Hello and welcome to the Discourse. William K. Wimsatt and Monroe Beardsley are influential figures in the field of literary criticism, particularly known for their contributions to New Criticism. Wimsatt was an American professor of English, literary theorist, and critic associated with the movement of New Criticism while Beardsley was an American philosopher of arts. Wimsatt and Beardsley significantly influenced literary criticism by advocating for an approach that prioritizes the text (Close Reading). Their work has been foundational in developing New Criticism, impacting how literature is studied and analyzed in academic settings. Their theories continue to spark discussions about the role of the author, reader, and text in literary interpretation.
The Intentional Fallacy:
The Intentional Fallacy is a significant idea introduced by William K. Wimsatt and Monroe Beardsley in their influential essay "The Intentional Fallacy," published in 1946. The essay was reproduced in their book The Verbal Icon in 1954. The intentional fallacy refers to the error of attributing a work's meaning to the intent of the author. Wimsatt and Beardsley argue that interpreting a text based on what the author intended to convey leads to a misunderstanding of the work itself. Seeking to uncover an author's intentions can limit the appreciation of a text and distract from its intrinsic qualities. Wimsatt and Monroe argue that "the design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art". They say that the author cannot be reconstructed from a writing — the text is the primary source of meaning, and any details of the author's desires or life are secondary. Intentional Fallacy occurs when a critic puts too much emphasis on personal, biographical, or what he calls “external” information when analyzing a work. When a critic emphasizes too much on intentional criticism, it becomes subjective criticism, and so ceases to be criticism at all. Proper criticism must be evidence-based and objective. Critical inquiries are resolved through evidence in and of the text — not “by consulting the oracle” or the author who most probably cannot assert that the ‘intentions’ guessed’ by the critic were his or not.
Consider Robert Frost's poem "The Road Not Taken." A critic argues that the poem's meaning hinges on Frost's personal struggle with choices in his life, citing his biography as the basis for interpretation. Wimsatt and Monroe suggest that one should analyze the imagery of the roads, the metaphor of choice, and the poem’s structure to derive meaning without relying on Frost's intentions, his biography, or the period when he wrote the poem.
Similarly, In "Hamlet," Hamlet's delay in avenging his father's murder. A critic claims that Shakespeare wrote Hamlet's indecision because he was grappling with his own fears about action and morality. However, the correct approach would be to analyze Hamlet’s soliloquies, themes of existentialism, and the play's philosophical questions which will provide a richer understanding of the character's motivations independent of Shakespeare's personal life.
While analyzing F. Scott Fitzgerald's "The Great Gatsby," a reader asserts that Gatsby's tragic end reflects Fitzgerald's own disillusionment with the American Dream, interpreting the novel solely through Fitzgerald's biography. However, one should examine the symbolism of the green light, the role of wealth, and the social critiques within the text to understand its themes.
These examples illustrate how Intentional Fallacy can lead to flawed readings of literature by overly emphasizing the author's intent rather than engaging with the text itself. By concentrating on the text's language, structure, and themes, readers can uncover richer meanings and interpretations.
The Affective Fallacy:
The Affective Fallacy is another important concept introduced by William K. Wimsatt and Monroe Beardsley in their essay "The Affective Fallacy," published in 1949. This idea complements their earlier discussion of the Intentional Fallacy and plays a significant role in the field of New Criticism. The affective fallacy refers to the error of evaluating a literary work based on the emotional responses it elicits in readers. Wimsatt and Beardsley argue that such responses can lead to subjective interpretations that may not accurately reflect the text's meaning or value. They suggest that literary works are autotelic and that literary criticism should analyze the text itself—its form, structure, and language—rather than rely on the feelings it provokes in its audience. The essay is often considered a critique of ‘Reader-Response’ as Wilmsatt and Monroe contend that relying on emotional responses can lead to inconsistencies and subjective interpretations, as different readers may have vastly different reactions to the same text. They caution against allowing personal feelings to overshadow the text's inherent qualities. If a reader claims that a poem is "good" simply because it made them feel nostalgic, they are committing the affective fallacy. A more robust analysis would involve looking at the poem's language, form, and how those elements contribute to the overall meaning. In reading "Pride and Prejudice" by Jane Austen, a critic who focuses solely on how the novel's romantic elements make them feel happy or sad is overlooking the social critiques and character development present in the text. A reader claims that Keats's poem "Ode to a Nightingale" is profound simply because it evokes feelings of melancholy and nostalgia for lost youth. The reader's interpretation is based solely on personal emotional response rather than analyzing the poem’s rich imagery, themes of mortality, and the contrast between the ideal and the real. This causes an error in judgment or critique of the poem. While reading "Great Expectations" by Charles Dickens, a reader expresses that they love the novel because it makes them feel hopeful about life and personal transformation. While emotional engagement is valid, this analysis neglects the novel’s social commentary on class, crime, and rehabilitation, which are critical to understanding its themes.
The Verbal Icon:
The Verbal Icon: Studies in the Meaning of Poetry is a significant work authored by William K. Wimsatt and Monroe Beardsley that was published in 1954. This collection of essays focuses on the nature of poetry and the principles of literary criticism, particularly from the perspective of New Criticism. The book reintroduced two important essays "The Intentional Fallacy" and "The Affective Fallacy," both key texts of New Criticism. The book aims to analyze how meaning is constructed in poetry and to explore the relationship between language and artistic expression. It consists of several essays that discuss various aspects of poetry, including imagery, metaphor, and the role of the reader. The authors argue that poetry conveys meaning through language itself rather than through external references or authorial intention. They emphasize the importance of close reading to uncover the layers of meaning within a poem. In this book, Wimsatt and Beardsley theorize their concept of the intentional fallacy, asserting that a poem should be analyzed without considering the intentions of the poet. They encourage critics to focus on the text as an independent entity. They also discuss the affective fallacy, which suggests that the emotional responses of readers should not determine a poem's value or meaning, reinforcing the idea that meaning resides in the structure and language of the poem itself. The book explores how imagery and symbolism function in poetry, asserting that they are crucial for conveying complex meanings. The authors analyze how poetic devices contribute to the overall aesthetic experience of a poem. The book emphasizes the concept of Autotelic Text which refers to a work of art or literature that is self-contained and self-referential, meaning that its value and meaning are derived entirely from the text itself, rather than from external contexts such as the author's intentions or the audience's reactions. Autotelic texts encourage readers to appreciate the aesthetic qualities of literature, focusing on how language and structure create meaning and evoke emotions.
So this is it for today. We will continue to discuss literary theory and literary criticism. Please stay connected with the Discourse. Thanks and Regards!
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