A history of criticism and literary taste in Europe, from the earliest texts to the present day. Volume 3 (of 3), Modern criticismSaintsbury, George
History
A history of criticism and literary taste in Europe, from the earliest texts to the present day. Volume 3 (of 3), Modern criticism
Saintsbury, George
Criticism -- History; Literature -- History and criticism; Literature, Medieval
The benefits, therefore, of the rise of Æsthetics as a special study
were far from unmixed, though the influence of that rise was very great.
It is otherwise with the Study of Literature, to which we have also
given a short and summary chapter above. Here it was all but impossible
that extension of consideration—from modern and classical to mediæval,
from certain arbitrarily preferred modern languages to others—should
fail to do good. Prejudice, the bane of Criticism, received, in the mere
and necessary progress of this study, a notice to quit. This notice took
various forms and was exhibited and attended to in various ways.
England, France, and Germany exhibited these differences with a
difference itself very interesting. But they can be reduced to a few
heads with very little difficulty.
The first of these is the attempt to judge the work presented, not
according to abstract rules, derived or supposed to be derived from
ancient critical authority, nor according to its agreement or
disagreement with the famous work of the past. To some extent this
revolutionary proceeding was forced upon our students by the very nature
of the case—it was one of the inevitable benefits of the extension of
study, and especially of the return to mediæval literature. To attempt
to justify that literature, as Addison, with more or less seriousness,
had done, by showing that its methods were after all not so very
different from those of Homer, or even Virgil, was in some cases flatly
impossible, in most extremely difficult; while in almost all it carried
with it a distinct suspicion of burlesque. There was no need of any
_dislike_ of the classics; but it must have been and it was felt that
mediæval and later literature must be handled _differently_.[344] And
so—insensibly no doubt
at first—there came into Criticism the sovereign and epoch-making
recognition of the “leaden rule”—of the fact that literature comes first
and criticism after—that criticism must adjust itself to literature, and
not _vice versa_. Very likely not one of the men we are here discussing
would have accepted this doctrine _simpliciter_:[345] indeed it is the
rarest thing to find it accepted even a century and a half after their
time, except in eccentric and extravagant forms. But it lay at the root
of all their practice.
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