Principles of literary criticismRichards, I. A. (Ivor Armstrong)
Philosophy
Principles of literary criticism
Richards, I. A. (Ivor Armstrong)
Criticism
But some further explanation of the structure of the book is
due to the reader. At sundry points—notably in Chapters VI,
VII, and XI-XV—its progress appears to be interrupted by lengthy
excursions into theory of value, or into general psychology.
These I would have omitted if it had seemed in any way possible
to develop the argument of the rest strongly and clearly in their
absence. Criticism, as I understand it, is the endeavour to discriminate
between experiences and to evaluate them. We cannot do this without
some understanding of the nature of experience, or without theories
of valuation and communication. Such principles as apply in criticism
must be taken from these more fundamental studies. All other
critical principles are arbitrary, and the history of the subject
is a record of their obstructive influence. The view of value
implied throughout is one which must be held in some form by
very many persons. Yet I have been unable to discover anywhere
any statement of it to which I might satisfactorily refer the
reader. I had to make a fairly full statement with applications
and illustrations myself. And I had to put in the forefront of
the book where, to the more exclusively literary reader, it will
appear a dry and uninviting tract to be crossed for problematical
advantages. The same remarks apply to the second theoretical
expansion, the psychological chapters; they are to the value
chapters, I fear, as a Sahara to a Gobi. No other choice seemed
open if I did not wish my later, critical, sections to be misunderstood,
than to include as a preliminary what amounts to a concise treatise
on psychology. For nearly all the topics of psychology are raised
at one point or another by criticism, but raised from an angle
which ordinary text-books do not contemplate. These two deserts
passed, the rest of the book accords, I believe, much more closely
with what may be expected of an essay in criticism, although
the language in which some of the more obvious remarks are couched
may seem unnecessarily repellant. The explanation of much of
the turgid uncouthness of its terminology is the desire to link
even the commonplaces of criticism to a systematic exposition
of psychology. The reader who appreciates the advantages so gained
will be forgiving.
I have carefully remembered throughout that I am not writing
for specialists alone. The omissions, particularly as to qualifications
and reservations, which this fact entails, should in fairness
to myself be mentioned.
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