CHAPTER I NATURE AND OFFICE OF CRITICISM

Previous
F. V. N. Painter

1. Purpose of Literary Study. The study or reading of literature ordinarily has a threefold purpose,—knowledge, pleasure, and culture. This purpose shows us both the character of the literature which should be read and the manner in which it should be read. As a rule we should read only books of recognized excellence, and read them with sympathetic intelligence. Trashy books, whatever pleasure they may give, add but little to knowledge or culture; and immoral books often leave an ineradicable stain upon the soul. Fortunately there are good books enough to satisfy every taste and supply every need.

2. Necessity of Comprehending. A literary work cannot be of much use till it is understood. It is useless to read books entirely beyond our grasp. In the perusal of an author we should endeavor to enter as fully as possible into his thoughts and feelings. Our primary aim should be not to criticise but to comprehend. This is sometimes, especially for the young student, a difficult task. It requires patient, painstaking labor; but in the end it brings a rich reward in profit, enjoyment, and power.

In the study of a literary classic we should aim at more than a mere intellectual apprehension of its technique and other external features. The soul should rise into sympathy with it, and feel its spiritual beauty. All literary study that falls short of this high end, however scholarly or laborious it may be, is essentially defective. The externalities of a piece of literature are comprehended in vain, unless they lead to a fuller understanding and appreciation of its spirit and life. Unfortunately, at the present time, philology and literary analysis frequently stop short of the realization of the supreme end of literary study. What should be only a means is sometimes exalted to an end.

3. Definition of Criticism. Criticism, as its etymology indicates, is the act of judging. Literary criticism endeavors to form a correct estimate of literary productions. Its endeavor is to see a piece of writing as it is. It brings literary productions into comparison with recognized principles and ideal standards; it investigates them in their matter, form, and spirit; and, as a result of this process, it determines their merits and their defects. The end of literary criticism is not fault-finding but truth. The critic should be more than a censor or caviler. He should discover and make known whatever is commendable or excellent. At its best, criticism is not a mere record of general impressions but the statement of an intelligent judgment. It is not biased or vitiated by prejudice, ignorance, or self-interest; but, proceeding according to well-defined principles, it is able to trace the steps by which it reaches its ultimate conclusions.

4. History of Criticism. Criticism is a natural attendant of all forms of art. Literary criticism is almost as old as literature itself. No sooner had a writer produced a literary work, even in the most ancient times, than his contemporaries proceeded to express their judgments concerning it. Among the ancient Greeks Plato and Aristotle were both critics; and the latter's work on "Poetics" is still valuable for its discussion of fundamental principles. Quintilian, Cicero, and Horace were distinguished Roman critics; and the poet's Ars Poetica, read in every college course, is an admirable presentation of many critical principles. But it is in modern times, and particularly during the nineteenth century, that criticism received its highest development. In England not a few of its leading literary men—Dryden, Pope, Addison, Johnson, Coleridge, Jeffrey, Macaulay, Carlyle, Matthew Arnold—have been critics; and in America we meet with such honored names as Poe, Emerson, Whipple, Lowell, Stedman, and many others. In recent years criticism has greatly gained in breadth and geniality.

5. Standard of Criticism. All criticism involves comparison. For every species of literature there is an ideal of form, content, and spirit, which serves the intelligent critic as a standard of judgment. This ideal is based on a realization of the recognized principles of literary art. These principles pertain to diction, structure, matter, and spirit or purpose. No one will deny that the diction should be well chosen; that the structure of the sentences should be correct and clear; and that, in the case of poetry, the laws of versification should be observed. These elements contribute to excellence of form. In addition to these external elements there should be unity of thought, symmetry of presentation, truth of statement, and sincerity and self-restraint in sentiment. These elements give substantial worth to the matter or content of literature. Besides all this there is a grace or elegance or force, proceeding from the personality of the writer and transcending all rules of art, that gives a peculiar charm to the best literature. Sometimes the personal element or spirit of a work is so pleasing that it more than counterbalances defects of form, and wins its way to the popular heart.

6. Classic Writers. Our classic writers are those who have most nearly approached the ideal. The writings of Addison, Goldsmith, Irving, Lowell, and others, embody in a high degree excellence of matter and form; and in addition to this there is a pervading spirit that imparts an irresistible charm to their works. While the works of no one writer, whether ancient or modern, can be taken as an absolute standard of judgment, the perusal of classic works is exceedingly helpful. These works familiarize us with what is excellent in thought, expression, and spirit. They cultivate the taste; and at length it becomes impossible for the student to be satisfied with what is incorrect, slovenly, tawdry, or untruthful.

7. Requisites of Criticism. Many things are required for the best criticism. First of all, the critic ought to be a person of sound judgment. It is in a measure true that critics, like poets, "are born, not made." The critic should have the power to divest himself of prejudice; and, like a judge upon the bench, should decide every question by the law and the evidence. He should be a man of broad sympathies and wide culture; nothing that is human should be foreign to him. He should be able to enter into the feelings of every class and to appreciate the principles of every school. He should have a strong imagination to enable him to realize the conditions of other ages or of other social arrangements. Without these natural gifts of a sound judgment, broad sympathy, and vigorous imagination, the critic is apt to be limited, narrow, or unjust in his criticism. The history of literature reveals numberless critical blunders; indeed, almost every attempt to introduce new literary forms, as in the case of Wordsworth, Coleridge, and Keats, has met with bitter opposition from uncatholic critics.

8. Criticism an Acquired Art. Criticism is an art that may in large measure be acquired. The requisite faculties may be developed by a course of study. The principles that are to guide the critical judgment are provided in grammar, rhetoric, logic, Æsthetics, and moral science. Wide reading in various departments will banish narrowness and provincialism. Study and experience will bring a cosmopolitan culture. Though few are capable of attaining to eminence as critics, it is possible for every one to acquire some degree of literary taste and to form an intelligent judgment of a literary work.

9. Diversity in Criticism. Diversity of judgment is a notable feature in the history of criticism. It tends to shake one's confidence in the critical art. It often happens that what one critic praises another condemns. This fact has been presented by Irving, with delightful humor. "Even the critics," he says in the conclusion of the "Sketch Book," "whatever may be said of them by others, the author has found to be a singularly gentle and good-natured race; it is true that each has in turn objected to some one or two articles, and that these individual exceptions, taken in the aggregate, would amount almost to a total condemnation of his work; but then he has been consoled by observing, that what one has particularly censured, another has as particularly praised; and thus, the encomiums being set off against the objections, he finds his work, upon the whole, commended far beyond its deserts."

10. Sources of Diversity. This diversity of literary criticism, which at first sight tempts us to question the value of the art, is easily traced to its causes. These are found not in the nature of the art but in the manner of its application. Many reviewers nowadays do not take the pains to read the works they pass judgment upon. Their estimate is based on little more than a rapid survey of the preface and table of contents. This fact renders a considerable part of current newspaper criticism comparatively worthless. It is still worse when to this superficiality is added a flippant manner that seems intent on nothing but a display of the critic's smartness. Other critics write from the standpoint of a particular sect or school of thought, and undervalue or overvalue a work through a partisan spirit. Defective or erroneous principles are used as standards of judgment. Still others are impressionists; and instead of testing a work by recognized critical canons, they simply record how "it strikes them." Differences of taste and character naturally produce some diversity of view, but in general the painstaking and impartial application of critical principles to a literary work will yield pretty uniform results. The merits and defects of the work will be brought to light, and conscientious and broad-minded critics will be found in the main to agree in their praise or their censure.

11. Utility of Criticism. Criticism is not, as has sometimes been supposed, a parasitic growth on literature. It is a handmaid of literature; it belongs to the household of literature. Though it does not deserve to rank with the great creative forms of literature, such as the epic, the drama, or the novel, it is capable of a high degree of excellence. Some of the greatest English writers, as we have seen, have been critics. Not a few of the critical essays of De Quincey, Macaulay, Carlyle, Arnold, Lowell, and others, have an honorable place in the literature of the English-speaking world.

Literary criticism has a distinct value for three classes of persons. To the young student it gives a clear insight into literary form, and cultivates his taste for literary excellence. To the author it is at once a stimulant and wholesome restraint; it rewards him for what is good and chastises him for what is bad. To the public it is useful in pointing out what books are worth reading and in showing the principles by which a work is to be judged. It elevates the popular taste and intelligence.

12. Materials of Criticism. All literature is, in some sense, material for criticism. It may be examined, tested by critical laws, and its worth estimated in the class to which it belongs. But as a rule literary criticism is confined to literature in the narrower sense; that is to say, to literature that aims at artistic excellence. This includes the various forms of poetry and the principal kinds of prose,—history, oratory, essays, and fiction. These various kinds of literature, in their higher forms, aim at presenting their subject-matter in such a way as to minister to the pleasure of the reader.

13. Molding Influences. In criticising it is important to recognize certain general molding influences in literature. Among the most potent of these influences are race, epoch, and surroundings. We cannot fully understand any work of literature, nor justly estimate its relative excellence, without an acquaintance with the national traits of the writer, the general character of the age in which he lived, and the physical and social conditions by which he was surrounded. These considerations, independently of specific critical canons that determine intrinsic excellence, must be taken into account when the critic wishes to decide upon the relative value of a work. It is evidently unjust to demand in writers of an uncultivated period the same delicacy of thought, feeling, and expression that is required in the writers of an age of refinement and intelligence. The indecencies in Chaucer and Shakespeare are to be attributed to the grossness of their times.

14. The Artistic Element. There is an artistic element in literature upon which the value of any work largely depends. There is art in the choice and marshaling of words. Furthermore, every department of literature—history, poetry, fiction—has a separate and definite purpose. In the successful realization of this purpose each species or form of literature must wisely choose its means. This conscious and intelligent adaptation of a means to an end is art. Apart from the careful selection and arrangement of words in sentences, the historian chooses the incidents he will relate, the order in which they will appear, the relative prominence they will have, and the symmetry and completeness of his whole work. The novelist selects or invents his story, portrays from actual life or creates a number of characters, constructs or modifies his plot, and unfolds the movement toward a predestined end. In all this there is a constant exercise of the creative faculty; and the complete product is as much a work of art as is a painting or statue, which requires the same sort of intellectual effort.

15. Matter and Form. In any literary production we may distinguish between the thoughts that are presented and the manner in which they are presented. We may say, for example, "The joys of heaven are infinite"; or, ascending to a higher plane of thought and feeling, we may present the same thought in the language of Moore in his "Paradise and the Peri":

"Go, wing thy flight from star to star,
 From world to luminous world, as far
 As the universe spreads its flaming wall;
 Take all the pleasures of all the spheres,
 And multiply each through endless years,—
 One minute of Heaven is worth them all."

It is thus evident that the interest and worth of literature depend largely on the manner in which the thought and emotion are expressed. In general the matter of discourse, which aims at the communication of ideas, is of more importance than the form. Words without thought, no matter how skillfully and musically they may be arranged, are nonsense. But in the lighter sorts of prose, which aim at entertainment, and in poetry, which is dependent on meter and harmony, form is of preËminent importance. The story of "Rip Van Winkle," for instance, owes its perennial charm to the inimitable grace and humor with which Irving has told it.

There is a natural and intimate relation between matter and form; one is the soul, the other is the body. Form is not to be unduly magnified by itself; it is excellent only when it is a fitting embodiment of the thought and feeling expressed. Form should be molded by the thought and emotion, as the rose or oak is shaped by the potency of its inner life. When, in any way, the form is out of keeping with the subject, the effect upon a cultivated taste is a disagreeable incongruity. In the language of Horace,—

"Sad words befit the brow with grief o'erhung;
 Anger, that fires the eyeball, bids the tongue
 Breathe proud defiance; sportive jest and jeer
 Become the gay; grave maxims the severe."

REVIEW QUESTIONS

1. What is the threefold object of literary study? What kind of literature should be read? Why? 2. What should be our primary aim in studying an author? What does this often require? What should be aimed at besides outward form? What mistake is frequently made? 3. What is criticism? What is the purpose of literary criticism? How is this purpose accomplished? What sources of error are mentioned? 4. What is said of the history of criticism? Name two Greek critics. Who were the great Roman critics? Mention some distinguished English and American critics. What is said of recent criticism? 5. What serves as a standard of criticism? On what is this ideal based? Mention some elements of excellent form; some elements of excellent content. What is said of the personal element or spirit? 6. Who are our classic writers? Why study classic works? 7. What natural gifts should a critic have? Why should he have broad sympathies? What is said of critical blunders? 8. How is criticism an acquired art? What is the advantage of wide reading? What may every one hope to acquire? 9. What is said of diversity in criticism? Illustrate. 10. What are the sources of diversity? What is said of much newspaper criticism? What is meant by impressionists? What is said of painstaking and impartial criticism? 11. What is said of the relation of criticism to literature? What of its rank? For what three classes has it a special value? How? 12. What are the materials of literary criticism? To what class of literature is it chiefly devoted? 13. Name three great molding influences. Why should they be considered? Illustrate. 14. What is meant by the artistic element? In what does the historian's art consist? the novelist's? 15. What may be distinguished in any literary production? Illustrate. On what does the worth of literature largely depend? Which is the more important, matter or form? Where is form specially important? Illustrate. What is the relation of matter to form? When the form is out of keeping with the matter, what is the result?

ILLUSTRATIVE AND PRACTICAL EXERCISES

The following critiques should be studied with the view of answering such questions as these:

Does the critic seek the truth? Is he prejudiced? Is he chiefly concerned with matter or form? Is his judgment sound? Is he broad or narrow in his sympathies? Does he judge by mere impressions? Is he superficial or thorough? Does he belong to a particular school? Is his criticism in any way helpful? Does he try to interpret the author? Is he chiefly concerned to show his own learning or brilliancy? Is he genial and tolerant? Is he dogmatic and intolerant? Is he courteous and kind? Is he ill-mannered and unkind? What points are criticised?

HEADLEY'S "SACRED MOUNTAINS"

The Reverend Mr. Headley (why will he not put his full title in his title-pages?) has in his "Sacred Mountains" been reversing the facts of the old fable about the mountains that brought forth the mouse—parturiunt montes; nascitur ridiculus mus—for in this instance it appears to be the mouse—the little ridiculus mus—that has been bringing forth the "mountains," and a great litter of them, too.—Poe.

BYRON'S "HOURS OF IDLENESS"

The poesy of this young Lord belongs to the class which neither gods nor men are said to permit. Indeed, we do not recollect to have seen a quantity of verse with so few deviations in either direction from that exact standard. His effusions are spread over a dead flat, and can no more get above or below the level, than if they were so much stagnant water. As an extenuation of this offence, the noble author is peculiarly forward in pleading minority. We have it in the title-page, and on the very back of the volume; it follows his name like a favorite part of his style. Much stress is laid upon it in the preface, and the poems are connected with this general statement of his case, by particular dates, substantiating the age at which each was written.—Lord Brougham in Edinburgh Review.

KEATS'S "ENDYMION"

The author is a copyist of Mr. Hunt, but ten times more tiresome than his prototype; his nonsense is gratuitous, he writes it for its own sake, and more than rivals the insanity of his master. He writes at random the suggestions of his rhyme without having hardly a complete couplet to endorse a complete idea in the book. If any one should be bold enough to purchase it, and patient enough to get beyond the first book and find any meaning, we entreat him to make us acquainted with his success; we shall then return to the task which we now abandon in despair.—Quarterly Review.

WORDSWORTH

The simple Wordsworth, framer of a lay
 As soft as evening in his favorite May;
 Who warns his friend "to shake off toil and trouble,
 And quit his books, for fear of growing double";
 Who, both by precept and example, shows
 That prose is verse, and verse is merely prose;
 Convincing all, by demonstration plain,
 Poetic souls delight in prose insane,
 And Christmas stories, tortured into rhyme,
 Contain the essence of the true sublime;
 Thus, when he tells the tale of Betty Foy,
 The idiot mother of "an idiot boy,"
 A moon-struck silly lad who lost his way,
 And, like his bard, confounded night with day;
 So close on each pathetic part he dwells,
 And each adventure so sublimely tells,
 That all who view the "idiot in his glory,"
 Conceive the bard the hero of the story.

Byron in "English Bards and Scotch Reviewers."

CROKER'S EDITION OF BOSWELL'S LIFE OF JOHNSON

This work has greatly disappointed us. Whatever faults we may have been prepared to find in it, we fully expected that it would be a valuable addition to English literature; that it would contain many curious facts, and many judicious remarks; that the style of the notes would be neat, clear, and precise; and that the typographical execution would be, as in new editions of classical works it ought to be, almost faultless. We are sorry to be obliged to say that the merits of Mr. Croker's performance are on a par with those of a certain leg of mutton on which Dr. Johnson dined, while travelling from London to Oxford, and which he, with characteristic energy, pronounced to be "as bad as bad could be, ill fed, ill killed, ill kept, and ill dressed." This edition is ill compiled, ill arranged, ill written, and ill printed.—Macaulay in Edinburgh Review.

CARLYLE

There is in Carlyle's fiercer and more serious passages a fiery glow of enthusiasm or indignation, in his lighter ones a quaint felicity of unexpected humor, in his expositions a vividness of presentment, in his arguments a sledge-hammer force, all of which are not to be found together anywhere else, and none of which is to be found anywhere in quite the same form. And despite the savagery, both of his indignation and his laughter, there is no greater master of tenderness. Wherever he is at home, and he seldom wanders far from it, the weapon of Carlyle is like none other,—it is the very sword of Goliath.

Saintsbury.

GRAY

Against the right of Gray to be considered one of the leading English men of letters no more stringent argument has been produced than is founded upon the paucity of his published work. It has fairly been said that the springs of originality in the brain of a great inventive genius are bound to bubble up more continuously and in fuller volume than could be confined within the narrow bounds of the poetry of Gray. But the sterility of the age, the east wind of discouragement steadily blowing across the poet's path, had much to do with this apparent want of fecundity, and it would be an error to insist too strongly on a general feature of the century in this individual case. When we turn to what Gray actually wrote, although the bulk of it is small, we are amazed at the originality and variety, the freshness and vigor of the mind that worked thus tardily and in miniature.—Gosse.

SHAKESPEARE

Shakespeare has no peculiarity, no importunate topic; but all is duly given; no views, no curiosities; no cow-painter, no bird-fancier, no mannerist is he: he has no discoverable egotism; the great he tells greatly; the small, subordinately. He is wise without emphasis or assertion; he is strong, as nature is strong, who lifts the land into mountain slopes without effort, and by the same rule as she floats a bubble in the air, and likes as well to do the one as the other. This makes that equality of power in farce, tragedy, narrative, and love-songs; a merit so incessant, that each reader is incredulous of the perception of other readers.—Emerson.

DOWDEN'S "LIFE OF SHELLEY"

This Shelley biography is a literary cake-walk. The ordinary forms of speech are absent from it. All the pages, all the paragraphs, walk by sedately, elegantly, not to say mincingly, in their Sunday-best, shiny and sleek, perfumed, and with boutonniÈres in their button-holes; it is rare to find even a chance sentence that has forgotten to dress. If the book wishes to tell us that Mary Godwin, child of sixteen, had known afflictions, the fact saunters forth in this nobby outfit: "Mary herself was not unlearned in the lore of pain."—Mark Twain.

MILTON'S "LYCIDAS"

One of the poems on which much praise has been bestowed, is "Lycidas"; of which the diction is harsh, the rhymes uncertain, and the numbers unpleasing. What beauty there is we must therefore seek in the sentiments and images. It is not to be considered as the effusion of real passion; for passion runs not after remote allusions and obscure opinions. Passion plucks no berries from the myrtle and ivy, nor calls upon Arthur and Mincius, nor tells of rough satyrs and "fauns with cloven heel." Where there is leisure for fiction, there is little grief.

Samuel Johnson.

EMERSON

And, in truth, one of the legitimate poets Emerson, in my opinion, is not. His poetry is interesting, it makes one think; but it is not the poetry of one of the born poets. I say it of him with reluctance, although I am sure that he would have said it of himself; but I say it with reluctance, because I dislike giving pain to his admirers, and because all my own wish, too, is to say of him what is favorable. But I regard myself, not as speaking to please Emerson's admirers, not as speaking to please myself; but rather, I repeat, as communing with Time and Nature concerning the productions of this beautiful and rare spirit, and as resigning what of him is by their unalterable decree touched with caducity, in order the better to mark and secure that in him which is immortal.—Matthew Arnold.

GEORGE ELIOT

What peculiarities of George Eliot's are likely to leave a strong impress after her? I answer, she, of all novelists, has attacked the profound problems of our existence. She has taught that the mystery worthy of a great artist is not the shallow mystery device, but the infinite perspective of the great, dark enigmas of human nature; that there is a deeper interest in human life seen in the modern, scientific daylight, than in life viewed through a mist of ancient and dying superstitions; that the interest of human character transcends the interest of invented circumstances; that the epic story of a hero and a heroine is not so grand as the natural history of a community. She, first of all, has made cross sections of modern life, and shown us the busy human hive in the light of a great artistic and philosophic intellect.—Edward Eggleston.

WORDSWORTH

He has won for himself a secure immortality by a depth of intuition which makes only the best minds at their best hours worthy, or indeed capable, of his companionship, and by a homely sincerity of human sympathy which reaches the humblest heart. Our language owes him gratitude for the habitual purity and abstinence of his style, and we who speak it, for having emboldened us to take delight in simple things, and to trust ourselves to our own instincts.—Lowell.

PARADISE LOST

It is requisite that the language of an heroic poem should be both perspicuous and sublime. In proportion as either of these two qualities is wanting, the language is imperfect. Perspicuity is the first and most necessary qualification; insomuch that a good-natured reader sometimes overlooks a little slip even in the grammar or syntax, where it is impossible for him to mistake the poet's sense. Of this kind is that passage in Milton, wherein he speaks of Satan,—

"God and his Son except,
 Created thing nought valued he nor shunned,"—

and that in which he describes Adam and Eve,—

"Adam the goodliest man of men since born,
 His sons, the fairest of her daughters Eve."

Addison.

FRIEDRICH NIETZSCHE

From the first to the last page of Nietzsche's writings the careful reader seems to hear a madman, with flashing eyes, wild gestures, and foaming mouth, spouting forth deafening bombast; and through it all, now breaking out into frenzied laughter, now sputtering expressions of filthy abuse and invective, now skipping about in a giddy agile dance, and now bursting upon the auditors with threatening mien and clenched fists. So far as any meaning at all can be extracted from the endless stream of phrases, it shows, as its fundamental elements, a series of constantly reiterated delirious ideas, having their source in illusions of sense and diseased organic processes. Here and there emerges a distinct idea, which, as is always the case with the insane, assumes the form of an imperious assertion, a sort of despotic command.

Max Nordau.

Note

In addition to these brief extracts the student should be encouraged or required to read a number of complete reviews both in our popular periodicals and in books of literary criticism, with the view of determining the critic's temper, culture, judgment, thoroughness, points of view, etc. The older style of criticism is illustrated in Addison's articles on Milton in the "Spectator" and Johnson's "Lives of the Poets." For the elaborate review style the student might read some of the critical essays of Macaulay, Carlyle, and Lowell. Our principal reviews, magazines, and other periodicals, as well as recent works on English literature, will supply abundant material to show the less elaborate and generally more genial criticism of the present day.

                                                                                                                                                                                                                                                                                                           

Clyx.com


Top of Page
Top of Page