The Function of Criticism by T. S. Eliot

 

The Function of Criticism by TS Eliot

 

T. S. Eliot was a renowned poet, playwright, and critic of the 20th century who used his extensive knowledge and experience to delve into the intricate workings of criticism. In this presentation, we will explore his essay on 'The Function of Criticism' and its impact on contemporary art and society.

T. S. Eliot: A Brief Biography Early Life and Education Thomas Stearns Eliot was born in 1888 in St. Louis, Missouri. He studied philosophy, literature, and languages at Harvard College and moved to England in 1914, where he became a British citizen and worked as a schoolteacher and banker. Poetry and Criticism Career Eliot's most notable works include 'The Waste Land', 'Four Quartets', and 'Murder in the Cathedral'. In addition to his contributions to poetry, Eliot was also a respected literary critic and contributed significantly to the development of modernist literature. Legacy TS Eliot passed away in 1965, leaving behind a lasting legacy in both literature and criticism. He remains a significant figure in the world of poetry, and his ideas on criticism continue to shape the conversation today.

 The Function of Criticism:

Overview

 1. What is Criticism?

Eliot describes criticism as an art form that should not merely describe or summarize an artwork but should seek to analyze and evaluate it. According to Eliot, the critic's role is to help the reader interpret the text and understand its significance by providing an informed and well-argued opinion.

 2. What is the Purpose of Criticism?

Eliot believed that the purpose of criticism was to communicate an understanding of the work's true meaning and to evaluate its artistic merit. He believed that this could not be done without a deep understanding of its historical, cultural, and mythological context.

 3. What are the Criteria for Reliable Judgments in Criticism?

Eliot believed that a reliable judgment required a deep understanding of the artist's intentions and context, as well as a knowledge of the art form itself. He emphasized the importance of avoiding personal biases and recognizing the limits of one's expertise.

 

The Objective of Criticism

 Objective Evaluation

According to Eliot, the objective of criticism is to provide a comprehensive and unbiased evaluation of an artwork. This requires an understanding of the work's context, its goals, and the medium it employs. Eliot believed that criticism should be grounded in a deep appreciation of artistic form and the principles that govern it.

Cultural and Historical Context

Eliot believed that art can only be understood within the context of its historical and cultural backdrop. He argued that a critic should have an extensive knowledge of the artist and their historical context to discern the artist's intentions.

Importance of Critics

Eliot believed that the role of the critic was to create a dialogue between the art and the audience. Critics should help the audience understand and interact with the work better. According to him, critics should guide the audience towards good art and protect them from kitsch and low-quality works.

 More than a Summary

Criticism is not a summary, according to Eliot. Effective criticism should go beyond the description of the work and give insights into it that the audience might miss. Criticism should be differentiated from other forms of communication and be based on an informed opinion.

 The Role of Criticism in Shaping Art and Society

Shaping Art

Eliot believed that criticism could shape the direction of art by highlighting its strengths and weaknesses. Criticism can reveal to readers what works in the text and what doesn't. Criticism can help artists to take note of certain things, and push them towards improvement.

Impact on Society

 Eliot was of the view that criticism could impact society because it defined the standards of taste and judgment. The critic was an educated and influential voice in both the art and societal arenas. In this way, criticism helped develop the cultural and societal conversation, serving as a mediator between society and art forms.

Part I Sense of Tradition

Eliot references the concept of tradition as articulated in "Tradition and the Individual Talent" because it is pertinent to this essay. Eliot had mentioned that the history of English literature contained a direct connection between the present and the past. From Homer to the present day, the literature of Europe has been a part of a single literary tradition, and it is in relation to this tradition that individual writers and works of art acquire significance. The outside authority to which an artist must be committed is literary tradition. To acquire meaning and significance, the author must continually offer himself as a sacrifice to this literary tradition.

Conformity of Artists

1. Artists share a common goal

Artists of all eras form a community, and contemporary artists must be able to maintain this sense of unity.

2. Collaboration is key

An artist who lacks this sensibility asserts his uniqueness because he believes that his value rests in his distinction rather than in his similarity to others.

3. Tradition is important

A genuine artist strives to adhere to tradition. The authentic artist can "afford to collaborate, exchange, and contribute."

Criticism and its Function

Definition of criticism Eliot defines criticism as the "commentation and exposition of works of art by means of written words."

Purpose of criticism     

The purpose of criticism is to promote understanding and enjoyment of literature.

Clarification and correction

The sole purpose of criticism is the clarification of artistic works and the correction of taste. Determining effectiveness The effectiveness of a critic can be determined by whether they have fulfilled their role of clarifying artistic works and correcting taste.

Critics and personal biases

Critics often fail to control their personal biases and inclinations, leading to criticisms without value or significance. Establishing goals and methods Eliot establishes the goals and methods of criticism based on the works of other critics who do not attempt to assert themselves.

Determining effectiveness

The effectiveness of a critic can be determined by whether they have fulfilled their role of clarifying artistic works and correcting taste.

Establishing goals and methods

Eliot establishes the goals and methods of criticism based on the works of other critics who do not attempt to assert themselves

John Middleton Murry's Views

Murry's views

Murry distinguishes Classicism and Romanticism and relates Catholicism to Classicism because both adhere to tradition, discipline, and submission to external authority. Romanticism, Protestantism, and social liberalism share a belief in the "inner voice" of the individual and a refusal to submit to any external authority, norms, or traditions. Murry asserts that the French genius is Classical and the English genius is Romantic. He also claims that the English are fundamentally humorous and nonconformist Romantics.

Eliot's views

Eliot concurs with Murry's distinction between Classicism and Romanticism, and disagrees with Murry's assertion that the French genius is Classical and the English genius is Romantic. Eliot is opposed to the Romantic belief in the "inner voice" of the individual and a refusal to submit to any external authority, norms, or traditions. According to Eliot, the difference between Classicism and Romanticism is "the difference between the complete and the fragmentary, the adult and the immature, the orderly and the chaotic." Eliot disapproves of the concept of "inner voice" because it equates to doing "what one likes." He believes that it leads to disobedience that results in vanity, dread, and lust.

Opposition of Middleton Murry's Views

1. Eliot's criticism of "inner voice"

Eliot mocks Murry's views on the "inner voice" and insists that those who believe in the "inner voice" are inconsistent and lack principles. Eliot describes as "wiggery" the belief in the "inner voice." Criticism has no value for those who believe in the "inner voice" because the purpose of criticism is to discover common principles for achieving artistic purity. They do not value artistic perfection. To quote Eliot: ""Criticismʼs task is to find some common principles; conformity is something petty to those who have this "inner voice".."

 2. Subjectivism and anarchy

Those who believe in the "inner voice" are firmly in favour of subjectivism, which would result in anarchy. They reject conformity and artistic perfection in favor of self-indulgence and rebellion. Eliot believes that adherence to the laws of art and tradition is crucial for preserving the accumulated knowledge and experiences.

Eliot's Distinction of the terms "Critical" and "Creative".

 1. Critical vs. creative labor Eliot argues that the majority of an author's labor is critical, involving activities such as shifting, combining, constructing, expunging, correcting, and testing. He emphasizes the importance of self- criticism, which he calls "workshop criticism."

2. The role of personal experience Eliot believes that poets with personal experience in the creative process are better equipped to write about it than those who lack such knowledge. He argues that the finest artist is one who works unconsciously, and claims that some creative writers are superior to others because of their superior critical faculties.

 3. The relationship between creation and criticism Eliot contends that criticism and creation cannot coexist in the same context; critical activity is complete only when it fuses with artistic production and the artist's labor. He believes that the critical activity finds its truest fulfillment in a kind of union with creation in the labor of the artist.

 

Qualifications and qualities of a Critic

According to T.S. Eliot, a genuine critic should possess certain qualifications and qualities to effectively fulfill their role.  In "The Function of Criticism," Eliot highlights the following qualifications for a critic:

Comprehensive Knowledge: Eliot emphasizes that a critic should have a wide-ranging knowledge of literature, including familiarity with different literary traditions, historical contexts, and cultural references. This knowledge base enables the critic to analyze a work in relation to its broader literary and cultural milieu, providing a deeper understanding of its significance.

Impartiality and Detachment: Eliot stresses the importance of the critic approaching a work with objectivity and detachment. The critic should transcend personal biases, preferences, and prejudices to provide an unbiased evaluation of the work. This impartiality allows the critic to engage with the work on its own terms, without distorting its true meaning.

Intellectual Rigor: A critic must possess intellectual rigor and analytical skills to delve into the complexities of a work. They should be able to identify and evaluate the formal aspects, themes, symbolism, and other literary devices employed by the author. Intellectual rigor allows the critic to discern the underlying ideas and intentions behind a work and assess its artistic merits.

Historical and Cultural Sensitivity: Eliot emphasizes the critic's understanding of the historical and cultural context in which a work is produced. This knowledge enables the critic to interpret the work in relation to the intellectual, social, and philosophical currents of its time. By contextualizing the work, the critic can better appreciate its significance and evaluate its impact.

Grasp of Tradition: According to Eliot, a critic should have a thorough grasp of the literary tradition, including familiarity with the works that has come before. Tradition provides a framework through which contemporary works can be assessed and understood. The critic must engage with the ongoing literary conversation, drawing upon the accumulated wisdom of the past to evaluate and interpret current works.

Artistic Sensibility: Eliot suggests that a critic should possess a refined artistic sensibility. This sensibility allows the critic to discern and appreciate the aesthetic qualities of a work, including its ability to evoke emotional and intellectual responses in the reader. An artistic sensibility enables the critic to assess the work's artistic merit and its effectiveness in achieving its intended impact.

It is important to note that Eliot's views on the qualifications of a critic were shaped by his own understanding and experiences. Other critics and scholars may have different perspectives on the qualifications necessary for effective criticism.

 

Tools of a Critic Eliot's Views on Criticism

1. Comparison and analysis

Comparison and analysis are a critic's primary instruments. The critic must employ them carefully and intelligently. Comparison and analysis are only conceivable if the critic is knowledgeable about the works being compared and analyzed. He must understand the technical aspects of a piece, such as its structure, content, and theme.

2. The purpose of criticism

The purpose of criticism is to educate taste, or, as Eliot notes, to promote enjoyment and comprehension of literature. No matter how trivial they may appear, facts cannot corrupt taste; rather, they satisfy it. Critics who provide opinion or imagination, such as Goethe and Coleridge, are the true corruptors.

3. The dangers of impressionistic criticism

The impressionistic criticism of Samuel Coleridge and Goethe is always fallacious. Eliot cautions against a slavish adherence to facts and preoccupation with trivialities such as Shakespeare's laundry expenses. Such investigation is not criticism. He opposes the pernicious trend of reading about works of art rather than focusing on the work itself.

 

Eliot's Comments on Textual Criticism and Impressionistic Criticism

1. Textual criticism Eliot comments on textual criticism, but is opposed to the "lemon-squeezer" school of critics who attempt to extract meaning from words. He emphasizes the importance of making comparisons and performing analysis, but only focusing on the text and never assigning importance to trivial matters.

 2. Impressionistic criticism Eliot is opposed to Impressionist criticism, which he views as inconsistent. Critics who follow rigorous theories restrict the freedom of the critic. He does not elaborate on any theories or outline any guiding principles.

 

Conclusion

1. Objectivity and detachment

A critic should approach a work of art with an open mind, free of theories or biases. Eliot believes that the critic's approach should be similar to that of a scientist, with an emphasis on objectivity and detachment. This allows criticism to approach the objectivity of scientific procedures.

 

2. Collaborative activity

When critics from different eras collaborate in their pursuit of the truth, criticism becomes a cooperative activity. Eliot sees this kind of collaboration as essential for achieving a provisional truth that is constantly refined and modified over time.

 

3. Uniqueness and originality

Eliot's own pronouncements are objective and scientific, but he conceals his uniqueness and originality. He compares himself to a scientist who works with an open mind and in collaboration with others to achieve a provisional truth.