No subscription or hidden extras
Read through the most famous quotes by topic #critic
...reduction is precisely what a work of art opposes. Easy answers...annotations, arrows...an oudine of its design...very seriously mislead. ↗
#literary-criticism #the-recognitions #twentieth-century #art
This philistinism of interpretation is more rife in literature than in any other art. For decades now, literary critics have understood it to be their task to translate the elements of the poem or play or novel or story into something else. Sometimes a writer will be so uneasy before the naked power of his art that he will install within the work itself - albeit with a little shyness, a touch of the good taste of irony - the clear and explicit interpretation of it. Thomas Mann is an example of such an overcooperative author. In the case of more stubborn authors, the critic is only too happy to perform the job. ↗
We have, then, three Books wholly and one partially written before, and two after, the Preface; and only one of the first four is consistent with it, while the two later are entirely in agreement with it. In the first group, the adventure which fits into the scheme in the Letter is the first of all, which is a significant fact. If Spenser were somewhat hastily reconstructing his scheme he would naturally test its coherence with what he had already written in the first Book and perhaps re-write certain passages. He may have forgotten the details of Books II and III or Raleigh's urgency may have left no time for the adjustment of the details. These discrepancies are all connected with the twelve days' Feast and Gloriana's appointment of the knights, and this part may well have been suggested by Raleigh. He probably intended the poem not only to make Spenser's fortune at court but also to reinstate himself in the Queen's favour. In the circumstances he would wish to make the reference to the Queen as clear and as flattering as possible. ↗
Nowhere is the sense of medium felt more strongly, even by the casual reader, than in a story about to end. For the novelist the problem is no longer how to tell his tale, but how to close it down; how to switch imaginative energies which have been used in sustaining the tale, into energies which will not just stop it, but will resolve it. The process of telling must be made to predicate its own conclusion. For the reader, in sight of an ending, the mode of attention shifts, the rhythm alters, and a pressure of significance begins to build up behind the closing chapters. The pace of the narrative begins to slow, the 'ever after' looms, past and present emerge in ever sharper juxtaposition. It is this heightened attention to the medium that characterises the ending and we are not surprised to find that for some novelists 'endings' seem to play false to the narrative which leads to them. 'Conclusions are the weak points of most authors', George Eliot wrote, 'but some of the fault must lie in the very nature of a conclusion which is at best a negation'. ↗
Put down everything that comes into your head and then you're a writer. But an author is one who can judge his own stuff's worth, without pity, and destroy most of it." (Casual Chance, 1964) ↗
Goya’s savage verve, his harsh, brutal genius, captivated Des Esseintes. On the other hand, the universal admiration his works had won rather put him off, and for years he had refrained from framing them, for fear that if he hung them up, the first idiot who saw them would might feel obliged to dishonour them with a few inanities and go into stereotyped ecstasies over them. ↗
What is vital and healthy does not necessarily survive... An art, a whole civilization, may at any time slip through men's fingers in a very few years and be gone beyond recovery. If we are alive when such a thing is happening we shall hardly notice it until too late; and it is most unlikely that we shall know its causes. ↗
#art
