that the whole of the literature from Homer down to the literature of his own country farms a continuous literary tradition.
                             Eliot presents his conception of tradition and the definition of the poet and poetry in relation to it. He wishes to correct for 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 the English tradition generally upholds the belief that art progresses through change - a separation from tradition, literary advancements are instead recognized only when they conform to the tradition. Eliot, a Classicist, felt that the true incorporation of tradition into literature was unrecognized, that tradition, a word that "seldom... appears except in a phrase of censure," was actually a thus-far unrealized element of literary criticism. Eliot says that the Englishmen have a tendency to insist, when they praise a poet, upon those aspects of his work in which he least resembles anyone else. In these aspects of his work they try to find out what is individual, what is the peculiar essence of that man. They try to find out the difference of the poet with his contemporaries and predecessors. They try to find out something that can be separated in order to be enjoyed.
 But if we study the poet without bias or prejudice, we shall often find that not the best, but the most individual of his work may be those in which the dead poets, his ancestors, assert their immortality forcefully and vigorously. According to Eliot tradition and individual talent are not separate entity. They are inseparable and hence go together.
*    Historical Sense/ “the historical sense involves a perception not only of the pastness of the past, but of its presence”
According to Eliot, knowledge of tradition plays vital role in the development of personal talent, He writes: ‘Tradition is a matter of much wider significance. It cannot be inherited and if you want it you must obtain it by great labour. It involves the historical sense.’
                  This means sense involves a perception, not only of the pastness of past, but of its presence. This historical sense, which is a sense of the timeless as well as of the temporal and of the timeless and of the temporal together, is what makes  a write traditional and it is at the same time what makes a writer most acutely conscious of his place in time, of his contemporanity.  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. Eliot challenges our common perception that a poet’s greatness and individuality lies in his departure from his predecessors. Rather, Eliot argues that "the most individual parts of his (the poet) work may be those in which the dead poets, his ancestors, assert their immortality most vigorously." Eliot claims that this "historical sense," that is, not only a resemblance to traditional works, but an awareness and understanding of their relation to his poetry.
Eliot gives importance to the interdependence of past and the present. He finds not contradictory but supplementary elements in the co- relationship of the past and the present. He expresses his views as follows:-
               “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 artist. You cannot value him alone; you must set him, for contrast and comparison, among the dead. Mean this as a principle of aesthetic, that he merely historical criticism. The necessity that he shall conform, that he shall cohere, is not one-sided; what happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it. The existing monuments form an ideal order among themselves, which is modified by the introduction of the new work of art among them. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relation, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new. Whoever has approved this idea of order, of the form of European, of English literature, will not find it preposterous that the past should be altered by the present as much as the present is directed by the past. And the poet who is aware of this will be aware of great difficulties and responsibilities.”
 Eliot’s theory of poetic process and the process of depersonalization:-
                          Eliot starts the second part of his essay with: “Honest criticism and sensitive appreciation is directed not upon the poet but upon the poetry.”
                        The artist or the poet adopts the process of depersonalization, which is a continual surrender of himself as he is at the moment to something which is more valuable. The progress of an artist is a continual self – sacrifice, a continual extinction of personality”. There still remains this process of depersonalization and its relation to sense of tradition. The mature poet is viewed as a medium, through which tradition is channelled and elaborated. He compares the poet to a catalyst in a chemical reaction, in which the reactants are feelings, and emotions that are synthesized 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 lend greatness to a work of art is not the feelings and emotions themselves, but the nature of the artistic process by which they are synthesized. 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 depersonalized vessel, a mere medium.
Analogy of chemical reaction and poetic process-
                                   “The analogy was that of that catalyst, when the two gases oxygen and sulphur dioxide, are mixed in the presence of a filament 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. It may partly or exclusively operate upon the experience of the man himself; but the more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates; the more perfectly will the mind digest and transmute the passions which are material.”
                           Eliot explains his theory of depersonalization more elaborately. He elaborates his idea by saying that the emotion and experiences in the art are different than the emotion and experiences of the artist He writes:-
                               “If you compare several representative passages of the greatest poetry, you see how completely any semi ethical criterion of “sublimity” misses the mark. For it is not the “greatness” the intensity, of the emotions, the components, but the intensity of the artist process, the pressure, so to speak, under which the fusion takes place that counts” He further writes:-
                                  “The poet has, not a ‘personality’ to express, but a particular medium which is only a medium and not a personality in which impressions and experiences combine in peculiar and unexpected ways. In impressions and experiences which are important for the man may take no place in the poetry and those which become important in the poetry may play quite a negligible part in the man, the personality.”  
*    “Emotion recollected in tranquility” is an inexact formula for it is neither emotion, nor recollection, nor with without distortion of meaning, tranquility.”
                             It is not in his personal emotions, the emotions provoked by particular events in any way remarkable or interesting. His particular emotion or may be simple, or crude, or flat. The emotion in his poetry will be a very complex thing of the emotion of people. Who have very complex or unusual emotions in eccentricity in poetry is to seek for new human emotions to express: and in this search for novelty in the wrong place it discovers the perverse. The business of the poet is not to find new emotions, but to use the ordinary ones and, to express feelings which are not in actual emotion at all. And emotion which he has never experienced will serve his turn as well as those familiar to him. Consequently, we must believe that “emotion” recollected in tranquility is an inexact formula. For it is neither emotion, nor recollection; not without distortion of meaning, tranquility. It is a concentration, and a new thing resulting from the concentration, of a very great number of experiences which to the  practical and active person would not seem to be experiences at all; it is a concentration which does not happen consciously or of deliberation. These experiences are not ‘recollected’ and they finally unite in an atmosphere which is ‘tranquil’ only in that it is a passive attending upon the event of course this is a great deal in the writing of poetry, which must be conscious and deliberate.
          The third part he concludes the debate by saying that the poet’s sense of tradition and the impersonality of poetry are complementary things.
                 In the last section of this essay; Eliot says that poet’s sense of tradition and the impersonality of poetry are complementary things. He writes “To divert interest from the poet to the poetry is a laudable aim: for it would conclude to a juster estimation of actual poetry, good and bad.” Finally he ends his essay with: “very few know when ether is expression of significant emotion, emotion which has its life in the poem and not in the history of the poet. The emotion of art is impersonal and the poet cannot reach this impersonality without surrendering himself wholly to the work to be done and he 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.”
*    Conclusion:-


                     To conclude, Harold Bloom presents a conception of tradition that differs from that 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 ‘anxiety of influence envisions the strong poet to engage in a much more aggressive and tumultuous rebellion against tradition.
 In 1964, his last year, Eliot published in a reprint of  the use of poetry and the use of criticism, a series of lectures he gave at Harvard university in 1932 and 1933, a new preface in which he called “Tradition and the Individual talent” the most juvenile of his essays.