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122 Theory of Literature characters and events. In the Brothers Karamazov, the four brothers are but carriers, symbols who represent an ideological debate which is, at the same time, a personal drama. The ideological conclusion is integral to the personal catastrophes of the main figures. But are these philosophical novels and poems, such as Goethe's Faust or Dostoevsky's Brothers , superior works of art because of their philosophical import? Must not we rather conclude that "philosophical truth" as such has no artistic value just as we argued that psychological or social truth has no artistic value as such? Philosophy, ideological content, in it proper context, seems to enhance artistic value because it corroborates several important artistic values: those of complexity and coherence. A theoretical insight may increase the artist's depth of penetration and scope of reach. But it need not be so. The artist will be hampered by too much ideology if it remains unassimilated. Croce has argued that the Divine Comedy consists of passages of poetry alternating with passages of rhymed theology and pseudo-science. 31 The second part of Faust indubitably suffers from overintellec- tualization, is constantly on the verge of overt allegory j and in Dostoevsky we frequently feel the discrepancy between the artistic success and the weight of thought. Zossima, Dostoevsky's spokesman, is a less vividly realized character than Ivan Karama- zov. On a lower level, Thomas Mann's Magic Mountain il- lustrates the same contradiction: the early parts, with their evo- cation of the sanatorium world, are artistically superior to the later parts of large philosophical pretensions. Sometimes, in the history of literature, however, there are cases, confessedly rare, when ideas incandesce, when figures and scenes not merely represent but actually embody ideas, when some identification of philosophy and art seems to take place. Image becomes concept and concept image. But are these necessarily the summits of art, as many philosophically inclined critics assume them to be? Croce seems right arguing, in a discussion of the second part of Faust, that "when poetry becomes superior in this manner, that is to say, superior to itself, it loses rank as poetry, and should be termed rather inferior, namely wanting in poetry." 32 At least, it should be granted that philosophical poetry, however integrated, is only one kind of poetry, and that its position is not necessarily
Literature and Ideas 123 central in literature unless one holds to a theory of poetry which is revelatory, essentially mystical. Poetry is not substitute-philosophy j it has its own justification and aim. Poetry of ideas is like other poetry, not to be judged by the value of the material but by its degree of integration and artistic intensity.
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Theory of Literature
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THEORY OF LITERATURE By RENE WELLEK
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Preface The naming of this book has
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Prejace vii Warren for their readin
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x Contents XIV. Style and Stylistic
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CHAPTER I Literature and Literary S
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Literature and Literary Study 5 We
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Literature and Literary Study 7 emp
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CHAPTER II The Nature of "Literatur
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The Nature of Literature 1 of disco
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The Nature of Literature 1 element
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The Nature of Literature 1 stress o
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The Nature of Literature I J one si
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CHAPTER III The Function of Literat
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The Function of Literature 2 or "in
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The Function of Literature 23 there
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The Function of Literature 25 a "li
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The Function of Literature 27 gion,
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CHAPTER IV Literary Theory, Critici
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Literary Theory, Critic'ism y and H
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Literary Theory } Criticism, and Hi
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Literary Theory , Criticism, and Hi
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Literary Theory, Criticism, and His
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General, Comfarative } and National
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General, Comfarativey and National
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General, Comfarative y and National
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Generaly Comparative, and National
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CHAPTER VI The Ordering- and Establ
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The Ordering and Establishing of Ev
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Ill The Extrinsic Approach to the S
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66 Theory of Literature social, and
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68 Theory of Literature problems of
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70 Theory of Literature chronology
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Page 90 and 91: 7 6 Theory of Literature view that
Page 92 and 93: 78 Theory of Literature specificall
Page 94 and 95: 80 Theory of Literature ception, wh
Page 96 and 97: 82 Theory of Literature vernal. Dr.
Page 98 and 99: 84 Theory of Literature guage, or r
Page 100 and 101: 86 Theory of Literature nate the cr
Page 102 and 103: 88 Theory oj Literature Bloom is li
Page 104 and 105: 90 Theory of Literature also have t
Page 106 and 107: 92 Theory of Literature vious examp
Page 108 and 109: 94 Theory of Literature kings like
Page 110 and 111: ^6 Theory of Literature of the arts
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Page 118 and 119: 1 04 Theory of Literature humanity,
Page 120 and 121: 1 06 Theory of Literature cannot be
Page 122 and 123: io8 Theory oj Literature natural be
Page 124 and 125: no Theory of Literature Stoicism. W
Page 126 and 127: 112 Theory of Literature even, as i
Page 128 and 129: 114 Theory of Literature French Rel
Page 130 and 131: 1 1 6 Theory of Literature Morike,
Page 132 and 133: 1 1 8 Theory of Literature forget t
Page 134 and 135: 120 Theory of Literature Romantic m
Page 138 and 139: CHAPTER XI Literature and the Other
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Page 142 and 143: 128 Theory of Literature precepts a
Page 144 and 145: 130 Theory of Literature well as st
Page 146 and 147: 132 Theory of Literature selves the
Page 148 and 149: 134 Theory of Literature Wolfflin's
Page 151: IV The Intrinsic Study of Literatur
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Page 156 and 157: 142 Theory of Literature the groove
Page 158 and 159: 144 Theory of Literature ing of the
Page 160 and 161: 146 Theory of Literature poem is th
Page 162 and 163: 148 Theory of Literature The poem,
Page 164 and 165: 150 Theory of Literature jective ex
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Page 170 and 171: 156 Theory of Literature because it
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Page 174 and 175: 160 Theory of Literature reader. In
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Page 178 and 179: 164 Theory of Literature the import
Page 180 and 181: 1 66 Theory of Literature pletely u
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Page 184 and 185: 170 Theory of Literature adequate i
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172 A line like Theory of Literatur
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174 Theory of Literature pulse, so
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176 Theory of Literature clause. 48
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178 Theory of Literature stant good
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180 Theory of Literature as a docum
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1 82 Theory of Literature sociated
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184 Theory of Literature its lingui
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1 86 Theory of Literature stylistic
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1 88 Theory of Literature start wit
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CHAPTER XV Image, Metaphor, Symbol,
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192 • Theory of Literature "image
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194 Theory of Literature and persis
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196 Theory 0} Literature wider sens
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198 Theory of Literature ficially.
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200 Theory of Literature Devotional
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202 Theory of Literature bold and "
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204 Theory of Literature expression
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206 Theory of Literature of imagina
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208 Theory of Literature Samuel Dan
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210 Theory of Literature and sensuo
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212 Theory of Literature they run c
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214 Theory of Literature constantly
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216 Theory of Literature expresses
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2 1 8 Theory of Literature Like met
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220 Theory of Literature manent sug
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222 Theory of Literature cific sexu
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224 Theory of Literature reproducti
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226 Theory of Literature narrative
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228 Theory of Literature There is o
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230 Theory of Literature Hardy's Eg
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232 Theory of Literature management
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234 Theory of Literature makes it t
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236 Theory of Literature experience
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238 Theory of Literature singular,
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240 Theory of Literature Neo-Classi
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242 Theory of Literature literary p
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244 Theory of Literature "rules" ar
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— 246 Theory of Literature them i
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CHAPTER XVIII Evaluation It is conv
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250 Theory of Literature plicated d
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252 Theory of Literature greatness
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254 Theory of Literature gradually.
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256 Theory of Literature harmonies,
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258 Theory of Literature classics w
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260 Theory of Literature liamson 26
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262 Theory of Literature (which in
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264 Theory of Literature literature
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266 Theory of Literature one could
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268 Theory of Literature birth of t
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270 Theory of Literature but studyi
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272 Theory of Literature trace its
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274 Theory of Literature intuitivel
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276 Theory of Literature scholarshi
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278 Theory of Literature which expa
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280 Theory of Literature simply the
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282 Theory of Literature gaps in th
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CHAPTER XX The Study of Literature
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The Study of Literature in the Grad
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The Study of Literature In the Grad
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Notes CHAPTER I Literature and Lite
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ff. 16-25] Notes 301 7. Theodor A.
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ff. 32-39] Notes 303 6. E.g., in Li
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ff. 42-50] Notes 305 16. Jan Machal
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ft- 53S9] Notes 307 1942, pp. 129-5
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pp. 6i-*J3\ Notes 309 ticity of Hro
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ff. 78-80] Notes 311 fiir Asthetik,
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ff. 86-92] Notes 313 22. Cf. James
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ff. 97-102] Notes 315 Rose F. Egan,
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pp. 104-108] Notes 317 and the Rise
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ff. 1 1 3-1 1 6] Notes 319 fiir Lit
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pp. 125-132] Notes 321 8. W. G. How
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fp. 140-157] Notes 323 8. The writi
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ff. 164-168] Notes 325 allgemeine L
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ft- I 73- I 8°] Notes 327 44. Jan
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fp. 187-190] Notes 329 Geiste neuer
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ff. ig^-igg~\ Notes 331 the metapho
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ff. 208-211] Notes 333 tenor and th
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pp. 216-225] Notes 335 and choice o
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ff. 228-235} Notes 337 20. Dibelius
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ff. 238-243] Notes 339 14. On the o
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pp. 249-253] Notes 341 mining what
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ff. 260-264] Notes 343 26. "Dr. Joh
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ft- 2 73~2 ^ 1 ] Notes 345 lection
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Bibliography CHAPTER I Literature a
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Bibliografhy 349 Ingarden, Roman, D
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Bibliography 351 chapter v National
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II. BIBLIOGRAPHY Bibliography 353 G
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Bibliografhy 355 CHAPTER VIII Liter
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Bibliography 357 Vaughan, Wayland F
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Bibliography 359 CHAPTER IX Literat
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Bibliography 361 Lifshitz, Mikhail,
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Bibliografhy 363 Read, Herbert, "Pa
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Bibliography 365 Vachek, Josef, "Se
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Bibliografhy 367 Chapin, Elsa, and
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Bibliography 369 Eikhenbaum, Boris,
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Raleigh, Sir Walter, Style, London,
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Bibliography 373 V. STYLISTICS OF I
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Bibliography 375 Hinks, Roger, Myth
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Bibltografhy 377 Lukacs, Georg, Die
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Bibliografhy 379 Petsch, Robert, We
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Bibliography 381 Fife, R. H., "The
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Bibliografhy 383 Kautzsch, Rudolf,
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Btbliografthy 385 Schultz, Franz, D
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Bibliografhy 387 Ransom, John Crowe
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39° Bennett, Arnold, 99 Bentley, E
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392 Dahlke, H. Otto, 316 Dallas, E.
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394 Grattan, J. H., 306 Gray, Thoma
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396 Kohler, Wolfgang, 164, 324. Kon
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398 National Spirit, 29 Natural Sci
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400 Rosenberg', Harold, 334 Rosenbl
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402 Taine, Hippolyte, 101, 264, 293
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Date Due Due Returned Due Returned
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