Principles of literary criticismRichards, I. A. (Ivor Armstrong)
Philosophy
Principles of literary criticism
Richards, I. A. (Ivor Armstrong)
Criticism
We start then from the natural isolation and severance of minds.
Their experiences at the best, under the most favourable circumstances,
can be but similar. Communication, we shall say, takes place
when one mind so acts upon its environment that another mind
is influenced, and in that other mind an experience occurs which
is like the experience in the first mind, and is caused in part
by that experience. Communication is evidently a complicated
affair, and capable of degrees at least in two respects. The
two experiences may be more or less similar, and the second may
be more or less dependent upon the first. If A and B are walking
in the street together and A touches B and says, “There is the
Lord Chief Justice,” B’s experience while he contemplates the
dignitary is only adventitiously dependent upon A’s experience.
But if A, having met the Lord Chief Justice, describes him to
a friend afterwards in a quarry at Portland, for example, his
friend’s experience will depend very largely upon the particular
judges he may himself have encountered, and for the rest will
derive its special features from A’s description. Unless A has
remarkable gifts of description and B extraordinarily sensitive
and discriminating receptive ability, their two experiences will
tally at best but roughly. They may completely fail to tally
without either being clearly aware of the fact.
In general, long and varied acquaintanceship, close familiarity,
lives whose circumstances have often corresponded, in short an
exceptional fund of common experience is needed, if people, in
the absence of special communicative gifts, active and receptive,
are to communicate, and even with these gifts the success of
the communication in difficult cases depends upon the extent
to which past similarities in experience can be made use of.
Without such similarities communication is impossible. Difficult
cases are those in which the speaker must himself supply and
control a large part of the causes of the listener’s experience;
in which correspondingly the listener has to struggle against
the intrusions of elements from his own past experience which
are irrelevant. When A can point and B gaze, the matter is sometimes
easy; although, as is well known, a complex object, for example
a landscape, where many different selections are possible corresponding
to different emphases of interest, cannot be dealt with in so
simple a manner. Less complex things in which the interesting
feature is more salient, for example, a gentleman asleep in Church,
may be merely indicated with more confidence of communication,
although here again one person may feel indignation and another
amusement at the sight.
Public-domain text, read in full here on John Shaqi.
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