Assignment Paper 7 : The Literary Criticism-2

Hello Readers,

• Name : Sanjay A. Dharaiya

• Course : M.A.

• Sem : 2

•  Year : 2019-2020

• Roll : 24

• Enrollment : 2069108420200009

•  Email id : dharaiy9@gmail.com

•  Paper 7 : The Literary Criticism-2

• Topic : I.A. Richards : The Figurative language

• Total word : 1662

• Submitted to : S.B. Gardi Department of English MKB University

• I.A. Richards as a critic of Figurative Language

If we remember some of the most important and well-known critics in the criticism, we should remember I.A Richards, the perfect Iver Armstrong Richards, born February 26, 1893, in Sandbach, Cheshire, Ang. - September. 7, 1979, Cambridge, Cambridgeshire), an English critic, poet and teacher who was very influential in developing new ways of reading poetry that led to new criticisms and which also influenced some forms of reader-response criticism.


Richards was educated at Magdalen College College, Cambridge, and was lecturer in English and Moral Sciences from 1922 to 1929. ; And his theories of literary criticism (1924) and practical criticism (1929), his collaborative parts that he used to develop his critical method.


The latter two were based on practical pedagogy: Richards used poetry to give students poems in which titles and authors were named, and then use their answers to further develop their "close reading" skills. Richards is known for advancing close reading of literature and clarifying theoretical principles on which these skills "practice criticism", a method of enhancing readers' analytical powers.

  During the 1930s, Richards spent much of his time developing English, which was composed by Ogden, with only 850 words; Richards believes that a globally understood language will help bring international understanding. He took basic English to China as a visiting professor at Ting Hua University (1929–30) and director of the Orthological Institute of China (1936–38).


In 1942 he published the Republic's version of Plato in basic English. He became a professor of English at Harvard University in 1939, working primarily in elementary education, and in 1963 an emeritus professor. His speculative and theoretical works include Science and Poetry (1926; revised as Poems and Sciences, 1970), Mancius on the Mind (1932), Coleridge on Imagination (1934), Philosophy and Rhetoric (1936), Speculative Instrument (1955). (1974), Poems (1974), and Supplements (1976). His verse has been collected in Inner Speech (1971) and New and Selected Poems (1978).

•  Four Kinds of Meaning

Together with his work, his study of experimental annotations expresses his interest in literal and textual analysis of the meaning of meaning. According to him, the poet writes to communicate and language is the medium of communication. Language includes words, so the study of words studies so the study of words is important to understand the meaning. Depends on the meaning. So, let's take a look at each of them in detail.


(1) Sense :

In metaphorical language, sensation is very important. In the sense it meant that words are spoken by the plain literal meaning of words. That's why it's so important.


(2) Feeling :

Writers experience emotions and dealings with emotions. It expresses the feelings of desire, desire, joy, unhappiness and the rest of the words in an emotional attitude. So that's important.


(3) Tone :

The tone is significant as far as the metaphorical language is concerned. The tone is the attitude of the writers towards their audience here. The author chooses his words and adjusts them to his readers' interests. Emotion is just a state of mind.


(4) Intention :

As far as intention is concerned in figurative language. Those writers are conscious or unconscious targets, it is the effect that one is trying to produce. Purpose also controls the pressure, shapes the setting, or catches attention for something important. So it is very important in the rhetorical language.

• “Sources of misunderstanding in poetry” :

Source is very important in figurative language. Practical criticism includes the study of literary judgment by I.A. Richard has given the theory of figurative language. He began the first debate on the sources of misunderstanding in poetry. He says it's hard to find sources that cause misunderstandings. In addition, he says that as far as poetry is concerned, there are four sources of misunderstanding. Because one source of misunderstanding is interconnected to another, it becomes very difficult to diagnose, with certainty, the source of a particular error or misunderstanding. The source of this kind of misunderstanding is possible but rarely.

  For some readers the meter and verse form of the poem are as powerful as a barrel organ or a brass-bend distraction, trying to solve a difficult mathematical problem. But as we know, meters and rhymes are an essential part of poetry and cannot be distinguished. Therefore, the reader should often make a poem. Because the constant reading of the poem can solve the problem of meter and verse. To understand its conception the reader should read a poem. Perhaps constant reading can solve various doubts about poetry. This misunderstanding of the spirit of the poem must be resolved by the reader. So that he can understand the idea of ​​poetry.

  Here I.A. Richards also says that the source of the misunderstanding in poetry. This complex situation gives rise to a misunderstanding or misconception that syntax in poetry after syntax is less significant and the proper way to understand poetry is through a kind of assumption - karma, also called intuition. Such fantasies are strongly solved. Because they are somewhat true. This aspect of truth in poetry makes the reader most delusional and delusional. IA Richard warns his readers against this danger.
They comment that,

“ In most poetry the sense is as important as anything else;

It is quite as a subtle, and as dependent of the syntax as in

Prose; it is the poet’s chief instrument to other aims when it is not

Itself his aim. His control of our thoughts is ordinarily his chief means to the

Control of our feeling, and in the immense majority of instances we miss nearly everything "

• “The significance of visual memory”:

The importance of visual memory is briefly significant in this essay on metaphorical language. We can say that close study of poetry is necessary for proper understanding of metaphorical language. The reader should read the poem in the context of close reading. It must be carefully followed, but such literal reading should not come as much as the appreciation of its imagination, there should be a fair balance between literalism and imaginative freedom. The purpose of a poem should be to understand clearly such that it is wrong to explain it without understanding any decision of the way the poet has used it. New critics value the meaning after the end of the first poem. Because by doing this, they can learn the language - metaphor, speech figure, etc ... On art, the end of poetry can be achieved, even then analysis poetry can be given freedom.

• Source of Misunderstanding in Poetry:

In the study of literary judgment in pragmatic criticism, I.A. Richards has theorized the language of ornaments. He began the first debate on the sources of misunderstanding in poetry. He says it's hard to find sources that cause misunderstandings. In addition, he says that as far as poetry is concerned, there are four sources of misunderstanding. IA Richards There are four sources of misunderstanding of poetry. It is difficult to diagnose with precision and certainty, the source of some specific error or misunderstanding in the meaning of the poem. It is produced by negligence or outright negligence.

  I.A. Richards warns readers - Understanding in most poems is as important as it is subtle, and dependent on syntax, because in prose it is a poet's main tool for other purposes when it is not his purpose. Too much literal reading is the cause of the misunderstanding. Negative intuitive reading and professional 'non-literal reading' are easy-goddess justice rocks. Defective scholarship is the third source of misunderstanding in poetry.

  The reader may fail to understand the poet's spirit as he is unfamiliar with the poet's spirit. The most serious cause of misunderstanding is the failure to understand that the poetic use of words is different from the assumption that language can be fatal to poetry. Literature is a serious obstacle to proper understanding of poetic words. According to Richards, poetry is different from prose and a different attitude is needed for proper understanding.

  If we talk about other misconceptions of the spirit of poetry, we can say that some poets often choose to execute all tricks with their own understanding. Sometimes the poet completely dissolves the relevance of his meaning, and feels chaotic and inconsistent. Common rules of syntax and grammar can be thrown into the window. In this chaotic and inconsistent composition the complex situation of the poem arises. The reader may feel uncertain about solving it. As a result, a reader fails to grasp the concept of poetry and experiences a complex situation.

•  The Value of Figurative Language:

Sometimes it is possible that metaphorical language creates a slight misunderstanding in any literary work. It is therefore necessary to identify the figures of speech. It is difficult to turn poetry into logical respected prose. It is tied to a belief in liberty that is appropriate for the poet, and the power and value of the rhetorical language. There is no doubt that there is a similarity between the harp and the sound of the sea, but in poetry such things happen. It is clear that the effect proposed by the poet, astonishing awareness and a fusion of sea, lightning and spring, is an expression of those three most moving movements of nature. The poet shows rather negligence in the selection of the media he employs to achieve his end.

•  Conclusion:

A few more words, we can say that I.A. According to Richards, proper study of the rhetorical language requires close study of poetry. The reader should read the poem in the context of close reading. It must be carefully followed, but such literal reading should not come as much as the appreciation of its imagination, there should be a fair balance between literalism and imaginative freedom.