His pounce on the rhymes was at most a slight distraction. Spontaneity and sophistication, The prejudice against the alleged Shakespearean form, or rather against the couplet as a close, is hardly sufficient as an explanation, though his over- looking the form of the octave argues some strength in it. The core, or turning- point of the poem is in the emotional effects of this culminating thought as realised. Truth, of some kind, has hitherto been claimed or allowed by all, but more than one of the poet's assertions challenged a division.
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All is correct spring, love, woods, the lad, morning winter, loneliness, house, no lad, evening the desolate " garden of my heart " and the proper sentiment of good out of evil etc. The majority were undergraduates reading English with a view to an Honours Degree.
It is impressive but leaves no very clear impression there are no pictures in it. It is clear in parts at first. Short, sharp, jerky syllables in 1. This piece alone of all the four got me straight away. The readers' pathetic distrust of their own power to construe, to penetrate through critcism the content, their inability to work out and grasp the splendid thought, is a point that educators will recognise as crucial.
As an instructor of English literature at Cambridge University, Richards tested the critical-thinking abilities of his pupils; he removed authorial and contextual information from thirteen poems, one by Henry Wadsworth Longfellow — 82and assigned the literary interpretations to undergraduate students in order to ascertain the likely impediments to an adequate response to a literary text.
The decline in speech. Verbal means of analysis for sense and practicql, The intention of author can be found in dramatic and semi- dramatic literature.
Project MUSE - I. A. Richards and the Philosophy of Practical Criticism
October Learn how and when to remove this template message. The sharp and jerky way in which he read these lines probably prevented him from taking in their sense. Whether the belief is true or false, we rise to something great. Everything turns upon how the principles are applied. That the one and only goal of all critical en- deavours, of all interpretation, appreciation, exhorta- tion, praise or abuse, is improvement in communica- tion may seem an exaggeration.
Who has ever seen a " green " house, or seen the sun shine shadily? I don't know why, but as soon as I read it, I linked it somehow with that poem of Julian GrenfelPs, " Into Battle ", and especially with this stanza, which immediately came into my mind.
Hazardous though this guesswork be, some of the writers supply hints which are too tempting not to be followed up. There is or can be no condition as to whether any sin whatever will " abound " over the fearful damage which war, dearth, chance, age and all the other tyrannies may have inflicted upon the soul. Why bring in critocism line at the end, to upset, what is at its rrichards but a jingle of a metre, ridhards the whole thing has been said in the preceding line? They are lines which are worth remembering both on account of their thought and their concise and clear expression.
When we have solved, completely, the communication problem, when we have got, perfectly, the experience, the mental condition relevant to the poem, we have still to judge it, still to decide upon its worth.
Moreover, at Harvard University, to his international pedagogy, the instructor I.
Some slight corroboration may perhaps be seem in the easy patronage which another writer extends. As 1 I am only That is what these lines seem to mean. I cannot understand the last two lines of the sestet and the third line in the sestet appears to me to be clumsy.
He goes very far, as far perhaps criiticism he can get, by the purely sensuous approach. This description of a c reading ' was, I believe, well understood. The disablement of judgment, And where is " there "?
The thought is evidently a splendid one, but it is obscurely expressed, pradtical the sonnet fails in its object. POEM IV IT is sometimes convenient to regard a poem as a mental prism, capable of separating the mingled stream of its readers into a number of distinguish- able types.
Practical Criticism by I. A. Richards