Paper no:- 03 literary theory and criticism

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DEPARTMENT OF ENGLISH

(Maharaja Krishnakumarsinhji Bhavnagar University)

Name :-         chintavan n bhungani

Semester:-      M.A SEM 1

Roll no:-         06

Paper no:-   03 literary  theory and criticism

Enrollment no:-   PG15101006

Email id:-  cnbhungani7484@gmail.com

Bloge id:-  chintavanbhungani201517.blog.spot.com

Topic:-  criticism and its terms.   

Introduction.

                  

The term is applied to a number of works in drama and prosefictionwhich have in common the sense that the humanconditionisessentially absurd, and that this condition can be adequatelyrepresentedonly in works of literature that are themselves absurd. So here we discuss various terms or types of criticism

 Criticism means……

       “Criticism is a branch of study concerned with defining,

        Classifying, expounding and evaluating work of literature”.

                                  

      Types of Criticism.

Criticism, or more specifically literary criticism, is the overall term for studies concerned with defining, classifying, analyzing, interpreting, and50 CRITICISM

Evaluating works of literature. Theoretical criticism proposes an explicit theory of literature, in the sense of general principles, together with a set of terms, distinctions, and categories, to be applied to identifying and analyzing works of literature, as well as the criteria (the standards, or norms) by which these works and their writers are to be evaluated.

          There are many types of criticism like…

·        Practical Criticism or Applied Criticism.

                         Practical Criticism or Applied Criticism concerns itself with the discussion of particular works and writers.

For Example….

Among the more influential work of Applied criticism In England and America are the literary essay of Dryden in the Restoration.

                                                                                                    ‘Lives of the Poet’.

.Impressionistic Criticism. 

Impressionistic Criticism means personal impression. Impressionistic Criticism attempts to represent in words the felt qualities of a particular work and to express the attitude and feelingfulresponses, the impression, which the work directly evokes from the critic.

For Example…. 

     On William Hazlitt put it in his essay…   “On Genius and Common Sense”.

·        Judicial Criticism. 

Judicial Criticism on the other hand not merely to communicate but to analyzed and explains the effect of a work by reference to its subject.

1).Pragmatic Criticism.

        Pragmatic criticism is concerned first leading, with ethical impact any literary text has upon an audience. Itbelieve that art. The works as something which is constructed in order to achieve certain effect on the audience.

2).Expressive Criticism.

        Expressive criticism treats a literary work primarily in relation to the author .It defined poetry as an e expressive or overflow, or utterance of feelings recollected in tranquility is taken as the ground idea of the expressive theory of art.

3).Objective Criticism.

        Objective Criticism approaches the work as something which stands free from poet ,audience ,and the environment world .It describes the literary products a self enough object or as a analyzed and as difficulty ,coherence in terrify and the interrelation of it’s part element.

4).Mimetic Criticism.

        ‘Mimetic’ is derived from the Greek word ‘Imitation’.’Mimetic’ means creative copy.Mimetic criticism views the literary work as an imitation or reflection or representation of the world and human life and the primarily criterion applied to a work is that of the ‘truth’ of its representation to the subjects it representation, or should represents.

·        Plot:-

The order of a unified plot, Aristotle pointed out, is a continuous sequence of beginning, middle, and end. The beginning initiates the main action in a way which makes us look forward to something more; the middle presumes what has gone before and requires something to follow; and theendfollows from what has gone before but requires nothing more; we feel satisfied that the plot is complete. The structural beginning (sometimes also called the "initiating action," or "point of attack") need not be the initial stage of the action that is brought to a climax in the narrative or play. The epic, for example, plunges in medias res, "in the middle of things" (see epic),many short stories begin at the point of the climax itself, and the writer of drama often captures our attention in the opening scene with a representative incident, related to and closely preceding the event which precipitates the central situation or conflict. Thus Shakespeare's Romeo and Juliet opens with street fight between the servants of two great houses, and his Hamlet with the apparition of a ghost; the exposition of essential prior matters—the feud betweentheCapulets and Montague’s, or the posture of affairs in the Royal House of Denmark—Shakespeare weaves rapidly and skillfully into the dialogue of these startling initial scenes. In the novel, the modern drama, and especially the motion picture, such exposition is sometimes managed by flashbacks: interpolated narratives or scenes (often justified, or naturalized, as a memory, a reverie, or a confession by one of the characters) which represent events that happened before the time at which the work opened. Arthur Miller’s play Death of a Salesman (1949) and Ingmar Bergman's film Wild Strawberries make persistent and skillful

Use of this device.  So it’s a style of plot in any form of literature.

·        THREE UNITIES-TIME PLACE AND ACTION:-

In large part because of the potent example of Shakespeare, many of whose plays represent frequent changes of place and the passage of many years, the unities of place and time never dominated English neoclassicism as they did criticism in Italy and France. A final blow was the famous attack against them, and against the principle of dramatic verisimilitude on which they were based, in Samuel Johnsons "Preface to Shakespeare" (1765). Since then in England, the unities of place and time (as distinguished from the unity of action) have been regarded as entirely optional devices, available to the playwright to achieve special effects of dramatic concentration.— On the assumption that verisimilitude—the achievement of an illusion of reality in the audience of a stage play—requires that the action represented by a play approximate the actual conditions of the staging of the play, they imposed the requirement of the "unity of place” (that the action represented be limited to a single location) and the requirement of the "unity of time" (that the time represented be limited to the two or three hours it takes to act the play, or at most to a single day of either twelve or twenty-four hours).—In the sixteenth and seventeenth centuries, critics of the drama in Italy and France added to Aristotle’s unity of action, which he describes in his Poetics, two other unities, to constitute one of the rules of drama known as "the three unities."

·        TRAGEDY

  When flexibly managed, however, Aristotle’s discussions apply in some part to many tragic plots, and his analytic concepts serve as a suggestive starting point for identifying the differentiae of various non- Aristotelian modes of tragic construction.— In the subsequent two thousand years and more, many new and artistically effective types of serious plots ending in a catastrophe have been developed—types that Aristotle had no way of foreseeing. The many attempts to stretch Aristotle’s analysis to apply to later tragic forms serve merely to blur his critical categories and to obscure important differences among diverse types of plays, all of which have proved to be dramatically effective.— Aristotle based his theory on induction from the only examples available to him, the tragedies of Greek dramatists such as Aeschylus, Sophocles, and Euripides.— More precise and detailed discussions of the tragic form properly begin—although they should not end—with Aristotle‘s classic analysis in the Poetics (fourth century B.C.).— The term is broadly applied to literary, and especially to dramatic, representations of serious actions which eventuate in a disastrous conclusion for the protagonist (the chief character).

·        Chorus

Among the ancient Greeks the chorus was a group of people, wearing masks, which sang or chanted verses while performing dancelike maneuver sat religious festivals. A similar chorus played a part in Greek tragedies, where (in the plays of Aeschylus and Sophocles) they served mainly as commentator son the dramatic actions and events who expressed traditional36 CHRONICLE PLAYS moral, religious, and social attitudes; beginning with Euripides, however, the chorus assumed primarily a lyrical function. The Greek ode, as developed by Pindar, was also chanted by a chorus; see ode. Roman playwrights such as Seneca took over the chorus from the Greeks, and in the mid-sixteenth century some English dramatists (for example, Norton and Sackville in Gorbuduc) imitated the Seneca chorus. The classical type of chorus was never widely adopted by English dramatic writers. John Milton, however, included a chorus in Samson Agonists (1671), Shelley in Prometheus

Unbound (1820), and Thomas Hardy in The Dynasts (1904-08); more recently. S. Eliot made effective use of the classical chorus in his religious tragedy Murder in the Cathedral (1935). The use of a chorus of singers and dancers survives also in opera and in musical comedies. For the alternative use of the term "chorus" to signify a recurrent stanza in a song, see refrain. Refer to A. W. Pickard-Cambridge, Dithyramb, Tragedy and Comedy (1927), and the Dramatic Festivals of Athens  

      Conclusion

          In short, Criticism means ‘To Analyze’, ‘To criticize ’, and ‘To Judge ’.various types of criticism performed different way. And critics who imagine his own different thing from writer are called criticism.

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