Romantic or Classical

Matthew Arnolds The Function of Criticism at the re subject Time is a criticism in itself of what great literary guileists could pose done and what literary productions could have hold up. In depth, Arnolds kick the bucket discusses his decisive and personal purviews on the role of criticism in consequentially reading non still publications muchover also the landscape of society positively and occasionively as well.Furthermore, Arnold sought to streng hence his arguments on the matter and present a rebuttal of the heterogeneous criticisms adorn forth against his ideas and points of view, and prove that criticisms argon of great importance in fuelling creativity and promote the advancement of books. However, Arnold implicitly distinguished differences in the midst of the positive and constructive types of criticism as comp bed to the off-putting and unconstructive disposition of or so criticism.Arnold argued that a critic whitethorn with return seize an occasi on for trying his own conscience, and for asking himself of what real service, at any given moment, the practice of criticism either is or may be made to his own mind and spirit, and to the minds and spirits of others. (pp. 414) Arnolds arguments on the ideal nature of critics formulated his perspectives on how and when criticisms may be considered valuable.Under the pretexts of Arnolds arguments, we realize that unless criticisms are aimed towards the greater good that is, to present censures and critiques for the purpose of fuelling creativity, fostering change and advancement, and ultimately to affect a change that would positively and constructively change the lives of slice and the landscape of society they are deemed ineffectual or inadequate. Arnold also discussed creativity under the context of developing literature.Arnold give tongue to, It is undeniable that the rehearse of a creative power, that a free creative activity, is the highest function of hu p artistry e xistence it is proved to be so by mans conclusion in it his true happiness. (pp. 414) The multifaceted structure of the human mind allows man to express creativity in so many ways and ca-ca assorted outcomes out of it, such as the expression of creativity through and through developing criticisms and then consequently formulating good literature.The excerpt from Arnolds bouquet and Light, he explored the kinetics of glossiness based on the motivations that constitute a p inventionwork of its bases or foundations. Arnold said, Culture is then properly described non as having its origin in curiosity, but as having its origin in the love of perfection it is a study of perfection. It moves by the force but also of the moral and social passion for doing good. (pp.427-248) Since Arnold has framed the origins of culture non on mere curiosity, but on mans hope to seek and create perfection, he said that culture then serves a greater purpose to creative positive and constructive change, accomplish human needs, and foster the convalescence of human nature. By and large, the arguments of Arnold meet the standards and dynamics of amative esthetics and poetry. Based on Welleks discussions on the Classical and quixotic movements, holy poetry was defined as poetry for the dead composition amatory poetry was defined as poetry for the living. (pp. 259) The primary difference mingled with the Classical and Romantic movements that set the short letter between the nature of classical and romantic poetry lies in the major themes that constitute the dynamics of each style. Wellek said, Ancient religion and the life are past and gone, and and so classical, enchantment for instance, America, discovered in juvenile times, is romantic. (pp. 260) Since Arnolds perspectives and arguments were related to the culture of the present time, the society, and expansion of human nature, his views on poetry are romantic in nature.2. Abrams Theories of Art Abrams theories o n guile were primarily secure to the recentist perspective of criticism. In the discussion on the Orientation of Critical Theories, which were attributed to device, the modernist perspective of believe, realizing the significance, and interpreting art focused on a single perspective, and that is of the artificer, and not on the many factors that exist in arts orthogonal environment that contribute criticism and interpretations to it.The aesthetic opening, as Abrams defined, displays its full evaluate of rhetoric and logomachy which seem and inseparable part of mans dissertate some all things that really matter Its aim, however, is not to establish correlations between facts which will enable us to predict the future by write to the past, but to establish principles enabling us to reassert, order, and clarify our interpretation and estimate of the aesthetic facts themselves. (pp.2) Abrams definition of the aesthetic opening of viewing art leads us to understand that i nterpreting and labeling meanings on pieces of art should be based on established principles of aesthetics. On the other hand, the critical theory of viewing art has its own kind of validity Such a criterion will, of course, justify not one, but a number of valid theories, all in their several ways of self-consistent, applicable, and relatively adequate to the range of aesthetic phenomena. (pp.3) If the aesthetic theory of poetry lies in the principles and nature of aesthetics as seen on the perspective of the artist, the critical theory of viewing art is dependent on the existence of standards and decisive factors, which literally and actually define the features that touch on up art and the pennants that define aesthetics. Another theory of art criticism discussed by Abrams is the view of art within four elements or coordinates the universe, the work, the artist, and the audience.In this theory, the interpretations of art are oriented in the perspectives of one of the factors w ithin the outer environment of art. The pragmatical theory, as opposed to the aesthetic and critical theories of viewing art sees art as a vehicle for the artists accomplishment of a higher goal or objective. Art, in this case, becomes a tool utilised to achieve something meaningful to the artist, or even the factors that constitute arts external environment.If the pragmatic theory sees art as an instrument to do something, the expressive theory on the other hand, sees art as a vehicle to express the artists thoughts and emotions. Art, in this case, is personal that results from the artists thoughts and emotion translated to a concrete piece of art. Another theory defined by Abrams is the objective theory of viewing art. This particular theory focuses on the facts and standards of art.The act of viewing art is by looking at the art in itself, and not considering the thoughts and perspectives contributed by the factors real in its external environment. Art, in this case, is seen a nd interpreted as is. Based on the definitions of Abrams of the different theories of viewing art, Eliots poetry subscribes the orientation of perspectives and interpretations of art to the four factors elements of coordinates of art, specifically the perspectives and interpretations of the audience, while Hulmes poetry subscribes to the expressive and pragmatic theories of art criticism.Eliot himself defined the views and perspectives of art as something that should be personal and experienced by the audience, that is because the audience fuck the poetry and not because the audience acquired the scholarship to appreciate art. (Scofield, pp. 1) Hulmes poetry, on the other hand, was defined as an instrument to express language that is real, bear on or appealing to human emotions. (Comentale & Gasiorek, pp. 98) 3. Abrams Theories in Virginia Woolfs neo FictionVirginia Woolfs current Fiction is an exploration of the features of art and literature from the past until present time, w hich sets apart classical art and literature and the modern representations of art and literature. Woolf discussed the two arguments on the difference between the concrete art and literature materials that constitute the classical and modernist perspectives, but ultimately admired the constraint yet timelessness of classical whole kit on art and literature.Woolf said, that the plant life of classical artists or writers certainly have a strange broadcast of simplicity but were representations of accomplishments that we can scarcely refrain from whispering that the scramble was not so fierce for them as for us considering the complexity and the demands of musical composition in our modern world. (Woolf) Certainly, there is something about the features of the classical perspectives on art and literature that allow them to withstand the passage of time and modernity, that is the flesh of their work has a living, breathing, everyday imperfection which bids us take liberties with it we choose. (Woolf) Woolf continues to set the distinction between the classical and modern literature in order to construct the framework of the foundations of modern literature that makes it incomparable to the eminence and distinction awarded to classical humanistic discipline and literature. However, Woolf ascertained one thing, and that is, the dynamics and position of modern literature is still uncertain as compared to the solid standing of classical literature.After all, Woolf said, We only know that certain gratitudes and hostilities inspire us, that certain paths seem to lead to strong land, others to the dust and the desert, and of this perhaps it may be worthwhile to attempt some account. (Modern Fiction) By this, Woolf meant that art and literature is something unprompted and natural, which are borne out of the creativity of artists or literary writers. At this point, the foundations of modern literature have been presented as something that is compliant and accommoda ting to the artist or literary writer.While on the other hand, classical art and literature remains as forceful and influential because it talks about the realities of life. This feature or feature film of classical art and literature seem to blur the standing or position of modern art and literature because its dynamics cannot be contained in a single word of definition due to its compliance to various factors, and that is on the varying perspectives of modern artists and writers. Woolf said, this may be, the problem before the novelist at present, as we suppose it to have been in the past, is to contrive means of being free to set down what he chooses.He has to have the courage to evidence that what interests him is not longer this but that out of that alone must he construct his work. (Modern Fiction) In simpler terms, the desire and inclination of modern artists and literary writers to present something that deviates from established classical arts and literature become the p roblems and difficulties that challenge their courage and capability to present artistic and literary works set against the backdrop of our modern world.Based on the thoughts and points of view discussed by Woolf in Modern Fiction, we realize that it subscribes to the expressive theory and the coordinates of art criticism, specifically on the varying perspectives of art and literature from the viewpoint of the artist, the audience, and society or the world. Woolf has comprehensively discussed how modern literature constitutes the individual and unique expression of the artist or the writer, according to his personal perspectives and interest that deviate from established standards from the classical movement.4. modernness The emergence of modernism as a trend in arts and literature, which consequently influenced the changes in the cultural and aesthetic identities in the West, was as Lewis put it, has been gradual and imperceptible. (De Descriptione Temporum) However, as a means t o discuss how the world has utterly witnessed the blood of modernist perspectives, Lewis explored the confederation between the Medieval and Renaissance movements that have brought about changes in the culture and aesthetic identities of society as a whole.Lewis said that although the force and influence of modernism was unnoticed by many, it may be felt or realized by contrasting societys culture and aesthetic identities with the culture and aesthetic identities of the past. Lewis continues to reiterate that the changes and transformations that we see at present time were borne out of the continuous evolution of the past. Therefore, it was safe for Lewis to record that our culture and aesthetic identities at present time were a fusion between the Medieval and Renaissance movements that evolved and continually changed through the passage of time.As Lewis said, secret code is quite new it was always somehow anticipated or wide-awake for. (De Descriptione Temporum) From Lewis d iscussions, we understand that between the periods of time as defined by the author, that is in a metaphorical sense Between Jane Austen and us, but not between her and Shakespeare, Chaucer, Alfred, Virgil, or the Pharaohs, comes the birth of the machines. (De Descriptione Temporum) I believe that beyond Lewis thoughts and perspectives on the matter, the intractable creativity and conscious and curious nature of human beings have more and more influenced the shift in the culture and aesthetic identity in the West. In Scotts book Refiguring Modernism Postmodern Feminist Readings of Woolf, West, and Barnes, the authors definition of modernism was similar to Lewis discussions on how the continuous evolution of culture and aesthetic identities through the passage of time have been the precursor to modernism.According to Scott, the inception of modernism is similar to a spider web. The spiders actions of repeatedly attaching, launching out into the unknown, and landing for the next anc horing point suggests agency, poly valence, and the ability to make selective use of existing structures, or to seek new ones not all of them man-made. (Scott, pp. xv) What Scott meant was that growth and development is a natural part of life. art object is continually learning, which consequently influences the introduction of new theories and ideas that are integrated into mans way of life and nature.Therefore, the changes in culture and aesthetic identities are brought about the desire of man to make something more out of art and his creativity. This same inclination of human nature to change and look to transform culture and aesthetic identities have been the same reason for the formation of different periods in time, from the Medieval to the Renaissance in the West, and so on. Lewis said, our assumption that everything is probationary and soon to be superseded, that the attainment of goods we have never yet had, sooner than the defence and conservation of those we have alre ady, is the cardinal business of life. (De Descriptione Temporum) The transformation of the oldish Western Culture and aesthetic identities during that period of time to modernism, may then be defined as a fusion of mans desire to reveal or express change that is meant to overpower the existing cultural, social, and political landscape of society during that time to develop a more progressive and vanguard culture and aesthetic identity that sets itself as a better society than the past.Works Cited Comentale, Edward P. & Gasiorek, Andrzej. T. E. Hulme and the Question of Modernism. Ashgate Publishing, Ltd. , 2006. Lewis, C. S. De Descriptione Temporum, an Inaugural Lecture from The Chair of medieval and Renaissance Literature in Cambridge University, 1954. In C. S. Lewis, They Asked for a Paper. London, Geoffrey Bles, 1962, pp. 9-25. Retrieved from The University of Cincinnati. 06 May 2009. Scofield, Martin. T. S. Eliot The Poems. Cambridge University Press, 1988. Scott, beautifu l Kim. Refiguring Modernism Postmodern Feminist Readings of Woolf, West, and Barnes. Indiana University Press, 1995. Wellek, Rene. A History of Modern Criticism 1750-1950. CUP Archive, 1981. Woolf, Virginia. (2004). Modern Fiction. Retrieved from emailprotected 06 May 2009.