Quotes & Sayings About Literary Criticism

Mankind is immortal
in the comic perspective not by virtue of man's subjugation of nature
but by virtue of man's subjection to it. The "fall" in tragedy ends in
death; the fall in comedy ends in bed, where, by natures's arithmetic,
one and one make a brand new one. — Rose A. Zimbardo

To literary critics a book is assumed to be guilty until it proves itself innocent. — Nelson Algren

We have to look at the figures of speech a writer uses, his images and symbols, to realize that underneath all the complexity of human life that uneasy stare at an alien nature is still haunting us, and the problem of surmounting it still with us. Above all, we have to look at the total design of a writer's work, the title he gives to it, and the his main theme, which means his point in writing it, to understand that literature is still doing the same job that mythology did earlier, but filling in its huge cloudy shapes with sharper lights and deeper shadows. [p.32] — Northrop Frye

The writer should have a comprehensive outlook. He should aim at a holistic understanding of the prevailing social, political and economic conditions.

He should evaluate all factors in a balanced way. To take a selective view will be erroneous. A realistic approach becomes necessary. This requires healthy literary criticism and exchange of views.

A writer should necessarily venture into his enterprise by touching on a single issue. But then he should relate it to other socially relevant issues. This is what we call the socio-spiritual approach.

You may begin your work dwelling upon the problems of an individual, but then as a writer you should be able to view it as part of the larger social reality. — Jayakanthan

Tolkien, who created this marvellous vehicle, doesn't go anywhere in it. He just sits where he is. What I mean by that is that he always seems to be looking backwards, to a greater and more golden past; and what's more he doesn't allow girls or women any important part in the story at all. Life is bigger and more interesting than The Lord of the Rings thinks it is. — Philip Pullman

Extremely self-conscious in its craft, in many ways The Hand of Ethelberta is an exploration of fiction as illusion, which involves parody of the conventions it employs; romance, melodrama and farce, and a rejection of realism for absurdist and surrealistic effects. The 'hand' of Ethelberta is an obvious, ironic allusion to courtship, and the sub-title, 'A Comedy in Chapters', suggests the novel's affinity with the conventions of Restoration and eighteenth-century comedy of manners. — Geoffrey Harvey

The ideology of liberal humanism found expression in the earliest reviews of Hardy's writing and remained a dominant force until the explosion of literary theory in the 1980s. It is a broad and still influential category. It endorses the moral value of the individual, and the strength of the human spirit. It prefers the integrity of an organic rural society to the anonymity and materialism of an urbanised and technological world. Applied to fiction, this ideology involves the naturalisation of the novel's world and its values, and the recognition of fictional character as presenting a unified subject. — Geoffrey Harvey

Tess is not simply presented as a passive victim, however. Throughout the novel she is shown as experiencing tension between the intractable materiality of the social and economic world in which she has to live, and her extraordinarily vulnerable, sensitive self. Hardy is particularly interested in the nature of her consciousness, and in the intense subjectivity of her experience. — Geoffrey Harvey

In reality the puritans and the humanists were quite often the same people. — C.S. Lewis

It doesn't matter whether a sequence of words is called a history or a story: that is, whether it is intended to follow a sequence of actual events or not. As far as its verbal shape is concerned, it will be equally mythical in either case. But we notice that any emphasis on shape or structure or pattern or form always throws a verbal narrative in the direction we call mythical rather than historical.(p.21) — Northrop Frye

Publishing is not, of course, dependent on the individual taste of the publisher," Perkins replied to one reader of Hemingway's novel. "He is under an obligation to his profession which binds him to bring out a work which in the judgment of the literary world is significant in its literary qualities and is a pertinent criticism of the civilization of the time. — A. Scott Berg

When we discuss a novel it is only partially to hear another person's 'view', it is much more to find out
what we ourselves think in order to possess the text more completely. Such a possession is then a composite one, it is the book itself and the articulated reaction to it. So vivid can be the latter that it is not uncommon to find that the pleasure survives the cause; some novels seem more enjoyable to talk about than to read. — Ian Gregor

The most celebrated American author of the twentieth century, Bellow objected during the first part of his career to being designated a "Jewish writer, " but it was he who demonstrated how a Jewish voice could speak for an integrated America. With Bellow, Jewishness moved in from the immigrant margins to become a new form of American regionalism. Yet he did not have to write about Jews in order to write as a Jew. Bellow's curious mingling of laughter and trembling is particularly manifest in his novel Henderson the Rain King, that follows an archetypal Protestant American into mythic Africa. Bellow not only influenced and paved the way for other American Jewish writers like Philip Roth and Cynthia Ozick, but naturalized the immigrant voice: the American novel came to seem freshly authentic when it spoke in the voice of one of its discernible minorities. — Hana Wirth-Nesher

The critic's aim should be to interpret the work they are writing about and help readers appreciate it, by defining and analysing those qualities that make it precious and by indicating the angle of visions from which its beauties are visible. But many critics do not realize their function. They aim not to appreciate, but to judge; they seek first to draw lines about literature and then bully readers into accepting these laws. — David Cecil

A novel, in which all is created by the author's whim, must strike a more profound level of truth, or it is worthless."
"And yet, I have heard you say that any novel that relieves your ennui for an hour has proved its usefulness."
"You have a good memory. It must have been ten thousands of years ago that I uttered those words."
"And if it was?"
"In another ten thousand, perhaps I will agree with them again."
"In my opinion, the proper way to judge a novel is this: Does it give one an accurate reflection of the moods and characteristics of a particular group of people in a particular place at a particular time? If so, it has value. Otherwise, it has none."
"You do not find this rather narrow?"
"Madam - "
"Well?"
"I was quoting you. — Steven Brust

What readers ask nowadays in a book is that it should improve, instruct and elevate. This book wouldn't elevate a cow. I cannot conscientiously recommend it for any useful purposes whatever. All I can suggest is that when you get tired of reading "the best hundred books," you may take this for half an hour. It will be a change. — Jerome K. Jerome

In the humanist world following Erasmus, man is at the centre of the universe. Man becomes largely responsible for his own destiny, behaviour and future. This is the new current of thought which finds its manifestation in the writing of the 1590s and the decades which follow. The euphoria of Elizabeth's global affirmation of authority was undermined in these years by intimations of mortality: in 1590 she was 57 years old. No one could tell how much longer her golden age would last; hence, in part, Spenser's attempts to analyse and encapsulate that glory in an epic of the age. This concern about the death of a monarch who - as Gloriana, the Virgin Queen - was both symbol and totem, underscores the deeper realisation that mortality is central to life. After the Reformation, the certainties of heaven and hell were less clear, more debatable, more uncertain. — Ronald Carter

Asking a working writer what he thinks about critics is like asking a lamp-post what it feels about dogs.
[Time Magazine, October 31, 1977] — John Osborne

Nor did it go unnoticed by the latest litter of Archimboldians, recent graduates, boys and girls, their doctorates tucked still warm under their arms, who planned, by any means necessary, to impose their particular readings of Archimboldi, like missionaries ready to instill faith in God, even if to do so meant signing a pact with the devil, for most were what you might call rationalists, not in the philosophical sense but in the pejorative literal sense, denoting people less interested in literature than in literary criticism, the one field, according to them - some of them, anyway - where revolution was still possible, and in some way they behaved not like youths but like nouveaux youths, in the sense that there are the rich and the nouveaux riches, all of them generally rational thinkers, let us repeat, although often incapable of telling their asses from their elbows, — Roberto Bolano

Several times he had to flatten himself against the shelves as a thesaurus thundered by. He waited patiently as a herd of Critters crawled past, grazing on the contents of the choicer books and leaving behind them piles of small slim volumes of literary criticism. — Terry Pratchett

Virgina Woolf versus Edward Lear."
"Christ Alive," said Billy. "Are those my only choices?"
"I went for Lear," said Leon. "Partly out of fidelity to the letter L. Partly because given the choice between nonsense and boojy wittering you blatantly have to choose nonsense. — China Mieville

I would rather be attacked than unnoticed. For the worst thing you can do to an author is to be silent as to his works. — Samuel Johnson

If you were to stare at this box of matches, you could extract entire worlds out of it. If you search for tastes in a book, you will certainly find them because it was said: seek and ye shall find. But a critic should not rifle, search. Let him sit back with folded arms, waiting for the book to find him. Talents should not be sought with a microscope, a talent should let people know about itself by striking at all the bells. — Witold Gombrowicz

Most of the makers of the twentieth-century mind, figures such as Freud, Heisenberg, Picasso, Joyce, and Eliot, have in common an about-face on the subject-object question and the mindmatter question; they all reject the dualism that arbitrarily and irreversibly splits the world into pieces. This rejection of dualism and the corresponding reach for monism are of the essence in understanding the revolutionary nature of twentieth-century science and art. — Jewel Spears Brooker

How to explain the sheer tingling joy one experiences when two interesting, complex, and occasionally aggravating characters have at last settled their misunderstandings and will live happily ever after, no matter what travails life might throw in their path, because Jane Austen said they will, and that's that? How to describe the exhilaration of being caught up in an unknown but glamorous world of balls and gowns and rides in open carriages with handsome young men? How to explain that the best part of Jane Austen's world is that sudden recognition that the characters are just like you? — Margaret C. Sullivan

Lulled into somnolence by five hundred years of print, literary studies have been slow to wake up to the importance of MSA (media-specific analysis). Literary criticism and theory are shot through with unrecognized assumptions specific to print. Only now, as the new medium of electronic textuality vibrantly asserts its presence, are these assumptions clearly coming into view. — N. Katherine Hayles

Hardy classified A Pair of Blue Eyes among 'Romances and Fantasies'. A favourite of Tennyson, its melancholy treatment of youth, love and death is expressive of late nineteenth-century susceptibilities. Not unnaturally in an early novel, Hardy draws freely on his own life. — Geoffrey Harvey

As a novelist, Scott's influence was immense: his creation of a wide range of characters from all levels of society was immediately likened to Shakespeare's; the use of historical settings became a mainstay of Victorian and later fiction; his short stories helped initiate that form; his antiquarian researches and collections were a major contribution to the culture of Scotland. — Ronald Carter

Literature is news which stays news. — Ezra Pound

The setting, concerns, and mood of The Woodlanders are consonant with the Wessex of the earlier novels. There is an element of nostalgia in Hardy's treatment of the woodlands of Little Hintock. Although such rural economies were very much alive in Hardy's day, he strikes an elegiac note in his evocation of a world that will inevitably pass away. However, the woodlands do not form the backdrop to an idyllic pastoral of humanity living in tranquil harmony with nature. The trees, which are such a dominant presence in the novel, compete with each other for nourishment and light, are vulnerable to disease and damage, and are frightening in their moaning under the lash of the storm. The woodlands represent the Darwinian struggle for existence that Hardy sees as extending not only to the inhabitants of this little world but also beyond ... — Geoffrey Harvey

If you genuinely believe that only the death of a loved one can motivate a human being to take up a cause ... then get your pathetic, cynical ass out of my way so I can do my job! — Mark Waid

The Pages of Gup, now that they had talked through everything so fully, fought hard, remained united, support each other when required to do so, and in general looked like a force with a common purpose. All those arguments and debates, all that openness, had created powerful bonds of friendship between them. — Salman Rushdie

When I first started writing in my early 20s it was literary criticism for a very eccentric magazine called Books And Bookmen, which allowed me to write, more or less anything. — Jonathan Meades

I have tried to write about politics in an allusive manner that draws upon other interests and to approach literature and criticism without ignoring the political dimension. Even if I have failed in this synthesis, I have found the attempt worth making. — Christopher Hitchens

Because it exists as a living sonority, music is animated by voices, and these voices do not evaporate when music confronts the insights of contemporary literary criticism, or philosophy of language. — Carolyn Abbate

The literary wiseacres prognosticate in many languages, as they have throughout so many centuries, setting the stage for new hautmonde in letters and making up the public's mind. — Fannie Hurst

Beware of the man who denounces woman writers; his penis is tiny and he cannot spell. — Erica Jong

Lawrence's claims for the vital self and his inability to make it
convincing independently of Freudian psychology are serious flaws in the novel, explain the sense in which the author's vision exceeds his grasp, and bring the cleavage between intention and performance into clear perspective. — John E. Stoll

Reading a novel after reading semiotic theory was like jogging empty-handed after jogging with hand weights. What exquisite guilt she felt, wickedly enjoying narrative! Madeleine felt safe with a nineteenth century novel. There were going to be people in it. Something was going to happen to them in a place resembling the world. Then too there were lots of weddings in Wharton and Austen. There were all kinds of irresistible gloomy men. — Jeffrey Eugenides

For more than half a century I have tried to confront greatness directly, hardly a fashionable stance, but I see no other justification for literary criticism in the shadows of our Evening Land. Over time the strong poets settle these matters for themselves, and precursors remain alive in their progeny. Readers in our flooded landscape use their own perceptiveness. But an advance can be of some help. If you believe that the canon in time will select itself, you still can follow a critical impulse to hasten the process, as I did with the later Stevens, Ashbury, and, more recently, Henri Cole. — Harold Bloom

The 1980s witnessed radical advances in the theorisation of the study of literature in the universities. It had begun in France in the 1960s and it made a large impact on the higher education establishments of Britain and America. New life was breathed into psychoanalytic and Marxist theory, while structuralism gave way to post-structuralism. The stability of the text as a focus of study was challenged by deconstruction, a theory developed by the French philosopher, Jacques Derrida, which represented a complete fracture with the old liberal-formalist mode of reading. Coherence and unity were seen as illusory and readers were liberated to aim at their own meanings. Hardy's texts were at the centre of these theoretical movements, including one that came to prominence in the 1980s, feminism. — Geoffrey Harvey

There are long stretches of the work [Paradise Lost] that are for anyone not theologically minded sheer howling boredom from the point of view of the content. — Marco Mincoff

All Renaissance drama, especially the works of Marlowe and Shakespeare, is profoundly concerned with shifting power relations within society. The individual was a new force in relation to the state. The threat of rebellion, of the overturning of established order, was forcefully brought home to the Elizabethan public by the revolt of the Earl of Essex, once the Queen's favourite. The contemporary debate questioned the relationship between individual life, the power and authority of the state, and the establishing of moral absolutes. Where mediaeval drama was largely used as a means of showing God's designs, drama in Renaissance England focuses on man, and becomes a way of exploring his weaknesses, depravities, flaws - and qualities. — Ronald Carter

At first I was glad for the help. My freshmen English class, "Mythology and Archetypal Experience," confounded me.
I didn't understand why we couldn't just read books without forcing contorted interpretations on then — Alison Bechdel

Little did they suspect that the years would end by wearing away the disharmony.
Little did they suspect that La Mancha and Montiel and the knight's frail figure would be, for the future, no less poetic than Sinbad's haunts or Ariosto's vast geographies.
For myth is at the beginning of literature, and also at its end. — Jorge Luis Borges

Bloomsbury lost Fry, in 1934, and Lytton Strachey before him, in January 1932, to early deaths. The loss of Strachey
was compounded by Carrington's suicide just two months after, in March. Another old friend, Ka Cox, died of a heart attack in 1938. But the death, in 1937, of Woolf 's nephew Julian, in the Spanish Civil War, was perhaps the
bitterest blow. Vanessa found her sister her only comfort: 'I couldn't get on at all if it weren't for you' (VWB2 203). Julian, a radical thinker and aspiring writer, campaigned all his life against war, but he had to be dissuaded by his
family from joining the International Brigade to fight Franco. Instead he worked as an ambulance driver, a role that did not prevent his death from shrapnel wounds. Woolf 's Three Guineas, she wrote to his mother, was
written 'as an argument with him — Jane Goldman

In general, I would think that at present prose writers are much in advance of the poets. In the old days, I read more poetry than prose, but now it is in prose where you find things being put together well, where there is great ambition, and equal talent. Poets have gotten so careless, it is a disgrace. You can't pick up a page. All the words slide off. — William H Gass

Most critics agree with the seventeenth-century printer who gave them to the world, that the Mutabilitie Cantos seem to be part of some following book of The Faerie Queene. — Janet Spens

He was one of a long line of mimsy and embittered middle-class sensitives who disguised their feeble and decadent lust as something spiritual and Socratic.
And why not? If it meant he had to end his days on some Mediterranean island writing lyric prose for Faber and Faber and literary criticism for the New Statesman, running through successions of houseboys and 'secretaries', getting sloshed on Fernet Branca and having to pay off the Chief of Police every six months, then so be it. Better than driving to the office in the rain. — Stephen Fry

If you love my work, you are a good critic. If you do not love my work, you are a 'not good' critic. — Roman Payne

The visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism. Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images. — Camille Paglia

So-called "natural language" is wonderful for the purposes it was created for, such as to be rude in, to tell jokes in, to cheat or to make love in (and Theorists of Literary Criticism can even be content-free in it), but it is hopelessly inadequate when we have to deal unambiguously with situations of great intricacy, situations which unavoidably arise in such activities as legislation, arbitration, mathematics or programming. — Edsger Dijkstra

It is the voice of everyday people, rather than of a self-conscious 'artist', that we hear in Caedmon's Hymn, and in such texts as Deor's Lament (also known simply as Deor) or The Seafarer. These reflect ordinary human experience and are told in the first person. They make the reader or hearer relate directly with the narratorial 'I', and frequently contain intertextual references to religious texts. Although they express a faith in God, only Caedmon's Hymn is an overtly religious piece. Already we can notice one or two conventions creeping in; ways of writing which will be found again and again in later works. One of these is the use of the first-person speaker who narrates his experience, inviting the reader or listener to identify with him and sympathise with his feelings. — Ronald Carter

What care I if it be "wild and improbable" and "lacking in literary art"? I refuse to be any longer hampered by such canons of criticism. The one essential thing I demand of a book is that it should interest me. If it does, I forgive it every other fault. — L.M. Montgomery

A few months ago, I was sitting morosely at my desk, wondering why I had ever agreed to review Barbara Bush: A Memoir for an English newspaper. The experience was proving to be a degradation of the act of reading. Imagine, if you will, being strapped into a chair and made to listen to Liberace playing the piano for hour upon hour. Or imagine being fed chocolate dinner mints, like a hapless goose, until you are on the verge of explosion. Such was my lot. — Christopher Hitchens

As for literary criticism in general: I have long felt that any reviewer who expresses rage and loathing for a novel or a play or a poem is preposterous. He or she is like a person who has put on full armor and attacked a hot fudge sundae or a banana split. — Kurt Vonnegut

In 1922 Woolf met the writer Vita Sackville-West, who was to join Vanessa Bell and Leonard Woolf as the most significant people in her life. — Jane Goldman

Johnson's later life, from 1763, is among the best documented of all literary lives. James Boswell gave himself the enormous task, after Johnson's death in 1784, of producing what is now held to be a model of biography; rich in detail and anecdote, a complete picture of the man and his times, traced over a period of more than twenty years. Boswell's Life of Johnson, published in 1791, carries on Johnson's own contribution to the growing art of biography, and consolidates Johnson's position as a major literary figure, who, although a poet and a novelist, is remembered more for his academic and critical achievement than for his creative writings. — Ronald Carter

A clever schoolboy's reaction to his reading is most naturally expressed by parody or imitation. — C.S. Lewis

The point of literary criticism in anthropology is not to replace research, but to find out how it is that we are persuasive. — Clifford Geertz

This is why, when we have been particularly impressed by a book, we feel the need to talk about it; we do not want to get away from it by talking about it - we simply want to understand more clearly what it is in which we have been entangled. We have undergone an experience, and now we want to know consciously what we have experienced. Perhaps this is the prime usefulness of literary criticism - it helps to make conscious those aspects of the text which would otherwise remain concealed in the subconscious; it satisfies (or helps to satisfy) our desire to talk about what we have read. — Wolfgang Iser

In my freshman and sophomore years of college, I read dozens of books by the great thinkers of Western civilization. From Plato to Nietzsche, Homer to Shakespeare - you name it, I read it. At times it drove me crazy - picture reading hundreds of pages that sound like this every week: "All rational knowledge is either material and concerned with some object, or formal and concerned only with the form of understanding and of reason themselves and with the universal rules of thought in general without regard to differences of its objects." Come again, Kant? — Stefanie Weisman

If I like a movie, I'm definitely advocating for it, but it's not "you should see this" or "you shouldn't see this." I try to take a longer view about what the movie is doing and where it fits in the context of other things, in the way that certain good literary criticism tries to do the same thing. — Wesley Morris

The ones that landed near the bathroom are Bad Tolkien imitations or transcripts of a D&D adventure; bad Herbert, Heinlein, and Asimov are below the television; and these on the bed are the ones whose authors I want to hunt down personally and slap. — Sharyn McCrumb

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. — John Ruskin

The critic will certainly be an interpreter, but he will not treat Art as a riddling Sphinx, whose shallow secret may be guessed and revealed by one whose feet are wounded and who knows not his name. Rather, he will look upon Art as a goddess whose mystery it is his province to intensify, and whose majesty his privilege to make more marvellous in the eyes of men. — Oscar Wilde

Thank you for sending me a copy of your book. I'll waste no time reading it. — Moses Hadas

We are frequently being reminded that no criticism or teaching is ever completely politically "innocent." True, but should we accept the swing to the indoctrination of an unqualifiedly negative attitude, which fosters a sense of alienation, of being a powerless victim? And should we permit a simplistic view of "power" to trigger simplistic notions of alternatives and processes of social change? — Louise M. Rosenblatt

I can no longer think what I want to think. My thoughts have been replaced by moving images. — Georges Duhamel

When I heard the book (Thomas Friedman's latest) was actually coming out, I started to worry. Among other things, I knew I would be asked to write the review. The usual ratio of Friedman criticism is 2:1, i.e., two human words to make sense of each single word of Friedmanese. Friedman is such a genius of literary incompetence that even his most innocent passages invite feature-length essays. — Matt Taibbi

Yes, I hate orthodox criticism. I don't mean great criticism, like that of Matthew Arnold and others, but the usual small niggling, fussy-mussy criticism, which thinks it can improve people by telling them where they are wrong, and results only in putting them in straitjackets of hesitancy and self-consciousness, and weazening all vision and bravery.
... I hate it because of all the potentially shining, gentle, gifted people of all ages, that it snuffs out every year. It is a murderer of talent. And because the most modest and sensitive people are the most talented, having the most imagination and sympathy, these are the very first ones to get killed off. It is the brutal egotists that survive. — Brenda Ueland

The enduring rapture with magic and fable has always struck me as latently childish and somehow sexless (and thus also related to childlessness). — Christopher Hitchens

You never push a noun against a verb without trying to blow up something. — H.L. Mencken

With emancipation comes the opening up of new possibilities for challenging assumptions over women's appearance and, more radically, the gender order itself. Ventura (She-Thing) comes not only to accept her new "intragender" status but to see it as advantageous -- for dealing with her misandry, for personal growth, and even for becoming a person capable of giving and accepting love. — Jose Alaniz

What are American dry-goods? asked the duchess, raising her large hands in wonder and accentuating the verb.
American novels, answered Lord Henry. — Oscar Wilde

Christian monks and nuns were, in effect, the guardians of culture, as they were virtually the only people who could read and write before the fourteenth century. It is interesting therefore that most of the native English culture they preserved is not in Latin, the language of the church, but in Old English, the language of the Angles, Saxons, and Jutes. — Ronald Carter

Thus, on the one hand, Spenser's thought is steeped in sensuous detail, so that for him there is no really abstract thinking; men, he thinks, 'should be satisfied with the use of these days, seeing all things accounted by their showes, and nothing esteemed of, that is not delightfull and pleasing to commune sense' ( Prefatory Letter). But on the other hand the details of the physical universe become translucent from the pulsing light of varied human experience which is seen behind it. His 'haunt and the main region of (his) song' is the inner life of man and it is described in the symbolism of human figures clothed in raiment iridescent with innumerable associations. His art is a development of the mediaeval. — Janet Spens

The Stetson passage is an allusion to Frazer theory in The Golden Bough that religion originated as agricultural engineering. Through a grotesque process of literalization, all of the dying gods and heroes in The Golden Bough, along with Christ and the Fisher King, are transferred from mythic to modern consciousness ( Frazer himself was an unabashed positivist) to be made explicable in scientific terms as fertilizer. — Jewel Spears Brooker

Gower is the first English writer to use "history" as an English word. He regularly rhymes the term with "memory," for to his way of thinking history and memory are correlative. That is, without history, there can be no memory; and without memory, there can be no history. But the point of historical knowledge is not to enable people to live in the past, or even to understand the past in the way we would expect a modern historian to proceed; rather, it is to enable people to live more vitally in the present. — Russell A. Peck

...by embracing literary theory, we learn about literature, but more important we are also taught tolerance for other people's beliefs. By rejecting or ignoring theory, we are in danger of canonizing ourselves as literary saints who possess divine knowledge and who can, therefore, supply the one and only correct interpretation for a given text. — Charles E. Bressler

Periods' are largely an invention of the historians. The poets
themselves are not conscious of living in any period and refuse to conform to the scheme. — C.S. Lewis

The text contains no literary criticism. I wanted to describe books, not to be clever at their expense. — Kenneth McLeish

As we have seen, French culture and language interacted with native English culture for several generations after the Norman Conquest. A common word such as 'castle' is a French loan word, for example; and the whole romance tradition comes from the French. But this sensibility, culture, and language becomes integrated with native culture.
As well as the beginnings of what came to be called a courtly love tradition, we can find in Early Middle English (around the time that Layamon was writing Brut) the growth of a local tradition of songs and ballads. — Ronald Carter

There is a larger lesson here, because the book encompasses not just the lives of prisoners in a Soviet prison camp, but every one of us. Shukhov squeezes everything he can out of a mouthful of soup or a bite of bread ... So frozen that he can't even feel his feet, he trowels cement and lays a cinder block wall with care and patience ... Shukhov takes pride in his work. In fact, even though he is starving, he can barely tear himself away at the end of the long day to go eat. He cares about his work and in that way he remains a man. Isn't this kind of pride and gratitude and ironic detachment valuable for all people? — Eric Bogosian

For obvious reasons, the relationship between novelists, the reviewing establishment and critics in general is chronically, and often acutely, edgy. A kind of low-intensity warfare prevails, with outbreaks of savagery. It is partly an ownership issue. Who, other than its creator, is to say what a work of fiction means or is worth? It can take years to write a novel and only a few hours for a critic, or a reviewer rushing for a tight deadline, to trash it. — John Sutherland

Now the twelfth canto of Book II is an almost literal translation from Tasso description in the Jerusalem Delivered of the island of Armida. That poem was not printed till 1582. It is likely enough that Spenser may have seen part of it in manuscript, which would account for the general resemblance of the Adonis passages, though the likeness is not close enough to make any debt certain. — Janet Spens

Nature to all things fixed the limits fit
And wisely curbed proud man's pretending wit.
As on the land while here the ocean gains.
In other parts it leaves wide sandy plains
Thus in the soul while memory prevails,
The solid power of understanding fails
Where beams of warm imagination play,
The memory's soft figures melt away
One science only will one genius fit,
So vast is art, so narrow human wit
Not only bounded to peculiar arts,
But oft in those confined to single parts
Like kings, we lose the conquests gained before,
By vain ambition still to make them more
Each might his several province well command,
Would all but stoop to what they understand. — Alexander Pope

Algernon. The truth is rarely pure and never simple. Modern life would be very tedious if it were either, and modern literature a complete impossibility! Jack. That wouldn't be at all a bad thing. Algernon. Literary criticism is not your forte, my dear fellow. Don't try it. You should leave that to people who haven't been at a University. They do it so well in the daily papers. — Oscar Wilde

Thus we come to the problem of determining what the poem is 'about.' Charles Altieri notes that '[a]n expression of the self can be one that is intended, the self's act, or one that is symptomatic, the act of a self not in control of what it manifests'(24) In 'Yankee Doodle,' and to a lesser extent in '$$$$$$," the interesting aspects of the poem are not 'the intended expression of the self.' The lack of explicitness is not suggestive in any positive sense because we feel that were things to be spelled out, this would weaken, not strengthen, the narrator's case by revealing the unacknowledged irrationality at the root of it. — Russell Harrison

Analogies are like lies. — Roman Payne

In his Preface to the 1892 edition of Tess of the d'Urbervilles Hardy warns the reader that 'a novel is an impression, not an argument'. However, the text offers several explanations of Tess's tragedy; social, psychological, hereditary, and fatalistic, all of which proceed from the assumption that Hardy's text is in some sense determined, and that the character of Tess is somehow knowable. Indeed, the tragedy of Tess is in this sense overdetermined. But it should be remembered that the character of Tess is constructed in the text from many points of observation, including that of the ambivalent narrator; constructed that is from impressions. — Geoffrey Harvey

Jacques Derrida is a very important thinker and philosopher who has made serious contributions to both philosophy and literary criticism. Roland Barthes is the one I feel most affinity for, and Michel Foucault, well, his writing influenced my novel, 'Middlesex.' — Jeffrey Eugenides

To call for close reading, in fact, is to do more than insist on due attentiveness to the text. It inescapably suggests an attention to this rather than to something else: to the 'words on the page' rather than to the contexts which produced and surround them. It implies a limiting as well as a focusing of concern - a limiting badly needed by literary talk which would ramble comfortably from the texture of Tennyson's language to the length of his beard. But in dispelling such anecdotal irrelevancies, 'close reading' also held at bay a good deal else: it encouraged the illusion that any piece of language, 'literary' or not, can be adequately studied or even understood in isolation. It was the beginnings of a 'reification' of the literary work, the treatment of it as an object in itself, which was to be triumphantly consummated in the American New Criticism. — Terry Eagleton

What The Mysteries of Udolpho suggests is how a novel, by presenting phenomena before it present resolutions, can create an on-going, perhaps spurious, but nevertheless compelling dynamic between details which can undermine the ability of form to impose its particular tyranny on the reader's experience: there is a life in the novel which comes from within. — Ian Gregor

Those of my critics who declare I have no feeling for form will be filled with delight over the meandering formlessness of these notes. — Sherwood Anderson

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. — Louis Menand

There is no God but God, and his name is William Shakespeare. — Harold Bloom

Reduction is precisely what a work of art opposes. Easy answers ... annotations, arrows ... an oudine of its design ... very seriously mislead. — William H Gass

Hacks are killing our national literary culture. America treats best-sellers like literary lions and literary lions worse than stray dogs. — David B. Lentz

Modernism and feminism are two broad axes on which Woolf criticism turns, and there are many other categories that reflect the range of positions available in literary criticism more generally, such as postmodernist, psychoanalytical,
historicist, materialist, postcolonial, and so on. — Jane Goldman