Dissociation of sensibility is a literary term first used by T. S. Eliot in his essay “The Metaphysical Poets”. It refers to the way in which intellectual thought was separated from the experience of feeling in seventeenth century poetry. Origin of terminology Eliot used the term to describe the manner by which the nature and substance of English poetry changed “between the time of Donne or Lord Herbert of Cherbury and the time of Tennyson and Browning.” In this essay, Eliot attempts to define the metaphysical poet and in doing so to determine the metaphysical poet’s era as well as his discernible qualities. Theory of dissociation of sensibility The theory of dissociation of sensibility rests largely upon Eliot’s description of the disparity in style that exists between the metaphysical poets of the sixteenth and early seventeenth century and the poets of the late seventeenth century onward. In “The Metaphysical Poets,” Eliot claims that the earlier grouping of poets were “constantly amalgamating disparate experience” and thus expressing their thoughts through the experience of feeling, while the later poets did not unite their thoughts with their emotive experiences and therefore expressed thought separately from feeling. He explains that the dissociation of sensibility is the reason for the “difference between the intellectual and the reflective poet.” The earlier intellectual poet, Eliot writes, “possessed a mechanism of sensibility which could devour any kind of experience.” When the dissociation of sensibility occurred, “[the] poets revolted against the ratiocinative, the descriptive; they thought and felt by fits, unbalanced; they reflected.” Thus dissociation of sensibility is the point at which and the manner by which this change in poetic method and style occurred; it is defined by Eliot as the loss of sensation united with thought. Eliot uses John Donne’s poetry as the most prominent example of united sensibility and thought. He writes, “[a] thought to Donne was an experience; it modified his sensibility.” Eliot’s apparent appreciation of Donne’s ability to unify intellectual thought and the sensation of feeling demonstrates that he believes dissociation of sensibility to be a hindrance in the progression of poetry. Eliot asserts that despite the progress of refined language, the separation between thought and emotion led to the end of an era of poetry that was “more mature” and that would “wear better” than the poetry that followed. Eliot, later on in his career, was challenged with the thought that the dissociation