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Volume l is divided into three sections: Juvenilia and Undergraduate Writings; Graduate Essays and Ph. His first collection of them, (1920), has been disassembled, the individual items put in the order they appeared. How alive for the contemporary student of philosophy are the concerns they deal with—post-Hegelian idealism, questions of immediate experience, the nature of relations, objects, and truth—I can’t say but would imagine not very alive except historically.
Each volume has thirty pages or so of introduction that provide a capsule version of Eliot’s life and writings during the period. As a once hopeful student of philosophy, I was unable to call up enough resources to find them of much interest, and I think that even an academic philosopher would need to have very specialized inclinations to follow the pages devoted to the arguments and concerns of late nineteenth- and early twentieth-century thinkers such as Bergson, Josiah Royce, Bernard Bosanquet, Bertrand Russell, and above all F. Bradley, Eliot’s favorite philosopher-writer and the subject of his Ph. In an address Eliot gave to the Harvard Philosophical Club in 1914, “The Relationship Between Politics and Metaphysics,” he affects some humorous detachment from such issues, as he observes “Mr. the prophet who has put off his shoes and talks with the Absolute in a burning bush,” or “Professor Royce [to whom] we owe the resuscitation of Christianity by the method of last aid to the dead.” The first and most useful attempt to connect Eliot the philosopher with his behavior as critic and poet, was made decades ago by Hugh Kenner in the chapter “Bradley” in  Some letters of Eliot’s, written after his four-year immersion in philosophy and not available to Kenner, suggest that he had had enough of it.
Thought process is tradition; although Eliot says, “Yet if the only form of tradition…consisted in following the ways of the immediate generation before us…’tradition’ should be positively discouraged,” still my claim is this: tradition is in one’s own critical and creative turn of mind, within one’s self – the masses have no place in this tradition, no place in its creation, its encouragement, or its defining. “Criticism is an inevitable as breathing, and that we should be non the worse for articulating what passes in our minds when we read a book and feel and emotion about it.” (T. Eliot Tradition and individual talent, 1920, page 48) I really never thought about how much we criticize authors and poets.
And so this word, as many others, goes forever undefined; it eludes the human mind as something invisible and impalpable eludes our fingers, as a scent eludes our grasping hands. When we read a book we compare it to another author of the same genre or we compare it to another book by that same author.
In my opinion is that, when we getting older and older we realize that we do not need to look after the writer’s life to understand his or her work.
Without knowing these facts we can enjoy the book and understand it. Eliot: ‘Prufrock’, ‘Gerontion’, Ash Wednesday and other shorter poems (1994) UKEssays.
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Eliot’s essays actually map a highly personal set of preoccupations, responses and ideas about specific authors and works of art, as well as formulate more general theories on the connections between poetry, culture and society.
Perhaps his best-known essay, “Tradition and the Individual Talent” was first published in 1919 and soon after included in The Sacred Wood: Essays on Poetry and Criticism (1920).