Discuss Elaine Showalter’s feminist concerns in
literature

FEMINIST CRITICISM IN WILDERNESS.

ELAINE SHOWALTER is an American feminist critic who has advocate the cause of women writing and criticism in her writings.

In her essay " Feminist criticism in wilderness " she differentiate between feminist criticism and Gynocriticism, where in the former the woman functions as a reader while in the later woman is also the writer of the text.


She then discusses the four aspects that formation of " Womanhood "
*Body( the biological model)
*psychology( the pshyco analytical model)
*language( the linguistic model)
*culture( the cultural model)

#feminist critique
Woman as the reader of male produce literature containing the omissions and misconception about women in criticism, gaps in androcentric (male centered) lit. And exploitation of female audiences.


#Gynocritics ( woman as writer) whose prime concern is to produce textual meaning within a female framework to analyse women's lit. develop new models on female experience and not ones that are male centered.
Gynocritics also exposes cultural assumptions and characteristics of women depicted falsely in canonical literature.

*The biological model:- emphasizes how the female body marks itself on a text by providing a host of literary images along with personal intimate tone..

*The linguistic model:- Address the need for a female discourse investigating the difference between hour women and men use language.. This model asserts that woman create and write in a language can be used in their writing.

* The cultural model:- Investigates how society shapes women's goals, responses and points of view.

* The pshyco- analytical model:- Analyzes psyche and demonstrates how such an analysis affects the writing process emphasiszing the flux and fluidity of female writing as opposed to male writing.



As a model gynocritics is restricted to Presenting a narrative of suffering that sees the women only as a victim and men and women as adversaries. This theory loses its edge to combat the issue of patriarchy as unlike woolf, Showalter doesn't use the weapon of humour.
@megmentors

What is the difference between Shelly's criticism and Colreidge view
:
Percy By she Shelley, as one of the pioneers of English Romanticism, depicts many of the school’s principles in his poems; typical motifs and themes that keep recurring in typical Romantic texts include imagination, nature, inspiration, individualism, revolutionism, emotionality, and nostalgia. These elements, which are also common in the works of the founders of British Romanticism, laid the foundation of an unprecedented way of literary aesthetics in the last years of the eighteenth century.

Shelley wrote ‘A Defence of Poetry’ in 1821 in response to an essay written by his friend, Thomas Love Peacock. In ‘The Four Ages of Poetry’, Peacock – now best-remembered for novels like Nightmare Abbey – wittily argued that poetry was surplus to requirements in the modern age, because scientific and technological discoveries had rendered it unnecessary.

Shelley argues that poetry is mimetic: that is, it reflects the real world. In the early days of civilisation, men ‘imitate[d] natural objects’, observing the order and rhythm of these things, and from this impulse was poetry born. Reason and imagination are both important faculties in the poet.

Reason, he tells us, is logical thought, whereas imagination is perceiving things, and noticing the similarities between things.
Reason breaks the things into parts and analyses it.
Thus the reason is the principle of analysis.
On the other hand, imagination synthesizes the components. Since imagination is the principle of synthesis that can false contradictory forces.
Imagination has soothing power that pacifies the mind and the people become moral. It creates the best mind and the happiest moment so, peaceful mind is required to produce poetry.
For shelley the best mind and the happiest moment, produced by imagination are the ways to get the essence but Coleridge's imagination doesn't soothe the mind instead it is just a creative force.

Coleridge:- Biographia Literaria.
It is a critical work by Coleridge contained in 24 chapters.
It's concerned with the form of poetry, the genius of the poet and relationship to philosophy.

Coleridge focused mainly as imagination as the key to poetry. He divided it into two main components:- primary and secondary imagination.

For Coleridge imagination was responsible for the act that were truly creative and inventive.

Primary imagination is the living power and prime agent of all human perception. Primary is perceiving the impression of the outer world through the senses.

Secondary imagination is the poetic vision, the faculty that the poet has to idealize and unify. It is an echo of the former, co existing with the conscious will. It works upon the raw materials that are sensation and impressions supplied the primary imagination.
It is the secondary imagination which makes any artistic creation possible and root of all poetic activity. It is considered as shaping and modifying power.

Coleridge calls secondary imagination a magical power it fuses various faculties of human soul - will, emotions, intellect, perception. It fuses internal and external the subjective snd objective.

#MEG05
@megmentors

Can anyone explain difference between Affective and Intentional Fallacy?

Intentional fallacy is that we can't judge a poem with reference to poet's intention. Because we can't trace poet's intention, his thought process, while writing that particular poem. Whereas The affective fallacy is when we attempt to judge a poem through view of effect it has on reader.
[17/08, 11:57 am] +91 80813 56493: Affective fallacy is the error of evaluating a text by its effect.
It means the confusion between poem and it's results. It's a way of deriving meaning of the text interims of affect of product upon the readers.
It's a term used to refer to the supposed error of judging or evaluating a text on the basis of it's emotional effects on a reader.
Term coined by W K Wimsatt and Monroe Beardsley in 1949.

Intentional fallacy
Refers to the error of evaluating a work by the intention of an author. It is based upon a rejection of the omniscience of an author over a text. It argues that an authors intention or design should not influence the reading of a text.
Intentional fallacy ( false idea that many believe is true) term used in 20th century literary criticism to describe the problem inherent in trying to judge a work of art by assuming the intent or purpose of the artist who created it.

@megmentors
#Meg05

••Mary Wollstonecraft:-A Vindication of the rights of woman
••Virgin woolf:- A room of one's own
••Elaine Showalter:-Feminist criticism in the wilderness
••Simone De Beauvoir:- The second sex
••Features of feminist criticism
•• Feminist theories do not give sufficient attention to class conflict in society. Discuss



Classical criticism
✨Short notes:- concept of mimesis *catharsis
✨Plato's nd Aristotle approach to imitation
✨tragic falling nd leads to tragedy
✨Plato's imitation (mimesis) carries a negative connotation:- to imitate is to produce a copy a version that is less than original
✨Aristotle s theory of tragedy nd different elements( very important)
✨platos hostility towards art
✨plato declare the role of the poet as subversive
✨mimesis in light of plato nd Aristotle ( important repeated several times)
✨plato views art as twice removed from reality.
✨compare nd contrast plato nd Aristotle as literary theorists




New criticism
🌼I A Richards
🌼T S ELIOT
🌼F R LEAVIS
🌼JOHN CROWE RANSOM AND CLEANTH BROOKS
🌼W K WIMSATT


✨TS ELIOT meant by The dissociation of sensibility
✨Intentional fallacy and affective fallacy
✨New criticism emphasis the text not the background. Comment
✨a/q to J C Ransom what is the role of literary critic in modern world
✨IA Richards contribution to literary criticism
✨ideas expressed by CLEANTH BROOKS in his essay " IRONY AS A PRINCIPLE OF STRUCTURE ".
✨four obstacles of proper response that IA RICHARDS catalogues in practical criticism
✨INDIVIDUAL TALENT
✨CLEANTH BROOKS as a new critic
✨Ransome mean when he advocate " Criticism Inc"?
✨New criticism make use of model of "practical criticism" initiated by I A Richards.
✨common features of the critics associated with new criticism
✨The truth which the poets utters according to CLEANTH BROOKS can be approached. Do you agree explain.







ROMANTIC CRITICISM
💫Romanticism
💫Wordsworth: Preface to the lyrical ballads
💫Coleridge: Biographia literaria
💫P B shelley : A Defence of poetry

✨romantic theory
✨fancy nd imagination
✨ST Coleridge on power of the poetic imagination
✨Wordsworth view on all good poetry is the spontaneous overflow of powerful feelings
✨Romantics assert that imagination transcends reason"
✨Wordsworth preface to the lyrical ballads
✨Wordsworth view on the distinction between language of prose and metrical composition
✨role does Shelley assign to poets in 19th century?
✨role of spontaneity, emotions and personality have in Wordsworth theory of poetry
✨P B shelley as a romantic critic.




DECONSTRUCTION
🤍New criticism nd structuralism
🤍Beginning Deconstruction
🤍Implications
🤍Deconstructing poetry ( william Wordsworth :- AFTERTHOUGHT,
John Donne s :- THE CANONIZATION)
🤍Deconstructing Drama:- waiting for godot
🤍Re assessing Deconstruction

⭐Theory of structuralism
✨strength and limitations of deconstruction
✨destructive analysis of John donnes the canonization
✨deconstructing a text
✨approaches of structuralism and deconstruction to the theory of sign system
✨Derrida analyse the concept of the sign to show that there can be no determinacy in meaning
✨implications of the death of the author by Ronald barthes
✨what is deconstruction? Is it an effective tool for analysing a literary text
✨Roland barthes difference between work and text
✨Why Derrida resist definitions?
✨Examine how waiting for godot problematizes the meaningless ness of life.
✨How is deconstructive reading of a poem different from a structuralistic reading of it?

#MEG05

Kartik

#inspired


दुख होता है जब, मेरा अपना कोई पुराना दोस्त, कही किसी को अपने कोई दोस्तो के नाम बता रहा होता है और मेरा नाम भूल जाता है।

बुरा लगता है जब दिन रात मेहनत करने के बाद भी किस्मत, सबको consider करती है पर मुझे भूल जाती है।

और बुरा लगता है जब कई बार, पता नही कितनी बार, मैं भीड़ में रहकर भी भीड़ का हिस्सा नही बन पाती।

https://chat.whatsapp.com/EaEmNdozsr37EZHp2aNatj

Join this group n tell your subjects in there to join subjects group

#TENTATIVE DATE SHEET FOR DECEMBER 2022.pdf

MEG02 FAUSTUS ANNOTATIONS RTC.pdf

Short notes Meg 05 June tee

Simone de Beauvoir(1908-86)

*French writer, existentialist philosopher, feminist and theorist.
*Abandoned her faith in her early teens and remained an atheist for the rest of her life.
*had a significant influence on both feminist existentialist and theory.
*known for her open lifelong relationship with french philosopher JEAN PAUL SARTRE.
*Revolutionary and incendiary, The second sex is one of the earliest attempts to confront human history from a feminist perspective.
*Beauvoir s primary thesis is that men fundamentally oppress women by characterizing them, on every level, as the other defined exclusively in opposition to men.
Men occupies the role of the self, or subject woman is the object, the other. He is essential, absolute and transcendent. She is in essential, incomplete and mutilated. He extends out into the world to impose his will on it, whereas woman is doomed to immance, or inwardness. He creates ,acts , invents, she waits for him to save her.
𝙏𝙝𝙚 𝙨𝙚𝙘𝙤𝙣𝙙 𝙨𝙚𝙭
*𝓗𝓮𝓻 𝓽𝓻𝓮𝓪𝓽𝓲𝓮𝓼 𝔀𝓻𝓲𝓽𝓽𝓮𝓷 𝓲𝓷 𝓕𝓻𝓮𝓷𝓬𝓱
* 𝓹𝓾𝓫𝓵𝓲𝓼𝓱𝓮𝓭 𝓲𝓷 1949
*𝓪 𝓶𝓪𝓳𝓸𝓻 𝔀𝓸𝓻𝓴 𝓸𝓯 𝓯𝓮𝓶𝓲𝓷𝓲𝓼𝓽 𝓹𝓱𝓲𝓵𝓸𝓼𝓸𝓹𝓱𝔂
* 𝓬𝓸𝓷𝓼𝓲𝓭𝓮𝓻𝓮𝓭 𝓽𝓱𝓮 𝓼𝓽𝓪𝓻𝓽𝓲𝓷𝓰 𝓹𝓸𝓲𝓷𝓽 𝓸𝓯 𝓽𝓱𝓮 2𝓷𝓭 𝔀𝓪𝓿𝓮 𝓸𝓯 𝓯𝓮𝓶𝓲𝓷𝓲𝓼𝓶.
* 𝔀𝓻𝓲𝓽𝓽𝓮𝓷 𝓲𝓷 2 𝓿𝓸𝓵𝓾𝓶𝓮𝓼.
* 𝓑𝓮𝓪𝓾𝓿𝓸𝓲𝓻 𝓼 𝓯𝓪𝓶𝓸𝓾𝓼 𝓺𝓾𝓸𝓽𝓮: " 𝓞𝓷𝓮 𝓲𝓼 𝓷𝓸𝓽 𝓫𝓸𝓻𝓷, 𝓫𝓾𝓽 𝓻𝓪𝓽𝓱𝓮𝓻 𝓫𝓮𝓬𝓸𝓶𝓮𝓼 𝓪 𝔀𝓸𝓶𝓪𝓷 ".
*𝓭𝓲𝓼𝓽𝓲𝓷𝓰𝓾𝓲𝓼𝓱𝓮𝓼 𝓽𝓱𝓮 𝓽𝓮𝓻𝓶𝓼 " 𝓢𝓮𝔁"𝓪𝓷𝓭 " 𝓰𝓮𝓷𝓭𝓮𝓻".

𝙋𝙤𝙨𝙞𝙩𝙞𝙤𝙣 𝙤𝙛 𝙬𝙤𝙢𝙚𝙣 𝙙𝙪𝙧𝙞𝙣𝙜 𝙒𝙒2
*𝓦𝓞𝓜𝓔𝓝 𝓮𝓷𝓽𝓮𝓻𝓮𝓭 𝔀𝓸𝓻𝓴𝓯𝓸𝓻𝓬𝓮 𝓽𝓸 𝓫𝓸𝓸𝓼𝓽 𝓮𝓬𝓸𝓷𝓸𝓶𝓲𝓬 𝓹𝓻𝓸𝓭𝓾𝓬𝓽𝓲𝓸𝓷.
*𝔀𝓸𝓶𝓮𝓷 𝓱𝓪𝓭 𝓪𝓬𝓬𝓮𝓼𝓼 𝓽𝓸 𝓱𝓲𝓰𝓱𝓮𝓻 𝓮𝓭𝓾𝓬𝓪𝓽𝓲𝓸𝓷 𝓪𝓷𝓭 𝓽𝓱𝓮 𝓻𝓲𝓰𝓱𝓽 𝓽𝓸 𝓿𝓸𝓽𝓮.
* 𝓣𝔀𝓸 𝓬𝓪𝓽𝓮𝓰𝓸𝓻𝓲𝓮𝓼 𝓸𝓯 𝔀𝓸𝓶𝓮𝓷 𝓮𝓶𝓮𝓻𝓰𝓮𝓭 𝓹𝓻𝓸𝓯𝓮𝓼𝓼𝓲𝓸𝓷𝓪𝓵𝓼 𝓪𝓷𝓭 𝓫𝓾𝓼𝓲𝓷𝓮𝓼𝓼 𝔀𝓸𝓶𝓮𝓷.
* 𝓣𝓱𝓮 𝓡𝓾𝓼𝓼𝓲𝓪𝓷 𝓻𝓮𝓿𝓸𝓵𝓾𝓽𝓲𝓸𝓷 𝓱𝓪𝓭 𝓸𝓿𝓮𝓻𝓽𝓱𝓻𝓸𝔀𝓷 𝓽𝓱𝓮 𝓬𝔃𝓪𝓻𝓲𝓼𝓽 𝓻𝓮𝓰𝓲𝓶𝓮: 𝓭𝓮𝓿𝓮𝓵𝓸𝓹𝓮𝓭 𝓼𝓸𝓬𝓲𝓪𝓵 𝓯𝓮𝓶𝓲𝓷𝓲𝓼𝓶 𝓪𝓷𝓭 𝓼𝓬𝓱𝓮𝓶𝓮𝓼 𝓽𝓸 𝓵𝓲𝓫𝓮𝓻𝓪𝓽𝓮 𝔀𝓸𝓶𝓮𝓷.
*𝓽𝓱𝓸𝓾𝓰𝓱 𝓭𝓲𝓼𝓬𝓸𝓷𝓽𝓲𝓷𝓾𝓮𝓭 𝓭𝓾𝓮 𝓽𝓸 𝓮𝓬𝓸𝓷𝓸𝓶𝓲𝓬 𝓪𝓷𝓭 𝓹𝓸𝓵𝓲𝓽𝓲𝓬𝓪𝓵 𝓬𝓻𝓲𝓼𝓮𝓼 𝓲𝓽 𝔀𝓪𝓼 𝓪𝓽 𝓵𝓮𝓪𝓼𝓽 𝓹𝓻𝓮𝓼𝓮𝓷𝓽 𝓲𝓷 𝓽𝓱𝓮𝓸𝓻𝔂.

𝘾𝙤𝙣𝙩𝙚𝙣𝙩𝙨 𝙤𝙛 𝙩𝙝𝙚 𝙗𝙤𝙤𝙠
*the second sex caused a wave of scandal particularly in France.
* Taboo subjects such as lesbianism, prostitution, abortion and contraception were discussed for first time.
* It criticized the drudgery of wifehood and women's lot within the domestic sphere.
* It dared to suggest that motherhood is not the pinnacle of women's existence.
*De Beauvoir argued that the patriarchal ideology serves the interests of men, at the expense of women.
𝙒𝙤𝙢𝙖𝙣 𝙘𝙝𝙖𝙧𝙖𝙘𝙩𝙚𝙧𝙞𝙯𝙚𝙙 𝙖𝙨 "𝙩𝙝𝙚 𝙤𝙩𝙝𝙚𝙧"
* 𝓜𝓪𝓷 𝓸𝓬𝓬𝓾𝓹𝓲𝓮𝓼 𝓽𝓱𝓮 𝓻𝓸𝓵𝓮 𝓸𝓯 𝓽𝓱𝓮 𝓼𝓮𝓵𝓯, 𝓸𝓻 𝓼𝓾𝓫𝓳𝓮𝓬𝓽𝓼, 𝔀𝓸𝓶𝓪𝓷 𝓲𝓼 𝓽𝓱𝓮 𝓸𝓫𝓳𝓮𝓬𝓽, 𝓽𝓱𝓮 𝓸𝓽𝓱𝓮𝓻
* 𝓽𝓱𝓲𝓼 𝓸𝓽𝓱𝓮𝓻𝓷𝓮𝓼𝓼 𝓹𝓸𝓼𝓲𝓽𝓼 𝓶𝓪𝓷 𝓪𝓼 𝓽𝓱𝓮 𝓷𝓸𝓻𝓶 𝓪𝓷𝓭 𝔀𝓸𝓶𝓪𝓷 𝓪𝓼 𝓪𝓫𝓮𝓻𝓻𝓪𝓽𝓲𝓸𝓷.
* 𝓸𝓽𝓱𝓮𝓻𝓷𝓮𝓼𝓼 𝓫𝓻𝓮𝓮𝓭𝓼 𝓱𝓸𝓼𝓽𝓲𝓵𝓲𝓽𝔂
*𝔀𝓸𝓶𝓪𝓷𝓼 𝓻𝓸𝓵𝓮 𝓲𝓼 𝓬𝓸𝓷𝓽𝓲𝓷𝓾𝓮𝓭 𝓫𝔂 𝓽𝓱𝓮 𝓫𝓲𝓸𝓵𝓸𝓰𝓲𝓬𝓪𝓵 𝓯𝓪𝓬𝓽 𝓸𝓯 𝓼𝓮𝔁.

𝙃𝙤𝙬 "𝙛𝙚𝙢𝙖𝙡𝙚 𝙝𝙪𝙢𝙖𝙣𝙨" 𝙘𝙖𝙢𝙚 𝙩𝙤 𝙤𝙘𝙘𝙪𝙥𝙮 𝙖 𝙨𝙪𝙗𝙤𝙧𝙙𝙞𝙣𝙖𝙩𝙚 𝙥𝙤𝙨𝙞𝙩𝙞𝙤𝙣 𝙞𝙣 𝙨𝙤𝙘𝙞𝙚𝙩𝙮.
𝓣𝓱𝓮𝓼𝓮 𝓭𝓲𝓼𝓬𝓲𝓹𝓵𝓮𝓼 𝓻𝓮𝓿𝓮𝓪𝓵 𝓲𝓷𝓭𝓲𝓼𝓹𝓾𝓽𝓪𝓫𝓵𝓮 " 𝓮𝓼𝓼𝓮𝓷𝓽𝓲𝓪𝓵 "𝓭𝓲𝓯𝓯𝓮𝓻𝓮𝓷𝓬𝓮 𝓫𝓮𝓽𝔀𝓮𝓮𝓷 𝓶𝓮𝓷 𝓪𝓷𝓭 𝔀𝓸𝓶𝓮𝓷.
* 𝓫𝓲𝓸𝓵𝓸𝓰𝔂
*𝓹𝓼𝔂𝓬𝓱𝓸𝓪𝓷𝓪𝓵𝔂𝓼𝓲𝓼
*𝓪𝓷𝓭 𝓱𝓲𝓼𝓽𝓸𝓻𝓲𝓬𝓪𝓵 𝓶𝓪𝓽𝓮𝓻𝓲𝓪𝓵𝓲𝓼𝓶
𝓑𝓾𝓽 𝓹𝓻𝓸𝓿𝓲𝓭𝓮 𝓷𝓸 𝓳𝓾𝓼𝓽𝓲𝓯𝓲𝓬𝓪𝓽𝓲𝓸𝓷 𝓯𝓸𝓻 𝔀𝓸𝓶𝓪𝓷'𝓼 𝓲𝓷𝓯𝓮𝓻𝓲𝓸𝓻𝓲𝓽𝔂.
* 𝓣𝓱𝓮𝔂 𝓪𝓵𝓵 𝓽𝓪𝓴𝓮 𝔀𝓸𝓶𝓪𝓷'𝓼 𝓲𝓷𝓯𝓮𝓻𝓲𝓸𝓻 " 𝓭𝓮𝓼𝓽𝓲𝓷𝔂 " 𝓕𝓸𝓻 𝓰𝓻𝓪𝓷𝓽𝓮𝓭.

𝓢𝓱𝓮 𝓽𝓻𝓪𝓬𝓮𝓼 𝓯𝓮𝓶𝓪𝓵𝓮 𝓭𝓮𝓿𝓮𝓵𝓸𝓹𝓶𝓮𝓷𝓽 𝓽𝓱𝓻𝓸𝓾𝓰𝓱 𝓲𝓽𝓼 𝓯𝓸𝓻𝓶𝓪𝓽𝓲𝓿𝓮 𝓼𝓽𝓪𝓰𝓮𝓼: 𝓬𝓱𝓲𝓵𝓭𝓱𝓸𝓸𝓭, 𝔂𝓸𝓾𝓽𝓱, 𝓪𝓷𝓭 𝓼𝓮𝔁𝓾𝓪𝓵 𝓲𝓷𝓲𝓽𝓲𝓪𝓽𝓲𝓸𝓷.
* 𝓗𝓮𝓻 𝓰𝓸𝓪𝓵 𝓲𝓼 𝓽𝓸 𝓹𝓻𝓸𝓿𝓮 𝓽𝓱𝓪𝓽 " 𝓦𝓸𝓶𝓮𝓷 𝓪𝓻𝓮 𝓷𝓸𝓽 𝓫𝓸𝓻𝓷 " 𝓯𝓮𝓶𝓲𝓷𝓲𝓷𝓮 " 𝓫𝓾𝓽 𝓼𝓱𝓪𝓹𝓮𝓭 𝓫𝔂 𝓪 𝓽𝓱𝓸𝓾𝓼𝓪𝓷𝓭 𝓮𝔁𝓽𝓮𝓻𝓷𝓪𝓵 𝓹𝓻𝓸𝓬𝓮𝓼𝓼.
* 𝓐𝓽 𝓮𝓪𝓬𝓱 𝓼𝓲𝓽𝓾𝓪𝓽𝓲𝓸𝓷 𝓸𝓯 𝓱𝓮𝓻 𝓾𝓹𝓫𝓻𝓲𝓷𝓰𝓲𝓷𝓰, 𝓪 𝓰𝓲𝓻𝓵 𝓲𝓼 𝓬𝓸𝓷𝓭𝓲𝓽𝓲𝓸𝓷𝓮𝓭 𝓲𝓷𝓽𝓸 𝓪𝓬𝓬𝓮𝓹𝓽𝓲𝓷𝓰 𝓹𝓪𝓼𝓼𝓲𝓿𝓲𝓽𝔂, 𝓭𝓮𝓹𝓮𝓷𝓭𝓮𝓷𝓬𝓮, 𝓻𝓮𝓹𝓮𝓽𝓲𝓽𝓲𝓸𝓷 𝓪𝓷𝓭 𝓲𝓷𝔀𝓪𝓻𝓭𝓷𝓮𝓼𝓼.
𝓔𝓿𝓮𝓻𝔂 𝓯𝓸𝓻𝓬𝓮 𝓲𝓷 𝓼𝓸𝓬𝓲𝓮𝓽𝔂 𝓬𝓸𝓷𝓼𝓹𝓲𝓻𝓮𝓼 𝓽𝓸 𝓭𝓮𝓹𝓻𝓲𝓿𝓮 𝓱𝓮𝓻 𝓸𝓯 𝓼𝓾𝓫𝓳𝓮𝓬𝓽𝓲𝓿𝓲𝓽𝔂 𝓪𝓷𝓭 𝓯𝓵𝓪𝓽𝓽𝓮𝓷 𝓱𝓮𝓻 𝓲𝓷𝓽𝓸 𝓪𝓷 𝓸𝓫𝓳𝓮𝓬𝓽.
* 𝓘𝓷 𝓪𝓭𝓾𝓵𝓽𝓱𝓸𝓸𝓭, 𝔀𝓸𝓶𝓪𝓷 𝓹𝓮𝓻𝓯𝓸𝓻𝓶𝓼 𝓽𝓱𝓻𝓮𝓮 𝓶𝓪𝓳𝓸𝓻 𝓯𝓾𝓷𝓬𝓽𝓲𝓸𝓷𝓼 𝔀𝓲𝓯𝓮, 𝓶𝓸𝓽𝓱𝓮𝓻, 𝓪𝓷𝓭 𝓮𝓷𝓽𝓮𝓻𝓽𝓪𝓲𝓷𝓮𝓻.
*𝓓𝓾𝓻𝓲𝓷𝓰 𝓸𝓵𝓭 𝓪𝓰𝓮 𝔀𝓱𝓮𝓷 𝓪 𝔀𝓸𝓶𝓪𝓷 𝓵𝓸𝓼𝓮𝓼 𝓱𝓮𝓻 𝓻𝓮𝓹𝓻𝓸𝓭𝓾𝓬𝓽𝓲𝓿𝓮 𝓬𝓪𝓹𝓪𝓬𝓲𝓽𝔂 𝓼𝓱𝓮 𝓵𝓸𝓼𝓮𝓼 𝓱𝓮𝓻 𝓹𝓻𝓲𝓶𝓪𝓻𝔂 𝓪𝓷𝓭 𝓽𝓱𝓮𝓻𝓮𝓯𝓸𝓻𝓮 𝓱𝓮𝓻 𝓲𝓭𝓮𝓷𝓽𝓲𝓽𝔂..

𝘿𝙚 𝘽𝙚𝙖𝙪𝙫𝙤𝙞𝙧 𝙧𝙚𝙞𝙩𝙚𝙧𝙖𝙩𝙚𝙨 𝙩𝙝𝙖𝙩 𝙬𝙤𝙢𝙖𝙣'𝙨 𝙘𝙝𝙖𝙧𝙖𝙘𝙩𝙚𝙧 𝙞𝙨 𝙖 𝙧𝙚𝙨𝙪𝙡𝙩 𝙤𝙛 𝙝𝙚𝙧 𝙨𝙞𝙩𝙪𝙖𝙩𝙞𝙤𝙣.
* 𝓗𝓮𝓻 𝓶𝓮𝓭𝓲𝓸𝓬𝓻𝓲𝓽𝔂, 𝓬𝓸𝓶𝓹𝓵𝓪𝓬𝓮𝓷𝓬𝔂, 𝓵𝓪𝓬𝓴 𝓸𝓯 𝓪𝓬𝓬𝓸𝓶𝓹𝓵𝓲𝓼𝓱𝓶𝓮𝓷𝓽, 𝓵𝓪𝔃𝓲𝓷𝓮𝓼𝓼, 𝓹𝓪𝓼𝓼𝓲𝓿𝓲𝓽𝔂, 𝓪𝓵𝓵 𝓽𝓱𝓮𝓼𝓮 𝓺𝓾𝓪𝓵𝓲𝓽𝓲𝓮𝓼 𝓪𝓻𝓮 𝓽𝓱𝓮 𝓬𝓸𝓷𝓼𝓮𝓺𝓾𝓮𝓷𝓬𝓮𝓼 𝓸𝓯 𝓱𝓮𝓻 𝓼𝓾𝓫𝓸𝓻𝓭𝓲𝓷𝓪𝓽𝓲𝓸𝓷, 𝓷𝓸𝓽 𝓽𝓱𝓮 𝓬𝓪𝓾𝓼𝓮.

𝙋𝙤𝙨𝙞𝙩𝙞𝙤𝙣 𝙤𝙛 𝙬𝙤𝙢𝙖𝙣 𝙪𝙣𝙞𝙦𝙪𝙚 𝙖𝙢𝙤𝙣𝙜 𝙩𝙝𝙚 𝙤𝙥𝙥𝙧𝙚𝙨𝙨𝙚𝙙 𝙨𝙚𝙘𝙩𝙞𝙤𝙣𝙨 𝙤𝙛 𝙝𝙪𝙢𝙖𝙣𝙠𝙞𝙣𝙙.
* 𝔀𝓸𝓶𝓮𝓷 𝓪𝓻𝓮 𝓷𝓾𝓶𝓮𝓻𝓲𝓬𝓪𝓵𝓵𝔂 𝓮𝓺𝓾𝓪𝓵 𝓽𝓸 𝓽𝓱𝓮𝓲𝓻 𝓸𝓹𝓹𝓻𝓮𝓼𝓼𝓸𝓻𝓼.
* 𝔀𝓸𝓶𝓮𝓷 𝓭𝓸 𝓷𝓸𝓽 𝓱𝓪𝓿𝓮 𝓪 𝓼𝓱𝓪𝓻𝓮𝓭 𝓱𝓲𝓼𝓽𝓸𝓻𝔂
* 𝔀𝓸𝓶𝓮 𝓱𝓪𝓿𝓮 𝓪𝓵𝔀𝓪𝔂𝓼 𝓮𝔁𝓲𝓼𝓽𝓮𝓭.
* 𝓼𝓾𝓫𝓸𝓻𝓭𝓲𝓷𝓪𝓽𝓲𝓸𝓷 𝓷𝓸𝓽 𝓻𝓮𝓼𝓾𝓵𝓽 𝓸𝓯 𝓪 𝓱𝓲𝓼𝓽𝓸𝓻𝓲𝓬𝓪𝓵 𝓮𝓿𝓮𝓷𝓽.

𝘾𝙍𝙄𝙏𝙄𝙌𝙐𝙀
*𝙎𝙝𝙚 𝓲𝓼 𝓲𝓷𝓽𝓮𝓻𝓹𝓻𝓮𝓽𝓮𝓭 𝓪𝓼 𝓶𝓮𝓻𝓮𝓵𝔂 𝓪𝓹𝓹𝓵𝔂𝓲𝓷𝓰 𝓢𝓪𝓻𝓽𝓻𝓮'𝓼 𝓹𝓱𝓲𝓵𝓸𝓼𝓸𝓹𝓱𝔂 𝓽𝓸 𝔀𝓸𝓶𝓮𝓷
* 𝓗𝓮𝓷𝓬𝓮 𝓸𝓯𝓽𝓮𝓷 𝓵𝓮𝓯𝓽𝓸𝓾𝓽 𝓸𝓯 𝓹𝓱𝓲𝓵𝓸𝓼𝓸𝓹𝓱𝓲𝓬𝓪𝓵 𝓽𝓮𝔁𝓽𝓫𝓸𝓸𝓴𝓼.
* 𝓹𝓪𝓽𝓻𝓲𝓪𝓻𝓬𝓱𝓪𝓵 𝓼𝔂𝓼𝓽𝓮𝓶 𝓯𝓪𝓲𝓵𝓼 𝓽𝓸 𝓪𝓬𝓴𝓷𝓸𝔀𝓵𝓮𝓭𝓰𝓮 𝓱𝓮𝓻 𝓪𝓼 𝓱𝓪𝓿𝓲𝓷𝓰 𝓪𝓷 𝓸𝓻𝓲𝓰𝓲𝓷𝓪𝓵 𝓹𝓱𝓲𝓵𝓸𝓼𝓸𝓹𝓱𝓲𝓬𝓪𝓵 𝓬𝓸𝓷𝓽𝓻𝓲𝓫𝓾𝓽𝓲𝓸𝓷 𝓽𝓸 𝓶𝓪𝓴𝓮.
*𝓓𝓮 𝓑𝓮𝓪𝓾𝓿𝓸𝓲𝓻 𝔀𝓪𝓼 𝓹𝓻𝓮𝓼𝓾𝓶𝓮𝓭 𝓽𝓸 𝓫𝓮 𝓼𝓲𝓶𝓹𝓵𝔂 𝓪𝓹𝓹𝓵𝔂𝓲𝓷𝓰 𝓪 𝓶𝓪𝓼𝓬𝓾𝓵𝓲𝓷𝓲𝓼𝓽 𝓮𝔁𝓲𝓼𝓽𝓮𝓷𝓽𝓲𝓪𝓵𝓲𝓼𝓶 𝓭𝓾𝓮 𝓽𝓸 𝓱𝓮𝓻 𝓬𝓵𝓸𝓼𝓮, 𝓵𝓲𝓯𝓮𝓵𝓸𝓷𝓰 𝓻𝓮𝓵𝓪𝓽𝓲𝓸𝓷𝓼𝓱𝓲𝓹 𝔀𝓲𝓽𝓱 𝓼𝓪𝓻𝓽𝓻𝓮.
* 𝓕𝓻𝓸𝓶 𝓽𝓱𝓮 1960𝓼 𝓸𝓷𝔀𝓪𝓻𝓭𝓼, 𝓣𝓱𝓮 𝓼𝓮𝓬𝓸𝓷𝓭 𝓼𝓮𝔁 𝓲𝓷𝓬𝓻𝓮𝓪𝓼𝓲𝓷𝓰𝓵𝔂 𝓭𝓲𝓼𝓹𝓪𝓻𝓪𝓰𝓮𝓭 𝓪𝓼 𝓬𝓸𝓷𝓽𝓻𝓪𝓭𝓲𝓬𝓽𝓸𝓻𝔂 𝓪𝓷𝓭 𝓻𝓮𝓶𝓸𝓿𝓮𝓭 𝓯𝓻𝓸𝓶 𝓽𝓱𝓮 𝓪𝓬𝓽𝓾𝓪𝓵 𝓵𝓲𝓿𝓮𝓼 𝓸𝓯 𝓻𝓮𝓪𝓵 𝔀𝓸𝓶𝓮𝓷.
*𝓓𝓮 𝓑𝓮𝓪𝓾𝓿𝓸𝓲𝓻 𝓼 𝓪𝓷𝓪𝓵𝔂𝓼𝓲𝓼 𝓪𝓷𝓭 𝓭𝓮𝓼𝓬𝓻𝓲𝓹𝓽𝓲𝓸𝓷 𝔀𝓮𝓻𝓮 𝓷𝓸𝓽 𝓻𝓮𝓹𝓻𝓮𝓼𝓮𝓷𝓽𝓪𝓽𝓲𝓿𝓮 𝓸𝓯 𝓱𝓸𝔀 𝔀𝓸𝓶𝓮𝓷 𝓻𝓮𝓪𝓵𝓵𝔂 𝓭𝓸 𝓮𝔁𝓹𝓮𝓻𝓲𝓮𝓷𝓬𝓮 𝓽𝓱𝓮 𝔀𝓸𝓻𝓵𝓭.
* 𝓐 𝓼𝓱𝓲𝓯𝓽 𝓲𝓷 𝓯𝓮𝓶𝓲𝓷𝓲𝓼𝓽 𝓽𝓱𝓸𝓾𝓰𝓱𝓽 𝓽𝓸𝔀𝓪𝓻𝓭𝓼 𝓪 𝓶𝓸𝓻𝓮 𝓰𝔂𝓷𝓸𝓬𝓮𝓷𝓽𝓻𝓲𝓬 𝓸𝓷𝓮 𝓬𝓮𝓵𝓮𝓫𝓻𝓪𝓽𝓲𝓷𝓰 𝓭𝓲𝓯𝓯𝓮𝓻𝓮𝓷𝓬𝓮 𝓬𝓪𝓼𝓽 𝓱𝓮𝓻 𝓪𝓼 𝓸𝓵𝓭 𝓯𝓪𝓼𝓱𝓲𝓸𝓷𝓮𝓭.
* 𝓑𝓮𝓪𝓾𝓿𝓸𝓲𝓻 𝓼 𝓯𝓮𝓶𝓲𝓷𝓲𝓼𝓶 𝔀𝓪𝓼 𝓬𝓻𝓲𝓽𝓲𝓺𝓾𝓔𝓭 𝓪𝓼 𝓲𝓶𝓹𝓮𝓻𝓲𝓪𝓵𝓲𝓼𝓽𝓲𝓬 𝓪𝓷𝓭 𝓫𝓲𝓪𝓼𝓮𝓭 𝓽𝓸𝔀𝓪𝓻𝓭𝓼 𝔀𝓱𝓲𝓽𝓮, 𝓱𝓮𝓽𝓮𝓻𝓸𝓼𝓮𝔁𝓾𝓪𝓵, 𝓶𝓲𝓭𝓭𝓵𝓮 𝓬𝓵𝓪𝓼𝓼 𝔀𝓸𝓶𝓮𝓷.

Ivor Armstrong Richards – poet, dramatist, speculative philosopher, psychologist and semanticist, is among the first of the 20th century critics to bring to English criticism a scientific precision and objectivity. He is often referred to as the ‘critical consciousness’ of the modern age. New Criticism and the whole of modern poetics derive their strength and inspiration from the seminal writings of Richards such as Principles of Literary Criticism, Practical Criticism.

Practical Criticism

Richard’s influence rests primarily on his Practical Criticism (1929) which is based on his experiments conducted in Cambridge in which he distributed poems, stripped of all evidence of authorship and period, to his pupils and asked them to comment on them. He analyses factors responsible for misreading of poems. Even a “reputable scholar” is vulnerable to these problems.

1) First is the difficulty of making out the plain sense of poetry. A large proportion of average-to-good readers of poetry simply fail to understand it. They fail to make out its prose sense, its plain, overt meaning. They misapprehend its feeling, its tone, and its intention.

2) Parallel to the difficulties of interpreting the meaning are the difficulties of sensuous apprehension. Words have a movement and may have a rhythm even when read silently. Many a reader of poetry cannot naturally perceive this.

3) There are difficulties presented by imagery, principally visual imagery, in poetic reading. Images aroused in one mind may not be similar to the ones stirred by the same line of poetry in another, and both may have nothing to do with the images that existed in the poet’s mind.

4) Then comes the persuasive influence of mnemonic irrelevancies ie, the intrusion of private and personal associations.

5) Another is the critical trap called stock responses, based on privately established judgments. These happen when a poem seems to involve views and emotions already fully prepared in the reader’s mind.

6) Sentimentality, ie, excessive emotions

7) inhibition , ie hardness of heart are also perils to understanding poetry.

8) Doctrinal adhesions present another troublesome problem. The views and beliefs about the world contained in poetry could become a fertile source of confusion and erratic judgment.

9) Technical presuppositions too can pose a difficulty. When something has once been done in a certain fashion we tend to expect similar things to be done in the future in the same fashion, and are disappointed or do not recognise them if they are done differently. This is to judge poetry from outside by technical details. We put means before ends.

10 ) Finally, general critical preconceptions resulting from theories about its nature and value come between the reader and the poem.

In The Principles of Literary Criticism (1924).

Richards establishes the nature and value of poetry. According to him, the science that unearths the secrets of literature is psychology.
He first examines the working of the human mind itself to find out a psychological theory of value. He describes the human mind as a system of ‘impulses’, which may be defined as ‘attitudes’ or reactions motivated in us by ‘stimuli’, that culminate in an act. These impulses are conflicting instincts and desires and wants—or ‘appetencies’ as Richards calls them, as opposed to ‘aversions’ — in the human mind. They pull in different directions and cause uneasiness to the human mind which looks to achieve order or poise through the satisfaction of appetencies. The mind experiences a state of poise only when these emotions organize to follow a common course. But with each new experience, the whole system is disturbed and the human mind has to readjust the impulses in a new way to achieve the desired system or poise. To achieve this poise, some impulses are satisfied and some give way to others and are frustrated.

The ideal state will be when all the impulses are fully satisfied, but since this is rarely possible, the next best state is when the maximum number of impulses are satisfied and the minimum are frustrated.
The value of art or poetry – and by poetry Richards means all imaginative literature – is that it enables the mind to achieve this poise or system more quickly and completely than it could do otherwise. In art there is a resolution and balancing of impulses. Poetry is a representation of this uniquely ordered state of mind in which the impulses respond to a stimulus in such a manner that the mind has a life’s experience.
The poet records this happy play of impulses on a particular occasion, though much that goes into the making of a poem is unconsciously done. It is to partake of this experience that the true reader reads poetry. Good poetry arouses the same experience in the reader too.
Thus, poetry becomes a means by which we can gain emotional balance, mental equilibrium, peace and rest. Poetry organizes our impulses and gives our mind a certain order, renders us happy and makes our minds healthy. What is true of the individual is also true of society. A society in which arts are freely cultivated exhibits better mental and emotional tranquillity than the societies in which arts are not valued. This moral value of art proceeds from the working of the human mind rather than from any ethical base.
Richards calls this harmonized state, this balancing of conflicting impulses “synaesthesis”. It is the simultaneous harmonious experience of diverse sensations and impulses resulting in a fusion of opposites or unification of differences.
Synaesthesia is a condition in which one experiences equilibrium of harmonious elements. In the experience of synaesthesis, there is a sense of detachment that is conducive to the formation of a completely coordinated personality.

Two Uses of Language
Richards views the poem as a response to a stimulus, which is located in the reader. But this subjectivism leads him to the conclusion that all poetic language is ambiguous, plurisignant, open to different meanings and so on.
Richards in his “Principles of Literary Criticism” expounded a theory of language, and distinguished between the two uses of language – the referential or scientific, and the emotive. A statement may be used for the sake of reference, which may be verified as true or false.

Richards examines what kind of language poetry uses. There are two uses of language. They are scientific use and the emotive use.
In emotive use the word evokes emotions. The emotive use of language is used in poetry and other literary works. In the scientific use of language the reference should be logical.

Richards says, “The statements in poetry are there as a means to manipulation and expression of feelings and attitudes.” Poetry communicates feelings and emotions. Hence, poetic truth is different from scientific truth. It is a matter of emotional belief rather than intellectual belief.
Poetry cannot be expected to provide us with knowledge, nor is there any intellectual doctrine in poetry. Poetry speaks not to the mind but to the impulses. Its speech, literal or figurative, logical or illogical is faithful to its experience as long as it evokes a similar experience in the reader.
Thus, a poem, as Richards defines it, is a class of experiences ‘composed of all experiences, occasioned by the words’ which are similar to ‘the original experience of the poet.’

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