literary criticism

Discipline concerned with philosophical, descriptive, and evaluative inquiries about literature, including what literature is, what it does, and what it is worth. The Western critical tradition began with Plato's Republic (4th century BC). A generation later, Aristotle, in his Poetics, developed a set of principles of composition that had a lasting influence. European criticism since the Renaissance has primarily focused on the moral worth of literature and the nature of its relationship to reality. At the end of the 16th century, Sir Philip Sidney argued that it is the special property of literature to offer an imagined world that is in some respects superior to the real one. A century later John Dryden proposed the less idealistic view that literature must primarily offer an accurate representation of the world for “the delight and instruction of mankind,” an assumption that underlies the great critical works of Alexander Pope and Samuel Johnson. A departure from these ideas appeared in the criticism of the Romantic period, epitomized by William Wordsworth's assertion that the object of poetry is “truthelipsiscarried alive into the heart by passion.” The later 19th century saw two divergent developments: an aesthetic theory of “art for art's sake,” and the view (expressed by Matthew Arnold) that literature must assume the moral and philosophical functions previously filled by religion. The volume of literary criticism increased greatly in the 20th century, and its later years saw a radical reappraisal of traditional critical modes and the development of a multiplicity of critical factions (see deconstruction; poststructuralism; structuralism).

Learn more about literary criticism with a free trial on Britannica.com.

Flowering of Irish literary talent in the late 19th and early 20th century. It was closely allied with a strong political nationalism and a revival of interest in Ireland's Gaelic heritage (see Gaelic revival). Other factors in the renaissance were the retelling of ancient heroic legends in books such as Standish O'Grady's History of Ireland (1878, 1880) and Douglas Hyde's A Literary History of Ireland (1899), and the Gaelic League, formed in 1893 to revive the Irish language and culture. It developed into a vigorous literary force centred on William Butler Yeats; other important figures were Augusta Gregory, John Millington Synge, and Sean O'Casey. Seealso Abbey Theatre.

Learn more about Irish literary renaissance with a free trial on Britannica.com.

In literature, an author writes contrast when he or she describes the difference(s) between two or more entities. For example, in the first four lines of William Shakespeare's Sonnet 130, Shakespeare contrasts a mistress to the sun, coral, snow, and wire.

Contrast is the antonym of simile. In poetic compositions, it is common for poets to set out an elaborate contrast or elaborate simile as the argument. For example, John Donne and the metaphysical poets developed the "conceit" as a literary device, where an elaborate, implausible, and surprising analogy was demonstrated. In Renaissance poetry, and particularly in sonnets, the contrast was similarly used as a poetic argument. In such verse, the entire poem argues that two seemingly alike or identical items are, in fact, quite separate and paradoxically different. These may take the form of 'my love is unlike all other women' or 'I am unlike her other loves.'

In the early 18th century, a theory of wit developed by English writers (particularly John Locke) held that judgment sees the differences in like things, imagination or fancy sees the likeness in different things, and wit operates properly by employing judgment and fancy to form sound propositions. In lyric poetry, the author is often attempting to show how what seems to be solely an exercise of judgment or fancy is, in fact, wit.