English literary criticism Book Summary

Published in 1900, English Literary Criticism, edited by James Baldwin, isn't a single cohesive argument but rather a fascinating anthology. It's a collection of critical essays spanning from the earliest forms of English literary thought right up to the Victorian era. Think of it as a 'greatest hits' of how people have thought about and analyzed literature over centuries.

This book is a historical survey of literary criticism in England. It doesn’t offer a single, modern critical perspective. Instead, it presents a chronological progression of ideas – how different generations approached understanding poetry, prose, and drama. It begins with classical influences, moving through the medieval period, the Renaissance (with figures like Sidney and Dryden), the 18th century (Pope, Johnson), and finally culminates in the 19th-century contributions of thinkers like Coleridge, Carlyle, and Matthew Arnold. Essentially, it's about the evolution of *thinking* about literature, not necessarily definitive judgments *on* literature.

One of the most striking takeaways is the realization that 'literary criticism' as a formal discipline is a relatively recent invention. Early responses to literature, like those found in the writings of Plato and Aristotle (as presented through their English interpreters), were often deeply intertwined with moral philosophy and the pursuit of ideal forms. For instance, Sidney’s 'Defence of Poesy' isn’t simply about what makes a good poem; it’s a defense of poetry’s ability to teach virtue and elevate the soul. He argues against the Puritans who saw poetry as frivolous and even dangerous, positioning it as a powerful force for good in society. This highlights how criticism wasn’t originally about dissecting technique but about establishing literature's *purpose*.

The book also demonstrates the powerful influence of classical models on English literary thought. From the medieval period onward, critics consistently looked to Greek and Roman writers for standards of excellence. This is evident in the numerous references to Horace, Longinus, and other classical authors. The concept of 'rules' for writing – derived from classical precepts – dominates much of the early criticism. For example, the neoclassical critics of the 17th and 18th centuries, like Dryden, rigidly adhered to principles of decorum and unity, believing that these rules were essential for creating harmonious and effective works of art. Deviation from these rules was often seen as a sign of bad taste or incompetence.

As the anthology progresses, we see a shift away from prescriptive rules and toward a more subjective and historically grounded approach. Romantic critics, such as Coleridge, rejected the strict rationalism of the neoclassical period, emphasizing the importance of imagination, emotion, and individual experience. Coleridge’s discussions of Shakespeare, for example, aren't focused on whether Shakespeare followed the rules but on the *organic* unity of his plays and the depth of his psychological insight. He sees Shakespeare as a genius who transcends rules, creating works of art that are both beautiful and profound. This marks a crucial turning point in the history of English literary criticism.

Finally, the Victorian essays, particularly those by Matthew Arnold, reveal a growing sense of cultural crisis and the critic’s role as a moral and intellectual guide. Arnold's 'The Function of Criticism at the Present Time' argues for the importance of disinterestedness – the ability to judge works of art objectively, free from personal or political biases. He believes that criticism has a vital role to play in preserving and promoting the best that has been thought and known in the world. This reflects a broader Victorian concern with maintaining cultural standards in a rapidly changing society.

This book is ideal for:

• Students of English Literature: A foundational text for understanding the historical development of critical thought.
• Anyone interested in the history of ideas: It's a window into how people have understood art and its role in society over time.
• Readers who enjoy primary sources: You'll be reading the actual words of influential critics, not just summaries of their ideas.
• Those wanting to appreciate the evolution of literary taste: See how standards and expectations have changed.

Yes, absolutely. While many of the specific arguments within the book are rooted in their historical contexts, the underlying questions about the nature of art, the role of the critic, and the relationship between literature and society remain profoundly relevant. Understanding how previous generations approached these issues provides a valuable perspective on contemporary debates. It shows us that our current critical frameworks aren't inevitable, but rather the product of a long and complex history.

However, the book ends in 1900, leaving out a *huge* amount of 20th and 21st-century criticism – structuralism, post-structuralism, feminism, Marxism, postcolonialism, and so on. Therefore, to continue the journey, the next logical step is to explore these newer schools of thought.

English Literary Criticism is a challenging but rewarding read. It’s not a light introduction, but a deep dive into the intellectual foundations of literary study. It provides a crucial historical context for understanding the field and appreciating the diversity of critical approaches. It’s a book that will change the way you think about literature and its place in the world.