theoryofliteratu00inwell

342 Notes [pp. 253-259
11. Pepper's "contextualistic" criticism seems largely relevant here, for its
prime test is vividness, and its emphasis is on contemporary art as
most likely to meet the test: ". . . if the art of an earlier age appeals
to a later, it is often for other than the original reasons, so that . . .
critics are required in each age to register the aesthetic judgments of
that age." (Op. cit., p. 68.)
12. George Boas, A Primer for Critics, Baltimore, 1937, p. 1 36 and
passim.
13. T. S. Eliot, Use of Poetry, Cambridge, Mass., 1933, p. 153.
14. This is Pepper's "organistic criticism" (op. cit., esp. p. 79) classically
represented by Bosanquet's Three Lectures on Aesthetic, London,
1915.
15. We have already cited Eliot's dictum. Reference should be made to
the books of the English poet-critic, Lascelles Abercrombie, who has
published a Theory of Poetry and also an Idea of Great Poetry.
16. L. A. Reid, A Study in Aesthetics, London, 193 1, p. 225 ff., "Subject-
matter, Greatness, and the Problem of Standards."
17. T. M. Greene, The Arts and the Art of Criticism, Princeton, 1940,
pp. 374 ff., 461 ff.
18. Cf. particularly E. E. Stoll's "Milton a Romantic," From Shakespeare
to Joyce, New York, 1944, and M. Praz's The Romantic Agony,
London, 1933.
19. Eliot, op. cit., p. 96.
20. The whole subject of the novel (fictionality) in relation to human
experience is fascinating and difficult. Cf. Jacques Barzun, "Our Non-
Fiction Novelists," Atlantic Monthly, CLXXVIII (1946), pp. 129-
32, and J. E. Baker, "The Science of Man," College English, VI
(i945)> PP- 395-401.
21. Tate, Reason in Madness, New York, 194 1, pp. 11 4-6.
22. E. E. Kellett, The Whirligig of Taste, London, 1929, and Fashion in
Literature, London, 1 93 1 ; F. P. Chambers, Cycles of Taste, Cam-
bridge, Mass., 1928, and The History of Taste, New York, 1932;
Henri Peyre, Writers and their Critics: a Study of Misunderstanding,
Ithaca, 1944.
23. "Multivalence": cf. George Boas, A Primer for Critics, Baltimore,
1937.
24. F. Pottle, The Idiom of Poetry, Ithaca, 1 941 ; new ed., 1947.
25. The critics of the eighteenth century "were unable to explain the
virtues of the poetry of earlier periods, and, for that matter, of their
own period" (Cleanth Brooks, "The Poem as Organism," English In-
stitute Annual, ig^o, New York, 1941, p. 24).