When Was An Essay On Criticism Written

When Was An Essay On Criticism Written-38
Artist has to undergo practice, learning and experiences. Pope says, “A little learning is a dangerous thing”. A critic if has pride, can’t take out the real essence from the text.To be good critic, one should have courage, modesty and honesty.Christgau is not a bohemian as a matter of fact--his life as loving husband and father is crucial for his critical persona--nor as a writer.

Artist has to undergo practice, learning and experiences. Pope says, “A little learning is a dangerous thing”. A critic if has pride, can’t take out the real essence from the text.To be good critic, one should have courage, modesty and honesty.Christgau is not a bohemian as a matter of fact--his life as loving husband and father is crucial for his critical persona--nor as a writer.

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In his introduction to Grown Up All Wrong, Robert Christgau describes his return to New York from California in 1972 and the launch of his career as a full-time rock writer. "And glad enough of it." I started my life as a full-time academic the same year, and Christgau's throwaway satisfaction here is to me disingenuous.

Christgau has been, after all, happy to be billed as the Dean (I think he first claimed the title--"the Dean of the Long Island Rock Critics"--in Newsday in 1972), and in the very first line of Grown Up All Wrong he takes care to remind us that he was once a professor.

Pope believes that the value of literary work depends not on its being ancient or modern, but on its being true to Nature. Nature is to be found both in the matter and in the manner of expression, the two being inseparable.

When the poet is asked to follow Nature, he is actually asked to “stick to the usual, the ordinary, and the commonplace.” He is to portray the world as he sees it.

Alexander Pope's Essay on Criticism is an ambitious work of art written in heroic couplet.

Published in 1711, this poetic essay was a venture to identify and define his own role as a poet and a critic.He strongly puts his ideas on the ongoing question of if poetry should be natural or written as per the predetermined artificial rules set by the classical poets.This essay by Pope is neoclassical in its premises; in the tradition of Horace and Boileau.Pope implies that if the artist needs to break rules and regulation, he should use poetic license.uses cookies to personalize content, tailor ads and improve the user experience. But only Christgau has had the determination--and the brains and the spirit--to take the academy on directly. Most critics still have no interest in academic work at all; most academics know that scholarly work on popular culture, particularly theoretical work (the kind Christgau finds interesting) is a matter for journalistic derision.Christgau writes that he was temperamentally suited to be a journalist, a "wordslinger for hire in a world half bohemia and half media." But this doesn't explain his ongoing interest in the academy and is, anyway, misleading.Clearly, the poet must have a strong sense of literary tradition in order to make intelligent judgments as the critic must have it too.Pope notes Virgil’s discovery that to imitate Homer is also to imitate nature. His nature is the combination of two elements society (human nature) and rules of classical artists-“nature is methodized”.The truth of human nature is to be found in common humanity, not in any eccentricity. The proper object of imitation is the fundamental form of reality for Pope and the basic rule of art is to “follow nature” – “nature methodized.He does not negate the possibility of transgressing the rules if the basic aim of poetry is achieved and this transgression brings hope closer to the idea of the sublime.

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