w m

URDU MEIN HAIATI TANQEED

ABSTRACT THESIS

Submitted for the award of the Degree of

Doctor of Philosophy

JNAVED ANJUM

lerfHe Supervision of

PROF. AQEEL AHMAD

i;

DEPARTMENT OF URDU ALIGARH MUSLIM UNIVERSITY

ALIGARH (INDIA)

2007 m

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URDU MEIN HAIATI TANQEED

THESIS

Submitted for the award of the Degree of

Doctor of Philosophy

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(Department of "Urdu Aligarh Muslim University,

Aligarh-202 002

Dated •JM.77:l.?h.->^^7

Certificate

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THis is to certify tHat tde thesis entitled as "VrcCu !Mein jHCaiati TanqueecT Being suSmittecf 6y 9/Lr. H^avecf ̂ njum is an originaf researcH wor^ancCit das not Seen suSmittecf to any other Vniversity for any degree.

This thesis is forwarded for the first time for the award of ^h.(D. (Degree in Vrdu.

Counter Signature (Prof. Aqeel Ahmad) Supervisor Supervisor

Departmeni of Urdu A.M.U.. Augarb

(Prof. Khursheed Ahmad) Chairman

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for the formalists it is only made".

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yĉ v̂ CVictor Shoklovisky)(i^>'^/^r^^'^'/''''^^Bo'''S Eichenbaum)

yy^L/l^CYuri Tynyanov)^yl>(ivy>j)'(Boris Tomashevisky) ( / JT I

(/̂ > cT^^V ̂ 7̂ ̂ J'l>(/Roman Jackobson (^ ci n>/^

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"The d^^iL-lRene weliek i/cT (Jx > i ^ t ^ j ^ j ? u^-A j u t/iyni

Literary theory and aesthetics of prague school"

"The doctrines of the school have

been widely debated since the group

drew up its theses on the methods of

s tudy ing language for the f i rs t

international congress of linguistics held

in the Hague in 1928 and the following

year began to publish a series of

volumes in French, German,and English,

Travaux du cercle Linguistique de

prague". I

Language ^ ^ Cy^Llh^ 6^^L if-iyjjjl d^.j J\ jt ^\jrr

y(Jtj?,£^>f>jrLrc^^tZlSpeech bundlesjiv^i^L/iv^^^^^t*^Alliance

f^f^ Rene weliek - concept of crlticisnn Ĵ

r ( / ^ ^ ^ > ( / ( / ( i : ^>lf ^b. L;::: (>C;:» d>^^ 4^4^>^'^ t̂ >̂ f̂ l̂ ** ̂ -^

ct(i_-l\/I.M. Bakhtin and P.N. Medvedevyly^^^l-yiJ'^'l^'Brouchure

^^lfujUt"The formal method of literary scholarship'L^tX

"The w o r d - i m a g e and i ts

petrification. The epithet as a means of

renewing the word. The history of the

epithet is the history of poetic style. The

fate of the works of past artists of the

word is the same as the fate of the word

itself-to complete the journey from poetry

to prose. The death of things. The task

of futurism - to resurrect things to return

the experiencing of the world to man. I,

M.M. Bakhtin & P.N. Medvedev - The formal method of literary scholarship, p.45^

^^I^JiA^^JJ\^JXxJulJ^Zllx^^^JJ ' ' - ^ ^

The Format "^iTiJ"!P.N. Medveclev>.j'l\/1.M. BakthinevL^i^y^cic^L

ii^Z.vV'^"Method in Literary Scholarship

"The historical situation in which

our formalism arose and was formed

was some what different from that of

western formalism. In Russia there was

no formed and consolidated idealist

school and method. Its place was taken

by i d e o l o g i c a l j o u r n a l i s m and

religious-philosophical criticism. This

free, Russian type of abstract thinking

could not, of course play the beneficial

role of restraining and intensifying its

opponent. The role idealism played in

relation to western formalism.

It was too easy to toss out as irrelevant

the esthetic formulations and critical

experiments of our self-styled thinkers.

The situation with regard to positivism

was no better. In Russia the place of

positivism was taken by a trivial and

flaccid eclecticism which lacked scholarly

substance and rigor. The positive tasks

accomplished by positivism. For West

European humanistic scholarship

teaching it restraint, discipline and the

weight of the empirical concrete fact -

were unaccomplished in Russia at the

time when the formalists appeared..

And so in neither esthetics nor

literary scholarship did our formalists find

genuinely strong opponents, the kind

with whom it would be beneficial

' " / ' ^nour ishment for a new scholarly

yf-* movement to struggle" l^ v l •.

M.M. Bakhtin & P.N. Medvedev - The formal method of literary scholarship, p.55^

{da)

c^Jl̂ C Ideological) L^iJy>Tjc

* • •

^/^l^ uTi y u J^l^ Positivism J^U^. -̂J'

(J t̂ JIJ-^ (J^ ̂ -̂ (ĵ i/̂ >̂ 9 i 4-Y ̂ Y ̂ '̂ ^^ "-̂

/-^/Lrrr^Uy.((/L!i^2.4/LrElecticism

(

-[Resurrection of the word] t/iXjf^ (i)

-t*/jK:^L:^Uqualitativev^i;c.l;r^Lrci/l> ( 0

The formal'Vt^cl'M.M. Bakhtin and P.N. Medvedev^j/LTi/)

_(^2_>^>l^(^uZlc^>U'j>(j:l!"method of literary scholarship

"The positive side of the formalists'

resurrection of the word" was mainly

their sharpened interests in the poet as

craftsman and in craftsmanship in

poetry.

It is true that the nihilistic-tone gets

in the way here too. In the first period,

the formalists would never have said" A

poet is a craftsman" but rather "A poet is

only a craftman". Nevertheless the

research into the phonetic (mainly

qualitative) structure of poetry, which had

begun with the symbolists. (A Belgi, V.

Briusov) was carried to a higher scholarly

level by the formalists. The external

design of the Artistic work (composition,

plot formation) had hardly been studied

in Russian literary scholarship. The

formalists were almost the first to make it

the subject of serious research.

Significant that in this research too the

a c c e n t was on n e g a t i o n and

depreciation.

It is necessary to note, however

that in the first period of its development

formalism was primarily concerned with

the qualitative analysis of the phonetic

composition of the Artistic work. ^

(Resurrection oi ^or6) ^Z'{j:^} Mc^ ^^

-1/Uo/v/y (^H-^ >i( ̂ :>bi) cT^li l>c^^ J.>i;

M.M. Bakhtin & P.N. Medvedev - The formal method of literary scholarship, p.63j^

Concept of ^ iXc t ' i / i ^Rene Weliek ^Jy^i/uyLi/'c;'

-^^Uovl^'c^Criticism

In Russia during the first world war,

a "society for the study of poetic

language" OPOJAZ was organized

which became the nucleus of the

Russian formalist movement. In its early

stages this group was pr imari ly

interested in the problem of poetic

language, which the members conceived

as a special language characterized by a

purposeful "deformation" of ordinary

speech by "organized v io lence"

committed against it. They studied

mainly the sound stratum of language -

vowel harmonies, consonant clusters,

rhyme, prose rhythm, and meter and

leaned heavily on the concept of the

phoneme, developed at first by De

saussure and the Geneva School, and

then by Russian linguists such as

Trubetskoy. They devised many

technical (even statistical) methods for

the study of a work of literature, which

they conceived, often mechanically, as a

sum of its devices. They were positivists

with a scient i f ic ideal of l i terary

scholarship. l_

ci'W Si d^jv Zl uS L/IP cî U^ \JiJ

^SJJH ^ Lf̂ vĵ / iff^lT^ f tZl 'OPOJAZ'

De k.^^^if',J:i^\^\^Y^t?^viLlO(i2^i_Geneva SchooL^iSaussure

^-t^U;-^yL/'^Trubetskoyi7^c.l;U(/vL;:l:

• • •

Concept of Criticism - Rene Weliek, p.350

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"The dominent may be defined as a

focusing component of a work of artist

rules determines and transform the

remaining components it is the dominent

which guarantees the integrity of the

structure".

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"The purpose of art is to import tine

sensation of tilings as tliey are perceived

and not as ttiey are known. The

technique of art is to make objects

'unfamiliar' to make forms difficult, to

increase the difficulty and lenght of

perception, because the process of

perception is an Aesthetic end in itself

and must be prolonged. Art is a way of

expressing the Art fulness of an object,

(11)

AAZU Jil±^ jj\ (^.lUnJ CAJLI^ ^ J J r.t^Li

the ob jec t is not i m p o r t a n t . "

(Shoklovisky's).

"Habitualization devours objects,

clothes, furniture, one's wife and the fear

of war. If all the complex lives of many

people go on, unconsciously, then such

lives are as if they had never been.

Art exists to help us recover the

sensation of life; it exists to make us feel

things. To make the stone stony the end

of art is to give sensation of the object as

seen, not as recognized. The technique

• \ l 7 i i Jilx^^jj\^Si^c:il^^jj ^ - ^ ^

of art is to make things "unfamiliar", t

)U /c^'^ S^ tr' (Routine) L J>-; 9>;^7

ll^l,(/j>'^^JjLv/'^"c^/'':tr^>f2£fc^y^yTristram Shandy

Defami l ia r ise / j ^v l^ jJ> /LraZ l / f^5vLr ( j ^^ l^Dy^(y^^JV

The palm of his right hand as he

fell upon the bed, receiving his forehead

and covering the greatest part of both his

eyes, gently sunk down with his head

(his elbow giving way backwards) till his

nose touched the quilt.

Shoklovlskey - Art as a technique j ^

(1A)

file:///l7ii

His left arm hung insensible over the

side of the bed, his knekles reclining

upon the handle of the chamber pot I,

Gulliver's ^y^ ' f /O^ tUG i^Tomashevsky^ ^

Thus criticism of the political system -

non-literary material is artistically

imotivated and fully invovled in the

narrative.

:^Df'Tomashovsky

At first this account seems to stress

the content of the new perception itself

('horror' at 'war' and class strife). But

infact it is the artistic transformation of

non-literary material, Defamiliarization

changes our response to the world but

only by submit t ing our habi tual

(^0

perception to the processes of literary

form". I

^^"y Jl^i^ (j:!: c/V-f-l-Zi-x^/tTij:! ciiZl/i^i^

L/I* Raman Selden - Contemporary literary theory i_

AlZu J^^ jj\ c5" i^ ^^^AH ( ^ J J ''•^^

Free) ̂ Viijfut 2^y^C '(j}^^ ^V^^^yMoXxWi'^^yO^cL, ^^ ^J^li

ji\Sji?tf

A bound motiff is one whicli is

required by the story while a 'free' motiff

is inessential from the point of view of

the story. However from the literary point

of view the free motiffs are potentially the

focus of Art. For e.g. the device of

having Raphael relate the war in Heaven

is a 'free' motiff because it is not part of

the story in question.

However it is formally more

important than the narration Artistically

into his over all plot. J,

* V

* • * •

UiiJ L t>f C/^I:^/J^-> ^t}^!. 4 / / c ^ ^ ^ y (3>f C î̂

:^^ii^\/Bj\>\{/uti:}/^^iL'Raman SeldenUMi/^-^

The theme of 'motivation' turned

out to be important in a summedup the

general literary theory. Jonathan Culler

summed up the general theme neatly

when he wrote: 'to assimilate or interpret

something is to bring it with in the modes

i.t:jy^Russian formalism - Raman Selden - Contemporary literary theory,p.13

(^r)

of order which culture makes available,

and this is usually done by talking about

it in a mode of discourse which a culture

takes as nature.

> ^ ^ i r ( J o n a t h a n C u l l e r ) / ^ ^

c//^Russian formalism - Roman Selden - Contemporary literary theory,p.13

r.cjLi • #

^ t 5 ^ C 5 ^ ^ ' . ^ ^ ' «* Ir (_̂ J-LUiJ OlJ lA J J 1

> »

Roman cT^'i^ij/ji:. J^ijj^j U^ti) [S^ 1^ Ui^/\ ^y^/j^C^

Sidney Mthron "Jy: uj^(j>^b/c/>/ ^^/Ji^£^:/.'// ^^ij.^^j^

( ^ ^ )

^LL/S/VyU^God Without Thunde r 'V^c l ' ^ i J ^^ r ^V^L^^

{S^^ftJliJhe New Criticism)i_Lric^LTsr:Ji(/((j:!J^X^U^^t^^^Zl

« •

jt \^k^ Î Spingarn ("i f'-^^J'^ O^^^ i-î twi [fl^ j^tj^ijj^^

\/l/Bj\J^iUt];\fi)i(jijtIndian Essays in American Literatureu^PO/^

"John Crowe Ransom is usually

credited with inventing the term, it's true

that Ransom popularized the term when

he published his "God without thunder"

in 1930 one of the basic text in New

Criticism - and later a book of that title in

1941. But here as else where the truism

that every inventor has a predecessor.

Spingarn Professor of Comparative

Literature at Columbia, as early as

1910". I

i , Sujit Mukherjee and Dr. K. Raghavachargulu - Indian Essays in American Literature, p.267

(God without thunder) ^ i X j ' 1 - (Ĵ r"*' ^ ^ • • *

• • • •

^ ^

- f - ^ w L ^ Criticism

"To have sensation in the presence

of a work of Art and to express them,

that is the function of criticism for the

impressionistic critic, His attitude he

would express some what in this fashion:

1 y^ 1 ^5 '§ 'Here is a beautiful poem, let us say

'Promethus unbound' To read it is for me

^/^ to experience a thrill of pleasure. My

\ •- ./delight in it is itself a judgement and V-

what better judgement is it possible for

me to give?

All that I can do is to tell how it affects

( ^ ^ )

me, what sensations it gives me, other

men will drive other sensations from it,

and expess them differently. They too

have the same right as I. Each of us if

we are sensitive to impressions and

express ourselves well, will produce a

new work of Art to replace the work

which gave us our sensations. That is

the Art of Cirticism, and beyond that

criticism cannot go" l^

Promethus ^^\i>̂ ^Xŷ cT^^^^/unbound

Charls I. Glickberg - American Literary Criticism, p.77 ^

jti/'^\Jj!:,\j}r^ /Harriet Monroei^^4 '^M' /^c i -^^ ' ' ' ^J^^L

Romanticism and ^O^oJ.E. Hulme's wii^tfiliiLU;!

a . ^ V ^ / ^ V i y ' ^ i ^ ^ ^ ^ j V ^ l ^ ^ ^ ' v ^ ' i ^ C l a s s i c i s m

^ i^ lnd ian Essay in American Literature^^(Jt^-UC(/(i^c^iit>

~c^\f\S\5'^^0iJ'-'^^^ Criticismcjy^

"Now the earliest to profound New

Criticism was not I.A. Riciiards as some

have supposed or his pupil William

Empson; not even Ransom as some

historians of criticism credit him with but

T.S. Eliot afact often ignored. It is here

that dates are important. Richards

"Principles of Criticism" appeared in

1924 E m p s o n ' s "Seven t ype of

Ambiguity" 1930 Ransom's "God Without

Thunder" in 1930; Allentate came even

later: he was Ransom's pupil. But Eliot

wrote one of his most seminal essays in

cr i t ic ism, "Tradit ions and Individual

talent" in 1917 with this and earlier, by

mean's of his poetry which he had

started writing as far as the adult world

recognizes, about 1909 T.S. Eliot sowed

the seeds of revolution in criticism and

poetry", t

Sujit Mukherjee and Dr. K. Raghavachargulu - (Edited) Indian Essays in

1 American Literature, p.270

( A . )

P r i n c i p l e s of "OL/^^-U^ (^'^J^-^-U^

Seven L T C / ^ ' J T ^ U - L ^ fHrr. ''Criticism

B}Ui^{JL{f{}y/jtf\jr^ types of ambiguity

^ c f V ^ 1 ^ God witinout thunder i ^ ^^v

c ; ? . ^ J / L > ^ ^ > 9j ̂ T j : ; ^ Z : . ^ ^( ^ 1

T r a d i t i o n and d^XLT^^J-U^^-IJ)

£.JL{?^^yf\^/^Ut,\^\nd\y\6ua\ Talent

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Ĵ uK̂ ^ 15/^-1^ ̂ ô û ̂ /iT^^^

(Al)

ji\

(/ciOji (i7(vi/c^'ST'yi/d'J LMy( / jA i^ i

J^yjLj^^^ fe^ .:^-^(/(lrony)> L J l /Jy^^y ^ ^ l y ^cTCTexture

(Ar)

/ /Jt^(^^^7^'( j :} j i :y(/ i^(Jr. |9n^rr j i^t^ bilt)

-^^(jv>yif'Southern Agarian Group

The World ^t ^ul( a!: u^'< j(jjz\/iii i^y^Ji l^ J\y^ J^Vj^^*

-^ ( fHn)The New Criticism(i/^^>/:>((fi9rA)Body

i i^if f i-Lr^ULf(/Oii/wfi^o^V/j/L^l, i / '^>LrKennth Brati

iJjc^Ui(jy(>u>Vi_-(/((j:!:(/^,^The World Body^lXJlj^v/'^u^

L^vy/t^iL^ (/(ĵ L^L/:̂ J / I ^ J V ^^^'-^k^li^'/J/^(Vlth Makers)

/ l> l f (4

^ (i/L^ cTk̂ i ( i / i ^^ j ^ ^ ^ / . ^ j/L^L/^i; j/L^^>t^(/^ H / ^ l:fC^(^ I r / J l ^ (^ £^U (/Hulmes f ^ y ) - ^ u/^^^ • • i t I ( *•

{S^.c^UiJ^J^U^^'^^iS^(^^U^(^e^ Criticism)^PU'

L. f^j{jt ( / ^ -^ uC^ l-Zl (j^^l^ (ijirj>c>c^^j/' Prospectus uXi{j:!: o ^ ^

Utja>iSYyo Winter Jl^ i / iy^^^l^^LC/^ir^UifeJl^^U-^^vlc^/

« ^ (/i^/jb7>5(/i±'Zl (Textu re)c.7i/(i/'iJ7^ L ^ J U J L

j : j ^UVi l2) i ( / ( -^(I j( jC^D>(i>/Vy^l>^L-c:-^^Textural(/^^

^ ^^ : ^> L T V / L / ^ ^^jj^i ^ J > / > - ^ / . / ^Ontology ( ^ J ^ ^ )

-.^l^^UL/a/lreat

(Ar)

T.S. Elliot

Pru^rock and "fi/'j^^D^/jijt ^s^J^j/^hii^jkULawd Faber

i^^/^J^'li(/'c/^'->^uL^''The Poems'(j:t/^i9H7i(''other observations

-i>f^The Wastland^j;>(/a(;liT

Ji f H H : , J > ? 5 L > ^ j i l ^ T h e four quarter^Li;>LrLri(j:! , \ ^

l^J/L^lT Norton Professorship(j:t^i9rr;j(f Hr r^L j^ i ^dJ^L^^ i^ j

Nobel )y'yJ^y/Lri(j:!fHrA^L/J^l^(^Harvard University;

"In Eliot we find the English version

of the Formalist, symbolist theories, Eliot-

defined the enormous change of poetic

taste in our time and asserted a return to

a tradition which he calls, classical.

Eliot's theory of poetry starts with a

psychology of poetic creation, poetry is

not the spontaneous overflow of

powerful feelings not the expression of

personality but is an impersional

organisation of feelings, which demands

a unified sensibility. Colloboration of

intellect and feeling in order to find the

precise.X

Rene Weliek - Concept of Criticism, p.354 ^

(A1)

-;:L. J^UcV(Objective Correlative)

• • • •

(AZ)

(^.Vuoj r i 'n.^ j j l - i iZu ^ ^ ^^j^j^l_J1X!1J|

c^ ^^^l-^j^ijij^^ (^Objective Correlative^/^^/a î -̂i-k'

c î (/̂ Lî ^ ^(/0:J| . j ^vy /^ cijiyij::: f i:?( ^7:51 J:?̂ Lr i^Oii ̂ T i i,;̂ ^

,L^Z^biFormalistiC/''>^Ui'^i/'

(AA)

-t^iLXL>

between the rational significance of the

words and its emotional or associational

impact - the refrential and the emotive

meanings." J,

^iTl/'yf.J'U-^Practical Criticism'>^**cK'V'^i/i/^'-^^^UtfT

Terry -i? iJ^ ̂ hh ^(/d'ff ^'Ac^'

"Literary theory an Introduction" w-lX^^i 9^\^i ^^l j'i Eagletons

"In his famous book "Practical

Criticism" (1929) the Cambridge Critic

I.A. Richards sought to demonstrate just

how whimscial and subjective literary

value - judgements could actually be by

giving his undergraduates a set of

poems, with holding from them, the titles

and authors, names and asking them to

evaluate them. The resulting judgements

notoriously were highly variable: time -

honoured poets were marked down and

obscure authors celebrated."/

Donald Heiney - Recent American Literature, p. ^ 7o ^

Terry Eagletons - Literary theory an introduction, p.13 ^

P r a c t i c a l V t X c t ' l^ W^ZJ - ^ ' - J "

"It should be borne in mind that the

knowledge which the men of A.D. 3000

will possess. If all goes well, may make

all our Aesthetics all our Psychology, all

our Modern Theory of value look pitiful."

\a Jijii^M^, O^^^^^iSc^ ̂ JiZjc^ij. ( /c. l>'^-Jl/ /J::%Lr

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d-,J

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- Z ^

^Hn, f fHTi^l^Hound and Hornc^»-5ji>'bUp^(j i>>7^ijyu>^

^ fHnyt^ iJ^^ I>^ ' 'The Kenyon ReV\e\N"oiJ\^J\^Jlji~[jjLii

-^>Jy>ti^(fi9rr_^Hri)"The Sewance Review'e^jii^^LTL^^^^Hrr

-LU'> (j:!: J ĵ5:y Princeton

Stone Wall ^LutJ^ol/tir-iJut^'U^^i^^j^^C^jS^jj^i

i ^ (/Iwli^^urLc^Gnn)Jefferson Davis (jy^^jv^iGi^rA)Jackson

t^/zy^J^rLi/L^JrUt^-^'TheFather^f-lYi/^Uy/^^

f i ^ Mr. Pope (0

i 3 - n Poems (r)

fHr:J The Mediterranean ( r )

f i ^ Selected Peoms ( r )

fHrr;,r^-.rA Poems (^)

^-ur(///l^i^c/^f^'^>^l-Lr'L^ci'>i:^Lriy

• • * • • * • • • • • • • I * *

The friends of literature have been

trying to justify it by showing it to be

something else. The poet inquires how

the work shall be done not why nor it is

what it is, and the critic like wise should

find what poets actually have done in

their time.

(̂ r)

* • •

jvC^vVo Miltonc:^U(i^vjL(ji:^i>^iy"Divine Comedy"p/i/(c^

^ l ^ t J : ^ ( ^ (3/(>c. (>%) ' ( j ; i ^ J l ^v i l J y l X / l ^ l / r ^ / Z c / l . / ^ i 22?

L/^^'(J^(y^Tradition and Individual TalenU^:^

i j ^ ^ w^Ji/ofC Emily Dickinson^ji Donne^/ l> J C T ^

^/vj(c^(i>Tension4((j:!:u>^I^Zlc:J(/^i:>>-^j^^,o^U(j:::(-^^

Poetic Product^isJtjti/'^^ fU ̂ c i O ^ ( / c ^ ; ' i l ^ ^ l-U f̂ />t^c^l^^^^

Tension in "^^o JOr ,:^jj>ijdj^iO^^^iSTension

\!^\j:\^4j^j:0^\})j\ji\\yu^c^,\Jji .123 wL(Jj/ii>(^y^"Poetry

^^L ZlTexturevj»c> L-Zl ̂ y - ^ L/(J^ ĉ U J ^ ^ l ^ ^ ^

^Intensionyi^^iiExtension

(^^)

/j\j: f^rz, ,Lv(j'iy>tl^Hound and Horns^ J r fi_9rr c^ fisrz,

fj^ The Double Agent (i)

f [ ^ The Expence of Greatness ( f )

-L^ ^JlHi Lectures in Criticism ( r )

• • • • V

- 1 ^ ty* !^ (J>cX /̂: t ^ . ^ JoJy^

(9A)

9i_2^^*Zl(J'̂ U'^^i^U'>L^^U'(ii^

yj>?^ci

of every trace of paradox: apparently the

truth which the poet utters can be

approached only in terms of paradox."

"It is a beauteous evening, calm

and free,

The holy time is quiet as a Nun

Breathless with adoration "

The poet is filled with worship, but the

girl who walks beside him is not

worshiping. The implication is that she

should respond to the holy time, and

become like the evening itself nun likes,

but she seems, less worhsipful than

inanimate nature itself yet.

"\f thou appear untouched by solemn

thought

Thy nature is not therefore less divine:

Thou liest in Abraham's bosom all the

year;

And worship'st at the Temples inner

shrine

God being with thee when we know it

not".

"The underlying paradox (of which

the enthusiastic render may well be

unconscious) is nevertheless thoroughly

necessary even for that reader, why

does the innocent worship more deeply

than the self conscious poet who walks

beside her. Because she is filled with an

unconscious sympathy for all of nature,

not merely the grandiose and solemn".

Close (/(i/l> 1, i / i / j /

J^^y^i/ l rony as a principle (^)^rq)^l7lt' i-^^>r/'^ii^^i/'

' " ' ' ' ' J j j | . l lZ l J ^Jili ( ^ ^ ^ 1 J - i ^ ^ l ^-^l^^>^*ct'/'^ Inclose Readings:}li^^i/i

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Cj/q) Russian formalism and Anglo

American, New Criticism

( r * ) T*̂ ® prison - House of Language; A

critical account of structuralism and

Russian formalism

Cf^A American Literary

(i) Criticism 1900-1950

(^Y) Concept of Criticism

/ • j ^ ^ \ Literary Theory an Introduction

(f^(y') Critics and Criticism

(ra) The Philosophy of Literary Form •

(\*"^') A Grammer of Motives

( f ^ ) A Retoric of Motives

( T A ) ^^^ Double Agent

Cr9) The Expense of Greatness

((v.) God without thunder

/"(vA The world's Criticism

(ff) The New Criticism

((^f^) The New Criticism

(^Cf*'^ The language of poetry

(f*'^) Reactionary Essays on Poetry

and Ideas

C(rvj") The New Criticism and

Scholarship

CP2,") Modern Poetry and Tradition

- Thompson, EM. - Mouton The Haque, 1971

- James, Fredric - Princeton University Press,

Princeton, NJ and London,

1972

Charles 1. Glicksberg - New York

- Hendricks House 1951

Rene Weliek

• Terry Eagieton

• R.S. Crone

• Kenneth Barke

Kenneth Burke

Kenneth Burke

Blackmur

Blackmur

Ransom

Ransom

Ransom

Spingarn

Allen Tate

Alien Tate

- Maya Blackwell

Doaba Publications 1983

- 1952

- Baton Rouge 1941

- New York 1945

- New York 1950

- New York 1935

- New York 1940

- New York 1930

- New York 1938

- New York 1941

- New York 1911

- Princeton 1942

- New York 1936

ed. by W.S. Kisicke - New York 1946

Backer

Cleanth Brooks - Chapel Hill 1939

(p'^) T.S. Elliot

C(vq") Principles of Literary Criticism - I.A. Richards 1942

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JIXJIIT

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