CO

.
1/64
ANDHRA SAHITYA VIMARSA ANGlA PRABHAVAMU -

(Influence of English on Telugu literary criticism.)

By Dr. G. V. SUBRAHMANYAM.

90

: &o&& 0^5*08,
14-1-1963

1,200

!) o-as>

sfs"

jejJ

? a~
-5OOOQ '

30/-
 ori>oi3.

coa fl*(5ff 5j-^Tc(5oQ

90
[.5^3
oO

8000

800 100

esotftforfean-
. n5

14
 250

"

(6-tfrfOflofl.
{6025^0*0
s

9* tf
 hi

CPU S. 3.

.
(Jo3JOoei)b^ CPU S.

14-1-1983
 . Si

ScrgCoco

& iSofl

) "We must
decide what is useful to us and what is not; and it is

quite likely that we are not competent to decide.

But, it is fairly certain, that 'interpretation' is only

legitimate when it is not iaterpretadon. at all, but
merely putting the reader in possession of facts

which he would otherwise have missed. 1 have had

some experience of Extension lecturing, and I have
found oaly two ways of leading any pupils to like
anything with the right liking : to present them with
a selection of the simple kind of facts about a work-
its conditions, its setting, its genesis - or else to

spring the work on them iR such a way that they

were not prepared to be prejudiced against it." 1

1. Eliot, T. S., Selected Prose - P. 19,

 esdxi

KJ-

5-53-0.

fro^orv
 l>g&o KaAo<3. wctf [jS

?
v
i SJB'EO" ?6QoO 2)0(35*
v_

Sow

F
:

BIOS* ^tftf^A. n-SB 51 f5 E8o,

e
53 S3ei?S3,

Sex^ff*

Gj

es 53-8

T*n 1.
 a ^o^-^-^cJ1 wo<^
)

S)osctoofi.

.
a-S,

3S)c6fib
 10

si

CD

S'53'0. 5 so oo'S) ssctf

faS).

t^Sj
^^ dxo'f S5?<K ^

,
53- fl *^

cJfa/^6'
 11

"The Mirrorfthe Lamp" ^ 69^

irt'o^o
[op^fS M. H. Abrams SCPCP

Sf^-Si
o .S^S' ^<^o ^oJ?"iajiib.
[jSes^W
"The book deals, for the most part, with the original
and enduring critics of the time, rather than with
the run-of-the-mill reviewers who often had a more
immediate, though short-lived influence on the gene-
ral reading public" 2 .
Sjto^ioiS \

Aotnofl.
wS^Sff o>sSo, 1^(8080,
D

8
. es ^opiib o's'o laS^T'SPuff eiS'S 2l3(^Sj^ iSJB'SSo g'o'S

fotf JLtf ^QcJ^orv esS Q^

2. Preface, 'The Mirror of the lamp*. P.I,

 12

. o*a>"3&,
1
o
eB.S. Sicr-^), Si. KJ-treaoeaBfl. a6" 25. fttftf^o,

ixo&Sb ?Sd!)oO?6 S'

tftfss- n?60^o5< tf^flrSp, w

S&tf

^Fe*oFoSii D^OoB, Dtpo S'o2S>2?ls)f*

 18

"The method of literary criticism is to secure

the maximum general agreement for evaluation by

starting with something demonstrable - the surface

of .the work and through practical criticism to proc-
eed inwards to a deeper and wider kind of criticism
commanding assent (or giving
an opening for disag-
reement and discrestion) at every step,"

'maximum general agreement', 'evaluation', 'starting

.with something demonstrable

1

&3 $x*&> key-notes &

dfitr^eo
,tf
[_l3tfE

.53DotD Cia tto-dSj'^S 'j&ftoSj s-&,

ej-aa i>
ac)

rso|)o'jo l
w^iT S woiqs'&sj'tfoff' a'Sbocr
1

& we

e5odr>6o.

3. 3jd&) Integrity in critcism (Essay) by'Seymour Betsky,-

:

F. R. Leavis - Some aspects of his work. Ed. C. D.

Narasimhaiah, Mysore (1963).
 fctfo
5)

CO

esti'o

L.

. iofidbeo

2, ss*

14-1.1988 ^. o).
1.
a&j^ a3jfo . 1

11

3. c&urr*e - o^n'ew 28

86.,

42.,

62

71.,

-l 14, '
B

1
5^06" 1^5"- 121.

i^S- 40,
 16

161, j

5, 5?psw - se&iew 159

SSfio-oa-214, ^
9*0^0-218, d. 2. fc.
^cp4-222,
225, 6".i^. cSiosed&rf
(6otftf^o-228,
.259,

Soodi) 6 -

- 270,

6. 3efte - ^aS"ew 281

fttfsrtf
65^0*^-282, od8oJ5*oo
Ija^^a
292, ,

7. ca - ajTVew 302
eJQe- 303,

o
325
8.

(INDEX)
 "Criticism is the last reward of consummate
scholarship. It is harder to be a critic than to be a poet.
At twenty one can afford to be a poet but it is only at
1
forty one can achieve criticism"

Abercrombie

ST'lb,

s-3a;
 wo
o

3_flo*3t)
 S o cX) S J o ,

s
^T tio3B );

3~5

^o rr-S), ^I

COOT? 1
 ao^J

a&chT
o3
^Sdfibeo ^S

&B

gt^Cbo^olb S'^^s^iSdipij o

^57^ ^JjS J^ >3 ^

eftfeftf otfolb Tej ID! 3
 "300003; S

1i raftS*

s-S.

B
, f3&>ig'dortotr !0
 n-0

9' ^^yg'^iS ^co^b>0i5. 65 a

S'S.esfi

^6377^5"
"li

. i3(3jB E3J6o "Soda

s
cor? &"

"Soiip S^bO" ^t) ts&lo^Sb

(jScSprveo

On
aoitf

s
J3ooas!r d5r>033.

"2>

"SbSiS
 ^J6
J6sSg,

0>'.Q*

d^CS"

"500^63

^ftofi.

"3&e
 erso_3_&*:5too3tf
a' 3 3
>
"

n* IDSSoS.

. Sod32

-e "SDccooO ycJSr*

TodS SSSiraiS
e^go .
(jj^g'dxS)S SOLES' SDea
(*o5oCT<bo sSy^Ss-a^Eso . a ScoSioSir 1

a Coo^eSb
.

f^
aotf
2
10

*i$:$tfireS'oSb

"There can sfeldom have been a greater need than now

of a critic of authority for the arts are at sixes and sevens .....
The great critic should have a sympathy as wide as his
knowledge -is universal" 1 *
 "As for critics, they feel more at ease If influ-

Bnce- studies can be conducted in a positive spirit in the

hope of assessing the borrower's originality in 'diverging'

from his source" 1
K, K. Ruthven

s.S'S

3'gofflgo.
i^e^eo ^^eji^eaoJiiot) ^"fb lao'Sb^a). o
^g 3
. tsS oJxiS S^rv.
12

5?d3 Oao^oSb

f 4.

8,3'
^_53 5
sSg

.
od&os'Oa,.

80'

.
-eg
IjS
5? a ^>^ s & o eg r*
 a- $3-o 3 ^o^af^tfO 3^0

i^di)on
ci
doioaoa. &<S

SodoSboQ. m^eas

S'^gwofig" sJifsr-ofiSa, EJ ^S ^o^^pCo U

^"o
Sjb
S^o^ef^gS&o 6'o^fi. [

. -S'S; ^e-S'o S^sr ^ofiaXaiJ 60$.

 wo^tf

|jS5';So'32)cS

43.

3-0 of*
 IS

"Scotfto

SB .

5? 53" w So rrfc, ^jS^oSb r\"?i

 erajj?

".

a.3

(KSfottF

aoaa
 17

fia^o-lb

-^6 o^ tftfoMtf 0*11 e^. S>.

"

?jiie
31
a ^. esfi
'

g'C'eso pfia;

3
18
ao^tf

-^dfs'^o

8.SS)
Stfsiifcy,

S" cSiort'oS^ u

r^lb. e.siS^ 5'^ 0<a o fv>

Sod S'g'oSr ^"lxofiSai^srO. tsS Otj'ax)5'sb

IOrSoi3B t>.

"0^

if & e> So
 1' 19
(^053* JS^ETSO

rSja-v 3 s oar* a

Atfg&$oo udSp StfJSofl*

-1 G

^67- U

a
20

1
a logoff

do(gr'
^Creative
misunderstanding) tsot^fib. J935 ^otfoS^ "336
^Valery)

Breton)

oe31'o5

s}fl

^ S3 1
77 &< coo o a dioo <*:&).
go

nS) Sa^^rO'o 3fi

 21

Q
aCj>oO, tfDBBo js^tftfo^a ef

db. S)er= ratftftoo

i3g
Sou

Sr-cr ^^j'^S' S^> C5-i5'cxuS'o

fctfoootfcn

60^
 sag

3-

^65*S5ofir
t^SSo ?JC?Oe31 )SJl , COT8 r? G Sj*
jjS
' 1 /
<
Z$^r
AocrO.

esoS'o

e^;

'
2.

, cr JO

"S)oeSio

3.

.22
 4.
'iofiTJl^tftf tfs-g _

d2r*tf Sfca S>

Oii'^co

(1848-1919) tortS&S w&tt

aes-^b ^

5.
(ioiSbcars-a

es IS SS 5j-
;j _5

Qoiotflb,

CXOCP-

0*11

. -Ss
24

"^flb 3 da

, KS-fc^d&S"

16 Is

sjto "-6 "a^sxorS ^n'^j-'e' S^C" Scr Q-C3'sio3

>

)
 25
eJ

oi ii u j Jo" ?5 ^io oS^ (3 A^ 2^ 60 \5b (6 \ 3 . s Ji) ^3 C \ c5 o

,.27

tso a- ^Sbocr tf&aoa S'di). esfi

c" ^
3 d3b o So
(K5r>o&, S'A^S^oiT Bcoi'u
1

(jS [

a*

. a s5S"^o 53-433

11 lei' oS

4
26

ofi

2S6'ip)o

ao S^fin'^'asitfSb SCPO-

. c-^o ^^J6 ^dt -So

S3-&S S^^ SO^, w CT o<J* S3 sr esn-o^^p

Eas-IQ5
&oa. H'eog, |jSqsS^aioSS3bot)

2^:3*

To
tflto

23-53^3
 27

ef?5 ^

"A must not only begin but actually stay 'in

critic

medias res' he is convinced that what books are made

if

into is more important than what they are made out of and
the good books are those which outgrow the works they
28
grow out of".

Harold chernis.
3

"Any history of any subject has to begin somewhere-

a matter perhaps of some embarrassment. Where it begins
will be determined not only by the availability of certain
documents but the views of the author concerning the real
nature of his subject/' 1

William K. Wimsatt Jr. and cleanth Brooks.

oBbaS' SS'S^^r? 3e?oo

Sf
 29

>
=';
EJ

"Scofi'S
(*-^

"Soo^"

d'fl i
 wo(j$

w3-l. Legislative criticism 2. Theore-

tical criticism 3. Descriptive criticism.-^
, 2. ^Silias^oJ5 3.

JSoesoaoaoa.

B-0.

. wtftf6ld6S6
 31

tfeT^OSfg

S^Cotftoo
rr-S S

), srdlbtf

-S's

"Sdito

S52r>oii'430 ^sSb^i'

of applied
(Emergence criticism)

r P <"* g r 3 o
oto
6 o 5 dio o efSbCa SitS
32

I7b0

'0"t>, a d&ortocf* SS^CJ SdJS) S'fio. "SeoffcS^S

^olb, s*sSg&Dr>o JS^a

 33

S'S&co

t)o

ej iSajS

S'Soocr

cSj" r? exi
(j5

1
*
o Poors' fib. 5?3

a ST'Iio o S^ S5bo o TV ^Abfi. n->

34

"isoft;^ eg

"Sodo

"SaadS"

-iSo&e&rreb

S&fc,
 35

"So^cdb,
D iJ^iifiboo, Siooo^D

Textual criticism <a o <*T fib .

.0. Sb. 5". t) 3'CbST'^' aoSjofie^ 3otf(5^" t)

. eaciioS

(Biographical criticism)
e;^) 3"ltiOv),

^_ Ijaqr'^

:^ (Historical
method of
criticism)

"B
aJ
(Comparative criticism). r S'5r j

s'^go ^"^S'g i^^j'ra'a^o Sd

S^S^^uo/r sSSSs^oa- SaS S^o
(Judicial criticism), ej^eai ^os^oS^
3"<floE)<5J5
 ^0 ^^eTga^oC'^ Dyj Sera)

2. 3.
U$s^_fi, 33^"^SS^sJ-.
4. epfieS^ a&5 tfSio, 5.

S^3, i3

Sera-

e>oaovi?S
crn S'to^boO

of evaluative
criticism)

, srfib

fill)

. a
 37

i!j?oo

-oo

unit V of P' ot
(^Imagination ( )

"ScodS a* "3 cocoes* cos.

e; ^ es J7 3^ Oc en

SS o ~ o fl o tj'fc o

ao
1

Impressionistic
;riticism

Aocrofe "t
 ax>o''&&*

Sco^Seo

SOAJS

rfcoa. s-a,

(Anatole France)

""(The
adventures of a soul among masterpieces) r

so. i /
 'Practical criti-

cism'.
(Objective method)

17
. Cox and Dysen gj*bv5* "(Practical criticism)
is an opening up of the poem for what it can really be
for us: a unique and fascinating experience, carefully

wrought by its maker, and fully available only to those

with the patience, as well as the sensibility, to recreate.

It makes our pleasure more articulate and therefore

more meaningful. Emotion is enriched and extended

by the exercise of thought."
5
ojj*
ejclgoef ^"AoS; 3tobou)57'd

&l55oa StfjjeslbStf
^^0
Practical criticism Sb

oa 3~- eo rs ts> ^er-

ED
 SgoBS-eon"

gto&oOS75

400-0.
iotSirg

'"30^ ^IbcS

aoo/6
 tftf^en "Beofib

Sir-tfo, aff'e^tfsfr'Cfo Sir'O'd'C'.jT'S ^003.

r> J r* r> o o
"BcortS"'

a.
-
tsoii^o^ aa BOOST'S' "Bto

^Sbocr.
42

KT c3b So to rt-

<*o_5oO.

rS
, 5P<3 ^^n-eon',

- Jjo
 43

s
. "5'orp'><5'

. tsfi3

O, aitf ^^^ a^SxoO^ Sefgo

wooociSo??' ^^"3
. a
44

es&lo crews'

o^go.gea,

01/0(5*

wfib
<3fc) TV to -COT1 77 CO 45

niii

5- 5

Sofi^S fc

Scr-iEao.
^ 5 ETC
O
^-p
^"*

5orJo,

^Linguistics") i^St^r^ ^sS-^ScXJbeip.

"SciJS ^S
 57?

.s-tftoo sSoT

AotfA-.
 4 I

w*go*
503-

. ^^93-,

89 a rfsr^ s >7 ^o
a^ss -^^,3030^003.

B-S>

-43
-0^

Scr-cr.

. s-a

odac>^'a3(& a
43

0-3S

sjr$o,>a sSJs^a.
"31)35

esoftD

"BDd&Sbocr
Q

. ts43a

j>

SCT-CF

w^oiT O'os'co
S'C'eao ^'S
 oorTT'eo 49

. S'ejftpS'

t9cS"(53

r<
ej<S 3^^(53.

i'* So o cr
(3^^ .
SjS

Ph.D., fli
>-
Aco

^0(1400^^3
. -Si

"I am thinking of unfortunate scholars in foreign uni-

versities who cannot hold down their jobs unless they repea-

tedly publish articles, each of which must say, seem to say,

something new about some literary work".
C. S. Lqyvis

"Very many of scores of theses produced each year at

the various universities of the world are totally pointless"

Aldus Huxley

"Most of these are written for the sake of the degree to

which they lead and not because the author has something
new he wants to say".
The Times
7
 50
tjo|j

''True scholarship is incommunicable, true scholars

rare"

E.M. Forster

"And this is one reason why, though the universities

be full- of men, they are often empty of learning"
Sir Thomas Browne

"It is an evil that these futi'e exercises should be

published. The real evil is that they .should r?e written at
all".

J. D. Baird

"A
thesis written to satify an academic requirement,
not to instruct the world of letters. The investigation need
not be published, of course, normally it should not be"
:
Bateson

"Ph. D., is one of the most conspicuous evils of

American universities' 7 "

Francis M. Kelly

"Ph. D., means casting idiotic

thoughts into ugly
sentences, acquiring bad-habits of writing and thinking,
masterfng a certain atrocious style characterized by insince-
rity, formalism and Prolixity in which the desiccated and
pretentious Ph.D., thesis written"

Forely Clinton

"Most modern scholarship is

Index-scholarship based
on a study of prefaces, indices, and reviews; superficiality is
its synonym"
E. C. C. P. P. 638.
 51

/"\o~i&

c \da o

"In matters of England is said to adopt what

aesthetics
France discards : America adopts what England discards; and
India adopts what even America discards and never
discards.
1
' "*
&&. ^'^S ~^- >3'^ ^3 sfrkco A^^oiyQ.

o)^;6 -fei^Soa JSos:- ^) fp'dSoiyC). "We are a mature nation

3T1
6

and the descendants of Panini and Anandavardhana need not

borrow of scholarship from nations of yesterday.
criteria

Scholarship slow-maturing and is not the magic mango

is
23
sapling that bears fruit in a few minutes."

esoS'o.
52

esosfo. 8,2"

"ico^^8

&s5o-j5
 rS
D
rao ^p^^go r
;r'&gej 3o&>T'to<5
6o^toto cfibd^otftoo
esfio-Sogc^
'

o^go-

iofl.

6
. 55 o "I, |$btf ^sSES'e^eo ij^esodT ^3-0 o

F3-(b^exr,

3
54

~2>i3

iyijrc.ov)
rveo
 dr t :

fT ei3 55

cm ^"3o 5oiSb; .Sfa<aC'i I

^5 tfsr'filS > F oS o&
11

^archetype)
Jv g ^3 S ea b)

S to ^Soxi'ii) -S's

2/J
(a)

>

n-a-j)?T

J3\S
oe)
SFotftfo tf 3
>
)6!d3;ioc^i ^Sia
Scfo&ao
r
ee^^crv ^ufi
n SSr-Ba^-^tfsSbB".
J cO (^-
\ 3U5)
/

3. "-- '

Materialistic Criticism)
(Dialectical
56

t> 306

fiftfrfff*

-e

D' a d& K? cS

, -e
cisio 77 o> - cor r? 03
1
57

to
806-307)

4. "-fes Srrr'JS SiitfjSs&itfSb SSooofiov) S&

?3*an'cki)E3CPS2)rT'Cb 5^

n-3

311-312)
58 oo

sj)to 3H-3I5)

Ss ^od'i

, s3 o

. S)69

^ i? Ob

"2005"

DotPif.

Q
^SB-IDS
 59

a ^d& 1

BJ Cii ft <> o a S^esoco

flexor? "Sep^Scflbtf^o .

oo. ST3

, .on-o^o
o

"1>^"S ^ogo."3of^C3'^oS 3

Siowgo. Siij^^tf^Oif*
ts^ 6o<S ej(5u

o .

'o ^06

635?^ a
n-!0 iOBtfp'Sio S to ^ if do. tsoi^^o^ T5d3

r? SSOoS;

a-SCb fi. 2.

8,^633
60 ts o i S

5oo&o>, 3" Co,

c 55 JSs 2r o 5
j^f

: 484 ;
485)

Ooatf

S{ k
S5 53_tfo^5
3

(Journalism) ^S
 "We shall certainly continue to read the best of its
kind, of what our time provides; but we must tirelessly
criticize it according to our own Principles, and not
merely according to the Principles admitted by the
writers and by the critics who discuss it in the Public
Press" 27
-- T. S. Eliot.
 "A theory of art will not be able to get along with-
out at least two key terms-to stand in partial opposition
to each other and to keep the theory from collapsing into

tautology or into literalism. At the same time it will

hardly be a theory at all unless it tries to bring these two

terms into a reconciled and necessary rela'ion, or to see
other. 1
"
each in and through the

William K. Wimsatt, Jr. &. Cleanth Brooks.

H 03 fc^ eb^s S e&"^i Hi

(J3_30;S
 G3

.
er.

i ;$3*fc>a>

s*fiji2>.

ef5^ix3 ^S. T'SgS^cSb SEpTC^co ^o tf o (J^

Sfr"
^j"\
o # S&)
sr-fi!^ SiO^"3Li^ De Poetica s5o43 o^ea
o o

oo

Sb S"boc(3

5
ears- ia rCdoO^^ fifla<3>.

Sjfl.

. tscoosr,

a. 575^

H co fib 53* fibb

G4

. S". .18s5

i ea3on *oa.

^ tf ^oeo^^ 3)$C!;5iS dSbon-O^The period

of Renaissance

criticism)

rThe Period of the literary criticism of the Restoration)

 65

of the Romantic criti-

re^?M SS5~ ^gS3oo
:
Period
(The
cX3boKo5* SaO'ey i5
10
e^J6 "Sld^esJ^ ).?'
cism). lr'6''gS)Sb^^

. t3X>o

o esSAoa.

. -S's
o__
.

u
1800-1825 s5D^ AB^OO/T ^AoS.

; 1901

tf^eo "3o&. (I) uSfi-^SSDg^a'd'olSJS^^

2.'

e-6'wooa:6 1832

S5083&

Stfotoo

eg
66

<y

sSbtfg
tfo&tfra )tf^3oa. 3*0,
a&tf

("Aristocracy)

(Idealist
Romantic approach).
5*0' el materialistic
(Positivist approach).
^Biographical critical method)

(Sainte-Beuve).
^jb;'& So Q S^8 1 o 7 Co .

sfa-g
atSbS^ oabef^so asFtfdfcorr SO^oa. Os-0
1890

(Helbrook Jackson) tsS^

- "The age favoured experiment and
adventure and it even looked unkindly upon the various
whims of the inquisitive, on the assumption doubtless
that discovery was often
the result of accident of design,
In this large tolerance the spirit of renaissance worked
through mind and imagination, inspiring artists with a new
 (37

confidence in themselves and courage to take risks. The

results were not always happy; but that does not make
the spirit in which the risks were taken less admirable;
for those who make great effort, contribute to life as
well those who achieve." 3 scSaoiv5- <3 Ob fan* is ?5<?5?s5o;

;
"33go, "S&tfgo
S3
5',)
^00) ^"

(Analytical criticism),
(Psychological criticism); ts>g_S Sjsi6'^ (Expressionistic
criticism); sfro^&i a^5^ (Marxist criticism); 3^ir$zS
asSoC^ (Naturalists* criticism); jj^^S'S^S )&B^ (Symboli-
sts' -j))CSb^
criticism); a&tf.j (Impressionistic criticism);
j_5E3 Ss3o5^ (
Textual 3 tfatf
criticism);

Ss3bi'^(Biographical criticism);

o|^s3o SSiiCi^Historical method of criticism);

(New-criticism); ^^go^ SS3aC>'^ (Practical criticism)

Uootf S J6 SSbC^T'w StSiD^o^' AOQ^^^CP^ SS

i.
^Af. od5",
16i5 V.

(16-5 tfirg ^o^gsr^o ^oO 17^

3
^l*^^ a&tf^ ^" - ^j^oag^ra 2&tf;dSrto
68 tJO|j

4. sar irlbgir
<vi
a&^d&tfo - MIsS
-a\
Vo-S)
o

o
- 1800-
.5.
g-crjSS SXSfctf^dStorto (.19*5 tfirg
.

^5'^tfo :

1825)

iJ) 45 ^ePS) ^255

O

7. W&Stf 3SS>5^cXio^o (20

&* sS To

(The age of Peri.

ci&o^oa'* Phidias, Polygnotus ,a'o3 ^r-

Aeschylus, Sophocles, Euripides, Aristophanes

'53.cseo'

Xenophanes; HeraciitOs ^"

 69

Co. 5"E, Theagenes, Anaxa

goras t^o?3;:*& SS&So^da
Q
"IbS"*
<**">
3 '331)1"
r"i
itfotfotf*
N-

1 '.
^T , 6i

I ^ ci5r c 1

'^ax).

for life's
("Art sake)

6
M Ib^T yd^T5 i^j-a^u^oi^ 'Theory of Ideas', 'Theory
n .
*~

of Imitation' \t:.

u r>3'i'ca5o ei SJD s'i 3 o n &*&&> Ci M3 o 13

-- o .

dSiQ^oij'4j-Jljfi ECI^OJ c? J^ es Ji. a t a J^>

odSbeo

^as o~>
70 ojj3

Laws) s sfrtoco rtfibSoitfftfSa "No Poet shall write any

Poem that conflict!! with accordance with the

what, in

public standard, is right and lawful, beautiful and good; nor

show his compositions to any private Individual until they
have been submitted to the appointed Judges in these
matters and to the guardians of the law, and been officially
6
approved". "3 3s'

oS

.
Sjp. 384

'The

Poetics'. tsfi tsJS^DrC'Sa?? eaodii5

r|
S^D oeS'.
1
"Spn-otf ix

n
S' 'ea
 71

(fear)

ucxipgooa. fisij^^ea SSbS^tfo

-^s
^^ (J.W.H Atkins)
-
!!*:.

"Aristotle's POETICS is a comprehensive treatment of

Poetry, it's nature and
revealing many of the first prin-
art,

ciples of literary theory and the canons of the dramatic art

and constituting, besides a valuable stud/ of critical method,
a mine of suggestive ideas and one of the few pieces of sys-
tematic criticism that have come down from the ancient
world" 9

cftotfo
Jntfg asfco'^J* tstfJj^" (Augustan Era)
. 31 &o<S U

'Epistles' ~do&
, "SoifsS

Sotf ^o& fitf Sw eoKT^ocD Epistles gb Art

Poetica
s'Ssr Ton-

"By at
72 yo^S

once delighting and teaching the reader, the poet who

mixes the sweet with the useful has everybody's approval"

fQuintilian) (|J.tf. 35-95)

INST1TUTIO ORATORIA i^grcS
W u
irofioS. l5~Ni
_ c 3 rJ

W
t>
^r 2'^c3'\
__o u 06
fbjo ccotr- sf)S-Ml;-"lt
ot-
may indeed be said that

a man's competence in critic'sm itself rrsy almost be mea-

sured by the estimate he holds of his remarkabFe book. It

is not precisely a work of genius : its intentions were too

strictly practical for that. But it is the work of a master of

his own craft, who to professional knowledge and practical

experience added unusual common sense, a sufficient dose of

originality, a saving sense of humour, acuteness, freedom

from any blinding or paralysing partiality, with at the same
time a sensible though not extravagant patriotism in regard to
10 -*&&
the literature of his own Country". ^Aso cT&S"

"Soca>owa &.

'200
 7r3

o Co

"On the Sublime"

qcr ^^fio^oa- "The work ^despite gaps)

is

one of the greatest of all critical acheivements. An illumi-

n uing dissertation on style, accompanied by many penetra-

ting Judgements, as well as suggestive pronouncements on
critical standards and principles, the treatise is unique in its

interpretation of classical spirit, its compelling enthusiasms,

its sanity, its freshness, and its unerring insight into the

essentials of art"

(Ecstasy)

w. e
n-S

6a

10 ,
"Style, for Longinus, is the life and blood, the very
spirit of a work and of the personality of its author. He
was the first to assert that style is the man- 13

<a3oo*&. "For him classicism was touched with

romance, but not darkened. His romanticism was sane
dicj'cwJ'tE- & i 3&&CQ 75

and bright by dint of contact with the classical order" 14

:? Si ft J^BJSS* uo. ^

(Dante Alighieri 1285-1321).

Aeneid,

e Vulgari

foquio. 50S sioA^S^ ^sir-i3> tfa"3o^ liflb . "of the Vulgar

i-i $ _ r>

Tongue- 'So- . of writing in the Vernacular.'

if

Saintsbury
"No ancient eritlc couldhave made such 6 suryey as lie
makes of the different languages of Europe; no ancient, critic
did make such survey of the dialects of Greek as he makes
of the dialects of Italian.- 15 e^bS* 'fl&tt
&gtf
C3-o~&.

Feltre
Uurentius Valla, Politian, Vergerius, Vjttormo da f

Guarino da Verona, Leonardo Bruni

7-6 wo|j$ ^

. Colet, Erasmus, Vives

Thomas Wilson, Sir John Cheke

Roger Ascham.
i$x>rtbo> t^S^JSor?
. a 0^5" O'OoOS *Art of Rhetoric'

(SDcSa^r*
s-sr'bfc.

Tudor critics
 77

(Stephen Gosson).
The School of Abuse' <a sS&'o^-Q
w^cSS;roSb

tfC, t^rScPu na.

1T

(1554-
.
'Apology for

Poetr

"So&errY .
Appologie for Poetries, The Defence
of Poesie

5D ex

Vates t9o"fii 'Prophet

seer' wS ^* Poiein
CD

maker' or 'creator' wto. si& sS

78

oS^ 'The Poet, lifted up with Ms vigour of his

own invention, doth grow, in effect, into another nature,

in making things either better than nature bringeth forth or
19
quite anew,, forms such as never were in nature/'

eo?T

(Heroic Poetry), Tfd&aD^po (Lyrical Poetry),

(Tragic, Poetry) a^if 53$ (Comic Poetry),
3<bcfi>
(Satiric Poetry), S"3^o (Pastoral Poetry)
^ss-uST'sj'A^ Iambic
^oS^ga'olO s'a^o( Poetry),
(Elegiac Poetry).
1)43
S^o>i rS^
55"^ 70 ^ s:'0o?flb- 5" rf

3S'pr eSoi3 &- 'The

>
'^o5fo'&, tiQ\t$Q~& ^SS"^o Ff^tS^
Poetry the food for the tenderest stomachs; the poet is
is

indeed the right popular Philosopher" 20

s- fib

&otfSj*i!f')53 43a
11
aSotftio crlD

won-eo
tf
V^oO -"A tragedy is tied to the laws of Poesy, and not
of history; not bound to follow the story, but having
liberty either to feign a quite new matter, or to frame
the history to the most tragical conveniency- 1 &

n-*3

Sp- "The
ancient marked the quantity of each syllable, and according
to that framed his verse; the modern observing only number
with some regard of the accent, the chief life of it standeth
in that like sounding of the word, which we call
22
rhyme"'

ud'S)

2 sb^rT o^ors-

rl
?3*&33' -&is't)OiS
fftfg "^^Sddbco
r'
3*toS'^:$|Jd&

(1564-lfilfi)
tf I) cJio^oiS^ "Sd^Cb. S^ci SCPO-
 (1.573-1637)

"Gohver-
Drummond', piscoveries' ^^ Timber'
4
sations with

Day id Daiches
"A critic who
endeavours to develop his theory and practice
on the basis achievements of the great Greek and Latin
of the
writers and whcj tries to systematize classical practice and
classical critical ideas into a set of rules for the guidence of
23
modern writers*'/ ..

. ?T. 17sS

(John Dryden) (1631-1700)

di )
g
S5j co - & i

- 3
' 33"& 'Father of English criticism'??

a.

'. g0ao
iTJir', "Sco^fiofi. ejdi)J6 L5!J5^ 'Essay cf Dramatic
r^i

Poesy (1668)
<atfo3'
^Esbdi^^a. ^to^ufib
SsSbtfj
6
e>aAJ5
u'cr^Sir'SSorr.
lir'Si^
SSocrg^sr eCpSroa^
-Crites

. Lisideius

.
Eugenius . Neandar

3
. Grites

; Eugenius 3
K? to 5*w "4

Lisideius Neandar

i"^3 o O ^ o "&

KT5r >
C' Neandar
t.g ^63*00.
epo3

6^077 ^8,o?3-aa,

11
 spt>> jS^edJdSpco. "The secret of

Dryden's greatness as a critic lay after all in himself, in that

native sensibility which made him
keenly alive to artistic
values, capable also of a dispassionate
psychological analysis
of those values. What he found to admire in Shakespeare
or Chaucer was based on no form2l rules, but on his own
instinctive reactions submitted to the test of Nature of reason,
a test, it should be
added, which to him represented some-
thing more than mere common sense or the prose under-
standing. The truth was that his judgement, at its oest, both
in theorizing and
appreciating, was of supra-rational kind.
It
sprang from an imaginative sympathy which soared beyond
anything that the pure unaided intellect could discern.
Firmly based on his own
impressions, his appreciations were
something more than the result of acute analysis and sound
reasoning, that these two played their part in confirming the
faith that was in him.
They were rather the result of a syn-
thetic process which viewed the effects observed with a
criticalinsight akin to the creative vision, that detected in the
multiplicity of those effects meaning and coherence, thus
penetrating to the heart of things". 24

3-3-
 cor
1

e^ro &T" S^Qoi3&. LG*^

W. P. Ker
a_; a<^
S^^iSs- "His virtue is
i
SCT- s?a^dab^a 'E3J5
that at a time when literature was pestered and cramped with
formulas he found it impossible to write otherwise than
freely. He is sceptical, tentative, disengaged,
where most of
his contemporaries, and most of his successors for a hundred
25
years, are pledged to certain dogmas and principles".

JOSSbtf^ff*

S^eitfo-ooo. "Follow the Nature

1
. e5o"S tsoiSafir 'Nature

SStfjo

5*1243 2
 ffon-. aon-. 60- oon- 6
ptfgl

6srjifi
fi.5.
^s^^
(1672^1719)

rf^ofl.

'True and False

Wit' &, .^aAltoo..:^^ ffOofiSS Paradise Lost
The Pleasure of the fmagination ^ CT
w^^fo: 'Though by no means a very great critic, he
(Addison) is a useful, an interesting, and a representative
one. He represents the cla sical attitude tempered, not
rrerely by good sense almost in quintessence, but by a large
share of tolerance and positive good taste, by freedom from
the rnore uiterly rediculous psaudo-Aristotelianisms and
by
a wish to extend a concordat to everything good even if it be
20 "
rot 'faultless'.

<a;5" 'Wir& True Wit. False Wit. Mixed Wit tsS

3)Qo3 1>
io. 3 < i

m< "As true wit generally consists in the resemblance

and congruity of ideas, false Wit chiefly consists in the

resemblance and congruity of smgle letters, as in anagrams
chronograms, lipograms, and acrostics sometimes of sylla- :

bles, as in achoes and doggerel rhymes sometimes of ;

words, as in puffs and quibbles and sometimes of whole,

:

sentences or poems cast into to the figu/es, of egges, axes,

or alters: nay some carry the notion of wit so far; as to,
ascribe iteven to external mimicry; and to look upon a man
as ingenious person, that can resemble the tone, posture, or
face of another", Mixed wit "consists partly in the resem-
blance of ideas and partly in the resemblance of words" 27

'
. Taste is "that

faculty of the soul, which discerns the beauties of an

author with pleasure.and the imperfections with dislike- 28

(on the pleasure of the Imagination)

86
wo|j3

(tfo-411 &o& 421

'Imagination' & 'FancyS

"203(3" iSo'S'o .

'' 30
O'S'o.

. wcr-T^
 87

53*3

1. 'I could wish there aie authors who, besides the

mechanical rules, which a man of very little taste may dis-
course upon, would enter into the very spirit and soul of the
fine writing, and show us the several sources of that pleasure

which rises in the mind upon the perusal of a noble work.'' 32

2. "There is sometimes a greater judgement shown in

33
deviating from the rules of art than in adhering to them."

3. There is more beauty in the works of a great genius

who isignorant of all the rules of art than in the works of a
little genius who not only knows but scrupulously observes
them." 34

*5 (1G88.I744)

"All Pope seems to have done is

to take the Arts of Horace, Vida, and Boileau, to adopt as

many of their principles as he understood, and as would go
into his sharp antithetic couplet, to drag their histories! illus-
trations head and shoulders into his scheme without caring
for the facts, and to fiH in and embroider with 'criticisms,
observations, and precepts, sometimes very shrewd, almost
always perfect!/ expressed, but far too b'fien arbitrary, conven-
tional, and limited. ''^ sif&) (r^tf tftfS oorftf*!! "Essay
on criticism" / 1 7 1
I)
tf Eofcc&"2aoi l
-
tsfi
88

. "In Poets as true genius is but rare

True Taste as seldom is the critic's share"

"First follow Nature, and your judgement frame

By her just standard, which is still the Some"

, 3-433

"Learn hence for ancient rules a just esteem

To copy Nature is to copy them" m

w^Corv

"Be Homer's works your study and delight,

Read them by day. and meditate by night'
tsD (j^iii o4ea&p(jB'0^ ^Cf^rtfjoar* (jSiOoOfS SV
6
^ -"To
judge Shakespeare by Aristotle's rules is like trying a
man by the laws of one county who actecj under
3"
of another" wa 3L

w
(1709-1781).
"ti"

i 80

. "ft is the task of criticism to esta-

blish prmci'ptes; to improve opinion to knowtedge; and to

distinguish those pleading whiqh depen,^- ups^

maans <?f

known causes and rational deduction, frqm t,h,e na,meless and

to the fancy.
inexplicable elegances which appeal wholly
Critioism- reduces those regions of literature- under dom
eclairs-

of science,which haye l>it^ertOL know^- 1^ ajiaj^y ^t o^

of fancy, and th,e tyrnny of. prescri-
ignorance the caprices '
'

" 1

ption-
wO

osfip.

and indfe-
(fundamental

(useful and convenieat) ^O^SOCT^. 'Sotftfa tftfoootfco

12
80 a

cm S"^^ e*So^&. 'It ought to be the first

endeavour of a writer to distinguish Nature from custom, or

that which is established because it is rig'it from that which

i
right only because it is established; that he may neither
violate essential principles by a desire of novelty, nor debar
himself from attainment of beauties within his view by a

needless fear of breaking rules which no literary dictator

had authority to enact. 38

tftftf S"

*4
To judge rightly of an author we must transport oursel-

ves to his time and examine what were the wants of

contemporaries and what were the means of supplying

them. That which is easy at one time was difficult at

another" wtf Sr<bco

"Johnson is an unambiguously
historical critic, and the true father of historical criti-
39
cism in English."

-.
n-S

1. Poetry is 'the art of uniting pleasure with truth/ by

40
calling imaginat'on to the help of reason.'
 91

2. 'The end of writing is to instruct; the end of poetry is

to instruct 41
by pleasing.'

3. 'Poetry pleases by exhibiting an idea more graceful to

the rri'nd than things themselves afford.'

1. "The business of the poet is to examine not the indi-

vidual but the species, to remark general properties
and large appearance/'

2. The poet must "divest himself of the prejudices of the

age and country; he must consider right and wrong in
their abstracted and invariable state; he must disre-

gard present laws and opinions and rise to general and

transcendental truths, which will always be the
same." 42

1 . ''It is less difficult to write a volume of lines swelled

with epithets, brightened with figures and stiffened
with inversions than to produce a few couplets graced
only by naked elegance ..... which requires care and
skill."

2. "Every language of a learned nation necessarily divi-

des itself into diction scholastic and popular, grave
and familiar, elegant and gross and from a nice distin-
:

ction of these different parts arises a great part of the

beauty of the style."

 nSfc* ad

. 3.

I>^oors
^ OoCftoo,

lives of th3 poets shows Johnson's vigour of judge-

ment, as critic of life and of letters, at its zenith. His power
ctfputting into a Single ser1tenc all that can be said in a sub-
j^ot, whether by way of summary of* of comment, was never
more 43
brilliantly displayed/'

CPU
ff*cS^w ^g_|^^S ficoS c

"i
<5"^i:
"He has not merely flourished and vapoured
critical Abstraction, but has us a solid reasoned hobby of
left

dntical judgement; life has judged literature in the exhausted

receiver df mere art arid yet hfcgledted the artist criterion^ he has
kipt !ft oonstant touch with life, arid yet has never descen-
ded to mere gossips. We may freely disagree with the judge-
ments but we can never justly disable his judgement; and
ll
th is titi r^l fcttteflon 6f a great Critic

, TS"^,

"Poetry must try to raise Its arbitrsrfy signs ttr natural sigfis;
 93

that is how it differs from prose and becomes poetry. The

means by which this is accomplished are the tone of words,

the "position of the words, measire, figures and tropes,

sim lies etc., All these make more like
arbitrary signs natural
sign?, but they do not actually change them into natural
signs; conse|uept!y genres a|J only these means
that use
must be leaked upon as lower kinds of poetry: and the
higest kind of poetry will be that which trahforms the arbi-
trary sighs completely into natural signs/'**

Tfi - criti-
(Goethe) a&tfjff* a'tf^oS'S' 3&ig (Destructive
cism), 3aS5-s'33:fc^ (Productive criticism) &3 ~do&
>?&> &"30&p ^*T* ^sr^Sc
*4
The former is very easy
: :

f$r one need only set up an imaginary standard, some model

Of other, however foolish it may be, and then boldly assert
ttiat the work of art under consideration does not measure up

ttithe standard, and therefore is of no value. That settles the

matter and one carl without further ado declare that the poet
has not eem up to one's requirements. In this way tft^
critic frees himself of all obligations of gratitude towards th
artist. Productive critisicism is much harder. It asks What :

did th^e author set out to do? Was his plan reasonable and Sen-
sible ? and how far did he succeed in carrying It out ? If these
questions dte answered with discernment and sympathy, W4
may be of real assistance t& the author in his fetf %vorks/'* 5

(Schiller)
gf {tiirti S_S
o **In experience the poet begins with the

unconscious, and he must consider lucky if the clearest

conscittUstfS&S his operations allows him to fin3*agSiri tNi
(if

first dark total idea of his work unweakened in the finished

labour. Without su^h a dark biit powerful total idda which
precedes everything technical, no poetic work cali arise, and
poetry, it seems to me r consists just in this to be able to :

e*pre ss and comfnun cate that unconsciousness, i. e. io trans-

fer into en Dfef^i THe n^r.pc ct can jost es well a pet fee ^
moved by rctabut he is t nable to put .t into an object;
a poetijp
he canrtbf represent it with a claim to necessity A nonpoet
94

can just as well as a poet produce a work with consciousness

and necessity but such a work will not begin with the uncon-
scious and will not end with it. It remains only as a work of

consciousness. But the unconscious united with the consci-

46
ous makes the poetic artist."

18si

esolfb cres 11

^ Sorx^: ff'trs'j
4
S^Sd iSSi^zSork
^
1
^er [3:5
Nfc.
SSofi
D pO
S^O&r
_D
c3"3os~ (Reni-
X

Wellek) ^^^ ssSx>& rt&So3 tfAo5. "For three centuries

people repeated the views heldfby Aristotle and Horace,

debated these view^, put them into text books, learned them
-
by heart and actual creation went on its way quite inde-

psndently. Subsequently the same critical theory was

emb/aced by such diverse men as the poets of the Italian
Rsnaissance, Sidney and Ben Jonson in Elizabethan
England, the French dramatists of the court of Louis -XIV,
and the middleclass Dr. Johnson. Literary styles have
undergone profound revolutions during three centuries, but
noor different theory of literature was ever formulated .... .....
One must never forget how strong the authority of classical
antiquity was in those times; how strong was the craving
to conform to it and to ignore the gulf tha[ existed be-
tween one's own age and the centuries in which Aristotle
47
or Horace wrote ." >>) ED3

13*^
 95

. 'Critics are apt to forget that

rulas are but means to an end; consequently, where the

48
ends are different the rules must be likewise so"
u ci&otf
S&tf^ iL^^S^,! Sj'ij
"
l
(Genius)

Iifi3 -S* ctfotf SiiCfSboa

a)

- "SootfS ^ ^ 0^"2oJ6
B
eso^ej^a.tpS wSOoiT'fib, 3*3

&? C$3 ^ CQ
(J^
 (Liberty). Siss^o, (Equality)

(Sculling)
*.-

a rhythmical -nemos, a hoimopiW

Poetry and art is

eternal legislation of a beautifully

gation of the Rornant.c
of things.
world mirroring the eternal Ideas
fe the expressioaol
a secret l^rvg
Poetty on the other hand,
inaforthe chaos which is perpetually striving fpr np0c
hidden, in the very womb
marvellous births, whrch
lie
4ft
orderly creatroa.

ifoq-.qJ&?
 97

6"

J Q
SSdfco
I
[70- I
8511)
(
taotf 3B
o^r
Lyrical Ballads & yd&3 |jr^^ Lssco (1798 &od 1815

aSd^ &oij5ra

"3^13^032.
co

Sj^^ 'Apology for Poetry,

'Defence of Poetry If^sb SofioB.

fr&i S^oC'^Sb esa [

"Poetry is the spontaneous overflow of powerful

feelings; it takes its origin from emotion recollected in

tranquillity; the emotion by a species of

is contemplated till,

reaction, the tranquillity gradually disappears, and an emotion,

kindred to that which was before the subject of contem-
plation, is gradually produced, arid does itself actually exist
in mind. In this mood successful composition generally
begins, and in a mood similar to this it is carried orj/'

'spontaneous'
. 'Powerful' t9o"

o dap- 3 3^ Ob.
98
tjo|j$

s^S'

55 scjSbort* ao

-S*
(Joaa
<
s*g wwD
S^3ea. "Humble and rustic life was generally chosen,
because, in that condition, the essential passions of the heart
find a better soil in which they can attain their maturity, are
less under restraint, and speak a plainer and more emphatic
language; because in that condition of life our elementary
feelings co-exist in a state of greater simplicity, and conse-
 99

quently, may be more accurately contemplated, and more for-

ciblycommunicated;becausethe manner of rural life germinates
from those elementary feelings, and from the necessary
character of rural occupations, are more easily comprehended,
and the more durable; and, lastly, because in that condition
the passions of men are incorporated with the beautiful and
permanent forms of nature".

Sib.

; <&>

]. Observation and Description. 2. Sensibility. 3. Reflec-

tion. 4. Imagination and fancy. 5. Invention. 6. Judge-

8
ment. SidSfj ftdob
(Imagination^
5?a;3'S'_9

fib5o& g6'<& ^Jj^ 3"S^^o

(Fancy)
^oa. cc^^ S'_50 ^o^jfiSs'O'Ea.
i
Siosrtf^^raS'j (aggregative
and associative power) rr&p, a^^^^oB'^rO'

Se);\^C)e3 5" S (shaping

and modifying power)
a "Boflodtf
1
5?^?r' 3"!
ts^O'iocj'o &>&&.
"Fancy is given to quicken and beguile the temporal part
100

our nature, Imagination to incite and to support the eternaf.

Yet is it not the less true that Fancy , as she is an active, is
also, under her own laws and in her own spirit, a creative
faculty... ambitiously aims at a rivalship with imagi-
Fancy
nation, and imagination stoops to work with the materials of
Fancy".

sytfo- "The poet writes under one restriction only,

namely, the necessity of giving immediate pleasure to human

being possessed of that information which maybe expected
from him, not as a lawyer, a physician, a mariner, an astro-
nomer, or a rjatura I
philosopher, but as a man". &s ^^

.
"Every author, as far as he is great and at the

same time original, has had the task of creating the taste

by which he is to be enjoyed; so has it been, so it will

continue to be". >g<> titi$o&* aa^rfcSe.Sj* <a6'

c
W^oSJb- esj
o /

O^^^JS J5o<Sr83J5 JJSS) tJd>^ y'SSo^cSo. "Good poems are

produced only by a man who has thought long and deeply.

For our continue^ influences of feelings are modified and
directed by our thoughts, which are indeed the representa-
tive's of all our past."
 aa
a

"fa a 5" i^lT&S Tayler

(Samuel Coleridge)
ao asfco^SooS^ 3*3" raS*d
(1772- 1834)

o-
o

dr'^Oi3'&. d.
^3o"Sj S^oC^Sb (j'dbexi
-" Coleridge, with his authority due to his great

reading, probably did much more than Wordsworth to bring

attention to the profoundly to the philosophic problems into
which the study of Poetry may take us." 31 iOS

^Do/T. 1^7^(5" ^QOoo) "2coif3

oo As'oo36b. Biographia Literaria, Lectures on

Shakespeare. The Friend. The table talk-"3ootf3

Biographia Literaria s'^je?

1. "To establish the principles- of wilting rather than to

furnish rules how to pa'ss judgement on what has
been written by others".

2. "7& reduce criticism to a system by the deduct on of cau- ;

ses- from principles involved in our faculties".

 Sols

Descriptive criticisrti r? ^jrteSojSad&SQa. "In his descrip-

tive criticism he applies his own theories of Poetry and

drama into practice and has tried to show their validity.
Without his descriptive criticism his theoretical criticism
'
2 1

might have appeared more metaphysical abstraction'-"

1. 'No man was ever a great poet, without be*ng at t e

'

same time a profound philosopher

2. 'A poat brings the w'lole soul of man into activity, with
the subordination of its faculties to each other, according
to their relative worth and dignity/

3. 'A poem is the species of composition which is opposed

to works of science, by proposing for its immediate
object pleasure, not truth; and from all other species
(having this object in common with it) it is discriminated
by proposing to itself such delight from the whole, as is
compatible with a distinct gratification from each
component part/

4. 'A poem of any length neither can be, nor ought to be, all

Poetry/

5. 'Good sense is the Body of the poetic genius, Fancy its

Drapery, Motion its Life, and Imagination the Soul that
is everywhere, and in each; and forms all into one
graceful and intelligent whole.'

6. 'Art itself might be defined as of a middle quality between

a thought and a thing, or, the union and reconciliation
 of that which nature with that which is
is
exclusively
human. the figured language of thought and is
It is

distinguished from nature by the unity of aJI parts into

one thought or idea/

7. 'The end and purpose of all reason Is unity and

system;
the ultimate end of human thought and human
feeling is
unity/

Genius sb Talent SCP; Imagination gj, Fancy I sJ\4"aoS

*$"
Q| Otf&saaSr), SSf^a'S; tfolb e^wtfartj Jfcoo&Sa

JSojjtsj'orv
3 d^oo~&-" Genius like imagination, is

creative; and talent, like Fancy,

merely combinatory."
""Genius is inborn and talent acquired. A poet is a man of
54
Qenius. born not made." sT
sp

1. Sense of Musical Delight 2. Objectivity 3, The Shaping

end Modifying Power of Imagination 4. Depth and Energy
of thought. itfgfftfKr sS
ssr-Sbdgo,
Sense of
Musical Delight & siowgo^^o). 3 .

5$^rfa"So!$ c-^odQB^
r<2r-i-ors-
w^ig" Jsso^. i^i5\ 3 &, o'tfoootf ^^ ^ eft 55"

O 2!P O dS) Sb ?? > ,

'uS"SgSon' S^jorf 60^

Objectivity ^

1
3*2 Ci'tfJSe' doadao 5)0
^55s5o. sSsprf^oileBO S'S

*"_9S SSoeaofioOoa. SoS^4 S3 tfpOtf flil e'o w

ftraor?

o The Shaping and Modifying power of

Imagination.

SS sSS rp#eo, SP^B'QOS' Depth and Energy of

thought
55-

-r s rfrz^
j LJ & _

^ptDoS"*- "The imagination, then, I

consider either as primary, or secondary. The primary Imagi-

nation hold to be the living power and the prime agent of
1

all human perceptions and as a repetition in the finite mind of

the eternal act of creation in the infinite I AM. The secon-
dary imagination I consider as an echo of the former co-
existing with the conscious will, Yet still as identical with
the primary in the KIND of its agency, and differing only in
DEGREE, and in the mode of
operation. It dissolves,
its

diffuses y dissipates, in order to re-create or where the process

is rendered impossible, yet still at all events in struggles to
idealise and to unity. essentially Vital, even as
It is all objects
(as objects) are essentially fixed and dead."

Fancy
Uoabrtbri
r'
aiS^a.
Ti

"Fancy, on the contrary.

has no other counters to play with, but fixities and definites,
The fancy is indeed no other than a mode of Memory emanci-
 05

pated from the order of time and space; while it is blended

with, and modified by that empirical phenomenon of the will,
which we express by the word 'CHOICE'. But equally with
the ordinary memory the FANCY must receive all its materials
'"""
ready made from the law of association."
l '
"

s^efi B-jstftf^sr&M
f Psychological
criticism^ So^cr s)f&
"Metaph/sics and Psychology have long been my hobby.
horse" esS

"
a. As a descriptive critic, his achievement is

brilliant but sporadic, and offers no single example worthy

to be advanced as a model. If his criticism survives, as it
*

vigorously does, it is not by virtue of what it denionsfrates

r
but by what it abundantly si/ggests, for no EnglisrV critic has
so excel led at providing profitable points of departure for
twentieth-century critics 54 ."
W-c:c

..
Percy Bysshe Shelley
(-17,82-1?^)
A Defence of Poetr

14
106 w

fis-S"
(Thomas Love Peacock)
&ScSj* 'The Four Ages
of Poetry

. "The Poet is semi-barbarian in a civilized

community''. ''Mathematicians, astronomers, chemists, meta-

physicans, moralists, historians, politicians, and political
economists, who have built into the upper air of (intelligence a
pyramid ...... see the modern Parnassus far beneath them/'
iy& uP>o*tfssor? a^sJ-dfcb'rt':
(Iron Ag
tfetf dSn'^
(Golden Age)sSDlb, (Silver Age)
(Brass

ajer-

'Defence of Poetry

-" Poetry was re-established as part of the fabric of

the society and of the process of history potent even when

scarcely visible. This was Shelley's true defence of Poetry,
surely more convincing than the arguments confusing philo-
sophy, morality, and art in one common mixture. It was the
defence of poetry which came to dominate the 1 9th Century'. 55

'
1. "Poets are the unacknowledged legislators of the world'
 107

2. "Poets are not only the authors of language and of

music, of the dance and architecture, and jStaiuary, and
Painting: they are the institutors of laws, and the founders
of a civil society, and the inventors of the arts of life"

3. "Poetry is the record of the best and happiest moments of

the happiest and best minds".

4. ''Poets are also 'philosophers of the very loftiest Power"

and Poetry is "the centre of and circumference of know-
ledge/' "that which comprehends all science'' 50

5. "A great poem is a fountain for ever overflowing with

waters of wisdom and delight; and after one person and
one age has exhausted all its divine effluence with their
peculiar relations enable them to share, another and yet
another succeeds and new relations are ever developed,
57
the source of unforeseen and an unconceived delight.

6. ''Poetry, in a general sense, may be defined to be the

"expression of the imagination".

7. "A poet is a nightingale, who sits in the darkness and

sings to cheer its own solitude with sweet sounds, his
auditors are as men entranced by the melody of an un-
seen musician, who feel that they are moved and
softened, yet know not whence or why".

8. ''Poetry is indeed something divine. It is at once the

centre and circumference of knowledge; it is that which
conprehends all science, and that to which all science
58
must be referred"

T*t) tftf Defence of Poetry $* fi.

l><2bs?tfs' ~~"
C"!

S)CcrLoCT >

&. 'Reason
$ Sfe
(Reason and Imagination) iScs-S^

the enumeration of quantities already known; imagination is

is
the perception of the value of those qualities, both separately
and as a whole. Reason respects the differences, and imagi-
nation the similitudes of things. Reason is to imagination
as the instrument to the agent, as the body to the spirit, as the
 108
woijS d5r#gas3b& j-(aort <
(jig!"
So

shadow to the substance.' e ^o&ofiSeT

8
w&tf
'
3

~5}t> &z3ol5oi3
O
8
&i. <a>#> tfN&S^-'A Poet participates
r~ r in the
rv> e>0
eternal,the infinite, and the, one; as far as it relates to
his conceptions, time and place and number do not''
JSooozyS.^ rto
(conception)sb, es)gjj (expression)gb
it) .8ser
(T)
w;yj&-
X
"The former is as a mirror which
cloud which enfeebles^he light of which
reflects the later as a
both are mediums of communication. "^3^ (js5d3re3S3 a^ >

. "Poetry is ever accompanied with pleasure; all

spirits on which it falls open themselves to receive the wisdom

which is mingled with its delight."

"The great secret of morals is love ... A man to be greatly

good, must imagine intensely and comprehensively; he must
put himself in the place of another and of many others; the
pjin and pleasures of his species must become his own, The
great instrument of moral good is the imagination, and poetry
administers to the effect by acting upon the cause. Poetry
enlarges the circumference pf the imagination by replenishing
it with thoughts of ever new delight, which have the power

of attracting and assimilating to their own] nature all other

thoughts^ and vyhichifprm new intervals and interstices whose
void for ever craves fresh food."

?T 5^803&.
"*
Sr "Poetry makes immortal
"2x6
M
T -
. t
'

all and most beautiful in the world; it arrests

that is the best
the vanishing apparitions which haunt the interlunations xf
-

ife. Poetry redeems from decay the

vjsLtations^ of the di vin|ty
I

in man." tfaa^-aS tfo^sl AJ^-e&".^aflafS> a'SaSj' yejo^S

^orr wiS^ sipda SS-" Poetry is not like reasoning, a power
to be exerted according to the determination of the will. A
man cannot say 'I will compose poetry:'*The great poet even
 10!)

cannot say it; for the mind in creation Is as a fading coal,

which some invisible influence like arr inconstant wind,
awakens to transltoty brightness, this power arises from
within, colour of the flower which fades and changes
iike the
as it is developed and the conscious portions of our nature
are unprophetic either of its approach or its departure."

'
\ ' I
,
} .
fr

'Beauty is truth, truth Beauty' - th?t is all

Ye know on earth, and all ye need to know.

(1795-1821). "I am
Certain of nothing but of the holiness of the Hoait's affections
ind the truth of Imagination. What the Imagination seizes as
leauty must be truth- whether it exists before or not for I

vave the same -Idea .of all our passions as of Love; They
ire all, in their sublime, creative essential Beauty"

18.18 5j|j3Sa
27s

^O^ ^aa-^o^o^) "Sj^^ra-^dSb. "First. I think, Poetry

ihould surprise by a fine excess and not by singularity- it
hould strike the reader as a wording of his own highest
houghts,, aa^i^gpear alrnost a remembrance. Second: its tou-
:hes of Bea,ut)f, should never be half way, thereby making the
ea.de r, breathless instead of content; the rise, the prqgress, the
setting of imagery should, like the sun, come natural to him
md set soberly although in magnificence, leaving him in the
luxury of twMight. But it is easier to think what Poetry
should be than to write it- and this leads me on to another
axiom, that if Poetry comes not as naturally as the leaves to a
tree, it had better not to come at all." h8

'Negative capability' w3
go* D^-Doo&- "When man is capable of

in uncertainties, mysteries, doubts without any

being
irritable reaching after fact and reason/" &* o&eao

"Keats" sayings about Poetry, thrown out

in the course of private correspondence, keep Poetry close to

intuition, and they have no apparent bearing upon his own
times ......... Keats has no theory, and to have formed one
was irrelevant to his interests and alien to his mind ......
He had no theories, yet in the sense appropriate to the Poet
in the same sense, though to a lesser degree than Shakes-

peare, he had a 'philosophic* mind". 59

Hazlitt
[William (1778-1830)]

69 doors' sj^S) tftflSeo

[o5^5^o3*^.
1. Characters of Shakespeare's plays (1817), 2. The English
Poets (1818), 3, The English comic writers (1819);'
4. Dramatic Literature of the Age of Elizabeth (1820).
aoASSS- Table-Talk (1821-22), The Spirit of the Age (1825)-,
The Plain Speaker (1826).
 111

3 si 8^ d'cytfraorr- S'srg&lotf 3&S& (^Descrip-

tive criticism)/ 3oiao>o3oa. s*, tPo&eT* tsSO&O 3&& 1
TS

criticism) asb^a, "I say what I think.

(Impressionist
1""think what feel. cannot help receiving certain impressions
I I

from things, and have sufficient courage to declare what they

I

are" w S^sS^iSp "If have praised an author, It was

, I

because I have quoted a passage, it was because

like him; If I

it pleased me in the reading; if have spoken contemptuously I

of any one. it has been reluctantly"- i>

"*
Lectures on English Poets

1 . "The best general notion which can give of poetry is, I

that the natural impression of any object or event, by

it is

its vividness exciting an involuntary movement of imagi-

nation and passion, arid producing, by sympathy, a certain
modulation of the voice, of sounds expressing it."

2, "Poetry is in all its shapes the language of the imagina-

tion and the passions, of fancy and will".

3. "Poetry is that fine particle within us that expands,

rarefies, refines our whole being without which man's
life is poor as beast's."

(Imagination), sj-^o^^o (Passion)

.-v 081*23 oo-tfa; "Imagination is that

faculty which represents objects, not as they are themselves,

but as they are moulded by other thoughts and feelings
into an infinite variety of shapes and combinations of power."
03- "Poetry
is only the highest eloquence of passion, the most vivid form

of expression that can be given to our conception of anything,

112 o|j

whether pleasurable or painful, mean or dignified, delightful

or distressing."

qa.- "The aim of

tragedy is the sense of pain of suffering into the

to resolve
sense of power by the aid of imagination, and by grandeur
of conception and character". English comic writers^ ^IT&<^

"Humour"3cr Scxr^oO a&ISoO'S: 'Humour

'Wit'Scr- ^CT^ .

is the describing of the ludicrous as it is in itself; wit is the

exposing it, by comparing or contrasting _it with something
else Humour is, as it were, the growth of nature and accident'
is the product of art and fancy. Humour, as it is shown
in
wit
books, is art imitation of the natural or acquired absurdities of
mankind, or of the ludicrous in accident, situation, and charac-
ter; Wit is the illustrating and brightening the sense
of that
absurdity by some sudden and unexpected likeness or opposi-
tion one thing to another, which sets off the quality we
of
laugh or despise in a still more contemptible or striking
at

point of view." ^sfSiSr Sn3

'otf S^^oS) 3 "3& on-

"Comedy is a graceful ornament to the civil

order; the corinthian capital of polished society.

S";5

asSao^ 'Gusto a^ ^n-D^ eS'Cofi&ri'

1
fc'iS

''Gusto in art is power or passion defining ajhy object,

"We may be fine fellows, but none of us can write Jike

all

Hazlitt, To write a style that is easy yet incisive, lively and a}

 113

the same time buoyant without being frothy, glitte-

substantial,
ring but with no tinsel frippery, a style
combining the virtues
of homeliness and picturesqueness has been given to few
60 "-
mortals, but Hazlitt excelled in it

*
?c!5 epo~ (1775-
1834)5o j3llg$5to$ sSaJS^a. fc9&tfrar*tfo ^S ts^S
sStfcS^I)
33^0 ^irs^D^pSa slPo&efr' ao'Sa." Among the romantic

critics he is the -least philosophical and depends for his

judgements on his own common sense and good taste. He
takes delight in literature in all its forms and he always wants

to share that delight and enjoyment with readers. His critical

writings possess a charm of their own which delights the
01
readers immensely"

Comedy of Manners'^ Si"ISxoO

l 5*tfo tfo-a^
6ofi, S&SaO e$atfb>&o6

sipa'ai Irfia
srgS (Light essay) sSgSS tftfj_3

tsodorv Aoclfi*, of
o _e p
"Very much of his quality arises

from his extraordinary command of phrase,- the phrase elabo-

rate without a'ffection, borrowed but absolutely individual and
idiosyncratic, mannered to the oath, but never mannerised,
in

which, though he might not have attained to it without his

great seventeenth century masters, he stands original and
alone. 1>G2 Lamb is inimitable e>3a
19i5

1829^^, In7^5" JBSlS^Sr. 7^1 1832^^

1834

ight)
-sa
(Left)^4a&o!b'oo&^^o!.o-S"da
2)53

Sfa-tg*.
"The Hegelian Left showed more
 J15

life:Arnold Huge was a sharp critic of romanticism, and Marx

and Engels, though hardly themselves literary critics, were
to exert long after their death a profound influence on literary
criticism in the 20th century, even in distant countries. Marx
and Engels adopted the Hegelian dialectic but rejected his
metaphysics. Their literary interests and opinions, still deeply
co'oured by the taste of German Classicism, were, however,
quite subordinate to their political and social concerns. One
cannot speak of Marxist Literary Criticism before Plekhanov
and Mehring, in the last decgde of the 19th century." 04

Taine, Saint. Beuve

, <a ff'Soea e*& ('Race),

d$o (milieu)

(movement") <a^3 S5art dfo^'o &otf tz?Q'^&

"3 w8

R.^o'tfSSb

wlS cr^?6^) sS^^rSr-

(Content^. wS^sb (Form)

Sainte. Beuve.

'Sainte-Beuve, whose first book was published in 1828,

o'ned them but went beyond them, combining, virtuoso
ashion, all possible methods; Literary history, characterization,
Dsychological explanation, impressionistic subjectivism.
He
;ame to dominate the time, and by his long labours he restored
:he critical prestige of France. For many people in France and
outside he is still THE CRITIC"- 65 wJS^ 33Sof |jS'osS
w

"In

critical theory towards sheer emotionalism, the

we see a turn

/iew that poetry is an overflow of feelings, mere personal

to day with
self-expression. John Stuart Mill, associated
U6 M o(j

hard-beaded utilitarianism, formulated this view most clearly

and extremely in his youth, and John Keble, the poet of tho
CHRISTIAN YEAR, applied it even to Homer. "Poetry; he
secret emotion,
said, is a kind of medicine, which gives relief to
yet without detriment to modest reserve."
The bulk of cr'it'-
cism became didactic, sentimental, moralistic. Macaulay,
least a
though hardly sensitive to poetic values, sharpened at
feeling for the past. Poetic theory was almost non-existent;
only Mathew Arnold brought about a sorely
needed critical
GG
revival in the 1860's"

j*-g acr^S" (1822- 888) 1

3jf*ad&.5'

^533
3 SPECKS'*

a^oc-53. Walter Raleigh wtf^fca- "It was w'th this aim,

to arrest what he conceived to be the national decay, to lead

English the paths of sanity and wisdom that

literature into
Mathew Arnold became a ctitic, a missionary, a prophet." 67

iocs*
_

5 l
3ov?'iSj. ^bS'

D.
 117

t9<51p&ci&
"A Poetry of revolt against moral ideas
is a Poetry of revolt

against life: A
Poetry of indifference towards moral ideas is a
Poetry of indifference towards life"
o

6
tscxo"^, eixS'S tf&'oef !b3>

HOST'S. fca tso"&

S'gJ^o tJO'^S" d^SA^*
3"C)2'
&3^ L^^^ ^^"^^ sS^cr'G'lSo. "The question 'how
to live', is itself a moral idea; and it is the question which
most interests every man and with which, in some way or
other, he is perpetually occupied"- ts> ~^>^^ot^ "The
greatness of a poet lies in his powerful and beautiful

application of ideas to life-to the question; How to live?"

a
'

Sjfr )3*!C> gfS 0330 ^ I&otfior? $

Cf^o es > r3" 5* sS o n*

j
s
tr&. "Without Poetry, our science
will appear incomplete: and most of what now passes with
us for religion and phijosphy will be replaced by Poetry"

"Poetry is 'a criticism of life under the

conditions fixed for such a criticism by the laws of Poetic
truth and poetic beauty." ts>f
<s;S^a &3^3 ^^^.lO^p^^o.
sio^iS^ criticism of life 'tso"t)' the noble and profound
application of ideas to life- y>"j, 'Poetic truth* o"l>

'truth and seriousness of substance and matter' tsit,

'Poetic beauty wo'Sb 'felicity and perfection of diction

and manner' tab

 "For Poetry the idea is every thing; the
rest is a world of illusion, of divine illusion. Poetry attaches its
emotion to the idea: the idea is the fact",

6'1_S ^The grand style)

J
'l think it will be found that the grand style arises in poe
try, when a noble nature, poetically gifted, treats with sim
plicity or severity a serious subject." q<) &CT S"l

^ITOeS'o S^^SaS-CT^S tifttiTT 60<b30fi>. tO''\5' ^A* O 5"

I

O n ca

simple, severe, mixed w Sxu(li S^-ooiv Ej-)oO

63000

SsSbtfjlSo ^o">, g-^o

 Preface to the Poems
(1853); OnTranslating Homer (1861), The study of Celtic
literature (1867), Essays in criticism (1865, 1888).

S'QAo^

"All depends upon the subject; choose a fitting action,

this done
penetrate yourself with the feeling of its situations; ~

S 3$>o&
every thing else will follow"-
o-Off*

"The grand work of

is a work of synthesis and exposition, not of

literarygenius
lies in the faculty of being
analysis and discovery; its gift

certain intellectual and spiritual

happily inspired by a
certain order of ideas, when
it finds itself in
atmosphere, by
them in
them; of dealing divinely with thes'e ideas, presenting
combinations,- making
the most effective and attractive
beautiful work with them, in short--
&3
J20 o

S'ss-g&totfofi*

(j$
3 ^ fi> o3 5 'Imaginative
reason' ,
^"igs'orr "^S^vlStfAoa. "The main element of

the spirit's life" he says"is neither the senses and understan-

ding, nor the heart and imagination? it is the imaginative
reason. The imaginative reason-with this phrase Arnold feels
he has closed the gap between head and heart, between
feeling and intellect, a schism, as it had appeared in his
68
Poetry"

-S'S' c
a
o e3" Sr 6 zr 3ot>
ro
*
"Arnold has a manner and style rather

new England and perfectly adopted to the art of criticism-

to

elegant yet sinewy, colloquial yet reserved, cool yet able to

glow into warmth, careful never to flare into heat." 09

u$ srsS off*.

"Aristotle shows us the critic in relation to art,

Arnold shows us the critic in the public.

relation to Aristotle
dissects a work of art, Arnold dissects a critic The
one gives
us the principles, which govern the making of a poem; the
other, the principles by which the best poems should be
selected and made known; Aristotie's critic owes allegiance to
the artist, but Arnold's critic has a duty to society. He is a
propagandist filling thesoilso that 'the best ideas may prevail,
making an intellectual situation of which the creative power
can profitably avail itself.' To prepare a social atmosphere
which will stimulate the artist-to make the best that has been
written familiar to the public-this was the new task of criti-
cism. It was to be contributed to the problem of 'perfection 1

or 'how to live'. It was on the way to becoming a branch of

70
social reform."
 - Walter Pater, Arther Symons, J A. Symonds.
Leslie Stephen, F.W.H. Myers, George Saintsbury, Charles
Whibley, A.C. Bradly, W 1

P. Ker 2oDrf3;$sr0a &>eoco.

fig- 3^

S^sStfo; tftfrtf^
(Art for Art's sake)
tftf

S'Sef

53*06" "fatoiT. 3oiS's5s5o'S9

a^'^S'^fS" ^^ejbeo

O o
"Arnold, almost single-handedly, pulled English criticism out
of the doldrums into which it had fallen after the great
Romantic Age." 71

tfbtfo

"^406" ^Walter Pater-1839- l893VGautier, Baudelaire,

\ /

Flaubert 'Sx)tf3_^ ^oatftfoaaefoo ^S'^fl'* ^fiogOfl "ao^S

(Aesthetic movement)
6
. 575 ^Si^ ^3tTS

tT'otftfgo Sxowgo.

16
122 UQ($

Studies in the

History of the(1873), Marius the Epicurean

Renaissance
(1885), Appreciations (1889), Plato and Platomsm (1893)

3-fti

Sotftfa. ITS), 33

- "Not the fruit of experience, but

the experience itself, is the end."

De Quincey ^^ B
ggS^ Literature of power <a!b, Lite

rature of Knowledge tsfe 2^SoO ^SxiT ^, "IbkiS'Scp 1

^
Imaginative forms eslb unimaginative forms a

Imaginative form. ^"^s

VS^S unimaginative
form. ^S (^8^0^ &>otf3 ^'r'^S'g^ sr-^a5 ^es-o-tfo,
4
IjdoS" sSrketf - "All beauty is in the long run only
FINENESS of truth, or what we call expression, the finer
accomodation of speech to that vision within." stf 1 8
_
o&IOS tfViOS sStf^'Sj 6^
. "It will be good literary art not because
it is or sober, or rhh, or severe, but just in proportion
brilliant
as its representation of that sense, the soul-fact, is true verse
being only one department of such literature, and imaginative
prose
1
it may be thought, being the special art of the modern
world' .

_
- 'The MIND in style

. the SOUL in style

1
ts>
a^^
1
^6oi3> & go&
zrn-.t^ ('structural l
harmony) ;5g
3 3- 3
 23

writer's
(infusion of personality).^ "3o5od3 ti^&z-o&i jS&o

4&P s)er 23on <& B

1bk<T: "As a quality of style, at afl

events, soul is the fact, in certain writers-the way they have

of absorbing language, of attracting it into the peculiar spirit
they are of, with a subtlety which makes the actual result
seen like some inexplicable inspiration. By mind, the literary
Qitist reaches us, through static and objective indications of

design work, legible to all. By soul, he reaches us,

in his

somewhat capriciously perhaps, one and not another, through

vagrant sympathy and a kind of immediate contact."

"tit) 5" '*& ^DOCT- 'ao&Styeorp' p"2DnB <&- good art and

great art oS. >&"

aprr'S^ e$;$aotfcSbo"
S'SS"" tsS (mtfsSifc^lfc"!
y "Sofiofi!
^6?S3-e;?ii gen
1

"A good artist says to the reader. "\ want you to see preci-
sely what see.' Where his style succeeds in doing this, it
I

is true to his sense of fact. Good art therefore consists in the

'absolute accordance of expression to idea'-the accurate trans-

language. But with all this
lation of the sense of fact into
it may not be a great art. For the fact which attracts the
writer's soul may not, with all its aptness of expression, be
great enough to attract 'the soul of humanity'. It may be
too personal to be universal. Unless therefore the writer's
sense of ends, his work is not great art.
fact is allied to great
The other conditions remaining the same, great art is 'devoted
further to the enlargement of our sympathies with each other,
or to such presentment of new or o'd truth about ourselves
and our relation to the world as may ennoble and fortify us
'

in our sojourn here or immediately to the glory of God". 7 2

(Impressionistic method)
"3) t> 5" "His method is that impressionism which
Hazlitt and have brilliantly illuminated. His intuition,
Lamb
no less acute, is still more personal than theirs, in so far as
it is more limited, exclusively governed by the feeling of his
own powers; in so far, too, as it readily utilizes semi-cons-
124

cious states, the dim regions of the inner world, and his
judgements more often are a deviation of the obscure parts
and of the reverse side of the souls". 73 - w^Cazamian 3Sx>^

tf&)o#Aoa. "His stress on beauty in all things made

him insensible to many other beauties of literature and this
resulted sometimes in the misrepresentat.cn of certain
7*
writers"

go Lj*A$eotfs5fifc)-
"If a Poet's

work is to have an aesthetic as distinct from historical value,

it is a Poet to have been ihe true child of his
not enough for
age, to have conformed to its aesthetic conditions, and by so
conforming to have charmed and stimulated that age, it is
necessary that there should be perceptible in his work some-
thing individual, inventive, unique, the impress thereof the
writer's own temper and 75
personality'' .

dab?VS5 ST'di^^eSiT' 43. c&S,

Sacred Wood, Homage

toJohn Dryden, For Lancelot Andrews, Selected Essays,
The use of Poetry and the use of criticism, Elizabethan
Essays, Essays Ancient and Modern. &#&*& a&tf^&r &S 1

[J&3XQ 6ocror3j_a s)Dd3b4" ej^dio. "I am a royalist in

Politics, Christian in religion and a classicist in literature'-

 125

Thomas Stearns Eliot (1888-1965)

|jS3_8ttefc3i Impressionistic criticism 3$ Aesthetic
criticism & Philosophical, abstract and Intellectual criti-
cism &, 2&5~fr-S SSSbS^oEFSa. 'The sentimental person,
in whom a work of art arouses all sorts of emotions which
have nothing to do with the work of art whatever, but are
accidents of personal association, is an 70
incomplete artist"

''Philosophical critics look for philosophical material in a work

of art. This type of criticism wants to remove the emotioral
element from literature" 77 tsQ &

1 . Criticism must always profess an end in view, which'

roughly speaking, appears to be the elucidation of works of
art and the correction of taste".

2. The critic, if he is to justify his existence, should

endeavour to discipline his personal prejudices and cranks-
tares to which we are all subject-and compose his diff lences
with as many of his fellows as possible, in the common pur-
suit of true judgement."

3. ''A literary critic should have no emotions except

those immediately provoked by a work of art. ..The new impre-
ssions modify the irripressions received from the objects
already known. An impression need to be constantly refres-
hen by new impressions in order that it may persist at all; it
needs to take its place in a system of impressions. And this
stystem tends to become articulate in a generalized statement
of literary beauty".

3 '/Sr6 3bo4j-=Co.
 2G

e"^ ^JO. "This historical sense which is a sense

of the timeless as well as of the temporal and of the timeless
and of the temporal together, is what makes a writer tradi-
tional. And it is at the same time what makes the writer
most acutely conscious of his place in time, of his own con-
temporaneity &s

a Co^ a
S'S), n-i>

^63

S^_3 (comparison)

-"Comparison and analysis are the chief tools of the critic.

It is obvious indeed that they are tools, to be handled with
care and not employed in an inquiry, into the number of times

giraffs are mentioned in the English novel" 79

"SoSo

"The existing order is complete before the new work arrives;

for order to persist.after the supervention of novelty, the whole
existing order must be, if ever so slightly, altered; and so the
relations, proportions, values of each work of art towards the
whole are readjusted; and this is conformity betwenn the old
so
and the new
 "The difference between the present and the
past is that the conscious present is an awareness of the
past in a way and to an extent which the
past's awareness
of itself cannot show/' 81

"The progress of an artist is a continual self-sacrifice, a

continual extinction of personality" t9o&r& sjfidfcfiT. '&h

5S3bip'erceo.SDCi)'\Sb

1. ''Poet has, not a 'personality' to express, but

particular medium (the mind), which is only a medium ar
not a personality, in which impressions and experience*
combine in particular and unexpected ways. Impressions
and experiences which are important for the man may take
no place in the poetry, and those which become important in
the poetry may play quite a negligible part in the man, the
personally.''

.2. "Very few know when there is an expression of

SIGNIFICANT emotion, emotion which has its life in f-
poem and not in the history of the Poet. The emotion of t
art is impersonal. And [the poet cannot reach this imperso-

nality without surrendering himself wholly to the work to be

done. And he is not likely to know what is to be done unless
he lives in what it is not merely the present but the present

moment of the past, unless he is conscious, not of what

is dead but of what is already living."

srlb,
 128 a

'Objective correlative*

"The only way of expressing emotion in the form

of art is by finding an 'objective correlative'; in the other
words, a set of objects, a situation, a chain of events which
shall be the formula of that particular emotion; such that
when the external facts, which must terminate in sensory
23
experience, are given, the emotion is immediately evoked."
tsS&Sbofi

eafirvO.

S:a?5joa.

C)cr JS'tfj^

tJ5on (&.
i>
"From time
to time, every hundred years, it is desirable that some critic
shall appear to review the past of our literature, and set the

poets and poems is a new order. This taste is not one of the
revolution but of re-adjustment."

SOjtf ^sS
 129

" is not a turning loose

1. Poetry of emotions, but an
escape from emotion; it is not the expression of personality
"
but an escape from personality.

2. "Poetry is a superior amusement: do not mean I

an amusement of superior people. call it an amusement ......

I

not because that it is a true definition, but because if you

call it anything else you are likely to call it
something still

more false/'

3. "Poetry is not the inculcation of morals, or the

direction of politics; and no more is it religion or an equiva-

lent of religion, except by some monstrous abuse of words'.

4. "It (Poetry) may effect revolutions in sensibility

such as are periodically needed; may help to break up the
conventional modes of perception and valuation which are

perpetually forming, and make people see the world afresh,

or some new may make us from time to time a little

part of it. It

more aware of the deeper, unnamed feelings which form the

substratum of our being, to which we rarely penetrate; for,
our lives are mostly a constant evasion of ourselves, and an
evasion of the visible and sensible world. But to say all this
isonly to say what you know already, if you -have felt poetry
and thought about your feelings."

;5;jb3oi3B <3b. fatfS afctf So'Ss'o- "The

people which ceases to care for its literary inheritance becomes

barbaric; the people which ceases to produce literature ceases

to more in thought and sensibility."

17
J30

30.

3&si Ivor Armstrong

|j35?><3'o (j3<5L;&OjSb<3b
Richards. ^.S
(1893)

tjS: The
Foundation of Aesthetics (1922)( C. K. Ogden. James
WoodST* g"e^^^^ ^odio^ 0"el?3).
The Meaning of Meaning
1
K. OgdenS" D> j^^oa). SiDAO^ xr>& Otf
(1923) (C.
^cu ^stfS) ^r-oti' (jSt5btfrae5-
.eD-The Principles of Literary
Criticism (1924), Practical Criticism Coleridge
(1929),
on Imagination (1 935),

?roa ^*oiooi& Principles of Literary

Criticism &* "What gives the experience of reading a

certain poem its value ? How

the experience better than
is

other? Why prefer this picture to that ? In which ways we

listen to music so as to receive the most valuable moments 1

Why is one opinion about works of art not as good as an-

other 7-These are the fundamental questions which criticism
is required to answer, together with such preliminary que-
stions-What is a picture ?, a poem, a piece of music ? How
can experience be compared ? what is value ? as may be
required in order to approach these questions'' 83

Co*
SSji^jo^S ^3-^<& "A few conjectures, a supply of
admonitions, many acute isolated observations, some bril-
liant guesses, much oratory and applied poetry, inexhaustibel
confusion, a sufficiency of dogma, no small stock of pre-
judices, whimsies and crotchets, a profusion of mytsicism, a
little genuine speculation, sundry stray inspirations, preg-
nant hints and random APERQUS; of such as these, it may
be said without exaggeration, is extant critical theory com-
8*
posed" ts

''Criticism, as |
understood it, is the endeavour to discrimi-
nate between experiences and to evaluate them. We can-
not do this without some understanding of the nature of ex-
perience or without theories of valuation and communica-
tion. lmQS

account of value and an account of

ts^
communication)
>n-o3'
p6^^
tfao
(Impulses)
"

fib

6oiroco.
(appetencies^
a
. a
132 wo

0/D 0*5430

er ""5
O
21*000^?,

Sir (system)
(poise) 3gs5;o&>

/value")/ w3 eo
V
'

=
2^cSoi3 <Sb.

8
"Anything is

valuable which will satisty an appetency without involving

the frustration of some equal or MORE IMPORTANT appe-
tency; in other words, the only reason which can be given
for not satisfying a desire is that more important desires will
thereby be thwarted." ''What is good or valuable, we have
said , is the excercise of impulses and satisfaction of their

appetencies. When we say anything good we mean that it

satisfies,and by a good experience we mean one in which the

impulses which make it are fulfilled and sucessful, adding
as the necessary qualification that their exercise and satis-
faction shall not interfere in any way with more important
impulses."

(communication)-
 138

"A large part of the

c'istirclive features of the mind are due to its being an in^-
s'rument for comm unication. An experience to be formed,
no doubt, before it is communicated, but it takes the form
tt does largely because it fray haveto be cammunicated. The

emphasis with retural selection has put upcn communicative

ability is overwhelming."

"It is never what a poem SAYS which matters,

but what The poet i's not writing as a scientist. He uses
it IS.

the words because the iriTe-cst which the situation calls into
play combine to bring them, just in this form, into his
consciousness as a means of ordering, controlling, and conso-
lidating the whole experience. The experience itself, the tide
of impulses sweeping through the mind, is the source and tha
sanction of the words."

M5"^ - 'A scientist

makes 'true statements' while poet makes 'pseudo-statements.

A pseudo-statement is a form of words which is justified

entirely by its effect in releasing or organising our impulses

and attitudes; a statement, on the other hand, is justified by
'it's 'truth' i. e. its correspondence, in a highly technical
sense, with a fact which it points". "A pseudo-statement is

'true' if it suits and serves some attitude or links together

attitudes which on other grounds are desirable"-
J) ts KP

"A statement may be used for the

sal e of REFERENCE, true or false, -which it causes. This is

the* scientific use of language. Bur it may also be used for the
sake of the effects in emotion and attitude produced by the
jeftience it occasions. This is the EMOTIVE use of languages"
134

ST^). >: Sense, Feeling, Tone and

Intention, bd

1. "Sense means to make reference to something, that is,

when the writer says something he wants to direct his

hearer's attention upon some state of affairs, to present
to them some items of consideration and to excite in them
some thoughts about these items."

2." Feeling refers to the feelings of the writer or speaker

about these items, about the state of affairs he is referring
to. He has an attitude towards it, some special direction,
bias, or accentuation of interest towards it, some personal
flavour or colouring of it, and he uses language to

express those feelings, this nuance of interest."

3." Tone means the attitude of the writer towards his

readers. The writer or the speaker chooses and arranges

his words differently as his audience varies, in automatic
or deliberate recognition of his relation to ihem.''

4." Intention is the speaker's or writer's aim, conscious or un-

conscious. Ordinarily the speaker speaks with a purpose
and his purpose modifies his speech. The ur derstanding of
it is part of the whole business of apprehending his

meaning.

Practical criticism Sb &

tO: 1. To introduce a new kind of documentation to those

who are interestad in the contemporary state of culture

whether as critics, as philosophers, as teachers, as psycholo-
gists, or merely as curious persons.

2. To provide a new technipue for those who wish to

discover from themselves what they think and feel about
poetry (and cognata matters) and whey they should like at
dislike in.
 135

3. To prepare the way for educational methods more

efficient than those we use now in developing discrimination
find the power to understand what we hear and read".

- 'He must be an

adept experiencing without eccentricities, the state of|mind

at
relevant to the work of art he is judging. Secondly he must
be able to distinguish experiences from one another as regards
their less superficial features. Thirdly he must be a sound
88
Judge of values .

ejSjsv_3o> uc^S)^ S^DO^eT

1
Practical criticismScr- New
criticismso- (Jf^co iipij^r ga ce;S2C5's>b

tP 0(54oo

d3fc
CSS^oO s^

1E30O CJ~

"Eliot stands by his bold

assertion that a poem is a and feeling.

fusion of thought
Richards, on the other hand, from the first has endeavoured
to maintain a careful distinction between the emotional state

produced in the reader (the balance of impulses or state of syn-

69
tnesis)and the means used to produce this emotional state."
136 eo|j3

Practical criticism^ "3coft>cT*

|j$
ccLr* .voif
experiments) d

(Teacher-critic) ^ia^oa <a>"2o 3 :r ?"*> New criticism

Frank Raymond Leavis 19,12 ^o<S I95H

(Dr, 1895-)sie'&5
^ss^ ^SSb^ Scrutiny e3^5 1
t_ ^sSj^/^
^ &$?&!*G sSiSg
*
-^t S^L: i
"S

loT 5
B^SJ-^O 3^o<5. 3.&3 So^-a^oa^ ^CQ^fiJ$ 'The
Calendar of Modern Letters. -Towards Standard of Criticism
(193^)
ts 13
^^oOio
-
^cr^^S dp^'Sfflco afio. New
Bearings in English Poetry (1932), For Continuity (1 933) ,
Revaluation (1936). Education and the University (1944).
The Great Tradition (1948), The Common Pursuit (1952),
D. H. Lawrence : Novelist (1-55) sa'S>

- "The achievement of SCRUTINY is, in a way,

peculiar to twentieth century; it is the building up of a
the
body of practical criticism of substantiated literary judge-

ments, that has surely no equal in extent and quality,"

Scrutiny set out from the beginning ".io apply their methods
(i. e. those of Eliot Graves, f Richards, Middleton Mum/ and
the American New Critics) not sporadical!
1

/ but systemati-
cally- over the whole field of English Literature" and the
Scrutineers proceeded by 'a minute and brilliant examination
by a scrutiny-of actual passages." Scrutiny tso"&
 37

^
a<)

, o

. s^JO

Si5aoi3D (i- "It is no doubt, the function of history

too to explore the state of culture in each age, but its .method
is different from that of literature. In the first instance, its

exploration proceeds no further than a bare it,

record of
whereas what the literature offers is invariably its evaluation-
the tastes and habits it fosters and their effect on 'the quality
of living'- In the second place, while history is merely content
to STATE its findings, literature, and particularly Poetry, by its
evocative use of words makes everything RE-LIVE for us.
Words in it do not state but REALISE an experience. Like the
actors in theatre they ENACT it for the reader to live through
t himself. Their true function is not to clothe an already
formed thought but to bring the very thought into being.
Leavis calls it "the exploratory-creative use of words upon
experience". For- it is by their free play upon an unformed
comes 91
thought that the thought -ultimately to life."

wtfgd&So
18
 188

1. A complete response to the work in hand. 2 Its

cjose scrutiny or an analysis. 3. Judgement of its significance.
s-si 3^55-0 3

sdSflr
^.go^-Enactment..' .Realisation,
Reality, Sincerity, Moral, Tradition "The word
^g^SS.
'enactment' implies that good poetry embodies, enacts a
valuation of a reality at once inner (spiritual) and outer
(social and sensuous). To enact a valuation is to realise
whatever is evaluated; it is to bring us into an immediate and
living relation with reality."

"Leavis explains 'realisation' as "the

signs of some-
thing grasped and held, something presented in an
ordering of
words, and not merely thought of or "
gestured towards 9 -
Reafity *
d-&-tf s
g &,,
^ Sincerity
3 S>5
^ft^dfiofl^. "works of
.
art
act their moral judgements.- & syoo moral w-4

-The whole poem is moral, S) &r-

O a-. tftoo ^ &OC51 tto&

^a-^
So-^o-dSo (Tradition) e'o^dfc.
 139

best features of academic

sris^-'the
criticism are combined with best features of periodical
criticism and then the amalgam is refined and ennobled with
93
a master's touch/'

(New Criticism)

Crowe Ransom. Allen Tate, Robert Penn

Warren. R. P. Blackmur, Cleanth Brooks, Yuor Winters

cS;?Co. '& Atfg'sfc &50*s33^fc5oa

Max I. Bayam go-
The New Criticism defies definition, ex-

cept by contrast with the older criticism. Whereas older

criticism related itself to history, biography /philosophy, and

even some branches of science, the New Criticism regarded
all such relationships as irrelevant for a true understanding
of literature. poetic ontology recognized only
lt' structu-

ral tensions and their resolutions within the literary work

itself. The elements to be dealt with were diction, rhythm;

metaphor, symbol, semantic pointers, and texture.

Life was,

at best, a tangential consideration. Tradition was a deside-

as revealed tonalities of literary
ratum only insofar it

44
pattern,- wfitfsS

T.E, Hulme, Ezra Pound .

3s5b<tyfeGD

Cleanth Brooks
3^00*
The Poem has be read as a poem-that what it /says' is
to
a question for the critic to answer,
and that no amount of
determine what the
historical evidence as such can finally
95
poem says/'
HO

Ronald S. Crane "Soo^S 3

tfgSfr!C)^
S5s53^&. 0*3^ Chicago School

of Criticism alb, eJo* Neo Aristotelian School of Criticism

1. "It approaches a variety of poems in the same

way; it looks in all them for one and the
of same structure

(Paradox, irony, complex meaning).

2. preoccupied with intellectual content; it seeks

It is

terms of thought rather than in

for structure exclusively in

anything that may be the distinctive unifier of a given

90
poem."

Lionel

Trilling a AtfgSSJ-0^ SD^)3.joi3

B
(&. "The New Critics in

their reaction from the historical method forget that the

literary work is inevitably a historical fact, and what is more

important, that its historicity is a fact in our aesthetic ex-
perience. ..It is part of the GIVEN of the work, which we
cannot help but respond to. The New Critics imply that the
" n7
situation SHOULD not exist, but it cannot help existing.

'Action is the soul of Tra-

gedy' w^ ts6sjd3<" wSJ^ciabo 1)59

'Table'

Elder Olson Sb6>

LJ

s5g_lg'5oi3'&.
"The chair is not wood
but wooden; Poetry is not words but verbal. In one sense,
 141

of course, the words are of utmost importance if we do not :

grasp them, we do not grasp the poem. In other sense, they

are tie 'east important elements in the poem for they do not
determine the character of anything else in the poem; on the
contrary, they are determined by everything else. They are the
Dnly things we see and hcar;yet they are governed by imper-
ceptible things which are inferred from them And we are moved
Dy Poetry, we are not moved by the words, except in so far as
sound and rhythm move us; we are moved by the things that
09
ihe words stand for. >eb

ea

foe;

&5 3ba'o. "We feel some emotion, some form-

if pleasure or pain, because our desires are frustrated or

satisfied; we feel the desires because we are friendly or ho-
,tile to, or favour or do not favour the characters set before

is. ..and we are friendly or hostile to the characters because

if their ethical traits; in brief, we side with the good against

he bad or. ..with the oppressed against the oppressor""

. 20s5 iS'tpSS ^r5"c?o S

O J

e-S'

bo<2>.

ufis'o

\s
d33 assumptions wlb. attitudes tsS tico^joij-=ob

S 53- "fiS^^Sii. wS- 1. Realistic assumption

 142

),
2. Emotional assumption
3. Expressionistic assumption (esOSi'g 5

4. Transcendents I is
m(^&o>jSc& efj^Stf^jS <^5^tfo). 5. con

fjgurational assumption (Oo^ra 3&71

1. The REALIST assumption makes the excellence of

any work of art dependent upon the veracity with which it

copies or symbolizes something not itself.

The EMOTIONAL assumption makes the excel-

2.

lence of any work of art dependent upon the intensity or the

pleasantness of the emotion which it arouses in an observer.

3. The EXPRESSIONIST assumption makes the ex-

cellence of work of art dependent upon the exactness with
which it causes to be reproduced in the observer an experie-
nce which previously occured in the mind of the artist. It

professes to escapa the subjectivity of Emotional Criticism

by providing an object criterion in the degree of similarity
between two concrete experiences. Such a criterion is indeed
objective.

4. TRANSCENDENTALISM is a special of
type
Emotional assumption, which makes the excellence of any
work of art dependent on the intensity with which it evokes
the special type of mystical emotion which we have called
Revelatory. Since different peop'e experience such emotions
in contact with different objects, and at different intensities,
this assumption .also leads to a subjective standard of
criticism.

5. The CONFIGURATIONAL assumption makes the

excellence of any work of art dependent upon the compactness
with which it is organized into our "organic unity. It affords
an objective standard of critisim, since organic configuration
is not constitutively dependent upon emotional response and
it seems to lead to critical assessments less violently at
 variance with the usual judgements of critics than those
which would result from a consistent and logical application
of most other assumptions about the nature of artistic
excellence. 100

, "ScoJ

oodw

-t/B "Sodcp

"What we have
therefore, is two disciplines and not one discipline. On the
one hand is literary or aesthetic criticism which assesses or
describes works of respect of the qualities in virtue of
art in
which they are good or bad as works cf art. On the other side
the criticism of ideas and attitudes ...... If you describe or
assess the extractable, paraphrasable 'content' of work of
literature,ycu are dealing with something which is not
peculiar to it. If you assess or describe its quality of organic
unity, the compactness of its organization, you are dealing
with that is unique to it; you are dealing with it as an
aesthetic object and not with an abstracfon taken from it.
Theie need be no confusion between these two disciplines,
both of wh'ch are commendable." 101 ^^ "Zcotftf SXP-OO s?^
 141

izs-o" "tr*:!.,^
(Stanley Edgar Hyrhan)
^Jsa "The organisied use of non- literary

techniques and bodies of knowledge to obtain insights

102
into literature" esJO es)3aoCT<3b.

S"o"23

^- (^ ^_Q

Bibliographical

Criticism wfo. Textual Criticism es.b. Exegetical Criticism

"Textual criticism is the skilled. and methodical

exercise of human intellect on the settlement of a text

with the sole object of restoring it, so far as possible, to

its original form. By 'original form' we understand the

" lor *
form intended by the author

. sjofio&tT* ^r-eT ^o5Sbo3 18sS

S> -\c3aa 5"

^B :3JD loST* j5SoJo. R,W. Mckrrow, W.W. Greg, A. W.

Pollard. Dover Wilson 'S&tS'ajS s^r^tf
~aho5>. crn
 145

sae^^. ,>Aoa. Pascal, Goethe,

Jane Austen, Trollope, W.B.
Yeats "SstfS^ ^8 tf>'3o& Michael Bernays, R. W. Chapman
fotfo

sS.03
i^oo.S.-r- ^sjg Ssi^Sb ^^So'Ob, R. p.

Blackmur ^^ ^-L
"Upon scholarship all other forms of criti-

cism depend, so long as they are criticism, in much the same

way that architecture depends upon engineering" 10 ^.

oio>. "|t maybe said

that these activities are pre-critical than critical, but they are
a necessary preliminary to any critical evaluation". 105

ytfg S&Sjjdfc Ssfcrj- (Biographical criticism)

-
"Literature, the literary product
is for me indistinguishable from the whole organization of the
man. I can enjoy the work itself, but find it difficult to Judge
I

this work without taking into account the man himself."

Lucan,plutarch
ipcr il?*db. 's^rj^J3(^ -S^ 'The Lives of the
^^Sd3bJS)

19
 146

Poets'

tf*
L3*3-aa &>* a-*, Sainte-Beuve.

M. Raymond Picard s^too^.'Tor

my part I remain resolutely
hostile to biographical criticism,
except perhaps when it
reveals the author's attitude to social
problems and thus
contributes to the sociological
study of literature... No atten-
tion is given to a work's
composition or to its architecture;
every thing that comes from the author is down to a ground
rubble of signs, undifferentiated by
any literary judgement. If
some of the champions of this kind of criticism claim to be
interested in structure, their structure is
certainly not a literary
one" 106 .

3.
.ofe&Q..a5S).gj.qoA;S>gf Impressionistic or Aesthetic
criticism

. Anatole France
t) aa>ff
;
Aab. -Gentlemen. am going o
I

speak about myself apropos of Shakespeare, apropos of

Racine-'

wflAoa. "The impressionist critic is one who, having con-

tacted the work
of art in appreciation,
regards it as his func-
tion to communicate his
experience to other men in written
words" w^ -a-o-gp
5B 67^5?s- S cp. "The
:

impressionistic
critic brings home to us the fact of his own
existence and
you must not ask him any
himself" wtf
"" other aim than the perfecting of
 147

E-S

9S 203
^o-g^j fSti&zjitio&jfr
I

d-tfofi^Jfr* a^on- ^flofi. ero".

5", 1

, Hunekar. Menken, Nathan,

. d3.si.

;$
0*0^:0^ David Daiches
"Mere impressionism, the falling back on autobiographical
chatter about personal likes anj dislikes and the thrill one
gets out of this or that work, is fatal to any critical order or
critical method and when it is rampant, literature suffers. \f
literature is valuable, its value must be demonstrable, and if
there is good and bad literature there must be some reason-
ably objective method of distinguishing the one from the
other l07

4. school
sSb^S'l^s't*^ Ssfctf; (Psycho-analytical
of criticism)

lurk and moil basic

(1) An unconscious mind wherein
/f

Impulses of the race, also thwarted personal desires. (2)

An
inner censorthat, recognizing society's ban on these impulses,
forcing their repression, seeks to sublime
them in more
allowable forms of expression (one of which is art). (3) A
basic libido or sex-drive which, when checked may produce
(Oedepus Complex: Mother-Fixation) distorted if not broken
of modern Poetry,
lives. Thus it sets love (the chief topic
at the roots of human action. 108
Novel, Drama)
148

(Collective unconscious)

Sort- "So&
as

Sa 3 to 3 o rf &P -&B

Psychological study of artistic production

may be undertaken from either of two opposed motives. On

the one handworks of art and the known process of their

manufacture may be studied for the indications they afford

about the mental d spositions of the men who made them.
On the other hand known
psychological facts about the ,

artist other than the fact that he made certain works of art
may be used as data from which to draw inferences about
the works of art which he made. In the one case the purpose
of the investigation is to know more about the mentality of
the artist as a man and in the other is to know more about
D
the work of art as a wcrk of art"i s5o3Foatfb

so. <i.

Leo

- "It scarcely does justice

to the indirect or oblique effect of contemplative
work, to
the "alteration in the outer world" effected by the readers
of novelists and philosophers. It also fails to
recognize that
creation is itself a mode of work in the outer world; that
while,, the day-dreamer is content to dream of writing his
dreams, one who is actually writing is engaged in an act of
externa|izat;on and of adjustment of society '

[Historical method of
criticism)

1. 'To explain why any work of art was made by showing

all the various factors which influenced the mind of the
artist and made him the sort of man he was.'

2. 'The critic's task is not to assign causes, not to ''explain;

works of art in terms of their antecedent conditions nor to
assess them in terms of their social effects, but to collect,
and record the judgements made in each age about the art

produced in that age and in preceding ages. He is, in effect.

to produce a history of taste." 111

3otf<3

IBs

n '
11
 150

"SfoS'* Sir-cr
atf^S), ^3^"^ ^^H.^
)fc, s^

ScSbotf i

3'

W. P. 35'. R. W. s-ooSV '

C S SS)S "Soo^S

t3. ^. SOcSi)5b^ ger- tsK?^&: "The chief ment of historical

criticism is that it cuts through accretions formed by prejudice,

and provides a detached evaluation of whatever work is
being studied. "i l2 .
tscoas? >3 a3Sb3bco, Sja4eo

has as its purpose the

"If criticism considered as evaluation

assessment of the work as a piece of .literature, then it might

be urged that any historical consideration is irrelevant. A
work of art is either good or bad, and though historical
conditions may help to count for its badness (or its goodness)
ft cannot alter the fact."n s "For a man who takes this path
has decided to from criticism and in its place to write
refrain

a history of criticism in the past" 114 - wJS^ Si&tf^eo ^8 ^

 151

8.
(jS^as-tf asbs^:- (Naturalist Movement in

Criticism).
?13,S~
OM^ 3 ^esPsSba'tfo
(Theory of evolution)

Cfc&u*

(Zola)
t93 ^T'o'S JS^aj is" Sir- ^0^3

CT^ (Criticism based on Realism') So

Cg
S J^Ea"2oJ5a.
a
^3'^dSp3' (
j >
S ^as's'5 tf tf

(Philosophy of deterministic materialismj &Jj5

ZtioS* &'6

Zola ";$ 'The experimental Novel

SSJ'OS &PIJJ-U&
u,~j^oi?&. "His theme like that of any
other considerable novelist was the nature and destiny of
man, but nature and destiny of man interpreted in terms of a
naturalist philosophy''ii 5 &

u,

. 3*3,
152 &o\

ADofi. s-o^O^srtf &!05

BSfrtfj. (jSfiSPtf^a'CTtf S&Sj

7.

ejes'SYe ja-|jfoaiovj
""
ficr a> a (Sa ?5^a . gS>

^43.0, CPS^^" ^CyOtTCO ^"i^CgO liJi^ ww^

886^ 'Decadents' ts^ "iab^ ""06
B
|j32'63o3
Cb. tso^J*
''This movement, contemporar/ with impressionism in pain-
ting and in music, and with the pnilosophy of the subcons-
cious culminating in Bergson, co'ncides with the idealism of
late 19th century, and as an offshoot of Romanticism to
which it is connected by an almost uninterrupted, if some-
times underground current and, rrore generally, to a mystical
conception of universe, devided more or less remotely from
neo-platonism"-o3

1
5? s
55^

"
1. Symbolism is an attempt by carefully studied means a
complicated association of ideas represented by a medley of
mitaphors to communicate unique personal feelings '.

2. "Every fesling or sensation we have, every moment

of C3nsciou;n2ss, is different from every other; and is,
in consequence, impossible to render our sensations as we
actually experience them though the conventional and
universal language of ordinary iteraturje. Each poet has his
I

unique personality; each of his moment has its special tone,

its special combination of elements. And it is the poet's task
to find, to invent the special language which will alone be
capable of expressing his personality and feelings. Such a
language must make use of symbols: what is so special, so
fleeting and so vague cannot be conveyed by direct statement
or description but only by a succession of words of images,
Which will. serve to suggest it to the reader. ''The theory of
 153

.the suggestiveness of words comes from a belief that a

primitive language, half-forgotten, half-living, exists in each

<ytf<T

n-JO

"The Poet is a true stealer of Fire. He is charged

with humanity, with the animals themselves, he must take
his inventions felt, handled, heard. If what he brings back
from BEYOND has form, he gives form; if it is formless, he
17
gives the formless.''! "SiTS^ utf^d, fftftf "300(53

W. B.

Bf

. ^6

(jS
c& Q^o a S . tso&F'tfSb s-fio

20
154

(obscurity)
-5-a 9

H). dfio.

"By the simple act of cutting himself off from vulgar

emotions and concentrating on private visions the symbolist
severed himself from large part of life and his work became
the activity of a cultivated few."n

8.
sja^g3 3^c^ (Marxist Criticism),
'

rra
^sjp 3 ^" a ^ ^tf
(Dialectical

Materialism) tjQ-doTT
1

^ a&Cg 3o-^o I9s5

sr_^l>^eT (Socialist realism) >3

^assas". "Literature must
become a component part of the organized, planned, unified

socialist party work" (3^^) eSja &S

230.5"

1 . An emphasis on class propaganda and revolutionaiy

didacticism and on the ideological specifications of the total

state.

2. A corresponding emphasis on the deterministic

origins of art- the economic and social status (Proletaiian,
bourgeois, pseudo-bourgeois or aristrocratic) of artists and
art'sans invarous past eras/ -
 155

'tf S2r> 3 fl^sio . sStf

SJj

goo

43 S

^j'Ob^co.S'43

, tftfco
3-gcSb ^gSj^S,

ts ^
(i
ci5j

1. "Political, legal, philosophical, religious, literary

and development rest on the economic. But they also

artistic

react on each other and on the economic base. It is not that

economic factor is the only active factor and everything else

mere passive effect, but it is the interaction with the econo-
mic base which always proves decisive in the last analy-
1 32
sis".
Friedrich Engels, (1820-95)
156'

2, "Marx and are partly to blame for the fact that

I

younger'people sometime.? lay more stress on the econo

1

side than is due to it. We had to emphasise the main princ

vis-a-vis our adversaries, who denied it, and we had
always the time, the time, the place or the opportunity
give theif due to the other elements involved in the inter
12 3 -
. Friedrich Eng

3, "Art is the privilege of the free". "All art is cor

tional by theconcept of freedom which rules in the soci

that produces it; art is a mode of freedom, and a class soci

conceives freedom to-be absolutely whatever relative freed

that class has attained to. , Jn bourgeois art man is conscit

of the necessity of outer reality but not of his own, becai

he is unconscious of society that makes him what he is.

is only a half-man. Communist Poetry will be comple
because it will ma*ke man conscious of his own necessity
well as that of outer reality". .."Art is one of the conditio
of man's realisation of himself and in its turn is one oft
realities of man" 124 Cristopher Caudw

4. "Socialist humanism accomplishes the unificati'

of historical and purely artistic knowledge within Marx
aesthetics, the continuous convergence of historical and ae

thetic evaluation. The Marxist aesthetics resolves the que

tjon with which men of stature have long been grappling: t
integration of the enduring aesthetic value of a work
art into the historical process, the process from which the wo
12
in its very perfection and aesthetic value is inseparable"
Georg Lukac

"To-day people repeatedly condemn any serioi

1
:
5.
:

emprYasis on -WHAT a s inartistic. The reproach is justifi*

only where the WHAT is divorced from the artistic HOW ar
rendered autonomous. It can "never be autonomous". 1110
Georg Lukac
 1
157

9s5

1. "It is well known by now that orthodox Marxism

has proved through offering a purely mecha-
critically sterile
nical explanation of works of literature ard providing slogans
rather than criteria of value. It follows that most fruitful
criticism has to be looked for, as it were, on the frontiers of
27
Marxism, not at its recognized centre".!
Ronald Berthes,

2. "They (Marxist critics) practise evaluative, 'Judi-

cial' criticism, based on non-literary political and ethical
criteria. They tell us not only what are the social relations
and implications of an author's work but what they should
have been or ought to be They are not only students of
literature and society but prophets of the future, monitors,
propagandists, and they have difficulty in keeping these two
functions separate/' 128
Rene Wellek and Austen Warren.

3. "Socially vigilant critics are not convinced that

aosthetics constitutes the highest court of appeal in literary
verdicts" 129
K. K. Ruthven.

rftf^rfo
158

tfoflotf^exi

"Works of art cannot be describedor explained. They

nfrt/st be perceived. Andthe most the critic can do is to offer
hints and directions for focusing the attention in the very
difficult art of excercising and cultivating the skill to per-

ceive."! 30
Herald Osborne,
 "A clear consciousness of a scheme of relationships
between methods is in itself a remedy against mental
confusion, even though the individual may elect to com"
bine several methods." 1
Rene Wellek and Austin Warren.

_, b

r>003. -^

"S>T* ?? iir ex
15
.
160 wo^tf &*Sj*&i S&o'^-wog

. woo

(1880-
2^)
19-51)

2
.
- &J)Ji)

, ts ao^ J&> OD . "? D

 S'JO.

tsJ6o0 ^I)J6
S&^^ID 45(3

*
asio^ ssAoas
p

L~3>tf
E3 S

5 D a- S3 o ID o $

ufcto, DCJJiCii)^, IDcrs'3oCDd3--& 'fi "2c^S ^3 SSSrv

p> s5c3 tf'Ss$tfjon"

I
jS

21
162

. y (J^Q-FFgSS era
tf 3
. 3 3-3 a > 1ono85
g

&oo&- i. dJ^e5'S3aj'Sriea J -8- 1 892

n-a

tso

w.

(1896)

'

(1899)

(19180* (j3-S\sSa [9145^

 ',5

E. 5*
" 63 ID

.
18120*

10

S'dSb.

S)^" ^ cS&* o & "sbS^k-^ko

e-S'
 (J8I5)n,
(I925)

o, crS) ^
1. "The most striking in the Romantic criticism
thing
is its note of freedom. The Romantic criticism is remarkably
fresh and original in its approach towards all the
problems
connected with Poetry and poetic creation. In the
c
eighteenth
entury criticism the poet was not given any liberty; he was
supposed to follow the ancients
rigidly, almost slavishly, the
chief feature of Poetry But the Romantics
being imitation.
discarded all the rules and restrictions and allowed free
play
to the imagination of the Poet/' 13

2. "The chief merit of the

Romantic criticism is that it
deals with fundamental 'what is Poetry?'. The
question,
English criticism before that was mainly pre-occupied with
problems of language and style, with the outward form of
Poetry. But the Romantics went into the heart of the matter
and tried to probe the origin of Poetry itself/' 1
!jr

-&adoa
 165

ye- 3" erro

Sera- e.3'

rS

^c3jr! oe ^sSg^
l

i d
8995*3. 3:5^3)3

o'r' ^ ,

o S5e5

. a-SJ

Q
1914 ^
166 wo^tf d-pS'g&oi-tJotf

1. 'srsSsrlf d&tfrr

ii

i
3.

f'n)
aS^^SS^eo (s*tfg
S'CeaSboo

. (Sir:

O S'^otT'iSioco. ^3) r5

,
9.)

'
4.

.
0)

38)

1
6. S?^'^
^^ cSi^S' S33d3boo

"203^43(^3.
 s$**o ^
Atf g &-a,.A^ .

Lfc&eo es^ wq-gdBbo

yog
Imagination

emotions

(Imagination),
o
(Fancy)
B-0. ec^ dton-* a-dS'

. I8s5

a ^> i o 3* & .
 188

"A man has imagination in proportion as he can

distinctlycopy in idea the impressions of sense It is the :

faculty which images within the mind the phenomena of

sensation. A man of fancy in proportion as he can call up
connect, or associate, at pleasure, those internal images so as
to complete ideal representation of absent objects. Imagi-
nation is the power of depicting, and Fancy evoking and
combining" i$> SOc&o

O "The shaping
and modifying power' /T&P,
^5^^^ "The aggregative and
associative power" rs?Sp
O^OotJ'as
ex>r3'
{ ^cx5D
. e^S: 1) Imagi-
nation in its real sense devotes the working of a poetic mind
upon eternal objects-objects present before the
physical eye,
or visible to the eyes of the mind. 2) Imaginative process
sometimes confers additional properties upon on
object, and
sometimes abstracts from it some of the properties and
qualities possessed by it. imagination thus transforms an
object, into something new, and thus enables it to react upon
the mind. (3) Apart from acting upon individual the
image,
Faculty of imagination also connects, modifies and
juxtaposes
different images. (4) Imaginative activity not only modifies
the objects and creates new objects, it also 'consolidates
numbers into unity' and 'dissolves and separates unity into
7
numbers.'^

grstotf
 .
'5-&30C tfg^to Soc^oCS tfps<:$ Sfcoofio
ae^
cJfcc&ga a^JoS # S3tf&.
s^tfJoS <*orao srsssj-^S '
4
(3.
5?s5j6So SS

a Primary *>

Secondary w

_ _JS atf^o tbtf 'Poetry is the spontaneous

overflow of Powerful feelings' s$<5~\5 <5~ aoptftf
M;$^

"Poetry is in all its shapes the language of imagination

and the passions, of fancy and will'

Fancy 5a\cS 03<jtfyeilS. J3*SlsSto

f^

70), '^d'o^
-'(^ 137)
Fancy

22
 170

). o-O a S'C'eao,

esgo

- "Mr. Wordsworth. ...was to

propose to himself as his object, to give the charm of
novelty
to things of
every day,and to excite a feeling analoguous
to the
supernatural, by awakening the mind's attention
from the
lethargy of custom, and directing it to the loveliness and the
wonders of the world before us; an
inexhaustible treasure,
t>"! ^- \v-r-h, in-
c->n^&rfon C o d f thofln of fami'irrtw -mi
s-i'^h.solicitude, vvehav-eye^ersftsn
t,
.
ars that hear
n.'-t an;i re rJs that
neith.r respond nor unrjersta'd.
'-'^iooxod
 17)

Sltfj&tf SjbetF^S^, jSaes'^, J^tisroo 5*0 ?OC3*OePG&>

55^
i)dAeTe;Sb
^^ SD S er- TV

, lit) (3-j;5 A Defence of Poetry

e3 ^5i3a. "The Principal object proposed in these

poems was choose incidents and situations from common
to

life, and to relate or describe them, throughout, as far as was

possible in the selection of language really lused by men, and

at the same time, to throw over them a certain colouring of
imagination, whereby ordinary things should be presented to
the mind in an unusual aspect; and further, and above all, to
make these incidents and situations interesting by tracing in
them, truly though not ostentatiously, the primary laws of
our nature; chiefly, as far as regards the manner in which we
associate ideas in the state of excitement" 31

Q. 18. 19sS

S^O'^Soeo
''Two Kinds of protests against poetic diction have occurred;
that of the classicists, hostile to pedantry and affectation,
appealing to polite spoken word; and that of romantics, hos-
tile to same things, but appealing to the primitive, the native
the directly passionate," 22 A<3brt:>
 I?"u3
I f

Sao 3 ^S^or? s^OjTz-rfsS gos-3,

S'gJfo>Sfe)
3<& SPO

cS, 'selection of real language of

man'

A3 6808300 Sb

(4- 22) 'SDO^S_^ s^s'gco "The man of science seeks truth

as a remote and unknown
benefactor; he cherishes and loves
il-in his solitude; the
Poet, singing a song in which all human
beings join with him, rejoices in the
presence of truth as
our visible friend and
hourly companion" 23

- "The earliest poets of all

nations generally wrote from
passion excited by real events;
they wrote naturally and as men;
feeling powerfully as they
Ia n 9 " age Was darin
9 and figurative. The succeed-
fnoSlmpi
ing times, p n
Poets, perceiving the influence of such
language,
and des.rous of
producing the same effect without being
animated by the same
passion, set themselves to a mechani-
cal adoption of these
figures of speech, and made use of
them, sometimes with
propriety, but much more frequently
appl.ed them to feelings and
thoughts which they had no
natural connection whatsoever. " 34 1
 173

.
o o tfoSb ff
(Ja

Otf L^^&OJ
'

J, ta s; o511
>

cdb^, (isdSbgS ^d3b

Sir- dr- & tf ;^ fia

.' T^I. 13)

>N tfiioao, o'CTcco

53*^^:0 uo^S, SofOJS&tn,

^ Sb o So ^a SSr 1
^ Si S3a rf s
iji
9'
^ 3 S S) ^i5

;\
o* ^ S"3 "So c6 "i^CT^a.' (z$. 15)

'
3.

So-Co^ofi
S
 .
17)

"In his criticism on Shakespeare, he insists,

with much on the unity of

felicity, a work of art as its

characteristic excellence. It must be a concrete whole, all its

parts in just subordination to the leading idea or principle of

25
life-" M^_ a&tfjS&ss wSjjj^dSra^ ^^^tj, '^'
ra ^^BJ^
'
>
J3 dosc5i)3' 1 d1

"The expression of the Imagination";-

'

atf^ijSs'Stfo'^on
1
Poetry is ever accompanied

with pleasure; spirits on which it falls upon therme'ves to

all

receive the wisdom which is mingled with its delight-',

S'^bSD

, a

So'&
r
'JO ^oefiDOS" a
 o, ^ffafisSofl

(Analytical method) fTtiS>Q$$ %

/Interpretative

'

:
Ci*i-;a;' (Evaluative critfcisrn
s
;
c*D1

-
i*.. CM? - C.' c^ .
176 woitf iCP-S

o)Soe:c3 ^
^;j, 70)

Do

! o i3

(comparative study)

i 3'Sico I ^S'

?3*
 177

-
(4). 88) gi3D^od3 a&tf} Oo&Sb

Oo'lfidcCco S3*'

F3^o<^oc rr^
sSr-SSa'lbSM ? we ^?5^o^ OA-tfsSo S'd)'. 55 D

23
178
yo^S

"3eo?t>

t)

Q
'Emotive Expenence'Sb

O'^Sia
,
^. 132)
87

. SET dS>&43
(^3. 42)

. "Great

poetry is always written with feeling, emotion, inspira.

tion and imagination and not following the old traditional

and outmoded rules of rigidity" 26

3-5

classic^ .

ro Q __D ^

S'ci,
^P^U^ES^SI ^ioSboO S3bS"o

STUBS' es otf1

DSbo'jSbuo
 179

tfo

Criticism)
'' ' B
lStfsS
(Sociological

<"""> 3

CT-,

S'o^SS'

"3ojpSj, "So
^(6^5"
43 3 "^o;\t)0 Uco?i>,

yo^S

^tfgS^ a&^5*3 S'r-^oSba^ Bco

^ SsSb^ff*
180

a'^ifc.
"The main defect of words-
worth as a critic is that he shows a lack of balance in his
critical approach.He constantly overstates in everything.
It is true that wordsworth was confronted with the task
of demolishing outmoded beliefs and principles and, of
course, nobody can criticise a dogma without himself be-
coming a little dogmatic"
30 -
5=9^ a^nc^S"
8
&3^ s.6"
^^
"The first is his lack of wide study and knowledge of things.
He had read only English literature and was ignorant of all
other literatures. The second thing is his ill temper and
31 Sta&o3z'& sr-'oS^or?.
extra-literary prejudices"
. *rs 'Qt5' 1 b,

"3 OD ^2 Si 5^ go
/J
this criticism survives, as it vigorously does, it is not
lf
by
virtue of what it demonstrates but by what it abundantly su-
ggests, for no English critic has so excelled at providing
profitable points of departure for twentieth-century critics" 3
a
s
~ Sir-too) r o"8<S
2
sjoA&fcT
n
1
ioeS"

<b>oaS SCPCT tsoS"

wSotf
tf^g tfCf^ (1893-1979)
O'So'Sfl
Q (v 1897-1947)y rv^eo cre5^3b.
e
 ^
(^Literary Aesthetics) &
dil
3^0 iP fib .

Max I, Baym sSpkex) 3;3g ^>cco. "Literary aes-

thetics is primarily concerned with the criteria of beauty
and pleasure in the creation and in the appreciation of

literary works of art.... Since literature is one of the fine

arts, it follows that the aesthetics of it can be most richly

grasped in the context of principles that apply to artistic

expression generally." s^^ S'r

1

-Ss
SP'otftfg

aesthetic questions are : the relationship

of sensibility to knowledge, the nature of poetic creati-

vity.' the roles of symbolism and metaphor, the differen-

tiae of Poetry and Prose, the tension between poetry and

science, feeling and reason as form of cognition, the

literary applications of metaphysics and science, and the

" 33
nature of sentimentality. b&S*>
3oeio
182

Seali 7* e>oll, t)Q

[3e5o

03^0^^=00 STStao

Ibsfrotf

(I863-1952)
.
(J809
\
- 18mx
tion-

'Art is an expression of life' w^

^Expression
is
ts3
o^^!0 Soa?S fjcrotrco 6ir SlT" o n- cm . y s^ooS^*
Beauty)
"The art-product was valued as the expression of the
artist's uniqueness, as the means by which he communi-
cated his inspired insight into reality, or conveyed his
wonderfully delicate or passionately intense emotional
mankind." 3
*1

responses to the less favoured and gifted of

efl$):$g_SS (Expression)

a- flo
 183

es IS Sr
g
sa ,
t

dabtib"i3 J6(io
(^" c
1
rf
g
J^o Jii a 43

0,

, vT
1
^^
CD
sSa<5S
a
337S33; rr'^

, d'to.

63;
'
9

. SoA-^o

. sa-flsSofta' ^^^ s srtr-gCSSa&'a

tftfoff*

wso3tfo. n-tfJS ^po&d'go ^o^Sb fi^shtfjo

184

SuA

BoO

&"> ?3" cSi $ T* d3b Sxo . . . . ^ o r? i Siu

cSto e* o Cb .

3i3
 185

&

SSr><6J553*g^5'Sioo

tfo

en ,
(J^didJCi Rococo

cs-S.

So

31*30

rfeorfrtfrorfifc. sj

* ^
tfoefi

24
180 wojjS

"3D
c6o(j3n-dS)o

, 'Biographia Literaria'

}^ "3 5

^^O ^ S^iCJ^
1.
"0^-
 187

g.

S
.
10-U)

.
(Sj. 15)

oci5;pas5j;Sa&

16)

".
(si. 39)

(^. 40)

(vii)
^). 41-43.

fviii)
"tso^^oo^ ^o^SiooorT 1

SD^^oCito,
188

(ixj

63S"t)

(^. 50)

2.

^). 6J).

77).

tfS,

E?bco

T sfod
 ISO

. ejo i^iScidb
33^;3^co exxS

CJosf'o O^^Sxn^, "otfCfg o&sa^ooST J3S)

oco, t^?jo3 ieS

SDtfjj

T'Ob. ^SjpcL^&'Sdj'^sso'
v ^^fib. o >
[^J333 ':iDj 1 922

* 3 oS"* S
190
uo^tf ;3'2r3'g3s5btfj-tJort'

kS 'Poetry is the rhythmic crea-

tion of beauty

ss

. 3(^0 ^Ca J^o "Sfio, s.S'43

'

esb.

cs-a

yogas' J&tfs ^aS NP^ ^oaoaod^a ....

^tj 45)

201) a
"5S

55 a

>to.
43)
 191

I- 'Most frequently Poe offers us the idea of beauty

of 'supernal' beauty, as ths aim and centre of art. His concept

of beauty is not, as some pronouncements seem to suggest,
completely divorced from knowledge; it is Neoplatonic in its
reference to harmony, to mathematical proportions, to the
ideal and ideality. The concept assumes a romantic cast in
the insistence that beauty is vague, suggestive and strange,
sad or melancholy, but also 'supernal', 'ethereal' and
' 39 5
tfoS >%><& 3 or?' "Bcofib
mystic 'St '
"SSrpfib 'cr

tsfi

(4). 44)
'Beauty is truth, truth Beauty

fl/T-ob.
Q

O, a>

^^S- "The great service

Poe rendered to literary aesthetics came not so much directly

through his dicta and formulations as through his awakening

of literary criticism to a search for the forces underlyng artistic
41
expression- u '!&*;& tvLo-S
 500 Heofib

i. "00^0(3^ JS
(jSStr_jS
d&itf
i^err-

S> fir

2.

8..

s5^
35

4. e-

^os5aocirs otoj (
s
sr >
 6.

7.

S.

9.

liatf ^SOCT-, <a&:5o

10.

25
 94

. Si

"Sfi
C3

tfsfc

(1895-1976). goA^ 1800

1825 Sos^ *
4^ g-o^off
r

^sSooorr- ^i3tfofi a&jj^

JI, S^KJ-tf goA^)^ CTCT3) 1850
ZiS tfg-a
 195

so. i.
Boa,

&$ S^o'.;,
Sjcr-^oS^ Sen 1

^ IS

tso3. zriiSi "o 57 sir 1

^
d o ^

5 Preface to Lyrical Ballads

-fib tfy^
1 39 95"* &.S 3

o "So to, Jir''?'^

"S^iS'/T
1

,
SxaoiSiSb ^TTTtoo ^ffj oS)O3o
L<SSbo.
B^o^SS^^g^D SSS" "isxj^S'^a e3

"^^0(2); S'-oS^CJ^i 2^5 "Bm^ L^6 =: e>

SStToo

. tscxa"^.

a fc IS o rv
 rS
Ills s'erS ^SJio 5^'^oS

-5's

s
"3ei*bcf

. crn

36325'^

fib O1 3

: s)
1939)
Lyrical Poetry 5 3^3
"The Lyric has the function of revealing, in terms of pure art*

the secrets of the inner life, its hopes, its fantastic joys r its
4lJ
sorrows, its delirium". 3 #

tso "^

SSr-jjil:.
wot),
 e.S' aa-Q

tf er

- o 5 $'

y s?o tfto^boa cp^Sorr'cS rs*cb S'

SOAo^J

^:S ^0^,30
Agao- s'fi^S ^Sx^Aoi3-ab. "In his
theoretical writings Matthew Arnold was concerned with
soc.al, educational, religious, cultural as well as
literary
improvements. He saw the degradation into
which the
society had fallen in his age and it
grieved him deeply n |

the Victorian age there was

rapid development of
and m material wealth, and it led to the industry
neglect of religion and
culture. Arnold wanted to lift men from this degenerated
condition; therefore he propagated forcibly the importance of
culture and religious values"-*" esS
 109

"Arnold repeats over and over

again that literature
educates, that it forms man,rnakes him see
things, makes him
know himself, gives him serenity"^ 7 -
<doe ;

1. "The future of Poetry is

immense, because in
Poetry, where it is worthy of its high destinies, our race, as
time goes on, will find an ever surer '
and surer stay
500)

2. "I think it will be found that the grand style arises

the poetry, when a noble, poetically gifted, treats with
simplicity or severity a serious subject".
"(. 499 i

3. "He insisted on the union of the best

subjects and
the highest expression in
poetry. Only poetry of this sort can
achieve its ultimate
end".(s&, 503)

4. "The ground work of

literary genius is a work of synthe-
sis and exposition, not of
analysis and discovery; itsgift lies in
the faculty of being happily inspired by a certain intellectual
and spiritual atmosphere, by a certain order of ideas,- when it
finds itself in them: of dealing divinely with these ideas,
presenting them in the most effective, attractive combi-
nations.- making beautiful work with them, "
in short
(55). 504)

5. "if the chief merit of critic to

is promote in others
the intelligent appreciation, the conscious enjoyment of
literature then, in the words of prof. Sajntsbury, "Few critics
can meet this question more triumphantly than Mr. Arnold "
(P. 508)
 2(lQ

6, '"According to him criticism was creative as poetry,

and in good criticism triers should be a synthesis of ^agi-
nation and reason". -3-

7. "Arnold's religion was poetry. He thought that

religion and morality were as broad as life, and since poetry
can never be divorced from life, religion, morality and poetry-
to him, became one/' (3). 511)

Walter Pater <5*

1. "Mind in the style, soul in the style" h &* o >" o

(P. 5lT)

2. "The beauty
of which he takes account is essentially
of a religious kind; draws the mind to the further issue, the
it

inner spirit. AH the charm of ritual and ceremonial in wor-

ships has for Pater an indefinable and constant attraction,
He is for ever recurring to it, because it seems to him to in-
terpret and express an emotion, a need of the human spirit /
whose concern is to comprehend if it can what is shadowy
figure, the mysterious will, that moves behind the world of
right and sense". (P. 523)

*3, dfcS. qSd&sT B-r-eo :

1. "Criticism must always profess an end in

view,
which, roughly speaking, appears to be the elucidation of
works of art and the correction of taste." (P. 537)

2. "There are two different directions of literary criticism

in thetwentieth century- a re-assessment of the achievements
of the past writers, and creation of new literary ideas. Eliot
also believes that the importance of revaluation of past wri-
ters is great, because of the fact each generation has its
own
values of art and judges the writers in a different way".
(P. 536)
3 9- p eo -3 5 So cxi 201

3. "Comparison and analysis are the chief tools of the

ritic" (P. 538).

4. "Eliot's idea of 'conformity to tradition'. (tfr.

"In Eliot's theory of Poetry a union of thought and

5.
idling very essential. The poet should have a unified
is

3nsibi|:ty and should transform his thoughts into feelings/'

.535)

6. 'Objective Correlative' influence of French symboli-

s. (P. 534)

7. 'Poetry is not a turning loose of emotions, but an

cape from emotion; it is not The expression ot personality,
it an escape from personality". (P. 532)

'Value, according to Richards, lies in the 'minute

1.

response and attitude not in the general rules

irticulars' of
conduct and such abstract terms like virtues and vices"
.559)

2. Account of value and account of communication.

562)
-
3. Four functions of language sense, feeling, tone /

d intention. (P. 566)

4. Unhistorical method of criticism. (P. 570)

5. "The influence of Richards has been strong in two

proper thinking and
!as in particular; that of education in
mprehension of written material by improving our skills
th words and that of the appreciation of poetry." (P. 571)

6. "Criticism as understood it,

I is the endeavour to
criminate between experiences and to evaluate them. We
26
cannot do this without some understanding of the nature of

experience, or without theories of valuation and communi-

cation." (P. 574)

1
ad ^"SosSsjoa doooa. s'k&oa * 9*3 a>D ai 3" s
S
1
softs' if

5oo3.

'
'

s1 e?
"

C5

3'SvJoi3 B &.
a^s-aJ "Sld^w^ i^D'iSo. 3-ib,

s *S <; ao o i3" e? c3 ;\
 203

O
.

(Romantic Movement)

So<5oa,

tf^^J (Capacity for spiritual in.

sight)
so, d'^^as^gtfjS) si^oa. g-a.

(insight) wfc^ J-otfsS SJo(jSn-d3b

oer-Oa,

wot), a-
204

OS (jS<3rrt >^^^ (Practical Criti

cism)/ S^J6o ^^>^S 20sS

sS>jjj

(The Process or Depersonalisatjon)

SSbSo
SS^orV i^^o! wo 1^5 "I ad3b?Sb
>;>}

EPOS),

-s
 2155

'The idea of conformity to tradition- tftf

-\ !> o Cj'do Q E &r c

'
'
o cr c5i SSw
)j3

rf^Sxfi*
'i cfc ^d^ 63
i^otfSSo g*<3a; i

V.
r" e^
a
(^^^ iSr-J KPoS"

So^Scrd&o

'*ln my opinion whatever TeUgu literature has its roots

in the ancient classical tradition and indestruciable values is

bound to acquire an enduring quality whatever forms it

may assume. It cannot be surpassed by any literary activity

however intense or sophisticated, based merely on trends and
52 ^ wsS
techniques"
206

err** tJ&S^uS" 3-dx o:?3s&> So^cr

"If people say that I have no sympathy for modernism I can

only pity them, I am not an of science and technology
enemy
the tram, the phone, the plane, the TV, the spacecraft, these

are all irreplaceable. If you go through my writings carefully

and dispassionately you are sure to attribute to me unqualified
admiration for the sort of the government that Russ'ans have
in their country. My ideal briefly stated is socialism plus God
plus Religion. I
may be a defender of best causes. But I think
it is better to cling firmly to something that is with-
in your reach than chase desperately that shall never be
53 -
ours" &a

"My books, if read with no prejudice

and a deep insight into things reveal the modernism, the

high scientific modernism" r>i . ts^&r-tieo MJ&;$& ^i o f j

^v, 3S y ^ o tD o
^ D
s' ix> S^
3

^(33 Ci^cS^ ^^o<3 daoQ a

si> o

S'ofiii.

S)

c3c>. a
 -Ida.

C'OCTO era Kir 1

rrcco

.rr'cs' ^^0 ei 5 c dSj" 3 'j

Sot)' 3 o^Si n dSr fl

1

S ^ * OX) ?3 ^ ^T'SS

Sb ij-f cj o S' 55b&rjjpfif"3oc5 D^

208

S"dSb.

606.

-l c5cS^dSiA0 isSSsSn
^ Ol
q?'^C>s*0'd&o -5,
o
2.
qj

1
3. 8-3'&i 4.
^^gsSS^bifSio 5.
?3
iS'cS&*^bj5^

6. 7.
S^ry^ ^>2p.S^g^s?gJSs3bL>,
8. s"wg^ot5Sio. 9.
&o^&
II. What is Ramayana to me. 333*$
j*eo -^63(iaoo &ua

^S) 3" ^5=0 go

1
o s'So-^d^o^S (1949 5Ptfa).esiSsJ*S
j \o

c'S'

Chios'

27
210 oojjS d2ptfg)s5btfj.ao

(Symbolic criticism) s5bc&}e63g. ^Sr-^g ac

962^

55*^^)0(5^

(L970)
, 5743

I
|j?o5o

(Practical criticism)^ s^s-gorT SSbth

iipioa-ab "Sails'4 ,

J6
Si q? S3" co-^3 Sato 21

S 5s

)x>Cnoejotfdy ~fif"&^cidb<r

"Soooooui ^torr 1
^ "Bco^i

'
csc&oS Sa^SSff*
(I960 sirS^-e3'S_.

6'AoS.

C3jt ^oE5Oo. ssjodiifi*

'

(1972) sSgsrtf^e&ea

a
Jd& o^ea ^o^o tslSdao
jjS sSgs-tf^S

sjfi "2oiJrf
^060, e S'Obs-d

5 53QO Sii?S^) dSr-fi'o iSfcoa.

 *, a* SF> dtfc ra

^00
d^ 567"

S \rSju OESDtS

Realism, Emotionalism,
Expressionism, Transcendentalism
~>3 Transcendentalism

Sb^o
/^^So^^ti)^. "Realism regards
itas the function of the artist to make
reproductions of the
externaJ appearances of things, because he and his critics are
keenly interested in appearances. Emotionalism holds that it

ishis function to influence actively other men's emotions. Ex-

pressionism also holds that the primary function of the artist
 2 13

is to influence the emotions of other people

by reproducing
his own emotions in them, although it could admit that he
may influence them towards emotional experiences chara-
cteristic of the introverted type. But the concern with exer-
cising a practical intluence on the emotions of the other people
is in itself a characteristic of the extravert and
Expressionism
therefore belongs to the extroverted type. Transcendentalism
an the other hand belonos to the type of the introvert. It's
Drimary concern is to achieve awareness of the true nature of
reality underlying the superficial appearances of things and
the influencing of other people, or the communication of that
awareness to other people, is secondary.'' 58

o Transcendentalism & 5? r'

SSbo^Sbco Expressionism^
^S Transcendentalism &
3-3

"Instinctively in-

rjuisitive he was and had aninnate urge to think about, ima-

gine, observe, understand ana learn things more and more.
n and out, in life and literature which happened to him quest
ind pursuit, he always used to be a poser of questions, see-
<er of answers and seer of truth which culminate in an
lesthetic expression charmed with a philosophical repose.
He was versatile and erudite in his scholarship of the "oriental
ind occidental classics-not only of classics and classica 1

treatises of literary criticism but also of the huppenny tuppe-

nny chips of fiction" ...... ''Viswanatha, who combined in him-
self the Solomon and Sampson in matters of quality and
quantity in his literary'output, was not only a creative artist
50
>f the first order but also a critic of the first magnitude."
 r*r Efg2S&ij
>

j-tjofi'
i

tsoo*

^oSaa>r?5

tf^tf^s-en

tfgtoo.

Aotaofi. oft
 215

(circle)
216

"Soo^S
 23 ft #?$ wk
tfo-rtoff*
^

g. e

874 &od 1813 tfaab.

(40
<ao. Ll.r. 19J4 J^od 1848 sitffc.
(35 Son)
8. - 1948 ^o^
Sej-^^lo^c^^o Ll. -.
.1863 sSffab.
1 c
10

4. . r. 18.63.1870 Stfso, 8
(&sfe.ab Son)
5.

I 970

28
21

uS^oOo5?Cb. a 3 sS&^cSSb dotf

(1894-1972)

E?toeo I^S
sS6i3fib. ^Sb'ocxS^ Seo^oSb
Ki Bf-

(1952)

Seo^S'iSoS,
7*043

"2aoS*
 SS^otfto^o SP&OOV ao ^5 SSfco^SoSb

(1966)
(1S74) I960

aroo- 578 i 'An Introduc-

tion to the Study of Literature'

53-S

S'^g^bo.
w

(sK . JS. 4. 5) sSoiS

(Inner being), ty^dft^ (Personality), C

(Arts of delineation), sSesSaYco (Aesthetic Arts),

S* oo
(Arts of pleasure), u5d6eD#gsfc>' (Graceful execu-
B
33
tion). ^-S'^s5g;5:x) (medium), tf^CSp^J5oo (Ideal

archtype).
^^^ CJ^&Q (Significant Form),
5fcS*tftf f*^s5bo
(Idea), (Psychology),
 -20

ocSb ifktf
(Harmonyj, (Rhythm), ^Jj^J* (objective
sfrSS
attitude), SrfgS5 (Truth). S>ijSdBb (Reaction), Sr*
(Poetic justice), asSgtfc^J&o (Vision Divine),
so
(Feeling), srs^s g-stf
5J"S5&o
,
(Emotion), (Imagina-
tion). g"agrftfs5b3_;S tfj^sSneo (Elements of Poetry). <j*i&

(Thought). icJ^bo^^Sjb (Form), sxia^Sig^bD (Intellectual),

(Emotional), ^"3)dab;Sa (Aesthetic), 51-^

"3 ox&7!o;5 e?S6Si>5

(Imaginative Pleasure).
emotion). o'Ssr'^^ia
(Aesthetic emotion),
(Stimulus), tsJSoo^g (^^j^ba (Imperceptibility) ,

(Atmosphere), ag'^jjs'cXSb'S)^ tfwg&i (Subjective

reality), dD^'o1b^fS ^eg^bo (objective reality), ei^^'o^co

(non-real), ^ej^oa> (Instincts), w^^gs' (Repugnance),

aoapsJ-oSJa
(Curiosity),
^si^a (Sex). ag^^3^9^B
(Self-
assertion), ^atfcfibsSa (Superiority), S^ealS (Creativeness),

fre^otf (Fervour). ^o^ih& (Possession), J3 0<5 i^^tA

(Unifying factors), tjtf^gjstfraofcj (Self-expression).
aa-^^csS) tfaa^&j. ts^^<^ sS^ixo (Poetry of experience),
erssS^So (Lyrical Poetry). ygrg?5 OcrsSsiD
(Narrative
form), ^o^^ j&is
(Dialogue form). S^j? A6'^o (Ballad-
dance), ^^B-^saEasSu (Assumption of sr^s*
character),
se:g&> (Action of the e^s ^o^b^oo and
Drama), (Pity
fear), e53 ^S&ss (Neo. classicists).
(Contrast^, 5?^^-^^ (Imaginative pleasure),
(Self.obliteration).
o-e&dSb
 (^Any particular piece of
literature)

(Poetry), a

"S tfoo",

IJCfc. B ~5o&o3
..SSjS

^"'
(Emerson)
i>: "Great Poets are judged by the frame of mind
03
they induce in us".

srO
222 eso'

;5;5<3:&bo>. Ss^rs-tf

"NS'e

i)0b

'5*s5gstfe6'(l 944)atosSod3
tb^ro^ ^o^o. tfrfjj

rr-fib 'liif* utftfS7tfo' ts^ 05? Scr-cp

tftfoxtf

[944 &*

. o-a

e eser-

SPCTO J$ao43a icr^aflocT'Cb. 'Sir

 223

"srsSgartSb shsSpiM is

1
-'sSge^ab^r
alSotfo

K)

"SoatfS 160

o So^Sbocr
o

5 jo 3 Co.

ea ^
SiDS' S^
 1)5

^S j
1)80 o-oaoaob&PCo'

e'o

3-sSgo

n-tfe,

j
 225

a-JDST*.

'

(1967)

29
 'The classical Tradition in Poetry
i2o>3 'Convention and Revolt in Poetry
tr

[jSc ?S(jS^j'K
T
eo?T i
>

(J\2r
ot?&. "The new comes
and takes its place beside the old, and we welcome it.

But it is not wise to give up too soon the old for dead.

The ways of genius with supposedly, cast-off lifeless

forrfis have to be reckoned with. For, the touch of genius

the miracle of spring" " esS
3
is like 0*35 sa

i7

'SooSoS' liSA^C. go
Romanticism^Sb

Lyrical Ballads
 r co
227

950-60

!S!Sb!6j S cfibss-tf5Sbo-jSgb

cni "djfisio
 otfo

P27-)

'itJ
2)

s5g
ko 3d3bgtio

S'^go
 229

007

3}/ 'g^

S>oB 0^6300-^0*^ ^r-Sytfg Ssi^ rS^

wooS'Cf ^on-o' 76
"^^ a^d&o s'ii).'

'BJ
4)

_^ oh) a
'OtfcS 'Sao 5iS3off*
6) ^g^^b^sg tf>j^tfo

'so- sSbeaaSb ^SQ '^JSsixi' wo"& 'Unity of mood'

6)
e,^
S)^^
53-3*8 5^

' 7n
230 yotf
ao^tf j^&'S'ga&u^-

ScSb

a'SAtf

^S^o. ac& sSo^j^Sir'. |jtiS3bgai,

{iri

80
s-<Sb IbtfJS'

Sa /vCo aabtf
tf^So

-fl^tf

rt-f) os-o SSSb^dOo

 a^a.s B . (Sa .

eg

8.

wofi SS>fl

s).
6)
 "
4.

"
(3). 7)

'
5.

-o-aS

ttoo-
ro

(si- 8).

"
6.

S&dSboff* "tSJ*. DcSS)oJfE8Sjp

4. 9)

7.

3-a
 233

8.

"
(^>. 144)

*
9.

177)

<5*iQ;fc

1972^'sS^oa. wocosy. n-SS srfl

a^bo^ fi^Sifi

. Ueofa

I. 'Ss&'wo^ S& d^gS^-oSb ^p|pg tfo

^^fir" "905)^ O'.iVOfl

(Conscious)
Soeofi'^" (3. i^-., s. 32)
(unconscious) A^ia^od
30
:j)4 eojjS

ea Q ea o

n-tfb . "S)Q

csSi-g
r*5

S*
tf^j 3*^-0
. 1)3 sSr-o^cD "Soi^p -Si cSSorr'Sfi tsosSS^ ~3o&

-Si

3*53
 23'5

Scenes.

w^S&'o
(Coined)
tf S&^O

irafipeb

i .
 237

3. &
go* iofi.
, S^dfc Sfcfco'^.
tfoS* S^

(Dialectical
Matrialistic Criticism V ^i "*oo&oO

So5

3'S5gpo^E3o d^cy* fieo^ tftotfo, 3

.
335 So^roff* (Instances)
(Objective) ^D- ^S (3oc^^_ (Subjective] ;$;$
i5i_tf

^^(ar 1
^a(5" er-n ^sSOoCi'tao
Sb^r Jotf^oS" (Psycho
84
Antlytical Outlook)"

"Marxism is based on the Philosophy

of materialism. This means that the question of the relation
between mind and matter, between material being and
Intellectual activity is decided by Marxism in favour of matter,
Which is considered to be primary, while consciousness is
considered to be secondary. With reference to history, the
interpretation of this general philosophical principle is that
'Social being is primary and social consciousness secondary.'
This means that Social being, i, e., men's economic activity,
material production and the relations formed by the people in
the process of production are At the basis of men's spiritual
activity. i. e,, the
Social consciousness, spiritual, ideological
life people's varied views and ideas, political,
of society,
85
legal, moral, and other doctrjnes, reflect social being."
23 ff

sucb application waff eventually made,; in the later Marxist

tradition, it was of three nv-m kinds: an attempted assimilation
of 'literature'" to 'ideology', which was in practice [ittle more
-
fh'an Banging"'one inadequate category against another; aft
effec-tive and- important inclusion of 'popular liieratuce^the
'Ji;teratui-e_of the- people'-as necessary but neglected pan of
<J

the 'literary .tradition'; and a sustained but uneven attempt to

relate 'literature' to the social '"and economic history within
which 'W has- .been produced: "Each- of v
these last two
attempts has been significant. In. the formic a
"tradltiqhn
has been genuinely extended. In the later there has beel
ari 'effective recohfstitution, over 'wide areas, 'of historic^,
social-' practice, which- snakes the abstraction 'ofi'Htarary

^fues'.much more problematical, and which, more positively,

allows new kinds of readings and new kinds of questions
1

about' 'the works themselves.' This has beert known,

especially, as 'Marxist Criticism' (a radical variant of the
established bourgeois, practice) though other work has been
done .on quite different basis, from a wider social history
and from wider conceptions of 'the' people', 'trie language/
and 'the nation'. 86
-' '
- -

~3o&6(&
ro * *-

) IcorbcT*

043"

"
v
^PG o So ?3- 4# '^ Si tf (
, TCXD SSftsS
240

btfceo

.... 1815Sa

wbgtfd&o "Scb; 1930

i^Sofi. & (Ta-S

SJIP

Scr-o-

3*3
SSpfl^gj DSfctfjSoja
 CPU

eo
Sfc-S^gj

988
SO^iS

hints

w.

"SootfdS tftfo. S)e30A

31
242 <yo(&

L?^o. 2.

Dd'^ 0^0^0-160.
3. 5 4.
-j- -fgatfjjo. -f

sSiSS). 3"0. S7

. Si

3. 'aiS^ ^Se'^o tsoo

5'Bo

4.
 243

, 97

6. 'S>so 6oS. Sas* Pure Poetry

5*3 $3efo s.a'43. Applied Poetry

n-S^go,

5T6

g
"A 'r-m ^ n ^^K'vS r^ff-n^i T\ i<-\ ^ 8 Tint* AoA "100

'
9.

Sbon- Sia SSs- esiS SS'Si^

01

'

10.
244

"ts^bgtfdft CLODS' co
11. fr'S

103

'
12.

a.S'

^ 6 Co 3- (So.

13.

tftfJS

. sjo"'S'd3

14. Technique, Form and

Content

'

15.

stftftfo

"30433^)

'
16.
 245

esft
=gS:oC7'oo~&

tJ
u Ob oj

~, 10H

17. 'Marxism-Leninism
Marxist^. Marxism is an article of

faith with me. & ^$o64 3 rSsSb^geaa^oiSS Marxist ion-otfo

18

Suco

S'CS'eso. ^3 Stfor?
246 wotf d-fiprfasfce- worf Ser s>o

s-^tfestf.
*)o-;teo tsoti

ESTS-

I. '1962 64 tfosS

S"
32)^8
, 'Let us play the Indian game. Let us split
4

S^toSb a'sij'c )&?* So- cr

an

,118
 247

'
3.

tf.

4. '1946 &oO 1948 ^

8
aooiT Soft.
t8fi
.' 0'. So.
(w.

5. '2.0. o.
(1-jTO)

970)

o. jSo. cr&zr. a.o.So.

312^)230.

.. 2. 5'. So.

^Sr^ao. ts ^3 SCP o o rr

'-
7. &t?o&(p*&$e>S

. s'JO, S'A^'o

S'S sr*fc Sao. 11

s ^,
248

8. '1970-1980
/o

1940 &oS 1970 CTST

, 1970 &o& 1980

K)3osoxS'4j!03

^ o (3 n- oa S tstfoS^ s-&'

. 1343

ttotf lSS55*S5o
V- ro _ o 53

xps 11

!"^
sier-
"^^^.s?^. 'Socialist huma-
nism is the core of Marxist aesthetics and of the materialist
conception of history. Contrary to bourgeois preconceptions
reinforced by the gross, anti-dialectical conception of history
of vulgar Marxism, this materialist conception, which probes
universally to the roots, doesnot deny the aesthetic beauty of
 249

blossoms. On the contrary, the materialist conception of

history and Marxist aesthetics alone provide the key to an
understanding of the unity and organic relationship of roots
and blossoms"

"Social humanism
accomplishes the unification of
historical and purely knowelecfge within Marxist
artitistic

aesthetics, the continuous convergence of historical and

aesthetic evaluation. Thus Marxist aesthetics resolves the
question with which men of stature have long been grappling
(a question which eluded lesser men simply because they
were lesser men): the integration of enduring aesthetic value
of a work of art into the historical process, the process from
which the work in its very perfection and aesthetic value is
1 23
'

inseparable."

^530^0

32
250 wo

1969s*

eoor?

crn "."3.

(Critical Realism), ^-&a"tf sr

^Socialist Realism), ^ D

_^as'tr^i IjiSaoaotf
SJ^CT s

dCbroE3to

SJ-CP Stfo s-ca. 1917

CS'tf^eo

53-
 251

"3

S>

&!b,

.
si. 222)

2, "StfoSb SSSAS ^S'tSr'ea^o Ao^too

3"dSb.

ae?or?

3.

0)

(55).
252 woij

JS^tfj^oiT
1

sSiptfr).
-Ss "So&odef8 3
tfr 8 : o

Jotfa.' (ss, 40)

5.
'tsbgtfd& *p>#go
1$. 45)

G. ^TTT'oO't) Otfootfl.
'ts$bc;tfcSfc ^Sn>a'go
e.,5' ^^JaJoooo^oSj^ Organic connect! on- 6 ocp>

. & __o eo o

'^So S3S3e3olto^ ti
>,
^^35*^0
Individualism-

7. <

wtf'dfco

c?S: S

57,
58]

-'
(^). 126)

9. 's^TS ^oSwoS^ 'rvQ ^^a St) Pure artists

s-Ob

^o?So ZT'SS JjSip^^o 3cog- o

 Pure artists*

(S3>. 60)

10, 'S

_
.'
^ 60-61)

12. '^(6Sb tffijJfc-ijfo

S^^sitoo ^cr
asSab'j

tftfcjoatfjSa^
4
atf^asbtfj -^^bg^cXi)
.
'(^. 62.)

d- /\ o ^ too

tf.

sSaofibgb

,
SiiSS
254 wo

ccaer-

1 .
s:Sg

^d3bto

^ 00:6

3.

4 cp-ejIdij^cSSb^e) ^n-o^ D^n-oeT S"?Ssb

5.

G.

litfito
r
ao Ci) O(S)
 255

conservative rr
1

3-ffj.
^jSe-^SSj'BcSo S^tfo. ^ci^ S)tf<jo

. w

Ji ir!BiSrc6o ^^f^sSto'So S'Sbon*

ts^gdfi^o

550^03
\

1)
'^^^ gS?pC;r:5o ts&gtfcHb

!b, ej

'

(^>. 98)

o-O

':
_(^. 100):
256

3.

j?-d3b&&?7,

Poetry of Protest" w3 in-JOS

102, 103)
(sa-

4)
'65 ^8^ (jSe--sg = d srg" Db^S S.

. Walt

Whitman Sb Scr-cr "Sg^P 'common man," (;j. Ill)

SfoStf

> o*LJSSoo) o-sitfo jp-'Sfi

^gjtfflo^fco,
 257

128 w^

S^tfSbfib.

3d'. 180 cr-cp. tf^Sx^*- *^ir>^go #0^

o^ a cS5p e? ^D o &

33
258

1.970

cr3&.

w S) o 53* i'S'
<3 _
ei-z-O^
r 1

^ ^3Sj&' ^03*5^
 250

S'S),-

'o 20 ^ ^IciSoo d'o^'S'CSb^'ef 6'o ^ SoS. 9 S

ya Sos*

53*3

syar*a*t)O.

i
".2. 'tf3fcs '3fl TT'Ob. &fib

ra o

1* 135-- d'^Sboa L&

alB-Seo' ajer-

id&S^^-^fao s-6
a*ald3b^a'<3S)E8^>b
280

^55 y^S" Sa&^sS; So^n-dtb

CPU . .

Stotf

CDS'

crn

aaa

wtfcj

Sfio

H'Soocy
JOS^^S&'toor? SsS^too
 S3* eo
(^ 53 S58$boa 26

i^oo. sio&Sb yc&S a*. a*

-^ 3oa ea
"57 ^g_|^5^oo. I. 'Marxism
never answers the question of the degree of dependence
of literature on Society... There is great literature which
has little or no social relevance; social literature is only
one kind of literature and is not central in the theory
of literature, unless one holds? the view that literature is
primarily an 'imitation' of life as it is and of social life in
pefticular. But literature is no substitute for sociology or
39
politics. It has its own justiffoation and end"*
:

Rene Wellek and Austin warren.

ow*

aesthetic value
So^'sSba,
262 ao

3e
1

tftf^o

'
Seaors-
(1877).
^3

>
Ss'^an gocSi)o3*ob "Literary criticism

European and Indian Traditions' w3 eso"olX)^ e-^

E3eo "Marxist
criticism, for example, explores the social and ideological
implications of a work of art, and though it swears by
'realism' and 'truth', never asks what really and truly is the
nature of literatue. Criticism without a theory of literature is
not much rewarding. Psychological criticism also occupies
itself with peripheral questions- with hunting for the subcous-
cious or unconscious meaning, sex symbols, and things (ike
these revealing a simple faith that the value of literature Ifes
primarily in being a handy evidence of our sub-conscious
life The Freudian theory of the Oedipus Complex can, for
them, explain the complex character of Hamlet, thus reducing
Hamlet to not much more than a mere type. Myth criticism,
similarly, cannot do more than demonstrate literature as an
unexpected conveyer of myths, primordial images, or
'archetypal patterns'. No body should question the importance
in its own way of the discovery of the subconscious or un-
conscious of man's mind as a store house of the inherited
images of the divine father, rebirth, descent into hell or the
sacrificial death of god, and of the discovery that these
archetypes are the organizing principles of any meaningful
work of literature. But, this must not be confused with a
11
comprehensive critical method."
1 '

2. The critical movements which accept the hasic notion

of poetry being an autonomous, self-sufficient, organized
form are movements, have 'transcended the
international
boundaries of any one nation' (Pene Wellek) and what it r

more, show some remarkable similarity of approach analysis

to the -formal, and linguistic criticism of our Sanskrit
Alankarasastra" 14 " "&;$ ^oSf^Sr
6
tfo'n-Ca ^
siiaiod! $

|jSio 00*60.)

David Johan Me Cutchion-' whether critical appreciation

is bound by considerations of religion, country, and traditibn'-

(^?&P ST3 w ^^ 3^ Sjv

1

escS} tsoS'lb cX$P >

fiery-? S^ySc
e)

"The creation and appreciation of. literature are clearly condi-

tioned in part by national, religious and traditional conside-
rations, but this conditioning is so complex and elusive that
JIG simple or final conclusion can be reached about its
operations. In such a situation it is advisable that as many
critical approaches as possible be used in order to develop
264

the widest range of appreciation. But, we must also bear in

mind the problem of relevance The best approach will be

:

such as to bring out the richest qualities of a work, not to

impoverish it, not to impose upon it aims remote from its

intrinsic purposes. The task of the critic is first to elucidate

these purposes within their own tradition (both before and
after), then to relate them both to his own tradition, if

different, and to universal human truth' i:143

coa fc "ijiSP-Cb ..... "Beauty is both a

principle ofperception and a manner of operation, a way of

seeing things and a way of making things. Thus to win our
way backto beauty-"Keep back beauty, k'eep it, beauty,
beauty, beauty. ..from vanishing away"-might be to bring
meanning back to life, to cleanse the doors of perception and
to lead integrated lives." 144

SOD'S ^D.

1. "The creative artist can become significant, because

he has the ability to see the world as a whole, in the sense
in which he is possessed of an impassionate desire to
achieve an integrated picture of man and the universe around
him, with an active imagination which he' concerned to see
that his dreams are acted out. As the material from which
literary works are constructed have their sources in the
experience of the writer, and as those experiences are mostly
immediate and local, the creative man has to have an
INSIGHT into which part of the experience is significant for
the whole world and can be raised from the local sense to
tha sense of universality, that is to say, true to HUMAN
situation in the immediate environment and become possed
of the values which have meaning to mankind." 145
 2. "The critic js aware of the
music in the soul of th*
artist At any rate, the cntic...i s
more prophet than" ?
critic' of the
magazines who seldom allies
himself with h
integral world of the writer but
carps at him from
of view of his own pe.t political or
social
theories or individual
prejudices. Infact
universal standards of criticism
would
equation between the eorrmrehensivp
''viMH'^uvi'oive Human
th
?ne creative artist and that of the awareness of
critic. If this eouafinn ^
be attained to
any extent then ,. humanness wH itseTf
supply certain criteria for the critic. And
there "oulri h
mutual aid between ,,
visionary artist and t e perfec
or of
v,.,on, the critic. Th, achievement of thi. cordon
lead to the adumbration of a
new criticism."
Ly

^0^)0 d

a gfco )oa>
. .

34
26G

oft.

So,

es gi^^ a ^00*0- SS n5

"l"txo i

n-SDS
jjoSS^rT SeOoS. Z3-JJ5

sSor? syg
r-g

Sj*

r?0
 2G?

53" S5o

rr-0

or?eoiv altootfsSifc}. e.Sd-S^tffl (1865). JS

(1967) *|ytfg
*&iS (1968)

(1977). t9003"i, -^fi 6^di ^flog

8
^ (I)

:3j-4oc

1. "sab BSbjtf

2. ""3a

ao

ooj' i-30 ^^33 ^ ^J^toSo eotf) S"S

 &DSi ,5^555 <5boCLtf>

(I;

5Ssr*L5Ja'p:Sff

e'. '^cajs

n-SD Ib

. y
 269

cru sJ^flootf Sfc-tfsS

S BJ* 2s otffco #*&,

Charles Baudelaire ?5O"&

5?^^^*. "The artist plafs on thd 'immense key-
board of the Correspondences' or 'the entire visible universe
appears as but a storehouse of images and signs to. which
the imagination will give a relative place and value, it is a
sort cif pasturage which the imagination must digest and
*

transform" 153

"Art alone survives in the

universe, and not only art but poetry particular. Man's

in
main vocation is to be an artist, a poet, in order to save some
thing from the wrekage of the time The worker, in Mailarme's
term, the Book is suspended over thft void, the S'lent Godess
of Nothingness. Poetry is resoluitely cut off from the concrete
reality, from its old concern with the imitation of nature, from
the expression of the personality of the poet, from any rhetoric
154
of emotion, and becomes only a sign, signifying nothing"-

s"S'"
270

. w

xxr>Soi53

*'
book would
1

5i "I earnestly hope that this

stand as a mark in Poetics. Your synthesis of the
land
Eastern and Western critiques on form, content and function
is really commendable. Quotations from Lenin and other
Russian critics must serve as eye-opener to our Marxist critics
who extol content at the expense of form" 156 w^ 0*11

JT-Q sfeS "fitfofi^S ^^pg'tffe? eotf5

 271

a* a I d& s^" S 9 G<5b3

a_
Q Q

sStfo-ijSsSorf ^'S

i)

,
fftf^StfjS)

OcoS

e fib rb db J6

)>Oo"SliLP

6oa.
:'72

. a

Sitfyfcejbotflb.

Soo-fio.

s-S'gco ^O'^rfS ^-^^^ i3)S5d'Sb

3"35

16.17)

"
2.

".
(23. 16)

3. "^6^e 1
i^Sr-^tforioJ ^>^j^g' 3 cT^o S'Cb

iSprio<5- "It is not given to

ery one to take a bath in the multitude; to enjoy the crowd

an art"
(crowds). (^. 21)

* on o3t b
co77' -^
O Q
dear5
 273

wfi
1
cresctib
jSfrj' S}rg<3sr^eo
j S'Oi.
^e30W_i". (^). 14)

eatfo

.... SS'fifo

. -SB /T'^^osr e.S?,.

V
"B CD fib^ ^0(5^^5

1'
asbotffi). "tstfo
(SB- 128,129)
s-O, ^2^ cr'^j6ir' ^
l S'dSo"
(sg. 29).

1.
"^^3^) aorr^oer-od b<5S>Si> .

; S-J)

.
(^. 23)
35
214 tJoi

wfl SsfcotaEPo; s

($. 26)

3. "sS&s&lbotf tftf}
o>o3
. Sfl
3^0 5 S^cJObo

oSoO i5a^o^o&. (^). 46)

"
4.

'Truth is general, it does not belong to me alone, owns me,

it

I donot own it. My property is the form which is my spiritual

individuality. (3>. 17)

is
rg ^O^S H'tffc.
tf
aJ_O[Sr5!b,
<ao~4 ts^^pd ^if/vb. ts^ir'^'^o^ s^ab- eso'fa s-^

Sbofl

, S5SO"

sSgSSSj'fl

esO lap^n-o"
(53. 34)

. s-fc, ^S Jj
 275

ga

so^g

^).
199)

90 "^
e=

-/($. 147)

"
(^'i 161)
276

"
1.

'wtfW.($. 317)

2.
j$sfcs3j| s$jtf)dr
>

Sc ence
'

(
of
Aesthetics)
^2iT^ era^T" s?d3S ^o^rf SS^o^ (jS J d3b en n-
(^). 319)

eb,

. -^s 55jtooo

'

1)

2) "3_tfSg^^ tfSr-d-cjiOS zpjf^)

S3 w^^S" (^.58)

3) "e>&p3 ^p'FgSSoS^ ZioO ^"&"3 S'StT^o.

w"3

_e"^go.
w^ 'Perfected Sensibility
(^ 22)

4) "ea&igp Sr-B-glSoS* ws ^.
1
esrt'^ (Subject and

Object) Sb3'^Tso33."(^. 8ft)

'

5)

3*^^01^077 S^5&*eS)Oa" (3). 71)

 277

6.

54).

7. 'SSS* e3&r>d sfcorvooA- >>orti

.
(sj. 149)
8.

154}
9.

(sj). 213).
'
0.

"
(^. 303)

do S^X

o-a ^S

221).
ii'oa:
1
SOtfSo ^S^ofi; S^ 'S'^?: ^firoC
278 ao

SS&I^dSb

. CPU

(Emotional assumption), e3oi>d& ef rf?

(Transcendentalism)

(Expressionistic assumption),
(Configurational assumption) s'Ss-S"
 (^5-53*00 -SSB'Sbcn 279

eoss^on.

J. T. Shaw
"An author may introduce the
influence of a forein author into a literary tradition, and then,
as in the case of the Byronic tradition, in Russia, it may
proceed largely from the influence of the native author (i. e.
Pushkin)- But, as the tradition continues, it may be enriched
by another native author (who goes) back to the forein author
for materials
or tonalities or images or effects which are not
adopted by the first author/' 157 &* r*fc>ei> ^23-^S "oS" _a

uo^fiS

3*!!),
*
Influence and Literary Fortune' ta^ ^o^o^* Anna
Salakian (jaersS
^5oS ^DSS^cr-S^ "laS^^^i^a "One is
cnoej"

sometimes led to wonder whether any study of influence

is truly justified unless it succeeds in elucidating the
particular qualities of the borrower, in revealing along
with the influence, and almost in spite of it, what is

infinitely more important :

the turning-point at which the
writer frees himself of the influence and finds his origi.

naMty." 1 "
280

(ji3e?5g_Stf$o (Originality)
*
otftf^
ifr* oitoo

^>icX5b'2ol5

^ S'8(^'"I

\3&$ sSQlo^S ^i.oa. yo

S'dL;

s-tf

3
yo/S" i^5?sSo
V-
1-1

0300(33^
O

dZbtfolb

t>^ a si Si) a
tf^ 1^0*^0

"Writers and critics alike must rediscover and regain fo r

themselves the loftiest ideal in the tradition of their vocations
in order to re-establish normal, fruitful;, complementary
relations." 159 ,.

,
Georg Lukacs
 6

''What the theory attempts to provide is a

system of measurement by which we can compare not

only different experiences belonging to the sam
personality but differenr personalities" 1 .

I. A. Richardt

, a- 01)

tJo gaQAofl. e9oo:3,

ljroaooO

Ij6f68oaco;

38
282

t
(Modernism)^
3) rraS rf&^dbofl.
(1862-1915)

Peter Favlkaer ifrdo^ fa^^g"^ wo"S "Modernism is a

o
part of the historicalprocess by which the arts have
disassociated themselves from the nineteenth century

assumptions, which had come in the course of* time

to seem like dead conventions. These assumptions
about literary forms were closely related to a parti-

cular relationship between the writer and his readers

on the whole a stable relationship in which could
assume a community of attitudes, a shared sense
D
of reality." 2 o<5
3^tf S'eraJa ^Srtfg &c3"oo"e&

B-

s.S'

^ti
|j38$Go5

(Stephen Spender) The struggle of the Modern'

ao-con- S^So^p^ :
"First, 'Modern art is that is

which the artist reflects awarenes of an usnpreceden-

ted modern situation in form and idiom' and second
 288

that 'the principle of reality in our time is peculiarly

1
difficult to grasp, and that 'realism is not an
adequate approach to it" 8 . &&& rf

[Jo[_ScCo

53*
?53DSlj ASjEO^on* I rC&'GO'tfb. ("tiS'SFO 3"

53 SS^ a-tf'iiRi S&tfjSbeo

O^Q^
fl
O
a-

coifl.

?SSr'S'Do-\53'^fl

cJfjSofc 4odooo<3

i^ffiotfo, 5j^- ^^CesoS^ /^rfo^ SoS't*

"The sense of complexity was to be the moder-

nist writer's fundemental recognition" 6

. 2,

Actfdao. 3. ^^crSb tftf^iff

6
^*^o S'CAo^doo 4.
284

2.
''
Ob-

t?r3Co ^feRS SS ej-o3<3

(Chaucer)

(j ^_

B sSfib^iCo,
_.
63 Guv)

S'SSfia

"
3.

4. "Sexj^ >2rePgS 20 SS ?fo?E23) n^o-

^fldi^^ Sai^
1920 &>o3 1930

. Itodo

"SoS* ej-^'o 3aotfd3 Soeo^scii f&tfe-tf.

a

^ (Jo|dio 0*^0*
 285

tffitftf ^tb^UDrv^ ^*2ptf a&tfoaS eo&Sbi^Ja

S'DS

Aofl.
^otftf'g*^ tftf^oS*

o
g
286 ao itf

. neb

r>LGt3"Co.

wodJ'Cb. 3*^,

SToAoO
CfO

tffi

^ on-tfo. Bj

JT^on-tf
^

oo

CbO
 287

SflloSo ^fo
"

Platonic love &g.~& &t> SJ&HO^^) 3-&. Isr?

cy a
gi {_ | 5 (Robert Bridges)
&S 'Testament of Beauty
1

'
1.
'
&&(& ^j^g'. 2.

1
8. 4
'DjjSoo^ tTSbsSr-o-gecSp^ .

1 '

5.

t
tior?tfc& &
288

. 'Criticism must always profess

an end in view, which, roughly speaking, appears to

be the elucidation of works of art and the correction

of taste
1
. & ora

iaofi; Sesozr

o B3

) 'The new
impressions modify the impressions received from the
objects already known, An impression need to be

constantly refreshen by new impressions in order that

it may persist at all; it needs to take its place in a

system of impressions. And this system tends to

become articulate in a generalized statement of
literary beauty"

"Poetry may effect revolutions in sensibility

such as are periodically needed; may help to break up
 289

the conventional modes of perception and valuation

which forming and make people see
are perpetually

the world afresh or some new part of it. It may make

us from time to time a little more aware of the

deeper, unnamed feelings which from the substratum

of our being, to wh'cti we rarely penetrate; for, our
lives are mostly a constant evasion of ourselves, and
an evasion of the visible and sensible world. But to

say all this is only to say what you know already, if

you have felt poetry and thought about your feelings"

a
^Do"^ 6&ofl. =3-6
/
\ont o tfrSurSS

S* ^poxr

^Cb [TjZrr

Bioorv
290

aa-fi

Cbiiex)' Sj.
(tf^p^g'S). 87)
tftfo

2.
[_1ji;sbo

sxy 8

tfo.

.1848). "Rationalism may

 291

be defined as the mental attitude which -unreservedly

accepts the supremacy of reason and aims at establish-
ing system of philosophy and ethics verifiable by
experience and independent of all arbitary assump-
tions or anthority."*
5

I
*
SoaoST1 5J^3^s5o afsj-e>o"eb,

,
S3Q

iS$5JS$o

), t^oo,
292 &o[

n-0

Sj
jjSdjg'on-

CO ^ 63
n-fl li
(1897.. 1980)

peo, *6, tf_J

ntrS sc>,

,
Las' to Sj'CP ^Coo-Co, esoa^ esc2o?5

irn

s-gtf a-es^dfiobtf

,
309/6 SrfiSo
 298

n-Co & > a,tfA

r_2C?6i

'Literary testaTnen-t'n li^QO n*oOofi

cofn- w

"BcCio

a* So.
294

^
*
&\&
*^
co .

*- ~ *
'

^eff"ci5Cb O^coorfn1 . qfi

TiSo^
S'tfe. tfo ^jo^) SuS" A^&o. eiifo 3- a

tfoo.

e ^3**
fcso&tf 57-55

t^ Sf_
^" 5

tfoo. ix
 "the precious
life- blood of a master spirit."

, struggle, rebellion-

Thought provokir g ideas

5. 'titf 3^6" *c^ ^ 3 ^Tctftfo. es<3

artist

3 &,"053" &>.

1
4.
'^S^g^eo^f ^o^ fi"^ ?T S^SiijotSj, Si

a^ ao-^Sjs, a^efc, ba,

,
D^g,

dSbSi,
 *2yrfga&tf}_aorf jSj

,
es g'oa
a^orfgo, &j*^ ^7^ ts^oSb vo&, a*",
estf
aisj-^o^ L?d6^o, cm Oa-Sb^ofl,

tfSj^. 3-^53-^ ^ fl

(1910-1963j

0-0-
-50- sg
 -tfo
(Matter), ao'ga^g'
53>n^
^a-^^fl &;S&^ (C on-
^Ts)
& fl

doAodl^tfi ^,^6^0 &3?&}, ^3 ES'^ao5 (Evo-

lution)

$c[&3

SoOofl.

87)
298 iS5o:5

1965

^go.

g'i'Sbd
 299

ft, '^So-iO &fiof

ifl S'zp'Sccibcr tf^aabtfSoo- ooo?r

sjS>oO

3^ 'A Freeman's worship", fS^JSQs^fl 'An

Idealist view of life', C"?i5"
|f\oqpe3j

1
.- . tft^off sjTxxS 6otoofl.
g-

Analytical and psycholo-

cal criticism

eo.i.
 3255*

'Training in reading with care and sensitivity

is insisted on by 1. A Richards and again this has
had a great influence on modern criticism" 22 -w<0

CQJ

^S3 iff*
53g5J*gs3to

S&c^SaoSo

sSg jff*
g'Sgp
cr&EldiigV^, ^ S'SDO^^T-
 801

"It cannot be doubted

that practitioners of all
arts are
influenced by critic!**, in their own
practice
as well a. in
their often very narrow
appreciation,
of schools and
periods different from their own "'a

E. F. Carrit.
 "Every generation is privileged to stand on. the
shoulders of its predecessors, and it is taller by
what accomplished." 1

-Brander Mattews.

ea
(jSiJdtfrgVyyfO^ n*JO,
S
|Jj(_5cCoto.

e$otr>o.

3ea^> SO^COD

Wimsatt and Brooks

The history is bound to be an
 interpretation, in part even a translation. In part it
will even be built
on reasonable guesses. The least
can do is make "Ssense.

3-0

(1768.1821)S
ssa^s>-j6

(Biographical Sketchs
of Deccan
Poets)
304

S-r-zr* a^ofioa. "1829

&{&. ^o^d"^
_^^ (sublime), (Beautiful)
es&

Se-SS

oL
a .

1898
,
1875

lf

S'^uo, "siorf5'5Sc
rj S3

, S^cres tf^eo^sjo-
550^0. ^ tffif^gi
^tfra S'C^oOofl cp^^r' 8no
'Critical and Biographical Essays of Poets
n^oisTo.

CPU

0V
 806

a '&o^9.'c6j?tftS'
(1898)

1886

1887 fif* f
1890 , 1896 51 ,
1899

a. 1917 e

CPU
 306

rrSoQ d&oaa. tf&tf, 53-8 g^

rS", 8*0^0*

. n-fio

Sn

tfo[;>acl6s$ao&

lazpS. 1920
1957^

^Sid8oojl\)jL
^
ea &oXo&* t

. escco^

20

. 2)8
[_^o(jf

SfD^o 28. [1. 3.

([i.^r. 1000), ^O'rag'arf (1000

1380), s-iL->aao^S^s5Sba"(l380-1660), wo-^&fS

S
1

^ (1650
 80T

1876), JSJSgJTSJtf (1800.)

w
sS a&ofi.

55^

S. "^i#rtOT I. S. 500-1000 {Son

/"Middle
\ English^
-
dSfotf&oJSo&sSS 53"^
*->,
/

'

4 .-'S^c^ea, S^e>3^|, 3nj$e>otf;$e

J5eo?6n Myth, Epic,
Romance o

4
5.

Augustus

js>isS8>gas6fl
Augustan Age
3*0
908

. so

."
(^. 108.109).

'

6.

(Shakespeare) 8(aj-S-jjp (Cleopatra)^

7.

Shakespeare, Marlow, Benjohnson, Webster

'

/^. 269)

270)
^
^"f^tfg [JoB-^S' 3 33oQoa.
3rtf!do;

a-fl tfo-tf^tfsSfiSs. a*,

a

s-^.tt S$a 033^25^

 309

So'cr- sdS tfSf tftftf ^o^or? clyfii.

tftftf

i^Cc . es tftfo

fc.i.
(jFS.wdfic
Boors- 4-ofl.

_.dx iEs*
l_
fe,)
L o
i
a
'Q

if 2 5o ^

(12
^5*?Sgo g
o-asSdEo,
810

do 1)3

tfQo^ 4tf&o<5*
escg 53-^^ flfcorti ^o'^Qn'Q 'Histoty
of Telugu L :

terature' & Si

eso^
S*&^
3 3035
 -Sll

3>s*o'S'crr

1926 ^^p, efSsSs'a? ^oS'fia wo-^n-eo 1932

8^-8 tfrf

'

(1978J
. tftfantf CP

sj- g?so 2)e^ moon1

ejfl. 2SS

?Soo^o S'CA
 ^fltfiotffco"

soo g'^oSa a-^.

" tf^eo DsS
o
3 c6 _.SS'
.
^tfeso (Subjective
V
rv n-
factor) ASSg'e^fio. i^Cfrao (^Objective Factor)

8,5"

ft Sotf&cCT'
.
CP^^ ^rSp^e E>
^61 tf
L_

c) s^eo

2. "^s
^o^ ^ aoNg-
B WQ -,. u-S"
o

, u-5"
 > - (Si" ft" o>
\&

(meta-poetry)
4. "o-e

6. "^ F$ a-gy o o-fi^

a.^ T rf
S'O
s- .

A&on-

*
Co". ($>. 105,
'

6.

'
7.

9. 'eteo^ tfS o- wof ssdfiia^ga^

D d64 -arfo-&.
3

/<fl

88
 10.

a*e2lcCc!x)cx)o

281)

^Si^ ^
E9

. a* a,

"Theory of Literature"
rf^KioicfAofl^ "The problem of writing the his-
tf^oS*

tory of a period will be first a problem, of description:

We need to discern the decay of one convention and
the rise of a new one. Why this change of convent-
ion has come about at a particular moment is a histo-
rical problem, insoluble in general terms. One type
of solution proposed assumes that within the literary

development a stage of exhaustion is reached requir-

ing the rise of a new code. The Russian formalists
describe this process as a process of 'automatization',
i-e. devices of poetic craft effective in their time
become so common and hickneyed that new readers
become inured against them and crave something
different, something, it is assumed, antithetic to
what has gone before. A see-saw alternation is the
scheme of development, a series of revolts ever lead-
ing to new 'actualizations' of diction, themes, and all
other devices. But, this theory does not make clear

why d-velopmsnt has to move in ihe pa-tLcular dire-

ction it has taken : mere see-saw schemes are obviou-
sly inadequate tJ discrib; the whole complex ty of
1
process."

S gpodo

o
b Sjoj=co. ^^ SoLafl 5-5-1080
rrto i^c^^ i"^o _

s33S2p53*

1. "This book is over-populiced with such fake

theories and mi 'conceptions baied 01 half-biked kn-

owledge of the principles of literature eicher modera

or ancient. A. more relevant point would be to show

that the author is not at all in touch with any

works related to Marxist theory of literature as there

is no evidence to this effect in any pirc of the

book." (Typed xevitw. ^. 16)

"The author has awcfully failed to represent

2.

in thiswotk the Marxist point of view on commit-

ment in literature and concludes the discussion on the
Existtntialisticnote of Sartre which definitely milita-
tes Marxist principles on the subject. By
against
ExistentLalUtic stand the author has given
taking
816

an anti-Marxist tone to the vital issue of commit

ment." ($.
22.)
rr-fi
S&tf^J Lpi&
&^S I

L-
StoKPoyeo IPSK-
d.

1. "dfcrf aja, ea dHoervZ

"
2.

(^. 6)
. *KS*. o*.

s- 1 rg^fib
Sofl.') (^. 7)
5. "55Ki)^)^, &^ ^o*^E3o
&
sotir-^ tbOo sj-S^D ipgS^ SsS^o S'tfcin^Co.'
(^. 10.)
6. "Stftfo ^^ tf^o^boO 3iDo P ^2^ o'oA'o

9^ Wtfo," (S>. 15.)

O \^"
ffl /

7. "^TDS' g"3^ u^& ^So esSSa*^ as^ So

".
(52). 18)
8. ''3 tf^'Q l^jy^O, SJIT'^O iiti^O 69^ S^SO

^O [jSq^o,
* ""

19)
 817

esfl

eoS3
"^L

1 .

2.

S. Sboci) fl

.
^. 282)

, sja

Ss5oJ&-

a. S).

,jofl
818

^5 S^gbcc^
0*^0-3!^

<tffloa;S5je&.

Cj

esoo

i SSs5:s S ?6^p>sTijjo5'i5'ocn'

^23 ^tfo-^
f
3^0
^^^ S'Dcs' ^orao.

B'o^S'

A3 ^u fc
 819

"Honest criticism and sensitive appreciation is

directed not upon the poet but upon the poetry" 13

tf D&tfi tfotfoS* wotftfo !*O&

SCPCT- rfo- tfcootfbesn-S

. gto 3 ^QoQ

SfloA

Sfl

15

Aofi.
[J:55s5o sSo'^^p^orr'
d
820

A sj > ooo.

(1886-1940)
5y?^r=t)orr,
D Aisj-e^corT1
Ei
.
'

. tfi 5

CP

1.

ib*ioQ. 2.

o O^dtfi

. 8.
^^ &**& (Philo-
sophy)

4.

tfrfiS 1j^^^a e^djd4 ^oflcio^x) to. s-JO,

o'tfjo-

. 5.
 IB

tftf&fc

o&,

ftfloft,

S
g?3i

C^, 53D
gt6C'tS'a'

^yi C^o
822 Mc[tf

,
ScoPo

[jSfctf

Acdacfi. ^Ss^a ^^^fi'

(1862)

'o
(1872-
'

bes^veJ 1'
B"SS^iio^bofl.
. ScCoeeb^r
ScCoeeb Onfl i

v
C3 EJ

'

6*3
(1876) zcg^c

(l89l\

. sSfitf

^0*630 rfj'er'^rr'Co. a* 3.0^ 53gf6

8S

s5oabeonf, ^'Si'rfg S&rfjfl*

fln-Cb.
 SV>otfon-

esoS^o
CPU ^03

A.

C 3

oexi

errs-
 824

Stfc&s 6
,
tp&tfo^tf, SbS^-C^ D-0"S^&J"

()

,
war*rff5fian-

iofl,

off* "SiSfl, ^^^o!5 s*oo<g*

D^^&ooo, S'dj^ioO s-ooff^

S^ofl. eso&sSo
sj|?3o ^Ba^on- dr^T'o^tio

"
2.
*
,
'3tr>i6yjfo-a
cj c\J

dofl. SKjort" sy^a ws^53-;9 S'tfraofi1

&f\
 '8.

3
" '-''Be;
Stfgo

.
s,

S3

eoo e

S&tfvi

3 s>8 crn S.
 26 esol tf

flrs-fl

o
(197d) &Sj3&'
a- S^eaofl ^o-lfc '^aj^b i^kS" >s-;3o
ii
es^o*&rrQ
(1967)
& a

g'qs-S' 0^=68^ 5)fi

(1979),
3oo,^ ^-SJPO^ ^5^ t^^j ^1981)

tfgoS* 30^ $Vea^ (1982)

rf
|T

doors- S*
[JStf

"The ability to read is a great thing to have;

especially in these times when, such quantity of print
1

is expended on such a variety of purposes

'
30

H. Coombs.
 8

'In our era, criticism is not merely a literary or

oecondary aids to undestanding and appreciation of
literary texts, but also a rapidly increasing body of
knowledge in it3 own right, and a primary vehicle
i or the values and ideas of the literary imagina-
tion." 1

David Lodge.

ibiSA, asfilf2>;SiS

. E)o3

a %&

So, Theory of Modes, Theory of

TVlyths, Theory of Genres "Sxi^3 ^ SDn-oaGib^ cr^^a?S
Q
tlistorical Criticism, Ethical Criticism, Archetypal
Criticism, Rhetoricol Criticism
Soclitio
828

<ic>.
Sfcosre^g' ^Sr'd'g wdgctibtf o;6
(Institute
of Compa
rative
Aesthetics) a.S'd ^

^\ofioO
Li^StibS
I
i^So. esoi)^, STfls'ooa^^ fTo-S
J a a

g*'a!5 ^ iai-o S^SScr 1

Sso^jsa-dfo V e$3 ir-Co

. -d

8
W{5T*u)otSac4xp S^o'j^ g'diSjiSpdb. B'i^^T

"The influence of a critic capable of underta-

king this periodical task of revaluation may not be
impressive at first, for canons of literary taste are
not altered suddenly by revolutionary methods. Their
alteration can only be effected gradually and in acco-
rdance with that evolutionary process by which habits
of mind of educated mea and women are changed
from time to time". 2

John Hay ward.

 (Abbreviations)
AC Aesthetics and Criticism Harold Osborne.
AHMC A history of Modern Criticism Rene Wellek.
AIEC An introduction to English Criticism Birjadish
Prasad.

CA Critical Assumptions K.K. Ruthyen.

CAB Comparative Aesthetics (Vol. II) K.C. Pande.
DOWL A Dictionary of World Literature J.T. Shipley,

ECCP Essays m Criticism and Comparative Poetics

y
K. Viswanatham.

HLAA A History of Literary Aesthetics in America -

Max I: Baym.
IMN Imagination Mary WarnocJc.
IR Illusion and Reality Christopher Caudwell.
ISEL Introduction to Study of English Literature
the.

K.R. Srinivasa lyengar and Prema Nanda Kumar.

ISLT In Search of Literary Theory Morton W. Bloom Field
ITSEL An introduction to the study of English Literature
W.H. Hudson.
LC Literature and Criticism H. Coombs.
LCIA Literary Criticism in America
Albert D. Van. Nostrand.

LCSH Literary Criticism A Short History

William K. Wirasatt Jr. and Cleanth Brooks.

ML Marxists on Literature David Craig.

MOE Metaesthetics and other essays Sasir Kumar Ghose.

NAFP The New Apologists for Poetry Murray Krieger,

PHLC Principles aud History of Literary Criticism
S.C. Mundra and S.C. Agarwal.
 11

PLC Principles of Literary Criticism LA. Richards.

SC The Scholar Critic F.W. Bateson.
SOB The Sense of Beauty George Santayaoa
SPE Selected Prose of T.S. Eliot T.S. Eliot.

TCC Twentieth Century Criticism William J. Handy and

Max West Brook.
TCTC To and other Writings
Criticize the Critic T.S. Eliot

TOL Theory of Literature Rene Wellek and

Austin Warren.

WC Writer and Critic and other essays Georg Lukacs.

 1. The critic richer than Poet (Essay) K. Vis wan atham
ECCP., p. 492-493.
2. "Literary criticism is a distinctive activitygof the civilized
mind". T.S. Eliot., SPE., p. 7.

3. 'Criticism is atonce a science and an art. As a science, it

involves examination of particular works, observation of
their faults and excellences and so far as may be) the
(in
induction of general principles. As an art it engages in
the production of stimulating works.' T.T. Shipley (Ed.,)
DOWL.
4. 'Modernity is a question not of date but of outlook'
Sir Richard Livingston., cf. ECCP., p. 570,

5. 'Modernity changes with time and it is not clear that it Is

ever a virtue' Mell Wraith cf. ECCP., p. 571.

,

6. 'If all truths are period products, then our own standards
offer no secure basis for passing judgement on those former

ages if any truths have claims on universality, than every

;

claim, old or new, requires to be examined on its merits'.

D.L. classics
Sayers., Introduction to Purgatory: Pinguin
p, 46., cf, ECCP., p. 581.

7. 'No literary criticism can for a future generation excite

more than curiosity, unless it continues to
be of use in
itself to further generation to have intrinsic
value out of
its historical context'. T.S. Eliot., TCTC,
p. 17.

8. 'The two upon whtch a theory of criticism must rest

pillars
are an account of value and an account of Communication'
LA. Richards-, PLC., Chapter IV., p. 17.
9. 'From time to time, every hundred years or so, it is desir-
able that some critic shallappear to review the past of our
literature and set the poets and the poems in a new order.
 iv

This task is not one of revolution but of readjustment'.

T.S. Eliot.,SPE,,p. 86.

10. 'A critic is one whose watch is set five minutes in advance
of others' Sainte-Bueve.
11. 'Criticism may be regarded as having two different
functions that of interpretation and that of judgement'
W. H. Hudson, ITSEL p. 267.

12. *It is pointless to criticize unless the criticsm produces

some good, some kind of Progress' ar*?3"
s^^-, cf. &)
&. 27.

13. 'The critic is as closely occupied with the health of the

mind as the doctor with the health of the body'.
LA. Richards., PLC., p, 25.

14. 'The Summing up' Section ; 60.

1. Critical Assuptions., p. 121.

2. 'The poetry is, at the bottom, a criticism of life. The

greatness of poet lies in his powerful application of ideas
to life to the question how to live. There exist generally
reaognised laws of poetic beauty and poetic truth. The
relative greatness of a poet depends upon the soundness of
his criticism and his competence of his surrender to the
laws of poetic beauty and truth. Poetry is simply the most
delightfuland perfect form of utterance that human words
1
can reach Matthew Arnold.
.

3. 'Criticism^s I understood it, is the endeavour to discrimi-

nate between experiences and to evaluate them'.
LA. Richards., PLC.
4. 'Writers choose influences in the way that they choose
friends, and experience what Goethe called 'elective
affinities'
CA., p. 120.
5. 'Many authors catch fire from the inspiration of other*'.
Longinus., On the Sublime, 2. xm
6. 'However one interprets the treacherous term
'Influence',
Laforgne's poetry undoubtedly influence the young Eliot,
 most probably in the form he was later to recollect as a
kind of inundation, of invasion of the underdeveloped
personality by the stronger personality'.
CA., p. 119.
'Religion and Literature
w3 1

SPE. p, 102
7. 'Mutual borrowing and commerce, makes the common
riches of learning, as it does of the civil government, A
discourse concerning the original and progress of Satire
25-26
(1693) Essays of John Dryden. Ed., Ker. Vol. 2., p.
8. 'Influence, n. orig. a term in astrology, the power virtue
supposed to flow from planets upon men and things'.
Chambers' Etymological Dictionary of the English
language.
9. 'Writers -flow into each other like waves, gently rather
than tidally' Richard Ellman Eminent domain (New-
York 196) p. 3.

10. 'One of the surest of tests is the way in which a poet

borrows. Immature poets imitate; mature poets steal; bad

poets deface what they take,
and good poets make it into
something better, on atleast something different.
A good
remote in time, or
poet will usually borrow from authors
alien in language or diverse in interest' T,S, Eliot SPE.

p. 153.
11. 'Influence as inundation, influence as whetstone the two :

of response to the same

metaphors mark opposite poles
phenomenon, ranging from a seemingly helpless passivity
to the abrasive
in the presence of a stronger personality,
:.. situation of good company' CA, p. 120.
12.
18.

14. e-S'tfa nfrS

15.

16. 'There must be a resemblance which does not depend

upon their own will, between all the writers of any perti-
cular age. They cannot escape from subjection to a common
 VI

influence which arises art of the infinite combination of

circumstances belonging to times in which they live, though
each is in a degree the author of the very influence by
which his being thus pervaded" Shelly-Preface (1817) to
'Loan and Cythna'-Ed., Glover., p. 145.

'He to whom is the only thing that is present,

the present
knows nothing of the age in ^hich he lives. To realise the
nineteenth century one must realise every century that
has preceded it, and that has contributed to its making-
Oscar WiJde.-Mr. Pater's last volume (189,0)-Literary
criticism of Oscar Wilde: Ed. Weintrarb., p. 62.

''The surrealist's misuuderstandiog of Freud was no rn^re

mistake, for it contributed to the formation of a new kind
of art, and is therefore discribed more accurately as a
'creative misunderstanding' "-K.K. Ruthven.; CA., p. 133.

'

- S& : 295.

21. Ibid. - &&& - 5 : xvi.

22. Ibid. - 3> : 2J9. ,

28. Ibid. - $ : 258. .

2*. Ibid. - $ : 682.

26.

o o) or

esoos'a'to spfiS ?50^3 S5toSoc<LpCo.

.^. 8.

B
. cr. iS. S.
: 294-295.
 vii

x-
1. Literary criticism- A short history., Introduction, p.

2. a of order: It classifies
"Theory of geners is principle
literature and leterary history not by time or place (period
of
or national language) but by specifically literary types
and
organization or structure" Rene Wellek
Austin Warren TO L., p. 226.

3. "The of the genre, it is clear, raises central ques-

subject
tions for literary history and literary criticism and for
their interrelation. a specifically literary con-
It puts, in
the relation
text, the philosophical questions concerning
of the class and the individuals composing it, the
one and
the many, the nature of universals" Rene Wellek and
Austin Warren T O L,, p. 237.
of criticism
4. "Literary historians who deny the importance
derivative cri-
are themselves unconscious critics, usually
tics, who have merely taken
our traditional standards and
reputation" Rene Wellek and Austin Warren., TOL.,
p, 43.

- CPU 35. 3. o-J$ra*3. (1074)

(1981 J

about some particular

Descriptive criticism is always
text whether'of the critic's own or of another and
the eri-

tic, instead of laying

down general rules or theorisicg in
the work in hand, traces the influ-
general terms, analyses
discusses it
ences that have given rise to it, and then
1'

critically item by item George Watson.

t.

viii-xvi.
 V1I1

<> iSi

aa

sHacsxS'i

ra
e
!! S5 ? a^
j

). 367.

(&&: 3. ^. 3. SB.
98)

1 1 .

CPU

489.
12.

a-S
*
^0
~* 3tftfitfo^; 3. ^v
sso. Sj. 141.
[jS.

13. "Literary criticism an art about art"

is Walter Pater.
14. "What is not that the critic should poseess
important is

a correct abstract definition of

beauty for the intellect,
but certain kind of
temperment, the power of being deeply
moved by the presence of beautiful
objects-Walter Pater.
15. "The impressionistic critic brings home to us the fact of
his own existance and you must not ask of him
any other
aim than perfecting of himself"
Oscar Wilde, cf. PHLC. 17. p.
 J8. rfp& :
AHMC., Vol. iv., P. 24.

17. &.& : Ibid. $. 24.

18. . ^tfjrf sisfrStf-

- 10. 45.

19. &<&) - -
:
LpSj^&d&J*_fi
20 . 'rfff g o- .-.o^ o ife

'

;21. 'Pslrtaeism, or tke fFime

Dn the
t^ifc :
3P$S&)-
Ph. D.,' - K.

2S&28. ECCP., ^.

24. && :
WQ'jci^o
: SS

'

^j-fla-^ tfon-cf^n-fl -^-ao-atfo. fflStf*

(a)

(b)

(c)
" * ^ &- ' 164
(d)

(e)
 ,
d. 3.

rrtfo 1938 10,

a-^oS) ([Jj^^^ e?3_ IbJoaQa 4)
dTio.
(1944
1974.

S).

. 2. 1981.

"The good critic and we should all try to be critics, and

not leave criticism to the fellows who write reviews in the
papers is the man who, to a keen and abiding sensibility,
joinswide and increasingly discriminating reading" T. S.

Eliot, Selected prose of T. S. Eliot., p. 102.

Selected prose of T. S. Eliot., p. 106.

1. Literary criticism A short history,, p. 753.

2. Seo'fca* ^Spe S&oVwSStftfra-Ss'tfSMCo- $. 81.

S. C.
3. &*< :
Principles and History of Literary Criticism by
Muodra and S. C. Agarwal., p. 524.

4
4. "tifi moo
n r> L. o
"There are many tables in the world, but there is one idea
or form (Platonic Idea) a carpenter
of a table. When
makes a table he produces a mere semblance of this idea
which is the one 'real table lying beyond all the tables
which have been or can be made; so that the Idea, for our
present very general purpose, is out side the world alto-
gether. And when the artist sits down in front of the
carpenter's table to paint a picture of it, the picture that
results Js acopy of some thing which is itself a kind of
shadow of the real object. Thus the artifact is removed
at two stages from reality". The Republic., Book X.
5. "Poetry fed and watered the passions instead of drying
them up and let them rule ingtead of ruling them as they
 aught to be ruled, with a view to the happiness and virtue
of mankind" The Republic., Book X.

6.
Principles and history of Literary Criticism-r, p. 205.
7. "The Poetics is Aristotle's counter blast to plato's cele-
brated condemnation of poetry on the persuit unworthy
of main's intellectual dignity and radically vicious in its
effect" Prof. Abercrombie: Ibid. 206.

8. "Aristotle's way of interpreting poetic imitation is possibly

the most valuable of all contributions to aesthetic theory.
At any rate, it puts the theory on perfectly secure and
solid foundations" Prof. Abercrombie. Abid., p. 210.

9. Ibid: p. 235.
Literary criticism of Antiquity., Vol. I.

10. George Saintsbury: A short history of English Criticism

11. "For Longinus, the sublime in literature was essentially

the echo of a great soul, of a lofty mind. It is the product
of a great and noble mind. 'Sublimity is always an emi-
nence and excellence in language.' 'Sublimity is the note
that rings from a great'. 'Sublimity lies in intensity.'
'Sublimity consists in a ccrtafn distinction and consum-
r
mate execHonc in expression and it is from this and no
other sourcej that the greatest poets and prose writers
have gained their eminence and immortal fame" Prin-
ciples and history of Literary criticism., p. 258.

12. 3)6. 20_21

<ao|_tf tfatfij j8^^o-
'
13. Mundra and Agarwal. PHLC., p. 268.

14. Ibid. P. 264.

15. A short history of English criticsm.

16. "Tudor critics concentrated on the problem of style and

they tried to emphasize the claims of the vernacular to be

recognized as a fit literary medium and also made
attempts
to improve its power of expression." PHLC., p. 279.

17. "Gosson calls poets 'piftrs and jesters' denouncing poetry

and the drama all alike as 'caterpillars of the
jnusic,
 xii

commonwealth,, Mainly his arguments are that a mao

can use his time in a better way than his poetry, that
poetry is the mother of lies and the nurse of abuse, And
that Plato therefore had banished poets from his ideal
common wealth Ibid. p. 210-281.

"Poetry, according to Sidney, "in the noblest nations and

languages that are known, hath been the first light-fiver
to ignorance, and first nurse, whose milk by little and
little enabled them to feed afterwards of tougher know-
ledge' Ibid, p. 281.

Ibid. p. 283.

Ibid. p. 287-

Ibid. p. 291.

Ibid. p. 295-296.

Critical Approaches to Literature.

English Literary Criticism.

PHLC, p. 349.
A history of English Criticism.
Spectator No. 62.

Spectator No. 409

sense (Sense of sight) which furnishes the imagi-

'It is this

nation withits ideals, so that by the pleasure of the imagi-

nation or fancy (which I shall use promiscuously) I here

mean such as arise from visible objects, either when we
have them] actually in our view, or when we call up their
ideas into our minds by paintings statues, descriptions or
any the like occasion" Spectator, 411.
"The pleasure of the imagination therefore are of two
kinds: Pjjmary or those 'which entirely proceed from such
object? as arc before our eyes', and secondary or those
'which flow from the ideas of visible objects arc not actu-
allybefore the eye, but are called up intp our memories,
or formed into agreeable visions of things that are either
absent or fictitus" Spectator 411. AIEC, p. 129-130,
 Xlll

to an
31. "His recognition of it, however, pointed the way
its
aesthetic approach to literltore to 'it* enjoyment by
to the imagination rather th'an by its promotion ot
appeal
a moral or social or observance of formal rules-both
and,
considered important then"-B. Prasad-AIEC. p. 130-131.

32. Spectator. No. 409.

33. Spectator. No. 592.

34. Spectator. No. 592.

35. A Short history of English criticism.
36. Preface to Snafcespeare Alexander Pope.
37. Rambler, 92.
38. Rambler, 156.
39. The Literary Critics, p. 83.

40. Life of Milton.

41. Preface to Shakespeare.
42. Rambler 36
43. PHLC., 0,406.
44. Muncker, 17, 290-1- AHMC, Vol. I., p. 164-
45. Review of Manzonis conte di carmagnola; Wreke, 37, 180
AHMC., Vol I, p. 223-224.
46. Jonas, 6, 262; to Goethe, March 27, 1801. AHMC L,
p. 254-255.

47. A history of Modern Criticism-Vol I, The Later Eighteenth .

century Introduction p. 6.

48. Biographia Literaria, Ed., by

Shawcross Vol I., p. 22,

footnote.

49. PHLC., p. 414-415.

50. The literary criticism of William Wordsworth is usually

considered the manifesto of the English Romantic

move-

ment, the for the break with the age of neo- classi-
signal
cism. AHMC. II. the Romantic Age p. 130.

51. Use of Poetry and Use of Criticism. (Essay)

52. Mundra and Agatwal PHLC., p. 461.
 xiv

53. Prasad, B. AIEC p. 189.

54. The Literary Critics.

55. A History of Modern Criticism, Vol II, The Romantic

Age-, p. 129.

56. Ibid. p. 124.

57. Ibid. p. 129.

58. PHLC, p. 466, 467, 468.

59. Use of Poetry and Use of Criticism (Essay)

60. PHLC., p. 483

61. Ibid., p. 485.

62. Ibid. p. 491.

- $fc -, 519-620.

64. A.H.M. C. Vol II. The Romantic Age. p. 335-336.

65- Ibid. p. 337-338.

66. Ibid. p. 337.

67. PHLC. p. 495.

68. Ibid. p. 509.

69. Lionel Trilling Matthew Arnold Literary Critics.

70. R. A. Scott James.

71. A.H.M. C. vol IV- The Later Nineteenth Centuary p. 1 80.

AIEC. p. 221.
PHLC. p. 520.

Ibid. p. 521.

75. A. H. M. C. Vol. IV, p. 397.

76. Selected Prose of T. S. Eliot p. 53.
77. PHLC. p. 527.

78. The Function of criticism (Essay) by T. S. Eliot

79. Selected Prose of T S Eliot, p. 75.

80. Ibid, p, 38-39.

81. Ibid. p. 39.

 xv

82. ^p^, : Preface to The Sacred wood by T. S. Eliot

83.
Principles of Literary criticsm, p. 1.

84. Ibid. 22.

85. Ibid preface, p. 12.

86. PHLC, p. 566-567.
87. Ibid p. 573.

88. Principles of Literary criticism

89. Literary Criticism A Short History p. 623.
90. PHLC p. 577.
91. AIEC. p. 249-250.
92. PHLC. p. 581.
93. Ibid. p. 591.

94. A History of Literary Aesthetics, p. 244.

95. Preface to "The well Wrought Urn" (1947)
96. A History of Literary Aesthetics -by Max 1. Baym., p. 260.

97. The Liberal Imagination.

98. The New Apologists for Poetry by Murray Krieger p. 95.
99. Elder Olson in Critics and Criticism, p. 555,
100. && : S^oo8o

Anatomy of criticism chapter XI of Aesthetics and

criticism by Harold Osborne, p. 290-302.

101. Ibid. p. 302.

O2. The Armed Vision.

103. Introduction to Indian Textual criticism S. M. Katre.

104. The Double agemt. sec: A C. p. 316. 5

105. PHLC., p. 12.

106. Ibid. 16-17

107. Critical Approaches to Literature.

1 08 . DOWL Ed. J. T. Shipley.

109. A. C, p. 393 304.

1 1O. Concepts of Criticism.

 XVI

111. A. C. $. 814, 815

112. English Literature : A critical Survey

-T. G. Williams

118. David Daiches : The Critical Approa-

ches to Literature.

114, A. C. $. 815

116. && P. H. L.C. 3. 29

118. Ibid. 3. 81.83
117. Ibid. $. 82
118. a*. 8>.
Rj-3"dtia68i3A-wtf>as"o(jtf S'S^is. . 695

119. The Heritage of Symbolism-C.M. Bowra.

120. Literary Criticism-A Short History.

121. & 3sx>*b

^*2ptfg 3&tfj-fro|jSn-oaotffiB, $.805-808
122. Writer and Critic. $. 64

123 ,
Marx and Angels. Selected Correspondence
BOO
(Moscow). 5.
124. Illusion and Reality. $. 813

125. Writer and Critic. $. 88

128. Ibid. fc. 19

127. Criticism as Language ^Essay) The Critical

Moment. ;&*& P.H.L.C. ^. 27

128. Theory of Literature.

129. Critical Assumptions. J&. 183

180. Aesthetics and Criticism. !&. 320

 XVII

1.
Theory of Literature
2.

-CPU

$. 1S9

srtf 2o<3 - ofif iSS" - dSoo^ ^rr-cS Seas' 1935

81 M, 3.ft. 5X ^o, fi.)

^>. 87'

6. ^B tf. ^-32
'w>jo3> (oj jjfo^in (S". 3.)

.. SoCb^ofl. ^. ^. t. 5*. 2 5adj 287

. 3. ^. S. &-o
.S.)
^j. 37

6.

1986),
"

uSiFtf&o
1
r?^, rv^) *Sj
a&tf^ff

a. V. 2, ^. 289)
3, . 3. ^. a. &**.
6.) ^. 87.
 XVU1

7. 'esoiqrcrf

o
1
. ^. ^*. 2). c. 3 Srfj 268

84, . 3. d-.3.do. fl.)

Sj. 8/.

8, 'gji

.' IT-. 1.S.

,Dc3"3vficito'

. 87.

9, ts&Sg' Sioro ^Si-rf^ O&tf}- ^-oi_SSoQ^ d. ^. 38.84

10. ^ifc: 31^-oSb. Ibid. ^. 16.34

11.
EBJJJP ^^A6o*^) - a&O'^tf^SSa-O'ajfijo^d 1915

12. ^0"i30 Sa-af^, - a

1926.

13. P.H.L.C. $. 415

14. Ibid. $. 416

15. {&&.: tf
S'ejiiioOscQ S'Dtf^ ^3E3S'aba.MSSaatf. ^. 1.2
16.
AgrgtfSa-n^Ki&offl
17. P.H.L.C, ^. 486.4S7

18.
^S^ tf_rfi
SO^^B. ^.
19. rT^^ 3-SS&). ^. 86.

P.H.L.C. ^. 418
 i

XIX

21. && P.H.L.C. $. 421

22 -
,, Ibid. 3. 422
*3. ,, Ibid. fc. 481
24. ,, Ibid. 5. 469
Ibid. 3. 454
P.H.L C. 3. 489-470
Jfcfc 3. 148

. 30
. tfao
_asrt)&3a "^^g-a^
P.H.L.C. . 440
Ibid. &. 480, 481

Ibid. ^. 462
H.L.A.A. Preface $. 1
Aesthetics and Criticism. :&. 141
'

$. 49.60
Ibid. . 64

Ibid. 3. 251.254
A. H. M.C. Vol. Ill- The Age of Transition.
. 165-156

55". 4.

a
41. H.L.A.A-Max 1. Baym. $ 63
42. Lyrical Poetry :
Encyclopaedia Britannica.
43. &as*o|tf ^S^e^a fSo.ii. ^.802-803

1940
 XX

46.
jjj-^&da&j*^. $. 7u
46. P.H.L.C. $. 495
47. A.H.M.C. Vol. iv, $. 166
48. $doo ae& $jtc5 . Mimdra &. Agarwal - Pri-

nciples of Literary criticism.

1
49.
^SptfgoS' tf^gseo $. 48 .

BO. fe*-3 ^5r*p tftf^exp 1947-72 ^.J

( j (a?*)

61. Ibid. ^. 21
62. Triveni
(occ.-Dce. 1971) Dr. Viswanatha Special
Number - Intervicv with A. S. Raman -

63. Ibid. &. 151-152

54, esj*efc : '^o?S

16-11-1871)
55.

56.

67. C&^: [Bip^d&jS 6; ^. 189

68. Aesthetics and Criticism Q. 217
69. A lesson in -literary criticism from Visw-
anatha-Viswanatha as a critic
(Essay) Triveni
(Golden Jubilee Vol. 46, No. 4. Jan-
Number)
March 1978, Sj). 129.130
60.
d*ar.*| ^ &&>& ^.>.
61. Ibid., &. 78 ...

62. Ibid. &. 79.80.

88. ^, vi
s^g a^.a,^&e3 J

84. s3 es, ^. 73-74

 xx i

Ibid. 3. 80
Ibid. 3. 81
Ibid. 3. 8
Conventidri and Revolt in Poetry-L L. Lowes,
3 70

Ibid. 3- 188

Ib d, 3.. 852
3 P ^. 2Bis

- 18S

Ibid. 3. 181.182

Ibid. 3. 74

Ibid. 3. 181

Ibid. 3 179 ;

Ibid. 3. 173

$. 4

^j_ (=;-*'
^22, 5-8^ tfe^ jadiioO ^oOg" - 5>e3^e, 19S1

. 66

Sii^
-
fij-flj. %
>. 84-35

i>a s^i rici-p?

(spg) (*)<*)

(ii^5es: w^j^di 1946 w^eai) Sj. 207

ABC of Dialectical and Historical Materi-
alism-Progress Publihers-Moscow $. 443

Marxism and literature. Raymond Williams 62-58

- w<b.^
(i3*g)
 XX11

. 1. 1.
(So)
201,202

Q at* Soog- . 40

tfe?lSo&o ^(go) 53. 17.32

90. Ibid. 82
91.
4. 424-425
92.

409
Ibid. 3. 454.455
95 -

88 -

"
100. p .
, 158
10.1.
"102
108
104-
-105.
106.
107.
108"
109.
"110.
HI.
,112.
}
 xxiii

118, M&aV oo7<b

&2j*tf$o0*
aste-o-tfo
(53*g)
S3- 202
114- ibid. $. 202
US. Ibid. 3. .192
116. ibid. 3. 197
117. ibid. Jfc. 198
118. Ibid. $. 199
119. Ibid. $. 202
120. Ibid. 3. 201
121.
D-Jfr. 77
L22. Writer and Critic, fc. 87-68
123. a- SWtf (n-^
__* d/ \
- ootf&
o ^S
>
fl -

&-2Hfgo-fc.
88
-24. a^)^^ ^^^ofi* S^x^sweo - ^o^lcSSo ^. x-xi
26. i3jdil: i^S^tfi? i^<Sya3^o-. S.

6 J>SS'o3 -

S7. 3b.odb d

28.

29. ,

SO. ^"2ptf|
sSatfd&o
(1375.1976)
Sj. 237

181. ^^ o^tf^ .
. o-. o
Bjsa.
li

.3>.S 5 s & 202

1S2. edbSJ^ ^fc^oe* Sg^3^c (a-|)
.

183. Ibid. ^. 208

184. & 3oo^ ^Jp^jof*

. . 1. ^oKsJ-qyCTfibiex, $. xiv-xv
185. ?6o^. 27; tfoa. 10, 11.
i?SsSo
^Serfi^ex) 38
(o-g) Sj-
186. Ibid. ft. 43

137.
 XXIV

8
88. eCo^S" ^Sp^cff S&Sa-tfo M.3>.a.3", Sk 201
(n-g),
99. Theory of Literature $. 109

40. fs&iCS' Stftfcw -

SsSi^ (s-gj w&gtfdfc S&o'}
3 13 ?So $. 116-H7
-
'

41. Approaches to Criticism

(Essay) Literary
Criticism: European and Indian Traditions-^) 19

42. Ibid. $. 23.24

48. Literary criticism :
turopean and
Indian. Traditions ^. 40
44. Ibid $. 6J.52
I4B. Is universal Criticism P ssible (Estay)-
LCEIT 3>. 13

Ibid. %. 14
. 238

Ibid. $ 30-31

Ibid. &pS* L^tfao Sj. 40.41

Ibid. EDS* ^. 12
^tetfrac

Ibid. Zs*5* ^. SB. 38

[jS^tfeso

A History of Modren Criricis.a-Vol IV., ^.489

Ibid. Vol. iv., Sj. 4c3

. 2

Ibid.
(33^3 B?5ia 1973 ^o&\ %. 4

tir'rfo :
Comparative Literary Studies - An
Introduction-by S.S. Prawer., ). 69

&-db; Ibid. $. 73

Writer and Critic.,

 XXV

1. P.L.C., Appendix A, 'On Value' - $. 229.

2. Modernism - Peter Faulkner - &. 1

3. &&: Ibid. -Sj. 15

4. u&'Zg 3rort ^aptf|o5* S^ <SV--ajex) - $. 60-61

6. Modernism - S$. I 4

- $. 468-472

7. &eVal>o - Sj. 263 _ 254

8. Suirtfl* tfao- a^^o
a
^P^^O J
- S^. 98

9. fp^: ^cfs'^.ss^^g'^
(spg)
-
DsSb^ ^AS'
- $. 2-11
10. tir-^: 'tfsn-^fi*^^^ tf^d^^o
B
'

^ 2* &re3o - las' - e

11. - ^). 231

tt^bSs'o^ S'atfgabo

12. Ibid. ^. 293

19.
SJSi^ ^fle-rffix) ^.2*4
U. Ibid, ^). 245

15. Rationalism in Theory and Practice-Joseph

Robertson-London; British Rationalist Press
Association .

16. y&SS' 3eofb rpa^ 20^ 5*c<e3oea - 5j). 98,87

17. -
^&ao - ifila^
H^)Si"^ (Rjn-oi$a|i5a (ja-rf |jSa)
1

CPU dSS .
S^o-SD; 3). 477

18. cfr&:
^^(g, tfiSrfo - ^Sr^o - Sj. 175-185

19.
- Sj. 13
^T'&'flrgo^ tf^tis-ea
 XXVI

20. tfLtfoS frSr&go -

(o&Jfo'o'e i^&tfra '1979)
$. 81-32

21. r$
ruDJ SlT* ft'NrO oj rO 3 O - ^). oOL)

22. A-ifo: P.H.L.C. 3> 576

28. An Introduction to Aesthetics - $. 78

1. Liietary Criticism in Americi -^.27

2. Literary Criticism-A short histoiy-lntrodi ction
$. vii

3. BsoKi
^^tfg&ojL oA> LSS3-3&0
- $ '66

4. 1-bid. ^. 167

5. 3ex>r\3S*
^-SpiJg SS)^ - wSo'tfra Ss-^iDeo., ^. 258

6. IbiJ. -Sj.2F8-69
7. t)^rSo^o So&to :
S5^[_^
^5o^ - $. 254
8. 32.1) - e$o"S iSafl? 84
ctf^ Spfl^so (wo|_o^53^o) ).

9. auo^off* g'asr SSjn-o

jSgficplSo
- ^j. 220

10. Theory of Literature -

$, 266
11. ^^3 : 3rc^ r3o 2S3ao
n
^PCScp^o
J
- 'S'

^K^ L^^I ^Ai^otf, es^eifiS 1980

12. ^^ SDtf -
sC[_^d6
^fla' - &. 91-92
13. T. S. Eliot - Selected Prose - g. 28

14.

15,

^SoOS', 1981-32, ^. 2.

^
'

J6. a^s?r, rotfo^d., - 3ort>a-(??$ S5SB^^^x> - 150

 XXV11

i
- &. 841-842

12, 603
20. ibid. $. 605, 606
21. Ibid. >. 606
22.

(1
2.
:
^e^e8|ona ''fe^ ifsSo'
(I960),
(1930J 3-,S_^5 j^ogrexi.

1972), tf^Fg

(198P
X &&&&&>
(1980), (1972)
&&: ^jp^g ^J6S (1978)
28. ^r.^: SOD^J s^j6^^ T^cCS n-#eo SSS^jS
(1977), (1979)
29. &*&:
iQB$&*[&a (1981)
80. Literature and citicism. Sj. IB

1. 20th Century Literary criticism. A Reader-

Preface. Ed. Longman E.
(S. 1972)
2. T. S. Eliot-Selected
Prose-Introduction :
by
John Hayward.
 Bibliography
ENGLISH :

Abraras, M, H,, The Mirror and the Lamp. (Romantic theory

and the Critical Tradation) Oxford University Press: 1976
(First Edition 1953)
Bangorey, (Ed.), Literary Autobiography of C. P. Brown.,
Tirupati : S.V. University, 1978.
Bateson, F.W.. The Scholar-Critic, London :
Roulledge and
KeganPaul Ltd., 1972.
Bayrn, Max I A History of Literary Aesthetics in America.
New York :
Frederick Ungar Publishing Co 1973. ,

Bloom Field,M^rfon W., (Ed.) In search of Literary the-Tv;

London Cornell University
:
Press, 3rd Ed., 1976.

Boguslavsky, B.M. & others-, ABC of Dialectical and Historkal

Materialism (Marxist-Leninist Theory) Moscow : Pro-
gress Publishers., (Eng. Trl. by Lsmioa Il]tskaya) 1978.
Carritt, E.F,, An Introduction to Aesthetics, London :

Hutchinson's University Library. (?).

Caudwell. Christopher, Illusion and Reality A study of the
sources of Poetry New Delhi, People's Publishing House,
1956.
Coombs, H,, Literature and Criticism Penguin Books., 1976.
Craig, David., (Ed.) Marxists on Literature An Anthology.,
Penguin Books., 1977.
Eliot, T.S. Selected Prose-(Ed.) John Hayward Penguin Books
Ltd., (3rd Ed.) 1958,
Eliot, T.S. Selected Prose of T.S. Eliot-(Ed) Frank Kermocda
London : Faber and Faber, 1975.
Eliot, T.S. To Critizize The Critic and Other Writings
London: Faber and Faber, 1965.
Faulkner, Pater., Modernism-The critical Idiom Series., -Gen.
Editor : John D. Jump., London :
Methuen & Co., Ltd,
1977,
 xxix

Frye, Northrop., Anatomy of Criticism, Four essays,, Princeton

Princeton University Press : 3rd Edition 1973.

Ghose, Sisirkumar., Melaesthetics and other essays ; Calcutta:

Writers Workshop Books., 1966.

Handy, William J., and Westbrook, Max .Twentieth Century

Criticism The Major Statements., New Delhi: Light
and Life Publishers :
(Indian Edition) 1976.
Hiriyanna, M., Art Experience., Mysore :
Kavyalaya Publishers,
1954.

:
Hudson, W,H., An Introduction to the study of English Litera-

ture., Ludhiana: Kalyani Publishers, 6th Edition 1975.

Kavisena Current Scene of Telugu Literature (An Ecological

Survey), Narasaraopet, Kavisena 1977,

( Kiegcr, Murray., The New Apologists for Poetry., Minneapolis;

The University of Minnesota Press, 1956.

Lodge, David., (Ed.) 20th Century Literatary Criticism A

Reader , London ;
Longman group Ltd. 2nd Ed., 1975.
Lucacs Georg., Writer and Critic and other essays., (Ed.) Prof.
:_ . Arthur Kahn London Merlin Press, 1978.
, :

Mundr-a, S.C., and Agarwal S C., Principles and History of

Literary Criticism Bareilly (U.P.)j Prakash Book Depot,
1972.

Murray, Patrick, Literary Criticism a glossary of major terms.,

London Longman Group Ltd., 1978.
:

Narasimhaiah, C.D., (Ed.) Literary Criticism: European and

Indian Traditions., Mysore University of Mysore, 1965.
:

Neogy, Prithwish, (Ed.) Rabindranath Tagore on Arts and

Aesthetics Orient Longmans., 1961.

Nostrand, Albert D. Van., Litrary Criticism in America., New

York The Liberal Art Press. 1957.
;

Osborne, Harold., Aesthetics, and Criticism,, London: Routledge

.. .and Kegan Paul Ltd., 1955.
Pande, K.C., Comparative Aesthetics Vol. II, Western Aesthe-
tics., Varanasi The Chowkhamba Sanskrit Series, 1959,
:
 XXX

Prasad, Birjadish., An Introduction to English Criticism., Madras:

The Macmillan and co., of India Ltd., 1976.
Prawcr, S.S., Comparative Literary Studies: An Introduction ,

London: Gerald Duckworth & Co., Ltd., 1973.

Richards, LA., Principles of Literary Criticism London: -

Routledge and Kegan Pal Ltd., 1970.

Ruthven, KK Critical
,
Assumptions., Cambridge: Cambridge
Press 1979.
Santayana, George., The Sense of Beauty., New York: Dover
Publications, INC 1896.
Seshendra Sarma, G , In Defence of People and Poetry (Letters
of Seshendra) Hyderabad: Indian Languages Forum :

1977.
Seshendra Sarmi, G., On Form and Lsnguaga in Poetry.,
Bangalore: Prasaranga; Bangalore University : 1980.
Shipley, J.T. (Ed.) ADictionary of World Literature
-Srinivasalyengar, K.R., and Prema Nandakuamar., Introduction
to the Study of English Literature., Asia Publishing
House, 1969.
Triveni, (Editor) Bhavaraju Narasimha Rao, Golden Jubilee
Number. Vol. 46. No. 4, Jan March 1978 Machilipat-
nam: Triveni Publishers.
Vis wans iHLJi s K p<
iy. in Cjjtbism a^d Comparative Poetics:
=

Viaakhapatnani; Waltair: Andhra Uaiversity Press: 197.7.

Warnock, Marry., Imagination., London: Faber and Faber
1976.
Wellek, Reae.,A History of Modsrn Criticism (1750 1950) in
5 Volumes., London: Jonathamcape 1970.
"
Vol I. The Later Eighteenth Century
Vol II. The Romantic Age
Vol III. The Age of Transition
Vol IV. The Later Nineteenth Century
Vol V. The Twentieth Century
Wellek, Rene, and Warren, Austin., Theory of Literature., Pen-
guin Books, 1978.
Williams. Raymond., Marxism and Literature: Oxford; Oxford
,
University Press: 2nd Ed; 1978.
Wimsatt, Jr.K. and Brooks, Cleanth., Literary Criticism A Short
History., New Delhi, Oxford & IBH
" Publishing Co,, 5th
'

Edition. 1974.
 XXXI

. s$a. 19J6., is. 19291

([_I5.

1978
(^S.
^. 1854J
tfotfo, o-u,

,
1979.

. fin. 1955
1963]

19BO.

- SSoil

: 1967

:
0*^30 sftrSo^ SS3i3, 1978

,
1931

, 1930

1980.
 XXXH

: 1976

o^a, 1930.
1

^ Sbo^ fi ^S
(3boij_6 Moa^daMua).,
f5^*g; 1977
B

(3^83.^0
|J3 (zp
: 1939

o :
O^ptfb
^o55Do : 19T6

: 1958

tfao ^ofl
Sbo-gdo^
ofoSo'tfS, 1975

5*^0, B.CPII.,

: 1981

: 1971

9o. j. ^2rrf eff-^ib, 1974

 XXX111

,
J968

ctfoc*tfe, 1977

(Literary Criticism],
1977
S'Ser-

: 1978

. 1987 :

.- 1974
f
^S"o
,
1965

, CT-II.

,
1981

,
1980

: 530. 1
^P .
693-^11), 1975
(jS.

liss-i'S'

"g. "3., 0*11, ftaazK

ift, 1981
 xxxiv

,
"i. ".,

tfo
(1900-1947
1979.
"

i)fl Zhb ? - rbd^r-S

S., (^^^0
,
1981

Ssxi^eo - tftfoxitfo

., ^3o(S'cp e3(i)
|

; d^iiej'iS'Q, 1970

,
1969

sS.2;
gj

^oo, 1970

io&eo-f
.- 1972
^2jat)i. l

5, 1975
&
*0g' > Si^o^eo : Sexrib

d"
So-^o L_tebo, 1974

,
1975
o!S)ii'oin"'3&

,
1980

,
3979
_ a^S"

- a- O

: 1947
 XXXV

,
S't&cfl, . S3- ^fio :
a-g^cesfl, ~*
: 1947
3
^*5T*0, 1981

, 1974

ifl.,

, 1928

([jS.&a. 1974)
(Literary Criticistn],

([Si.
a.

, 1980

: STo^
., ^-

, 1968
.

u * ,
L
533., a^a-Os'S
3j6
"lo^s, 1981
Da-^5; 2/
j^5a, 1981

: 1976

tf^
: 1940
 XXXVI

: 1977
: 1963

SOoSSS c^^^^e
e
- 1980

,
1981

6t5oSbo
(1876-1976).
,
1978

, OCiiS&o, 0*11., fO'D'cCbes'SS ^Spfe^aj' fl,

,
1981

: J981

^S'o'
1*11 CT^rdl BffldBC) 23fic3*^ jSfO
1
^30^00, 1981

, 1972

XS^ti&rrd
,
1964

1958-69 ^o3 ^tffibarf&o 1961

,
1970
.
[S).
&. 653 B tfS3D I
1977
, ^o^do, CPU.,
Sb-v.
-i
1961
 xxxvii

$fc)inXrfr'o : 1915
L

a, StfSotf, (cSo. I

rtfod3 S5lbe, 1977

wff. 35.,

, 1968

0. 1972

., tf&tioS
1079

: 1978

,
1980

-o.jjS.^ ,e. 1889

l

6,

(1947^-72)
1972

,
1925

1981.
 (INDEX)
l~

ay . 7

Abercrombie, Lascelles., 1 Bale, John., 149

Abrams, M.H., - (11) Barthes, Ronald., 167
Addison, Joseph., 65, 88, Bateson, F. W., 60
84, 86, 86, 87, 820
Baudelaire, Charles-, 153,
Adler, Alfred., H7
269, 272, 274
Aeschylus., 68
Alexander., 70 Baym, Max I., 139, 181

Anaxagoras., 69 Beaumount, Francis., 81

Aristophanes., 68 Blackmur, R. P., 139, 145
Aristotle., 63, 64, 68, 6*. 70,
Bloom, Harold., 20
71, 74. 78, 8-1, 94, 97,
101, 120, 140, HI, 176,
Boi ea u -De spreaux, Nicolas;
1
804, 328.
87
Arnold, Matthew., 66, 116,
117, 118, 119, 120, 146, Bradley, A. C ,
121

146, 163, 196, 198, 199, Breton, Andre.. 20

200, 208, 204, 203. Bridges, Robert., 267
Ascham, Roger., 78 Brooks, Cleanth., ] 89
Atkins, J.W.H., 71, 82
Brown, C. P., 35, 809
Augustus., 307
Browne, Thomas, Sir., 60
Austen, Jane., 145
Browning, Robert., 15J, 296

Buchhurst, Lord., 81
Baird, J. D., 60 Burns, Robert., 284
Balakian, Anna., 279 Byron, George Gordon., 296
 XXXIX

Carlyle, Thomas., 66, 121, Dryden, John,, 14, 64, 80,

160, 163 81, 82, 83, 65, 106,

Catritt, E. F., 301 145, 149, 169

Caudwell, Christopher.,
56, 166

Cazamian., 124 Eliot, T. S.> (6), 8, 14, 15,

8 110 124 1S6 126
Chambers, R.W.
' '

160 - - '

Charles 64 127, 18, 129,195,189,

[1.,

Chaucer, Geoffrey., 88, 28* ^, 153, 196. 200. 201,

Cheke, John, Sir, 76 204, 206, 203, 207, 228,

Cherni., Harold., 27 288, 2S9, 298, 209, 800,

8l9
Clinton, Forely., 50
15
Coleridge, Samuel Taytor,, EHmap, RicMard.,
Engels, Friedrich. r 6, 115,
65,85,101,102,108,104
154 J55 158
' '
105, 110, 111, 114, 169,
170, 172, 17V 175, 180, Erasmus., 78
182, 186, 202,228, 29. Euripides,, 68
Co let,, 78
Cox & Dysen,,
y 39 _ .. _. OQ o
Faulkner, Paler., 282
Craig, Hardin., 1 fcO ,
K-
Faust, Howard., 60
'

, . HJA
Crane, Ronald S., 14U ,,, i /-^ ici
^ao Flaubert, Gustave., Ibl
Croce, Benedetto., ^93 Q1 ,

Fletcher, John., 81
FoTSter, E. M ,
50

Daiches, David., 80, 147, Fox, Rilph... 56

150 France, Anatole., 88,146,147
Dante, Alighieri., 78, 75, ,p reud) Sigmund., 20, 147,
118 297
Darwin, Charles., 68, 161,
152
De Quincey, Thomas., 122, Goethe, Johann Wolfgang
147, 150 von,, 93, 114, 145, 150,
Dickens, Charles., 299 299
Dowson, Ernest., 158 Gorki, Maxim., 250
 xL

Gosse, Edmund-, IBS Jonson, Ben., 64, 77, 80,81,

Gosson, Stephen., 77 94, 308
Greg, W. W., 144 Jung, Carl G., 147
Guarino da Verona., 75

Kant, ImmanueL, 101

Hardy, Thomas., 299 Keats, John., 105, 109, 110,

Harrison, Frederick., 66 180, 182, 188, 191, 293.

Hayward, John., 828 296, 299

Haslitt, William., 65, 110, Keble, John., 116
111, 112, 114, 147, 150, Kelly, Francis M., 50,
169, 180 Ker, W. P., 83, 121, 150
Hegel, G.W.F ,
114 Kn ;

ght, Wilson G ,
148

Heracleitus., 88,
Hermogenes., 04
Homer., 68, 75, 118, 807 Lamb, Charles., 05, 1J9,
114, 147, 328
Horace., 71, "72, 87, 04
Howard, Robert, Sir., 81 Lawrence, D. H., 2S2, 296
Laurentius Valla., 75,
Hudson, W., H. 219
Leavis, F. R., 136, 137, 1F8
Hulme, T. E., 189, 147
Huneket, James., 147 Leland, John., 149
Lemairre, Jules., 147
Huxley, Aldous., 49, 68
Leain., 56
Hyman, Stanley Edgar., 144
Leonardo Bruni., 75
Leopardi, Giacomo., 114

Ibsen, Henrik., 151 Lessing, Gotthold, E., 92

Lewis, C. S., 49, UO
Locke, John., 85
Jackson, Helbrook ,
86 Lodge, David 327 ,

James, Scott., 76, 120 Long nus., 78, 101

,
Samuel Dr , 65,
Louis XIV., 94,

81, 83, 84, 89, 90, 91, Lowes, John Livingston.,

92, 94, 144, 145, 149, 226
303, 908 Lucas, F. L, 147
 xLI

Lunacharsky, A, V., 56 Newton,,

Lukacs, Georg., 66, 156, Morris, Frank., 151
157, 248, 280

Olson, Elder., 140

Macaulay, Thomas Babing 7 f
),sborpe, Harold-, 142, 148,
ton, Lord. ,66, 166, 804 146, 148, 158, 212
Mackenzie, Colonel Col'n.,
808
Pascal - Blaise " U5
Mackenzie, Henry., 149
Mallarme, Sreph.ne., 153, P' Walt " >
*7 >
8fl '

289 298 121,122,128,124,1*7,

195 *>*
Mao Tse-Tung, 66 >

Peacock, Thomas, Love.,

Marley, John., 86
I06
Marlow ,
803
U 5, 154,274 PcTC7-' 96
Marx, Karl., 56,
Phidias., 63
Matthews, Brander., 802
Picard - Raymond, M., 146
Maugham.So^rsetW. 10,2t9
xx
Adauron, rvu ,IQ
Charles., 148
i Plato.,
i !.>.., 88,, 69,, 70, 74, 77,
,

.Me n
-KX i.- n -j T u 78, 222, 287
Cutchion, David John;
'

Plckhanov, George., 68, lib

Me kerrow, R. W., 144

Mehring., 116
Politian., 76
Mencken, Henry., 147

Mill, John Stuart., 66, 115 PUd. ^ W ;-

144

'olygnotus.,
Milton, John., 64, 118, 295,
308 Pope, Alexander., 65, 88,

"Moore, George., 1E3 84, 87, 88, 108

226 -Pound, Ezra., 139, 147, 159

Murray, Gilbert.,

Myers, F.W H., 121 Prasad, Birjadish., 137

Nathan, George Jean., 147 Quiller^Couch., 147

Newman., 66 Quintilian., 71, 72
 xLii

Raleigh, Walter., 116 Shaw, J, T., 279

Ransom, John Crowe., 189 Shelley, Percy Bysshe., 65,

Read, Herbert., 148 97, 106, 106, 107, 108,

Richards, I. A., S3, 130, 109,171,174,178,180,

181, 132, 188, 184, 196, 182, 186, 293, 296, 299

148, 195, 201,204,210, Sidney, Philip, Sir., 64, 77,

221, 2S8, 281, 298, 299, 78, 94, 97

800 Sophocles., 68
Rimbaud, Arthur., 153 Spencer, Herbert., 66
Rug?, Arnold., 115 Spender, Stephen., 282
Ruskin, John., 66, 121 Steele, Richard ,
320
Russell, Bertrand., 299 Stephen, Leslie., 121
Ruthven, K. K., 11, 16, 157 Stevenson, Robert Louis.,
113
Swinburne, Algernon
Sachs, Hanns Dr., 148
Charles., 66
Sainte-Beuve., 4, 66, 1!5,
Symonds, J. A., 121
146, 150
Symons, Arthur., 121, 159
Saintsbury, George E. B.,

75, 85, 92, 113, 131

147, 150, 199, 807 Taine, Hippolyte., 116, 160

Santayana, George., 182 Tanner, Thomas., 149

Sartre, Jean-Paul., 315 Tate, Allen., 139
Schelling, Frif drich.,96,101 Taylor, John., 109
Schiller, Friedrich., 93 Taylor, William., 168
Schlcgal, Friedrich., 96, Alfred.,
Tennyson , 161,
101, 114
299
Sedley, Charles, Sir., 81
Theagenes., 69
Shakespeare, William., 79,

80, 81, 82, 88, 89, 91,

Tolst0 ^ Leo " 2 "
120, 140,
108, 110, 118, 174, 176, Trilling, Lionel.,
15
21), 298, 30S
Shaw, George Bernard., Trollope., 146
232, 202, 299 Trotsky, L. D,, 56
 xLiii

Valery, Paul., 20 Wordswoith, William., 65,

Vergerius., 75 97, 98, 99, 100, 101,

Verlaine, Paul., 168 103, 128, 167, 168,169,

Victoria, Queen., 65 170, 171, 172, 178, 175,

Vida, Marco Girolamo., 87 180, 18, 226,284,298,

Virgil., 76 296, 318
Vittorino da Feltre., 75
Vives., 76
XenopHanes. ,
68

Warren, Robert Perm., 189

Watson, George., 30, 90, Yeats ' W - B -.
I45 '
153

180
Webster., 808
Wellek, Rene, 94, 96, 97,

101, 106, 114, 115, 131,

148, 190, 199 186, 809,
&g*o*$>, &&*>,
Wellek, Rene & Warren, g2 .

Austin., 167, ]59, 261, 17, 42,

uXott^ffy o-^SSg..
814 180. 181, 182 188, 184, 1

Whibley, Charles., 121

J86, 188, 191, 194,210,
Whitman, Walt,, 256 214-
Wilde, Oscar., 121, 149, SB.
eSrjdBag, eeeo-fl.,
'-"Wi |6B
^c-4>, ^o^o., 291.
Williams, Raymond.,
Williams, T. G 150 ,
238
^^ ^^^ 227) 2gi( 239) 240i 282 .
m 2 26,

Wilson, Dover., 144 285 80Q gi8 822 324

Wilson, Edmund., 148, 152 ^ M
w
Wilson, T
.i
Thcmas., ^fl
,
78 w^o-ft,
J ^^oA w
^o-a*., 326.

Wimsatt Jr. William K., & ^ 1

*' "^^ ^rffc., 74,
81K
Brook8, Cleanth, 28,
211.
62, 154, 303 |w$S2rt>g)fo.,
Winters, Yvor. ,
139 'w&3oh*., 270, 823,
Woodhouse, James., 299 ;' wtfDotf^p^., 216, 296, 297.
 xLiv

o., 197 3tfc 3oB-dD., 809.

tf^jftfi,
., 265,266. ^g^, 292, 293,
ra SifcoSg.,
., 216 299, 800
., 287.
*-o-3, sbtoPxfl aotfb., 822,
2B8, 809, 810,824. 323.

828,

., S19, 824.

., 29]

42, 178, 271,272.

ago-., 246.

Le^d^., 288, 289,

292, 296, 297, 300.

(S)-.
323.
,,

817.

, 299.
323
rfoifiTfotfo^, ^dSbSj'e., 239.
^Ccteo.,' 85. ^ **.* = S, oot
ooo, roa^-fi 3o^t>., 282,291,
oo
., 211.
293.296, 299, 800.
5'
(Sboii
258, 256,117.
a caces^cSiDooV,
J
^
,.< c
x
*'
. .
*" & 53l
^ ,_-
^^2"
ono
292

fl., 57,
247, 249-258. (atfiofl^o-caoeo., 191, 287
., 826
tf^tfo., 187-,
808.
, ^0^6. , 266, 288.
rf. S,, 69, 60, 222,
,
irvfreb, ^0^6., 216, 287,
228, 224, 289, 291, 296, 299.
 xLv

., 24, 176, 204, 230, 264.

3o<Ser'a'&g&. l

243, 808, 8J8. l>gj$ t wo^a., 204, 210, 230,

,, 818. 313, 318.
ET^es., 317. 3Vf$, o3>|rf., 204, 308, 818.
323, 826 &tf3tfo;, 322.
iSl^ooo., ^Ss^Bg,
8e", B-oAorrrftf-, 291. ^fl^iia., 207.
(JjEp-STtfo^,
., 808, S23.

fl, i., 162, 806.

6^bfl., 823. sB^dJojff (
l ^eo^g'., 35.
297-800.
Eooa^aj-BB.,
162, 322
(B&l<&$r&, sJg.,
291, 358.
, o-S),,
n^otf, tt<z t 826.

., 7, 24, 32, 204, 209, ^ tf& ^ fli| 18 4, 222.

284,318,817, 318. ^^s ^211.
318. 28
.,
4&tf gi^^ 2gl( .

, s'fi' SoS'ADO-^., 326

., 323,
826. .Sioa^o^, a^o., 291.
828.
., 262. ^o^^o*^, ^^.,
., 241. ^o^^5^o'^, i_G^S M 57,

J-^SS.,' 260, 61,^316, 817.

309. sSjSs-lfijSwja,, sSjooSSS., 35.
ca E c3' n n V

i
3 11 323.
., .'
&^sSo'Jg), 3^& t>. 1

823. ^j-^r^, ^SSeg^., 269, 325.

67, 284, ^^jigsi., 291.
311-814, 315, 316, 817
, R)., 42, 197, 225,

226^ 227, 228, 284, 287

_., 17,
1."w, 250.
i>

. {fo/<i3*g c7^co l

. d&5., 292. tfoKcsSj Sfi3d^5", iS.. 162.

 xLvi

176, 177, 178, 179, J80,

, aoe3^r-8., 162, 18J, 182, 194, 196, 198,
163. 202, 214, 280, 324.
"3.3., 67, 247, 258, oc&d^Sb, ai5C Sotfda., 808.

269, 260, 234. a*Safrgb3'6a> |a$tf3a., 282,

a*e3=., 05. 290-293, 297, 300
., 299. o-&"&fi33-:$ 1
difcoSSe., 828

fl^.0^0.,
324. a^a^, iS.S., 23, 83, 160,
., 240. 179, 304.
., 823. o'&'D-^, 3&3., 67,288, 241,
281. 246-248, 258, 260, 281.
., 322.
,
S|L'.,
809, 328. D'Si^fi,
<^^3., 180, 181,
, Sss-O., 204, 805. 1 32, 188, 189, 190, 191,
194, 2 4.

67, 278, 823. 33 ,

.d^"., 179, 328.
2SO, 321.
fl., 162,
'&)SD gj=., 322,

..
-
2o6,
fi
o^^raa'$),
o^s-otfo,
a So^?., '

219,220, 221, 233, 224,

fit 170, 218,

q 1

8, Ad&ft SoS'fc,, 171, ,

'., 166,

5, ^.tfjj-^., 804, 805.

so-^, 3fiO., 256,
194,320,821,824.
256,257,284."
., 818. 0^0-^, A^tf., 281.
, 3., 234, 828.
oa., 8, 36,
87,88, 40, 41,42, 160,
161, 162, 163, 164, 165,

166,167,168,169,170,
171,172,178,174,176,
 xLvii

. "3-. 51. ^cS'tpite'a, flsFS'tf., 309, 323,

326.

_rfS$g., (8),
22, 226,^804.

,
qpo
V C)& m J$.A5o*i5), ex>|ov,
LM
163, 164. '

820 wJ^dCoj?, Q*i^ofi3 3oK"d), ,

309.

ogq '
~i& oiOlr?fo.2 ,
1*^3 C d3J fio . , 58 Jil6,
Us 6 '
.
20 .
202 283,265,
., 186,323, -

7
,
266.276, 3)5, 816, 317,
824 '
23, 31, 8 S, 88, 34, 85.
36, 187, 214, 235, 231, &****it ajo^ofl., 257.
^g^o-dficD., 808, 818.
282, 288, 305,806,819,
'

322 394 ^S3"<^j^., 204, 818.

B v\ ^_^ *^ __^ *^ fr 0*7 QAO
fc/ i
'

a^u.j^ QC (BrAtOaJ'iOu^^),
^^^
3 C7*uOO., Jo 1, QUO
flj ^'Tf ^J . '

O
'V .
* .ft. \__^._>^. ftxCvr
237

opo
**o& .
,

,
;

.
d,
^P*^L>oxa* ^-* &jfl., 358.
igfVQ ti)(^) l^UtMlU (WJMaJ-pJU-q^) I., 56,
67, 226, 286, 237, 239,
e> ^ ' '

324 240,241-246,2*8,249,
260, 266, 257, 260, 288,
281
5""-' -

284, 295,317.
., 829.

'$,
KJg., 291, B2S, jSclggs., 828
S24.
P

^(S)> 3^^'i 165. ~

,
LS^Cf^a., 291, (8), 65, 161,
168.
s
.1 35. &$gs3 a*c&e&, S^'PKJ'^., 17, 89,

., 318. 40, 41, 194, 196, 196,

., 207. 187, 198, 199, 200,201,

., 298. 202, 208, 204, 205, 208,

207 ' 208,209,210,211,
., 165,308
218,218,214.215,217,
 xLviii

222, 225, 291, 232, 23, j& La2^o, ti. 3., 17, 317,

267, 278, 280. . 318, 328, 326.

S22. 162.
186.
)
Sog'fc., fo^S^ea^C^, <^"^ >

S24. ^^>Sj*2 323.

&LoS$V,raj*<,, ,

SjoiJbo., j6^5?5, io^ , 162, 165, 169,

309. 176, 196, 805, 318.

57.
&*5g^, ^oe9o., 164, 184,
"5.,
822.

310, 3i5. ^d"g^a"ciiiE3 r^, SS^c-^o.,

a), ^Bo^ofl., 268.
309. ^JfS-82.
., 326. ^^^^^, s-rfS., 182, 204,
., 322. 2lO r
819.
, 203, 228, fr^&&, ^^^SS., 813,818,
229, 230, 281, 282, 233, ^crfpa^, s^era., 328.

284, 260, 298. 829.

^&1*tfiT^, Siooig.,
, ., 268, 828.
3o^do., 328.

., 297.

227, 270, 285.290, 300,

317. 823.

., 86, 806. S-fldBa, SvoD., 821.

 So

21
(12)

(13)
1 criticism criticism
7 discrestion discretion
F.N. critcism criticism
2 6

26

27

8 16

22
6 8

7 18

Id o fSrSbo do*)iD 3*010 s5f6jS'9oiiSeDo wcxo

IB 22

16 27

17 22

23

20 9 SP

26 17

21

82 S

15 7

16
160
ins
15 rnent merit
Lii
 Lin

subcouscious subconscious

it is

Johan John

meanning meaning
Possed Possessed

wrekage wreckage

Godess Goddess

land mark landmark

3_
different
different

disassociated dissociated

that is
that

ushprecedented unprecedented

fundemental fundamental
17

12

27
Liv
 Lv

'Longinus'& n-^c, 'F. R.

', '1)25'
 Lvi

3.

1.

I960.

2. 1962.

9.

1978.

4. 1970.

6. 1978

6.

1973.

7. xj^Esi 1974.

1975-

1980.

10.
^

1982.

11.
Es)
1983.

12. ^ea

1983

2.

3.