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Untitled - Sexey's School Moodle

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while at the same time, establishing the reputation of Eliot as well as Ezra Pound and<br />

Gerard Manley Hopkins. He particularly admired the fact that by representing “the most<br />

conscious point of the race in his time” (New Bearings 16) modern poets overthrow the<br />

tenets of nineteenth-century poetry, which he perceived to be temporarily dissociated and<br />

over-emphasizing the sensuous and the expressive rather than “wit, play of intellect,<br />

stress of cerebral muscle” (14). But perhaps Leavis’ most influential work as it pertains<br />

to the idea of a “Canon” in literature is The Great Tradition, in which he argues that “the<br />

few really great—the major novelists ... not only change the possibilities of the art for<br />

practitioners and readers, but they are significant in terms of the human awareness they<br />

promote; awareness of the possibilities of life” (10). Yet it appears that like Arnold, he<br />

believes that “great” literature is inseparable from moral consciousness; his selection<br />

names but five novelists —Jane Austen, George Eliot, Henry James, Joseph Conrad, and<br />

D.H. Lawrence—who are “all distinguished by a vital capacity for experience, a kind of<br />

reverent openness before life, and a marked moral intensity” (18). Interestingly so, the<br />

revisions prompted by Eliot and Leavis would not only influence subsequent orderings<br />

within the so-called “tradition” but would also advance the concept of “minority”<br />

literature which would act subversively to topple established hierarchies; as Guillory<br />

argues, “[t]he status of Eliot’s ‘canon’ (if it can be called that) corresponds exactly to the<br />

status of a minority within literary culture … [poets and writers] who are at the time of<br />

Eliot’s essays are written still relatively marginal to literary culture” (147-8). Yet, as<br />

Guillory points out, this endeavor is clearly not “disinterested” and is heavily tainted with<br />

ideological purposes that would ultimately be revealed as conservative. Not only do the<br />

metaphysical poets championed by Eliot fit adequately within the network of influences<br />

45

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