The Critic by Juhi Rubaba Jurana Jahan

Submitted by: Juhi Rubaba Jurana Jahan (201013070) Course: ENG 2203: Literary Criticism Term: Summer 2022 Department of English and Humanities (DEH), University of Liberal Arts Bangladesh

Submitted by: Juhi Rubaba Jurana Jahan (201013070)
Course: ENG 2203: Literary Criticism
Term: Summer 2022
Department of English and Humanities (DEH), University of Liberal Arts Bangladesh

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Apology for








of T.S. Elliot


Artists' Area

Coleridge Speaks Out


he tension arises as Samuel Taylor Coleridge

criticizes William Wordsworth on his creation

“Preface to Lyrical Ballads” in the newly released

essay “Biographia Literaria”. Coleridge hinted his

great dissatisfaction with preface that contains

totally different perceptions from him. Coleridge

mentions, Although the preface was supposedly a

collaboration, Wordsworth was not at all respectful

about Coleridge's opinion.

Friday, 8 September 2022

In “Preface to Lyrical Ballads”, Wordsworth has

indicated his appreciation for “rustic language”. He

states that it is not necessary to use ornamental

features and complex structures in order to create

good poetry. Finding beauty in natural or ordinary

aspects of poetry is something that he prefers more

than anything. This perception quite differs from

Coleridge’s as he gave importance to high and

supernatural thoughts accessed via imagination in

“Biographia Literaria”. Coleridge

also mentions that Wordsworth's

certain quality is that he is able to synthesize

naturalistic imagery and spiritual depth. However, the

depth is only admissible when one gives importance to

higher thoughts. Wordsworth attempts to unite the

concept of prose and poetry which is also criticized by

Coleridge as he draws a clear distinction between

these two. Coleridge clarifies that poetry is a metrical

composition. For the Romantic imagination, the

"Biographia Literaria" provides a crucial foundation.

Page 02



We have sat for an interview with the promising critic Thomas Stearns Eliot to find out his

thoughts about the aspects of poetry .This is where he introduces his unique perception to

us about the prospects of poetry.

" P O E T S A R E N O T I N S T R U C T E D

T O S I M P L Y I M I T A T E P O E T R Y . "

What do you think of the practice of


I think tradition should be positively discouraged.

it is better to be original and create something new

rather than repetition. The concept of tradition is

something that can not be passed down to

generations but it is something one must work

hard for to achieve it. It is a matter of great labor.

It is an objective matter and is connected to

historical sense.

What is the definition of tradition according

to you?

The meaning of tradition goes beyond the surface.

it is not what people generally mean when talking

in literature. Tradition can be somewhat

paradoxical because it is both what is timeless and

what is not. The pastness of the past is not only

should be prioritized but also its presence.

Can you tell us more about your preference

about impersonality?

More than personality it is important that one give

importance to impersonality which means when a

poet spontaneously chooses not to refer to his or

her personality in the poetry. Poetry is an escape

from personality not expression of personality.

How are past and present relevant in poetry?

Is not it questionable that the concept;

Tradition is somewhat related to


Poets are not instructed to simply imitate poetry.

Like I have said, poetry should be done with

novelty in mind, not repeating certain concepts.

For this, one should have to keep up with the

contemporary aspects, to know what is new and

different. Thorough knowledge of the classic and

traditional are options for doing so. Following

tradition does not lack individuality but it builds

awareness of the whole of the literature of Europe.

When an individual gives importance to immortality of the poetic ancestors, the poet's true individuality

lies within it. The poets can be hugely influenced by the greatness of the past. When the poet is taking notes

from the past or is aware about the past they are eventually becoming a part of the contemporary area. If

you think about my work, they have the impact of Homer as well as the work of modern poets.

Page 03

Dryden's Diary


Carrying Multiple Voices

John Dryden Opens Up

About Dissociative Identity

Disorder—What Is That?

John Dryden has spoken up

about being diagnosed with

Dissociative Identity Disorder

(D.I.D.), previously known as

Multiple Personality Disorder

where a person alternates

between one or more alternate

personalities. “All three

personalities are as important

and legitimate to me. I

appreciate the existence of my

personas because they offer me

reasons,” says the writer.

Dryden also mentions that

writing helped him through the

tough times; to disclose the

situation to his admirers. Each

personality is distinct and even

contradicts other’s notion on

the subject.

Here's what to know about

Dryden’s different phonolites.

Dryden went through

conversation on the subject of

drama, where he offers

different perceptions about it

through his different

personalities who are-

Eugenius, Crites, Lisideius, and


The four characters are

representing four critical

aspect. Dryden opens a debate

on the virtues of modern and

ancient writers. One of the

alters, which is Crites, reflects

his appreciation towards

ancient classical drama. The

dramatic rules they established

were spelled out by Aristotle

through “imitation of life”.

This perception is contradicted

by the other alter which is

Eugenius as he favors moderns

over ancient dramatists. We get

to know about the dynamic

attitude towards one concept.

Another personality gives a

new perspective about drama.

Lisideius introduces his support

for French dramas. One of the

reasons for his likeness for

French dramas is that the never

blur the line between tragedy

and comedy. Neander on the

contrary favors Elizabethans or

English dramas where they

have the concept of mixture of

tradegy and comedy.

According to him Tragicomedy

sheds a new kind of light on

Dramas. It makes the dramas

much more interesting.

Page 04






Johnson Contradicts Himself!?

Through the essay “Preface to Shakespeare“, Johnson hints the different

views which contradicts his own perception .

While Samuel Johnson

brings forth William Shakespeare’s

various positive aspects, he also points

out the defects of Shakespeare’s

creations in his “Preface to

Shakespeare”. Many have criticized

Johnson for being contradictory in his

preface. At first, he praises Shakespeare

for being universal; not belonging to one

place, age or one certain time period.

However he contradicts himself as he

indicates that Shakespeare’s one of the

flaws is that he is being universal. As

clarity and diction is important to

Johnson, he criticizes Shakespeare's use

of language.

“Confidence is the common consequence of success. They whose

excellence of any kind has been loudly celebrated, are ready to conclude,

that their powers are universal.”

-Samuel Johnson, Preface to Shakespeare

Page 06

Public Choice



P.B. Shelley



Philip Sidney



Preferences on Poetry

Many chose the characteristics of poem from Percy Bysshe Shelley rather than

Philip Sidney's.

The portrayal of the anonymous survey report shows the preferences of public on

different notions about poetry. Each option are randomly but equally collected from

both Percy Bysshe Shelley and Philip Sidney. According to the Result, Shelly gets a

huge lead with the “Mimetic“ aspect that he mentions in his essay.

World’s Famous Romanticist

Percy Bysshe Shelly

Page 07


On the issue of

Matthew Arnold’s

new essay; “ The

Study of Poetry”

As per the release of the article mentioned in the August issue of The Critic

by Philip Anderson, he misquoted Matthew Arnold. Arnold defines poetry as

“A criticism of life under the conditions fixed for that criticism by the laws of

poetic truth and poetic beauty.” However Anderson only focused that poetry

is only “criticism of life”, missing ”under the conditions fixed for such a

criticism by the laws of poetic truth and poetic beauty". So we got a partial

view. It would be highly appreciated if he explains the definition, taking

whole part into consideration.

Page 08

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