Matthew Arnold was a 19th century English poet and critic. In his famous work "The Study of Poetry", Arnold argues that poetry has a higher purpose to interpret life, provide consolation, and sustain humanity as science and philosophy prove unstable. He believes poetry will increasingly be turned to for its spiritual and intellectual benefits. Arnold advocates for a high standard and strict judgment of poetry, assessing it based on the seriousness of its subject matter and excellence of style. He promotes looking to classical poets like Homer and Milton as the best models of poetry's "grand style".
The concept of imagination in biographia literariaDayamani Surya
Samuel Taylor Coleridge in his Biographia Literature considered that the mind can be divided into two faculties called as imagination and fancy.
Imagination is further divided into two types namely Primary Imagination and Secondary Imagination.
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
Function of Criticism by T.S Eliot, Why Criticism in Literature?, Four Parts of the essay “Function of Criticism”, Tradition and the Individual Talent, I Part: Eliot’s views on critic and critical work of art, II Part: John Middleton Murry’s Essay and Eliot’s Contradiction, III Part: Eliot’s criticism of Murry and function of criticism, IV Part: Relation of Criticism with creative work of art
Matthew Arnold (24 December 1822 – 15 April 1888) was an English poet and cultural critic who worked as an inspector of schools. He was the son of Thomas Arnold, the famed headmaster of Rugby School, and brother to both Tom Arnold, literary professor, and William Delafield Arnold, novelist and colonial administrator.
During this time Arnold wrote the bulk of his most famous critical works, Essays in Criticism (1865) and Culture and Anarchy (1869), in which he sets forth ideas that greatly reflect the predominant values of the Victorian era.
The Preface to the Lyrical Ballads is an essay, composed by William Wordsworth, for the second edition of the poetry collection Lyrical Ballads, and then greatly expanded in the third edition of 1802. It has come to be seen as a de facto manifesto of the Romantic movement.
The concept of imagination in biographia literariaDayamani Surya
Samuel Taylor Coleridge in his Biographia Literature considered that the mind can be divided into two faculties called as imagination and fancy.
Imagination is further divided into two types namely Primary Imagination and Secondary Imagination.
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
Function of Criticism by T.S Eliot, Why Criticism in Literature?, Four Parts of the essay “Function of Criticism”, Tradition and the Individual Talent, I Part: Eliot’s views on critic and critical work of art, II Part: John Middleton Murry’s Essay and Eliot’s Contradiction, III Part: Eliot’s criticism of Murry and function of criticism, IV Part: Relation of Criticism with creative work of art
Matthew Arnold (24 December 1822 – 15 April 1888) was an English poet and cultural critic who worked as an inspector of schools. He was the son of Thomas Arnold, the famed headmaster of Rugby School, and brother to both Tom Arnold, literary professor, and William Delafield Arnold, novelist and colonial administrator.
During this time Arnold wrote the bulk of his most famous critical works, Essays in Criticism (1865) and Culture and Anarchy (1869), in which he sets forth ideas that greatly reflect the predominant values of the Victorian era.
The Preface to the Lyrical Ballads is an essay, composed by William Wordsworth, for the second edition of the poetry collection Lyrical Ballads, and then greatly expanded in the third edition of 1802. It has come to be seen as a de facto manifesto of the Romantic movement.
More Information :- https://www.topfreejobalert.com
The Waste land it’s a epic poem. A poem made of collage of images. In ‘The Waste land’ Image and symbol take in city life.
An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea
"For poetry the idea is everything; the rest is a world of illusion, of divine illusion. Poetry attaches its emotion to the idea; the idea is fact."
This is said by Matthew Arnold. According to him, IDEA is supreme and in poetry, it is the idea that matters, that are attached by poetry through emotions. According to him THE FUNCTION OF POETRY is to interpret life for us, to console us, to sustain us. He says if SCIENCE IS APPEARANCE then the POETRY IS EXPRESSION and there is no appearance without expression.
Then Arnold talks about setting our standard for poetry high. We must accustom ourselves to HIGH STANDARD and STRICT JUDGEMENT and there is no place for CHARLATANISM in poetry. Charlatanism is for confusing the difference between excellent and inferior, sound and unsound or only half sound, true and untrue or only half true. Judging with little differences has paramount importance, so there is no place for charlatanism in poetry.
Literary Criticism - Essay on Dramatic PoesyRohitVyas25
John Dryden has given good criticism for dramatic poesy. Here in this presentation, I've put introduction of the original essay and Dryden's definition of play.
My Presentations on Overview of Culture and Anarchy written by Mathew Arnold.Culture and anarchy is a notorious philosophical work written by the celebrated Victorian poet and critic Mathew Arnold. This essay was first published in ‘Cornhill Magazine’ during 1867’-68.
Samuel Coleridge- Biographia Literaria Ch 14Dilip Barad
This presentation deals with chapter 14 of 'Biographia Literaria' written by Samuel Taylor Coleridge. It deals with his famous defence of Wordsworth's poetic creed, difference between prose and poem; and more importantly, difference between poem and poetry
Samuel Taylor Coleridge, his life and works
Prepared by Ahmad Hussain, Department of English,
Abdul Wali khan University Mardan.
Email: mr.literature123@gmail.com
Facebook page link for Literary students: www.facebook.com/englitpearls
More Information :- https://www.topfreejobalert.com
The Waste land it’s a epic poem. A poem made of collage of images. In ‘The Waste land’ Image and symbol take in city life.
An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea
"For poetry the idea is everything; the rest is a world of illusion, of divine illusion. Poetry attaches its emotion to the idea; the idea is fact."
This is said by Matthew Arnold. According to him, IDEA is supreme and in poetry, it is the idea that matters, that are attached by poetry through emotions. According to him THE FUNCTION OF POETRY is to interpret life for us, to console us, to sustain us. He says if SCIENCE IS APPEARANCE then the POETRY IS EXPRESSION and there is no appearance without expression.
Then Arnold talks about setting our standard for poetry high. We must accustom ourselves to HIGH STANDARD and STRICT JUDGEMENT and there is no place for CHARLATANISM in poetry. Charlatanism is for confusing the difference between excellent and inferior, sound and unsound or only half sound, true and untrue or only half true. Judging with little differences has paramount importance, so there is no place for charlatanism in poetry.
Literary Criticism - Essay on Dramatic PoesyRohitVyas25
John Dryden has given good criticism for dramatic poesy. Here in this presentation, I've put introduction of the original essay and Dryden's definition of play.
My Presentations on Overview of Culture and Anarchy written by Mathew Arnold.Culture and anarchy is a notorious philosophical work written by the celebrated Victorian poet and critic Mathew Arnold. This essay was first published in ‘Cornhill Magazine’ during 1867’-68.
Samuel Coleridge- Biographia Literaria Ch 14Dilip Barad
This presentation deals with chapter 14 of 'Biographia Literaria' written by Samuel Taylor Coleridge. It deals with his famous defence of Wordsworth's poetic creed, difference between prose and poem; and more importantly, difference between poem and poetry
Samuel Taylor Coleridge, his life and works
Prepared by Ahmad Hussain, Department of English,
Abdul Wali khan University Mardan.
Email: mr.literature123@gmail.com
Facebook page link for Literary students: www.facebook.com/englitpearls
biography of s.t coleridge
introduction to biographia literaria
synopsis of chap 14
critical analysis
literary devices
objections and defence
fancy and imagination
primary and secondary imagination
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We all have good and bad thoughts from time to time and situation to situation. We are bombarded daily with spiraling thoughts(both negative and positive) creating all-consuming feel , making us difficult to manage with associated suffering. Good thoughts are like our Mob Signal (Positive thought) amidst noise(negative thought) in the atmosphere. Negative thoughts like noise outweigh positive thoughts. These thoughts often create unwanted confusion, trouble, stress and frustration in our mind as well as chaos in our physical world. Negative thoughts are also known as “distorted thinking”.
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The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
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2. Introduction
Matthew Arnold
Foremost poets and critics of the 19th century
Father of modern literary criticism
Wrote extensively on social and cultural issues, religion, and education
3. Arnold‟s most famous piece of literary criticism is his essay “The
Study of Poetry.”
In this work, Arnold is fundamentally concerned with poetry‟s “high
destiny;” he believes that “mankind will discover that we have to
turn to poetry to interpret life for us, to console us, to sustain us” as
science and philosophy will eventually prove flimsy and unstable.
4. At the root of Arnold‟s argument is his desire to illuminate and preserve
the poets he believes to be the touchstones of literature, and to ask
questions about the moral value of poetry that does not champion truth,
beauty, valor, and clarity.
5. According to Arnold
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.
There is not a creed which is not shaken, not an accredited dogma which is not
shown to be questionable, not a received tradition which does not threaten to
dissolve.
Our religion has materialised itself in the fact, in the supposed fact; it has attached
its emotion to the fact, and now the fact is failing it.
But for poetry the idea is everything; the rest is a world of illusion, of divine illusion.
Poetry attaches its emotion to the idea; the idea is the fact.
The strongest part of our religion to-day is its unconscious poetry
6. Victorian Criticism
Art and Morality: Art for Art’s sake
Carlyle Ruskin : Moral view should be the benchmark to judge the
work of literature. Art should be for the betterment of life.
Art and Aesthetic pleasure: Art for Art’s sake
Walter Pater and Oscar Wilde: Aesthetic and artistic delight should be the
benchmark to judge the work of literature. Art should be for delight and
pleasure of mankind.
7. Mathew Arnold – The Critic
The business of criticism, is not to find fault nor to display the critic‟s own learning
or influence, but it is to know „the best which has been thought and said in the
world‟ and by using this knowledge to create a current of fresh and free thought.
The Study of Poetry: The first essay in the 1888 volume was originally published as the
general introduction to T.H. Ward‟s anthology, The English Poets ( 1880)
His Classicism: He did not like the spasmodic expression of Romanticism. He advocated
discipline in writing and recommended the classical writers.
8. He says-
We should conceive of it as capable of higher uses, and called to higher
destinies, than those which in general men have assigned to it hitherto. More
and more mankind will discover that we have to turn to poetry to interpret
life for us, to console us, to sustain us.
Without poetry, our science will appear incomplete; and most of what now
passes with us for religion and philosophy will be replaced by poetry.
If we conceive thus highly of the destinies of poetry, we must also set our
standard for poetry high, since poetry, to be capable of fulfilling such high
destinies, must be poetry of a high order of excellence. We must accustom
ourselves to a high standard and to a strict judgment.
9.
10. A Moralist
As a critic Arnold is essentially a moralist, and has very definite ideas about
what poetry should and should not be. A poetry of revolt against moral ideas,
he says, is a poetry of revolt against life, and a poetry of indifference to
moral ideas is a poetry of indifference to life.
11. Aristotle says that poetry is superior to
History since it bears the stamp of high
seriousness and truth. If truth and
seriousness are wanting in the subject matter
of a poem, so will the true poetic stamp of
diction and movement be found wanting in
its style and manner. Hence the two, the
nobility of subject matter, and the
superiority of style and manner, are
proportional and cannot occur independently.
Arnold took up Aristotle's view, asserting that
true greatness in poetry is given by the truth
and seriousness of its subject matter, and by
the high diction and movement in its style
and manner, and although indebted to Joshua
Reynolds for the expression 'grand style',
Arnold gave it a new meaning when he used
it in his lecture On Translating Homer (1861):
I think it will be found that that the grand
style arises in poetry when a noble nature,
poetically gifted, treats with simplicity or
with a severity a serious subject.
According to Arnold, Homer is the best model
of a simple grand style, while Milton is the
best model of severe grand style. Dante,
however, is an example of both.
12. Future of Poetry
The future of poetry is immense, because in poetry, our race, as time goes
on, will find an even surer and surer stay. There is not a creed which is not
shaken. But for poetry, the idea is everything; the rest is a world of
illuision, of divine illusion. Poetry attaches emotion to the idea,; the idea is
a fact. The strongest part of our religion, to-day is its unconscrious poetry.‟
We have to turn to poetry to interpret life for us, to console us, to sustain
us. Without poetry, our science will appear incomplete, and most of what
now passes with us for religion and philosophy will be replaced by poetry.
13. Poetry is Criticism of Life
-Arnold asserts that literature, and especially poetry, is
„Criticism of life’.
- In poetry, this criticism of life must conform to the laws of poetic truth
and poetic beauty
Truth and seriousness of matter, felicity and perfection of diction and
manner, as are exhibited in the best poets, are what constitutes a
criticism of life.
14. Key components of Poetry
Thus, the superior character of truth and seriousness, in the matter and
substance of the best poetry, is inseparable from the superiority of diction and
movement marking its style and manner
15.
16. Even Chaucer, in Arnold's view, in spite of his virtues such as
benignity, largeness, and spontaneity, lacks seriousness.
Burns too lacks sufficient seriousness, because he was hypocritical
in that while he adopted a moral stance in some of his poems, in his
private life he flouted morality.
17.
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21.
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23.
24. Return to Classical values
Arnold believed that a modern writer should be aware that contemporary literature is built
on the foundations of the past, and should contribute to the future by continuing a firm
tradition. Quoting Goethe and Niebuhr in support of his view, he asserts that his age suffers
from spiritual weakness because it thrives on self-interest and scientific materialism, and
therefore cannot provide noble characters such as those found in Classical literature.
He urged modern poets to look to the ancients and their great characters and themes for
guidance and inspiration. Classical literature, in his view, possess pathos, moral profundity
and noble simplicity, while modern themes, arising from an age of spiritual weakness, are
suitable for only comic and lighter kinds of poetry, and don't possess the loftiness to support
epic or heroic poetry.
Arnold turns his back on the prevailing Romantic view of poetry and seeks to revive the
Classical values of objectivity, urbanity, and architectonics. He denounces the Romantics for
ignoring the Classical writers for the sake of novelty, and for their allusive (Arnold uses the
word 'suggestive') writing which defies easy comprehension.