Introduction
Eliot's Theory of Impersonality is a direct answer to Romantic and Victorian modes of poetry. Therefore, a strong sense of opposition is felt in the said theory. The theory of Impersonality is mainly about the removal of self from poetic art or the removal of subjectivity. Eliot himself explains the core concept of his theory as thus,
The progress of an artist is a continual self-sacrifice, a continual extinction of personality.
So, Eliot is opposed to the adherence of Romantics to showcase personal emotions in their poetry. Eliot's theory has been divided into several parts and we shall discuss them one by one in detail.
Appreciation of the Dead Poets
T S Eliot indirectly asserts that the personality of the poet is worthless. In order for his poetry to flourish, a poet must strive as much as possible to make himself acquainted with the literary tradition that is set up by the poets before him or the "dead poets".
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.
In order to acquire excellence in sharpening his poetry according to literary tradition, a poet must (critically) appreciate and learn from the established poetry of the "dead poets". Eliot instructs that a poet must forget about his joys and sorrows when he sits down to write poetry.
Separation of Poet from his Poetry
Eliot, then, presents his cynical judgement upon the poetry of the impersonal poet that once a poet completes composing a poem, the poem does not belong to him. His poetry becomes a contribution to the already established literary tradition. The feelings and emotions coming out of the "mature" poetry are very different from the feelings and emotions of the poet himself.
The Mind of a Poet like a Catalyst
To explain the separation of the poet and his poetry, Eliot strikes the analogy of the importance of catalyst in a chemical reaction. Without a catalyst, a chemical reaction cannot proceed ahead. In the presence of a reactant, two (or more) elements or compounds merge into a new substance or compound. But the properties of the catalyst do not change. Eliot gives the example of a chemical reaction taking place between sulphur dioxide and oxygen under the catalyst of platinum. Resultantly, sulphuric acid is produced but platinum remains unchanged. Similarly, the mind of the poet serves as a catalyst to mingle raw emotions and feelings to create a new one in which his mind remains unchanged but no adulteration of his own feelings is observed within his poetry.
Poetry is Organization
Eliot further assesses that poetry is the arrangement of feelings and emotions ("Poetry is an organization rather than inspiration", says Eliot). He considers the learned emotions and feelings are stuffed in a jar. And it is the job of a poet to pick the appropriate emotions and arrange them in apple-pie order for an effective experience upon the reader.
Poetic Process
Eliot puts a great emphasis on the impersonal but intense poetic process. He claims in a chemical reaction, the more pressure is applied to it, the more effective the final product. Similarly, if a poet puts hard effort into learning the literary tradition, his poetic outcome should be more effective. During the poetic process, Eliot suggests that a poet should remain as impersonal as possible. He should not add his personal emotions into his poetic genius. Eliot views Ode to Nightingale merely as a medium but not an apt demonstration of the emotions of the nightingale. Eliot rejects the unconsciousness of the poet and favours a conscious departure from the personality of the poet during the poetic process.
Conclusion
Eliot concludes his theory as thus,
Poetry is not a turning loose of emotions, but an escape from emotion; it is not the expression of personality, but an escape from personality.
Thus, it is obvious that Eliot's Theory of Impersonality is a revolt against subjectivism and emotions, and an establishment of rather cynical adherence to classical values.
