w m

URDU MEIN HAIATI TANQEED

ABSTRACT
THESIS

Submitted for the award of the Degree of

Doctor of Philosophy

JNAVED ANJUM

lerfHe Supervision of

PROF. AQEEL AHMAD

DEPARTMENT OF URDU
ALIGARH MUSLIM UNIVERSITY
ALIGARH (INDIA)

2007
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I.A. Richards."

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m . . . m

URDU MEIN HAIATI TANQEED

THESIS
Submitted for the award of the Degree of

Doctor of Philosophy
In
r<k URDU ^U
• fr By • 1 yfj

NAVED ANJUM

Under the Supervision of

PROF. AQEEL AHMAD

DEPARTMENT OF URDU
ALIGARH MUSLIM UNIVERSITY
ALIGARH (INDIA)
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2007
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 (Department of "Urdu
Aligarh Muslim University,
Aligarh-202 002

Dated •JM.77:l.?h.->^^7

Certificate

^o G0um Q§^ O t ^ &mc6m

THis is to certify tHat tde thesis entitled as "VrcCu !Mein jHCaiati

TanqueecT Being suSmittecf 6y 9/Lr. H^avecf ^njum is an originaf
researcH wor^ancCit das not Seen suSmittecf to any other Vniversity
for any degree.
This thesis is forwarded for the first time for the award of
^h.(D. (Degree in Vrdu.

Counter Signature (Prof. Aqeel Ahmad)

Supervisor
Supervisor
Departmeni of Urdu
A . M . U . . Augarb

(Prof. Khursheed Ahmad)

Chairman
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for the formalists it is only made".

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yy^L/l^CYuri Tynyanov)^yl>(ivy>j)'(Boris Tomashevisky) ( / J T I

(/^> cT^^V ^7^ ^ J'l>(/Roman Jackobson (^ ci n>/^

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 Literary theory and aesthetics of prague school"

"The doctrines of the school have

been widely debated since the group
drew up its theses on the methods of
studying l a n g u a g e for the first
international congress of linguistics held
in the Hague in 1928 and the following
year began to publish a series of
volumes in French, German,and English,
Travaux du cercle Linguistique de
prague". I

Language ^ ^ Cy^Llh^ 6^^L if-iyjjjl d^.j J\ jt ^\jrr

y(Jtj?,£^>f>jrLrc^^tZlSpeech bundlesjiv^i^L/iv^^^^^t*^Alliance

f^f^ Rene weliek - concept of crlticisnn J^

r ( / ^ ^ ^ > ( / ( / ( i : ^>lf ^b. L;::: (>C;:» d>^^ 4^4^>^'^ t^>^ f^l^** ^-^
ct(i_-l\/I.M. Bakhtin and P.N. Medvedevyly^^^l-yiJ'^'l^'Brouchure

^^lfujUt"The formal method of literary scholarship'L^tX

"The word-image and its
petrification. The epithet as a means of
renewing the word. The history of the
epithet is the history of poetic style. The
fate of the works of past artists of the
word is the same as the fate of the word
itself-to complete the journey from poetry
to prose. The death of things. The task
of futurism - to resurrect things to return
the experiencing of the world to man. I,

M.M. Bakhtin & P.N. Medvedev - The formal method of literary scholarship, p.45^
^^I^JiA^^JJ\^JXxJulJ^Zllx^^^JJ ''-^^

The Format "^iTiJ"!P.N. Medveclev>.j'l\/1.M. BakthinevL^i^y^cic^L

ii^Z.vV'^"Method in Literary Scholarship

"The historical situation in which

our formalism arose and was formed

was some what different from that of

western formalism. In Russia there was

no formed and consolidated idealist

school and method. Its place was taken

by ideological journalism and

religious-philosophical criticism. This

free, Russian type of abstract thinking

could not, of course play the beneficial

role of restraining and intensifying its

opponent. The role idealism played in

relation to western formalism.

It was too easy to toss out as irrelevant

 the esthetic formulations and critical
experiments of our self-styled thinkers.
The situation with regard to positivism
was no better. In Russia the place of
positivism was taken by a trivial and
flaccid eclecticism which lacked scholarly
substance and rigor. The positive tasks
accomplished by positivism. For West
European humanistic scholarship
teaching it restraint, discipline and the
weight of the empirical concrete fact -
were unaccomplished in Russia at the
time when the formalists appeared..

And so in neither esthetics nor

literary scholarship did our formalists find
genuinely strong opponents, the kind
with whom it would be beneficial

'"/ ' ^ n o u r i s h m e n t for a new scholarly

yf-* movement to struggle" l^

v l •.

M.M. Bakhtin & P.N. Medvedev - The formal method of literary scholarship, p.55^

{da)
c^Jl^C Ideological) L^iJy>Tj<-^l,TZl(i>c<!

*• •

^/^l^ uTi y u J^l^ Positivism J^U^. ^-J'

(J t^ JIJ-^ (J^ ^-^ (j^ i/^ >^ 9 i 4-Y ^Y ^'^^^ "-^

/-^/Lrrr^Uy.((/L!i^2.4/LrElecticism

(<S1)
 -[Resurrection of the word] t/iXjf^ (i)
-t*/jK:^L:^Uqualitativev^i;c.l;r^Lrci/l> (0

The formal'Vt^cl'M.M. Bakhtin and P.N. Medvedev^j/LTi/)

_(^2_>^>l^(^uZlc^>U'j>(j:l!"method of literary scholarship
"The positive side of the formalists'
resurrection of the word" was mainly
their sharpened interests in the poet as
craftsman and in craftsmanship in
poetry.

It is true that the nihilistic-tone gets

in the way here too. In the first period,

the formalists would never have said" A

poet is a craftsman" but rather "A poet is

only a craftman". Nevertheless the

research into the phonetic (mainly

qualitative) structure of poetry, which had

begun with the symbolists. (A Belgi, V.

Briusov) was carried to a higher scholarly

level by the formalists. The external

design of the Artistic work (composition,

plot formation) had hardly been studied

 in Russian literary scholarship. The
formalists were almost the first to make it
the subject of serious research.
Significant that in this research too the
accent was on negation and
depreciation.
It is necessary to note, however
that in the first period of its development
formalism was primarily concerned with
the qualitative analysis of the phonetic
composition of the Artistic work. ^

(Resurrection oi ^or6) ^Z'{j:^} Mc^ ^^

-1/Uo/v/y (^H-^ >i( ^:>bi) cT^li l>c^^ J.>i;

M.M. Bakhtin & P.N. Medvedev - The formal method of literary scholarship, p.63j^
Concept of ^ i X c t ' i / i ^ R e n e Weliek ^Jy^i/uyLi/'c;'
-^^Uovl^'c^Criticism
In Russia during the first world war,
a "society for the study of poetic
language" OPOJAZ was organized
which became the nucleus of the

Russian formalist movement. In its early

stages this group was primarily

interested in the problem of poetic

language, which the members conceived

as a special language characterized by a

purposeful "deformation" of ordinary

speech by " o r g a n i z e d violence"

committed against it. They studied

mainly the sound stratum of language -

vowel harmonies, consonant clusters,

rhyme, prose rhythm, and meter and

leaned heavily on the concept of the

phoneme, developed at first by De

saussure and the Geneva School, and

then by Russian linguists such as
Trubetskoy. They devised many
technical (even statistical) methods for
the study of a work of literature, which
they conceived, often mechanically, as a
sum of its devices. They were positivists
with a scientific ideal of literary
scholarship. l_

ci'W Si d^jv Zl uS L/IP ci^ U^ \JiJ

^SJJH ^ Lf^vj^ /iff^lT^ f tZl 'OPOJAZ'

De k.^^^if',J:i^\^\^Y^<j/.cd\j3\^{^

>t?^viLlO(i2^i_Geneva SchooL^iSaussure

^-t^U;-^yL/'^Trubetskoyi7^c.l;U(/vL;:l:

• • •

Concept of Criticism - Rene Weliek, p.350

(V)
 ^(>?Polemic

/u^>feNon-Expressive>j(Non-Referential li ^i\L,ijj>^ ^

• • **
iSiJ^U^^U-B-ylf '^Jy^tj^^jX^ Jij^ijY'^^-'r' t>^ Literariness

(ir)
vi'Grammer j5r c/? c> A r t i c l e ff>tA,^i>yjH;Zl d^'d^ij

-o^^^J^dpSlavonicyPhilology

The) J^J^Ujil/l?^>>^]^(^.^^c;:t5>t-(/>^^

(ir)
 -*^ L^^y u^'/cOX^^U Jackobson
"The dominent may be defined as a
focusing component of a work of artist
rules determines and transform the
remaining components it is the dominent
which guarantees the integrity of the
structure".

(ir)
AJJLU J ^ j j l L?-^^ ^=AH ^J^JJ ''-^^

(i«)
 ^>

O ^ i ; ^ ' i f u T ^ j ^ l ^ / t / ^ L T j ^ ^ ^ ' 1 ^ L^'v^'k^>lP^'»^^^^

^Defamiliarisation l,L^.(yli1^L/:!:^0;^-^^/^Jl?^l^(i^(j1>^

Arts as a ' ' c i y ^ ^ / l , ( j 1 > ^ c > > U ^ ( / ^ / ' V ' - ^ L^l^^:^'(i^i^

/yiSy^S^/u^S^^^/^^^J^^^ff^^U^LriiAX^ 191 /^"technique

"The purpose of art is to import tine

sensation of tilings as tliey are perceived

and not as ttiey are known. The

technique of art is to make objects

'unfamiliar' to make forms difficult, to

increase the difficulty and lenght of

perception, because the process of

perception is an Aesthetic end in itself

and must be prolonged. Art is a way of

expressing the Art fulness of an object,

(11)
AAZU Jil±^ jj\ (^.lUnJ CAJLI^ ^ J J r.t^Li

the object is not important."

(Shoklovisky's).

"Habitualization devours objects,

clothes, furniture, one's wife and the fear

of war. If all the complex lives of many

people go on, unconsciously, then such

lives are as if they had never been.

Art exists to help us recover the

sensation of life; it exists to make us feel

things. To make the stone stony the end

of art is to give sensation of the object as

seen, not as recognized. The technique

•\l7ii Jilx^^jj\^Si^c:il^^jj ^-^^

of art is to make things "unfamiliar", t

)U /c^'^ S^ tr' (Routine) L J>-; 9>;^7

ll^l,(/j>'^^JjLv/'^"c^/'':tr^>f2£fc^y^yTristram Shandy

Defamiliarise/j^vl^jJ>/LraZl/f^5vLr(j^^l^Dy^(y^^JV

The palm of his right hand as he

fell upon the bed, receiving his forehead

and covering the greatest part of both his

eyes, gently sunk down with his head

(his elbow giving way backwards) till his

nose touched the quilt.

Shoklovlskey - Art as a technique j^

(1A)
 His left arm hung insensible over the
side of the bed, his knekles reclining
upon the handle of the chamber pot I,

Gulliver's ^ y ^ ' f / O ^ tUG i^Tomashevsky^ ^<L^/ii l/J'iJ^

« ^ l/VJli»^(yli^(/Defamiliarization (j:!;travels

In order to present a satirical

picture of the European social - political
order Gulliver - tells his master (a horse)
about the customs of the ruling class in
human society. Compelled to tell
everything with the utmost occuracy. He
removes the shell of euphemistic phases
and fictitious traditions which justify such
things as war, class, striff, parliamentary
intrigue and so on. Stripped of their
verbal justification and thus
defamiliarised, these topics emerge in all
their horror.
Shoklovisky - Monograph of STRNE (Tristram Shandy) I,

(IS)
Thus criticism of the political system -
non-literary material is artistically
imotivated and fully invovled in the
narrative.

:^Df'Tomashovsky

At first this account seems to stress

the content of the new perception itself

('horror' at 'war' and class strife). But

infact it is the artistic transformation of

non-literary material, Defamiliarization

changes our response to the world but

only by s u b m i t t i n g our habitual

(^0
 perception to the processes of literary

form". I

^ ^ " y Jl^i^ (j:!: c/V-f-l-Zi-x^/tTij:! ciiZl/i^i^

L/I* Raman Selden - Contemporary literary theory i_

AlZu J^^ jj\ c 5 " i ^ ^^^AH ( ^ J J ''•^^

Free) ^Viijfut 2^y^C '(j}^^ ^V^^^yMoXxWi'^^yO^cL, ^^ ^J^li

ji\Sji?<LZlC3L/J^<f_ jjj ^VJIJT^(bound motiff) .-y>^>t<l v^i(motiff
ffyL^Oy^iicT'c^Russian formalismcjy^i^'iJ^LRaman Seldon-t>f

A bound motiff is one whicli is

required by the story while a 'free' motiff

is inessential from the point of view of

the story. However from the literary point

of view the free motiffs are potentially the

focus of Art. For e.g. the device of

having Raphael relate the war in Heaven

is a 'free' motiff because it is not part of

the story in question.

However it is formally more

important than the narration Artistically

into his over all plot. J,

* V
 * • * •

UiiJ L t>f C/^I:^/J^-> ^t}^!. 4 / / c ^ ^ ^ y (3>f C^i^

:^^ii^\/Bj\>\{/uti:}/^^iL'Raman SeldenUMi/^-^

The theme of 'motivation' turned

out to be important in a summedup the

general literary theory. Jonathan Culler

summed up the general theme neatly

when he wrote: 'to assimilate or interpret

something is to bring it with in the modes

i.t:jy^Russian formalism - Raman Selden - Contemporary literary theory,p.13

(^r)
 of order which culture makes available,
and this is usually done by talking about
it in a mode of discourse which a culture
takes as nature.

>^^ir(Jonathan Culler)/^^

c//^Russian formalism - Roman Selden - Contemporary literary theory,p.13

 r.cjLi
• #

^t5^C5^^'.^^'
«* Ir
1
(_^ J-LUiJ O l J l A J J
 > »

Roman cT^'i^ij/ji:. J^ijj^j U^ti) [S^ 1^ Ui^/\ ^y^/j^C^

Sidney Mthron "Jy: uj^(j>^b/c/>/ ^^/Ji^£^:/.'// ^^ij.^^j^

(^^)
^ L L / S / V y U ^ G o d Without T h u n d e r ' V ^ c l ' ^ i J ^ ^ r ^ V ^ L ^ ^
{S^^ftJliJhe New Criticism)i_Lric^LTsr:Ji(/((j:!J^X^U^^t^^^Zl

« •

jt \^k^ I^Spingarn ("i f'-^^J'^ O ^ ^ ^ i-i^ twi [fl^ j^tj^ijj^^

\/l/Bj\J^iUt];\fi)i(jijtIndian Essays in American Literatureu^PO/^

"John Crowe Ransom is usually

credited with inventing the term, it's true

that Ransom popularized the term when

he published his "God without thunder"

in 1930 one of the basic text in New

Criticism - and later a book of that title in

1941. But here as else where the truism

that every inventor has a predecessor.

Spingarn Professor of Comparative

Literature at Columbia, as early as

1910". I

i, Sujit Mukherjee and Dr. K. Raghavachargulu - Indian Essays in American Literature, p.267
 (God without thunder) ^ i X j ' 1 - (J^r"*' ^ ^
• • *

• • • •

^ <L (/' l^x^i-/ (^Comparative literature H

ij^^L^^U^L/ii^l/y/LA ^_Hi( i^(/'^c/y^i^b/(/i^Spingarn

American Literary l^Charls I. Glickberg/(/^t^2LXl//^c^(>^

- f - ^ w L ^ Criticism

"To have sensation in the presence

of a work of Art and to express them,

that is the function of criticism for the

impressionistic critic, His attitude he

would express some what in this fashion:

1 ^ 5 ' § ' H e r e is a beautiful poem, let us say

1
y^

'Promethus unbound' To read it is for me

^/^ to experience a thrill of pleasure. My

\ •- ./delight in it is itself a judgement and

V-

what better judgement is it possible for

me to give?

All that I can do is to tell how it affects

(^^)
 me, what sensations it gives me, other

men will drive other sensations from it,

and expess them differently. They too

have the same right as I. Each of us if

we are sensitive to impressions and

express ourselves well, will produce a

new work of Art to replace the work

which gave us our sensations. That is

the Art of Cirticism, and beyond that

criticism cannot go" l^

Promethus ^^\i><^^t/oi/j'\'^^/
Ul{^ J-^ L/>^^Xy^ cT^^^^/unbound

Charls I. Glickberg - American Literary Criticism, p.77 ^

jti/'^\Jj!:,\j}r^ /Harriet M o n r o e i ^ ^ 4 ' ^ M ' / ^ c i - ^ ^ ' ' ' ^ J ^ ^ L

Romanticism and ^O^oJ.E. Hulme's wii^tfiliiLU;!

a.^V^/^Viy'^i^^^^jV^l^^^'v^'i^Classicism

^ i ^ l n d i a n Essay in American Literature^^(Jt^-UC(/(i^c^iit>

~c^\f\S\5'^^0iJ'-'^^^ Criticismcjy^
"Now the earliest to profound New
Criticism was not I.A. Riciiards as some
have supposed or his pupil William
Empson; not even Ransom as some
historians of criticism credit him with but
T.S. Eliot afact often ignored. It is here
 that dates are important. Richards

"Principles of Criticism" appeared in

1924 Empson's "Seven type of

Ambiguity" 1930 Ransom's "God Without

Thunder" in 1930; Allentate came even

later: he was Ransom's pupil. But Eliot

wrote one of his most seminal essays in

criticism, "Traditions and Individual

talent" in 1917 with this and earlier, by

mean's of his poetry which he had

started writing as far as the adult world

recognizes, about 1909 T.S. Eliot sowed

the seeds of revolution in criticism and

poetry", t

Sujit Mukherjee and Dr. K. Raghavachargulu - (Edited) Indian Essays in

1 American Literature, p.270

(A.)
 Principles of "OL/^^-U^ (^'^J^-^-U^

Seven L T C / ^ ' J T ^ U - L ^ fHrr. ''Criticism

B}Ui^{JL{f{}y/jtf\jr^ types of ambiguity

^cfV ^ 1 ^ God witinout thunder i ^ ^^v

c ; ? . ^ J / L > ^ ^ > 9j ^ T j : ; ^ Z : . ^ ^ ( ^ 1

Tradition and d^XLT^^J-U^^-IJ)

£.JL{?^^yf\^/^Ut,\^\nd\y\6ua\ Talent

'>2r^ y ^ ^>(/i ,i b ^ i / j i u ^t^)/. ,^/i>t. Zl o^^^

ji\

J^uK^^ 15/^-1^ ^o^u^ ^/iT^^^

(Al)
(/ciOji (i7(vi/c^'ST'yi/d'J L M y ( / j A i ^ i

J^yjLj^^^ fe^ .:^-^(/(lrony)> L J l / J y ^ ^ y ^ ^ l y ^cTCTexture

(Ar)
//Jt^(^^^7^'(j:}ji:y(/i^(Jr.|9n^rrji^t^ bilt)

-^^(jv>yif'Southern Agarian Group

The World ^t ^ul( a!: u^'< j(jjz\/iii i^y^Ji l^ J\y^ J^Vj^^*

- ^ ( f H n ) T h e New Criticism(i/^^>/:>((fi9rA)Body
ii^iffi-Lr^ULf(/Oii/wfi^o^V/j/L^l,i/'^>LrKennth Brati

iJjc^Ui(jy(>u>Vi_-(/((j:!:(/^,^The World Body^lXJlj^v/'^u^

L^vy/t^iL^ (/(j^L^L/:^ J / I ^ J V ^^^'-^k^li^'/J/^(Vlth Makers)

/ l > l f ( 4 < J ^ l / ^ e / ' - f - l / A Kind of Knowledge/j/l^7j(^fej^(

(Ar)
^ (i/L^ cTk^i ( i / i ^ ^ j ^ ^ ^ / . ^ j/L^L/^i; j/L^^><f L2 l i ^ ^ ^ ^
(/(i>t^(/^ H / ^ l:fC^(^ I r / J l ^ ( ^ £^U (/Hulmes f ^ y ) - ^ u/^^^
• • i t I ( *•

{S^.c^UiJ^J^U^^'^^iS^(^^U^(^e^ Criticism)^PU'
L. f^j{jt ( / ^ - ^ u C ^ l-Zl (j^^l^ (ijirj>c>c^^j/' Prospectus uXi{j:!: o ^ ^

Utja>iSYyo Winter Jl^i/iy^^^l^^LC/^ir^UifeJl^^U-^^vlc^/

« ^ (/i^/jb7>5(/i±'Zl (Textu re)c.7i/(i/'iJ7^ L ^ J U J L

j : j ^ U V i l 2 ) i ( / ( -^(Ij(jC^D>(i>/Vy^l>^L-c:-^^Textural(/^^

^ ^^:^> LTV / L / ^ ^^jj^i ^ J > / > - ^ / . / ^Ontology (^J^^)

-.^l^^UL/a/lreat

(Ar)
 T.S. Elliot

Pru^rock and "fi/'j^^D^/jijt ^s^J^j/^hii^jkULawd Faber

i^^/^J^'li(/'c/^'->^uL^''The Poems'(j:t/^i9H7i(''other observations

-i>f^The Wastland^j;>(/a(;liT

Ji f H H : , J > ? 5 L > ^ j i l ^ T h e four quarter^Li;>LrLri(j:! , \ ^

l^J/L^lT Norton Professorship(j:t^i9rr;j(f H r r ^ L j ^ i ^ d J ^ L ^ ^ i ^ j

Nobel )y'yJ^y/Lri(j:!fHrA^L/J^l^(^Harvard University;</(

.^l7'ct'*i--Rene W e l l e k - ^ t ' / c ^ U o ^ * ^ Z l ( / i 9i^^(/o^-^

:^L/e>L^((j:!i;U)(ciU>o^iyr^r>'(j:!:Concept of Criticism

(A^)
 "In Eliot we find the English version
of the Formalist, symbolist theories, Eliot-
defined the enormous change of poetic
taste in our time and asserted a return to
a tradition which he calls, classical.
Eliot's theory of poetry starts with a
psychology of poetic creation, poetry is
not the spontaneous overflow of
powerful feelings not the expression of
personality but is an impersional
organisation of feelings, which demands
a unified sensibility. Colloboration of
intellect and feeling in order to find the
precise.X

Rene Weliek - Concept of Criticism, p.354 ^

(A1)
-;:L. J^Uc<^ic/>V(Objective Correlative)

• • • •

(AZ)
(^.Vuoj ri'n.^ j j l - i i Z u ^ ^ ^^j^j^l_J1X!1J|

c^ ^^^l-^j^ijij^^ (^Objective Correlative^/^^/a i^^-i-k'

c^i (/^Li^^ ^(/0:J| . j ^ v y / ^ cijiyij::: f i:?( ^7:51 J:?^Lr i^Oii ^ T i i,;^^

,L^Z^biFormalistiC/''>^Ui'^i/'

(AA)
 -t^iLXL><(/Terry Eag\e\on^J'S^J^
"A major link between Cambridge
English and the American New Criticism
was the work of the Cambridge Critic I.A.
Richards.'!

(j:!;Recent American Literature^iTcl'i-Donald Heiney-^(>~^

"I.A. Richards book Meaning of

Meaning stressed the distinction

Terry Eagleton - Literary Theory an Introduction, p.38i,

(A1)
 between the rational significance of the
words and its emotional or associational
impact - the refrential and the emotive
meanings." J,

^iTl/'yf.J'U-^Practical Criticism'>^**cK'V'^i/i/^'-^^^UtfT

Terry -i? iJ^ ^hh <^y J ^j^i^'^U^'^l/ih//\^ ^ (J>^(/d'ff ^'Ac^'

"Literary theory an Introduction" w-lX^^i 9^\^i ^^l j'i Eagletons

"In his famous book "Practical

Criticism" (1929) the Cambridge Critic
I.A. Richards sought to demonstrate just
how whimscial and subjective literary
value - judgements could actually be by
giving his undergraduates a set of
poems, with holding from them, the titles
and authors, names and asking them to
evaluate them. The resulting judgements
notoriously were highly variable: time -
honoured poets were marked down and
obscure authors celebrated."/

Donald Heiney - Recent American Literature, p. ^ 7o ^

Terry Eagletons - Literary theory an introduction, p.13 ^

 Practical V t X c t ' l^ W^ZJ - ^ ' - J "

"It should be borne in mind that the

knowledge which the men of A.D. 3000

will possess. If all goes well, may make

all our Aesthetics all our Psychology, all

our Modern Theory of value look pitiful."

d-,J \a Jijii^M^, O^^^^^iSc^ ^JiZjc^ij. (/c.l>'^-Jl//J::%Lr

(^1)
(^r)
 -Z^

^Hn, f fHTi^l^Hound and Hornc^»-5ji>'bUp^(ji>>7^ijyu>^

^ f H n y t ^ i J ^ ^ I > ^ ' ' T h e Kenyon ReV\e\N"oiJ\^J\^Jlji~[jjLii
-^>Jy>ti^(fi9rr_^Hri)"The Sewance Review'e^jii^^LTL^^^^Hrr

-LU'> (j:!: J^j5:y Princeton

Stone Wall ^LutJ^ol/tir-iJut^'U^^i^^j^^C^jS^jj^i

i ^ (/Iwli^^urLc^Gnn)Jefferson Davis (jy^^jv^iGi^rA)Jackson

t^/zy^J^rLi/L^JrUt^-^'TheFather^f-lYi/^Uy/^^

f i ^ Mr. Pope (0
i3-n Poems (r)
fHr:J The Mediterranean (r)
f i ^ Selected Peoms (r)
fHrr;,r^-.rA Poems (^)

^-ur(///l^i^c/^f^'^>^l-Lr'L^ci'>i:^Lriy<L,J^^^
^(^nj Reactionnary Essays (0

fiJ3 On the limit of Poetry (r)

.^3 The Hovering Fly (r)

 • • * • •* • • • • • • • I * *

The friends of literature have been

trying to justify it by showing it to be

something else. The poet inquires how

the work shall be done not why nor it is

what it is, and the critic like wise should

find what poets actually have done in

their time.

(^r)
 * • •

jvC^vVo Miltonc:^U(i^vjL(ji:^i>^iy"Divine Comedy"p/i/(c^

^ l ^ t J : ^ ( ^ (3/(>c. ( > % ) ' ( j ; i ^ J l ^ v i l J y l X / l ^ l / r ^ / Z c / l . / ^ i 22?

L/^^'(J^(y^Tradition and Individual TalenU^:^

i j ^ ^ w^Ji/ofC Emily Dickinson^ji D o n n e ^ / l > J C T ^

^/vj(c^(i>Tension4((j:!:u>^I^Zlc:J(/^i:>>-^j^^,o^U(j:::(-^^
Poetic Product^isJtjti/'^^ fU ^ c i O ^ ( / c ^ ; ' i l ^ ^ l-U^f />t^c^l^^^^

Tension in "^^o JOr ,:^jj>ijdj^iO^^^iSTension

\!^\j:\^4j^j:0^\})j\ji\\yu^c^,\Jji .123 wL(Jj/ii>(^y^"Poetry
^^L ZlTexturevj»c> L-Zl ^ y - ^ L/(J^ c^U J ^ ^ l ^ ^ ^
 ^Intensionyi^^iiExtension

(^^)
/j\j: f^rz, ,Lv(j'iy>tl^Hound and Horns^ J r fi_9rr c^ fisrz,

fj^ The Double Agent (i)

f [ ^ The Expence of Greatness (f)

- L ^ ^JlHi Lectures in Criticism (r)

• • • • V

- 1 ^ t y * ! ^ (J>cX^/: t ^ . ^ JoJy^
(9A)
 9i_2^^*Zl(J'^U'<:i^(Robert Pennwarren)
fi^3 Understanding Poetry (0
f rqrr Understanding Fiction (^)

-L^ ^i!!l!^ An Approach to Literature i^)

jt(y^\e University)(j'>ji:y(J;l,(jV'>^^i^U'>L^^U'(ii^

yj>?^ci<:L^(/c^'>y^Zlt^i/^,cycfl^^i^ Modern Poetry and Tradition

-130^^133. "VVell Wrought UrnV^^

^c^Usjl^i^J'j'ijtLanguaQe of Paradoxcjy^i^fsj-Jk^Ujf

"Our prejudices force us to regard

paradox as intellectual rather than

emotional clever rather than profound,

rational rather than divinely irrational.

Yet there is a sense in which

paradox is the language appropriate and

inevitable to poetry. It is the scientist

whose truth requires a language purged
of every trace of paradox: apparently the
truth which the poet utters can be
approached only in terms of paradox."

"It is a beauteous evening, calm

and free,

The holy time is quiet as a Nun

Breathless with adoration "

The poet is filled with worship, but the

girl who walks beside him is not

worshiping. The implication is that she

should respond to the holy time, and

become like the evening itself nun likes,

 but she seems, less worhsipful than
inanimate nature itself yet.
"\f thou appear untouched by solemn
thought
Thy nature is not therefore less divine:

Thou liest in Abraham's bosom all the

year;

And worship'st at the Temples inner

shrine

God being with thee when we know it

not".

"The underlying paradox (of which

the enthusiastic render may well be

unconscious) is nevertheless thoroughly

necessary even for that reader, why

does the innocent worship more deeply

than the self conscious poet who walks

beside her. Because she is filled with an

unconscious sympathy for all of nature,

not merely the grandiose and solemn".

Close (/(i/l> 1, i/i/j/<^^l^ cf/< ' ^ c^^"J^' J' i/u j ^

^yiiJ/^^SiJ^U^J^-^-^^c/^l^BiL^i/u^^ijj^^^Ji^^M Reading

(M)
J^^y^i/lrony as a principle (^)^rq)^l7lt'i-^^>r/'^ii^^i/'
 ' " ' ' ' ' J j j | . l l Z l J ^Jili ( ^ ^ ^ 1 J - i ^ ^ l ^-<-TJ^

( j ^ ( / f l i ^ i/l^l-(Jj>^l^^>^*ct'/'^ Inclose Readings:}li^^i/i

(i*r)
 r.cjU # #

jjIdljjLa^ (^JAA
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 — » »

^ i ; j ^ Liv ^^^-^-^'-^ LTL/'-^ C> 1/^(^>J^ ^^(/U^c. L/^c./^

» *• • • • • • • * •* •.y J

^LiyCl>*/J^Lr(d/l>-^^t^^i'c/^t/)o6^7i'c/lv^-^

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CCJJZ:,\^ j/t/j

L/«i*i c$'/</ O L / ^ / ^

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 iili"!>b- J AJaiJ •^.,.<^ ( f ) aLjt/iJjU- J <Oii-J J—o- ( l )

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t/n^ ^ V ti^ui^i j^

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(iZ.) Problems of Dastoevsky's poetics, Bakhtin, Mikhail - Ardis, Ann Arbor, 1973

trans. R.W. Rotsel

Cl^"\ Russian Formalism Bann, Stephen - Scottish Academic Press,
and Bowit. John Edinburgh 1973
E. (eds.)
Ciq') Russian Formalist Criticism: Four Lemon Lee T. and - Nebraska University Press

Essays Reis Marion J. Lincoln, 1965 contains

(eds.) classic essays, including

Shklovksy's on sterna.
C^»') The Formal Method in Literary Medvedev, PN -

Scholarship trans. A.J. Wehrle and Bakhtin,

Mikhail
Cf^j") Dictionary of literary terms J.A. Cuddon - Penguin Books, 1992

Cj/f/'\ Modern Criticism and theory edited by David Ludge - London

David Ludge London

(ff) 20th century literary theory edited T.M. Newton - Mackmilan Education Ltd.,

1988
(ffy^ Contemporary literary theory Raman Selden - University Press of

Kentucky, 1985

( r ( i ) ^^® Formal Method in Literary M.M. - Haward University Press,

Scholarship, translated by Albert J. BakhtinAP.N. 1985
Wehrle Medvedev
(f^^ Russian Formalism, History Doctrine Eriich Victor - Yale University Press,
3rd Edition New Harven, London,

1981
(fZ,) Russian Formalism in Modern Literary Jefferson, Ann, - Batsfard London, 1982

Theory. A comparative introduction,

Ann Jefferson and David Robey (eds.)

ryj>^\ The Futurists: The formalists and the Pike, Christopher - Ink Links, London, 1979

Marxist Critique (ed.) (An anthology)

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Cj/q) Russian formalism and Anglo - Thompson, EM. - Mouton The Haque, 1971

American, New Criticism

( r * ) T*^® prison - House of Language; A - James, Fredric - Princeton University Press,

critical account of structuralism and Princeton, NJ and London,

Russian formalism 1972

Cf^A American Literary Charles 1. Glicksberg - New York

(i) Criticism 1900-1950 - Hendricks House 1951

(^Y) Concept of Criticism Rene Weliek

/ • j ^ ^ \ Literary Theory an Introduction • Terry Eagieton - Maya Blackwell

Doaba Publications 1983

(f^(y') Critics and Criticism • R.S. Crone - 1952

(ra) The Philosophy of Literary Form •• Kenneth Barke - Baton Rouge 1941

(\*"^') A Grammer of Motives Kenneth Burke - New York 1945

( f ^ ) A Retoric of Motives Kenneth Burke - New York 1950

( T A ) ^^^ Double Agent Blackmur - New York 1935

Cr9) The Expense of Greatness Blackmur - New York 1940

((v.) God without thunder Ransom - New York 1930

/"(vA The world's Criticism Ransom - New York 1938

(ff) The New Criticism Ransom - New York 1941

((^f^) The New Criticism Spingarn - New York 1911

(^Cf*'^ The language of poetry Allen Tate - Princeton 1942

(f*'^) Reactionary Essays on Poetry Alien Tate - New York 1936

and Ideas

C(rvj") The New Criticism and ed. by W.S. Kisicke - New York 1946

Scholarship Backer

CP2,") Modern Poetry and Tradition Cleanth Brooks - Chapel Hill 1939

(p'^) T.S. Elliot

C(vq") Principles of Literary Criticism - I.A. Richards 1942

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C^.") Practical Criticism I.A. Richards - 1929

Ci^A The well wrought Urn Cleanth Brooks - 1947

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