<原報>エリオットの伝統論とインディビジュアリズム : 「外部の権威」と「内部の声」
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S. Spender, in his youth, criticized T. S. EIiot's viewpoint on his politics and religion, which is an 'escape' from social responsibility, since Eliot declared to become a classicist, Royalist and Anglo-Catholic in 1927. Eliot, however, suggested in his early days, that the artist should have the sense of tradition and understand the problem of order, that is, he advocated that the artist ought to escape from personality, or 'the inner voice', and obey 'authority outside the individual' in Tradition and the Individual Talent and The Function of Criticism. He said that, for to those who obeyed the inner voice, nothing about criticism would have the slightest value, they would have no meanings to find any common principles for the pursuit of criticism. My critical views on Eliot's traditionalism and the individualism are the following three standpoints. What I want to say, first of all, that his principle of escaping from 'the inner voice' or 'the inner world' and allegiance to 'outside authority' or 'the outer world' is to be alternative, but. said C. Caudwell, both the inner and outer world interpenetrate in literary works. Secondly, Eliot's 'outside authority', as H. J. Laski pointed out, has no persuasive power in the modern times, since it is very much classical and conservative. Unless there is a common worldview of reality, there cannot be a common view of literature. Finally, I conclude that Eliot's worldview is projected in The Waste Land and Four Quartets, and that he, as A. West criticized, wants to escape from crisis and uncertainty in the present days and yet to retain the old social order, using the past for his own peace. Because he doesn't want to change the crisis, he casts off the common views on the real world. He cannot help being imprisoned in the dark, static, sceptic world of meditation as an individualist.
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