Principles of literary criticismRichards, I. A. (Ivor Armstrong)
Philosophy
Principles of literary criticism
Richards, I. A. (Ivor Armstrong)
Criticism
Poet Laureate’s anthology, _The Spirit of Man_, and I have
the less hesitation since the passages there gathered together
are chosen with such unerring taste and discrimination. But to
turn them into a statement of a philosophy is very noticeably
to degrade them and to restrict and diminish their value. The
use of verse quotations as chapter headings is open to the same
objection. The experiences which ensue may seem very similar
to the experiences of free reading; they feel similar; but all
the signs which can be most trusted, after-effects for example,
show them to be different. The vast differences in the means
by which they are brought about is also good ground for supposing
them to be dissimilar, but this difference is obscured through
the ambiguities of the term ‘belief’.
There are few terms which are more troublesome in psychology
than belief, formidable though this charge may seem. The sense
in which we believe a scientific proposition is not the sense
in which we believe emotive utterances, whether they are political
‘We will not sheathe the sword’, or critical ‘The progress of
poetry is immortal’, or poetic. Both senses of belief are complicated
and difficult, to define. Yet we commonly appear to assume that
they are the same or that they differ only in the kind and degree
of evidence available. Scientific belief we may perhaps define
as readiness to act as though the reference symbolised by the
proposition which is believed were true. Readiness to act in
_all_ circumstances and in _all_ connections into which
it can enter. This rough definition would, of course, need elaborating
to be complete, but for our present purposes it may suffice.
The other element usually included in a definition of belief,
namely a feeling or emotion of acceptance, the ‘This is sooth,
accept it!’ feeling, is often absent in scientific belief and
is not essential.
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