Creative Criticism: A Broader View of Symbolism Author(s): Murray Krieger Reviewed work(s): Source: The Sewanee Review, Vol.

58, No. 1 (Jan. - Mar., 1950), pp. 36-51 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/27537969 . Accessed: 24/11/2011 21:58
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to The Sewanee Review.

http://www.jstor.org

CREATIVE A BROADER

CRITICISM: OF SYMBOLISM

VIEW

By MURRAY
ALTHOUGH
neo-Aristotelian

KRIEGER
of Chicago
has not

the so-called University

school of literary criticism

or

pub a

lished widely
has appeared from

in the literary quarterlies

time to time in Modern

(their work

Philology, serious con

scholarly journal edited by Mr. R. S. Crane, the leader of the

A series of articles of the "new critics." by several in the University Review in 1942, which and dem explained onstrated the theory of the school, led to a defense eventually of the position Brooks by Hoyt Trowbridge and a more critical analy school), sideration they have for some time been accorded

sis by John Crowe Ransom

Cleanth Chicago. may

in The

Sewanee

Review

in 1944.

at Allen have visited T?te and, more recently, recent Robert critical which Stallman's anthology,

the handbook in become of the new very well criticism, an a cludes article by Elder of Mr. younger Olson, colleague sets most which forth the in its school's Crane, cogent position form to date.1 But criticism the was real challenge of the neo-Aristotelians to the new

Brooks lology.

sharply in an article The

Crane's attack by Mr. proclaimed in the May, Modern of issue 1948, article was entitled "Cleanth Brooks;

on Mr. Phi or, the

bankruptcy
attacking Mr.

of critical monism."
Brooks, Mr. Crane

Although
makes

principally
clear

he
that

is
he

it quite

sources : Mr. ^he main for my of the neo-Aristotelians discussion Olson's essay, c'An Outline of Poetic in Criticism, from Critiques and Essays edited Theory," by to Robert W. New York: Ronald referred Crane's article 1948; Mr. Stallman, Press, on The Rime review of R. P. Warren's Olson's essay above; Mr. of the Ancient in University and Maclean, essay Mariner-, (VIII), by Crane, Olson, ^Review notes. 1942; classroom

MURRAY is using Mr. He is not Brooks

KRIEGER of many

37 new

only for

as a convenient

symbol

critics, all of whom,

charges. He says, alone the

he asserts, would
example,

be equally open to his

terms may the "new critics." The among same a reduction toward monistic differ, tendency or in Brooks's is of critical concepts (as irony) paradox in John in Allen manifest of "tension," Tate's doctrine Ransom's in Robert Penn Crowe of "texture," principle but obsession with symbols, above all the in I. A. Rich of sign Pavlovian mythology ... treat I shall words. than as an individual. ards' concerning him therefore "behavior" as a rather

Warren's

Mr.

Crane with

later one

states

that Mr.

Brooks

deals

causes of poems, antecedent only of the several in common all and the cause which with they have most matter: other their literary productions, namely, linguistic here he begins, and here also he ends. The choice is re

grettable,
necessary,

since it allows him to deal only with one of the

and never with any of the sufficient or distin

guishing, conditions of poetic works; but it would be unfair to blame him unduly for making it, inasmuch as it has
a characteristic methodological in the school of 'new critics' before, been Thus, bares Mr. Crane's as I have said choice, to which he belongs.

as it is beyond extended argument, Brooks, a in Mr. modern since Crane criticism, polemic significant a so To per of critics under his fire. has brought wide variety the of direction and modern criticism ceive adequacy clearly this conflict be the has examined. antidote guided For it was the cri ac to from furnished to undisciplined critical rigorous was relegated

that it is important new criticism which tical

tivity the newspaper

and which impressionism when since the Twenties, book review

impressionism sections and Saturday

Reviews,

which, quite amiably,

it still exudes weekly.

Some time will

38 have to be

CREATIVE in tracing the

CRITICISM theories of the neo-Aristotelians

spent

before they can be set in relief against the more

of Mr. Brooks.

familiar ideas

the comparison Not the short reveal only may these of but very may each, comings shortcomings point a way out of the dilemma which these positions impose. It should in common much wider ... on first one be noted important that Mr. Crane which and Mr. makes Brooks allies says, have in a

polemic. a number

concept in his Early of

them Crane

essay Mr.

purposes commonly the

I am in sympathy the with points which Mr. differentiate and the writers Brooks cri associated with him from most of the other

tical schools of the day.

I applaud them for having re

poetry, temptation by large analo jected or or the or to rhetoric metaphysics history gies, spirit of in Eliot's the age, and for having insisted on considering it, as not I another and their welcome poetry thing. phrase, in practical criticism from gen efforts to shift the emphasis to particularized of texts; authors studies about eralities rescue to for their desire and I have poetics only praise and of factual science and relativism from the dictatorship to reorient So this is not it toward to be one They of an of normative those judgments. scholarship-versus common that ground,

to assimilate

so common far more text.

criticism of the The

disputes. close study Chicago

are on isolated

from Aristotle's stems, system presumably, a made the basis is with great many extensions, Poetics, which, a in that It is this this short aesthetics. for way only complete to serve modern could made criti be criticism of practical piece assumes the As its first principle cal theory. system imaginative literature end. of The literary to be an imitation of nature is found each key to this approach into species, works effect it is to arouse. the in a work as its having pleasure in its scholastic division is defined may pity if we by discover the in

of which

peculiar ductively

Thus, of arousing intention

and

fear, we

MURRAY know we are

KRIEGER

39

comedy punitive so And

if amusement with without dealing pain, tragedy; or the if serious comic revenge, (or "lout-comic"); on other factors. (or the "rogue-comic") depending on into other it goes All aside from poetry species. effect certain into lyrics combinations of and character. action, passion, of elements the reader allow

epic and dramatic is classified as lyric and divided according to

the Since intended only this peculiar these effect, and the comic, depending the kinds of actions are more of the

be grouped into the serious types may on the stature of the characters and they are involved. It But these

in which than merely

divisions termination that are

enables order

criticism

species, to begin.

ones. descriptive to the effect according The basic criteria And since Aristotle

is the de

to be aroused, for all beauty

and magnitude.

is comprised within proper magnitude of to the law sequence events, according a will admit of from bad fortune necessity, change the from good criterion. Now fortune bad," this probability to probability is not to be a more becomes taken

that "the

says of drama such limits, that of probability or to good, or a principal in any simple

sense; that is, it is not simply to be referred

rather artistic the on possibility. But, to is be considered probability in his own terms. In is mere

to life.

This

sophisticated level, in the universe created by plot, form The of concurrent

author, of

an effective

with probability and yet always consistent with

element vices more come in the surprise, which may as reversal or of intention discovery. effective of these involves a result which

it should be the
such de and of former

what the actor intended and which

is the opposite

is brought about only by his

is a concept which Here is close to Mr. trying for its opposite. Brooks's that it is founded on structure rather than irony, except Since is the criterion all parts language. probability by which are to be judged, of the work then the examination of the sets of probabilities, in terms of the final long and short-range, effect, is key to the determination of the species of any work and the

40 of

CREATIVE its value as an

CRITICISM This of that species. example since the audience is considered involves no personal reference

judgment

is completely proach and the universal the author. The Although haustive

textual, intention

ap as to

to Aristotle's adheres system consistently in the Poetics Aristotle does not explicitly analysis of the aspects of reality, his modern

four use

causes. this ex

interpre

ters have introduced it into his definition of tragedy. The most important aspect of intended effect is the final cause, while the
of imitation object tion (our modern or medium means is the material "point-of-view") of imitation the manner of imita cause, the efficient cause, and the cause. the formal The object

of imitation is of the greatest

effect; it is an action poetry, final and we are always involving be character

importance in determining
to assume certain

the

in lyric that, except of characters which types

is being

imitated and which

arouses the intended effect.

or thought fashion. to be as well It so

In

it may lyric poetry are but these treated eration sorbed any work. which in the The has

in an analogous the system forced of the of manner

as action, is this consid ab of the has and

completely

structure

problem of a work with the appraisal to include to omit, chosen and what to the audience. what merely reported language in all of

or the progression or point-of-view enters of what the author question incidents what are to have shown Problems

of the "means,"

as course, literature, slighted are merely to conform which to the structural secondary matters for the discoveries. diction is not But, except required fitness, an important factor in our appreciation made and judgment. somewhat There first may demands it out seem from from to be each something a work circular in a system emotional which

searches work by

the work's

to this its conformity have read into may very well to that of logical validity blem

peculiar effect, and then judges the structure, the which critic effect, systematic it. But the pro beyond looking of aesthetic adequacy, we see

MURRAY that the is a purely on the emphasis that as well the

KRIEGER structural or of a the formalistic one in

41 its

system

restricted

relation of

in its insistence is the duct. sufficient

arousal

to the whole, parts kind of pleasure peculiar cause of a literary feel the pro

as the necessary

from theory proceeding new Mr. like in critics lenge narrows the universe ment, that of The only. language as far as Mr. Crane that

such principles Brooks. Mr. of discourse inadequacy of of

must

chal

Crane, the new this

in his

argu critics to "mo

reductive

nism," we consider at that, of

proves with language the differentiae an extreme

too

is concerned, obvious when becomes is the and least language only one, important in He the four causes inhering literary production. concern that this for comfort exclusive conclusively the similarities but first, only indicate, various of kinds and among poems, secondly ad absurdum) reductio the similarities but only between poetry concern with and other forms of can not (in not

the differentiae Thus Mr.

discourse.

linguistic of these on

on a purely irony and paradox to his with deal only level forces "readings" examples to rest in various his forces critical works, judgments Brooks's use of this discovered by Mr. the see Crane ironic be raised complexity. to others of the

or lesser the greater could Similar objections critics. assuming ruthless the Even

new

truth we

of can

fine

distinctions

in Mr.

Crane's

in Mr. analysis, insights cannot which Brooks's scholastic It exactitude offer. technique accuses Mr. to note that Mr. Crane is interesting of Brooks certain the peculiarly Mr. kinds Crane of poetic would in poetry find the because he does not con

missing

cern himself with

genres. different the effect vulnerable he is so

the differentiae

between

poetry
in

and other
terms of of is in terms also who poetic,

differentiae

characters, actions, to be aroused. But really to the charge of missing to a major poetic

probabilities, it isMr. Crane the peculiarly

since with

indifferent

property?language,

42 its and

CREATIVE connotative

CRITICISM values. in his intense

ambiguous Mr.

Thus, as has Mr. other an new

dealings
extended

on the verbal level with

Brooks's Mr.

literary works

(and I have
Brooks critics him certainly in weakness

self, beyond poetry) seem at least to have Mr. Crane's the

methodology, and Brooks supplemented approach. contribution

important certain

architectural second

With come,

I believe,

major to an even more

of

new

critics we of the

on the verbal Mr. Brooks basic dispute. a simple "moral," level to define not merely but rather a highly one that is essentially and paradoxical untrans theme, complex nuances the context of the work. latable outside verbal The allow ambiguities the Aristotelians again Modern Philology Warren's and him are there to come opposed. a to these In review conclusions. the same of Robert Here issue of

important can use his discoveries

formulation

appears We essay on The Rime of the Ancient Mariner. a bit far-fetched admit that Mr. Warren's is interpretation answers in its search for symbols. Elder Olson arbitrary claim that it is absurd to assert that a poem theme: We

Penn may and Mr. has no

Warren's

on the contrary, indeed worry about whether, it may to conceive a theme is not an absurdity of a poem as having a or have The words the meaning. they mean meaning;

. . . Such from meaning? interpretation springs a very and wholly arid grammatical apparatus we are affected of how powerfully question by . . . fortunes. cle of human Mr. Olson

poem; but why

should the poem

itself have any further

the use blinks the of the

specta

are too insensi goes on to imply that only those who on as a the presence insist tive to enjoy the "poem poem" would as does Eliseo But we may wonder, theme. of a philosophical can be "imitative" and yet mean itself. how a work only Vivas, that Mr. is be admitted Olson's it must Of course complaint often quite valid. He states elsewhere in this passage,

MURRAY these "meanings Moreover, very thing trivial, prosaic, in darkness, that man walks alone, The Ancient revenges are so simply Mariner itself. imagination When themes

KRIEGER of

43

are at best some poems" means and obvious: Oedipus that man Hamlet is utterly that life is one and that the

stated

ions, philosophical generalities as artistic analysis. little value Brooks's perience. be used eral be will The is an xQeed for

rarified abstract they become taken out of context, and are of But neither do they in explaining in that satisfy Mr. ex poetic it is not to some theme gen

Certainly as reflecting in any simple Platonic conception But we shall see later how symbolism and idea. in an still infinitely to mean the poem of Mr. fruitful one. Crane Their more complex itself. and his fashion,

ambiguity complex the poem means

itself

considered permit

may one which

methodology

extremely and structure clarifies much of action, brilliantly progression, the author is saying, what the objective of establishes hierarchy to his characters; in short, it shows what be given the values mechanism tistically. and But completely our in its the for of real greatness adequate accounting literary to the writings Is it not analogous of the formal masterpieces? we see everything in the plastic istic critics arts, where except the peculiar of the work for us? greatness Although explained are all works all great works this critical method, should satisfy Pride it necessarily and Prejudice which great works? satisfy as as in be its efficient intended you please may arousing effect, can show us its in criterion which but is there not some other even those of the same species? to certain other works, feriority mean to raise any argument here for the tragic (For I do not not In there other another is words, aspect aside from vision.) the formal, the pleasure-arousing aspect, which must be equally make the literary technique product is this purely formalistic approach work ar

we followers, incisive consideration

find, of

considered as a resident quality within

the work? The

final

44

CREATIVE

CRITICISM

value of the work would

ing the connection of art sophic complexes of pure art, while And it is in this connection sights, The we have seen of

seem to show itself fully

in illuminat

to life, in establishing certain philo as we break into the artificial realm ideas, as we can. as much its integrity maintaining that, aside the worth of many feature from new of art their critics (and linguistic to reside. here in

principal it deals

differentiating

as else

where
that

I am indebted to the terminology

of Eliseo

Vivas)

is

and continually with the primary level of solely to cannot This is that the artist allow himself say experience. or abstraction of any generalization (the experience rightful or scientist), con function of the philosopher but rather must cern himself with his an organization plexity, and paradoxes inherent organization which must in man's of experience lose none of condition. If in all its com the ambiguities this

sets imaginative is the point which experience other forms it not be said that the peculiar of discourse, may of literature function is located in the intuitive of the grasp of that its is in the value found existence; particulars peculiar meaningful organization realm. of the relationships with which it deals?

of integrity literature off from

It would
lies in this

seem that Melville's

artistic intention inMoby

Dick

It may be true that he wants to stir us in a a certain of arrangement given by incident, character, to expose and diction; but above this is a desire certain problems terms but only which he can see not in abstract in the individu manner ality of that with very their arrangement. concern for In the writings paradox, to a be of some tension, new we one them

critics, ran sense to-one have

this

refusal formula. into more

ambiguity, to reduce literature perhaps and "conclusive," because their of of lack It may

thematic

simplistic, that some of

strayed discoveries allegorical an acceptance which implies of their term, and because from which their criticism

thereby

symbolism of a clearly Certainly,

emphasis as a purely defined

less valuable, on diction, linguistic aesthetics contribu

arises.

in their

MURRAY tions clear to critical that action

KRIEGER seem share to have the made

45 it

theory and

the Aristotelians character must

spotlight

with

diction in any formal analysis; and if we extend their principles,

it should defined meaning. of aesthetic As far as question theory has been raised. their critical them to go, the Aristotelians show theory permits to com themselves A be naturalists. ordered clearly peculiarly of imitated characters in action acts therapeutically, bination in The the framework emotional of certain only oversimplified psychology, The artist is combiner response. task. Since at least early alive an a to produce and arranger nineteenth-cen clear that action and character equally (and these count as much than diction) in any search for by more be

in his medicinal

tury German
theory theory of the the

philosophy,

from which Coleridge

there the has been in the nature artist creative has made

borrowed his
aesthetic adds to process available qualifiers

imagination, that concept new

in some

something entirely him. This something,

to what less

transcendental

modern

have added, is discovered by the artist in his struggle with his medium. What is the nature of this addition? It should be noted that the aesthetic tradition from Schelling to Croce is based on the philosophical concept of intuitional
immanence. This theory of knowledge is symbolic at its roots, it

since it demands
must be studied may is a symbol all particular the particular be neglected the ideal be sential can

that the superficial only can be studied and

in order that the essence of which profoundly reveal itself. here is the neo-Platonic Involved

unity of the divine

idea which

lies as an essence enfolded

which it manifests and the former the is not

by
to can es

phenomena, through are one, and universal for the latter, since only intuited. the essential opposed Paradoxically, be attained. to the Platonic thing

itself. Thus sensuous the

through only This by

avoiding

is completely greater

philosophic dualism which idea. The

tradition allows aesthetic a

independence

between

and

46 concomitants define creative the of nature

CREATIVE such of an

CRITICISM

should be obvious. epistemology or discovery the artist's addition

They in the

which of the particular process. By an organization he somehow all its discrete and intricacies, preserves shadings an essential creates which lies within immanently significance the object. the work it means is still, these Yet the discovery itself. else it Yet and creation are the artist's. Lit

erary criticism on this level should satisfy Elder Olson

means in the very act something For itself. as well, is only significant although in this particular relationships, of meaning this something that

since
itself else with

particular may criticism

sets of be

context, the indwell

ing meaning A

based

at least a symbolic a far broader and more is now tainly often times the the current. The

imparted. on such and proceeding assumptions would of this epistemology acceptance of

from imply than

symbolism profound conception cer interest of such a criticism primary center not in the search would for simple, and exact, sometimes in the text and some arbitrary representations, on into it. it would read Rather dwell over-ingeniously in the arrangement of the action, as well as in the individually

complex

seen of meanings of character, development

symbolic objects.
in the narrow

Thus, while

the literature which

is symbolic

sense may on the be limited by and dependent it may very well of the author, be that all age and the intention is in the literature that broader sense; great is, all symbolic in literature discovers its essential great something organization of the of experience. complex of art in his discussions Conrad of aesthetic sees this universal pro

perty

problems,

particularly

in his famous preface to The Nigger

really many symbol discussion. part aestheticians and of the tradition in this described tradition

of the Narcissus.
above. have Significantly differentiated famous

He
enough, between

is

allegory.

I believe

Croce's

statement

on

the subject should show the pertinence of the distinction to this

MURRAY

KRIEGER

47

Now, if the symbol be conceived as inseparable from the artistic intuition, it is a synonym for the intuition itself,
which is no double There has an ideal character. always to art, but one only; be in art all is symbolical, bottom as sep cause all is ideal. But if the symbol be conceived can be on one side, and on the other the symbol arable?if

the thing symbolized, we

error: the concept,

fall back again into the intel

of exposition or art aping

lectualist an abstract
science.8

is the so-called symbol an allegory, it is science,

Is ence

this not on

conceived the

really the primary idea? The can be with

a comparison level and first reduced

between the mere

the insight dramatization

constitutes at last

true artistic to a rhetorical

experi of a pre while discovery, argument abstract by and each but

into

second

example,

a one-to-one may

Each particular. have its intended only It is true the former

relationship in its own way, executed be superbly indeed each may be a great work; effect, is great as imaginative literature. of the writers in this tradition have

between

that many

dealt

too completely with

too And this this level discover itself.

the highly

evasive

level of

intuition and

and important the exacting aspect of technique. slightly with one of the great of the new contributions critics is just concern concern of such with with complexities an extension in the of literary medium. on the the findings Coupling structural

formalists

systematically In this manner

as the Aristotelians, a work what really

we may very well means in meaning

could become gory ber the all-inclusive must a embrace.

a pair of terms like symbolism and alle we remem criteria for judgment, provided nature the ambiguities it of the former, of such possibilities of Melville and analysis American Renaissance fittingly But
by Douglas

treatment

one can Actually, in F. O. Matthiessen's

see

some

Hawthorne entitled

in the chapter of The and Symbolism." "Allegory

Croce; translated

here
Ainslie;

there
London:

is some
Macmillan,

* Aesthetic, by Benedetto 1922, p. 34.

48 lack of a well-defined,
ture.

CREATIVE

CRITICISM use of these terms and little

systematic

indication of their usefulness

Both their Mr. Brooks we and Mr.

in less obviously
Crane

symbolic litera

systems. Yet each of them, whether ing or Brooks the peculiarly pleasurable discussion artistry. however, relevant for of the their to the one Once trait

can see

for claim pure induction a the priori assumptions underly it be the paradox and irony of Mr. effect of Mr. Crane. It is

obvious and inevitable that they should narrow their field of

to be universal to literary they believe their universe established of discourse, having reach conclusions do the reading and inductively universe theory for wherever over-ingenuity avoiding In the possible. completeness recourse to over-in the work without discourse, of

they to that sake of

accounting

genuity lies the proof of their adequacy. If my analysis of these critical positions is valid, the distinc
tion drawn by Mr. Trowbridge, one. is a non-existent line His separating inductive. as to render from He his the Platonic These futile in the article of division or dialectical referred would cut from to above, through the Aris are His so

all

criticism, or totelian

methodologies any attempt

divergent error stems ian position.

supposedly at reconciliation. of

exposition incomplete asserts that all criticism

the neo-Aristotel which sets

is Platonic

forth an a priori ideal toward which all poetry must strive (e.g.
imagination, to cording deals relation and then paradox, tension) judges to the ideal. its approximation Thus as poem but rather with not with the poem extra-poetic conception. criticism is to be purely inductive, to other fields of discourse. properties rather than art. the similarities of To Mr. to an On the the work this the other ac criticism poem hand, all non with in

Aristotelian

poetic the differentiae all forms

assigning It is to deal

literary distinguished only by its formal to the whole. lation of the parts

and among poems is this criticism Trowbridge re of the orderly investigation He thoroughly neglects the

MURRAY

KRIEGER

49

all-important aspect of final effect, toward which the formal properties are directed and in which the problem of species is
resolved. we tion have that Thus, observed the end while as is as highly formalistic system it to be, it still rests on the primary assump since the arousal of of art is pleasure. And the is the key to judgment, adherence of literature in Mr. sees a then to an this system

this peculiar also depends

pleasure on the

extra-poetic

it also must be placed ideal; Mr. Ransom the dialectical. companion qualified "Sailing poetic article use to Mr.

of category Trowbridge's similar in his confusion He observes Olson's rejection of the un

Trowbridge's. paraphrase coupled He asks, going with in Mr. a

of logical to Byzantium" "commonplaces." is Mr. Olson

of analysis all extra

How

to determine

the

zation

of "Sailing to Byzantium" without applying the commonplaces of logic? And if he applies the logical com
he does?what is the objection to the moral

logical

organi

monplaces?as ones? Like other critical once

procedures,

the one bounds

I have have

indicated been

moves

inductively restricting or his letters to the author It is not by going that we can de he began with termine whether the idea or with the particular. a process creation is too complex for him to be fully Obviously or for us to discover aware of his intention it psychologically. answer The lies in the text, and by proceeding as structurally well we can search it out. much linguistically Unfortunately, as I should like to demonstrate such an approach, any detailed not is here. But the of ex application possible unique integrity seen in the moral or in the conflict of a Conrad novel perience image of a Donne lyric reflects itself, much of what a I mean. remains particular to the abstract leap meanings never as

the

established.

dissected The able

always realm,

transcendent

although within immanently

allowing it contains itself.

justifi a range of is sym 4

This

50 bolism. cess us

CREATIVE as a basis

CRITICISM for is the ability author's suc

Important in being true the level or

on

to experience; of his reality

judgment that is, his cannot

that we

so to satisfy him with charge scheme can il

distorting of meaning. luminate

rarifying

it to conform

the particular, Only the essence within it.

to a prearranged in the round, caught failure to achieve of or part

The

sym

that is, our relegation of bolism, occurs when to allegory, thinness

the work or duality

the work

in any of appears its technical the meaning of the symbolic work, aspects. Clearly, to the its set of values, is not to be judged, since faithfulness assures validity of experience of insight. complexities seem to be revealed The of this approach would in adequacy two I have discussed. its absorption of the other It systemat to the insights izes and gives of a Brooks proper perspective

as contextual On tion of the other of

are made ambiguities since the work hand, on the primary count

roots of symbolism. the very as an organiza is considered the structural level, Even the formal need everything so much since probings determi we of can the

experience the Aristotelians of species about

nation ascertain

heavily. We be helpful. may the technical intention, from I have

meaning the Yet

is derived

theory its search for unified Criticism on

the orderly and efficient arrangement. as well these advanced goes beyond creative. of a work For

in

this

level

meaning. can become and

truly

the

critic's

function

in the analysis

judgment For

broadly it is true

symbolic involves his exposition of its highly

anterior it is a procedure that such a literary work to philosophy. is essentially

complex insights;
while translatability,

beyond

still much
ambiguities philosophical remind

illuminating material
and

can be set forth as long as the

may

to qualify remain of context every complexities on comment. individual level This the procedure one of the peculiar of art and philoso combination

phy which
gaard and

is found
certain

in the subjective discernments

of Kierke

Existentialists.

MURRAY

KRIEGER

51

The

aesthetics which underlies

borrowed from

the approach I have outlined

the tradition discussed above.

is in large measure

I have into account the artist's medium, However, by taking this tradition in a formal tried to ground analysis sufficiently so as so was the that what of dismissed rigorous, insights easily as now with criticism" would work be reckoned "metaphysical able some instruments fine or for craftsmen practical or some to criticism. It may novelists be that argued will of ideas

important in such a frame inferior relegated positions that much work. In any case, I suggest has been gained if a as more than considered dem while art, being philosophical has been rescued and raised from the sole function onstration, a moment's in of ornamenting the life of leisure, pleasurably, be omitted its beholder.