Definitions: Essays in Contemporary Criticism [First Series] — John Shaqi
Definitions: Essays in Contemporary Criticism [First Series]Canby, Henry Seidel
History
Definitions: Essays in Contemporary Criticism [First Series]
Canby, Henry Seidel
American literature -- 20th century -- History and criticism; Criticism; English fiction -- History and criticism
What is the moral of this discussion for the critical reader? A
great one, for if he does not wish to be tricked constantly by his
own emotions into supposing that what is timely is therefore fine,
and what moves him is therefore great, he must distinguish between
the elements of popularity and the essence of greatness. It is
evident, I think, from the argument that every element of
popularity described above may be made effective upon our weak
human nature with only an approximation to truth. The craving for
escape may be, and usually is, answered by sentimental romance,
where every emotion, from patriotism to amorousness, is mawkish
and unreal. Every craving may be played upon in the same fashion
just because it is a craving, and the result be often more popular
for the exaggeration. Also it is notorious that a prejudice--or a
popular idea, if you prefer the term--which is seized upon for
fiction, almost inevitably is strained beyond logic and beyond
truth, so much so that in rapid years, like those of 1916 to 1920
which swept us into propaganda and out again, the emphatic falsity
of a book's central thesis may be recognized before the first
editions are exhausted. It would be interesting to run off, in the
midst of a 1922 performance, some of the war films that stirred
audiences of 1918. It will be interesting to reread some of the
cheaper and more popular war stories that carried even you, O
judicious reader, off your even balance not five years ago to-day!
We have always known, of course, that a novel can be highly
popular without being truly excellent. Nevertheless, it is a
valuable discipline to specify the reasons. And it is good
discipline also in estimating the intrinsic value of a novel to
eliminate as far as is possible the temporal and the accidental;
and in particular the especial appeal it may have to your own
private craving--for each of us has his soft spot where the pen
can pierce. On the contrary, if the highly speculative business of
guessing the probable circulation of a novel ever becomes yours,
then you must doubly emphasize the importance of these very
qualities; search for them, analyze them out of the narrative,
equate them with the tendencies of the times, the new emotions
stirring, the new interests, new thoughts abroad, and then pick
best sellers in advance.
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