A Quote by Karl Wilhelm Friedrich Schlegel
Whoever could properly characterize Goethe's Meister would have actually expressed what is the timely trend in literature. He would be able, as far as literary criticism is concerned, to rest.
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The French Revolution, Fichte's Theory of Knowledge, and Goethe's Wilhelm Meister are the three greatest tendencies of the age. Whoever takes offence at this combination, and whoever does not consider a revolution important unless it is blatant and palpable, has not yet risen to the lofty and broad vantage point of the history of mankind.
What was needed was a literary theory which, while preserving the formalist bent of New Criticism, its dogged attention to literature as aesthetic object rather than social practice, would make something a good deal more systematic and 'scientific' out of all this. The answer arrived in 1957, in the shape of the Canadian Northrop Fryes mighty 'totalization' of all literary genres, Anatomy of Criticism .
I don't have a very high opinion, actually, of the world of criticism - or the practice of criticism. I think I admire art criticism, criticism of painting and sculpture, far more than I do that of say films and books, literary or film criticism. But I don't much like the practice. I think there are an awful lot of bad people in it.
I also encourage my students to read literary criticism that is deeply personal yet formally inventive and intellectually expansive... books that offer unorthodox ways of doing double duty as literary criticism and as love letters to the power of literature per se.
It is a shallow criticism that would define poetry as confined to literary productions in rhyme and meter rhythm. The written poem is only poetry talking, and the statue, the picture, and the musical composition are poetry acting. Milton and Goethe, at their desks, were not more truly poets than Phidias with his chisel, Raphael at his easel, or deaf Beethoven bending over his piano, inventing and producing strains, which he himself could never hope to hear.
There's a fine line between what would characterize you as a troglodyte and what would characterize you as a brilliant, avant-garde, forward-thinking genius. There's some middle ground.
In a world without any criticism at all, although there are many actors who would think they would be delighted to see that happen, would in fact be a far more problematic world than they could ever imagine.
My only real fear was that I would not be able to surf again because I was concerned that I would not physically be able to do it. I knew that if I wasn't able to surf then my life would really change.
Certainly professionally, yes [I was interested more in history]. And literary criticism, the structure of poetry. But it is primarily as a historian that I work, although text criticism and literary criticism are very much a part of my interests.
As far as I am concerned I would rather spend the rest of my life in prison than marry again.
There is far too much literary criticism of the wrong kind. That is why I never could have survived as an academic.
It makes one hope and believe that a day will come when, in the eye of the law, literary property will be as sacred as whiskey, or any other of the necessaries of life. It grieves me to think how far more profound and reverent a respect the law would have for literature if a body could only get drunk on it.
I am of the opinion that I am not a political writer, and, moreover, that as far as true literature is concerned, there actually are no political writers. I think that my writing is no more political than ancient Greek theatre. I would have become the writer I am in any political regime.
For this reason, to study English literature without some general knowledge of the relation of the Bible to that literature would be to leave one's literary education very incomplete.
One of the functions of literary criticism, or reviewing, generally - and I, most of my reviews actually are not about literature - but one of the functions of that is basically the sort of Consumer Reports function of letting readers know whether this is something they want to read.
I think any good literature, whether it's for children or for adults, will appeal to everybody. As far as children's literature goes, adults should be able to read it and enjoy it as much as a child would.
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